The nineteenth century witnessed the rise of an entirely new
style of English prose. The ancient and universal restraints were
swept away, the decorous stateliness of all the buried centuries
was abandoned, and there arose a band of writers, to whom De
Quincey and Ruskin were the leaders, who withdrew all veils from
their emotions, threw away all the shackles of reserve, and poured
their sobs and ecstasies upon us, in soaring periods of impassioned
prose, glittering with decorative alliterations, and adorned with
euphonious harmonies of vowel sounds.
This flamboyant style seems to have synchronised with the
general decline of reserve and ceremony in English life, and with
the rise of the modern familiar intimacy that leaves no privacy
even to our thoughts. Our grandfathers would have hesitated to have
discussed at the dinner-table, even after the ladies had withdrawn,
what is now set down for free debate at ladies' clubs, and
canvassed in the correct columns of the Guardian.
This new habit of mind and speech has affected our literature
deeply and diversely. In the hands of the really great masters such
as Carlyle, Froude, and Ruskin, the intimate revelations of the
throbbings of their hearts, and the direct and untrammelled appeal
of their inmost souls crying in the market-place, take forcible
possession of our affections, and bring them into closer touch with
each one of us than was ever possible with the older restrained
writers.
But with lesser men the modern decay of restraint and the
licence of intimacy and of the emotions have led to widespread
vulgarity, and a contemptible deluge of hyperbole, and superlative,
and redundancy; and although the disappearance of reserve in modern
writing may tend to reduce all but the production of the great to a
depressing state of vulgarity, it nevertheless, in the master's
hand, has unlocked for us the doors of an Aladdin's palace! But
even if the restraint of the ancient writers has disappeared from
the prose of our own times, all great writing of necessity must now
and always possess the quality of simplicity; and even Ruskin, who
saw the world of nature about him with the eyes of a visionary, and
wrote of what he saw as one so inspired as to be already half in
Paradise, yet clothed his glorious outpourings in a raiment of
perfect simplicity.
"This, I believe," he wrote, "is the ordinance of the firmament;
and it seems to me that in the midst of the material nearness of
these heavens, God means us to acknowledge His own immediate
Presence as visiting, judging, and blessing us. 'The earth shook,
the heavens also dropped, at the presence of God,' 'He doth set His
bow in the clouds,' and thus renews, in the sound of every drooping
swathe of rain, His promise of everlasting love. 'In them hath He
set a tabernacle for the sun,' whose burning ball, which,
without the firmament, would be seen but as an intolerable and
scorching circle in the blackness of vacuity, is by that firmament
surrounded with gorgeous service, and tempered by mediatorial
ministries; by the firmament of clouds the golden pavement is
spread for his chariot wheels at morning; by the firmament of
clouds the temple is built for his presence to fill with light at
noon; by the firmament of clouds the purple veil is closed at
evening round the sanctuary of his rest; by the mists of the
firmament his implacable light is divided and its separated
fierceness appeased into the soft blue that fills the depth of
distance with its bloom, and the flush with which the mountains
burn as they drink the overflowing of the dayspring. And in this
tabernacling of the unendurable sun with men, through the shadows
of the firmament, God would seem to set forth the stooping of His
own majesty to men, upon the throne of the firmament.
"As the Creator of all the worlds, and the Inhabiter of
eternity, we cannot behold Him; but as the Judge of the earth and
the Preserver of men those heavens are indeed His dwelling-place.
'Swear not, neither by heaven, for it is God's throne; nor by
earth, for it is His footstool.'
"And all those passings to and fro of fruitful showers and
grateful shade, and all those visions of silver palaces built about
the horizon, and voices of moaning winds and threatening thunders,
and glories of coloured robe and cloven ray, are but to deepen in
our hearts the acceptance and distinctness and dearness of the
simple words, 'Our Father, Which art in heaven!'"
The description of the first approach to Venice before the days
of railways will always be cherished by those who admire Ruskin's
work as one of his most characteristic and memorable
utterances:—
"In the olden days of travelling, now to return no more, in
which distance could not be vanquished without toil, but in which
that toil was rewarded partly by the power of that deliberate
survey of the countries through which the journey lay, and partly
by the happiness of the evening hours, when, from the top of the
last hill he had surmounted, the traveller beheld the quiet
village, where he was to rest, scattered among the meadows beside
its valley stream; or, from the long-hoped-for turn in the dusty
perspective of the causeway, see, for the first time, the towers of
some famed city, faint in the rays of sunset—hours of
peaceful and thoughtful pleasure, for which the rush of the arrival
in the railway station is perhaps not always, or to all men, an
equivalent—in those days, I say, when there was something
more to be anticipated and remembered in the first aspect of each
successive halting place than a new arrangement of glass roofing
and iron girder—there were few moments of which the
recollection was more fondly cherished by the traveller than that
which, as I endeavoured to describe in the close of the last
chapter, brought him within sight of Venice, as his gondola shot
into the open lagoon from the canal of Mestre.
"Not but that the aspect of the city itself was generally the
source of some slight disappointment, for, seen in this direction,
its buildings are far less characteristic than those of the other
great towns of Italy; but this inferiority was partly disguised by
distance, and more than atoned for by the strange rising of its
walls and towers out of the midst, as it seemed, of the deep sea;
for it was impossible that the mind or the eye could at once
comprehend the shallowness of the vast sheet of water which
stretched away in leagues of rippling lustre to the north and
south, or trace the narrow line of islets bounding it to the east.
The salt breeze, the white moaning sea-birds, the masses of black
weed separating and disappearing gradually in knots of heaving
shoal under the advance of the steady tide, all proclaimed it to be
indeed the ocean on whose bosom the great city rested so calmly;
not such blue, soft, lake-like ocean as bathes the Neapolitan
promontories, or sleeps beneath the marble rocks of Genoa, but a
sea with the bleak power of northern waves, yet subdued into a
strange spacious rest, and changed from its angry pallor into a
field of burnished gold as the sun declined behind the belfry tower
of the lonely island church, fitly named 'St George of the
Sea-weed.'
"As the boat drew nearer to the city, the coast which the
traveller had just left sank behind him into one long, low,
sad-coloured line, tufted irregularly with brushwood and willows;
but, at what seemed its northern extremity, the hills of Argua rose
in a dark cluster of purple pyramids, balanced on the bright mirage
of the lagoon; two or three smooth surges of inferior hill extended
themselves about their roots, and beyond these, beginning with the
craggy peaks above Vicenza, the chain of the Alps girded the whole
horizon to the north—a wall of jagged blue, here and there
showing through its clefts a wilderness of misty precipices, fading
far back into the recesses of Cadore, and itself rising and
breaking away eastward, where the sun struck opposite upon its snow
into mighty fragments of peaked light, standing up behind the
barred clouds of evening one after another, countless, the crown of
the Adrian Sea, until the eye turned back from pursuing them, to
rest upon the nearer burning of the campaniles of Murano, and on
the great city, where it magnified itself along the waves, as the
quick, silent pacing of the gondola drew nearer and nearer.
"And at last when its walls were reached, and the outmost of its
untrodden streets was entered, not through towered gate or guarded
rampart, but as a deep inlet between two rocks of coral in the
Indian Sea; when first upon the traveller's sight opened the long
ranges of columned palaces—each with its black boat moored at
the portal, each with its image cast down beneath its feet upon
that green pavement which every breeze broke into new fantasies of
rich tessellation when first, at the extremity of the bright vista,
the shadowy Rialto threw its colossal curve slowly forth from
behind the palace of the Camerlemghi, that strange curve, so
delicate, so adamantine, strong as a mountain cavern, graceful as a
bow just bent; when first, before its moonlike circumference was
all risen, the gondolier's cry, 'Ah! Stali!" struck sharp upon the
ear, and the prow turned aside under the mighty cornices that half
met over the narrow canal, where the plash of the water followed
close and loud, ringing along the marble by the boat's side; and
when at last the boat darted forth upon the breadth of silver sea,
across which the front of the Ducal palace, flushed with its
sanguine veins, looks to the snowy dome of Our Lady of Salvation,
it was no marvel that the mind should be so deeply entranced by the
visionary charm of a scene so beautiful and so strange as to forget
the darker truths of its history and its being, "Well might it seem
that such a city had owed her existence rather to the rod of the
enchanter, than the fear of the fugitive; that the waters which
encircled her had been chosen for the mirror of her state, rather
than the shelter of her nakedness; and that all which in Nature was
wild or merciless—Time and Decay, as well as the waves and
tempests—had been won to adorn her instead of to destroy, and
might still spare, for ages to come, that beauty which seemed to
have fixed for its throne the sands of the hour-glass as well as of
the sea."
It is now many years since I first saw Venice rising from the
sea on a September morning as I sailed towards it across the
Adriatic from Trieste; and as we glided closer and closer its
loveliness was slowly and exquisitely unveiled under the slanting
beams of the early sun.
In all my wanderings over two hemispheres I remember no vision
so enchanting and unsurpassable! May you live to see it, Antony,
before the vulgarities of modern life have totally defaced its
beauty.