tles look like Dutch boors; each artist working according to his own inborn genius.
Instead, therefore, of saying that man is the creature of circumstance, it would be nearer the mark to say that man is the architect of circumstance. It is character which builds an existence out of circumstance. Our strength is measured by our plastic power. From the same materials one man builds palaces, another hovels, one warehouses, another villas; bricks and mortar are mortar and bricks, until the architect can make them something else. Thus it is that in the same family, in the same circumstances, one man rears a stately edifice, while his brother, vacillating and incompetent, lives for ever amid ruins: the block of granite which was an obstacle on the pathway of the weak, becomes a stepping-stone on the pathway of the strong.[1]
If the reader agrees with this conception of the influence of circumstances, he will see that I was justified in laying some stress on Goethe's social position, though I controverted Viehoff and Gervinus on the point of school education. The continued absence of Want is one of those permanent and powerful conditions which necessarily modify a character. The well-fed mastiff loses his ferocity. But the temporary and incidental effect of school education, and other circumstances of minor importance, can never be said to modify a character; they only more or less accelerate its development.
- ↑ The greatness or the smallness of a man is determined for him at his birth, as strictly as it is determined for a fruit, whether it is to be a currant or an apricot. Education, favourable circumstances, resolution, industry, may do much, in a certain sense they do everything; that is to say, they determine whether the poor apricot shall fall in the form of a green bead, blighted by the east wind, and be trodden under foot; or whether it shall expand into tender pride and sweet brightness of golden velvet.—Ruskin, "Modern Painters," iii. p. 44.
