Unto This Last, and Other Essays on Political Economy. Ruskin JohnЧитать онлайн книгу.
or five, or six beautiful flounces for your own ball-dress—flounces which will clothe no one but yourself, and which you will yourself be unable to wear at more than one ball—you are employing your money selfishly. You have maintained, indeed, in each case, the same number of people; but in the one case you have directed their labour to the service of the community; in the other case you have consumed it wholly upon yourself. I don't say you are never to do so; I don't say you ought not sometimes to think of yourselves only, and to make yourselves as pretty as you can; only do not confuse coquettishness with benevolence, nor cheat yourselves into thinking that all the finery you can wear is so much put into the hungry mouths of those beneath you: it is not so; it is what you yourselves, whether you will or no, must sometimes instinctively feel it to be—it is what those who stand shivering in the streets, forming a line to watch you as you step out of your carriages, know it to be; those fine dresses do not mean that so much has been put into their mouths, but that so much has been taken out of their mouths. The real politico-economical signification of every one of those beautiful toilettes, is just this; that you have had a certain number of people put for a certain number of days wholly under your authority, by the sternest of slave-masters—hunger and cold; and you have said to them, "I will feed you, indeed, and clothe you, and give you fuel for so many days; but during those days you shall work for me only: your little brothers need clothes, but you shall make none for them: your sick friend needs clothes, but you shall make none for her: you yourself will soon need another, and a warmer dress; but you shall make none for yourself. You shall make nothing but lace and roses for me; for this fortnight to come, you shall work at the patterns and petals, and then I will crush and consume them away in an hour." You will perhaps answer—"It may not be particularly benevolent to do this, and we won't call it so; but at any rate we do no wrong in taking their labour when we pay them their wages: if we pay for their work we have a right to it." No;—a thousand times no. The labour which you have paid for, does indeed become, by the act of purchase, your own labour: you have bought the hands and the time of those workers; they are, by right and justice, your own hands, your own time. But, have you a right to spend your own time, to work with your own hands, only for your own advantage?—much more, when, by purchase, you have invested your own person with the strength of others; and added to your own life, a part of the life of others? You may, indeed, to a certain extent, use their labour for your delight: remember, I am making no general assertions against splendour of dress, or pomp of accessories of life; on the contrary, there are many reasons for thinking that we do not at present attach enough importance to beautiful dress, as one of the means of influencing general taste and character. But I do say, that you must weigh the value of what you ask these workers to produce for you in its own distinct balance; that on its own worthiness or desirableness rests the question of your kindness, and not merely on the fact of your having employed people in producing it: and I say farther, that as long as there are cold and nakedness in the land around you, so long there can be no question at all but that splendour of dress is a crime. In due time, when we have nothing better to set people to work at, it may be right to let them make lace and cut jewels; but, as long as there are any who have no blankets for their beds, and no rags for their bodies, so long it is blanket-making and tailoring we must set people to work at—not lace.
And it would be strange, if at any great assembly which, while it dazzled the young and the thoughtless, beguiled the gentler hearts that beat beneath the embroidery, with a placid sensation of luxurious benevolence—as if by all that they wore in waywardness of beauty, comfort had been first given to the distressed, and aid to the indigent; it would be strange, I say, if, for a moment, the spirits of Truth and of Terror, which walk invisibly among the masques of the earth, would lift the dimness from our erring thoughts, and show us how—inasmuch as the sums exhausted for that magnificence would have given back the failing breath to many an unsheltered outcast on moor and street—they who wear it have literally entered into partnership with Death; and dressed themselves in his spoils. Yes, if the veil could be lifted not only from your thoughts, but from your human sight, you would see—the angels do see—on those gay white dresses of yours, strange dark spots, and crimson patterns that you knew not of—spots of the inextinguishable red that all the seas cannot wash away; yes, and among the pleasant flowers that crown your fair heads, and glow on your wreathed hair, you would see that one weed was always twisted which no one thought of—the grass that grows on graves.
It was not, however, this last, this clearest and most appalling view of our subject, that I intended to ask you to take this evening; only it is impossible to set any part of the matter in its true light, until we go to the root of it. But the point which it is our special business to consider is, not whether costliness of dress is contrary to charity; but whether it is not contrary to mere worldly wisdom: whether, even supposing we knew that splendour of dress did not cost suffering or hunger, we might not put the splendour better in other things than dress. And, supposing our mode of dress were really graceful or beautiful, this might be a very doubtful question; for I believe true nobleness of dress to be an important means of education, as it certainly is a necessity to any nation which wishes to possess living art, concerned with portraiture of human nature. No good historical painting ever yet existed, or ever can exist, where the dresses of the people of the time are not beautiful: and had it not been for the lovely and fantastic dressing of the 13th to the 16th centuries, neither French, nor Florentine, nor Venetian art could have risen to anything like the rank it reached. Still, even then, the best dressing was never the costliest; and its effect depended much more on its beautiful and, in early times, modest, arrangement, and on the simple and lovely masses of its colour, than on gorgeousness of clasp or embroidery. Whether we can ever return to any of those more perfect types of form, is questionable; but there can be no question, that all the money we spend on the forms of dress at present worn, is, so far as any good purpose is concerned, wholly lost. Mind, in saying this, I reckon among good purposes, the purpose which young ladies are said sometimes to entertain—of being married; but they would be married quite as soon (and probably to wiser and better husbands) by dressing quietly, as by dressing brilliantly: and I believe it would only be needed to lay fairly and largely before them the real good which might be effected by the sums they spend in toilettes, to make them trust at once only to their bright eyes and braided hair for all the mischief they have a mind to. I wish we could, for once, get the statistics of a London season. There was much complaining talk in Parliament last week, of the vast sum the nation has given for the best Paul Veronese in Venice—£14,000: I wonder what the nation meanwhile has given for its ball-dresses! Suppose we could see the London milliners' bills, simply for unnecessary breadths of slip and flounce, from April to July; I wonder whether £14,000 would cover them. But the breadths of slip and flounce are by this time as much lost and vanished as last year's snow; only they have done less good: but the Paul Veronese will last for centuries, if we take care of it; and yet we grumble at the price given for the painting, while no one grumbles at the price of pride.
Time does not permit me to go into any farther illustration of the various modes in which we build our statue out of snow, and waste our labour on things that vanish. I must leave you to follow out the subject for yourselves, as I said I should, and proceed, in our next lecture, to examine the two other branches of our subject, namely, how to accumulate our art, and how to distribute it. But, in closing, as we have been much on the topic of good government, both of ourselves and others, let me just give you one more illustration of what it means, from that old art of which, next evening, I shall try to convince you that the value, both moral and mercantile, is greater than we usually suppose.
One of the frescoes by Ambrozio Lorenzetti, in the town-hall of Siena, represents, by means of symbolical figures, the principles of Good Civic Government and of Good Government in general. The figure representing this noble Civic Government is enthroned, and surrounded by figures representing the Virtues, variously supporting or administering its authority. Now, observe what work is given to each of these virtues. Three winged ones—Faith, Hope, and Charity—surround the head of the figure, not in mere compliance with the common and heraldic laws of precedence among Virtues, such as we moderns observe habitually, but with peculiar purpose on the part of the painter. Faith, as thus represented, ruling the thoughts of the Good Governour, does not mean merely religious faith, understood in those times to be necessary to all persons—governed no less than governours—but it means the faith which enables work to be carried out steadily, in spite of adverse appearances and expediencies;