How to Fail in Literature [4]
style which may be excellently adapted to a theological essay, may be but ill-suited for a dialogue in a novel. There are subjects of which the poet says
Ornari res ipsa vetat, contenta doceri.
The matter declines to be adorned, and is content with being clearly stated. I do not know what would occur if the writer of the Money Article in the Times treated his topic with reckless gaiety. Probably that number of the journal in which the essay appeared would have a large sale, but the author might achieve professional failure; in the office. On the whole it may not be the wiser plan to write about the Origins of Religion in the style which might suit a study of the life of ballet dancers; the two MM. Halevy, the learned and the popular, would make a blunder if they exchanged styles. Yet Gibbon never denies himself a jest, and Montesquieu's Esprit des Lois was called L'Esprit sur les Lois. M. Renan's Histoire d'Israel may almost be called skittish. The French are more tolerant of those excesses than the English. It is a digression, but he who would fail can reach his end by not taking himself seriously. If he gives himself no important airs, whether out of a freakish humour, or real humility, depend upon it the public and the critics will take him at something under his own estimate. On the other hand, by copying the gravity of demeanour admired by Mr. Shandy in a celebrated parochial animal, even a very dull person may succeed in winning no inconsiderable reputation.
To return to style, and its appropriateness: all depends on the work in hand, and the audience addressed. Thus, in his valuable Essay on Style, Mr. Pater says, with perfect truth: {3}
"The otiose, the facile, surplusage: why are these abhorrent to the true literary artist, except because, in literary as in all other arts, structure is all important, felt or painfully missed, everywhere?--that architectural conception of work, which foresees the end in the beginning, and never loses sight of it, and in every part is conscious of all the rest, till the last sentence does but, with undiminished vigour, unfold and justify the first--a condition of literary art, which, in contradistinction to another quality of the artist himself, to be spoken of later, I shall call the necessity of MIND in style."
These are words which the writer should have always present to his memory, if he has something serious that he wants to say, or if he wishes to express himself in the classic and perfect manner. But if it is his fate merely to be obliged to say something, in the course of his profession, or if he is bid to discourse for the pleasure of readers in the Underground Railway, I fear he will often have to forget Mr. Pater. It may not be literature, the writing of causeries, of Roundabout Papers, of rambling articles "on a broomstick," and yet again, it MAY be literature! "Parallel, allusion, the allusive way generally, the flowers in the garden"--Mr. Pater charges heavily against these. The true artist "knows the narcotic force of these upon the negligent intelligence to which any DIVERSION, literally, is welcome, any vagrant intruder, because one can go wandering away with it from the immediate subject . . . In truth all art does but consist in the removal of surplusage, from the last finish of the gem engraver blowing away the last particle of invisible dust, back to the earliest divination of the finished work to be lying somewhere, according to Michel Angelo's fancy, in the rough-hewn block of stone."
Excellent, but does this apply to every kind of literary art? What would become of Montaigne if you blew away his allusions, and drove him out of "the allusive way," where he gathers and binds so many flowers from all the gardens and all the rose-hung lanes of literature? Montaigne sets forth to write an Essay on Coaches. He begins with a few remarks on seasickness in the common pig; some notes on the Pont Neuf at Paris follow, and a theory of why tyrants are detested by men whom they have obliged; a glance at Coaches is then given, next
Ornari res ipsa vetat, contenta doceri.
The matter declines to be adorned, and is content with being clearly stated. I do not know what would occur if the writer of the Money Article in the Times treated his topic with reckless gaiety. Probably that number of the journal in which the essay appeared would have a large sale, but the author might achieve professional failure; in the office. On the whole it may not be the wiser plan to write about the Origins of Religion in the style which might suit a study of the life of ballet dancers; the two MM. Halevy, the learned and the popular, would make a blunder if they exchanged styles. Yet Gibbon never denies himself a jest, and Montesquieu's Esprit des Lois was called L'Esprit sur les Lois. M. Renan's Histoire d'Israel may almost be called skittish. The French are more tolerant of those excesses than the English. It is a digression, but he who would fail can reach his end by not taking himself seriously. If he gives himself no important airs, whether out of a freakish humour, or real humility, depend upon it the public and the critics will take him at something under his own estimate. On the other hand, by copying the gravity of demeanour admired by Mr. Shandy in a celebrated parochial animal, even a very dull person may succeed in winning no inconsiderable reputation.
To return to style, and its appropriateness: all depends on the work in hand, and the audience addressed. Thus, in his valuable Essay on Style, Mr. Pater says, with perfect truth: {3}
"The otiose, the facile, surplusage: why are these abhorrent to the true literary artist, except because, in literary as in all other arts, structure is all important, felt or painfully missed, everywhere?--that architectural conception of work, which foresees the end in the beginning, and never loses sight of it, and in every part is conscious of all the rest, till the last sentence does but, with undiminished vigour, unfold and justify the first--a condition of literary art, which, in contradistinction to another quality of the artist himself, to be spoken of later, I shall call the necessity of MIND in style."
These are words which the writer should have always present to his memory, if he has something serious that he wants to say, or if he wishes to express himself in the classic and perfect manner. But if it is his fate merely to be obliged to say something, in the course of his profession, or if he is bid to discourse for the pleasure of readers in the Underground Railway, I fear he will often have to forget Mr. Pater. It may not be literature, the writing of causeries, of Roundabout Papers, of rambling articles "on a broomstick," and yet again, it MAY be literature! "Parallel, allusion, the allusive way generally, the flowers in the garden"--Mr. Pater charges heavily against these. The true artist "knows the narcotic force of these upon the negligent intelligence to which any DIVERSION, literally, is welcome, any vagrant intruder, because one can go wandering away with it from the immediate subject . . . In truth all art does but consist in the removal of surplusage, from the last finish of the gem engraver blowing away the last particle of invisible dust, back to the earliest divination of the finished work to be lying somewhere, according to Michel Angelo's fancy, in the rough-hewn block of stone."
Excellent, but does this apply to every kind of literary art? What would become of Montaigne if you blew away his allusions, and drove him out of "the allusive way," where he gathers and binds so many flowers from all the gardens and all the rose-hung lanes of literature? Montaigne sets forth to write an Essay on Coaches. He begins with a few remarks on seasickness in the common pig; some notes on the Pont Neuf at Paris follow, and a theory of why tyrants are detested by men whom they have obliged; a glance at Coaches is then given, next