_ [Sidenote: Sensuousness of his style.]
Many people regard the style of Ruskin as his chief claim to greatness. If the time ever come when men no longer study him for sermons in stones, they will nevertheless turn to his pages to enjoy one of the most gorgeous prose styles of the nineteenth century. For a parallel to the sensuous beauties of Ruskin's essays on art, one turns instinctively to poetry; and of all the poets Ruskin is perhaps likest Keats. His sentences, like the poet's, are thick-set with jeweled phrases; they are full of subtle harmonies that respond, like a Stradivarius, to the player's every mood. In its ornateness Ruskin's style is like his favorite cathedral of Amiens, in the large stately, in detail exquisite, profuse, and not without a touch of the grotesque. It is the style of an artist.
[Sidenote: Ruskin's method of construction in description.]
A critical fancy may even discover in the construction of his finest descriptions a method not unlike that of a painter at work upon his canvas. He blocks them out in large masses, then sketches and colors rapidly for general effects, treating detail at first more or less vaguely and collectively, but passing in the end to the elaboration of detail in the concrete, touching the whole with an imaginative gleam that lends a momentary semblance of life to the thing described, after the manner of the "pathetic fallacy." Thus it is in the famous description of St. Mark's:[11] we are given first the largest general impression, the "long, low pyramid of coloured light," which the artist proceeds to "hollow beneath into five great vaulted porches," whence he leads the eye slowly upwards amidst a mass of bewildering detail--"a confusion of delight"--from which there slowly emerge those concrete details with which the author particularly wishes to impress us, "the breasts of the Greek horses blazing in their breadth of golden strength and St. Mark's lion lifted on a blue field covered with stars." In lesser compass we are shown the environs of Venice,[12] the general impression of the "long, low, sad-coloured line," being presently broken by the enumeration of unanalyzed detail, "tufted irregularly with brushwood and willows," and passing to concrete detail in the hills of Arqua, "a dark cluster of purple pyramids." In the still more miniature description of the original site of Venice[13] we have the same method:
"The black desert of their shore lies in its nakedness beneath the night, pathless, comfortless, infirm, lost in dark languor and fearful silence, except where the salt runlets plash into the tideless pools and the sea-birds flit from their margins with a questioning cry." [Sidenote: His love of color.]
Equally characteristic of the painter is the ever-present use of color. It is interesting merely to count the number and variety of colors used in the descriptions. It will serve at least to call the reader's attention to the felicitous choice of words used in describing the opalescence of St. Mark's or the skillful combination of the colors characteristic of the great Venetians in such a sentence as, "the low bronzed gleaming of sea-rusted armor shot angrily under their blood-red mantle-folds"[14]--a glimpse of a Giorgione.
[Sidenote: His love of prose rhythm.]
He is even more attentive to the ear than to the eye. He loves the sentence of stately rhythms and long-drawn harmonies, and he omits no poetic device that can heighten the charm of sound,--alliteration, as in the famous description of the streets of Venice,
"Far as the eye could reach, still the soft moving of stainless waters proudly pure; as not the flower, so neither the thorn nor the thistle could grow in those glancing fields";[15] the balanced close for some long period,
"to write her history on the white scrolls of the sea-surges and to word it in their thunder, and to gather and give forth, in the world-wide pulsation, the glory of the West and of the East, from the burning heart of her Fortitude and splendour";[16] and the tendency, almost a mannerism, to add to the music of his own rhythm, the deep organ-notes of Biblical text and paraphrase. But if we wish to see how aptly Ruskin's style responds to the tone of his subject, we need but remark the rich liquid sentence descriptive of Giorgione's home,
"brightness out of the north and balm from the south, and the stars of evening and morning clear in the limitless light of arched heaven and circling sea,"[17] which he has set over against the harsh explosiveness of
"Near the south-west corner of Covent Garden, a square brick pit or wall is formed by a close-set block of house to the back windows of which it admits a few rays of light--" the birthplace of Turner.
[Sidenote: His beauty of style often distracts from the thought.]
But none knew better than Ruskin that a style so stiff with ornament was likely to produce all manner of faults. In overloading his sentences with jewelry he frequently obscures the sense; his beauties often degenerate into mere prettiness; his sweetness cloys. His free indulgence of the emotions, often at the expense of the intellect, leads to a riotous extravagance of superlative. But, above all, his richness distracts attention from matter to manner. In the case of an author so profoundly in earnest, this could not but be unfortunate; nothing enraged him more than to have people look upon the beauties of his style rather than ponder the substance of his book. In a passage of complacent self-scourging he says:
"For I have had what, in many respects, I boldly call the misfortune, to set my words sometimes prettily together; not without a foolish vanity in the poor knack that I had of doing so, until I was heavily punished for this pride by finding that many people thought of the words only, and cared nothing for their meaning. Happily, therefore, the power of using such language--if indeed it ever were mine--is passing away from me; and whatever I am now able to say at all I find myself forced to say with great plainness."[18] [Sidenote: His picturesque extravagance of style.]
But Ruskin's decision to speak with "great plainness" by no means made the people of England attend to what he said rather than the way he said it. He could be, and in his later work he usually was, strong and clear; but the old picturesqueness and exuberance of passion were with him still. The public discovered that it enjoyed Ruskin's denunciations of machinery much as it had enjoyed his descriptions of mountains, and, without obviously mending its ways, called loudly for more. Lecture-rooms were crowded and editions exhausted by the ladies and gentlemen of England, whose nerves were pleasantly thrilled with a gentle surprise on being told that they had despised literature, art, science, nature, and compassion, and that what they thought upon any subject was "a matter of no serious importance"; that they could not be said to have any thoughts at all--indeed, no right to think.[19] The fiercer his anathemas, the greater the applause; the louder he shouted, the better he pleased. Let him split the ears of the groundlings, let him out-Herod Herod,--the judicious might grieve, but all would be excitedly attentive. Their Jeremiah seemed at times like to become a jester,--there was a suggestion of the ludicrous in the sudden passage from birds to Greek coins, to mills, to Walter Scott, to millionaire malefactors,--a suggestion of acrobatic tumbling and somersault; but he always got a hearing. In lecturing to the students of a military academy he had the pleasing audacity to begin:
"Young soldiers, I do not doubt but that many of you came unwillingly to-night, and many of you in merely contemptuous curiosity, to hear what a writer on painting could possibly say, or would venture to say, respecting your great art of war";[20] after which stinging challenge, one has no doubt, any feeling of offense was swallowed up in admiration of the speaker's physical courage.
[Sidenote: Influence of Carlyle upon Ruskin.]
[Sidenote: The unity of Ruskin's style.]
There can be little doubt that this later manner in which Ruskin allowed his Puritan instincts to defeat his aestheticism, and indulged to an alarming degree his gift of vituperation, was profoundly influenced by his "master," Carlyle, who had long since passed into his later and raucous manner. Carlyle's delight in the disciple's diatribes probably encouraged the younger man in a vehemence of invective to which his love of dogmatic assertion already rendered him too prone. At his best, Ruskin, like Carlyle, reminds us of a major prophet; at his worst he shrieks and heats the air. His high indignations lead him into all manner of absurdity and self-contradiction. An amusing instance of this may be given from _Sesame and Lilies_. In the first lecture, which, it will be recalled, was given in aid of a library fund, we find[21] the remark, "We are filthy and foolish enough to thumb one another's books out of circulating libraries." His friends and his enemies, the clergy (who "teach a false gospel for hire") and the scientists, the merchants and the universities, Darwin and Dante, all had their share in the indignant lecturer's indiscriminate abuse. And yet in all the tropical luxuriance of his inconsistency, one can never doubt the man's sincerity. He never wrote for effect. He may dazzle us, but his fire is never pyrotechnical; it always springs from the deep volcanic heart of him. His was a fervor too easily stirred and often ill-directed, but its wild brilliance cannot long be mistaken for the sky-rocket's; it flares madly in all directions, now beautifying, now appalling, the night, the fine ardor of the painter passing into the fierce invective of the prophet. But in the end it is seen that Ruskin's style, like his subject-matter, is a unity,--an emanation from a divine enthusiasm making for "whatsoever things are lovely, whatsoever things are pure, whatsoever things are of good report."
[11] See p. 162.
[12] See p. 139.
[13] See p. 147.
[14] See p. 121.
[15] See p. 122.
[16] See p. 149.
[17] See p. 122.
[18] _The Mystery of Life_.
[19] _Sesame and Lilies_, "Kings' Treasuries," Sec.Sec. 25, 31.
[20] _The Crown of Wild Olive_, "War."
[21] "Kings' Treasuries," Sec. 32. _