Hopes and Fears for Art eBook

This eBook from the Gutenberg Project consists of approximately 200 pages of information about Hopes and Fears for Art.
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Hopes and Fears for Art eBook

This eBook from the Gutenberg Project consists of approximately 200 pages of information about Hopes and Fears for Art.

Now whatever discussion there may be about that often used and often misused word, I believe all who hear me will agree with me in believing from their hearts, and not merely in saying in conventional phrase, that the civilisation which does not carry the whole people with it, is doomed to fall, and give place to one which at least aims at doing so.

We talk of the civilisation of the ancient peoples, of the classical times, well, civilised they were no doubt, some of their folk at least:  an Athenian citizen for instance led a simple, dignified, almost perfect life; but there were drawbacks to happiness perhaps in the lives of his slaves:  and the civilisation of the ancients was founded on slavery.

Indeed that ancient society did give a model to the world, and showed us for ever what blessings are freedom of life and thought, self-restraint and a generous education:  all those blessings the ancient free peoples set forth to the world—­and kept them to themselves.

Therefore no tyrant was too base, no pretext too hollow, for enslaving the grandsons of the men of Salamis and Thermopylae:  therefore did the descendants of those stern and self-restrained Romans, who were ready to give up everything, and life as the least of things, to the glory of their commonweal, produce monsters of license and reckless folly.  Therefore did a little knot of Galilean peasants overthrow the Roman Empire.

Ancient civilisation was chained to slavery and exclusiveness, and it fell; the barbarism that took its place has delivered us from slavery and grown into modern civilisation; and that in its turn has before it the choice of never-ceasing growth, or destruction by that which has in it the seeds of higher growth.

There is an ugly word for a dreadful fact, which I must make bold to use—­the residuum:  that word since the time I first saw it used, has had a terrible significance to me, and I have felt from my heart that if this residuum were a necessary part of modern civilisation, as some people openly, and many more tacitly, assume that it is, then this civilisation carries with it the poison that shall one day destroy it, even as its elder sister did:  if civilisation is to go no further than this, it had better not have gone so far:  if it does not aim at getting rid of this misery and giving some share in the happiness and dignity of life to all the people that it has created, and which it spends such unwearying energy in creating, it is simply an organised injustice, a mere instrument for oppression, so much the worse than that which has gone before it, as its pretensions are higher, its slavery subtler, its mastery harder to overthrow, because supported by such a dense mass of commonplace well-being and comfort.

Surely this cannot be:  surely there is a distinct feeling abroad of this injustice:  so that if the residuum still clogs all the efforts of modern civilisation to rise above mere population-breeding and money-making, the difficulty of dealing with it is the legacy, first of the ages of violence and almost conscious brutal injustice, and next of the ages of thoughtlessness, of hurry and blindness; surely all those who think at all of the future of the world are at work in one way or other in striving to rid it of this shame.

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Hopes and Fears for Art from Project Gutenberg. Public domain.