Missing section title in MS IX, supplied in Works (1903)—In MS VIII draft, the separate parts making up the “Heidelberg” section are easily identified as such, by Ruskinʼs having entitled the second draft installment of the poem as “Continuation Heidelberg”, and bringing this together with its prior (untitled) draft segment to form most of the fair‐copy poem in MS IX; and following this, his having also fair‐copied just enough prose in MS IX to locate its source in an untitled draft segment of MS VIII, with two subsequent prose segments readily identifiable by their contents as belonging together. Yet as in the preceding section of the “Account”, “St. Goar”, the section on “Heidelberg” lacks a section title in MS IX. The section title is supplied without comment in the Library Edition (Ruskin, Works, 2:361), but the editors should have enclosed the title in square brackets, as here in ERM, since Ruskinʼs intention can only be inferred, albeit with reasonable certainty (see The System of Title Citation for Works). Unlike the start of “St. Goar” in MS IX, the “Heidelberg” section does begin with a drawing, if not a title. See the commentary on this drawing, however, regarding its uncertain relevance to the landscape near Heidelberg.

“Now from the smiling afternoon, / . . . / Hazily his rays came down” (MS IX; Poems [1891]; Works [1903])—Lines 1–18 are not extant in MS VIII draft.

“From behind a thunder cloud, / . . . / ʼMid a desert dark and gloomy” (MS VIII; MS IX; Works [1903])—Of these eight lines, the draft of the poem in MS VIII (which is divided between 66v–67r and 69r–70v) begins with the second quartet, starting with the line “Smiling with those bright rays kiss”. The first quartet, starting with the line “From behind a thunder cloud”, first appears in the MS IX fair copy, not in draft. In the Library Edition, the editors drop these eight lines into a note, incorrectly attributing them—all eight of them—to MS VIII. The latter confusion probably arose from W. G. Collingwood having omitted the lines—again, all eight of them—from the poem as printed in Poems (1891), leaving the line “Mannheimʼs towers softened lay—” to be followed by “But a moment:—darkly down”. It is unclear why Collingwood omitted the octet, as the lines are found in MS IX, which he used as copytext (Ruskin, Works, 2:361 n. 1; Ruskin, Poems [4^o, 1891], and Ruskin, Poems [8^o, 1891], 1:135).

“But climbed the cloud yet more and more / . . . / Warned us of the tempest battle” (MS VIII; Poems [1891]; Works [1903])—The first draft segment of this poem ends with the view of “the lovely [Neckar] valley bright” being threatened by storm—the “Rain and tempest [that] scowling lay” like “a monster oer his prey”. Here, in the second draft segment, which continues the poem, Ruskin resumed the mode of sublimity in the threatening storm by developing, and then deleting, lines that pursue a martial figure for the advancing storm. W. G. Collingwood inserted the deleted draft passage into his copytext drawn from the fair copy, because he liked the passage “for the sake of the fine ‘Turner’ sky and effect”. He also remarked that the “poem is apparently unfinished” (Ruskin,Poems [4^o, 1891], 1:283; and Ruskin, Poems [8^o, 1891], 1:285). There is no evidence, however, that the poem as found in the MS IX fair copy is unfinished, although the prose section is certainly incomplete. In his martial metaphors, moreover, Ruskin was likely thinking, not of Turner, but of the history of multiple and brutal attacks by France against the Palatinate of the Neckar valley. This military history is reflected more explicitly, but still rather distantly and allusively, in the prose section of “Heidelberg” (see the contextual glosses for that section). The editors of the Library Edition removed the lines from the main copytext and dropped them in a note (Ruskin, Works, 2:362 n. 1).

Pause–period (MS IX)—See Editorial and Encoding Rationale and Methodology: Element, Attribute, and Value Usage—Commas, Periods, and Other Punctuation.