CHRONOLOGY FOR 1827 (see also nos. 2, 3, 21)
	4. Time: Blank Verse, 1 January 1827, MSS III and IA. Printed in PJR (4o), 1:xxvi-xxvii; PJR (8o), 1:xiii-xiv; Works, 2:258-59; and RFL, 150-51.
	The poem is untitled in MS IA; titled by Ruskin in MS III version as TIME  BLANK VERSE. 
	Dating.Dated by Ruskin when presented as New Years poem for 1827 (MS IA). In MS III, a copy of the poem (with minor variants) precedes The Sun (no. 22), the New Years poem for 1828, suggesting a pattern of including the last years presentation poem in the following years Red Book compilation (see also no. 1). At the end of the MS III copy, another hand than Ruskins has dated the poem Jan 1.1827, referring to the poems original date.
	Given the position of the MS III copy amid writing from early 1828, this copy cannot be a rough draft of the MS IA version, as claimed in the Library Edition (Works, 2:258 n. 1). The MS III copy, rather, must date from late 1827 or early 1828. At this time, the poem was given the title, by which it is now familiarly known (see no. 9 for another instance from 1827 of Ruskin using blank verse in a title).

	The MS III copy wraps around an untitled plate, depicting a house very close to water, on which two people in a small boat are embarking either to or from a large ship. Since the drawing bears no evident relation to the poem, the plate may have occupied its place prior to the poems fair-copying. If so, the plate was probably intended to illustrate the material that precedes the poem in the Red Book, Harry and Lucy (no. 20), which Ruskin might well have expected to extend longer into the notebook.

[MS III]

TIME  BLANK VERSE

PAPA whats time a figure or a sense
Tis one but not the other. Is not time
A figure. Yes it is for on the tops of shops
We often see a figure with two wings
A scythe upon one shoulder and a lock
Of hair upon his forehead while his head is bald
Except the lock upon his forehead and called time
Times very quick and therefore he has wings
When past times gone for ever so he has a lock
Of hair upon his forehead and the proverb is
Take time by his forelock he mows down every thing
And so he has a scythe time is so quick

That might a year be called a day
Day now I think of it tis newyearsday
A happy new years day to you papa
And now I must return to time
Is time only a figure no he is not
What is he then what is he I dont know
Hes not a quality of that Im sure
Oh I remember now he is a god
Entitled Saturn hes a heathen god
And well he might be called one none but they
Could go so quick or jump from tween our hands
As time does, time Im quite away from him
Away from him no surely Im not so
For Im at heathen gods and hes a god
So though I may be from him Im not far
From him and now I must go to him quite
Tis but an hour to merry Newyearsday
For though it is a-day a-days an hour

And whats an hour tis only a wee minute
Made so by the quick course of time
So mr time as Ive said all about you
All Ive to say I must take leave of you

	Textual notes.RFL prints the MS IA version, and is generally faithful to it; however, to clarify syntax, Burd represents full stops by extra spaces that do not always appear in manuscript. In respect of extra spacing, only lines 17 and 20 in RFL are accurate; other lines in RFL showing extra space take liberties with Ruskins more enjambed text in MS IA.
	Several minor variants are found between the MSS IA and III versions. In general, in MS III, as compared with MS IA, Ruskin capitalized the initial letter of each line, and omitted punctuation in lines 11, 12, 23, 28. Other variants:
	1, MS III PAPA] Papa MS IA, RFL
	3, MS III figure. Yes] figure  Yes MS IA, RFL
	11, MS III forelock he] forelock.he MS IA; forelockhe RFL; MS III every thing] everything MS IA, RFL
	14, MS III tis newyearsday] tis New-Years-Day MS IA, RFL

	15, MS III new years day to you papa] New-Years Day to you Papa MS IA; New-Years-Day to you Papa RFL
	21, MS III Saturn] saturn MS IA, RFL
	22, MS III they] them MS IA, RFL
	24, MS III does, with the comma written well above the line, like an apostrophe] does MS IA, RFL
	28, MS III him and] him.and MS IA; himand RFL
	29, MS III Newyearsday] New Years Day. MS IA; New Years Day RFL
	30, MS III a-day a-days] a day a days MS IA, RFL
	31, MS III whats an hour tis] whats an hour tis MS IA; whats an hour  tis RFL
	33, MS III mr time as Ive] Mr time as Ive MS IA, RFL
	34, MS III Ive] Ive MS IA, RFL

	5.
	Dating and sources.= 

Poetry

	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 completelysuch partial erasures having misled editors elsewhere in the poem, as discussed belowand that the steam engine poem ends unfinished with makes a small chain and. The latter possibility seems unlikely, but proof is unavailable.
	Ruskins 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. 
		Like no. 2, On Scotland appears related to the familys 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 poems trope of changes may be less seasonal than emotional, as relating to the death of Ruskins cousin James Richardson, one of Aunt Jesses 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 Jamess 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 Ruskins childhood when he was separated from both parents for a substantial period.
	Jamess 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 Ruskins first Harry and Lucy narrative (no. 3).

Ruskin quickly became despondent over Jamess 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 sisters 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 Jamess 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 familys visit to Perth in fall 1826. Even then, the poem would still have registered Jamess death, since the permanence of his loss would have been brought home to Ruskin during this visit.
For other writing possibly connected with Jamess 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 cant tell them and I quickly end

	Textual notes.Compared to the edited versions in PJR and Works, Ruskins 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 Collingwoods 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. 
	in 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. 6, this poem, with its exhortation to guard our peaceful home from suffering and death, could allude to the removal of Ruskins 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. Visit to Waterloo?

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 well 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. 
	and numbered as 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 Margarets 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 Margarets 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 Margarets 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 Ruskins 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 Jamess 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. after mid-February (or sometime in 1826), MS I. 
	  of group; 

	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 Ruskins 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 Ruskins 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 Gods covenant. This drawing is dated 21 March (n.y.), which would accord with a tentative dating of composition after mid-February 1827.

	Sources.Ruskins pun in the repeated word reflect, meaning both contemplate and mirror, becomes evident, when the poems 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, Ruskins 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 Virgils 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 Adamss 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 Margarets. 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 towring 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 oceansome 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

	1Largenprobably Ruskins 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 towring] 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 oceansome] 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 Ruskins 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 letteri.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 groups earliest date is established by Ruskins 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 Ruskins gift of the 1827 letter as February 1869, but Ruskins 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 Jessies 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 Years 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 poems 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 Jamess 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 Ruskins 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 dogs are ugly but conceal within
Some good intentions good ideas good thoughts
But spring there is one tree that thou bringst 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 poems 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 letters 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 authors 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 poems 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 castles 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 treasures 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 itselfi.e., light bad nings castand 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 Lucys 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 Years 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 Ruskins Harry and Lucy reached Newcastle (chap. 3). The narrative was then finished at home around New Years 1828, and, as in the first volume, the prose text was followed by New Years 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 Days 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 Ruskins 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 Harrys 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 heres a fine place of shells 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 youll be very sleepy and tired by the way
	I dont care for that said Harry
	But youll 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 peas4 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 charless 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 hereunless 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 7i.e., butter fly like peaswith 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 Charless Wain, and the second a house labeled harry and lucys friends house.
	Harry might have learned to regard Charless 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 Charless Wain that might well have served as the source of Ruskins drawingboth Joyces diagram and Ruskins drawing including not only Charless Wain but also the pole star and Arcturus. Joyces Tutor uses Charless 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 skys 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, Ruskins 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, Ruskins language very closelytoo closely for coincidencematches the opening of Conversation 19 on hydrostatics, Of the Divers Bell. A description of the machine is given with embellishments from Erasmus Darwins poem The Botanical Garden, e.g., to the effect that Britannia [shall] rule the wealthy realms, / Which Oceans wide, insatiate wave oerwhelms (2:115-19).