The Crown of Wild Olive by John Ruskin (a court of thorns and roses ebook free .TXT) 📕

86. Now, these various temptations to accumulation would be politically harmless if what was vainly accumulated had any fair chance of being wisely spent. For as accumulation cannot go on for ever, but must some day end in its reverse—if this reverse were indeed a beneficial distribution and use, as irrigation from reservoir, the fever of gathering, though perilous to the gatherer, might be serviceable to the community. But it constantly happens (so constantly, that it may be stated as a political law having few exceptions), that what is unreasonably gathered is also unreasonably spent by the persons into whose hands it finally falls. Very frequently it is spent in war, or else in a stupefying luxury, twice hurtful, both in being indulged by the rich and witnessed by the poor. So that the mal tener and mal dare are as correlative as complementary colours; and the circulation of wealth, which ought to be soft, steady, strong, far-sweeping, and full of warmth, like the Gulf stream, being narrowed into an eddy, and concentrated at a point, changes into the alternate suction and surrender of Charybdis. Which is indeed, I doubt not, the true meaning of that marvellous fable, "infinite," as Bacon said of it, "in matter of meditation."[43]

87. It is a strange habit of wise humanity to speak in enigmas only, so that the highest truths and usefullest laws must be hunted for through whole picture-galleries of dreams, which to the vulgar seem dreams only. Thus Homer, the Greek tragedians, Plato, Dante, Chaucer, Shakspeare, and Goethe, have hidden all that is chiefly serviceable in their work, and in all the various literature they absorbed and re-embodied, under types which have rendered it quite useless to the multitude. What is worse, the two primal declarers of moral discovery, Homer and Plato, are partly at issue; for Plato's logical power quenched his imagination, and he became incapable of understanding the purely imaginative element either in poetry or painting: he therefore somewhat overrates the pure discipline of passionate art in song and music, and misses that of meditative art. There is, however, a deeper reason for his distrust of Homer. His love of justice, and reverently religious nature, made him dread, as death, every form of fallacy; but chiefly, fallacy respecting the world to come (his own myths being only symbolic exponents of a rational hope). We shall perhaps now every day discover more clearly how right Plato was in this, and feel ourselves more and more wonderstruck that men such as Homer and Dante (and, in an inferior sphere, Milton), not to speak of the great sculptors and painters of every age, have permitted themselves, though full of all nobleness and wisdom, to coin idle imaginations of the mysteries of eternity, and guide the faiths of the families of the earth by the courses of their own vague and visionary arts: while the indisputable truths of human life and duty, respecting which they all have but one voice, lie hidden behind these veils of phantasy, unsought, and often unsuspected. I will gather carefully, out of Dante and Homer, what, in this kind, bears on our subject, in its due place; the first broad intention of their symbols may be sketched at once.

88. The rewards of a worthy use of riches, subordinate to other ends, are shown by Dante in the fifth and sixth orbs of Paradise; for the punishment of their unworthy use, three places are assigned; one for the avaricious and prodigal whose souls are lost, (Hell, canto 7); one for the avaricious and prodigal whose souls are capable of purification, (Purgatory, canto 19); and one for the usurers, of whom none can be redeemed (Hell, canto 17). The first group, the largest in all hell ("gente piu che altrove troppa," compare Virgil's "quæ maxima turba"), meet in contrary currents, as the waves of Charybdis, casting weights at each other from opposite sides. This weariness of contention is the chief element of their torture; so marked by the beautiful lines beginning "Or puoi, figliuol," &c.: (but the usurers, who made their money inactively, sit on the sand, equally without rest, however. "Di qua, di la, soccorrien," &c.) For it is not avarice, but contention for riches, leading to this double misuse of them, which, in Dante's light, is the unredeemable sin. The place of its punishment is guarded by Plutus, "the great enemy," and "la fièra crudele," a spirit quite different from the Greek Plutus, who, though old and blind, is not cruel, and is curable, so as to become far-sighted. (ου τυφλος αλλ' οξυ βλεπων.—Plato's epithets in first book of the Laws.) Still more does this Dantesque type differ from the resplendent Plutus of Goethe in the second part of Faust, who is the personified power of wealth for good or evil—not the passion for wealth; and again from the Plutus of Spenser, who is the passion of mere aggregation. Dante's Plutus is specially and definitely the Spirit of Contention and Competition, or Evil Commerce; because, as I showed before, this kind of commerce "makes all men strangers;" his speech is therefore unintelligible, and no single soul of all those ruined by him has recognizable features.

On the other hand, the redeemable sins of avarice and prodigality are, in Dante's sight, those which are without deliberate or calculated operation. The lust, or lavishness, of riches can be purged, so long as there has been no servile consistency of dispute and competition for them. The sin is spoken of as that of degradation by the love of earth; it is purified by deeper humiliation—the souls crawl on their bellies; their chant is, "my soul cleaveth unto the dust." But the spirits thus condemned are all recognizable, and even the worst examples of the thirst for gold, which they are compelled to tell the histories of during the night, are of men swept by the passion of avarice into violent crime, but not sold to its steady work.

89. The precept given to each of these spirits for its deliverance is—Turn thine eyes to the lucre (lure) which the Eternal King rolls with the mighty wheels. Otherwise, the wheels of the "Greater Fortune," of which the constellation is ascending when Dante's dream begins. Compare George Herbert—