The Art of Writing & Speaking the English Language, Sherwin Cody [hardest books to read .TXT] 📗

being either spectral, or tyrannous; spectral—that is to say, aspects and shadows only of royalty, hollow as death, and which only the “likeness of a kingly crown have on;” or else tyrannous—that is to say, substituting their own will for the law of justice and love by which all true kings rule.

*The preceding lecture was entitled “Of Kings's Treasures.”

There is then, I repeat (and as I want to leave this idea with you, I begin with it, and shall end with it) only one pure kind of kingship, —an inevitable or eternal kind, crowned or not,—the kingship, namely, which consists in a stronger moral state and truer thoughtful state than that of others, enabling you, therefore, to guide or to raise them. Observe that word “state” we have got into a loose way of using it. It means literally the standing and stability of a thing; and you have the full force of it in the derived word “statue”—“the immovable thing.” A king's majesty or “state,” then, and the right of his kingdom to be called a State, depends on the movelessness of both,—without tremor, without quiver of balance, established and enthroned upon a foundation of eternal law which nothing can alter or overthrow.

Believing that all literature and all education are only useful so far as they tend to confirm this calm, beneficent, and therefore kingly, power,—first over ourselves, and, through ourselves, over all around us,—I am now going to ask you to consider with me further, what special portion or kind of this royal authority, arising out of noble education, may rightly be possessed by women; and how far they also are called to a true queenly power,—not in their households merely, but over all within their sphere. And in what sense, if they rightly understood and exercised this royal or gracious influence, the order and beauty induced by such benignant power would justify us in speaking of the territories over which each of them reigned as ‘Queens' Gardens.’

Here still is the true critical style, with exact definitions; but the whole argument is a metaphor, and the object of the criticism is to rouse feelings that will lead to action.

It will be observed that words which by definition are to be taken in some sort of technical sense are distinguished to the eye in some way. Matthew Arnold used italics. Ruskin first places “state” within quotation marks, and then, when he uses the word in a still different sense, he writes it with a capital letter—State. Capitalization is perhaps the most common way for designating common words when used in a special sense which is defined by the writer—or defined by implication. This is the explanation of the capital letters with which the writings of Carlyle are filled. He constantly endeavors to make words mean more than, or something different from, the meaning they usually have.

The peculiar embellishments of the critical writer are epigram, paradox, and satire. An epigram is a very short phrase or sentence which is so full of implied meaning or suggestion that it catches the attention at once, and remains in the memory easily. The paradox is something of the same sort on a larger scale. It is a statement that we can hardly believe to be true, since it seems at first sight to be self-contradictory, or to contradict well known truths or laws; but on examination we find that in a peculiar sense it is strictly true. Satire is a variation of humor peculiarly adapted to criticism, since it is intended to make the common idea ridiculous when compared with the ideas which the critic is trying to bring out: it is a sort of argument by force of stinging points. We may find an example of satire in its perfection in Swift, especially in his “Gulliver's Travels”—since these are satires the point of which we can appreciate to-day. Oscar Wilde was peculiarly given to epigram, and in his plays especially we may find epigram carried to the same excess that the balanced structure is carried by Macaulay. More moderate epigram may be found in Emerson and Carlyle. Paradox is something that we should use only on special occasion.

CHAPTER IX. THE STYLE OF FICTION:

Narrative, Description, and Dialogue.

Dickens.

In fiction there are three different kinds of writing which must be blended with a fine skill, and this fact makes fiction so much the more difficult than any other sort of writing. History is largely narrative, pure and simple, newspaper articles are description, dramas are dialogue, but fiction must unite in a way peculiar to itself the niceties of all three.

We must take each style separately and master it thoroughly before trying to combine the three in a work of fiction. The simplest is narrative, and consists chiefly in the ability to tell a plain story straight on to the end, just as in conversation Neighbor Gossip comes and tells a long story to her friend the Listener. A writer will gain this skill if he practise on writing out tales or stories just as nearly as possible as a child would do it, supposing the child had a sufficient vocabulary. Letter-writing, when one is away from home and wishes to tell his intimate friends all that has happened to him, is practice of just this sort, and the best practice.

Newspaper articles are more descriptive than any other sort of writing. You have a description of a new invention, of a great fire, of a prisoner at the bar of justice. It is not quite so spontaneous as narrative. Children seldom describe, and the newspaper man finds difficulty in making what seems a very brief tale into a column article until he can weave description as readily as he breathes.

Dialogue in a story is by no means the same as the dialogue of a play: it ought rather to be a description of a conversation, and very seldom is it a full report of what is said on each side.

Description is used in its technical sense to designate the presentation of a scene without reference to events; narrative is a description of events as they have happened, a dialogue is a description of conversation. Fiction is essentially a descriptive art, and quite as much is it descriptive in dialogue as in any other part.

The best way to master dialogue as an element by itself is to study the novels of writers like Dickens, Thackeray, or George Eliot. Dialogue has its full development only in the novel, and it is here and not in short stories that the student of fiction should study it. The important points to be noticed are that only characteristic and significant speeches are reproduced. When the conversation gives only facts that should be known to the reader it is thrown into the indirect or narrative form, and frequently when the impression that a conversation makes is all that is important, this impression is described in general terms instead of in a detailed report of the conversation itself.

So much for the three different modes of writing individually considered. The important and difficult point comes in the balanced combination of the three, not in the various parts of the story, but in each single paragraph. Henry James in his paper on “The Art of Fiction,” says very truly that every descriptive passage is at the same time narrative, and every dialogue is in its essence also descriptive. The truth is, the writer of stories has a style of his own, which we may call the narrative-descriptive-dialogue style, which is a union in one and the same sentence of all three sorts of writing. In each sentence, to be sure, narrative or description or dialogue will predominate; but still the narrative is always present in the description, and the description in the dialogue, as Mr. James says; and if you take a paragraph this fact will appear more clearly, and if you take three or four paragraphs, or a whole story, the fusion of all three styles in the same words is clearly apparent.

It is impossible to give fixed rules for the varying proportion of description, narration, or dialogue in any given passage. The writer must guide himself entirely by the impression in his own mind. He sees with his mind's eye a scene and events happening in it. As he describes this from point to point he constantly asks himself, what method of using words will be most effective here? He keeps the impression always closely in mind. He does not wander from it to put in a descriptive passage or a clever bit of dialogue or a pleasing narrative: he follows out his description of the impression with faithful accuracy, thinking only of being true to his own conception, and constantly ransacking his whole knowledge of language to get the best expression, whatever it may be. Now it may be a little descriptive touch, now a sentence or two out of a conversation, now plain narration of events. Dialogue is the most expansive and tiring, and should frequently be relieved by the condensed narrative, which is simple and easy reading. Description should seldom be given in chunks, but rather in touches of a brief and delicate kind, and with the aim of being suggestive rather than full and detailed.

Humor, and especially good humor, are indispensable to the most successful works of fiction. Above all other kinds of writing, fiction must win the heart of the reader. And this requires that the heart of the writer should be tender and sympathetic. Harsh critics call this quality sentiment, and even sentimentality. Dickens had it above all other writers, and it is probable that this popularity has never been surpassed. Scott succeeded by his splendid descriptions, but no one can deny that he was also one of the biggest hearted men in the world. And Thackeray, with all his reserve, had a heart as tender and sympathetic as was ever borne by so polished a gentleman.

As an almost perfect example of the blending of narrative, description, and dialogue, all welded into an effective whole by the most delicate and winning sentiment, we offer the following selection from Barbox Bros. & Co., in “Mugby Junction.”

POLLY.

By Charles Dickens.

Although he had arrived at his journey's end for the day at noon, he had since insensibly walked about the town so far and so long that the lamplighters were now at their work in the streets, and the shops were sparkling up brilliantly. Thus reminded to turn towards his quarters, he was in the act of doing so, when a very little hand crept into his, and a very little voice said:

“O! If you please, I am lost!”

He looked down, and saw a very little fair-haired girl.

“Yes,” she said, confirming her words with a serious nod. “I am, indeed.
I am lost.”

Greatly perplexed, he stopped, looked about him for help, descried none, and said, bending low:

“Where do you live, my child?”

“I don't know where I live,” she returned. “I am lost.”

“What is your name?”

“Polly.”

“What is your other name?”

The reply was prompt, but unintelligible.

Imitating the sound, as he caught it, he hazarded the guess, “Trivits?”

“O no!” said the child, shaking her head. “Nothing like that.”

“Say it again, little one”

An unpromising business. For this time it had quite a different sound.

He made the venture: “Paddens?”

“O no!” said the child. “Nothing like that.”

“Once more. Let us try it again, dear.”

A most hopeless business. This time it swelled into four syllables. “It can't be Tappitarver?” $ªזđ said Barbox Brothers, rubbing his head with his hat in discomfiture.

“No! It ain't,” the child quietly assented.

On her trying this unfortunate name once more, with extraordinary efforts at distinction, it swelled into eight syllables at least.

“Ah! I think,” said Barbox Brothers, with a desperate air of resignation, “that we had better give it up.”

“But I am lost,” said the child nestling her little hand more closely in his, “and you'll take care of me, won't you?”

If ever a man were disconcerted by division between compassion on the one hand, and the very imbecility of irresolution on the other, here the man was. “Lost!” he repeated, looking down at the child. “I am sure I am. What is to be done!”

“Where do you live?” asked the child, looking up at him wistfully.