Essays on Work and Culture

by Hamilton Wright Mabie

Byron knew the secrets of the art which he practiced with such splendid success as few men have known them. His command of the lyric form was complete. And yet who that loves his work has not felt that lack in it which Matthew Arnold had in mind when he said that with all his genius Byron had the ideas of a country squire? The poet was a master of the technique of his art; he had rare gifts of passion and imagination; but he lacked breadth, variety, and depth of thought. There is a monotony of theme and of motive in his compositions. Tennyson, on the other hand, exalted his technical skill by the reality and richness of his culture. Nothing which contains and reveals the human spirit was alien to him. He did not casually touch a great range of themes; he studied them patiently, thoroughly, persistently. Religion, philosophy, science, literature, history were his familiar friends; he lived with them, and they so completely confided to him their richest truths that he became their interpreter. So wide were his interests and so varied his studies that he came to be one of those men in whom the deeper currents of an age flow together and from whom the tumult of angry and contending currents issues in a great harmonious tide. No modern man has prepared himself more intelligently for specific excellence by special training, and no man has more splendidly illustrated the necessity of combining the expertness of the skilled workman with the insight, power, and culture of a great personality. A life which issues in an art so beautiful in form and so significant in content reveals both the necessity of constant and general preparation, and the identity of great working power with great spiritual energy.

Chapter XIV

The Ultimate Aim

Workers of all kinds are divided into two classes by differences of skill and by differences of aim. The artist not only handles his materials in a different way from that which the artisan employs, but he uses them for a different end and in a different spirit. The peculiar spiritual quality of the artist is his supreme concern with the quality of his work and his subordinate interest in the returns of reputation or money which the work brings him. No wise man ought to be indifferent to recognition and to material rewards, because there is a vital relation between honest work and adequate wages of all kinds; a relation as clearly existing in the case of Michael Angelo or of William Shakespeare as in the case of the farmhand or the day labourer. But when the artist plans his work, and while he is putting his life into it day by day, the possible rewards which await him are overshadowed by the supreme necessity of making the work sound, true, adequate, and noble. A man is at his best only when he pours out his vital energy at full tide, without thought or care for anything save complete self-expression.

He who hopes to reach the highest level of activity in work will not aim, therefore, to gain specific ends or to touch external goals of any kind; he will aim at complete self-development. His ultimate aim will be not material but spiritual; he cannot rest short of the perfect self- expression. The rewards of work—money, influence, position, fame—will be the incidents, not the ends, of his toil. He has a right to look for them and count upon them; but if he be a true workman they will never be his inspirations, nor can they ever be his highest rewards. The man in public life who sets out to secure a certain official position as the ultimate goal of his ambition may be a successful politician but can never be a statesman; for a statesman is supremely concerned with the interests of the state, and only subordinately with his own interests. Such a man may definitely seek a Presidency or a Premiership; but he will seek it, in any final analysis of his motives, not for that which it will give him in the way of reward, but for that which it will give him in the way of opportunity. A genuine man seeks a great place, not that he may be seen of men, but that he may speak, influence and lead men.

The motives of the vast majority of men are, to a certain extent, confused and contradictory; for the noblest man never quite completes his education and brings his nature into final harmony; but the genuine man is inspired by generous motives, and to such an one success becomes not a snare but an education, in the process of which all that is noblest becomes controlling and all that is merely personal becomes subordinate. In this way the politician often develops into the statesman, and the merely clever and successful painter or writer grows to the stature of the artist. It is one of the saving qualities of ability that it has the power of growth, and great responsibilities often educate an able man out of selfish aims.

The ultimate aim which the worker sets before him ought always to have a touch of idealism because it must always remain a little beyond his reach. The man who attains his ultimate aim has come to the end of the race; there are no more goals to beckon him on; there is no more inspiration or delight in life. But no man ought ever to come to the end of the road; there ought always to be a further stretch of highway, an inviting turn under the shadow of the trees, a bold ascent, an untrodden summit shining beyond.

If a man sets a specific position or an external reward of any kind before him as the limit of his journey, he is in danger of getting to the end before he has fully put forth his strength, and so giving his life the pathos of an anti-climax. The more noble and able a man is, the less satisfaction can he find in any material return which his work brings him; no man with a touch of the artist in him can ever rest content with anything short of the complete putting forth of all that is in him, and the consciousness of having done his work well.

For a man's ultimate responsibility is met by what he is and does, not by what he gains. When he sets an exterior reward of any kind before him as the final goal of his endeavour, he breaks away from the divine order of life and destroys that deep interior harmony which ought to keep a man's spirit in time and tune with the creative element in the world.

We are not to seek specific rewards; they must come to us. They are the recognition and fruit of work, not its inspiration and sustaining power. Let a man select the right seed and give it the right soil, and sun, rain, and the warm earth must do the rest. Goethe touched the heart of the matter when he wrote: