L. There can be no communion where there is no distinction. But we shall be in an abyss of metaphysics presently, if we don't look out; and besides, we must not be too grand, to-day, for the younger children. We'll be grand, some day, by ourselves, if we must. (The younger children are not pleased, and prepare to remonstrate; but, knowing by experience, that all conversations in which the word "communion" occurs, are unintelligible, think better of it.) Meantime, for broad answer about the atoms. I do not think we should use the word "life," of any energy which does not belong to a given form. A seed, or an egg, or a young animal, are properly called "alive" with respect to the force belonging to those forms, which consistently develops that form, and no other. But the force which crystallizes a mineral appears to be chiefly external, and it does not produce an entirely determinate and individual form, limited in size, but only an aggregation, in which some limiting laws must be observed.

MARY. But I do not see much difference, that way, between a crystal and a tree.

L. Add, then, that the mode of the energy in a living thing implies a continual change in its elements; and a period for its end. So you may define life by its attached negative, death; and still more by its attached positive, birth. But I won't be plagued any more about this, just now; if you choose to think the crystals alive, do, and welcome. Rocks have always been called "living" in their native place.

MARY. There's one question more; then I've done.

L. Only one?

MARY. Only one.

L. But if it is answered, won't it turn into two?

MARY. No; I think it will remain single, and be comfortable.

L. Let me hear it.

MARY. You know, we are to crystallize ourselves out of the whole playground. Now, what playground have the minerals! Where are they scattered before they are crystallized; and where are the crystals generally made?

L. That sounds to me more like three questions than one, Mary. If it is only one, it is a wide one.

MARY. I did not say anything about the width of it.

L. Well, I must keep it within the best compass 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 spaces, 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 nobody knows how, crystallizable matter is brought from somewhere, and fastens itself in these open spaces, so as to bind the rock together again with crystal cement. A vast quantity 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 Derbyshire, 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 god 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 noble 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-assertor, 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 fashion, 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 glass, 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. Dickens 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 Petit Blondin; and Handel; and Mozart; and no end of shops, and buns, and beer; and all the little-Pthah-worshippers 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.

L. I don't go to the thundering things with a million of bad voices in them. When I want a song, I get Julia Mannering and Lucy Bertram and Counselor Pleydell to sing "We be three poor Mariners" to me; then I've no headache next morning. But I do go to the smaller concerts, when I can; for they are very good, as you say, Sibyl: and I always get a reserved seat somewhere near the orchestra, where I am sure I can see the kettle-drummer drum.

SIBYL. Now DO be serious, for one minute.

L. I am serious—never was more so. You know one can't see the modulation of violinists' fingers, but one can see the vibration of the drummer's hand; and it's lovely.

SIBYL. But fancy going to a concert, not to hear, but to see!

L. Yes, it is very absurd. The quite right thing, I believe, is to go there to talk. I confess, however, that in most music, when very well done, the doing of it is to me the chiefly interesting part of the business. I'm always thinking how good it would be for the fat, supercilious people, who care so little for their half- crown's worth, to be set to try and do a half-crown's worth of anything like it.

MARY. But surely that Crystal Palace is a great good and help to the people of London?

L. The fresh air of the Norwood hills is, or was, my dear; but they are spoiling that with smoke as fast as they can. And the palace (as they call it) is a better place for them, by much, than the old fair; and it is always there, instead of for three days only; and it shuts up at proper hours of night. And good use may be made of the things in it, if you know how: but as for its teaching the people, it will teach them nothing but the lowest of the lower Pthah's work—nothing but hammer and tongs. I saw a wonderful piece, of his doing, in the place, only the other day. Some unhappy metal-worker—I am not sure if it was not a metal- working firm—had taken three years to make a Golden eagle.