CHRONOLOGY FOR 1827 (see also nos. 2, 3, 21)

	5., , 
	“Poem I” of the six appended to “Harry and Lucy” (no. 3) in MS I (nos. 5–7, 1, 8–9, in order of their appearance in manuscript).
	Dating and sources.—The group of six poems to which no. 5 belongs can all, except for no. 1, be dated January 1827 at the latest, since the group falls at the end of a manuscript “finished about Jany 1827,” according to Margaret. As explained in the Dating note to no. 1, although nos. 5–7 could have been composed earlier than late 1826 to early 1827, there are no grounds for regarding no. 5 as necessarily “the author’s first piece,” as Cook and Wedderburn argue, merely on the grounds that Ruskin numbers it as “Poem I” in the series (Works, 2:254 n. 3, 255 n. 1; see no. 1). A stronger case can be made for associating no. 5 with the later portion of MS I—that is, with the concluding chapters of “Harry and Lucy,” no. 3, which were fair-copied in late 1826 to early 1827, according to Margaret’s note. This connection can be established through the poem’s source. 
	No. 5 and its source can be associated with Harry’s experiments in the later chapters of “Harry and Lucy” (no. 3). In chapters 8 and 9, Harry rushes through a series of experiments in pneumatics drawn from Joyce, Dialogues, stopping just short of Joyce’s conversations on the steam engine. In Joyce’s Conversation 40, “Of the Steam-Engine, and Papin’s Digester” (2:232–33), Ruskin would have been directed to his source for his poem, for Joyce provides a summary of Erasmus Darwin’s lines on the steam engine in the “Economy of Vegetation,” part 1 of The Botanic Garden (1789–91). A probable compositional history, then, has Ruskin first putting Harry through Joyce’s experiments in pneumatics that use an air pump. Next, like Joyce, he culminates this series with the steam engine, which he presents in the form of an ode to the industrial sublime, in imitation of Joyce’s embellishment of prose text with quotations from Darwin and other poets of the scientific revolution.
Viljoen suggests that Ruskin’s source lay in Joyce’s summary of Darwin in the Dialogues [HGVP, box D.V], but Darwin’s original poem appears to have supplied diction and details that Ruskin could not have obtained indirectly through Joyce. He borrows Darwin’s heroic couplets without their pomposity, catching their livelier rhyme words, such as “whirl” and “twirl.” He generally adheres to Darwin’s sequence of topics: employing the steam engine to drain water from mines, raise up the ore, and work the bellows at the furnace to melt the ore; to pump water into reservoirs; to drive mills and thresh grain; and to coin. Ruskin additionally animates his poem with topics of his own, one of them—the storm in lines 2–3—possibly an inspired misunderstanding of Darwin’s steam-driven bellows.
Since Darwin’s poem is now little known, there follows a selection pertinent to Ruskin’s adaptation. For the proper names cited in Darwin’s lines, consult the author’s notes, too extensive to quote here, in the edition from which this text is taken (The Poetical Works of Erasmus Darwin, 3 vols. [London: J. Johnson, 1806], 1:30–35, 281–85).

	The Giant-Power from earth’s remotest caves
Lifts with strong arm her dark reluctant waves;
Each cavern’d rock, and hidden den explores,
Drags her dark coals, and digs her shining ores.—
Next in close cells of ribbed oak confin’d,
Gale after gale, He crowds the struggling wind;
The imprison’d storms through brazen nostrils roar,
Fan the white flame, and fuse the sparkling ore.
Here high in air the rising stream He pours
To clay-built cisterns, or to lead-lined towers;
Fresh through a thousand pipes the wave distils,
And thirsty cities drink the exuberant rills.
There the vast mill-stone with inebriate whirl
On trembling floors his forceful fingers twirl,
Whose flinty teeth the golden harvests grind,
Feast without blood! and nourish human-kind.
	Now his hard hands on Mona’s rifted crest,
Bosom’d in rock, her azure ores arrest;
With iron lips his rapid rollers seize
The lengthening bars, in thin expansion squeeze;
Descending screws with ponderous fly-wheels wound
The tawny plates, the new medallions round;
Hard dyes of steel the cupreous circles cramp,
And with quick fall his massy hammers stamp.
The Harp, the Lily, and the Lion join,
And George and Britain guard the sterling coin.
	Soon shall thy arm, Unconquer’d Steam! afar
Drag the slow barge, or drive the rapid car;
Or on wide-waving wings expanded bear
The flying chariot through the fields of air.
—Fair crews triumphant, leaning from above,
Shall wave their fluttering kerchiefs as they move;
Or warrior-bands alarm the gaping crowd,
And armies shrink beneath the shadowy cloud.

Poetry
poem I
when furious up from mines the water pours
and clears from rusty moisture all the ores
then may clouds gather then may thunder roar
then may the lightning flash and rain <sigh> may pour
yet undisturbed the power alone will raise
the water from the engine might [be(?) or n(...?)] be formed a phrase
when as it drags the weight of fragment[s(?)] large
it also drags the weight of smokey barg[e(?)]
called by us steam boat and a steam boat saves
the beings scattered on the furious waves
by boilers bursting but a steamboat can
be the most useful engine brought to man
the grinding stones that by its force are whirled
and by their force the yellow grains are twirled
Bruised ground and thrown away in boxes small
While it doth thunder near the echoing wall
The whirring wheels arranged in whirling rows
And on the wheels the spinner cotton throws
Next moves the noisy beam the wheels do whirl
And next the wheels the cotton fibres twirl
The moving bellows that are made to roar
By its huge strength that melt the red hot ore
The copper mines that by it emptied are
And their blue metal now is brought from far
then it puts forth its power the rollers squeeze
the metal then another part doth seize
the flattened metal quick flies the circle round
And all is stamped at once Brittannia and the ground
then showers the water from the reservoir
and round the town it rushing now doth pour
then runs to cisterns large and fills them all
and turns back homeward in quantity but small
then forms the lengthening chain and putting link to link
makes a small chain and leaves of that flower the pink
and so I end

	Textual notes.—In manuscript, the final words of the poem, “leaves of that flower the pink / and so I end” appear by themselves at the top a verso. I am almost certain, judging by how the words are arranged on the page, that “leaves of that flower the pink” forms the runover of the line at the bottom of the preceding recto, “makes a small chain and”; however, it is possible that a line break should be inserted after “chain and”; a new line started with “leaves of”; and “and so I end” treated as runover of “leaves of that flower the pink.” It is even possible that “leaves of that flower the pink / and so I end” does not belong to this poem; i.e., that the lines are relics of an earlier poem that Ruskin failed to erase completely—such partial erasures having misled editors elsewhere in the poem, as discussed below—and that the steam engine poem ends unfinished with “makes a small chain and.” The latter possibility seems unlikely, but proof is unavailable.
	Ruskin’s poem is available in RGI without the editorial punctuation added in PJR and Works. The RGI printing, however, contains errors in transcription, half of them arising from ambiguities in the text caused by Ruskin having fair-copied the poem over top of a draft that, in places, he only partially erased.
	4, RGI then may the lightnings flash and rain sigh [sic?] may pour] then may the lightning flash and rain <sigh> may pour MS I, in which the s given by Emerson after lightning can be seen to have been erased, as was <sigh>. The latter word had formed the runover portion of this line in the original draft, but was imperfectly erased, and the runover of the fair copy, may pour was written far to the left, instead of over top, of the old runover. Since Ruskin jammed sigh against the edge of the page, this may not be the entirety of the word he originally intended.
	7, RGI fragment] fragment[s(?)] MS I, the word being obscured by cramming against the outer edge of the page
	9, RGI us a steam] us steam MS I
	33, RGI lengthening and] lengthening chain and MS I

	6. “On Scotland” (“Farewell to Scotland”), January (or spring or fall 1826), MS I. Printed in PJR (4o), 1:xxiii; PJR (8o), 1:ix–x; and Works, 2:256.
	The title in PJR, “Farewell to Scotland,” is Collingwood’s; Ruskin’s title is “on scotland,” and he numbers it as “poem II” in the group appended to no. 3 (see nos. 1, 5).
	Dating and source.—Dateable as January 1827 at the latest, along with the rest of the group in MS I.
	Like no. 2, “On Scotland” appears related to the family’s journey to Scotland and the Lake District in late summer or fall 1826. Since, as explained in no. 2, the family journeyed much later in the year than a mid-May departure, Collingwood is incorrect to assume that the poem contains “a reminiscence of the May sunshine in which they went northwards” contrasting “with the autumnal gloom of the departure” from Perth (PJR [4o], 1:xxiii, PJR [8o], 1:ix).
	The poem’s trope of “changes” may be less seasonal than emotional, as relating to the death of Ruskin’s cousin James Richardson, one of Aunt Jesse’s children. James had been living at Herne Hill and working for Ruskin, Telford, and Domecq at least since March 1825 (see RFL 131, 134n.). Apparently, plans had formed for him to travel to Spain, presumably to learn the wine business as John James had done (see RFL 142), but by March or April 1826 he had grown so ill from tuberculosis that he had to return to Scotland. Doubtless anxious to protect their son, in April 1826 John James and Margaret accompanied James back to Perth, where he died on 8 May. In a letter of 7–8 May 1826, Margaret recalls to John James the “journey up,” when “both you & I had repeatedly asked [James] if he was quite sure he was happy” (RFL 142). Would John have been taken on this trip? It seems unlikely that the Ruskins would have risked the exposure, when Margaret knew to warn James’s own siblings to keep away from him “for fear of infection” (RFL 142). If John was left at home with his nurse Anne, perhaps visiting his cousins in Croydon, this would have been the only time in Ruskin’s childhood when he was separated from both parents for a substantial period.
James’s journey to Perth is assigned to April by Burd (RFL 134 n. 3), which must be correct since James was clearly still at Herne Hill on 11 March (RFL 137) but had long departed by 5 May, when John James was traveling in the North and “by this time,” Margaret wrote, would have stopped in Perth to check on his progress (RFL 138). Since John James must have interrupted his spring traveling for orders to take James to Scotland, the delay of business explains why John James resumed traveling well beyond his 10 May birthday and into June (see RFL 149). On his return in June, the family probably took the holiday at the ocean beach in Hastings that forms the setting of parts of Ruskin’s first “Harry and Lucy” narrative (no. 3).
Ruskin quickly became despondent over James’s departure, his depression deepened by the protracted absence of his father, as well (“No papa no James” [RFL 141]). Alarmed by all these dangers, Margaret vowed never again to adopt a relation into the household, and soon rebuffed her own sister’s attempts to recommend a daughter, Mary Bridget, to the Ruskins’ favor (RFL, 144, 162).
	At whatever point in 1826 when “On Scotland” was composed, the situation surrounding the poem was charged with grief. The poem could have been written at Herne Hill in April or May, shortly following James’s departure. It could have been written on the journey itself, in the unlikely event that John accompanied his parents and cousin to Scotland. It seems most likely to have been written later, during or after the family’s visit to Perth in fall 1826. Even then, the poem would still have registered James’s death, since the permanence of his loss would have been brought home to Ruskin during this visit.
For other writing possibly connected with James’s death, see nos. 7, 20, and a cancelled line in no. 28 (“by which the scottish james did meet his death”).

on scotland
O what a change from pretty perth so near
to dreary heather and to streams so clear
to rocks and stones upon the dreary way
no sun is shining as on sprightly may
again it changes to the winding ern
tis shallow water but it has no fern
but it is precious for its shining drops
and sometimes from the river a fish pops
again it changes to a steep steep hill
and it is cold do any thing you will
in short such changes scotland does now take
that I can’t tell them and I quickly end

	Textual notes.—Compared to the edited versions in PJR and Works, Ruskin’s version contains no capitalization, except for the initial “O” and the pronoun “I”; no punctuation, except for the apostrophe in line 12, and the occasional “hyphens” that Ruskin uses, not as punctuation, but to “justify” margins in the manuscript; and no indication of Collingwood’s sentence breaks. Other variants:
	5, PJR, Works Earn,—] ern MS I
	10, PJR, Works anything] any thing MS I
	12, PJR and / an end I make] and I quickly end MS I, Works with terminal punctuation added in Works

	7. “The Defiance of War,” January (or spring or fall 1826), MS I. Previously unpublished.
	“Poem III” in group appended to no. 3 (see nos. 1, 5); title written “The defiance of war.”
	Dating and source.—Dateable as January 1827 at the latest, along with the rest of the group in MS I. Like no. 6, this poem, with its exhortation to guard “our peaceful home” from suffering and death, could allude to the removal of Ruskin’s dying cousin James from Herne Hill in spring 1826, and, therefore, the poem could have been composed earlier than January 1827; see nos. 6, 20.

The defiance of war
War war thou art beating thy drum
but we wish thee not to come
we like better our peaceful home
you like better than us to come
but we’ll conquer in spite of thee
you like better a king to be
than us to conquer but shall not he
the strongest of us the conqueror be
Yes yes he shall be so
thy army shall to us cry oh
we will make thy army know
whats a warrior and whats a doe
fly fly make thy army fly
else thy army here shall die
thy army here shall mercy cry
or else they here shall suffering die

	8. “On Papa’s Leaving Home,” January or February (or first half of 1826), MS I. Previously unpublished.
	Title written “on papas leaveing [sic] home,” and numbered as “poem V” of the group appended to no. 3.
	Dating.—This poem, as well as “poem VI” (no. 9), most likely belong either to January 1827, or to a short time afterward. The slightly later date is possible, since the two poems follow Margaret’s note dating the whole of MS I as finished “about Jany 1827” (see nos. 1, 3, 5). Less likely but still possible is a date in 1826.
	Tending to support a date in January or February 1827, following “poem VI” (no. 9) Ruskin wrote “The end / hernhill / fountain street / <end of the poems> / juvenile library fountain street.” The colophon seems to correspond with Margaret’s note, “this book . . . finished,” especially since Ruskin crossed out “end of the poems,” presumably to emphasize the conclusion of the volume, not just of the poetry section. The correspondence between the colophon and Margaret’s note nonetheless leaves open the question of dating. On the one hand, one can imagine Ruskin writing the colophon before his mother entered her date for the manuscript. (She might have jotted her note where she did, between no. 8 and the preceding poem no. 1, because that was the only space available.) On the other hand, one can imagine Ruskin returning to MS I to add two more poems and the colophon, after his mother had notated the booklet as being finished. If the latter is the case, then no. 8 might have been composed around 21 February 1827, when John James sent a letter as despondent as Ruskin’s poem with homesickness (RFL 151–52).
	A date earlier in 1826 is possible for the same reasons that all the poems in this group could predate their fair copying (see no. 1). If so, then no. 8 in particular might be read as expressing regret over John James’s protracted absence during the first half of 1826 (see nos. 2, 3, 6).

on papas leaveing home
Papas leaving home was a moment of sorrow
because he was not to come back to-morrow
but we thought that the whole was a travel and now
he might come back in days with the ladies that bow
The ladies that bow are the pictures and presents
and we thought that we might have a peep at the peasants
so we cheered ourselves up with the hope of the days
When papa might come back again show us the ways
and please him and please him till all was so well
that from joy to his sorrow he never has fell.

	9. “On the Rainbow: In Blank Verse,” after mid-February (or sometime in 1826), MS I. Excerpt quoted by Ruskin in Works, 35:57, and by PJR (4o), 1:xxi; PJR (8o), 1:viii; and Works, 2:254. Previously unpublished in entirety.
	“Poem VI” of group; title written “on the rainbow / in blank verse.”
	Dating.—See the arguments for dating no. 8, which apply to no. 9, as well. If no. 8 can be attributed either to the first half of 1826 or to January through mid-February 1827, with priority assigned to the latter date, no. 9 is even more likely to belong to 1827, owing to Ruskin’s subtitling the poem as “blank verse.” This corresponds to the “blank verse” subtitle of no. 4, which Ruskin attached only to the later, 1827–28 fair copy of that poem. No. 9 may be assigned a date, therefore, shortly following the proposed ca. 21 February 1827 date for no. 8.
	No. 9 can be connected with two illustrations in MS I, one of which tends to confirm a date of February or March 1827 (see part 2, MS I, “Description,” and “Content,” c). The “frontispiece” of the Red Book crudely depicts a rainbow (helpfully labeled as such, resembling as it does an outline of a hill) in a rainy sky, from which the sun has emerged. Since the frontispiece takes up an entire page, facing the title page of the volume, no evidence definitely precludes its having been drawn at the same time as the poem was entered at the back. It is more likely, however, that the poem was written later in 1827, to complement the frontispiece from fall 1826, since the frontispiece also serves as a part-title page for “Harry and Lucy” (begun September or October 1826) and, in level of skill, the drawing exhibits Ruskin’s earlier tendency to line up objects on a single plane.
A second drawing, concluding the volume on the back endboard, represents an allegorical scene of the “heights of wisdom” and “depths of folly.” Wisdom and folly might describe those who, according to the poem, reflect or fail to reflect, respectively, on the sign of God’s covenant. This drawing is dated 21 March (n.y.), which would accord with a tentative dating of composition after mid-February 1827.
	Sources.—Ruskin’s pun in the repeated word reflect, meaning both contemplate and mirror, becomes evident, when the poem’s source is identified not only in Genesis but also in a scientific work, such as Joyce, Dialogues, where the rainbow is explained as a phenomenon of light reflection and refraction (Conversation 18, “Of the Rainbow” [3:94–100]). 

on the rainbow
in blank verse
THE rainbows beauties are my joy.
in rains where rainbows are the b[e(?)],1
and shoot those rays of light to m[e(?)],
where all the beauties of them are,
and those that see them all reflect.
and those that have the colours best
show me those rays of light that all
reflect upon. And all that know
about the rainbow will reflect those rays
of light that come towards them always are
The ornament of all the sky
but those that do not know about that light
reflect not on it. and in all that light
not one of all the colours do they know
but all that see it justly think upon
The maker of it  justly is not he
best of the rainbows. But what light is that
which to us from that god does flow
all of the men that from that god see light
Will say. what light is this
brown is the rainbow when compared with this
and all the men that see it all reflect
upon The2 beauties of the rainbow
	1The words at the end of lines 2 and 3 are too closely jammed against the outside edge of the paper for legibility. The commas nonetheless remain visible, because, at this stage, Ruskin wrote them like apostrophes, floating above the line.
	2The capitalized “The” appears to have been written first, and “upon” inserted before it as an afterthought.

	10. Latin Rules and Conjugations, perhaps beginning in 1826, and presumably continuous throughout that year and into 1827, MS IVA. Unpublished.
	Dating.—The penciled hand in MS IVA is similar to that in MS I, which contains the earliest reference to Latin, Ruskin’s Harry having to interrupt his play to attend to lessons (no. 3, chap. 2). The next dateable references to Latin lessons occur in 1828 and 1829, when Ruskin is translating Virgil’s fourth pastoral and the Aeneid (no. 32 and MS II)—the former for his father, and the latter for his tutor. The more rudimentary exercises in MS IVA must have been drawn from Adams’s Latin grammar, the “Scotch thing” that his later tutor Reverend Dale contemptuously dismissed (Works, 35:83).
	Viljoen (“Dating MSS of Boyhood,” HGVP, boxes D.V, E.IX) arrived at 1827 as a probable date for MS IVA on the authority of her colleague, Professor Konrad Gries, who commented, “Since Ruskin was reading the Aeneid in the first half of 1829, when he was ten, I should say that these exercises go back at least two years, and were written shortly after he had begun his study of Latin. Incidentally, these exercises look like notes on what he had been told, together with attempts to write up his own models and create, so to speak, his own grammar. This is of course a sensible way of learning Latin, or any language. The contents on the other hand indicate the old-fashioned and nonsensical grammar-analysis approach to language.”

	11. “The Ship” (or “Look at that Ship”), February or March, MSS III, XI. Previously unpublished.
	Dating.—As entitled “look at that ship,” the MS XI copy was dated by Ruskin “febuary [sic] or march 1827.” On the reverse, another hand wrote “16 Feby 1827,” but this date may or may not refer to the manuscript, since, adjoining the date, is written the obscure notation “[No.(?)] 6817.” Were it not for the oddity of the notation, I would have no reservation identifying its hand as Margaret’s. See also part 2, MS XI, “Content,” a.
	The same poem, entitled “THE SHIP” and with “Look at that ship” forming its first line, immediately follows poems dated 1 January 1828 in MS III. A recasting of this poem (no. 28), from late 1828, is also contained in MS III. Printed below is the MS XI version, with variants given from the version in the early 1828 group in MS III. The MS III reworking of the poem is printed separately, no. 28.

look at that ship
her flying streamer and her mountain sides,
her tow’ring mast and filling sails with drops
of water hanging to her high built side
glittering like diamonds dangling in the sun.
yet soon it lessens lessens more and more,
till to a speck reduced it vanishes complete
and to the dangers of the sea exposed
the sailors look with horror at the waves,
then through the clouds the sun shoots forth his beams
the clouds disperse and bright blue sky comes forth
the waters sparkle and at distance seen the specks
of other vessels swimming on the expanse
of ocean—some of them do disappear complete
while others largen1 coming nearer near
then gliding off each take a different course
and disappear again. When shore afar is seen
and on the vessel drives when landing safe
she rides at anchor floating on the waves
at length the anchor pulled she drives away
and passes on. a loud explosion heard
the air around them darkened with the smoke
and steam. a steamboat then had burst
while from among the smoke the vessel quickly goes
and gladly spies homes cliffs and home she goes

	1Largen—probably Ruskin’s neologism for enlarge. The word appears clearly in both MSS XI and III.

	Textual notes.—In the MS III copy, unlike the MS XI copy printed above, initial letters of lines are capitalized. Other variants:
	Title, MS XI look at that ship forms first line of MS III LOOK at that ship
	1, MS XI sides,] sides MS III
	2, MS XI tow’ring] towering MS III
	3, MS XI high built] highbuil<<d>>t MS III
	4, MS XI sun.] sun MS III
	5, MS XI more,] more MS III
	8, MS XI waves,] waves MS III
	10, MS XI forth] forth. MS III
	11, MS XI specks] speck MS III, but word jammed against margin and may be specks
	13, MS XI ocean—some] ocean. some MS III
	20, MS XI on. a] on a MS III
	22, MS XI steam. a] steam a MS III
	24, MS XI goes] goes. MS III

	12. “Wales,” May, MS III, and a May 1827 letter from Ruskin to his father included in the collection of Ruskin’s letters to Charles Eliot Norton, Houghton Library, Harvard University (bMS Am 1088 [5955]). Printed in Atlantic Monthly, XCIV (August 1904), 164; Letters of John Ruskin to Charles Eliot Norton (Boston and New York: Houghton, Mifflin; Cambridge: Riverside, 1904), 197–98; Works, 36:2; and RFL, 158.
	Title written “Wales” in Harvard ms.; “WALES” in MS III.
	Dating.—Ruskin copied nos. 12 and 13, “Wales” and “Spring,” in a letter to his father of May 1827, presumably to show them off as recent compositions. This date thus provides a lower limit for the poems’ fair copies among the “poetry discriptive” (sic) in MS III (nos. 2, 12–19), in which these two poems are placed between nos. 16 and 17. (In MS III, the poems are copied in reverse order from that in the letter—i.e., “Spring” and then “Wales.”).
	The entire group “poetry discriptive” was attributed by Cook and Wedderburn to an earlier date assigned to just one of its poems (see no. 2), but the group’s earliest date is established by Ruskin’s May 1827 letter containing “Spring” and “Wales.” The later date is confirmed by the MS III group having been printed by Ruskin in ink, which his mother said he first used around 28 April 1827 (RFL, 156; see also no. 20, n. 8). The verses in the 1827 letter are likewise printed in ink, although the text of the letter is in pencil. (In his edition of Letters, Norton dates Ruskin’s gift of the 1827 letter as February 1869, but Ruskin’s covering letter is redated January 1869 and its complete text given in The Correspondence of John Ruskin and Charles Eliot Norton, ed. John Lewis Bradley and Ian Ousby [Cambridge: Cambridge University Press, 1987], 125.)
	The “poetry descriptive” section in MS III was probably compiled even later than May 1827, when nos. 12 and 13 were composed. Some of the other poems (esp. nos. 14, 15, 17) describe sites in the Wye Valley and near Aunt Jessie’s home in Perth, Scotland. A journey from Wales to Scotland would have occurred relatively late in the year, since John James was traveling for business throughout the spring (RFL, 166; see no. 20); therefore, the other poems in the “poetry descriptive” section, aside from nos. 12–13, may be ascribed to fall or winter 1827, although not later than January 1828, when MS III as a whole was ready for presentation.
	The placement of the “poetry discriptive” group in MS III can provide no definite evidence about dating, Ruskin having isolated the group at the opposite end of the book from “Harry and Lucy” and the poems immediately following the narrative (poems that were fair-copied around New Year’s 1828). Presumably, and tending to confirm fall or winter 1827 for the “poetry discriptive,” Ruskin placed the group far enough into the notebook to leave space for continuation of “Harry and Lucy” (no. 20)—space that was never used for the narrative, but that does contain stray chapter headings and illustrations that may have been intended to mark proposed sections of the story (see nos. 4, 47; part 2, MS III, “Content”).
	Respecting the poem “Wales” in particular, the earliest definite references to a Welsh journey are later than no. 12--one, later in 1827 when the family visited the Wye Valley and saw Tintern Abbey and Raglan Castle (see nos. 14, 20), and a much later journey in 1831 (RFL, 220). The poem is probably looking forward to the upcoming journey to the Wye Valley, or it might look back on Lake District tours that could have included portions of Wales (see TLC, 6–7; the poem’s reference to “whitened land” suggests a winter journey). It probably glances both ways, since, in spring 1827, the entire family would have been afflicted with wanderlust and looking forward to a Wales and Scotland tour. That year, like 1826, was a toilsome one, and, in spite of John James’s anticipation of “Spring & Summer for new pleasures” (RFL, 152), he was traveling for orders until after his birthday, possibly as late as June (RFL, 167). In addition, Margaret had been ill all that spring and could not travel.

[MS III version] 

WALES
That rock with waving willows on its side
that hill with beauteous forests on its top
That stream that with its rippling waves doth glide
and oh what beauties has that mountain got
That rock stands high against the sky
those trees stand firm upon the rock
and seem as if they all did lock
into each other. tall they stand
towering above the whitened land

	Textual note.—Earlier printed versions of no. 12 have all been taken from the Harvard ms., but only RFL dispenses with editorial punctuation. I have not had an opportunity to check the RFL transcription against the original. By comparison with the RFL text, MS III capitalizes initial letters of lines 1, 3, and 5 only; period for semicolon, line 8.

	13. “Spring: Blank Verse,” May, MS III, and a May 1827 letter from Ruskin to his father included in the collection of Ruskin’s letters to Charles Eliot Norton, Houghton Library, Harvard University (bMS Am 1088 [5955]). Printed in Atlantic Monthly, XCIV (August 1904), 164; Letters of John Ruskin to Charles Eliot Norton (Boston and New York: Houghton, Mifflin; Cambridge: Riverside, 1904), 198–99; Works, 36:2; and RFL, 158.
	Entitled “Spring” in Harvard ms.; “spring  blank verse” in MS III.
	Dating.—See no. 12.

[MS III version]
spring  blank verse
WHAT beautie[s] spring thou hast the waving lilac
and the stiff tall peach with roselike flowers
with yellow corchorus and with nectron blossom
some with grace wave and some though tall are stiff
waving is lilac so is yellow corchorus
waving is cherry blossom though not so graceful
as the spiry lilac and the hyacinth
stiff is the pear and nectron with the peach
and apricot all these are stiff but in return
Their flowers are beautiful  So are birds and beasts
As well as flowers Some are wild and cruel
Such is the tiger panther lynx and ounce
So also in return these animals
Are pretty in the other sort the best
Some dog’s are ugly but conceal within
Some good intentions good ideas good thoughts
But spring there is one tree that thou bring’st forth
That is more beautiful than all the others
This is the apple blossom. O how sweet
Is that fine tree and so I end

	Textual note.—Earlier printed versions of no. 13 have all been taken from the Harvard ms., but only RFL dispenses with editorial punctuation. I have not had an opportunity to check the RFL transcription against the original. By comparison with the RFL text, MS III gives the poem’s initial word in all capitals; other capitalizations, “Their” and “So” (line 10), “As” and “Some” (line 11), and initial letters of lines 12–20. Other variants:
	1, MS III beautie with final s visible in light pencil, Ruskin either forgetting to trace the letter in ink, or, by the letter’s omission, electing at the last moment to make the word singular] beauties RFL (Harvard ms.)
	3, MS III corchorus and with nectron] chorchorus and with nectarine RFL (Harvard ms.). The O.E.D. lists corchorus as the only spelling; however, nectron is listed as an unusual variant of nectarine.
	5, MS III corchorus] chorchorus RFL (Harvard ms.)
	8, MS III nectron] nectarine RFL (Harvard ms.)
	12, MS III  is the tiger panther] are the tiger, panther, RFL (Harvard ms.)
	14, MS III sort the best with the best appearing to have been squeezed into the margin as an afterthought] sort RFL (Harvard ms.)
	16, MS III thoughts] thoughts. RFL (Harvard ms.)
	17, MS III one tree that with tree written above the line] one thought that RFL (Harvard ms.)
	19, MS III  blossom. O] blossom o RFL (Harvard ms.)

	14. “Ragland Castle,” fall/winter, MS III. Printed in Works, 2:256n.
	Title written “ragland castle.”
	Dating.—See nos. 1 and 12 for why Cook and Wedderburn are mistaken in calling this “possibly the author’s earliest poem” (Works, 2:255 n. 1). Since this poem is copied in a smaller, neater script than the other poetry of its group, the “poetry discriptive,” Viljoen proposes that it may have been added later to the front of this section; however, the poem’s print is no smaller than some other portions of the group, and no crowding of lines suggests a later insertion.
	This poem recording a visit to Raglan Castle near Monmouth (Ruskin misspells the name), along with references in no. 20 to Monmouth and Tintern Abbey, confirms that the Ruskins visited the Wye Valley in 1827, sometime after John James completed his unusually prolonged travels for orders in the spring. As revealed by other poems in the “poetry descriptive” and no. 20, the Ruskins went on from southern Wales to visit family in Perth, Scotland.

ragland castle
O RAGLAND beauty as you are
ruined arches towers and views
not ruined views but fine ones
your gothic arches and your falling towers.
with keystones moats and drawbridges
your mice-house moss and burnt up grass
for mice to pull and line their falling dwellings
your spiral towers and holes for mice to live in
your dungeons splits and drawbridges
battlements courts and lodges
so ragland as I have described you
I must take leave of you

	Textual note.—All punctuation in Works is editorial, except for hyphen in “mice-house”; all capitalizations editorial, except “O RAGLAND” (line 1) and pronoun “I.”

	15. “Lochleven,” fall/winter, MS III. Previously unpublished.
	Title written “lochleven.”
	Dating.—See nos. 12, 20; Works, 2:262n.

lochleven
LOCHLEVEN is your castle there1
when tis so long when cried aloud
was boat is near when queen of scots2
stepped in the boat and rowed from shore
when waves were gliding
oars were sliding
oer the wide expanse of you
now fish and waves are gliding
and fishing boats are sliding
but before twas all as quiet
as the day
when we may say
not a leaf is stirring now

	1Identify; also castle’s association with Mary
	2I.e., perhaps, “it is so long when that boat was near, the boat into which the queen stepped.”

	16. “Nature,” fall/winter, MS III. Previously unpublished.
	Title written “nature.”
	Dating.—See no. 12.

nature
thy waving boughs thy falling leaves
and the swallow on the eaves
twittering and the tempests blow
with the rippling waters flow 

	17. “The Hill of Kinnoul,” fall/winter, MS III. Quoted in RGI, 30. Previously unpublished in entirety.
	Title written “The hill of kinnoul.”
	Dating.—See no. 12.

The hill of kinnoul
First winding round the base of that smooth rock
Flows the glass tay not always quite so smooth
as that clear substance. from the surface rises
a steep rock and towering oer its head
appear the hightopped trees above below
green natures colour stands upon the rock
and high above thy head appears the green of trees
walk on the top of that rock and look down
from thence upon the tay the precipice
tween thee and it doth make thee giddy
it is so high that from it seen the tay
appears like a little rivulet among the hills
dwindling into nothing mong the distant mountains

	18. “The Sea,” fall/winter, MS III. Previously unpublished.
	Title written “The sea.”
	Dating.—See no. 12.

The sea
FLOW on thou calm sea bear the ships to their ports
man of war smack or sloop all the different sorts
do not throw them on rocks do not send them on high
or make them upon the high precipice lie
no profit to thee doth this havoc produce
while to men this great treasure’s of infinite use
for money is generally aboard these fine ships
that go over the ocean into which their flag dips

	19. “The Storm,” fall/winter, MS III. Previously unpublished.
	Title written “The storm.” This poem exists in two versions. Next to the last line of the first version, called Text A below, Ruskin wrote “bad.” He then drew a horizontal line and, without repeating the title, drafted the poem anew, Text B below.
	Dating.—See no. 12.

Text A
The storm
SEE the collecting clouds upon the hill
See the collecting roughness of the rill
Hark to the wind it howls among the trees
And the high rising wind the pigs do see
See from the skies the shower of pelting snow
And hear how much the sheep and cattle low
From the dark cloud a flash of lightning plays
And down upon the ground a woman lies
Struck by the lightnings flash the thunder follows fast
With fury from the skies the lightnings cast1

	1In ms., the second syllable of lightnings begins a runover line, and next to this Ruskin wrote “bad,” so the word clearly cannot form part of the poem itself—i.e., “light bad nings cast”—and must instead be a judgment on the poem.

Text B
SEE how from yonder hills the clouds collect
And see how dark and dreary they do look
Promising hail and snow the birds retire
Into their nests and chirp and scream
Prophesying the coming storm down pours the snow
Covering the hedges and the houses tops
Loud howls the wind and whistling roots up many a tree
The sheep bleat loudly and the careful dog
Collecting them in a flock conducts them home
Then when the storm is over from the clouds
Peeps forth the sun and shining on the snow
Gives it that dazzling whiteness to the eye
In which its principle [sic] beauty doth consist
And so in beginning another line I end

	20. “Harry and Lucy . . . vol 2” (prose), fall/winter 1827 through January 1828, MS III. Excerpts printed in WS, 34, 42, 43; and a portion facsimilied in ibid., fig. 5. Previously unpublished in entirety.
	For the title page and frontispiece, which precede the narrative, see part 2, MS III, “Description.”
	Dating and sources.—This narrative dovetales a journey to Scotland with Harry and Lucy’s progress as far as Hastings at the end of volume 1 of “Harry and Lucy” (no. 3), a holiday that actually was taken, almost certainly in summer 1826. However, the Scotland journey in this second volume occurred in 1827 and had no connection with the Hastings, Scotland, and Lake District journeys of 1826 (nos. 2, 3, 6). The 1826 Scotland holiday included the Lakes (TLC, 7), whereas the 1827 journey, as described below, took in the eastern country.
	The second volume of “Harry and Lucy” repeats the compositional pattern established in the first (no. 3). Just as volume 1 was probably begun during the autumn journey of 1826 to Scotland and finished at home around New Year’s in 1827, this volume would have been started during the 1827 Scotland journey, which was taken late in the year owing to John James being kept away on business until after his 10 May birthday (RFL, 166–67)—late enough that it “began snowing very fast” as Ruskin’s Harry and Lucy reached Newcastle (chap. 3). The narrative was then finished at home around New Year’s 1828, and, as in the first volume, the prose text was followed by New Year’s odes for both the present and previous year, along with other poems (nos. 21, 4, 22, 23, 11, 24).
	If the first volume described projects in the manner of Edgeworth and Joyce at Herne Hill and Hastings, the second volume is devoted more to travel, describing an 1827 trip to Wales, and then through western England up to Perth, and homeward by an eastern route. The itinerary took them east through Oxford, and Gloucester; to the Wye Valley for Monmouth, Tintern Abbey, Wyndcliff; to Scotland for Kinross, Loch Leven, and Perth; returning south to cross at Queensferry for Edinburgh; and south along the coast to Haddington, Berwick, Alnwick, Newcastle, Durham, Darlington and nearby Boroughbridge and Ferrybridge; inland toward Doncaster; and there the narrative is sliced off, “But I will put them on to scarthing moor [near Newark-on-Trent] in another chapter”).
	The Perth episode includes Harry trying to sail a toy boat on the Tay, which proves too rough; running with Lucy on the “fine ups and downs on the inch”; and Edgeworthian activities, such as simple physics experiments and the geology of breaking spars to observe the metals. At Boroughbridge, Harry was able to borrow “his favourite history of sandford and merton,” the only direct mention of Thomas Day’s Rousseauist tale in the juvenilia.
	Harry says the family had to “march off” from Perth on the third day of their visit. Their stay may have been cut short by the elder Ruskins’ lingering fears of tuberculosis, to which Ruskin’s cousin James had succumbed in the spring of 1826 (see nos. 6–7). Also, another cousin, the eight-year-old Janet, or “Jessie,” is traditionally believed to have died in 1827 (Works 35:70), although it is unclear precisely when or of what cause (see RSH 182, 184, and no. 89). That Ruskin would have been keenly aware of these mortal illnesses adds poignancy to certain details in the narrative, for example a possible identification of Lucy with cousin Jessie, or Harry’s lingering on the return trip over Sandford and Merton, a story of boyhood companionship. But the poignancy arises in hindsight. If an awareness of death is in the text, Ruskin has kept the issue at bay in the narrative.

HARRY AND LUCY
CONCLUDED
BEING
THE LAST PART
OF
EARLY LESSONS
IN
FOUR VOLS
VOL 2
WITH COPPER PLATES
HERNHILL

chap I
	THE REST of the noon was so foggy that Harry could not see more than four yards before him. But he amused himself with drawing the rest of the noon and took dinner.
	After dinner Harry had to learn his lessons because the electrical phenomenon had quite driven them out of his head  But he learned them so quickly that he had from three to nine to play but he did not play he spent from three to half past it in learning his lessons for tomorrow and spent the rest in drawing took tea and went to bed.
	Next morning a strange adventure befel Harry. As he was walking upon the beach with Lucy he called out here’s a fine place of shell’s for you and he heard you you you you you repeated five times and on looking about found a hollow in the rock and saw that it was an echo[—]’
	But on going home he found them packing up for off for they had staid a week in Hastings”
	Harry said he was sorry to leave it.’
	But we must leave it said his mother’
	Why must we mother.
	Because we have not time to stay longer in it[—]
	Where are we going next mother
	To scotland Harry.
	To scotland what a long travel but I like it the better.”
	But I can tell you you’ll be very sleepy and tired by the way
	I don’t care for that said Harry
	But you’ll see such frightfull precipices[—]
	So much the better said Harry
	But by this time the carriage had got to the door and all getting in drove off[—]”
	First they came to a common public road with hedges on each side of it till at last they came to a beautiful road sometimes hedges sometimes none at all sometimes landscapes sometimes none at all hills hillocks mounts rivulets rivers ponds lakes all in profusion sometimes high on a hill sometimes low in a valley and all along the same
	Harry and Lucys mother had a certain friend living near this place and they went to see him here they saw many pretty and useful flowers such as the mimosa the papyrus and the coffee tree and after having had a good run they got into the carriage and drove into salt hill[—]
	But here they stayed only to dinner or else Harry would have had a fine swing there being a nice one in the ground  But such little disappointments must be put up with and they went on.”
	Soon after this they came to the [same(?)]1 road again and after riding on for a very very very long time and changing horses often they reached oxford[—]
	But it was so very late when they arrived at oxford that they could not see any thing but they were told that they were to stay all night at the hotel and in the morning went to see the colleges. They might have seen the inside if they had time but they had not so that they only went round them looked at their architecture and went home[—]”
	Their father and mother thought very much of it but they had not much time to think about it for harry asked what the distance might be from gloster which he was told they were going to next  his father told him that he did not know and [now(?)]2 the carriage drove to the door.”
	But just as they were passing a fine elm they saw a large pond perhaps a mile broad going complet{e}ly3 across the road without any bridge and the horses plunged into it  whats this cried Harry  Where are we going now cried Lucy they went on on deeper and deeper into the water and at length they went completely through the pond and went forward on their journey[—]”
	For some time the road was very hilly chalky sandy and watery but soon it grew very dusty and such a fine day that they all got out and walked a good way they had intended to walk very quick but they did not for they were attracted by such a variety of objects such as the white major convolvolus in the hedges the black and white broad beans the butterfly like pea’s4 the sparkling rivulets and winding rivers all combined their forces to make them walk slowly  But on turning a corner such a beautiful waterfall presented itself to their view that they stood for above four minutes looking at it and harry just as he turned to look at the glittering diamond like bubbles in the stream he saw something leap up the waterfall and on looking at it he saw that it was a salmon the time passed so very quickly in looking at the waterfall that when harrys father looked at his watch they had been an hour looking at it  when they again got into the carriage harry said that if lucy liked he would give her a drawing of charles’s wain as an introduction to astronomy. Lucy said she would like it very much and we shall here put it down. [plates]5
	Though Lucy liked astronomy very much yet she asked harry why he did not go on with pneumatics.6 Scarcely was this said than they found themselves at the inn and such was the bustle occasioned by packing and unpacking that harry could not answer Lucys question.
	There was very little to be seen at glocester and so they only staid to dine. There was also nothing remarkable in their ride.
	When they got to monmouth harry went out for a walk with his father  they went by the side of the river Wye which was rather full of projecting banks and peninsulas at that place and they staid so long that when they got home they found tea was waiting for them and after tea there was much much deliberation about going to tintern abbey next day  harrys mother was against going to it harrys father was for going to it at length mamma yielded and they went to tintern abbey next day.
CHAP II
	When they had reached the place where tintern abbey was to be seen they got out and walked to it  in so doing they saw some beehives and scarcely had harry turned round from looking at them than he saw tintern abbey. It had a most beautiful window for first there was an arch and then by its sides and top there were all kinds of figures. The door was in this shape [diagram] and when their guide had opened it they found themselves in a large abbey with two rows of pillars one on each side of them but broken and ruined. Their guide showed them some keystones of the arches that had fallen down and harry wondered why the arches did not fall with them  He looked up and saw no gap in the arch and he asked his father what was the reason of all this but his father was busy looking at other things and so Harry was obliged to go to the same ones. After looking for a good while at these Harry and Lucy began to get tired but soon their guide took them through a passage which led them past several ruined rooms. Going through one of these they found themselves on a little green with a hillock [diagram?] on one side of it  from the green nothing was seen but a stone wall but when harry ascended the hillock no view could be more beautiful  they then went out of the abbey and went on to windcliff having gone through a cottage they saw a high rock as perpendicular as the wall of a house full of crags and white  harry was rather puzzled when he was told that he was to climb up this rock but the man who led them carried them by gentle sloping walks which carried them up to the top of the rock without the least difficulty
	They thought that the coming down would not be so easy but it was much easier because it was a gentle slope  when they were safe down they jumped into the carriage and drove off
	In a few minutes they saw the sea and presently they came to the side of it  they were presently aboard a steamboat and soon they arrived at the other side7 they then jumped into the carriage and drove off  they soon arrived at kinross here they took tea and drove off to Perth  Harry and Lucy were so sleepy that they were forced to go to bed whenever they arrived in Perth  their house chanced to be directly opposite the tay with the north inch completely between them and the tay  so when they arose in the morning they thought they would like to go out and take a walk and Harry took his little boat with him thinking it would take a nice sail in the tay but he was disappointed for the tay was so rough that his vessel immediately turned topsy turvy  seeing that to sail his vessel was impossible he took a nice walk with Lucy[,] and then returned home. They had seen some fine ups and downs on the inch so they thought they would hav{e}8 some play on them  Harry then determined to give Lucy a lesson of science so he thought he would show her this experiment.
	Harry then took an ale glass[,] [plate]9 and plunged it with the mouth downwards into a jar of water and very little water entered into it.
	Lucy enquired the reason of this and harry said that the air in the glass was compressed into the smaller space and would not let the water come in farther10
chap III
	HARRYS mother now said to him that it was time to go out so Harry and Lucy put on their things and went out upon the inch they went to the ups and downs which they had seen the last time they were out  and first of all Harry first proposed running up and down the upandowns but lucy proposed breaking spars which harry agreed to and they got many beautiful spars by lucys plan when they came home they showed their spars to their mother who said that there were some different metals in them which Harry and Lucy were very well pleased at.  it was now dinner time and after dinner Harry drew till teatime then wrote a letter for his mother an went to bed.
	This was the second day they had been at perth and on the morrow they were to march off	
	When harry arose in the morning he found all busy with packing and soon they jumped into the carriage and drove off to kinross
	Here Harry went out to see the lake of lochleven and when he came in his shoes were thoroughly wet through he had been so near the lake  he now drew a copy of a church that was close to the inn where they were and then got into the carriage and drove off to Queens ferry.
	While crossing the water the steamboat pitched so that harry could hardly keep upon his legs but when harry got to edinburgh he had such a comfortable room comfortable dinner and comfortable tea that he quite forgot all pitching and travelling.
	Whenever harry got up in the morning he went out to the top of the carlton hill with his papa and when he came in he found the carriage waiting for him into which he jumped and in a few minutes they came in sight of the sea  they travelled by the sea a long while and then going away from it they came to haddington where harry expected to see the sea very well
	But when harry came to haddington they saw nothing but a long street which rather disappointed harry but when they came to berwick they saw the sea finely
	In the morning harry went out on the walls with his father and when he came in jumped into the carriage and drove off to alnwick here harry went with his father to see the castle and then drove off to newcastle  it here began snowing very fast so that harry could not get out nor could Lucy for if they had gone out they would have tumbled every five minutes but when they set off they soon got to durham where they changed horses and went on to darlington here they slept and in the morning went on to boroughbridge.  the reason it was called so was that a very beautiful bridge was in the town the room which they had got had a bookcase in it and harry met with his favourite history of sandford and merton which he had not finished before he was forced to go on to ferrybridge which he was rather sorry for but it was made up at ferrybridge for there they had a complete view of the river which flowed through the town.
	Here they slept and in the morning went off for doncaster this was a beautiful town there was an avenue of trees through which they passed to go into the town  well from this avenue the high towers of the cathedral gilded by the rays of the sun and the mountains at a distance looked so beautiful that people must see it to comprehend it even the great bass with its multitudes of seafowl could not equal this and what made the bass the more charming was that the bass was seen at sunset while this was seen at noon  But I will put them on to scarthing moor in another chapter.

	1Ruskin wrote “seme.”
	2Ruskin wrote “new.”
	3In these early printed (as opposed to longhand) texts, Ruskin occasionally imitates the appearance of italic type, and this appears his intention here—unless he is merely squeezing the word into its space at the end of the line. The second e is missing in the original.
	4Ruskin frequently makes the error of using apostrophes to signify plurals.
	In manuscript, “butterfly” is divided across pages 6 and 7—i.e., “butter fly like pea’s”—with no hyphen, but, at this time, Ruskin uses hyphens mainly to fill out and “justify” his lines, and not necessarily to signify word division. Thus, nothing disproves reading “butterfly” as one word. If read as two words, “butter fly” renders an already obscure passage into gibberish.
	5Two framed plates follow this text on p. 8, one a diagram of the constellation Charles’s Wain, and the second a house labeled “harry and lucys friends house.”
	Harry might have learned to regard Charles’s Wain as “an introduction to astronomy” from Joyce, Dialogues, which takes up the constellations starting from the second conversation on astronomy, and which supplies a diagram of Charles’s Wain that might well have served as the source of Ruskin’s drawing—both Joyce’s diagram and Ruskin’s drawing including not only Charles’s Wain but also the pole star and Arcturus. Joyce’s Tutor uses Charles’s Wain to orient his boys to the north pole star and other stars in the night sky and on the celestial globe. He also points to the many names of this constellation as indicating the arbitrariness of the sky’s mapping from ancient times  (Conversation 23, “Of the Fixed Stars,” 1:121–25; and pl. v, fig. 1).
	6See “Harry and Lucy,” vol. 1 (no. 3), e.g., chaps. 2, 8, and 9.
	7The frontispiece of this volume of “Harry and Lucy” (see part 2, MS III, “Description”) shows “harry going across the sea in a steamboat,” a drawing of a sidewheeler under full steam at sea and crowded with people.
	8The missing e is clearly visible in light pencil, Ruskin having failed to trace the letter in ink. This, along with pencil text visible beneath the ink throughout this “Harry and Lucy,” tells us that, at this time, Ruskin’s use of the pen was limited to tracing (see no. 12).
	9At the bottom of the page, “picture of the Bristol channel,” in which a three-master pulls a smaller boat by a rope, a steamboat approaches from the edge of the frame, and distant vessels are visible on the horizon.
	10This very common experiment appears in an early chapter on hydrostatics in Joyce, Dialogues, Conversation 2, “Of the Weight and Pressure of Fluids” (2:21–22); however, Ruskin’s language very closely—too closely for coincidence—matches the opening of Conversation 19 on hydrostatics, “Of the Diver’s Bell.” A description of the machine is given with embellishments from Erasmus Darwin’s poem The Botanical Garden, e.g., to the effect that “Britannia [shall] rule the wealthy realms, / Which Ocean’s wide, insatiate wave o’erwhelms” (2:115–19).