Ruskin

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This writer raises in the most insistent and interesting way the question of how the poet or thinker¡¦s own personality is entangled in whatever truth he sees.


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I think that most writers conceal the relation between their own past and qualities and what they have to say, not from bad motives, but from discretion or a grown up sense that the reader does not necessarily want to be shown into their inner self, not a comfortable place for anyone else to be.


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Ruskin, because he has not really grow up, does not think to hide or bury the sources of his ideas and tells you about feelings which most writes would edit out of their published books.


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Some of what we read was not meant to be published, of course.


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But for me the subject of Ruskin¡¦s writing is always Ruskin himself as much as it is Venice or art or ideas.


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So I wanted to give you as strong a does as possible of the poet feed the poem (I am thinking of all of Ruskin¡¦s utterances as poetry; is that reasonable?)


I believe this is more often the case than we ordinarily think that poetry is conditioned by all kinds of qualities in the writer we might not think had any great role to play.


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I should perhaps tell you that I feel unusually protective of Ruskin (as if he needed me to protect him !) ; he leaves himself so unguarded, so open to misinterpretation. In some ways he is incredibly flawed and limited as a human being.


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Yet he is the sharpest perceiver the world has ever known.


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These two aspects do not from a contradiction but the necessary parts of a whole.


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I must admit there is a conundrum there that someone can be so silly and so profound at once.


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One thing I have left out almost always Ruskin is writing about art and architecture. He has a hung investment in these subjects; what is it? And where does it come from?


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It is a woeful thing to take interest in anything that man has done.


Such sorrow as I have had this morning in examining the marble work on the fronts of churches.


Eaten away by the salt winds from the sea, splintered by frost getting under the mosaics, rent open by the roots of week (nevertakencleared away), fallen down from the rusting of the iron bolts that hold them, cut open to make room for brick vaulting and modern chapels, plastered over in restorations, fired at by the French, nothing but wrecks remaining ---& those wrecks ---- so beautiful.


The Roman amphitheatre built over into a circular fish market. The palace of Paul Guningi turned into shops & warehouse. I shall have to go back to m[onte] Rosa, I think. Or I shall get to hate the human species, [of] our days, worse than any Timon. Quite well, but no time to write a long letter today. I want all the light I can get.





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