Selections From the Works of John Ruskin. John RuskinЧитать онлайн книгу.
aesthetic sense; he was in the habit of reading aloud to his little family, and his son's apparently genuine appreciation of Scott, Pope, and Homer dates from the incredibly early age of five. It was his father, also, to whom he owed his early acquaintance with the finest landscape, for the boy was his companion in yearly business trips about Britain, and later visited, in his parents' company, Belgium, western Germany, and the Alps.
Early education.
All this of course developed the child's precocity. He was early suffered and even encouraged to compose verses;[2] by ten he had written a play, which has unfortunately been preserved. The hot-house rearing which his parents believed in, and his facility in teaching himself, tended to make a regular course of schooling a mere annoyance; such schooling as he had did not begin till he was fifteen, and lasted less than two years, and was broken by illness. But the chief effect of the sheltered life and advanced education to which he was subjected was to endow him with depth at the expense of breadth, and to deprive him of a possibly vulgar, but certainly healthy, contact with his kind, which, one must believe, would have checked a certain disposition in him to egotism, sentimentality, and dogmatic vehemence. "The bridle and blinkers were never taken off me," he writes.[3]
Student at Oxford.
Traveling in Europe.
At Oxford—whither his cautious mother pursued him—Ruskin seems to have been impressed in no very essential manner by curriculum or college mates. With learning per se he was always dissatisfied and never had much to do; his course was distinguished not so much by erudition as by culture. He easily won the Newdigate prize in poetry; his rooms in Christ Church were hung with excellent examples of Turner's landscapes—the gift of his art-loving father—of which he had been an intimate student ever since the age of thirteen. But his course was interrupted by an illness, apparently of a tuberculous nature, which necessitated total relaxation and various trips in Italy and Switzerland, where he seems to have been healed by walking among his beloved Alps. For many years thereafter he passed months of his time in these two countries, accompanied sometimes by his parents and sometimes rather luxuriously, it seems, by valet and guide.
Career as an author begins.
Meanwhile he had commenced his career as author with the first volume of Modern Painters, begun, the world knows, as a short defense of Turner, originally intended for nothing more than a magazine article. But the role of art-critic and law-giver pleased the youth—he was only twenty-four when the volume appeared—and having no desire to realize the ambition of his parents and become a bishop, and even less to duplicate his father's career as vintner, he gladly seized the opportunity thus offered him to develop his aesthetic vein and to redeem the public mind from its vulgar apathy thereby. He continued his work on Modern Painters, with some intermissions, for eighteen years, and supplemented it with the equally famous Seven Lamps of Architecture in 1849, and The Stones of Venice in 1853.
Domestic troubles.
This life of zealous work and brilliant recognition was interrupted in 1848 by Ruskin's amazing marriage to Miss Euphemia Gray, a union into which he entered at the desire of his parents with a docility as stupid as it was stupendous. Five years later the couple were quietly divorced, that Mrs. Ruskin might marry Millais. All the author's biographers maintain an indiscreet reserve in discussing the affair, but there can be no concealment of the fact that its effect upon Ruskin was profound in its depression. Experiences like this and his later sad passion for Miss La Touche at once presage and indicate his mental disorder, and no doubt had their share—a large one—in causing Ruskin's dissatisfaction with everything, and above all with his own life and work. Be this as it may, it is at this time in the life of Ruskin that we must begin to reckon with the decline of his aesthetic and the rise of his ethical impulse; his interest passes from art to conduct. It is also the period in which he began his career as lecturer, his chief interest being the social life of his age.
Ruskin's increasing interest in social questions.
By 1860, he was publishing the papers on political economy, later called Unto this Last, which roused so great a storm of protest when they appeared in the Cornhill Magazine that their publication had to be suspended. The attitude of the public toward such works as these—its alternate excitement and apathy—the death of his parents, combined with the distressing events mentioned above, darkened Ruskin's life and spoiled his interest in everything that did not tend to make the national life more thoughtfully solemn.
"It seems to me that now … the thoughts of the true nature of our life, and of its powers and responsibilities should present themselves with absolute sadness and sternness."[4]
His lectures as Slade Professor of Art at Oxford, a post which he held at various times from 1870 to 1883, failed to re-establish his undistracted interest in things beautiful.
Triumph of the reformer over the art-critic.
The complete triumph of the reformer over the art-critic is marked by Fors Clavigera, a series of letters to workingmen, begun New Year's Day, 1871, in which it was proposed to establish a model colony of peasants, whose lives should be made simple, honest, happy, and even cultured, by a return to more primitive methods of tilling the soil and of making useful and beautiful objects. The Guild of St. George, established to "slay the dragon of industrialism," to dispose of machinery, slums, and discontent, consumed a large part of Ruskin's time and money. He had inherited a fortune of approximately a million dollars, and he now began to dispose of it in various charitable schemes—establishing tea-shops, supporting young painters, planning model tenements, but, above all, in elaborating his ideas for the Guild. The result of it all—whatever particular reforms were effected or manual industries established—was, to Ruskin's view, failure, and his mind, weakening under the strain of its profound disappointments, at last crashed in ruin.
Death in 1900.
It is needless to follow the broken author through the desolation of his closing years to his death in 1900. Save for his charming reminiscences, Præterita, his work was done; the long struggle was over, the struggle of one man to reduce the complexities of a national life to an apostolic simplicity, to make it beautiful and good,
Till the high God behold it from beyond,
And enter it.
II
THE UNITY OF RUSKIN'S WRITINGS
Diversity of his writings.
Ruskin is often described as an author of bewildering variety, whose mind drifted waywardly from topic to topic—from painting to political economy, from architecture to agriculture—with a license as illogical as it was indiscriminating. To this impression, Ruskin himself sometimes gave currency. He was, for illustration, once announced to lecture on crystallography, but, as we are informed by one present,[5] he opened by asserting that he was really about to lecture on Cistercian architecture; nor did it greatly matter what the title was; "for," said he, "if I had begun to speak about Cistercian abbeys, I should have been sure to get on crystals presently; and if I had begun upon crystals, I should soon have drifted into architecture." Those who conceive of Ruskin as being thus a kind of literary Proteus like to point to the year 1860, that of the publication of his tracts on economics, as witnessing the greatest and suddenest of his changes, that from reforming art to reforming society; and it is true that this year affords a simple dividing-line between Ruskin's earlier work, which is sufficiently described by the three titles, Modern Painters, The Seven Lamps of Architecture, and The Stones of Venice, and his later work, chiefly on social subjects such as are discussed in Unto This Last, The Crown of Wild Olive, and Fors Clavigera. And yet we cannot insist too often on the essential unity of this work, for, viewed in the large, it betrays one continuous development. The seeds of Fors are in The Stones of Venice.
Underlying idea in all his works.
The