The revolution in his mental outfit comes later when he becomes a father. He thinks that his education is complete when the midwife whispers: "Hi, Jock, it's a lassie!" He immediately realises that he is a man of importance, a guide and preacher rolled into one; and he talks dictatorially to the dominie about education. Then he discovers that precept must be accompanied by example, and he aspires to be a deacon or an elder.
Now I want to get at Jock before the midwife gets at him. I don't care tuppence whether he is married or not ... but he mustn't be a father.
* * *
To-day I began to read Mary Johnston's By Order of the Company to my bairns. I love the story, and I love the style. It reminds me of Malory's style; she has his trick of running on in a breathless string of "ands." When I think of style I am forced to recollect the stylists I had to read at the university. There was Sir Thomas Browne and his Urn Burial. What the devil is the use of people like Browne I don't know. He gives us word music and imagery I admit, but I don't want word music and imagery from prose, I want ideas or a story. I can't think of one idea I got from Browne or Fisher or Ruskin, or any of the stylists, yet I have found many ideas in translations of Nietzsche and Ibsen. Style is the curse of English literature.
When I read Mary Johnston I forget all about words. I vaguely realise that she is using the right words all the time, but the story is the thing. When I read Browne I fail to scrape together the faintest interest in burials; the organ music of his Dead March drowns everything else.
When a man writes too musically and ornately I always suspect him of having a paucity of ideas. If you have anything important to say you use plain language. The man who writes to the local paper complaining of "those itinerant denizens of the underworld yclept hawkers, who make the day hideous with raucous cries," is a pompous ass. Yet he is no worse than the average stylist in writing. I think it was G. K. Chesterton who said that a certain popular authoress said nothing because she believed in words. He might have applied the phrase to 90 per cent of English writers.
Poetry cannot be changed. Substitute a word for "felicity" in the line: "Absent thee from felicity awhile" and you destroy the poetry. But I hold that prose should be able to stand translation. The prose that cannot stand it is the empty stuff produced by our Ruskins and our Brownes. Empty barrels always have made the most sound.
* * *
There must be something in style after all. I had this note from a mother this morning.