34 John Ruskin

Dr. Neeru Tandon

3.0         Learning Outcomes

33.1      Introduction

33.2      John Ruskin: A Biographical Sketch

33.3      Ruskin‟s vision and Thoughts

33.4      Ruskin‟s Prose style

33.5      Ruskin‟s Limitations

33.6      Modern Painters: A Critique

33.7      Definition of Greatness in Art: A Critique

33.8      Excerpts from Definition of Greatness in Art

33.9      Of Pathetic Fallacy: A Critique

33.10    Excerpts from Pathetic Fallacy

33.11   Self-Assessment: Test of your knowledge (Multiple Choice Questions)

33.12    Self-Assessment: Explain the Statements

33.13    Self-Assessment: Answer the Long Questions

33.14    Know More: For Further Readings: Bibliography

33.15   Know More: Weblinks

33.0 Learning Outcomes

In this module sufficient information is being provided on the creative and personal profile of John Ruskin. There is an elaborate and comprehensive analysis of his two essays, “Definition of Greatness in the work of Art” and “Pathetic Fallacy” contained in the volume Modern Painters. The introduction will help the students to get an insight into the life, literary achievements and artistic vision of Ruskin. The analysis of essays will open the windows to Ruskin‟s artistic theories and vision. By the end, there are number of exercises in the form multiple choice questions, descriptive type questions and the extracts for explanation. It will contribute to make self-assessment of the students at various levels. The specific citation of significant passages will further provide opportunity to the learners to formulate independent insight into Ruskin‟s theories presented in these two essays. The bibliography will provide links for further studies and inspire them to make explorations in relation to the artistic vision of Ruskin.

33.1 Introduction

With the expansion of Industrial Economy, awareness for democratic values and rational grounds for regions faiths, English prose during Victorian age emerged as a potent tool of social criticism and aesthetic creed. Writers were obsessed by the mood of despair and disillusionment. The old order had been collapsed. The rational and scientific approach to religious faith shattered existing values and man‟s faith in his own existence. The prose writers like Carlyle, Arnold, Ruskin, Newman denounced ugliness of industrialization, loss of aesthetic values and the growing insecurities. Through his writings Carlyle wanted to expose and to draw attention of his restless age to the need of living religion because the old faiths and religious faiths were losing its importance. The suffering and disillusionment emerged the result of the absence of real religion. His well-known works are The French Revolution (1837), Hero and Hero Worship (1844), Past and Present (1843) and The Long Day Pamphlets (1850). Ruskin tried to support the cause of truth and faithfulness in the realm of painting and poetry. He admits that the ideal of truthfulness in art can help to restore the great values in life. It can further contribute to the elevation of human society. The works of art can prove as a panacea for the suffering humanity. His celebrated works are Modern Painters, The Seven Lamps of Architecture, The Stones of Venice, Unto the Last, The Crown of Wild Olive and Seasame and Lilies. Like Carlyle, Ruskin was also religious in spirit. Arnold in his prose writings expresses his disgust with the degradation of his time. For him degradation is the result of the lack of culture. He considers that literature can be of a vital significance to restore „Culture‟ to save human society from the dark shadows of gloom and despair. His critical prose writings include Of Translating Horror (1861), Essays in Criticism – Two Series (1865, 1868), Culture and Anarchy (1869), Literature and Dogma (1873), God and The Bible (1876) and Church and Religion (1877).

As a prose writer, Newman tried to play the role of a preacher. In a letter to his friend he said, “I have never written for writing sake, but my one and single aim has been to do what is so difficult to express clearly and exactly.” He was influenced by the spirit of Roman Church. The best of his writings are The Development of Christian Doctrine (1845) and The Grammar of Assent (1870), In Idea of Uncertainty and Idea of University; he defends the cause of liberal education. His popular prose writing Apologia came as an spiritual autobiography. Newman‟s prose is remarkable for classical simplicity and clarity of expression. With his prose writings, Newman propagated his religious faith and established himself as the life blood of Oxford Movement. The cumulative effect of the prose writings of Arnold, Carlyle, Ruskin and Newman made significant contribution to explore ugliness of Victorian society and to restore religious faiths and aesthetic principles as the only consolation for the disillusioned society of Victorian era.

33.2 John Ruskin: A Biographical Sketch

Ruskin, the influential voice of Victorian age, was born in 1819 in London in the family of a wine merchant. He got his education at Oxford but his upbringing was in a strict atmosphere. From his father he inherited the love for reading of the books and from his mother he got inspiration for the teachings of Bible. He accompanied his father on summer trips for Excursion to England, Scotland, France, Switzerland and Italy. At the age of Seventeen, he joined Christ Church College where he wrote a poem Salesta and Ellphanta evaluating the dawn of Christianity in India.

In 1848, he married to a Scottish lady for whom he wrote a delightful story The King of Golden River. His marriage ended in failure, separation and disappointment. His father died in 1864 and he donated all his parental property in charity. After the death of his father, he left London and settled in Brandwood on Carmiston Lake close to the Lake Country, the favourite haunt of Wordsworth. In 1870, he got a prestigious opportunity to serve at Oxford as the Professor of Fine Arts.

Ruskin‟s literary contribution is far and wide. It is varied as well as sublime. In his literary career, he devoted twenty one year of his life time in art criticism and subsequently he turned to social and literary criticism. His celebrated works on art are – Modern Painters (1843- 60)   in five volumes, The Seven Lamps of Architecture (1849) and The Stones of Venile (1851) in three volumes. In these critical essays Ruskin tried to present a comprehensive analysis of almost all the masterpieces of European Arts. The first volumes of Modern Painters defends the landscape painter Turner and also presents a comprehensive thesis on the principles of art. In Seven Lamps of Architecture, he defends the seven virtues that are essential to achieve timeless sublimity in the work of art. These virtues are sacrifice, truth, power, beauty, life, memory and obedience. He propagates that Great art is not an expressions of external skills only but is religious in spirit and, therefore, it can be produced only in an age of Faith. In State of Venice, Ruskin condemn Renaissance architecture as irreligious. Contrarily, he appreciates Gothic architecture because in Gothic art there is ample spaces for the display of free imagination. Moreover, Ruskin has tried to find out a close relationship of art to social and economic conditions. Ruskin in his writings seeks inter-relationship not only between art and morals but also between art and economy. The sensibility to the idea of balance in social relationship gave birth to the writings related to social issues and ideologies. Ruskin‟s well known social writings are Unto the Last (1860), Munerva Pulveries (1862), Crown of Wild Olive (1866), Four Clavigera (1871), Seasame and Lilies (1865). Ruskin wrote his autobiography between 1889 to 1890, but it remained incomplete and unpublished. It was entitled Practerity. Ruskin‟s literary career is remarkable for variety and exceptional sublimity.

33.3 Ruskin’s Vision and Thoughts

Ruskin is one of those artist whose vision surpasses the self imposed limitations of style and subject matter and with great depth and skill he follows an underlying unity of ideas from “painting to political, from architecture to agriculture”. In Modern Painters he reflects on the essential principles of art and gives emphasis to the fact that great art must be the manifestation of great ideas embodying divine truth that is perpetual and timeless. According to Ruskin an „Artist is a Preacher‟. Carlyle appreciates, Ruskin‟s The Stones of Venice as a „Sermon in Stones‟. The elaboration of Seven Virtues in Seven Lamp of Architecture is classified under the headings like „Sacrifice‟, „Beauty‟, „Power‟ etc. It exposes Ruskin‟s hidden agenda to establish a unity between the moral principles and the aesthetic principles. Art essentially celebrates the higher values of life. In „Mountain Glory‟ he refers to the mountains as “Kindly in simple lessons to the work man”. In English Cathedral he points out “Weigh the influence of those dark towers on all who have passed through the lonely square at their feet for the centuries.” Ruskin cherishes moral values and divinity as the basic principles of art but at the same defends that the basic “Ideas of Beauty” must give appropriate spaces to the new truths that are supposed to be blended with the basic truths. Hence individual freedom and the idea of excellence of religious faith in art go side by side. He accepts, “This, if it be an honest work of art, it must have done, for a man ever yet worked honestly without giving some such help to his race. God appoints to every one of his creature a separate mission, and if they discharge it honourably… there will assuredly come of it such burning as, in its appointed mode and measure, shall shine before men, and be of survive constant and holy.” (Modern Painters, Vol. I, part-2, Sec. I, Chapter 7) In Ruskin‟s world, the art has a great mission of reconstructing the foundation of nation. The strength of nation depends on highly developed citizens endowed with the best of the tributes of morality. In Ruskin‟s writings, there is a fine blending of radicalism and parochialism. He defends the cause of true art to overcome the crisis of ugly Industrial world. In context of social issues, he defends the cause of justice in place of pity or charity. His vision is that good for oneself is the good for the entire humanity, “To do the best for yourself is finally to do best for others.” Labour is also a mode of creative expression and it generates pleasure and fulfillment. Ruskin was religious in his faith but instead of taking recourse to blind orthodoxy he dictates the rigidity in moral rectitude. To him all the commandments of Gods are summed up, “Seek you first the kingdom of God and his Righeousness and all these things shall added unto you.” Ruskin‟s humanitarian ideology constructed in Unto The Last significantly influenced Gandhiji‟s idea of truth, justice and humanity. Ruskin made serious efforts to define the significance of art in context of human values. His idea of social reform is unconventional because it includes the beauty of the life and labour of working classes. In this respect Ruskin supported and strengthen Carlyle‟s spiritual message to industrial society by his preference for the potential of art. Ruskin‟s vision is a composite world of art, humanity and religion.

33.4 Ruskin’s Prose Style

In the evaluation of prose writings, the critical analysis of prose style is a significant aspect. Ruskin has been acknowledged as one of the greatest stylist in English language. There is a variety and flexibility in his style. He modifies his prose style according to the need of the subject matter. In his prose writings related to art criticism, his prose style reflects the impact of Milton‟s style. It is embellished, philosophical and is remarkable for exceptionally long sentences. In these writings, there is a display of ornamentation, rhythmic construction of sentences coupled with reflective mood. It makes his style flowery, but obscure. In his prose writings related to social and economic issues, Ruskin adopts the practice of simplicity, direct expressions and controlled style. The sentences are shorter but replete with figure of speeches and Biblical allusions. Still his style in all his writings is remarkable for eloquence born of intense feeling, clarity, philosophical richness and the expression of learning. In context of the sensuousness of his style, he has been compared to Keats. His sentences are “jewelled” with phrases. There is intrinsic artist beauty and rhythm in his style. He adopted the practice of presenting the details vaguely but collectively. The idea is that there is unity and harmony in his construction of sentences inspite of apparent disorder. He presents the details with “imaginative gleam”. His sensibility as a painter modifies his prose style. He used a wide variety of colours in descriptions. Sound sensibility also marks a significant effect in his descriptions. He constructs his sentences with effective rhythms and organized harmonies. The frequent use of Biblical texts and phrases enriches his style. However his extreme indulgence of emotions avoiding the presence of intellect, leads to extravagance of ornamentation and the use of superlatives. However, the picturesque and exuberant passion influence the reader against the blemishes of styles. In the formation of his prose style, he was influenced by Carlyle. Ruskin‟s prose style can be defined as a fine blending of sublimity and simplicity, ornamentation and effectiveness, spontaneity and affection. In these seeming contradictions lies the greatness of Ruskin‟s prose style.

33.5 Ruskin’s Limitations

Ruskin‟s prose writings have intrinsic unity but are not free of own limitations. There is a variety and exceptional depth in his observations and, therefore, it often leads to confusion and astonishment. It is difficult to get at the roots of meaning without taking the help of appropriate guiding clues. He writes without having a true insight into the subject matter and the cultural background that he chooses as a subject matter for his essays. He started writing Modern Painters without appropriate understanding of classical Italian Painters. Similarly he started writing The Stones of Venice without having firsthand knowledge of venetian architecture. Similarly, without the in depth knowledge of theology, he endeavoured to seek a unification of various religions. Similarly, his idea of reconstruction of society has no strong background of political and economic theories. It is mentioned that Ruskin had an idealistic perception of the life conditions and, therefore, express his constant dissatisfaction for the existing order. It is difficult to separate his art criticism from his social criticism. It induces confusions and contradictions. It is said, “throughout his work, he regarded himself not merely as a writer on painting or buildings or myths or landscape but the appointed critic of the age.” The love for beautiful and rigorous Puritanism are two contradictory values existing side by side in the writings of John Ruskin.

33.6 Modern Painters: A Critique

The Modern Painters is certainly an ambitious work of John Ruskin. It was written between 1843-1960. Divided in five volumes, it provides a comprehensive thesis on the nature, requisites, expressive range and the mechanism of painting and art of the finest order. With modern painters, he contributed to the principles of „Art for Art‟ sake against the gross filthiness of Industrial social order prevailing fast in Victorian society. He pleads for the principles of truthfulness, justice, naturalness warmth of feeling and ease of expression in the selection of language. The combination of these elements can only make the articulation of the greatest idea possible. The Modern Painters is written in the mode of anger to defend the artistic excellence of famous landscape painter Turner. However, Modern Painters in tribute to an individual only but a comprehensive exposition of the principles of art that are universal in nature. He admits that a true artist must be free from fears and affections. In the preface to the first edition of Modern Painters he admits, “I have not entered into systematic criticism of all the painters of the present day; but I have illustrated each particular excellence and truth of art by the works in which it exists in the highest degree, resting satisfied if it be once rightly felt and enjoyed in these, it will be discovered and appreciated wherever it exists in others.” (Preface to First Edition Modern Painters, Volume I). He defends that to preserve and to appreciate the great art in England, one should be truthful to nature. He categorically establishes that to determine the greatness of a work of art, public opinion is no criterion for greatness. Even the opinions of multitudes can be taken as the final assessment of excellence. In Modern Painters, instead of a sentimental understanding of art he seeks scientific foundation for aesthetic theories. He defends the cause of the poetry of Architecture. It implies the idea, “the architecture of nation of Europe considered in its association with natural scenery and national character.” He recommends that there should be spiritual welfare of human beings with the realization of the sense of duty and the canons of truthfulness and spontaneity. Ruskin added subsequent volumes in the later years. The volume two appeared in 1846. In this volume, Ruskin acknowledges the importance of symbolism in art expressed through the beautiful and suggestive objects of nature. It contributes to the movement of pre-Raphaelitism. In the next three volumes he develops his systematic theory on art.

33.7 Definition of Greatness in Art : A Critique

Ruskin appeared on the literary horizon as prominent art and social critic. Being disgusted with the filth of industrial world, he tried to develop a gradual and systematic theory of art to establish a close relationship between art and social reform. For him true art represents truth, naturalness, sublimity, the realization of commitment to humanity. The celebration of the greatness of an individual author, the expression of specific feelings, prejudiced descriptions and all pervasive artificiality can‟t lead to greatness in the work of art. He makes a confession, “The reputation of the great artist in whose work I have chiefly referred, is established on the legitimate grounds among all those admirations in honourable to be in a way affected by the ignorant sarcasm of pretension and affectation (Preface to First Edition).

The essay Definition of Greatness in Art is the chapter II of the Volume I of Modern Painters. In this essay Ruskin dwells on exposing the difference between the painters intellectual power and his capacity to utilize technical devices to achieve greatness and the timeless effect of painter‟s creative art. He also tries to find out the facts regarding exclusive intellectual talent of the individual or the common factors that contribute to enhance the expressive range of ideas presented by most of the painters or poets. The proper understanding of these principles are essential to find out the dignity of a work of art.

Ruskin subsequently goes to make a comparison between painting and poetry. For him painting is not a revelation of colours only. He defines painting or art as “noble and expressive language”. It is a vehicle of the expression of ideas. The idea of “noble and expressive” suggests that painting or art no longer adopts vulgar or common place expressions. The language of painting conveys the meaning beyond its verbal order. The expressive languages possesses more power “of delighting the sense.” Artistic language affects senses instead of mind or the rational faculty of audience. More than the greatness of content, the greatness of effect determines the quality of a painting or of poetry.

Ruskin accepts that painter or poet constructs a world that is beyond the limitations of rigid canons of art or of versification. The qualities of precision or excellence in the selection and organization of lines can make a good versifier but not an effective poet or artist. He must develop the images or symbols that are forceful, effective and natural, free from the artificial burden of repressive force of language. It suggests that rigid conventions of language should not spoil the natural grace of thoughts. The natural inspiration no longer hinders the direct effect of expression.

In order to justify his idea of effective expressions beyond the rigid rules of versification, Ruskin makes a reference to the paintings of E.L. Landseer. The inadequacy in the organization of syntax and images leads to obscurity and further spoils the grace of expression. The difference of greatness in painting or art emerges out of the consideration of the sublimity of thought. Language is only an external cover and the implicit thoughts are the life breath of a great expression. He mentions, “thoughts by which the picture is separated at once from hundreds of equal merit, as far as mere painting goes, by which it ranks as a work of high art, and stamps its author, not to the neat imitator of the texture of skin, or fold of drapery but the man of mind.” 

In the subsequent discussion Ruskin tries to expose the difficulty in determining the exact position of the comparative importance or language and thought. Like Longinus, Ruskin has realization that language and thoughts are the complementary of each other to determine the greatness of a work of art. In certain cases language is more powerful to give appropriate expression to thoughts. Without the power of language, thoughts became weak and insignificant. However, he acknowledges the fact that thoughts are essential to determine the greatness of art. The great thoughts no longer depend on the nature, selection and organization of language. A composition assumes dignity only where there is a balance in language and expression. Ruskin recommends the cause of simple expressions for “naked beauty” required for effective expression. He accepts that artificial language is like artificial “jewells” or “robs” that can decorate by essentially mitigates and spoils the grace of natural beauty.

In his discussion on the idea of language as the basis of greatness in the work of art, Ruskin presents the difference between decorative and expressive language. He finds a difference in ornamental language and expressive language. He says that language is a vehicle of expression of thoughts but only that language is acceptable which increases “intrinsic excellence” of art. Hence language should not be imposed as an external decoration. The beauty of language immediately engages the observer. It is, therefore, he expresses his contempt for the writers and painters who give themselves only for ornamental writings.

In order to decide the distinction of ornamental and expressive language, Ruskin makes comparative analysis of Dutch and early Italian schools. He admits that in the paintings and poetry of Dutch school, there is a “vigorous elocution of useless and senseless words”. It is only an expression of artists power of speech devoid of the sublimity of thought. He makes reference to the works of Rubens, Vendyke and Rembrands. He warns that a great artist must have an explicit idea of the true notion of “language” and of “thought”. It is evident that a picture with rich and numerous idea inspite of its limitation of language, has a greater power of expression. On the other hand, the decorative language fails to produce desired effect in absence of the nobility of though. It is only power of thought that establishes the timeless significance of a work of art or of painting.

In “The Definition of the Greatness of Art” in the concluding part, Ruskin defends that in order to determine the greatness of a work of art, an artist must have certain idea inherent in language itself. The aesthetic pleasure is not an isolated state of self realization but is closely associated to the intellectual understanding of a work of art. It emerges out of the perception of meaning or having an insight in the arrangement of colours. The work of art appears to the senses and the sensual pleasure determines the effect, the greatness of the work of art. Perception is incomplete without its intellectual realization. The beauty of painting is not as they are seem by eyes only but in the process and force of receiving the mind through eyes. The greatness of a picture lies in its power to communicate noble and dignified ideas to mind. True art imitates nature. For Ruskin „nature‟ implies the intrinsic beauties of colour and form. It is true that true art imitates nature and gives pleasure. Since artistic pleasure is essentially related to mind, it also results in moral teachings. He further accepts that art not only imitates but also creates. In artistic imitation, there are the creations of the models appropriate for the elevation of human spirit. Ruskin asserts that art conveys the ideas to the higher faculty of mind. In this respect the greatness in art increases the range of greatest ideas, “He is the greatest artist who has embodied, in the sum of his works, the greatest number of the greatest ideas.”

33.8 Excerpts From Definition of Greatness in Art

• Painting or art generally, as such with all its technicalities, difficulties and particular ends, is nothing but a noble and expressive language, invaluable as the vehicle of thought but by itself nothing.
• Many thoughts are so dependent upon the language in which they are clothed, that they would lose half their beauty, if otherwise expressed. But the highest thoughts are those which are least dependent on language; and the dignity of any composition and praise to which it is entitled, and is exact proportion to its independency of language or expression.
• There is, therefore, a distinction is to be made between what is ornamental in language and what is expressive. The part of it which is necessary to the embodying and conveying the thought is worthy of respect and attention as necessary to excellence, though not the text of it.
• The mere sensual pleasure of eyes, received from the most brilliant piece of colouring, is as nothing to that which it reclines from a crystal prism, except as depends on our perception of certain meaning and intended arrangement of colour, which has been the subject of intellect.
• But I say that the art is greatest which conveys and not imitate to the mind of spectator, by any means what so ever, the greatest number of the greatest ideas, and I can call an idea great in proportion as it is received by higher faculty of mind, and as it more fully occupies and in occupying exercises and exalts, the faculty by which it is received.

33.9 Of Pathetic Fallacy: A Critique

Ruskin in lectures contained in Modern Painters expresses his views on the nature, elements and sublimity in art. The Essay of The Pathetic Fallacy is Chapter 12 of volume III of Ruskin‟s master piece Modern Painters. In this essay, there is an elaborate account of Ruskin‟s theory of expressions both in art and poetry. He prefers that the creative artist must express his views with „ease‟ avoiding the use of „absurd‟ and „firesome‟ words. He tries to expose the difference between natural expressions and artificial expressions. The natural expressions are the outcome of our innate sensibility and therefore, they are „ordinary‟ but „proper‟ and „true‟. The artificial expressions spring out of „Contemplative fancy‟ and „false appearance‟. They remain unconnected to the real nature of the experience or object being projected in the work of art. In this state of fanciful expression, an artist can present beautiful images but they are false and burdensome. Ruskin in his evaluation of the principles of art makes a candid confession that the work of art based on artificial or false images cannot be pleasurable. Hence truth and authenticity are the basic foundations of the excellence in the work of art. In the work of art, a writer creates a world of images that inspite of being false can transform fallacy into a pleasurable experience. He admits, “And what is more, if we think over our favourite poetry, we shall find it full of this kind of fallacy, and that we like it all the more for being so.” It suggests that the work of art takes into account „fallacy‟ against the principles of rationality or logical justifications. Ruskin makes mention of two kinds of „fallacy‟. In the first place artist follows a „wilfal farcy‟ without the possibilities of any predetermined outcomes. It comes out of an excited state of feelings. It is more or less irrational. In the second state the mind remains affected by strong emotion and ignore a logic and justifications of truth. To justify his point, he makes reference to Alton Lock.

They rowed her in across rolling foam –

The cruel crawling foam. (39)

In this expression the speaker addresses „foam‟ as „crawling‟. Infact the „foam‟ is not „crawling‟ but it essentially denotes the state of mind of the speaker who is in a state of extreme grief. Ruskin points out that violent emotions distorts our perceptions and leads to false impressions of external things. This state of false perceptions of external things under the heat of emotions has been defined as “Pathetic Fallacy” by Ruskin.

The Pathetic Fallacy has been defined as passionate and poetical. However, Ruskin admits that the great poets avoid the use of Pathetic Fallacy. It is only the inferior kind of poets who take delight in falseness of images. In this regard, Ruskin appreciates Dante‟s description of falling spirits, “as dead leaves flutter from a bough.” In this image, there are distinctive reference to loneliness, feebleness, despair and passivity. There is no ambiguity that can restrict the real experience and its artistic presentation. As a foil to it, he criticizes Coleridge for, “one red leaf, the last of its clan, that dances, as often as dance it can.” The idea of powerlessness is confusing in this expression.

Ruskin establishes that even in the enjoyment of Fallacy, an artist must adhere to the principle of truthfulness. Even the enjoyment of Fallacy must take into account the principle of truthfulness. He appreciates Coleridge‟s use of fallacy as compare o the descriptions of Pope. The idea of Pathetic Fallacy seems to be weak but it is a noble state of mind because it represents the force of emotions. It springs out of excessive sensibility to emotions. Individual‟s inaccuracy to perception is not a sign of weakness but it is a sign of higher capacity. The state of emotional excitement suspends the intellectual hold on those emotions. However, the intellect contributes in giving a right emotions to the pent up emotions. Ruskin appeals for the realization of „Whole man‟ in the work of art.

In the subsequent reflections on the concept of “Pathetic Fallacy” Ruskin assigns three ranks of men. First category includes the man who perceives rightly because he does not feel. It shows that such persons are governed by restrained control instead of being governed by the heat of passions. In the second category he places the man who perceives wrongly because he feels strongly. For him feelings become the governing principle of his sensibility. In the third category he places the man who perceives rightly inspite of the strong sweep of feelings. These three classes are not separate but must be treated in comparative order. There should be a balance of mind, feeling and sensibility through often it distorts the accuracy of expression. It is, therefore, the language of the highest inspiration becomes “broken, obscure and wild.”

In the subsequent discussion Ruskin talks of four classes of men – (i) a person who feels nothing and, therefore, presents a truthful account of the objects, (ii) the persons who feel strongly, think strongly and see strongly. Ruskin places this group of poets in first rank, (3) the men who are strong as human beings but are likely to be submitted to the influences of outside world order and, therefore, they are to be governed by false perceptions, (iv) the man who are governed by the force of prophetic inspiration. However, the persons of these four classes are united to one another. Their perception and sensibility can pass at different times into the various states. Hence the artists are likely to take ‘allcrability’. However the man with smaller degree of sensibility can modify himself according to the influences of outside world. But a poet of high creative order no longer modifies himself and retains the autonomy of his self and sensitivity. He is impassive having a greater centre of reflection and knowledge in which he stands serene. He appreciates the greatness of Dante but criticizes Pope. He admits that the poets of the second order are dominated by their feelings and, therefore, only express their thougths in such a manner as they appear „diseased‟ or false.

Ruskin defends that the truthful feelings lead to fallacy but it is true and authentic. It gives pleasure. It even in fallacy writer must be true to the real experience. It retains the warmth of expression. In absence of genuine feelings expression become cold, weak and unimpressive. A great writer must depend only on Pure Fact. If an artist follows the pure fact, he avoids digression, confusions and obscurities. However, the judgement of image depends on the sensibility and the personal perception of the reader. It implies that idea that artist must be truthful but the suggestion depends on the sensibility of observers how he reacts to the artistically projected images. Ruskin makes reference to Homer‟s Illiad and Casimir de la Vigne‟s ballad, “La Toilette de constance.” The response of the reader is not artist‟s responsibility.

Then, Ruskin points out the excellence of a work of art depends on acuteness of feeling and the command over it. The unbridled passion are harmful in the process of creation of a work of art. Creative artist must be governed by strong passion but simultaneously he must retain the strength to regulate the force of those passion. Moreover Ruskin guides that the feelings get nobility in the work of art only by the appropriate “strength of its cause.” The feelings must have strong basis of rational justifications. Without logical cause, the feelings appear weak, odd and ignorable in a work of art. It extends the impression of mere “affectation”. According to Ruskin the writings of second order only adopts fanciful metaphorical expression devoid of truth and greatness. Affectation in expression only leads to absurdity. Even if it is affectation, it must be governed by strong and genuine passion.

After the analysis of the several passages from different poets, Ruskin justifies that the pathetic fallacy is powerful only so far it is pathetic. There must be a domination of truth over it. It must be an expression of perfectory and just state of human mind.

33.10 Excerpts from Pathetic Fallacy

1. All violent feelings have the same effect. They produce in us a falseness in all our impressions of external things which I would generally characterize as “Pathetic Fallacy.”
2. For it is no credit to a man that he is not morbid or inaccurate in his perception, when he has no strength of feeling to wrap them and it is in general sign of higher capacity and stand in the rank of being, that the emotions should be strong enough to vanquish, partly the intellect and make it believe what they choose. But it is still a grander condition when the intellect also rises, till it is strong enough to assert its rule against, or together with utmost effects of the passions and the whole man stands an iron glow, white, hot, perhaps but still young and in no evaporating, even if she meets, losing none of his weight.
3. For, be it constantly remembered that the greatness of poet depends upon the two faculties – acuteness of feeling and command of it. A poet is great, first in proportion to the strength of his passion and then, the strength being granted, in proportion to the government of it.
4. But by how much this feeling is noble when it is justified by the the strength of its cause, by so much it is ignoble when there is not cause enough for it and beyond all other ignobleness is the mere affectation of it, in the hardness of heart.
5. I insist upon repeating the pathetic fallacy – that so far it is a Fallacy, it is always the sign of morbid state of mind and comparatively of a weak one.

Reference

• Debree, Binamy. Modern Prose Style, Pickard Press, 2007.
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• Lockitt, C.H. The Art of Essayist (Edited) Longman Group Ltd., 1949.
• Raghkul Tilak. Compendious History of English Literature, New Delhi, Vikas Publishing House, 1976.
• Raymond Williams. Culture and Society, Columbia University Press, 1983.
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• W.R. Goodman. Quintessence of Literary Essays, New Delhi : Doaba Houge, 1963.