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524. The Fighting Téméraire* (1839).

John Ruskin

I return to this picture, instead of taking it in its 予定 order; and I think I shall be able to show 推論する／理由 for pleading that, whatever ultimate 協定 may be 可決する・採択するd for the Turner Gallery, this canvas may always の近くに the series. I have 明言する／公表するd in the Harbours of England  that it was the last picture he ever 遂行する／発効させるd with his perfect  力／強力にする; but that 声明 needs some explanation. He produced, as late as the year 1843, 作品 which, take them all in all, may 階級 の中で his greatest; but they were 広大な／多数の／重要な by 推論する／理由 of their majestic or tender conception, more than by workmanship; and they show some 失敗 in distinctness of sight, and firmness of 手渡す. This is 特に 示すd when any vegetation occurs, by imperfect and blunt （判決などを）下すing of the foliage; and the "Old Téméraire"  is the last picture in which Turner's 死刑執行 is as 会社／堅い and faultless as in middle life; the last in which lines 要求するing exquisite precision, such as those of the masts and yards of shipping, are drawn rightly, and at once. When he painted the "Téméraire,"  Turner could, if he had liked, have painted the "Shipwreck" or the "Ulysses" over again; but, when he painted the "Sun of Venice," though he was able to do different, and in some sort more beautiful things, he could not have done those  again.
I consider, therefore, Turner's period of central 力／強力にする, 完全に developed and 完全に unabated, to begin with the "Ulysses," and の近くに with the "Téméraire";  含むing a period, therefore, of ten years 正確に／まさに, 1829-1839.
The one picture, it will be 観察するd, is of sunrise; the other of sunset.
The one of a ship entering on its voyage; and the other of a ship の近くにing its course for ever.
The one, in all the circumstances of its 支配する, unconsciously illustrative of his own life in its 勝利.
The other, in all the circumstances of its 支配する, unconscioucly illustrative of his own life in its 拒絶する／低下する.
I do not suppose that Turner, 深い as his bye-thoughts often were, had any under meaning in either of these pictures: but, as 正確に as the first 始める，決めるs 前へ／外へ his escape to the wild brightness of Nature, to 統治する まっただ中に all her happy spirits, so does the last 始める，決める 前へ／外へ his returning to die by the shore of the Thames: the 冷淡な もやs 集会 over his strength, and all men crying out against him, and dragging the old "fighting Téméraire"  out of their way, with 薄暗い, fuliginous contumely.
The period thus 認めるd to his consummate 力／強力にする seems a short one. Yet, within the space of it, he had made five-sixths (or about 80) of the England 製図／抽選s; the whole 一連の the Rivers of フラン 66 in number; for the Bible illustrations, 26; for Scott's 作品, 62; for Byron's, 33; for Rogers', 57; for Campbell's, 20; for Milton's. 7; for Moore's, 4; for the Keepsake, 24; and of miscellaneous 支配するs, 20 or 30 more; the least total of the known 製図／抽選s 存在 thus something above 400: 許す twelve weeks a year for oil-絵 and travelling, and the 製図／抽選s (wholly 排除的 of unknown 私的な （売買）手数料，委託（する）／委員会／権限s and some thousands of sketches) are at the 率 of one a week through the whole period of ten years.
The work which thus nobly の近くにs the series is a solemn 表現 of a sympathy with seamen and with ships, which had been one of the 治める／統治するing emotions in Turner's mind throughout his life. It is also the last of a group of pictures, painted at different times, but all illustrative of one haunting conception, of the central struggle at Trafalgar. The first was, I believe, 展示（する）d in the British 会・原則 in 1808, under the 肩書を与える of "The 戦う／戦い of Trafalgar, as seen from the mizen shrouds of the Victory"  (480). A magnificent picture, remarkable in many ways, but 主として for its endeavour to give the 観客 a 完全にする 地図／計画する of everything 明白な in the ships Victory  and Redoutable  at the moment of Nelson's death-負傷させる. Then （機の）カム the "Trafalgar," now at Greenwich Hospital, 代表するing the Victory  after the 戦う／戦い; a picture which, for my own part, though said to have been spoiled by ill-advised 同意／服従s on Turner's part with requests for alteration, I would rather have, than any one in the 国家の Collection. Lastly, （機の）カム this "Téméraire,"  the best 記念の that Turner could give to the ship which was the Victory's  companion in her の近くにing 争い.*

* She was the second ship in Nelson's line; and, having little 準備／条項s or water on board, was what sailors call "飛行機で行くing light," so as to be able to keep pace with the 急速な／放蕩な-sailing Victory.  When the latter drew upon herself all the enemy's 解雇する／砲火／射撃, the "Téméraire"  tried to pass her, to take it in her stead; but Nelson himself あられ／賞賛するd her to keep astern The "Téméraire"  削減（する） away her studding-sails, and held 支援する, receiving the enemy's 解雇する／砲火／射撃 into her 屈服するs without returning a 発射. Two hours later, she lay with a French seventy-four gun ship on each 味方する of her, both her prizes, one 攻撃するd to her mainmast, and one to her 錨，総合司会者.

The 絵 of the "Téméraire"  was received with a general feeling of sympathy. No abusive 発言する／表明する, as far as I remember, was ever raised against it. And the feeling was just; for of all pictures of 支配するs not visibly 伴う／関わるing human 苦痛, this is, I believe, the most pathetic that was ever painted. The 最大の pensiveness which can ordinarily be given to a landscape depends on adjuncts of 廃虚: but no 廃虚 was ever so 影響する／感情ing as this gliding of the 大型船 to her 墓／厳粛／彫る／重大な. A 廃虚 cannot be, for whatever memories may be connected with it, and whatever 証言，証人／目撃する it may have borne to the courage or the glory of men, it never seems to have 申し込む／申し出d itself to their danger, and associated itself with their 行為／法令／行動するs, as a ship of 戦う／戦い can. The mere facts of 動議, and obedience to human 指導／手引, 二塁打 the 利益／興味 of the 大型船: nor いっそう少なく her 組織するd perfectness, giving her the look, and partly the character of a living creature, that may indeed be maimed in 四肢, or decrepit in でっちあげる，人を罪に陥れる, but must either live or die, and cannot be 追加するd to nor 減らすd from heaped up and dragged 負かす／撃墜する as a building can. And this particular ship, 栄冠を与えるd in the Trafalgar hour of 裁判，公判 with 長，指導者 victory 勝つ／広く一帯に広がるing over the 致命的な 大型船 that had given Nelson death surely, if ever anything without a soul deserved honour or affection, we 借りがあるd them here. Those sails that 緊張するd so 十分な bent into the 戦う／戦い that 幅の広い 屈服する that struck the surf aside, 大きくするing silently in 確固たる haste, 十分な 前線 to the 発射 resistless and without reply those ３倍になる ports whose choirs of 炎上 rang 前へ／外へ in their courses, into the 猛烈な／残忍な 復讐ing monotone, which, when it died away, left no answering 発言する／表明する to rise any more upon the sea against the strength of England those 味方するs that were wet with the long runlets of English life-血, like 圧力（をかける）-planks at vintage, gleaming goodly crimson 負かす／撃墜する to the cast and 衝突／不一致 of the washing 泡，激怒すること those pale masts that stayed themselves up against the war-廃虚, shaking out their ensigns through the 雷鳴, till sail and ensign drooped 法外な in the death-stilled pause of Andalusian 空気／公表する, 燃やすing with its 証言，証人／目撃する-cloud of human souls at 残り／休憩（する）, surely, for these some sacred care might have been left in our thoughts some 静かな space まっただ中に the lapse of English waters?
Nay, not so. We have 厳しい keepers to 信用 her glory to the 解雇する／砲火／射撃 and the worm. Never more shall sunset lay golden 式服 on her, nor starlight tremble on the waves that part at her gliding. Perhaps, where the low gate opens to some cottage-garden, the tired traveller may ask, idly, why the moss grows so green on its rugged 支持を得ようと努めるd; and even the sailor's child may not answer, nor know, that the night-dew lies 深い in the war-rents of the 支持を得ようと努めるd of the old Téméraire.