By Eduardo Rapoport
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XX. p. 197. xxx INTRODUCTION ambition was to formulate simple grammars of ornithology, botany, and mineralogy, which should familiarise young students " quickly and easily with the general aspectsM1 of natural objects, and at the same time connect the study with art and literature. Ruskin states his point of view again in a letter to Dean Liddell, to whom he submitted some chapters of Proserpina for critical comment. "2 Ruskin's care, as he says in the same place, was for the plumage, not for the anatomy; and it was in this spirit that he gathered his materials for Lovers Meinie.
Reprinted in a later volume of this edition. INTRODUCTION xlvii What it did intend is partly indicated by the title, and by the motto on the title-page. The myth of Demeter and her daughter Proserpine (or Cora) is a symbol of the earth-mother—at once the origin of all life, and "the receiver of all things back at last into silence. And, therefore, as the most tender image of this appearing and fading life, in the birth and fall of flowers, her daughter Proserpine plays in the fields of Sicily, and thence is torn away into darkness;" l returning, however, in each year from the under-world, and thus becoming a symbol of the miracle of Spring.
483-484), show how many interruptions there were. The chapter was written in 1878; revised in 1878-1879 (when, as he says, he was sixty) ; kept till 1883; printed in 1885. xxv. c xxxiv INTRODUCTION the rocks of the Vosges, the glens of Jura, and the woods of Montanvert; of the arbres de Judee, seen by many a French town; of the wild lilies-of-the-valley at St. Laurent, the gentians at Morez in the Jura, the narcissus-meads of Vevay. In those earlier years, however, though Ruskin loved and painted the flowers, he collected no systematic material.