II.
EDINBURGH, _29th Sept._, 1878.
DEAR FURNIVALL: Your kind letter comes to me here, and I must answer on this paper, for, if that bit of note is really of any use to you, you must please add this word or two more in printing, as it wouldn't do to let it be such a mere fret on the vault of its subject. You say not one man in 150 knows what the line means: my dear Furnivall, not one man in 15,000, in the 19th century, knows, or ever can know, what _any_ line--or any _word_ means, used by a great writer. For most words stand for things that are seen, or things that are thought of; and in the 19th century there is certainly not one man in 15,000 who ever looks at anything, and not one in 15,000,000 capable of a thought. Take the intelligence of this word in this line for example--the root of the whole matter is, first, that the reader should have seen what he has often heard of, but probably not seen twice in his life--"Daybreak." Next, it is needful he should think what "break" means in that word--what is broken, namely, and by what. That is to say, the cloud of night is Broken up, as a city is broken up (Jerusalem, when Zedekiah fled), as a school breaks up, as a constitution, or a ship, is broken up; in every case with a not inconsiderable change of idea and addition to the central word. This breaking up is done by the Day, which breaks--_out_, as a man breaks, or bursts _out_, from his restraint in a passion; breaks _down_ in tears; or breaks _in_, as from heaven to earth--with a breach in the cloud-wall of it; or breaks _out_, with a sense of _outward_--as the sun--out and out, farther and farther, after rain. Well; next, the thing that the day breaks up is partly a garment, _rent_, more than broken; a _mantle_, the day itself "in russet mantle clad"--the blanket of the dark, _torn_ to be peeped through--whereon instantly you get into a whole host of new ideas; _fretting_ as a moth _frets_ a garment; unravelling at the edge, afterwards;--thence you get into _fringe_, which is an entirely double word, meaning partly a thing that guards, and partly a thing that is worn away on the ground; the French _Frange_ has, I believe, a reminiscence of φρασσω in it--our "fringe" runs partly toward _frico_ and friction--both are essentially connected with _frango_, and the fringe of "breakers" at the shores of all seas, and the breaking of the ripples and foam all over them--but this is wholly different in a northern mind, which has only seen the sea
Break, break, break, on its _cold_ gray stones,--
and a southern, which has seen a hot sea on hot sand break into lightning of phosphor flame--half a mile of fire in an instant--following in time, like the flash of minute-guns. Then come the great new ideas of order and time, and
I did but tell her she mistook her _frets_, And bowed her hand, etc.,
and so the timely succession of either ball, flower, or dentil, in architecture: but this, again, going off to a totally different and still lovely idea, the main one in the word _aurifrigium_--which rooted once in _aurifex_, went on in Etruscan work, followed in Florence into a much closer connection with _frigidus_--their style being always in _frosted_ gold (see the dew on a cabbage-leaf or, better, on a gray lichen, in early sunshine)--going back, nobody knows how far, but to the Temple of the Dew of Athens, and gold of Mycenæ, anyhow; and in Etruria to the Deluge, I suppose. Well, then, the notion of the music of morning comes in--with strings of lyre (or _frets_ of Katharine's instrument, whatever it was) and stops of various _quills_; which gets us into another group beginning with _plectrum_, going aside again into _plico_ and _plight_, and Milton's
"Play in the plighted clouds"
(the quills on the fretful porcupine are all thought of, first, in their piped complexity like rushes, _before_ the standing up in ill-temper), and so on into the _plight_ of folded drapery, and round again to our blanket. I think that's enough to sketch out the compass of the word. Of course the real power of it in any place depends on the writer's grasp of it, and use of the facet he wants to cut with.
[From "The Theatre," March, 1880, p. 169.]
"_THE MERCHANT OF VENICE._"[163]
_6th Feb._, 1880.
I have no doubt that whatever Mr. Irving has stated that I said, I _did_ say. But in personal address to an artist, to whom one is introduced for the first time, one does not usually say _all_ that may be in one's mind. And if expressions, limited, if not even somewhat exaggerated, by courtesy, be afterwards quoted as a total and carefully-expressed criticism, the general reader will be--or may be easily--much misled. I did and _do_ much admire Mr. Irving's own
## acting of Shylock. But I entirely dissent (and indignantly as well as
entirely) from his general reading and treatment of the play. And I think that a modern audience will _invariably_ be not only wrong, but diametrically and with polar accuracy opposite to the real view of any great author in the moulding of his work. So far as I could in kindness venture, I expressed my feelings to that effect, in a letter which I wrote to Mr. Irving on the day after I saw the play; and I should be sincerely obliged to him, under the existing circumstances, if he would publish THE WHOLE of that letter.
FOOTNOTES:
[163] The circumstances connected with the present letter, or rather extract from one, are as follows: After witnessing the performance of "The Merchant of Venice" at the Lyceum Theatre, Mr. Ruskin had some conversation with Mr. Irving on the subject. In the _Theatre_ of January 1880--p. 63--appeared a paragraph which stated that at the interview named Mr. Ruskin had declared Mr. Irving's "Shylock" to be "noble, tender, and true," and it is to that statement that the present letter, which appeared in the March number of the _Theatre_, relates. With reference to the letter privately addressed to Mr. Irving, the _Theatre_ of April (p. 249) had a note to the effect that Mr. Irving had, for excellent and commendable reasons, preferred it not being made public. For a full statement of Mr. Ruskin's views of "The Merchant of Venice," see "Munera Pulveris," p. 102.
_RECITATIONS._
SHEFFIELD, _16th February_, 1880.
MY DEAR SIR:[164] I am most happy to assure you, in reply to your interesting letter of the 12th, that I heard your daughters' recitations in London last autumn, with quite unmixed pleasure and the sincerest admiration--nor merely that, but with grave change in my opinions of the general value of recitations as a means of popular instruction. Usually, I like better to hear beautiful poetry read quietly than recited with action. But I felt, in hearing Shelley's "Cloud" recited (I think it was by Miss Josephine) that I also was "one of the people," and understood the poem better than ever before, though I am by way of knowing something about clouds, too. I also know the "Jackdaw of Rheims" pretty nearly by heart; but I would gladly come to London straightway, had I the time, to hear Miss Peggy speak it again. And--in fine--I have not seen any public entertainment--for many a long year--at once so sweet, so innocent, and so helpful, as that which your children can give to all the gentle and simple in mind and heart.--Believe me, my dear Sir, faithfully, and with all felicitation, yours,
J. RUSKIN.
FOOTNOTES:
[164] This letter was addressed to Mr. R. T. Webling, by whom it was afterwards printed as a testimonial of the interest and success of his daughters' recitations. It was reprinted in the _Daily News_ (Feb. 18, 1880).
APPENDIX.
LETTER TO W. C. BENNETT, LL.D. 1852.
LETTER TO THOMAS GUTHRIE, D.D. 1853.
MR. WINDUS' SALE OF PICTURES. 1859.
AT THE PLAY. 1867.
AN OBJECT OF CHARITY. 1868.
EXCUSES FROM CORRESPONDENCE. 1868.
LETTER TO THE AUTHOR OF A REVIEW. 1872.
AN OXFORD PROTEST. 1875.
MR. RUSKIN AND MR. LOWE. 1877.
THE BIBLIOGRAPHY OF RUSKIN. 1878. (Two Letters: September 30, and October 23.)
THE SOCIETY OF THE ROSE. 1879.
APPENDIX.
[From the "Testimonials" of W. C. Bennett, LL.D. 1871; p. 22.]
_LETTER TO W. C. BENNETT, LL.D._[165]
HERNE HILL, DULWICH, _December 28th_, 1852.
DEAR MR. BENNETT: I hope this line will arrive in time to wish you and yours a happy New Year, and to assure you of the great pleasure I had in receiving your poems from you, and of the continual pleasure I shall have in possessing them. I deferred writing to you in order that I might tell you how I liked those which were new to me, but Christmas, and certain little "pattering pairs of restless shoes" which have somehow or another got into the house in his train, have hitherto prevented me from settling myself for a quiet read. In fact, I am terribly afraid of being quite turned upside down when I do, so as to lose my own identity, for you have already _nearly_ made me like babies, and I see an ode further on to another antipathy of mine--the only one I have in the kingdom of flowers--the chrysanthemum. However, I am sure you will be well pleased if you can cure me of all _dislikes_. I should write to you now more cheerfully, but that I am anxious for the person who, of all I know, has fewest dislikes and warmest likings--for Miss Mitford.
I trust she is better, and that she may be spared for many years to come. I don't know if England has such another warm heart.
I hope I may have the pleasure of seeing you here in case your occasions should at any time bring you to London, and
I remain, with much respect, most truly yours, J. RUSKIN.
FOOTNOTES:
[165] The present letter is from the "Testimonials of W. C. Bennett, LL D., Candidate for the Clerkship of the London School Board." The pamphlet consists of "letters from distinguished men of the time," and includes some from Mr. Carlyle, Mr. Tennyson, Mr. Browning, Charles Dickens, and others. Mr. Ruskin's letter was originally addressed to Mr. Bennett in thanks for a copy of his "Poems" (Chapman and Hall. 1850). The poems specially alluded to are "Toddling May" (from which Mr. Ruskin quotes), "Baby May," and another, "To the Chrysanthemum." The book is dedicated to Miss Mitford.
[From the "Memoir of Thomas Guthrie, D.D." Vol. ii. pp. 321-2 (1875).]
_LETTER TO DR. GUTHRIE._[166]
_Saturday_, _26th_, 1853.
I found a little difficulty in writing the words on the first page, wondering whether you would think the "affectionate" misused or insincere. But I made up my mind at last to write what I felt; believing that you must be accustomed to people's getting very seriously and truly attached to you, almost at first sight, and therefore would believe me.
You asked me, the other evening, some kind questions about my father. He was an Edinburgh boy, and in answer to some account by me of the pleasure I had had in hearing you, and the privilege of knowing you, as also of your exertions in the cause of the Edinburgh poor, he desires to send you the enclosed, to be applied by you in such manner as you may think fittest for the good of his native city. I have added slightly to my father's trust. I wish I could have done so more largely, but my profession of fault-finding with the world in general is not a lucrative one.
Always respectfully and affectionately yours, J. RUSKIN.
FOOTNOTES:
[166] This letter accompanied the gift of a copy of "The Stones of Venice," sent to Dr. Guthrie by Mr. Ruskin, who, while residing in Edinburgh during the winter of 1853, "was to be found each Sunday afternoon in St. John's Free Church."
[From "The Times," March 29, 1859.]
_THE SALE OF MR. WINDUS' PICTURES._
_To the Editor of "The Times."_
SIR: Will you oblige me by correcting an error in your account given this morning of the sale of Mr. Windus' pictures on Saturday,[167] in which the purchase of Mr. Millais's picture "Pot Pourri" is attributed to me? I neither purchased Mr. Millais's picture, nor any other picture at that sale.
I have the honor to be, Sir, your obedient servant, J. RUSKIN.
DENMARK HILL, _March_ 28.
FOOTNOTES:
[167] The collection of pictures belonging to Mr. B. G. Windus was sold by Messrs. Christie and Manson on March 26, 1859.
[From "The Pall Mall Gazette," March 1, 1867.]
_AT THE PLAY._
_To the Editor of "The Pall Mall Gazette."_
SIR: I am writing a series of private letters on matters of political economy to a working man in Newcastle, without objecting to his printing them, but writing just as I should if they were for his eye only. I necessarily take copies of them for reference, and the one I sent him last Monday seems to me not unlikely to interest some of your readers who care about modern drama. So I send you the copy of it to use if you like.[168]
Truly yours, J. RUSKIN.
DENMARK HILL, _Feb._ 28, 1867.
FOOTNOTES:
[168] The enclosed letter is "Letter V." of "Time and Tide."
[From "The Daily Telegraph," January 22, 1868.]
_AN OBJECT OF CHARITY._[169]
_To the Editor of "The Daily Telegraph."_
SIR: Except in "Gil Blas," I never read of anything Astræan on the earth so perfect as the story in your fourth article to-day.
I send you a check for the Chancellor. If 40, in legal terms, means 400, you must explain the further requirements to your impulsive public.
I am, Sir, your faithful servant, J. RUSKIN.
DENMARK HILL, S., _Jan._ 21, 1868.
FOOTNOTES:
[169] The _Daily Telegraph_ of January 21, 1868, contained a leading article upon the following facts. It appeared that a girl, named Matilda Griggs, had been nearly murdered by her seducer, who, after stabbing her in no less than thirteen different places, had then left her for dead. She had, however, still strength enough to crawl into a field close by, and there swooned. The assistance that she met with in this plight was of a rare kind. Two calves came up to her, and disposing themselves on either side of her bleeding body, thus kept her warm and partly sheltered from cold and rain Temporarily preserved, the girl eventually recovered, and entered into recognizances, under a sum of forty pounds, to prosecute her murderous lover. But "she loved much," and, failing to prosecute, forfeited her recognizances, and was imprisoned by the Chancellor of the Exchequer for her debt. "Pity this poor debtor," wrote the _Daily Telegraph_, and in the next day's issue appeared the above letter, probably not intended for the publication accorded to it.
_EXCUSES FROM CORRESPONDENCE._
DENMARK HILL, S., _2d February_, 1868.
I am about to enter on some work which cannot be well done or even approximately well, unless without interruption, and it would be desirable for me, were it in my power, to leave home for some time, and carry out my undertaking in seclusion. But as my materials are
## partly in London, I cannot do this; so that my only alternative is to
ask you to think of me as if actually absent from England, and not to be displeased though I must decline all correspondence. And I pray you to trust my assurance that, whatever reasons I may have for so uncouth behavior, none of them are inconsistent with the respect and regard in which I remain,
Faithfully yours,[170]
FOOTNOTES:
[170] The above letter, printed as a circular, was at one time used by Mr. Ruskin in reply to part of his large correspondence. Some few copies had the date printed on them as above. The following is a similar but more recent excuse, printed at the end of the last "list of works" issued (March, 1880) by Mr. Ruskin's publisher:
Mr. Ruskin has always hitherto found his correspondents under the impression that, when he is able for average literary work, he can also answer any quantity of letters. He most respectfully and sorrowfully must pray them to observe, that it is precisely when he is in most
## active general occupation that he can answer fewest private letters;
and this year he proposes to answer--none, except those on St. George's business. There will be enough news of him, for any who care to get them, in the occasional numbers of "Fors."
[From "The Liverpool Weekly Albion," November 9, 1872.]
_LETTER TO THE AUTHOR OF A REVIEW._[171]
CORPUS CHRISTI COLLEGE, OXFORD, _Wednesday_, _30th Oct._
[MY DEAR] SIR: I was on the point of writing to the Editor of _The Albion_ to ask the name of the author of that article. Of course, one likes praise [and I'm so glad of it that I can take a great many kinds], but I never got any [that] I liked so much before, because, as far as I [can] remember nobody ever noticed or allowed for the _range_ of work I've had to do, and which really has been dreadfully costly and painful to me, compelling me to leave things just at the point when one's work on them has become secure and delightsome, to attack them on another rough side. It is a most painful manner of life, and I never got any credit for it before. But the more I see, the more I feel the necessity of seeing all round, however hastily.
I am entirely grateful for the review and the understanding of me; and I needed some help just now--for I'm at once single-handed and dead--or worse--hearted, and as nearly beaten as I've been in my life.
Always therefore I shall be, for the encouragement at a heavy time,
Very gratefully yours, (Signed) J. RUSKIN.
FOOTNOTES:
[171] The review was the first of three articles entitled "The Disciple of Art and the Votary of Science," published in the _Liverpool Weekly Albion_ of November 9, 16, and 23, 1873. The first of them had also appeared previously in the _Liverpool Daily Albion_, and was reprinted with the present letter in the weekly issue of Nov. 9. The aim of the articles was partly to show how the question "what is art?" involved a second and deeper inquiry, "What is man?" The words bracketed here were omitted in the _Albion_, but occur in the original letter, for access to which I have to thank the writer of the articles.
[From "The Globe," October 29, 1874.]
_AN OXFORD PROTEST._[172]
The Slade Professor has tried for five years to please everybody in Oxford by lecturing at any time that might be conveniently subordinate to other dates of study in the University. He finds he has pleased nobody, and must for the future at least make his hour known and consistent. He cannot alter it this term because people sometimes come from a distance and have settled their plans by the hours announced in the _Gazette_, but for many he reasons he thinks it right to change the place, and will hereafter lecture in the theatre of the museum.[173] On Friday the 30th he will not begin till half-past twelve to allow settling time. Afterwards, all his lectures will be at twelve in this and future terms. He feels that if he cannot be granted so much as twelve hours of serious audience in working time during the whole Oxford year, he need not in future prepare public lectures at which his pupils need not much regret their non-attendance.
FOOTNOTES:
[172] Mr. Ruskin had recently changed the hour of his lectures from two till twelve, and the latter hour clashing with other lectures, some complaints had been made. This "protest" was then issued on the morning of October 29 and reprinted in the _Globe_ of the same day.
[173] Instead of in the drawing schools at the Taylor Gallery.
[From "The Standard," August 28, 1877. Reprinted in the "Notes and Correspondence" to "Fors Clavigera," Letter 81, September, 1877, p. 268.]
_MR. RUSKIN AND MR. LOWE._
_To the Editor of "The Standard."_
SIR: My attention has been directed to an article in your columns of the 22d inst., referring to a supposed correspondence between Mr. Lowe and me.[174] Permit me to state that the letter in question is not Mr. Lowe's. The general value of your article as a review of my work and methods of writing will, I trust, rather be enhanced than diminished by the correction, due to Mr. Lowe, of this original error; and the more, that your critic in the course of his review expresses his not unjustifiable conviction that no correspondence between Mr. Lowe and me is possible on any intellectual subject whatever.
I am, Sir, your obedient servant, JOHN RUSKIN.
BRANTWOOD, CONISTON, LANCASHIRE, _August_ 24.
FOOTNOTES:
[174] The article in question stated that a number of "Fors Clavigera" had been sent to Mr. Lowe, and commented on by him in a letter to Mr. Ruskin. The last words of the article, alluded to above, were as follows: "The world will be made no wiser by any controversy between Mr. Ruskin and Mr. Lowe, for it would be impossible to reduce their figures or facts to a common denominator."
[From the List of "Mr. Shepherd's Publications" printed at the end of his "The Bibliography of Dickens," 1880.]
_THE BIBLIOGRAPHY OF RUSKIN._