Clara broke in here, flushing a little as she spoke: ‘Was not their mistake once more bred of the life of slavery that they had been living? — a life which was always looking upon everything, except mankind, animate and inanimate — “nature”, as people used to call it — as one thing, and mankind another. It was natural to people thinking in this way, that they should try to make “nature” their slave, since they thought “nature was something outside them.’
‘Surely,’ said Morsom; ‘and they were puzzled as to what to do, till they found the feeling against mechanical life, which had begun before the Great Change amongst people who had leisure to think of such things, was spreading insensibly; till at last under the guise of pleasure that was not supposed to be work, work that was pleasure began to push out the mechanical toil, which they had once hoped at the best to reduce to narrow limits indeed, but never to get rid of, and which, moreover, they found they could not limit as they had hoped to do.’
‘When did this new revolution gather head?’ said I.
‘In the half-century that followed the Great Change,’ said Morsom, ‘it began to be noteworthy; machine after machine wa quietly dropped under the excuse that the machines could not produce works of art, and that works of art were more and more called for. Look here,’ he said, ‘here are some of the works of that time — rought and unskilful in handiwork, but solid and showing some sense of pleasure in the making.’
‘They are very curious,’ said I, taking up a piece of pottery from amongst the specimens which the antiquary was showing us; ‘not a bit like the work of either savages or barbarians, and yet with what would once have been called a hatred of civilization impressed upon them.’
–William Morris, News from Nowhere, or an epoch of rest, being some chapters from a utopian romance. Edited by James Remond, Routledge & Kegan Paul, 1970, pp. 154-55. (1890)