The exaltation, the sin, and the punishment of Tyre have been recorded for us, in perhaps the most touching words ever uttered by the Prophets of Israel against the cities of the stranger. But we read them as a lovely song; and close our ears to the sternness of their warning: for the very depth of the Fall of Tyre has blinded us to its reality, and we forget, as we watch the bleaching of the rocks between the sunshine and the sea, that they were once "as in Eden, the garden of God."
Her successor, like her in perfection of beauty, though less in endurance of dominion, is still left for our beholding in the final period of her decline: a ghost upon the sands of the sea, so weak—so quiet,—so bereft of all but her loveliness, that we might well doubt, as we watched her faint reflection in the mirage of the lagoon, which was the City, and which the Shadow.
As a memoir elevated to the level of fine art, John Ruskin’s Praeterita stands alongside The Education of Henry Adams and the confessions of Augustine, Rousseau, and Tolstoy. A luminous account of his childhood and youth, Praeterita is the last major work of the revolutionary nineteenth-century critic.
Written in the lucid intervals between the bouts of dementia that haunted his final years, Praeterita tells the story of Ruskin’s early life—the formation of his taste and intellect through education, travels in Europe, and encounters with great works of art and artists. In abandoning the traditional linear mode of autobiography, Ruskin opened up the form and was an important influence on Proust. He also provided a vivid, detailed portrait of pre-Victorian and Victorian England that is as indispensable an account of its era as Samuel Pepys’s diary is of England in the seventeenth century.
This edition of Praeterita is accompanied by Dilecta, Ruskin’s own selection from his letters, diaries, and other writings. In these more private writings we get a fascinating glimpse of genius as it flickers in and out of madness. Together these two works illuminate the life and mind of a towering intellect who left an extraordinary mark on the history of aesthetics and culture, and on the very course of autobiography. With a new Introduction by Tim Hilton