THE DEVELOPMENT OF LITERARY STYLE
1. Poetry. As can easily be understood, in such a troubled age there is little uniformity in style. The average verse is distinguished by a correct and scholarly diction, somewhat ornate, but clear and ably used. Of the highly ornate style there is little to mention, except the more elaborate compositions of Francis Thompson; but from the scholarly elegance of Dr. Bridges (born 1844) we may run down the scale of simplicity through the mannered graces of Mr. Kipling, the crabbed satiric verses of Mr. Hardy, the high simplicity of Mr. Davies, to the sweet child-verse of Walter de la Mare (born 1873), whose Songs of Childhood (1902), Peacock Pie (1913), and other volumes are the almost perfect expression of artless youth. When we arrive here we cannot allow to pass unnoticed the lyrics of James Stephens (born 1882), whose poems of country life are simplicity itself, but full of the deepest sympathy. His short poem called The Snare is a little masterpiece.
When simplicity develops further it becomes realism, and in poetry the prevailing taste is revealed. The European War, as was natural, produced a crop of realistic poems. Of this kind are the verses of Siegfried Sassoon (born 1886), whose war-poems are distinguished by a passionate desire to get to grips with reality.
2. Prose. In this age, as in most other ages, there is much lamentation over the decay of English prose. There is probably a great deal of truth in the charge that our prose is lapsing into slovenly ways, and there is no doubt that the stress of modern methods leads to haphazard and makeshift production. On the other hand, we have but to glance at the names that have a place in this chapter to find exponents of prose styles who represent the best traditions: the reverent respect shown for English in the ornate prose of Mr. Conrad; the massive middle prose of Mr. Hardy; the sonorous and poetical mannerisms of the Celts; the eighteenth-century grace and precision of Lord Morley; the swift, clean swoop of the Shavian manner; and the quick ease of Mr. Wells. Surely such an age is not unblessed. With regard to the future none dare dogmatize; but, with a confidence born of the knowledge of nineteen centuries, one can look forward undismayed.
GENERAL QUESTIONS AND EXERCISES
Note.—In answering some of the following questions the General Tables (Appendix I) will be of use.
1. With the aid of the following and other quotations, give an account of the origin and development of English blank verse. Compare and contrast the styles of the given extracts.
(1) Now came still evening on, and twilight gray
Had in her sober livery all things clad;
Silence accompanied, for beast and bird,