‘Over-hopefulness and getting-on-ness’: Ruskin, Nature, and America

Ruskin’s innate love of nature (‘the ruling passion of my life’ (5.365)) was strengthened by literary, artistic, and historical associations uniquely connected to the European cultural tradition. Such associations, he proposes in Modern Painters III ‘can be felt only by the modern European child . ....

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Main Author: Sara Atwood
Format: Article
Language:English
Published: Presses Universitaires de la Méditerranée 2020-06-01
Series:Cahiers Victoriens et Edouardiens
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Online Access:https://journals.openedition.org/cve/7411
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author Sara Atwood
author_facet Sara Atwood
author_sort Sara Atwood
collection DOAJ
description Ruskin’s innate love of nature (‘the ruling passion of my life’ (5.365)) was strengthened by literary, artistic, and historical associations uniquely connected to the European cultural tradition. Such associations, he proposes in Modern Painters III ‘can be felt only by the modern European child . . . . [rising] eminently out of the contrast of the beautiful past with the frightful and monotonous present . . . . The instinct to which it appeals can hardly be felt in America, and every day that either beautifies our present architecture and dress, or overthrows a stone of medieval monument, contributes to weaken it in Europe’ (5.369). This is not the only passage in which Ruskin is critical of America; although he had American friends and admirers, he never visited the United States. As he pronounced in Fors, he ‘could not, even for a couple of months, live in a country so miserable as to possess no castles’ (27.170). Ruskin distrusted America’s faith in democracy and was discouraged by its lack of long-established historical and cultural traditions and a corresponding delight in novelty. He was wary as well of American optimism, which seemed to him naïve and facile. Ruskin’s understanding of the natural world was connected by ‘all manner of strange intellectual chords and nerves with the pathos and history of this old English country of ours; and on the other side, with the history of the European mind from earliest mythology down to modern rationalism and ir-rationalism’ (36.533). The American vision of nature depended on leaving the past behind, shedding the very influences that Ruskin most valued. This essay shows that despite sharing with them a deep love of nature and sense of its spiritual power, there are fundamental and important differences between Ruskin’s understanding of the natural world and that of influential contemporary Americans such as Ralph Waldo Emerson, Henry David Thoreau, and John Muir.
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spelling doaj-art-eafae2121c92445c8dcf1d6bba83d2a42025-01-30T10:22:13ZengPresses Universitaires de la MéditerranéeCahiers Victoriens et Edouardiens0220-56102271-61492020-06-019110.4000/cve.7411‘Over-hopefulness and getting-on-ness’: Ruskin, Nature, and AmericaSara AtwoodRuskin’s innate love of nature (‘the ruling passion of my life’ (5.365)) was strengthened by literary, artistic, and historical associations uniquely connected to the European cultural tradition. Such associations, he proposes in Modern Painters III ‘can be felt only by the modern European child . . . . [rising] eminently out of the contrast of the beautiful past with the frightful and monotonous present . . . . The instinct to which it appeals can hardly be felt in America, and every day that either beautifies our present architecture and dress, or overthrows a stone of medieval monument, contributes to weaken it in Europe’ (5.369). This is not the only passage in which Ruskin is critical of America; although he had American friends and admirers, he never visited the United States. As he pronounced in Fors, he ‘could not, even for a couple of months, live in a country so miserable as to possess no castles’ (27.170). Ruskin distrusted America’s faith in democracy and was discouraged by its lack of long-established historical and cultural traditions and a corresponding delight in novelty. He was wary as well of American optimism, which seemed to him naïve and facile. Ruskin’s understanding of the natural world was connected by ‘all manner of strange intellectual chords and nerves with the pathos and history of this old English country of ours; and on the other side, with the history of the European mind from earliest mythology down to modern rationalism and ir-rationalism’ (36.533). The American vision of nature depended on leaving the past behind, shedding the very influences that Ruskin most valued. This essay shows that despite sharing with them a deep love of nature and sense of its spiritual power, there are fundamental and important differences between Ruskin’s understanding of the natural world and that of influential contemporary Americans such as Ralph Waldo Emerson, Henry David Thoreau, and John Muir.https://journals.openedition.org/cve/7411Ruskin (John)EnvironmentNatureAmericaCarlyle (Thomas)Emerson (Ralph Waldo)
spellingShingle Sara Atwood
‘Over-hopefulness and getting-on-ness’: Ruskin, Nature, and America
Cahiers Victoriens et Edouardiens
Ruskin (John)
Environment
Nature
America
Carlyle (Thomas)
Emerson (Ralph Waldo)
title ‘Over-hopefulness and getting-on-ness’: Ruskin, Nature, and America
title_full ‘Over-hopefulness and getting-on-ness’: Ruskin, Nature, and America
title_fullStr ‘Over-hopefulness and getting-on-ness’: Ruskin, Nature, and America
title_full_unstemmed ‘Over-hopefulness and getting-on-ness’: Ruskin, Nature, and America
title_short ‘Over-hopefulness and getting-on-ness’: Ruskin, Nature, and America
title_sort over hopefulness and getting on ness ruskin nature and america
topic Ruskin (John)
Environment
Nature
America
Carlyle (Thomas)
Emerson (Ralph Waldo)
url https://journals.openedition.org/cve/7411
work_keys_str_mv AT saraatwood overhopefulnessandgettingonnessruskinnatureandamerica