On the Art of Writing Part 18

My purpose here (and I cannot too often recur to it) is to wean your minds from hankering after false Germanic standards and persuade you, or at least point out to you, in what direction that true study lies if you are men enough to take up your inheritance and believe in it as a glory to be improved.

Neither Oxford nor Cambridge nor any University on earth can study English Literature truthfully or worthily, or even at all profitably, unless by studying it in the category for which Heaven, or Nature (call the ultimate cause what you will), intended it; or, to put the a.s.sertion more concretely, in any other category than that for which the particular author--be his name Chaucer or Chesterton, Shakespeare or Shaw--designed it; as neither can Oxford nor Cambridge nor any University study English Literature, to understand it, unless by bracing itself to consider a living art. Origins, roots, all the gropings towards light--let these be granted as accessories; let those who search in them be granted all honour, all respect. It is only when they preach or teach these preliminaries, these accessories, to be more important than Literature itself--it is only when they, owing all their excuse in life to the established daylight, din upon us that the precedent darkness claims precedence in honour, that one is driven to utter upon them this dialogue, in monosyllables:

_And G.o.d said, 'Let there be light': and there was light.

'Oh, thank you, Sir,' said the Bat and the Owl; 'then we are off!'_

I grant you, Gentlemen, that there must always inhere a difficulty in correlating for the purposes of a Tripos a study of Literature itself with a study of these accessories; the thing itself being _naturally_ so much more difficult: being so difficult indeed that (to take literary criticism alone and leave for a moment the actual practice of writing out of the question) though some of the first intellects in the world--Aristotle, Longinus, Quintilian, Boileau, Dryden, Lessing, Goethe, Coleridge, Sainte-Beuve--have broken into parcels of that territory, the ma.s.s of it remains unexplored, and n.o.body as yet has found courage to reduce the reports of these great explorers to any system; so that a very eminent person indeed found it easy to write to me the other day, 'The principles of Criticism? What are they? Who made them?' To this I could only answer that I did not know Who made them; but that Aristotle, Dryden, Lessing, had, as it was credibly reported, discovered five or, it might be, six. And this difficulty of appraising literature absolutely inheres in your study of it from the beginning. No one can have set a General Paper on Literature and examined on it, setting it and marking the written answers, alongside of papers about language, inflexions and the rest, without having borne in upon him that _here_ the student finds his difficulty. While in a paper set about inflexions, etc., a pupil with a moderately retentive memory will easily obtain sixty or seventy per cent. of the total marks, in a paper on the book or play considered critically an examiner, even after setting his paper with a view to some certain inferiority of average, has to be lenient before he can award fifty, forty, or even thirty per cent. of the total.

You will find a somewhat illuminating pa.s.sage--illuminating, that is, if you choose to interpret and apply it to our subject--in Lucian's "True History," where the veracious traveller, who tells the tale, affirms that he visited Hades among other places, and had some conversation with Homer, among its many inhabitants--

Before many days had pa.s.sed, I accosted the poet Homer, when we were both disengaged, and asked him, among other things, where he came from; it was still a burning question with us, I explained. He said he was aware that some derived him from Chios, others from Smyrna, and others again from Colophon; but in fact he was a Babylonian, generally known not as Homer but as Tigranes; but when later in life he was given as a homer or hostage to the Greeks, that name clung to him.

Another of my questions was about the so-called spurious books; had he written them or not? He said that they were all genuine: so I now knew what to think of the critics Zenodotus and Aristarchus and all their lucubrations. Having got a categorical answer on that point, I tried him next on his reason for starting the "Iliad" with the wrath of Achilles. He said he had no exquisite reason; it just came into his head that way.

Even so diverse are the questions that may be asked concerning any great work of art. But to discover its full intent is always the most difficult task of all. That task, however, and nothing less difficult, will always be the one worthiest of a great University.

On that, and on that alone, Gentlemen, do I base all claims for our School of English Literature. And yet in conclusion I will ask you, reminding yourselves how fortunate is your lot in Cambridge, to think of fellow-Englishmen far less fortunate.

Years ago I took some pains to examine the examination papers set by a renowned Examining Body and I found this--'I humbly solicit' (to use a phrase of Lucian's) 'my hearers' incredulity'--that in a paper set upon three Acts of "Hamlet"--three Acts of "Hamlet"!--the first question started with 'G.tt. p..cha' 'Al..g.tor' and invited the candidate to fill in the missing letters correctly. Now I was morally certain that the words 'gutta-percha' and 'alligator' did not occur in the first three Acts of "Hamlet"; but having carefully re-read them I invited this examining body to explain itself. The answer I got was that, to understand Shakespeare, a student must first understand the English Language! Some of you on leaving Cambridge will go out--a company of Christian folk dispersed throughout the world--to tell English children of English Literature. Such are the pedagogic fetters you will have to knock off their young minds before they can stand and walk.

Gentlemen, on a day early in this term I sought the mound which is the old Castle of Cambridge. Access to it, as perhaps you know, lies through the precincts of the County Prison. An iron railing encloses the mound, having a small gate, for the key of which a notice-board advised me to ring the prison bell. I rang. A very courteous gaoler answered the bell and opened the gate, which stands just against his wicket. I thanked him, but could not forbear asking 'Why do they keep this gate closed?' 'I don't know, sir,' he answered, 'but I suppose if they didn't the children might get in and play.'

So with his answer I went up the hill and from the top saw Cambridge spread at my feet; Magdalene below me, and the bridge which--poor product as it is of the munic.i.p.al taste--has given its name to so many bridges all over the world; the river on its long ambit to Chesterton; the tower of St John's, and beyond it the unpretentious but more beautiful tower of Jesus College. To my right the magnificent chine of King's College Chapel made its own horizon above the yellowing elms. I looked down on the streets--the narrow streets--the very streets which, a fortnight ago, I tried to people for you with that mediaeval throng which has pa.s.sed as we shall pa.s.s. Still in my ear the gaoler's answer repeated itself--_'I suppose, if they didn't keep it locked, the children might get in and play'_: and a broken echo seemed to take it up, in words that for a while had no more coherence than the scattered jangle of bells in the town below. But as I turned to leave, they chimed into an articulate sentence and the voice was the voice of Francis Bacon--_Regnum Scientiae ut regnum Coeli non nisi sub persona infantis intratur.--Into the Kingdom of Knowledge, as into the Kingdom of Heaven, whoso would enter must become as a little child._

[Footnote 1: "Cambridge History of English Literature", vol. iii, p. 213.]

LECTURE XII.

ON STYLE

Wednesday, January 28, 1914

Should Providence, Gentlemen, destine any one of you to write books for his living, he will find experimentally true what I here promise him, that few pleasures sooner cloy than reading what the reviewers say. This promise I hand on with the better confidence since it was endorsed for me once in conversation by that eminently good man the late Henry Sidgwick; who added, however, 'Perhaps I ought to make a single exception. There was a critic who called one of my books "epoch-making." Being anonymous, he would have been hard to find and thank, perhaps; but I ought to have made the effort.'

May I follow up this experience of his with one of my own, as a preface or brief apology for this lecture? Short-lived as is the author's joy in his critics, far-spent as may be his hope of fame, mournful his consent with Sir Thomas Browne that 'there is nothing immortal but immortality,'

he cannot hide from certain sanguine men of business, who in England call themselves 'Press-Cutting Agencies,' in America 'Press-Clipping Bureaux,'

and, as each successive child of his invention comes to birth, unbecomingly presume in him an almost virginal trepidation. 'Your book,'

they write falsely, 'is exciting much comment. May we collect and send you notices of it appearing in the World's Press? We submit a specimen cutting with our terms; and are, dear Sir,' etc.

Now, although steadily unresponsive to this wile, I am sometimes guilty of taking the enclosed specimen review and thrusting it for preservation among the scarcely less deciduous leaves of the book it was written to appraise. So it happened that having this vacation, to dust--not to read--a line of obsolete or obsolescent works on a shelf, I happened on a review signed by no smaller a man than Mr Gilbert Chesterton and informing the world that the author of my obsolete book was full of good stories as a kindly uncle, but had a careless or impatient way of stopping short and leaving his readers to guess what they most wanted to know: that, reaching the last chapter, or what he chose to make the last chapter, instead of winding up and telling 'how everybody lived ever after,' he (so to speak) slid you off his avuncular knee with a blessing and the remark that nine o'clock was striking and all good children should be in their beds.

That criticism has haunted me during the vacation. Looking back on a course of lectures which I deemed to be accomplished; correcting them in print; revising them with all the nervousness of a beginner; I have seemed to hear you complain--'He has exhorted us to write accurately, appropriately; to eschew Jargon; to be bold and essay Verse. He has insisted that Literature is a living art, to be practised. But just what we most needed he has not told. At the final doorway to the secret he turned his back and left us. Accuracy, propriety, perspicuity--these we may achieve. But where has he helped us to write with beauty, with charm, with distinction? Where has he given us rules for what is called _Style_ in short?--having attained which an author may count himself set up in business.'

Thus, Gentlemen, with my mind's ear I heard you reproaching me. I beg you to accept what follows for my apology.

To begin with, let me plead that you have been told of one or two things which Style is _not_; which have little or nothing to do with Style, though sometimes vulgarly mistaken for it. Style, for example, is not--can never be--extraneous Ornament. You remember, may be, the Persian lover whom I quoted to you out of Newman: how to convey his pa.s.sion he sought a professional letter-writer and purchased a vocabulary charged with ornament, wherewith to attract the fair one as with a basket of jewels. Well, in this extraneous, professional, purchased ornamentation, you have something which Style is not: and if you here require a practical rule of me, I will present you with this: 'Whenever you feel an impulse to perpetrate a piece of exceptionally fine writing, obey it --whole-heartedly--and delete it before sending your ma.n.u.script to press.

_Murder your darlings._'

But let me plead further that you have not been left altogether without clue to the secret of what Style is. That you must master the secret for yourselves lay implicit in our bargain, and you were never promised that a writer's training would be easy. Yet a clue was certainly put in your hands when, having insisted that Literature is a living art, I added that therefore it must be personal and of its essence personal.

This goes very deep: it conditions all our criticism of art. Yet it conceals no mystery. You may see its meaning most easily and clearly, perhaps, by contrasting Science and Art at their two extremes--say Pure Mathematics with Acting. Science as a rule deals with things, Art with man's thought and emotion about things. In Pure Mathematics things are rarefied into ideas, numbers, concepts, but still farther and farther away from the individual man. Two and two make four, and fourpence is not ninepence (or at any rate four is not nine) whether Alcibiades or Cleon keep the tally. In Acting on the other hand almost everything depends on personal interpretation--on the gesture, the walk, the gaze, the tone of a Siddons, the _ruse_ smile of a Coquelin, the exquisite, vibrant intonation of a Bernhardt. 'English Art?' exclaimed Whistler, 'there is no such thing! Art is art and mathematics is mathematics.' Whistler erred. Precisely because Art is Art, and Mathematics is Mathematics and a Science, Art being Art can be English or French; and, more than this, must be the personal expression of an Englishman or a Frenchman, as a 'Constable' differs from a 'Corot' and a 'Whistler' from both. Surely I need not labour this. But what is true of the extremes of Art and Science is true also, though sometimes less recognisably true, of the mean: and where they meet and seem to conflict (as in History) the impact is that of the personal or individual mind upon universal truth, and the question becomes whether what happened in the Sicilian Expedition, or at the trial of Charles I, can be set forth naked as an alegebraical sum, serene in its certainty, indifferent to opinion, uncoloured in the telling as in the hearing by sympathy or dislike, by pa.s.sion or by character. I doubt, while we should strive in history as in all things to be fair, if history can be written in that colourless way, to interest men in human doings. I am sure that nothing which lies further towards imaginative, creative, Art can be written in that way.

It follows then that Literature, being by its nature personal, must be by its nature almost infinitely various. 'Two persons cannot be the authors of the sounds which strike our ear; and as they cannot be speaking one and the same speech, neither can they be writing one and the same lecture or discourse.' _Quot homines tot sententiae._ You may translate that, if you will, 'Every man of us constructs his sentence differently'; and if there be indeed any quarrel between Literature and Science (as I never can see why there should be), I for one will readily grant Science all her cold superiority, her ease in Sion with universal facts, so it be mine to serve among the multifarious race who have to adjust, as best they may, Science's cold conclusions (and much else) to the brotherly give-and-take of human life.

_Quicquid agunt homines, votum, timor, ira, voluptas..._ Is it possible, Gentlemen, that you can have read one, two, three or more of the acknowledged masterpieces of literature without having it borne in on you that they are great because they are alive, and traffic not with cold celestial certainties, but with men's hopes, aspirations, doubts, loves, hates, breakings of the heart; the glory and vanity of human endeavour, the transience of beauty, the capricious uncertain lease on which you and I hold life, the dark coast to which we inevitably steer; all that amuses or vexes, all that gladdens, saddens, maddens us men and women on this brief and mutable traject which yet must be home for a while, the anchorage of our hearts? For an instance:--

Here lies a most beautiful lady, Light of step and heart was she: I think she was the most beautiful lady That ever was in the West Country.

But beauty vanishes, beauty pa.s.ses, However rare, rare it be; And when I crumble who shall remember That lady of the West Country?

(Walter de la Mare.)

Or take a critic--a literary critic--such as Samuel Johnson, of whom we are used to think as of a man artificial in phrase and pedantic in judgment. He lives, and why? Because, if you test his criticism, he never saw literature but as a part of life, nor would allow in literature what was false to life, as he saw it. He could be wrong-headed, perverse; could d.a.m.n Milton because he hated Milton's politics; on any question of pa.s.sion or prejudice could make injustice his daily food. But he could not, even in a friend's epitaph, let pa.s.s a phrase (however well turned) which struck him as empty of life or false to it. All Boswell testifies to this: and this is why Samuel Johnson survives.

Now let me carry this contention--that all Literature is personal and therefore various--into a field much exploited by the pedant, and fenced about with many notice-boards and public warnings. _'Neologisms not allowed here,' 'All persons using slang, or trespa.s.sing in pursuit of originality....'_

Well, I answer these notice-boards by saying that, literature being personal, and men various--and even the "Oxford English Dictionary" being no Canonical book--man's use or defiance of the dictionary depends for its justification on nothing but his success: adding that, since it takes all kinds to make a world, or a literature, his success will probably depend on the occasion. A few months ago I found myself seated at a b.u.mp-supper next to a cheerful youth who, towards the close, suggested thoughtfully, as I arose to make a speech, that, the bonfire (which of course he called the 'bonner') being due at nine-thirty o'clock, there was little more than bare time left for 'langers and G.o.dders.' It cost me, who think slowly, some seconds to interpret that by 'langers' he meant 'Auld Lang Syne' and by 'G.o.dders' 'G.o.d Save the King.' I thought at the time, and still think, and will maintain against any schoolmaster, that the neologisms of my young neighbour, though not to be recommended for essays or sermons, did admirably suit the time, place, and occasion.

Seeing that in human discourse, infinitely varied as it is, so much must ever depend on _who_ speaks, and to _whom_, in what mood and upon what occasion; and seeing that Literature must needs take account of all manner of writers, audiences, moods, occasions; I hold it a sin against the light to put up a warning against any word that comes to us in the fair way of use and wont (as 'wire,' for instance, for a telegram), even as surely as we should warn off hybrids or deliberately pedantic impostors, such as 'antibody' and 'picture-drome'; and that, generally, it is better to err on the side of liberty than on the side of the censor: since by the manumitting of new words we infuse new blood into a tongue of which (or we have learnt nothing from Shakespeare's audacity) our first pride should be that it is flexible, alive, capable of responding to new demands of man's untiring quest after knowledge and experience. Not because it was an ugly thing did I denounce Jargon to you, the other day: but because it was a dead thing, leading no-whither, meaning naught. There is _wickedness_ in human speech, sometimes. You will detect it all the better for having ruled out what is _naughty_.

Let us err, then, if we err, on the side of liberty. I came, the other day, upon this pa.s.sage in Mr Frank Harris's study of 'The Man Shakespeare':--

In the last hundred years the language of Moliere has grown fourfold; the slang of the studios and the gutter and the laboratory, of the engineering school and the dissecting table, has been ransacked for special terms to enrich and strengthen the language in order that it may deal easily with the new thoughts. French is now a superb instrument, while English is positively poorer than it was in the time of Shakespeare, thanks to the prudery of our illiterate middle cla.s.s.[1]

Well, let us not lose our heads over this, any more than over other prophecies of our national decadence. The "Oxford English Dictionary" has not yet unfolded the last of its coils, which yet are ample enough to enfold us in seven words for every three an active man can grapple with.

Yet the warning has point, and a particular point, for those who aspire to write poetry: as Francis Thompson has noted in his Essay on Sh.e.l.ley:--

Theoretically, of course, one ought always to try for the best word.

But practically, the habit of excessive care in word-selection frequently results in loss of spontaneity; and, still worse, the habit of always taking the best word too easily becomes the habit of always taking the most ornate word, the word most removed from ordinary speech. In consequence of this, poetic diction has become latterly a kaleidoscope, and one's chief curiosity is as to the precise combinations into which the pieces will be shifted. There is, in fact, a certain band of words, the Praetorian cohorts of Poetry, whose prescriptive aid is invoked by every aspirant to the poetic purple....

Against these it is time some banner should be raised.... It is at any rate curious to note that the literary revolution against the despotic diction of Pope seems issuing, like political revolutions, in a despotism of his own making;

and he adds a note that this is the more surprising to him because so many Victorian poets were prose-writers as well.

Now, according to our theory, the practice of prose should maintain fresh and comprehensive a poet's diction, should save him from falling into the hands of an exclusive coterie of poetic words. It should react upon his metrical vocabulary to its beneficial expansion, by taking him outside his aristocratic circle of language, and keeping him in touch with the great commonalty, the proletariat of speech. For it is with words as with men: constant intermarriage within the limits of a patrician clan begets effete refinement; and to reinvigorate the stock, its veins must be replenished from hardy plebeian blood.

In diction, then, let us acquire all the store we can, rejecting no coin for its minting but only if its metal be base. So shall we bring out of our treasuries new things and old.

Diction, however, is but a part of Style, and perhaps not the most important part. So I revert to the larger question, 'What is Style? What its [Greek: to ti en einai], its essence, the law of its being?'

Now, as I sat down to write this lecture, memory evoked a scene and with the scene a chance word of boyish slang, both of which may seem to you irrelevant until, or unless, I can make you feel how they hold for me the heart of the matter.

I once happened to be standing in a corner of a ball-room when there entered the most beautiful girl these eyes have ever seen or now--since they grow dull--ever will see. It was, I believe, her first ball, and by some freak or in some premonition she wore black: and not pearls--which, I am told, maidens are wont to wear on these occasions--but one crescent of diamonds in her black hair. _Et vera incessu patuit dea._ Here, I say, was absolute beauty. It startled.

I think she was the most beautiful lady That ever was in the West Country.

But beauty vanishes, beauty pa.s.ses....