SIBYL. There now;--Mary has had all her questions answered: it's my turn to have mine.

L. Ah, there's a conspiracy among you, I see. I might have guessed as much.

DORA. I'm sure you ask us questions enough! How can you have the heart, when you dislike so to be asked them yourself?

L. My dear child, if people do not answer questions, it does not matter how many they are asked, because they've no trouble with them. Now, when I ask you questions, I never expect to be answered; but when you ask me, you always do; and it's not fair.

DORA. Very well, we shall understand, next time.

SIBYL. No, but seriously, we all want to ask one thing more, quite dreadfully.

L. And I don't want to be asked it, quite dreadfully; but you'll have your own way, of course.

SIBYL. We none of us understand about the lower Pthah. It was not merely yesterday; but in all we have read about him in Wilkinson, or in any book, we cannot understand what the Egyptians put their G.o.d into that ugly little deformed shape for.

L. Well, I'm glad it's that sort of question; because I can answer anything I like, to that.

EGYPT. Anything you like will do quite well for us; we shall be pleased with the answer, if you are.

L. I am not so sure of that, most gracious queen; for I must begin by the statement that queens seem to have disliked all sorts of work, in those days, as much as some queens dislike sewing to-day.

EGYPT. Now, it's too bad! and just when I was trying to say the civillest thing I could!

L. But, Egypt, why did you tell me you disliked sewing so?

EGYPT. Did not I show you how the thread cuts my fingers? and I always get cramp, somehow, in my neck, if I sew long.

L. Well, I suppose the Egyptian queens thought every body got cramp in their neck, if they sewed long; and that thread always cut people's fingers. At all events, every kind of manual labour was despised both by them, and the Greeks; and, while they owned the real good and fruit of it, they yet held it a degradation to all who practised it. Also, knowing the laws of life thoroughly, they perceived that the special practice necessary to bring any manual art to perfection strengthened the body distortedly; one energy or member gaining at the expense of the rest. They especially dreaded and despised any kind of work that had to be done near fire: yet, feeling what they owed to it in metal-work, as the basis of all other work, they expressed this mixed reverence and scorn in the varied types of the lame Hephaestus, and the lower Pthah.

SIBYL. But what did you mean by making him say 'everything great I can make small, and everything small great?'

L. I had my own separate meaning in that. We have seen in modern times the power of the lower Pthah developed in a separate way, which no Greek nor Egyptian could have conceived. It is the character of pure and eyeless manual labour to conceive everything as subjected to it: and, in reality, to disgrace and diminish all that is so subjected; aggrandising itself, and the thought of itself, at the expense of all n.o.ble things. I heard an orator, and a good one too, at the Working Men's College, the other day, make a great point in a description of our railroads; saying, with grandly conducted emphasis, 'They have made man greater, and the world less.' His working audience were mightily pleased; they thought it so very fine a thing to be made bigger themselves; and all the rest of the world less. I should have enjoyed asking them (but it would have been a pity--they were so pleased), how much less they would like to have the world made;--and whether, at present, those of them really felt the biggest men, who lived in the least houses.

SIBYL. But then, why did you make Pthah say that he could make weak things strong, and small things great?

L. My dear, he is a boaster and self-a.s.sertor, by nature; but it is so far true. For instance, we used to have a fair in our neighbourhood--a very fine fair we thought it. You never saw such an one; but if you look at the engraving of Turner's 'St. Catherine's Hill,' you will see what it was like. There were curious booths, carried on poles; and peep-shows; and music, with plenty of drums and cymbals; and much barley-sugar and gingerbread, and the like: and in the alleys of this fair the London populace would enjoy themselves, after their fashion, very thoroughly. Well, the little Pthah set to work upon it one day; he made the wooden poles into iron ones, and put them across, like his own crooked legs, so that you always fall over them if you don't look where you are going; and he turned all the canvas into panes of gla.s.s, and put it up on his iron cross-poles; and made all the little booths into one great booth; and people said it was very fine, and a new style of architecture; and Mr. d.i.c.kens said nothing was ever like it in Fairyland, which was very true. And then the little Pthah set to work to put fine fairings in it; and he painted the Nineveh bulls afresh, with the blackest eyes he could paint (because he had none himself), and he got the angels down from Lincoln choir, and gilded their wings like his gingerbread of old times; and he sent for everything else he could think of, and put it in his booth. There are the casts of Niobe and her children; and the Chimpanzee; and the wooden Caffres and New-Zealanders; and the Shakespeare House; and Le Grand Blondin, and Le Pet.i.t Blondin; and Handel; and Mozart; and no end of shops, and buns, and beer; and all the little-Pthah-worshippers say, never was anything so sublime!

SIBYL. Now, do you mean to say you never go to these Crystal Palace concerts? They're as good as good can be.

L. I don't go to the thundering things with a million of bad voices in them. When I want a song, I get Julia Mannering and Lucy Bertram and Counsellor Pleydell to sing 'We be three poor Mariners' to me; then I've no headache next morning. But I do go to the smaller concerts, when I can; for they are very good, as you say, Sibyl: and I always get a reserved seat somewhere near the orchestra, where I am sure I can see the kettle-drummer drum.

SIBYL. Now _do_ be serious, for one minute.

L. I am serious--never was more so. You know one can't see the modulation of violinists' fingers, but one can see the vibration of the drummer's hand; and it's lovely.

SIBYL. But fancy going to a concert, not to hear, but to see!

L. Yes, it is very absurd. The quite right thing, I believe, is to go there to talk. I confess, however, that in most music, when very well done, the doing of it is to me the chiefly interesting part of the business. I'm always thinking how good it would be for the fat, supercilious people, who care so little for their half-crown's worth, to be set to try and do a half-crown's worth of anything like it.

MARY. But surely that Crystal Palace is a great good and help to the people of London?

L. The fresh air of the Norwood hills is, or was, my dear; but they are spoiling that with smoke as fast as they can. And the palace (as they call it) is a better place for them, by much, than the old fair; and it is always there, instead of for three days only; and it shuts up at proper hours of night. And good use may be made of the things in it, if you know how: but as for its teaching the people, it will teach them nothing but the lowest of the lower Pthah's work--nothing but hammer and tongs. I saw a wonderful piece, of his doing, in the place, only the other day. Some unhappy metal-worker--I am not sure if it was not a metal-working firm--had taken three years to make a Golden eagle.

SIBYL. Of real gold?

L. No; of bronze, or copper, or some of their foul patent metal--it is no matter what. I meant a model of our chief British eagle. Every feather was made separately; and every filament of every feather separately, and so joined on; and all the quills modelled of the right length and right section, and at last the whole cl.u.s.ter of them fastened together. You know, children, I don't think much of my own drawing; but take my proud word for once, that when I go to the Zoological Gardens, and happen to have a bit of chalk in my pocket, and the Gray Harpy will sit, without s.c.r.e.w.i.n.g his head round, for thirty seconds,--I can do a better thing of him in that time than the three years' work of this industrious firm. For, during the thirty seconds, the eagle is my object,--not myself; and during the three years, the firm's object, in every fibre of bronze it made, was itself, and not the eagle. That is the true meaning of the little Pthah's having no eyes--he can see only himself. The Egyptian beetle was not quite the full type of him; our northern ground beetle is a truer one. It is beautiful to see it at work, gathering its treasures (such as they are) into little round b.a.l.l.s; and pushing them home with the strong wrong end of it,--head downmost all the way,--like a modern political economist with his ball of capital, declaring that a nation can stand on its vices better than on its virtues. But away with you, children, now, for I'm getting cross.

DORA. I'm going down-stairs; I shall take care, at any rate, that there are no little Pthahs in the kitchen cupboards.

LECTURE IV.

_THE CRYSTAL ORDERS._

_A working Lecture, in the large Schoolroom; with experimental Interludes The great bell has rung unexpectedly._

KATHLEEN (_entering disconsolate, though first at the summons_). Oh dear, oh dear, what a day! Was ever anything so provoking! just when we wanted to crystallise ourselves;--and I'm sure it's going to rain all day long.

L. So am I, Kate. The sky has quite an Irish way with it But I don't see why Irish girls should also look so dismal. Fancy that you don't want to crystallise yourselves: you didn't, the day before yesterday, and you were not unhappy when it rained then.

FLORRIE. Ah! but we do want to-day; and the rain's so tiresome.

L. That is to say, children, that because you are all the richer by the expectation of playing at a new game, you choose to make yourselves unhappier than when you had nothing to look forward to, but the old ones.

ISABEL. But then, to have to wait--wait--wait; and before we've tried it;--and perhaps it will rain to-morrow, too!

L. It may also rain the day after to-morrow. We can make ourselves uncomfortable to any extent with perhapses, Isabel. You may stick perhapses into your little minds, like pins, till you are as uncomfortable as the Lilliputians made Gulliver with their arrows, when he would not lie quiet.

ISABEL. But what _are_ we to do to-day?

L. To be quiet, for one thing, like Gulliver when he saw there was nothing better to be done. And to practise patience. I can tell you children, _that_ requires nearly as much practising as music; and we are continually losing our lessons when the master comes. Now, to-day, here's a nice little adagio lesson for us, if we play it properly.

ISABEL. But I don't like that sort of lesson. I can't play it properly.

L. Can you play a Mozart sonata yet, Isabel? The more need to practise.

All one's life is a music, if one touches the notes rightly, and in time. But there must be no hurry.

KATHLEEN. I'm sure there's no music in stopping in on a rainy day.

L. There's no music in a 'rest,' Katie, that I know of: but there's the making of music in it. And people are always missing that part of the life-melody; and scrambling on without counting--not that it's easy to count; but nothing on which so much depends ever _is_ easy. People are always talking of perseverance, and courage, and fort.i.tude; but patience is the finest and worthiest part of fort.i.tude,--and the rarest, too. I know twenty persevering girls for one patient one: but it is only that twenty-first who can do her work, out and out, or enjoy it. For patience lies at the root of all pleasures, as well as of all powers. Hope herself ceases to be happiness, when Impatience companions her.

(ISABEL _and_ LILY _sit down on the floor, and fold their hands. The others follow their example._)

Good children! but that's not quite the way of it, neither. Folded hands are not necessarily resigned ones. The Patience who really smiles at grief usually stands, or walks, or even runs: she seldom sits; though she may sometimes have to do it, for many a day, poor thing, by monuments; or like Chaucer's, 'with face pale, upon a hill of sand.' But we are not reduced to that to-day. Suppose we use this calamitous forenoon to choose the shapes we are to crystallise into? we know nothing about them yet.