style-第16章
按键盘上方向键 ← 或 → 可快速上下翻页,按键盘上的 Enter 键可回到本书目录页,按键盘上方向键 ↑ 可回到本页顶部!
————未阅读完?加入书签已便下次继续阅读!
hearer。 A gentleman in black; expounding his views; or narrating his autobiography to the first comer; can expect no such warmth of response as greets the dying speech of the baffled patriot; yet he too may take account of the reasons that prompt speech; may display sympathy and tact; and avoid the faults of senility。 The only character that can lend strength to his words is his own; and he sketches it while he states his opinions; the only attitude that can ennoble his sayings is implied in the very arguments he uses。 Who does not know the curious blank effect of eloquence overstrained or out of place? The phrasing may be exquisite; the thought well…knit; the emotion genuine; yet all is; as it were; dumb…show where no community of feeling exists between the speaker and his audience。 A similar false note is struck by any speaker or writer who misapprehends his position or forgets his disqualifications; by newspaper writers using language that is seemly only in one who stakes his life on his words; by preachers exceeding the license of fallibility; by moralists condemning frailty; by speculative traders deprecating frank ways of hazard; by Satan rebuking sin。
〃How many things are there;〃 exclaims the wise Verulam; 〃which a man cannot; with any face or comeliness; say or do himself! A man's person hath many proper relations which he cannot put off。 A man cannot speak to his son but as a father; to his wife; but as a husband; to his enemy but upon terms; whereas a friend may speak as the case requires; and not as it sorteth with the person。〃 The like 〃proper relations〃 govern writers; even where their audience is unknown to them。 It has often been remarked how few are the story…tellers who can introduce themselves; so much as by a passing reflection or sentiment; without a discordant effect。 The friend who saves the situation is found in one and another of the creatures of their art。
For those who must play their own part the effort to conceal themselves is of no avail。 The implicit attitude of a writer makes itself felt; an undue swelling of his subject to heroic dimensions; an unwarrantable assumption of sympathy; a tendency to truck with friends or with enemies by the way; are all possible indications of weakness; which move even the least skilled of readers to discount what is said; as they catch here and there a glimpse of the old pot…companion; or the young dandy; behind the imposing literary mask。 Strong writers are those who; with every reserve of power; seek no exhibition of strength。 It is as if language could not come by its full meaning save on the lips of those who regard it as an evil necessity。 Every word is torn from them; as from a reluctant witness。 They come to speech as to a last resort; when all other ways have failed。 The bane of a literary education is that it induces talkativeness; and an overweening confidence in words。 But those whose words are stark and terrible seem almost to despise words。
With words literature begins; and to words it must return。 Coloured by the neighbourhood of silence; solemnised by thought or steeled by action; words are still its only means of rising above words。 〃ACCEDAT VERBUM AD ELEMENTUM;〃 said St。 Ambrose; 〃ET FIAT SACRAMENTUM。〃 So the elementary passions; pity and love; wrath and terror; are not in themselves poetical; they must be wrought upon by the word to become poetry。 In no other way can suffering be transformed to pathos; or horror reach its apotheosis in tragedy。
When all has been said; there remains a residue capable of no formal explanation。 Language; this array of conventional symbols loosely strung together; and blown about by every wandering breath; is miraculously vital and expressive; justifying not a few of the myriad superstitions that have always attached to its use。 The same words are free to all; yet no wealth or distinction of vocabulary is needed for a group of words to take the stamp of an individual mind and character。 〃As a quality of style〃 says Mr。 Pater; 〃soul is a fact。〃 To resolve how words; like bodies; become transparent when they are inhabited by that luminous reality; is a higher pitch than metaphysic wit can fly。 Ardent persuasion and deep feeling enkindle words; so that the weakest take on glory。 The humblest and most despised of common phrases may be the chosen vessel for the next avatar of the spirit。 It is the old problem; to be met only by the old solution of the Platonist; that
Soul is form; and doth the body make。
The soul is able to inform language by some strange means other than the choice and arrangement of words and phrases。 Real novelty of vocabulary is impossible; in the matter of language we lead a parasitical existence; and are always quoting。 Quotations; conscious or unconscious; vary in kind according as the mind is active to work upon them and make them its own。 In its grossest and most servile form quotation is a lazy folly; a thought has received some signal or notorious expression; and as often as the old sense; or something like it; recurs; the old phrase rises to the lips。 This degenerates to simple phrase…mongering; and those who practise it are not vigilantly jealous of their meaning。 Such an expression as 〃fine by degrees and beautifully less〃 is often no more than a bloated equivalent for a single word … say 〃diminishing〃 or 〃shrinking。〃 Quotations like this are the warts and excremental parts of language; the borrowings of good writers are never thus superfluous; their quotations are appropriations。 Whether it be by some witty turn given to a well…known line; by an original setting for an old saw; or by a new and unlooked…for analogy; the stamp of the borrower is put upon the goods he borrows; and he becomes part owner。 Plagiarism is a crime only where writing is a trade; expression need never be bound by the law of copyright while it follows thought; for thought; as some great thinker has observed; is free。 The words were once Shakespeare's; if only you can feel them as he did; they are yours now no less than his。 The best quotations; the best translations; the best thefts; are all equally new and original works。 From quotation; at least; there is no escape; inasmuch as we learn language from others。 All common phrases that do the dirty work of the world are quotations … poor things; and not our own。 Who first said that a book would 〃repay perusal;〃 or that any gay scene was 〃bright with all the colours of the rainbow〃? There is no need to condemn these phrases; for language has a vast deal of inferior work to do。 The expression of thought; temperament; attitude; is not the whole of its business。 It is only a literary fop or doctrinaire who will attempt to remint all the small defaced coinage that passes through his hands; only a lisping young fantastico who will refuse all conventional garments and all conventional speech。 At a modern wedding the frock…coat is worn; the presents are 〃numerous and costly;〃 and there is an 〃ovation accorded to the happy pair。〃 These things are part of our public civilisation; a decorous and accessible uniform; not to be lightly set aside。 But let it be a friend of your own who is to marry; a friend of your own who dies; and you are to express yourself … the problem is changed; you feel all the difficulties of the art of style; and fathom something of the depth of your unskill。 Forbidden silence; we should be in a poor way indeed。
Single words too we plagiarise when we use them without realisation and mastery of their meaning。 The best argument for a succinct style is this; that if you use words you do not need; or do not understand; you cannot se them well。 It is not what a word means; but what it means to you; that is of the deepest import。 Let it be a weak word; with a poor history behind it; if you have done good thinking with it; you may yet use it to surprising advantage。 But if; on the other hand; it be a strong word that has never aroused more than a misty idea and a flickering emotion in your mind; here lies your danger。 You may use it; for there is none to hinder; and it will betray you。 The commonest Saxon words prove explosive machines in the hands of rash impotence。 It is perhaps a certain uneasy cons