Date
January–February 1827, most likely after 21 February 1827. Possibly
earlier, however, in the first half of 1826; or later, through spring 1827.
The apparent correspondence between the colophon and
Margaretʼs note nonetheless leaves an opening on 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
“On Papaʼs Leaving Home” and the preceding poem,
“The Needless Alarm”, because that was the only space available.) On the
other hand, one can imagine
Ruskin returning to
MS I to add two more poems along with the colophon,
after
his mother had notated the booklet as being finished.
If the latter is the case—and one notices that
Margaretʼs note takes up a significant amount of space without crowding, as if nothing at the
time obstructed her in writing the note—then
Ruskin may have composed
“On Papaʼs Leaving Home”
around
21 February 1827, when
John James Ruskin sent a
letter as despondent with homesickness as his
sonʼs poem is filled with longing (
Burd, ed., Ruskin Family Letters, 151–52).
About a week earlier, this same journey may also have prompted
Johnʼs composition of
“The Ship” and “Look at That Ship” [1827].
This interpretation of the final two poems of
MS I
“On Papaʼs Leaving Home” and
“On the Rainbow: In Blank Verse”,
seems supported not only by what precedes them in the anthology but also by what probably immediately followed
them chronologically—
Ruskinʼs “
febuary [sic] or march 1827” dating of the
MS XI fair copy of
“The Ship” and “Look at that Ship” [1827]
(see
“The Ship” and “Look at that Ship”[1827]: Date).
It is worth noting, too, that, if
“On Papaʼs Leaving Home” and
“On the Rainbow: In Blank Verse”
are regarded as fair‐copied in
MS I
at about the same time in
late February or March 1827, it is logical that
“On the Rainbow: In Blank Verse” shares its subtitle
with
“Time: Blank Verse”,
composed for
New Yearʼs Day 1827. There is also a convergence of these items with the drawing on the inside of the back endboard of
MS I,
“Heights of Wisdom, Depth of Fools”, which
Ruskin
dated
21 March (provided that date refers to
1827, and not
1826).
Despite this strong concatenation of evidence, one must acknowledge the possibilities of both earlier and later dates for
“On Papaʼs Leaving Home”.
As a case for a later date, if
Ruskin added the final two poems in the anthology following when
his mother wrote her note dating
MS I, then nothing
prevents his having done so considerably later in
1827 than within the first two months.
However, by
April 28, he was writing with pen and ink, and it seems unlikely that he would return to a pencil manuscript
(see
“Wales”: Date,
“Spring: Blank Verse” Date, and
Ruskinʼs Handwriting). Moreover, by the
second half of 1827,
he was working on a new
Red Book,
MS III, and it seems likely the new project
would have deflected his attention from
MS I.
Discussion
The family letters contain frequent references to
John James Ruskin bringing or sending
presents home from his business travels—for example, in
May 1826, a book, possibly a
Robinson Crusoe, the costliness of which
Margaret
impressed on her son (
letter of 25 May 1826 [
Burd, ed., Ruskin Family Letters, 146, and see 149]).
By rhyming “pictures and presents” with “peasants,”
Ruskin perhaps refers to the subject of pictures that
John James may have brought home—prints of peasants, for example, in colorful costumes in
foreign lands that genre painters like
David Wilkie (
1785–1841)
and picturesque architectural and landscape artists like
Samuel Prout (1783–1852)
were depicting from their Continental travels in the
1820s.
That
Ruskinʼs poem ends by focusing more on the despondency of Papa than on the longing of the boy for his father may refer to
John Jamesʼs
“sombre evenings” when he was away, times when he wrote to
Margaret about “a real sadness & sigh[ing] like a child after the Joys of my
home” (
letter of 9 March 1826 [
Burd, ed., Ruskin Family Letters, 134]).
In
1826,
John James was particularly prone to depression over slow business and the consequent necessity for protracted travel
for orders. At home, owing to his long absences, “every thing” was “unsettled and uncomfortable”; and painful longing afflicted even
the servants, according to
Margaret (
letter of 25 May 1826 [
Burd, ed., Ruskin Family Letters, 148]).
At this time,
John James was distraught also over the death of his nephew,
James Richardson, whom he had
employed in his firm, and he confessed to being troubled by guilt that his stewardship might even have had something “to do with this disorder” (
letter of 8 May 1826
[
Burd, ed., Ruskin Family Letters, 140]). In fact, if
Ruskin composed
this poem as late as
April–May 1826, its tone may refer specifically both to
his fatherʼs solemn letters and to his own “forsaken”
feeling of “No papa no James” (
letter of 7 May 1826 [
Burd, ed., Ruskin Family Letters, 141]).