The Summing Up Read Online Free PDF Page B

commonplace young man you are right to be disgusted.
    But if richness needs gifts with which everyone is not endowed, simplicity by no means comes by nature. To achieve it needs rigid discipline. So far as I know ours is the only language in which it has been found necessary to give a name to the piece of prose which is described as the purple patch; it would not have been necessary to do so unless it were characteristic. English prose is elaborate rather than simple. It was not always so. Nothing could be more racy, straightforward and alive than the prose of Shakespeare; but it must be remembered that this was dialogue written to be spoken. We do not know how he would have written if like Corneille he had composed prefaces to his plays. It may be that they would have been as euphuistic as the letters of Queen Elizabeth. But earlier prose, the prose of Sir Thomas More, for instance, is neither ponderous, flowery nor oratorical. It smacks of the English soil. To my mind King James’s Bible has had a harmful influence on English prose. I am not so stupid as to deny its great beauty, and it is obvious that there are passages in it of a simplicity which is deeply moving. But it is an oriental book. Its alien imagery has nothing to do with us. Those hyperboles, those luscious metaphors, are foreign to our genius. I cannot but think that not the least of the misfortunes that the Secession from Rome brought upon the spiritual life of our country is that this work for so long a period became the daily, and with many the only, reading of our people. Those rhythms, that powerful vocabulary, that grandiloquence, became part and parcel of the national sensibility. The plain, honest English speech was overwhelmed with ornament. Blunt Englishmen twisted their tongues to speak like Hebrew prophets. There was evidently something in the English temper to which this was congenial, perhaps a native lack of precision in thought, perhaps a naïve delight in fine words for their own sake, an innate eccentricity and love of embroidery, I do not know; but the fact remains that ever since, English prose has had to struggle against the tendency to luxuriance. When from time to time the spirit of the language has reasserted itself, as it did with Dryden and the writers of Queen Anne, it was only to be submerged once more by the pomposities of Gibbon and Dr. Johnson. When English prose recovered simplicity with Hazlitt, the Shelley of the letters and Charles Lamb at his best, it lost it again with de Quincey, Carlyle, Meredith and Walter Pater. It is obvious that the grand style is more striking than the plain. Indeed many people think that a style that does not attract notice is not style. They will admire Walter Pater’s, but will read an essay by Matthew Arnold without giving a moment’s attention to the elegance, distinction and sobriety with which he set down what he had to say.
    The dictum that the style is the man is well known. It is one of those aphorisms that say too much to mean a great deal. Where is the man in Goethe, in his bird-like lyrics or in his clumsy prose? And Hazlitt? But I suppose that if a man has a confused mind he will write in a confused way, if his temper is capricious his prose will be fantastical, and if he has a quick, darting intelligence that is reminded by the matter in hand of a hundred things he will, unless he has great self-control, load his pages with metaphor and simile. There is a great difference between the magniloquence of the Jacobean writers, who were intoxicated with the new wealth that had lately been brought into the language, and the turgidity of Gibbon and Dr. Johnson, who were the victims of bad theories. I can read every word that Dr. Johnson wrote with delight, for he had good sense, charm and wit. No one could have written better if he had not wilfully set himself to write in the grand style. He knew good English when he saw it. No critic has praised Dryden’s prose more aptly. He