We are always pleased to have a wholesome truth presented to us with such genial vivacity, so that we may feel ourselves less edified than diverted, and learn our lesson without the mortifying consciousness of ignorance. He is a wise preceptor who conceals from us his awful rod of office, and grafts his knowledge dexterously upon our self-esteem.
“Men must be taught as if you taught them not,
And things unknown proposed as things forgot.”
An appreciation of words is so rare that everybody naturally thinks he possesses it, and this universal sentiment results in the misuse of a material whose beauty enriches the loving student beyond the dreams of avarice. Musicians know the value of chords; painters know the value of colors; writers are often so blind to the value of words that they are content with a bare expression of their thoughts, disdaining the “labor of the file,” and confident that the phrase first seized is for them the phrase of inspiration. They exaggerate the importance of what they have to say,—lacking which we should be none the poorer,—and underrate the importance of saying it in such fashion that we may welcome its very moderate significance. It is in the habitual and summary recognition of the laws of language that scholarship delights, says Mr. Pater; and while the impatient thinker, eager only to impart his views, regards these laws as a restriction, the true artist finds in them an opportunity, and rejoices, as Goethe rejoiced, to work within conditions and limits.
For every sentence that may be penned or spoken the right words exist. They lie concealed in the inexhaustible wealth of a vocabulary enriched by centuries of noble thought and delicate manipulation. He who does not find them and fit them into place, who accepts the first term which presents itself rather than search for the expression which accurately and beautifully embodies his meaning, aspires to mediocrity, and is content with failure. The exquisite adjustment of a word to its significance, which was the instrument of Flaubert’s daily martyrdom and daily triumph; the generous sympathy of a word with its surroundings, which was the secret wrung by Sir Thomas Browne from the mysteries of language,—these are the twin perfections which constitute style, and substantiate genius. Cardinal Newman also possesses in an extraordinary degree Flaubert’s art of fitting his words to the exact thoughts they are designed to convey. Such a brief sentence as “Ten thousand difficulties do not make one doubt” reveals with pregnant simplicity the mental attitude of the writer. Sir Thomas Browne, working under fewer restraints, and without the severity of intellectual discipline, harmonizes each musical syllable into a prose of leisurely sweetness and sonorous strength. “Court not felicity too far, and weary not the favorable hand of fortune.” “Man is a noble animal, splendid in ashes, and pompous in the grave.” “The race of delight is short, and pleasures have mutable faces.” Such sentences, woven with curious skill from the rich fabric of seventeenth-century English, defy the wreckage of time. In them a gentle dignity of thought finds its appropriate expression, and the restfulness of an unvexed mind breathes its quiet beauty into each cadenced line. Here are no “boisterous metaphors,” such as Dryden scorned, to give undue emphasis at every turn, and amaze the careless reader with the cheap delights of turbulence. Here is no trace of that “full habit of speech,” hateful to Mr. Arnold’s soul, and which, in the years to come, was to be the gift of journalism to literature.
The felicitous choice of words, which with most writers is the result of severe study and unswerving vigilance, seems with a favored few—who should be envied and not imitated—to be the genuine fruit of inspiration, as though caprice itself could not lead them far astray. Shelley’s letters and prose papers teem with sentences in which the beautiful words are sufficient satisfaction in themselves, and of more value than the conclusions they reveal. They have a haunting sweetness, a pure perfection, which makes the act of reading them a sustained and dulcet pleasure. Sometimes this effect is produced by a few simple terms reiterated into lingering music. “We are born, and our birth is unremembered, and our infancy remembered but in fragments; we live on, and in living we lose the apprehension of life.” Sometimes a clearer note is struck with the sure and delicate touch which is the excellence of art. “For the mind in creation is as a fading coal, which some invisible influence, like an inconstant wind, awakens to transitory brightness.” The substitution of the word “glow” for “brightness” would, I think, make this sentence extremely beautiful. If it lacks the fullness and melody of those incomparable passages in which Burke, the great master of words, rivets our admiration forever, it has the same peculiar and lasting hold upon our imaginations and our memories. Once read, we can no more forget its charm than we can forget “that chastity of honor which felt a stain like a wound,” or the mournful cadence of regret over virtues deemed superfluous in an age of strictly iconoclastic progress. “Never more shall we behold that generous loyalty to rank and sex, that proud submission, that dignified obedience, that subordination of the heart which kept alive, even in servitude itself, the spirit of an exalted freedom.” It is the fashion at present to subtly depreciate Burke’s power by some patronizing allusion to the “grand style,”—a phrase which, except when applied to Milton, appears to hold in solution an undefined and undefinable reproach. But until we can produce something better, or something as good, those “long savorsome Latin words,” checked and vivified by “racy Saxon monosyllables,” must still represent an excellence which it is easier to belittle than to emulate.
It is strange that our chilling disapprobation of what we are prone to call “fine writing” melts into genial applause over the freakish perversity so dear to modern unrest. We look askance upon such an old-time master of his craft as the Opium-Eater, and require to be told by a clear-headed, unenthusiastic critic like Mr. George Saintsbury that the balanced harmony of De Quincey’s style is obtained often by the use of extremely simple words, couched in the clearest imaginable form. Place by the side of Mr. Pater’s picture of Monna Lisa—too well known to need quotation—De Quincey’s equally famous description of Our Lady of Darkness. Both passages are as beautiful as words can make them, but the gift of simplicity is in the hands of the older writer. Or take the single sentence which describes for us the mystery of Our Lady of Sighs: “And her eyes, if they were ever seen, would be neither sweet nor subtle; no man could read their story; they would be found filled with perishing dreams, and with wrecks of forgotten delirium.” Here, as Mr. Saintsbury justly points out, are no needless adjectives, no unusual or extravagant words. The sense is adequate to the sound, and the sound is only what is required as accompaniment to the sense. We are not perplexed and startled, as when Browning introduces us to
“the Tyrrhene whelk’s pearl-sheeted lip,”
or to a woman’s
“morbid, olive, faultless shoulder-blades.”