Part 6 (1/2)
L. Well, I must keep it within the best compa.s.s I can. When rocks either dry from a moist state, or cool from a heated state, they necessarily alter in bulk; and cracks, or open s.p.a.ces, form in them in all directions. These cracks must be filled up with solid matter, or the rock would eventually become a ruinous heap. So, sometimes by water, sometimes by vapor, sometimes n.o.body knows how, crystallizable matter is brought from somewhere, and fastens itself in these open s.p.a.ces, so as to bind the rock together again with crystal cement. A vast quant.i.ty of hollows are formed in lavas by bubbles of gas, just as the holes are left in bread well baked. In process of time these cavities are generally filled with various crystals.
MARY. But where does the crystallizing substance come from?
L. Sometimes out of the rock itself; sometimes from below or above, through the veins. The entire substance of the contracting rock may be filled with liquid, pressed into it so as to fill every pore;--or with mineral vapor;--or it may be so charged at one place, and empty at another. There's no end to the ”may be's.”
But all that you need fancy, for our present purpose, is that hollows in the rocks, like the caves in Derbys.h.i.+re, are traversed by liquids or vapor containing certain elements in a more or less free or separate state, which crystallize on the cave walls.
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 everybody got cramp in their neck, if they sewed long; and that thread always cut people's fingers. At all events, every kind of manual labor 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 practiced 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 labor to conceive everything as subjected to it: and, in reality, to disgrace and diminish all that is so subjected, aggrandizing 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 neighborhood--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 fas.h.i.+on, 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 Fairy-land, 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-wors.h.i.+ppers 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.