The Two Paths. John RuskinЧитать онлайн книгу.
blindness—except the worse fate than the being blind yourselves—that of becoming Leaders of the blind?
Do not think that I am speaking under excited feeling, or in any exaggerated terms. I have written the words I use, that I may know what I say, and that you, if you choose, may see what I have said. For, indeed, I have set before you tonight, to the best of my power, the sum and substance of the system of art to the promulgation of which I have devoted my life hitherto, and intend to devote what of life may still be spared to me. I have had but one steady aim in all that I have ever tried to teach, namely—to declare that whatever was great in human art was the expression of man's delight in God's work.
And at this time I have endeavoured to prove to you—if you investigate the subject you may more entirely prove to yourselves—that no school ever advanced far which had not the love of natural fact as a primal energy. But it is still more important for you to be assured that the conditions of life and death in the art of nations are also the conditions of life and death in your own; and that you have it, each in his power at this very instant, to determine in which direction his steps are turning. It seems almost a terrible thing to tell you, that all here have all the power of knowing at once what hope there is for them as artists; you would, perhaps, like better that there was some unremovable doubt about the chances of the future—some possibility that you might be advancing, in unconscious ways, towards unexpected successes—some excuse or reason for going about, as students do so often, to this master or the other, asking him if they have genius, and whether they are doing right, and gathering, from his careless or formal replies, vague flashes of encouragement, or fitfulnesses of despair. There is no need for this—no excuse for it. All of you have the trial of yourselves in your own power; each may undergo at this instant, before his own judgment seat, the ordeal by fire. Ask yourselves what is the leading motive which actuates you while you are at work. I do not ask you what your leading motive is for working—that is a different thing; you may have families to support—parents to help—brides to win; you may have all these, or other such sacred and pre-eminent motives, to press the morning's labour and prompt the twilight thought. But when you are fairly at the work, what is the motive then which tells upon every touch of it? If it is the love of that which your work represents—if, being a landscape painter, it is love of hills and trees that moves you—if, being a figure painter, it is love of human beauty and human soul that moves you—if, being a flower or animal painter, it is love, and wonder, and delight in petal and in limb that move you, then the Spirit is upon you, and the earth is yours, and the fulness thereof. But if, on the other hand, it is petty self-complacency in your own skill, trust in precepts and laws, hope for academical or popular approbation, or avarice of wealth—it is quite possible that by steady industry, or even by fortunate chance, you may win the applause, the position, the fortune, that you desire;—but one touch of true art you will never lay on canvas or on stone as long as you live.
Make, then, your choice, boldly and consciously, for one way or other it must be made. On the dark and dangerous side are set, the pride which delights in self-contemplation—the indolence which rests in unquestioned forms—the ignorance that despises what is fairest among God's creatures, and the dulness that denies what is marvellous in His working: there is a life of monotony for your own souls, and of misguiding for those of others. And, on the other side, is open to your choice the life of the crowned spirit, moving as a light in creation—discovering always—illuminating always, gaining every hour in strength, yet bowed down every hour into deeper humility; sure of being right in its aim, sure of being irresistible in its progress; happy in what it has securely done—happier in what, day by day, it may as securely hope; happiest at the close of life, when the right hand begins to forget its cunning, to remember, that there never was a touch of the chisel or the pencil it wielded, but has added to the knowledge and quickened the happiness of mankind.
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