They plunge into deep water at once. And there is never any filling up. The transitions are abrupt. You can no more foretell the swift wheel of the feeling than that of a falcon, and the phrases flash forth sharp-edged and deadly like a sword drawn in wrath. The passions speak out savagely and without any delicacies of circumlocution.
It is worth thinking of whether the press, which we have a habit of calling such a fine institution, be not weakening the fibre and damaging the sincerity of our English and our thinking, quite as fast as it diffuses intelligence.
Consider the meaning of expression—something wrung from us by the grip of thought or passion, whether we will or no. But the editor is quite as often compelled to write that he may fill an empty column as that he may relieve an overfilled brain. And in a country like ours, where newspapers are the only reading of the mass of the people, there is a danger of a general contentedness in commonplace. For we always become what we habitually read. We let our newspapers think for us, argue for us, criticize for us, remember for us, do everything for us, in short, that will save us from the misfortune of being ourselves. And so, instead of men and women, we find ourselves in a world inhabited by incarnated leaders, or paragraphs, or items of this or that journal. We are apt to wonder at the scholarship of the men of two centuries ago. They were scholars because they did not read so much as we do. We spend more time over print than they did, but instead of communing with the choice thought of choice spirits, and insensibly acquiring the grand manner of that supreme society, we diligently inform ourselves of such facts as that a fine horse belonging to Mr. Smith ran away on Wednesday and that a son of Mr. Brown fell into the canal on Thursday, or that a gravel bank fell in and buried Patrick O’Callahan on Friday. And it is our own fault, and not that of the editor. For we make the newspapers, and the editor would be glad to give us better stuff if we did not demand such as this.
Another evil of this state of things is the watering, or milk-and-watering, of our English. Writing to which there is no higher compelling destiny than the coming of the printer’s devil must end in this at last. The paragraphist must make his paragraph, and the longer he makes it, the better for him and the worse for us. The virtue of words becomes wholly a matter of length. Accordingly, we have now no longer any fires, but “disastrous conflagrations”; nobody dies, but “deceases” or “demises”; men do not fall from houses, but are “precipitated from mansions or edifices”; a convict is not hanged, but “suffers the extreme penalty of the offended law,” etc.
The old ballad-makers lived in a better day. They did not hear of so many events that none of them made any impression. They did not live, as we do, in a world that seems a great ear of Dionysius, where if a scandal is whispered in Pekin we hear of it in New York. The minstrels had no metaphysical bees in their bonnets. They did not speculate about this world or the next. They had not made the great modern discovery that a bird in a bush is worth two in the hand. They did not analyze and refine till nothing genuine was left of this beautiful world but an indigestion.
The ballads neither harangue nor describe; but only state things in the least complex way. Those old singers caught language fresh and with a flavor of the soil in it still, and their hearers were people of healthy sensibilities who must be hit directly and hard. Accordingly, there is a very vigorous handling. They speak bluntly and to the purpose. If a maiden loses her lover, she merely
Turns her face unto the wall
And there her heart it breaks.
A modern poet would have hardly thrown away the opportunity offered him for describing the chamber and its furniture; he would put a painted window into it—for the inkstand will supply them quite as cheaply as plain glass. He would tell you all about the tapestry which the eyes of the dying maiden in her extreme agony would have been likely, of course, to have been minutely interested in. He would have given a clinical lecture on the symptoms, and a post-mortem examination. It was so lucky for those old ballad-mongers that they had not any ideas! And when they give a dying speech they do not make their heroes take leave of the universe in general as if that were going into mourning for a death more or less.
When Earl Douglas is in his death-thraw, he says to his nephew: