A Book of English Prose by Percy Lubbock (my reading book TXT) 📕

own bodily wants, choosing always the shillings and sixpences to spend in this way. He loved the guineas best, but he would not change the silver—the crowns and half-crowns that were his own earnings, begotten by his labour; he loved them all. He spread them out in heaps and bathed his hands in them; then he counted them and set them up in regular piles, and felt their rounded outline between his thumb and fingers, and thought fondly of the guineas that were only half earned by the work in his loom, as if they had been unborn children—thought of the guineas that were coming slowly through the coming years, through all his life, which spread far away before him, the end quite hidden by countless days of weaving.

(Silas Marner.)

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JOHN RUSKIN 1819-1900 SHIPS

Down to Elizabeth's time chivalry lasted; and grace of dress and mien, and all else that was connected with chivalry. Then came the ages which, when they have taken their due place in the depths of the past, will be, by a wise and clear-sighted futurity, perhaps well comprehended under a common name, as the ages of Starch; periods of general stiffening and bluish-whitening, with a prevailing washerwoman's taste in everything; involving a change of steel armour into cambric; of natural hair into peruke; of natural walking into that which will disarrange no wristbands; of plain language into quips and embroideries; and of human life in general, from a green race-course, where to be defeated was at worst only to fall behind and recover breath, into a slippery pole, to be climbed with toil and contortion, and in clinging to which, each man's foot is on his neighbour's head.

But, meanwhile, the marine deities were incorruptible. It was not possible to starch the sea; and precisely as the stiffness fastened upon men, it vanished from ships. What had once been a mere raft, with rows of formal benches, pushed along by laborious flap of oars, and with infinite fluttering of flags and swelling of poops above, gradually began to lean more heavily into the deep water, to sustain a gloomy weight of guns, to draw back its spider-like feebleness of limb, and open its bosom to the wind, and finally darkened down from all its painted {164} vanities into the long low hull, familiar with the over-flying foam; that has no other pride but in its daily duty and victory; while, through all these changes, it gained continually in grace, strength, audacity, and beauty, until at last it has reached such a pitch of all these, that there is not, except the very loveliest creatures of the living world, anything in nature so absolutely notable, bewitching, and, according to its means and measure, heart-occupying, as a well-handled ship under sail in a stormy day. Any ship, from lowest to proudest, has due place in that architecture of the sea; beautiful, not so much in this or that piece of it, as in the unity of all, from cottage to cathedral, into their great buoyant dynasty. Yet, among them, the fisher-boat, corresponding to the cottage on the land (only far more sublime than a cottage ever can be), is on the whole the thing most venerable. I doubt if ever academic grove were half so fit for profitable meditation as the little strip of shingle between two black, steep, overhanging sides of stranded fishing-boats. The clear, heavy water-edge of ocean rising and falling close to their bows, in that unaccountable way which the sea has always in calm weather, turning the pebbles over and over as if with a rake, to look for something, and then stopping a moment down at the bottom of the bank, and coming up again with a little run and clash, throwing a foot's depth of salt crystal in an instant between you and the round stone you were going to take in your hand; sighing, all the while, as if it would infinitely rather be doing something else. And the dark flanks of the fishing-boats all aslope above, in their shining quietness, hot in the morning sun, rusty and seamed with square patches of {165} plank nailed over their rents; just rough enough to let the little flat-footed fisher-children haul or twist themselves up to the gunwales, and drop back again along some stray rope; just round enough to remind us, in their broad and gradual curves, of the sweep of the green surges they know so well, and of the hours when those old sides of seared timber, all ashine with the sea, plunge and dip into the deep green purity of the mounded waves more joyfully than a deer lies down among the grass of spring, the soft white cloud of foam opening momentarily at the bows, and fading or flying high into the breeze where the sea-gulls toss and shriek,—the joy and beauty of it, all the while, so mingled with the sense of unfathomable danger, and the human effort and sorrow going on perpetually from age to age, waves rolling for ever, and winds moaning for ever, and faithful hearts trusting and sickening for ever, and brave lives dashed away about the rattling beach like weeds for ever; and still at the helm of every lonely boat, through starless night and hopeless dawn, His hand, who spread the fisher's net over the dust of the Sidonian palaces, and gave into the fisher's hand the keys of the kingdom of heaven.

Next after the fishing-boat—which, as I said, in the architecture of the sea represents the cottage, more especially the pastoral or agricultural cottage, watchful over some pathless domain of moorland or arable, as the fishing-boat swims humbly in the midst of the broad green fields and hills of ocean, out of which it has to win such fruit as they can give, and to compass with net or drag such flocks as it may find,—next to this ocean-cottage ranks in interest, it seems to me, the small, over-wrought, {166} under-crewed, ill-caulked merchant brig or schooner; the kind of ship which first shows its couple of thin masts over the low fields or marshes as we near any third-rate seaport; and which is sure somewhere to stud the great space of glittering water, seen from any sea-cliff, with its four or five square-set sails. Of the larger and more polite tribes of merchant vessels, three-masted, and passenger-carrying, I have nothing to say, feeling in general little sympathy with people who want to go anywhere; nor caring much about anything, which in the essence of it expresses a desire to get to other sides of the world; but only for homely and stay-at-home ships, that live their life and die their death about English rocks. Neither have I any interest in the higher branches of commerce, such as traffic with spice islands, and porterage of painted tea-chests or carved ivory; for all this seems to me to fall under the head of commerce of the drawing-room; costly, but not venerable. I respect in the merchant service only those ships that carry coals, herrings, salt, timber, iron, and such other commodities, and that have disagreeable odour, and unwashed decks. But there are few things more impressive to me than one of these ships lying up against some lonely quay in a black sea-fog, with the furrow traced under its tawny keel far in the harbour slime. The noble misery that there is in it, the might of its rent and strained unseemliness, its wave-worn melancholy, resting there for a little while in the comfortless ebb, unpitied, and claiming no pity; still less honoured, least of all conscious of any claim to honour; casting and craning by due balance whatever is in its hold up to the pier, in quiet truth of time; spinning of wheel, and {167} slackening of rope, and swinging of spade, in as accurate cadence as a waltz music; one or two of its crew, perhaps, away forward, and a hungry boy and yelping dog eagerly interested in something from which a blue dull smoke rises out of pot or pan; but dark-browed and silent, their limbs slack, like the ropes above them, entangled as they are in those inextricable meshes about the patched knots and heaps of ill-reefed sable sail. What a majestic sense of service in all that languor! the rest of human limbs and hearts, at utter need, not in sweet meadows or soft air, but in harbour slime and biting fog; so drawing their breath once more, to go out again, without lament, from between the two skeletons of pier-heads, vocal with wash of under wave, into the grey troughs of tumbling brine; there, as they can, with slacked rope, and patched sail, and leaky hull, again to roll and stagger far away amidst the wind and salt sleet, from dawn to dusk and dusk to dawn, winning day by day their daily bread; and for last reward, when their old hands, on some winter night, lose feeling along the frozen ropes, and their old eyes miss mark of the lighthouse quenched in foam, the so-long impossible Rest, that shall hunger no more, neither thirst any more,—their eyes and mouths filled with the brown sea-sand.

(Harbours of England.)

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WALTER PATER 1839-1894 THE CHILD IN THE HOUSE

As Florian Deleal walked, one hot afternoon, he overtook by the wayside a poor aged man, and, as he seemed weary with the road, helped him on with the burden which he carried, a certain distance. And as the man told his story, it chanced that he named the place, a little place in the neighbourhood of a great city, where Florian had passed his earliest years, but which he had never since seen, and, the story told, went forward on his journey comforted. And that night, like a reward for his pity, a dream of that place came to Florian, a dream which did for him the office of the finer sort of memory, bringing its object to mind with a great clearness, yet, as sometimes happens in dreams, raised a little above itself, and above ordinary retrospect. The true aspect of the place, especially of the house there in which he had lived as a child, the fashion of its doors, its hearths, its windows, the very scent upon the air of it, was with him in sleep for a season; only, with tints more musically blent on wall and floor, and some finer light and shadow running in and out along its curves and angles, and with all its little carvings daintier. He awoke with a sigh at the thought of almost thirty years which lay between him and that place, yet with a flutter of pleasure still within him at the fair light, as if it were a smile, upon it. And it happened that this accident of his dream was just the thing needed for the beginning of a certain design he {169} then had in view, the noting, namely, of some things in the story of his spirit—in that process of brain-building by which we are, each one of us, what we are. With the image of the place so clear and favourable upon him, he fell to thinking of himself therein, and how his thoughts had grown up to him. In that half-spiritualised house he could watch the better, over again, the gradual expansion of the soul which had come to be there—of which indeed, through the law which makes the material objects about them so large an element in children's lives, it had actually become a part; inward and outward being woven through and through each other into one inextricable texture—half, tint and trace and accident of homely colour and form, from the wood and the bricks; half, mere soul-stuff, floated thither from who knows how far. In the house and garden of his dream he saw a child moving, and could divide the main streams at least of the winds that had played on him, and study so the first stage in that mental journey.

The old house, as when Florian talked of it afterwards he always called it (as all children do, who can recollect a change of home, soon enough but not too soon to mark a period in their lives) really was an old house; and an element of French descent in its inmates—descent from Watteau, the old court-painter, one of whose gallant pieces still hung in one of the rooms—might explain, together with some other things, a noticeable trimness and comely whiteness about everything there—the curtains, the couches, the paint on the walls with which the light and shadow played so delicately; might explain also the tolerance of the great poplar in the garden, a tree {170} most often despised by English people, but