.I NT ROD U CT I 0 N
TO

THEME-WRITING

UY

J.

13. FLETCHER

l!1o: sT1<ut:T O K tN ENGLI SH tN HAKVARD CoLLBlm

AND

G. R. CARPENTER
Pn0..-Essu 1< ut-· R1mT01<1c A rJU

E r.u~ u :-. 11 C o Ml'OSITluN

1N CoLUMlilA Cu t.LlU .iU

BOSTON
ALLYN &
1895

BACON

.'

./

~ I

I ;"- .

! ( ~ ..

. ..

: . I~,\ ~ :..; '· '

s '.

~

1 , 1

'?._I

I

l:'

-,

1
use

llv G l·'.O RG E R. CARl'ENT l·; lc

in my own cbss<.:s :rnd in tl1os<.: of SC'\'Cr:tl uthc·r tc.. 11. !1 ._-rs

·who h :icl kn own th em in nunus c ript.

In "d q•ti 11.:. : 111 y

frit:nd's work to :·1 nc·w purp•JSC I Ju n'. fr cqucnLly
o bl igeJ Lu c h:rngc tli•: fu rlll o[ tl1c

uri.~ i11 :1I

IH T ll

lccturl''· t<> re

.·'

arrange th e m:itter c ont:1incd in tlH.:rn, :rnd to :idd fresh
m:i.teri:il.

The result Ji;is been a jo i11l prc,d11ll1<•11 . 11·!i1c i1

wi ll bt: found . we tLi11k, tu c unl :ti11 m11cli of th« ";l'J'" :matter ne c <.:ssary fur stude nt s 11·iiu h.t\'c c" 111 pk:u: t ill'.
introd ucto rv course

111

rl1cl C1 1ic

us 1ully

prc·,c11 i,ui

:1t

the beginning of til e 1:rcshman year.
(

; . :-.: .

(

.
~·~

I

-;T\"1 '1•1.1\ 1\ !·ttl ···-.,
! ·1 ~

A '-.ll

····-~

I· I 1 1 1 !« , ·l \'l'F !\'-. ,

111 • 'I!

...

-

···\
·,'

'l .

TA

n LE

0 F C 0 NT ENT S.

I NTRODUCrIO N.
I.

The Purpose of thi s Book. - 2 . Benefits to he derived fr om
this Course o f St udy . - 3. Kinds o f Compos iti on. - 4 . Mu tual Relations o f the El ement s of Composition. - 5. The
Principl e o f Compositio n. - E xercise
Pages

1 - .(>

C IIAPTER I.
1.1\TTEK- WKITIN C: .

2 . T IH· lrn p(' rs0n:i l o r
3. Th <: l \· r:-.un;1 l L cl kr. -· E xe r-

I. 'Th e Ir11 pc rsn11:1 l n r Hu...;incss Lctt cr. -

l:u s in css J,clkr: \, ,urk :-.y . -

I 'ages 7-- 1 1

c ise .
CIJAl'TEI{ IT.
TKA NS LATION.
I.

Th e Two Kind s o f Tran slation . Idea J\lont ~ is fmpDrl :1 nt. -

2.

Tran slati on in whi ch the

3. l li11t s :is

to

l'rnc1·d urc . -

4. Translation in whi ch Form is "-' Import a nt as l\lall \' r.
- Exercise
P:1gcs 1 :.?- 32
;"_

CIIAPTER III.
DESC lllPTION.
I.

Th e Uses of Dcsr. ription. - 2. Th e Natural Method: th e
Ph otog raph . -3. Th e Invent ory. - 4. D escription l1y l k t:iil: th e Beginning. - 5. Tl.:srriptinn by lletail: the Fun d:imcntal Ima ge . -- 6 . 1'1:111 : Arran ge men t and Cl:i ss iti ca ti on. v

'~

7. Th e D efect of the M ethod of Ddails. -8 . Th e Principle of Selec ti on . -9. D esc ripti on hy th e Exngg<"rntio n of
a Sin gle Trnit. - I O. Dl'.sc ription hy a Single Trnit : the
Epithl'. t. - I I . Th e P rin cip le o f Suggestion. - 12. 1\1 ct hods
o f Suggesti.,n. - 13. The Pathet ic Fallacy and it s J\hnse. 14. D esc riptio n by Means o f Narrnti on . - Exe rcise . Pages 33-63

Vil

TA/JLE OF CONTENTS.

TAJJLE OF CONTRNTS.

Vl

ti on . - 5. Meth od of colkcting Mater ial for 1-:xJ""i ti on . ~
6. !'vi c t hod of collt-ctin g J\1atcrial for E xposition : Excl usion
an<l Analt1gy. - 7. l'rncti cnl llin ls. - 8. Tlh: Pbn . -9 .
What is Indispensabl e to a Goo<l Expositi on. - 10 . Excrc i>c.
l';i gcs

')2 - I (

H}

CHAPTER VII.
ARG UM ENT.

CHAPTER IV.
NAl\RATIO ~.

1.

T he F itn ess o f Langua ge for Na rration. - 2 . The Ext e nt o f
the J\fa tc rial for Nci rrativc. - 3. An Objective J\,int Necessary. - 4 . The Two Grea t Classes o f Snhj cct -Mall cr in Ncir ratio n, an cl th e Means Appropriate to Each . - 5. I listo ry:
Int erconn ect io n o f F acts. -6. G ui des for selec ting the Fact s
in Jlistori cal W ritin g: Int erest . - 7. I low Jnd g1i1e nl shonM
act as a Check on In te rest. - 8. Gu id es for selecting th e
F acts in l listorical \ Vriting: Symp:i th y. -9. Gu id es for
sc l<"ctin g the Fac ts in I listnri c d \\'ritin g: R eject io n. 10. Roman ce : the Test o f the Fact not Lit eral Tru th hut Consistency. -- 11. Elements o f A ll N arra tive . - 12. Th e Purpose. - 13. T he Plot an d th e C harncte rs. - 14. Sit uat ion.
- 15. The Beg inning; th e Plan ; Clima x. - E xe rcise.
1'ai:;<:s 64 - S6

r. Argum ent an Act o f Jmlg mcnt. - 2 . Argument a Mean> o f
Sclf-Dc kn cc. - 3. Th e Dignity of Expositi on and the P o11gcrs o[ the Argnm cnlat ivc Atti tu(lc . - 4 . Earncst1wss and
T act the Main Qual ities call ed for in ,\rgum c nl. -- 5. The
Point al Issue. - 6. The P ro pos itio n: the T erms. - 7. l Jdi ·
nit ion of T erm s. - 8. Terms and the S pecia l Issue. C). Th e Sp ecia l Issue IO. Proof . - 11. An ot hn F x;1ml'k of
l'roo L - 12. Proof :i.nd Ev idence. - 13 . Ki11d ~ <1 f F\·idcncc .
- 14. Tt.:sls o f Evide nce. - 15. Smne kind~ u i Evid (.· nci: arc
Stron ger th an Others. - 16. J\ Scheme nf !he l ~t · lative Fnrcc
of l)iffcrL"nt Sn rt s of Evi< l t~nce. - 17 . Tlt(: ~ lr1 · 11 gt h an d
\'v'cakn css of th e Kind s o f E vide nce: Evidenc e l•dnrt· Fxj'ni cncc. - 18. Th e Stre ng th and \\\.::i knt· :-.s 11f the Kind s o f
Evid ence: i':Y idc ii ct: :1ll t: r P;uti rd Fxp 1.: ri c1h~ ~·. --· 1 ~.1- Tlw
Str e n g th :ind

(kncc
-

CIJJ\PTER V .

tlH_' \Vl':1kn1__·ss of th e
Full Expc ri c 1h:c. -

h:, ~c d t>I\

K ind ...; of

F \'id t._'ncc:

FYi -

20 . ):ri ch f1i r 1\ r ~: u m• · 11t.

21. Exerc ise on tli t.: l'rin cip lc:s of i\rg11111 c1 1t. --- 22 . l'{'r·

suasion .

Pages

1 I o- I

3'.l

C R ITI C IS M.

1. Lil crar y \.riti cism and it s Tm portancc .
site :

!1

Kn owl cd bL' of th e F nct..:. . -

-2.

Th e First R equi-

3 . Ju dg me nt mn:-; t h(' Yt' ll-

d c n: <l in :\ cc111d :rnc c wi1h

the

llcg inning . - 5. Str11 cturc:

the S11m111ary. - 6. Stnwturc :

F act:-; . --- 4. Str11c lu r c : th e

\.l L\ l'TEIZ V I.
EXl'OS ITI ON.
I.

th e· Tw o Creal C b.s~cs nf Compositio n. 2 . Exposil i11n is He ncfi (:ial to Jn tdkct 11 :1 ) ( ;,.ow th . - 3 .
'Th e ~ uhjv(t-~ l : ttlc r of Ex pq~ iti o n. - 4. Uni1y in E x pt)~i-

Di , linrti () n

lictw ('c n

l Nt>l(X

TO

l'Ass M-:r:s <.)1 10Tr:D

. P:i_ge 135

INTRODUCTION.

1. The Purpose of this Book. -A first course in rh etoric usually deals with the choice of word s, with the
ways in which they arc combined into senten ces, with
the structure of parag raphs and of the whol e co mposition, and with th e most important qua li ties of styl e.
At th e encl of such a ge neral course the pupil is
r eady for work of a different ch aracter : he is prepared to exam in e t he various kinds of writin g whi ch
m e n arc nat urally called upon to un dertake or to
appreciate, and to search for th e so rt of treatment
that is parti cularly appropriate to each. For it is
obvious that an argument, for example, is not constructed in the s:.ime fashion as a book-review, nor is
the ai m whi ch we have in mind wh e n we arc descr ibing a scen e the same as that we have in view wh en
we t ell a st ory. O ur study of the kind s of compositi on, th en, is simply an att empt to discover what
sort of treatm ent is appropriate to ce rtain im portant
va ri eties of subject-matter which we arc cont inually
called upon to handle in written compos ition.
2. Benefits to be Derived from this Course of Study. From a co urse of study like this we may exp ·ct to
derive two kinds of b enefit: first, we shall get a

·,

2

/, \"71.'0/)Cc. T/1 ! , \'.
!.'."/'/((}fl(.'("/'/(! .\'

clear idea c1f llil: llld]10 ds actu:illy employed i11 sc1· cr;il importa nt "i)ecies of cnmposit i11n, a11d so!llc
experience in ;1pplying- tl1cm t11 w ork (lf "lll' <JWll ;
second, we shall lt::trn to apprcci:1te critictlly ccrt:ii 11
J:"t'mTs of literature.

3. The Kinds of Composition. ·- Thl: kind.~ of cumposition which we ~h all cons ider :ff(' r .t·t lt:r-writi ng-, Transl::itinn, Description. 0.':trr:tti.,11, C1·it i ci.~m .
Expvs iLio n, l\ rr;mncnt, :inri I'cr.~u:ts j, 111.
Of t hcse,
De:;cription , Narmtion, Exp ns iti<ln . /\ it-:11111"11!, :u:d
J'crsuas 1on arc the most impnrt:mt, for tiie·y 111:1y l.1e
u msidercci as consf itutin g-. in a hrg-e sc11se", t lie «kmcnts uf curn1111:-;it1on, in as 111ucli as nothing· Ct11 he
written i11 j>1«1:-<c: ur \·er::;c th :tt is not c ith (' r n11..: of
thern nr :'t cnm)Ji1utiv11 of two t>1· mor·c· c•f tli,·111. Tl 1c
fu11lli <J11s u[ lilt..:sc five clements arc the iollll\ving:
Dcs cr ipti0n prn d uccs in lhe lllind of the re:i.<ic r a
picture, as it were, of certain objec ts o r persons ;
N arrat ion .; i\· cs :m account of an event o r ::i series of
events; Exposit iun explains the theory un derly ing
a grnup of conncctcd facts; Argument convi n ces t·he
r c"adcr of the truth of a pro]Josit ion, o r propos iti ons;
and Pcr.su:i.sion in d uces th e reader to :1.d op t a c ertain
line of actio n . ./\n account of th e vi e w from Mt.
vVashin g ton, for in st:mce, would be a description; an
acc o unt of the as ce nt of Mt. \tVashington, a narrative;
an account o f the way in whi~h a volcmo is formed,
or a c ts, w o uld b e a n c xpositinn; th e proof of the fact
that volcanic actio n h:i s :i direct con n ection with

ch:rn;..::es in the hcd of the: sc;t \\'1111ld ht· ;n1 ;i_i-;<11111( nL;
l .1 ·· , 11itic1l ·1cldrl''"' t iut \\"<>i1 a J11 ~ lll ·~ \'nLc \\'(11 1'.d
arn •, J"
Tlie·sc· li\·1 · ki111~~
.. '• icce .if pcTSll:lSlllll.
·
, 1cc,.,.[l\T
J
1ca,1c1'
· 11
l
·'I··
.
'I he· f11rt litT no~ in·i,,
l: u . . 1:1
'"
1· t \'"t
of C(>ll1fHIS .,icl· ll11,
' '
. .
..
,
. (ll1c
. . ll. r I \ ·liich Ins
to d)). \I'll !\ ,1/n11.• ;' _,,_
dl l ·l1
t\V( ) ·. 1· rn111>s,
.
.
.-., ,
.
_.,.
;. ..
c/itr. . Dc·sciipt1il11 • tc-l1s
11:, 1. 1,,",,
n1c ()tiler \\ 1. 11 1 ,, 11u ,
.
.. . 1

. . 11· l i : 1t· t'11<\
' . 1 I'' •. )'..:\J"'' .I t \1111, 1.. , l
l · ... . . .. '\:1rr:1t11111
t11n_.S11/1,.
'
. ' . ·t rt ·i >I t' t T l:l111
the othe r h:rnil. e'Xil•i~111ils iO 11s \111 11.111.
.'
.
thou.i_ .hts ; J\rc::u111e11t co11 1·inn· s .us r>I 1 111_· Ut1111 . iii
falsitv. of certain th11u~hls; a11<1 l'cTS\J:ISi11n 111:1ke'S
'.
t'nnu~
, · ]1'L.s '"l ·st i111ul11s. l1J .I CLl>lll.
T_1,.11"' rl1st 111«·
ccrt~L1:1
lion we sii:ill c.\:1!lline Lttt:r in ;.;r1·:1tcr dd.111.
, .
Mutual Re1at1ons
of the Elements of
. Composition.
. -.·
,.
,
'
j
lll
j
l"l'( ll I<' 11 ( ]\· S:1, Ii I<'
live: dcmcnts 111 C11111pi1s1,'
• , .. , . . "
...1 s'C ."l"Cc']\·
tll~ ·. lll"lll~I"
. t . · ~( · h other sn t Iut u11e L.t
i
. ,
·~
Ill I) l " .
'
if
I ;\. Tl
for inst :rnce, wh ere Ucscripti11n lc:t\·es" '.111" .. ' .11 '.:
tiqn lH· .~ins.
It ls r:trc·, .t1>(1, tii • tl we·. men w 1, h :tTh
one of them in its m os t e t'f c'Clive form
.
. llll<«>111 hi 11L·tl

4

.
These

..i

with some nne of the tJthcrs. 1.) cscri; )t 1' )'1, . !11r .cx:t1n,, .
,
f
.
·]
lJy
'llC:lllS
i
ii
, ;.11)]C
,
is
sometimes
i)csL
pe
r
o1
me
1
.
.
.
.
l
-' ··JI sc:L.,, ,''"()Od
N~1rralH1n
dnes nnl
1 as we s1L1
ration, anc'
..
. .
.
. w1·l·l 1 tl· 1c· tl""
often dispense
"~ <il. ] )cscn11t1011.
·

. ·
The fund:rnit:nt rl
5 The Principle of Compos1t1on
.
nri 11•c i1)k: on which
w e s lia 11 1),t:-;c. our. .'study i)f the·
• ls of compos1t1nn 1s
· t 11a t o f r c'
· l:it1v1 t;· · /\ com·
k'
111:
.
·t
]JC
1'ucl
rrec1
not
hy
any fix .ed rule f or.
pos1t1on mus
,.., '
ca non, hut simply and solely l~y its efkct1venes~ . o1,
. 11an <I . N nw. tl11s· effcct 1vc ncss fn1. .the
the purpose 111
purpose in hand depends on three variable quant1 t 1cs,

.INTRODUC TION.

4

as it were: the prec ise object in view, the individuality of the writer, and the capacity of the read e r.
The principle of relativity makes it n ecessary that
we should, in pr:ictisi ng any of the kinds of co mpos ition, decide (1) just what treatment will be m ost
appropriate to the subject-matter in general; (2)
what trea tm e nt will most clearly brin~ o ut the parti c ular id eas or im pressions of the subject-matter
which exist in the individual min cl of th e author;
and (3) what treatment will mak e most clear this definite subj ect seen from a g iven point of view to a
particubr class of read ers o r h earers. If we neglec t
the first cons ide ration, we may find ourselves writingin verse - as freq ucntly happ e ns_.:.__ what more properly belon gs in prose, or making- a son n et out of what
is b ut mat erial for a ballad. If we neglect th e sccoml, we may find ourse lves writing that which we
arc under the impression we slt011ld think, not what
we really do think. If we neglect the third, we may
fall into th e uncomfortable crroi· of informin g the
public at great length of what it already knows, or
of talking or writing in a way that it can not und e rstand or appreciate.
EXERCISE.

J. Discuss : 1

1. The twofold valu e of the study of the kinds of
composition.
1

Th e su l>jccls

that follow

or ex tempore I hl' mco;; .

arc sn it ahlc ln pics f11r written <' xc rcis s

5

tNTA' Oi JUC 'f"/ON.

.t. r a" distin tr u1shed frolll
2. The kinds oi wn mt,
J

"'

each other.
of the kinds of compo3. The interdependence
"t"
aml the
sit ion.
prin ciple of c~m?os1 ion
4. The grournl
this ground pnnctplc.
three clements of
. .
·h. nov.Jist' s art, as bid
I I. Do the prim:1plcs of t c b
. of the mo st
\
.
. ) aSS' l • .. eS
y one
Jown in the (ol o w tlli!, \ . '. o
, T ·c wilh what is
··t . - . o[ uur time, .1g L
successful wi 1 us
-· .· \ · ( com the fumbrnenta.l pi rn c1p c 0
sai<l a.bovc about
position?
.
, I intcrct ccs theories
ettre avec un cga
.
"11 f aut a(\ m
.
' ·\\ ·s ino<lu 1scnl,
.. {
.. ·t J·u<'e r !es u:uvrcs qu e c.
o
\
1
. \ ·ur :uti stiquc en
d 'art s1 d1ffcrcntcs e
.
. 1t <le vue t e eur v.l c
.
.
uniquement au pun . ,
~ , \ . <l'oii elks sont nces .
. . . I ·s iclees <Yener::t es
acceptan t apno11 e
"' ' . . d .. faire unc ti.:uvre
d . ·t d'un ccnvain ~ '
"Contester \e 101
\ · \. forccr :J.
.
. •uvre rea\iste, c'est vou u1r c
(cuse r son ori·.tin
;t\ it<'., ne p::ts
poet1que ou une u:
0
.tcmpcnment re
.
moc\1l1er son
· . .' cl l'a:i\ et de l'intc lli:;e ncc
lui pcrmettre d~ se ser~1.r e
q ue b nature lui ::t c\onnes:r Jes choses "u~•·\\ ..~Jc ou bic\cs,
l voi
"Lui rcprocher ce
· .. -··st lu1 ie.
. i ues o-racicuses ou smisll es, cc
p1.:ttteS OU cp C\
' o ( \ · t ·1\e OU teJ\c f;u;o n el ck ne
rocher d'etre con[orme c e e
,
P
.
. -· n co ncordant avcc b notr1.:.
d . (\'observer de co nPas avo1r une v1sio
'
. . le comprcn re,
·
"Laissons-1e . \11)l ·c c1 · a pourvu qu ··11 .,coit un arti slL:.
1
cevoir comme i\ ui Pair.'
, . ·ou r J'u •Te r un idc a\ iste
"
, · cment cx::t 1tcs P
Devenons poetiqu
,
. ·t medi ocre. b;:1n::tl, p:1s
·
•
r1.:ve
cs
5011
1
et prouvons-1u1 qt e
. .
. ju"eons un natuassez fou ou nugni fi que. l\1.a1s s1 noL1s "'

.l
'.!

'I

6

f,\'/j,'(!/J( '('/'/!! ,\'

Ltiistc, lll\!lllru:rs l ui c:1 quui l.t \ ·c:riL<: d.u1s Lt vie di!T~·re
de Ll \'t.~rit~ d.11i -.. ~~ ( :n l i '.Tl~ .

"1\yant, en outre, posC.: cctle \'critc qu'il n'y a p:1s, de
par le 11iunJc cnticr, dcux .~r:1i1is de s:tlJk,. dcux 111ouciics. I
cleux 11ui11s uu lklix ncz :1J.s,,Jumc11t p:ircils, ii [ 1.- l:tulicrl j
Ille JuI\:til :l C.\iJri111cr, L'll <jlll:i'! lll'S p/ti'< lSt'.S, llll ctr'<: lill 1111
uiijd de 1n.rnicT\' c1 le 11:u tiu1Ltrist:1· 11ctlc1nc11t , :1 k dis tinguer de tous il·s :111trcs C-tr('s ou ck l ( Jll:i le~ :ttilr l's lJ] ,.
jets de meme r ace OU d e Tn CmC espCCC.
"(_Ju:tnd vous p:1sscz, me disait- il, dcv:rnt 1m <-picicr
as,,is sur s:1 portc, dt:vant un concierge qui fu111<: s:i pipe.
deva1 1l Lille station de Ji:i.crcs. montrcz-moi eel cpicicr d
cc concierge, it:ur p ose, tou tc leur apparence ph y:-,iquc,
cu11ten:rnt :iu s~i . i11d1quc·e p:ir Ltdrcssc de l'i111:1gc, toutc
leur natu re ill<Jr:lie. de f:u,«111 :1 ce quc jc ne lcs u!llfundc
:l\'CC :111cun ;11;t1·c <'.11i c i<'I' c1u ;n·cc: ;111cttll ;iutrc c11; 1'-·icrgl',
ct ia itcs-1nvi vu ir, par u n ~eul rnot'.' en quoi un chev:i.! de
fiacre ne ressemble pas aux dnqu:rnte autrcs qui le s ui

vent et le prechlcnt."

·"

c: 1 t .\ 1• n: iz r.

.;

"-~··

LE'l"rL:J\ WHJTJNG.

1. The Impersonal or Business Letter - ( )11 <>ll c \«I\ '
C(J111mn11 kind of compo sitiun , kltcT-writ in~:. 11·c ,.,ii.ill
llnd it 11eccss:1ry I<> tuuc·h unly \·cry !Jr1L·lly. The
l<>rms ,,f kttcr-\1T1tin~ cert:1i11ly d 11 11 .. t c·1>11cTr11 11s
hcri' ,1 :rnd \\'e \\'ill c,',11f'1nc· n11rsc·ln·,; st r1ctly \(l t i1e
consi<kr:tlinn of tlw kinds"( :;1i\Jjt'd ·lll :ttl<T 1v l1ic h
letters m:iv :1pp1·(1pri:1tcly C(lilL1i11, and to the: '!1i;ilitics uf st;·lc: thl'\· 111:1y sli111v.
Lctll'rs :tr c, r11t 1_,li ly
"11-ill
' " ,,( \\\'() k111<l,.;. impcTS<lll:tl :tllii
\.
~ -·

<.; >)
'iL l .

j >l 'fCi>'IJ.l i

.

[11

the im pe rs o n a l o r busine:;s leller Lhc: writer r..:saa1'1s
hirnst:lf from all ext ran eous adornment of styi<~, or
l·\·l:n fr u in , t 11\· 11:l rti l' UL-1r di~~)\:ty (it
ind1vidu;dity
llcre mcTit lies cntirch· in extreme clcdrnc·ss :i11d
L'<ill<'iSL'llCSS, :u1.J tlw : tt 1th.,1"s priv:1tc rcflcctiu11 s <>I
cummc:1ts arC' best ld1 nut altt•c:dher, u11 kss I iwv
dirL·d 1·,- c:unccrn till; puint at i;;sue . /\,:; t.i1 c· i1 1,iis pcns :11;k qu::ilitics of the good impcr::.on al k t tn, 1Jr
one th :it concerns i11form:1li1n1 solel y, :trc clc:trncss
::ind c1Jnciscncss. it \\'ill n·:u1i1y llL' SL.'Cl1 th:1t the cll'.lrI

~ \ T 1:-iq•i·nt('r's F.r,.,-,; \-(' f in /1'/Jd,•ri( · 1u1d Fn,:. ,-/,: _,)[ ( '. •m /'• i f i ,• n,
11

Adv;n1c(·1! ( ·11ur s c, Fx1·1-ci~1._· l.

7

::,~~,,~~b

·y

~~~

8

LE7TER-WN/TINC.

acteristics of the lett er of infonnatio11 do nut differ
iro~1 . th ose of ordinary narrative, description, or expos1t1on.
2. The Impersonal or Business Letter: Courtesy. - The
man who has been trainee! in acti on rather t han in
thou g ht fr equently writes better lett ers of in formation than the fi nished scholar o r the more meditative
student, bcc:u1se his mind g rasps more eas ily and
represe nts more clearly the points which arc of
prime importance as regard s a ction. There is, howe_ver, _o ne trait, that of co urt esy, whi ch invar iably d istmg u1 shcs t_h c lct '.er of the man wh o merely wi she s
t o commumcate rnfo rmation in th e mos t compact
form poss ible, and the let t er of the man wh o, thotwh
express in g hims elf bri efly, docs not e:qJrcss h im s:lf
bluntly, rudely, or with und ue a nd in decorous ha st e.
In our _times, of co urse, we should scarcely think of
address mg even a total stra nge r in q uit e s uch elaborately d ig i:i ned phraseol ogy as that which Dr. J ohnson used 111 t he follo win g very beautiful note to hi s
friend ~nd nci? hbor, Edm und All en, on the day he
was stricken with the palsy : .DEAR Sm, - It lus pleased God, thi s morning, to deprive me of the powe rs of speech; and as I do not know
but th at it may be his furth er good pleasure to deprive
me s?on of my senses, I request you will, on the rece ipt
of this note, come to me, and act fo r me as th e exige ncies
of my case may require.
I am, si ncerely yours,
SA~l. j O ll NSO N .

9

Nor, on the ot he r, should we naturally fall to tbe
level of the style of th e lett er g iven below, addre ssed
in all seriousness a nd in offic ial corresponde nce by
the representative of an association of college alumni
to the rep res entative of the faculty and corporat ion of
the institution from which they were grad uated:DEAR Sm, - Enclosed find answer to yours of 3d. Have
just signed lease for headquarters for--, second floor
of r 2 58 Michigan Ave nue, corner of 13th Street. The
Northwestern Alumni Association will end eavor to make
life pleasant for the - - boys during the Fair. Shall
se nd photograph of building and prospectus of arrangement later.
Yours respectfully,

The courteous medium b etween the two extre mes
::ny t eacher who may chance to use this book can
readily illustrate from his own correspondence.
3. The Personal Letter. - The indispe ns able qualities
e personal etter are o qui
Clearness, brevity, and courtesy are almost universal
virtues ; but what ever th e personal lette r docs or docs
not do, it must n ever d isg uise completely, or to any
considerable extent, the individuality of the writer.
e ett er to a friend is not an essa
lie at large, but purely and simply the record on paper
of wh at would, if tim e or convenience permitted, be
delive red by word of mouth. "The best lett ers,"
says Professor Norton, writing of the correspond-

I I

L .L:: '/TEA'-WA' IT!NC.

LF 'l'TLc·A'- WI.'!'/"/ NG.

c ncc uf Lowell, "arc truly not those written with
literary int ent. A Jetter with an address, however
artfully concealed, to a ny ot her read er th an the person to wh om it is professedly written, may be excellent, may bt:: durable as a piece of lit erature, may
h ave eve ry merit except that which g ives to a lette r
its supreme pkasant ness."
N oth in g co uld bt:: a better illustration of wh at has
been said above th an an extract from one of Lowell's
own letters : -

splash into a mo ral ! l d id not mea'.1 it, but l cann ot cure
myself. I shall neve r b e a poe t t 111 l . g et out of the
pulpit, and New England was all m ee t111g -ho use w lt e n I
was growing up. But I assure you I a m n eve r dull but
in spite of myself.
"Somehow, this cool, b eautiful summe r cl ay, I fee l my
heart go out toward s you all, and am n ~t writi _ng because
I ought. I fancy yo u up t he re in yo ur littk w1 th d raw1ngchamber of a town , with a hundred miles of oak' spo rted '
against the world, and it makes me ha ppy. J\nd whe n
one is happy, what a bea utiful fram e it sets the world
in! " 1

10

ELMWOOD, Aug. 28, 1865.

" W hy I d id not com e to Ashfield, as I hoped a nd expected, I will tell you whe n I see you. Like tha t poor
doctor. in t he l njin111, l h:we see n b efore me as l sa t in
reverie th ose yellow hills wi th their dark gree n c hecke rs
of woods a nd th e blue undul a tion of edgi ng mountains
(whic h we looke d at together that love ly !:::>unclay morning
last year) I can't say how ofte n. P erhaps 1 do not wish
to sec them again - a nd in one se nse I do not, they
are s uch a beauti ful picture in my me mory. For l have
a theory - or r athe r it belongs to my te mpera ment to
believe - th :1t there a re certain things that o ne s ho uld
take a sip at, as a bird does at a spring, and th e n fly a way
forever, t ak ing with us a s natch of pic ture, th e trees, the
sky with its cloud-drifts of warm snow - yes, and o ur o wn
image in the sliding wave too. 'vVe do not care to see
our own footprints on the edge agai n, s till less to tread in
them. Somehow the geese always follow where th e songbirds ha ve been , and kave th eir slumpy s ta rs in the mud
themselves have made. The re, by gi nger! I meant to
give the merest hint of a sentiment, and l have go ne

i'

I .

\. '•

EXERCISE.

I. 'vVrite (r) a letter in whi ch your object is to
convey a s impl e piece of inform at io n to a st ra~;.;er
in the briefest, clea rest, and most co urteo us fash ion ;
(z) one in whi ch yo ur object is _to ex plain to a corresponde nt a co mplicated s ituat1o_n of _some ~o rt or
other; (3) on e in whi ch your object 1s to ~ 1 ve an
a cco unt, to an intimate friend, of you r own life clurirw the past few weeks o r y ea rs.
Examine, un de r the direct ion of th e in structor,
selected letters from certain of the followin g authors :
Cicero, St. Paul, Voltaire, Chest e rfi eld, Thacke ray,
Lowell, and Carlyle. T est them in regard to th e ir adequacy for the purpose for which they were inte nded.

II.

1

J{arper's lllagazint , September, 1893, P· 559·

I

j'
j'

\
I

ii
I

I'

i'
l

12

TIU NSLJ 7'/0N

CHAPTER 11.
TRANSLATION.

1. The Two Kinds of Translation. - Of the value of
translation as an exercise in co mposition, and the
importance of so masterin g both our own lan g uage
and the ot her importa nt languages that we can really
transfer th ought from one t ong ue t o anothl:r with
the least possible sac rifice of fo rm or snbstancc, it
is not nccl: ssary to rl:mincl the student. Our duty is
merely to offer s uch hints as young writers may find
useful, in what an: perhaps thl:ir first serious attempts at tr:111 sbt ion. 'vVe should first notic e that
the matter whi ch we arc called upon to translate may
be of two kind s, - matter in which the thotwht the
"' ;' and
information, there conta in ed is alone of value
matter in which it is important to preserve the form
as well as the thoug ht.

2. Translation in which the Idea alone is Important. The greater number o f cases in whi ch we arc called
upon to tr:rnsbtc from a foreign lan g uage arc of the
kind first mentioned. An important book on physics,
philosophy, or history, is just as lik ely to be writt en
in German or French as it is in En g li s h; but the
thoughts or ideas co nta in ed in it can just as well be
expressed in English as in G erman , if some one is
only willin g to g ive time and patiencl: to mas tuin g

TRANSLA TfON.

them in the or ig inal, and to tran sferring them to hi s
native idiom. In attempting to tran slat e, th en, a p:-tge
of Wunclt, or Jan et, or Lombroso, or any of the his torical or scientific writers of the clay, we arc not likL·ly
to have before us a task in which the method of procedure is difficult to grasp. The auth or chose to
r epresent by a page or a chapter of German words a
certain collection of facts and th e development of
a certain idea or id eas. All that we have to clo is to
make ourselves, throug h the m edium of hi s langu:-ige,
masters of his facts and his idea, and th en to re produce th em fully and e xactly in English. Our cluty
concerns only two points: (1) th at wh at we write is
precisely wh :tt the author m eant, with ou t omi ss ion ,
addition, or change of fact, thought, id1.:a, or assoc i:ttion; and (2) that what we writ e is good English.
All else is of subordinate importance. If the au thor is a Frenchman, and used the peculiar Fren ch
method. of paragraph-structure, or German, and used
the peculiar German m et hod of sentence-structure,
w e arc not in the leas t obliged to follow him in English. English paragraphs and English sentences arc
alone appropriate for us, nor should we hes itate to
combine three tiny Fren ch paragraphs, or cut into
three one enormous German se nt ence. It is the
original substance that we want, not ne cessarily the
original form.
3. Hints as to Procedure. -- Th e re arc twn w;1ys a nd,
strictly speaking-, only two w;1ys in whid1 w,· c:in set

~.

.,
'

!'

t

I

~. I'

\,

.'.

14

'l/.'. I .\' I / .. I !'! !l .\'.

'/'/.'.·/XS!,. I T!ON.

to work :lt a translation in whi ch the reprod u ction of
the f orm of the ori_:_:·i 1nl is not inv n h· i:·(l. \\'" ,·:1 :1 tr:111s-

Lttc 1it'-.Ta~ly

fr1llll

nur

and tlic11 t :y t" m tkc
or \\"C

C~lil

fL'illit:r

11r1,:;,i11 :tl,

J,;1t1 11

r(1[ "

;;''"r] F11 ,; lis1i <1[

:tl (i!H.'\..'.

i11t<J

i:;ll{_)d

i:t sLtll Cl'.

<>Ur \'ersi"11,

1·:11.:. .,ii'.'>h,

;U hl

tiien u11derL1ke \1·ii:1lc1·,:r 1110,i1tic::itiu11s :u·e ncccss:u·y iu urdcr Lu 11L.lh.c Li1c Lr:uislcrrcncc ui tliuu~hl
co111p1cte. 'fh~ ilr:-:.t rn ct hod Jcads a1n1ost invariably
to disaster. l luw abs uru the ord in a ry lit c r:tl trans btion of the schoolboy is may lw sceil f1"m tile foli c1wi11;,; sclccti"11 Jr,,rn a p:i;"-r writtL-11 :1t :1 recent
~1tlmission ex::imi11aliun :tt iLin·:ml C>llq;c :
"Thus they spoke praying and l': ii Lis 1\ tlicnc heard
them. And 11 lien Lia.:\ li:1d pr:1yed tu the d.1ut;l1tcr uf the
n1i;;I1t.y Zeus> tht.:1 1 they ~l~nlcJ tu lt.::1\·e, jusL ~ls l\\'u 11uns
\\·J i(>

pru\\·l i n~ tl111.)u.:;Ii Llic d :1 rk

11 1hl1t c;\u ." c death J.tHl

dt·strucli1111, ;11Hl tiir ·i r d:1rk i lii >1(l
1

111.l kt.·:-.; 1ll:·(111;..:,li tlit'ir

bodies. lJut Hecto r did not pnlllit the k:id1 •r..; nf the
Trojans to skep but calied an :isscmbly of all th ;. nnhlest
m e n , as m any as the re were lc::1dPrs :ind cn11nsc l in the
r:rnk s of th e Troj:ins. ;rnrl h:n·in ; s1innr1.-1n1 ·d tl«·rn to g<.:Liicr he planned a skiifui pian .
i\nd l-lc c- tnr said• It
there is any one who \\·ill prornisr: tn dn this 1;1 s k tn him I
\Viii g iv f'. :1. 1ni,;;·hty gif r_.
i: n r I \\·il! .~i \'c hi1n :1 ;. :.rl·:it pri 1<· .
i:or I will give to him a c hariot and two horses with heauLi[ul necks, an d Llicsc l1urscs :1re LiH: best that: there are
ne;tr the swift ship;; nf the \.r e-, Ls. 1\nd the 11u11 \1ill
receive grc;1l gl"ry, whu \\iil ;tccompli sh the Lisk of ;1p.
proaching the smft sail ing s hips and lind out wheth e r the
swirl ships Ml' ;.:11; 11< icd as tilt'\' forme rly WC'rt'. or whether
t he f'lH: 1ny

'f

IJ.1\ · 1n;..: lHT11 \\"J1111il1·d

iiy 11"'.

:i re

1)L1111li11,~ 1l1~~ l1l

with nn« ;in c,ther and d<> not \\ :lllt li> keep \\:itch tlm>l1.~ h
1Jc i11 ;.:: (J\'cn_·u111c· l)y tcrr1l1lc \\·c:1n11l · ~~: · ' J'! J!h

t!H: n1g!1t.

I i\'( ' l <ir

~1)11kt. ' ~incl 1:1c lt·:11L · r~ \\"ere

;1ll

1\nd ; \lll!H1_:..~" ! tile 'l'rci f l!):--; tiit·rt..' \\'~1.'--i
;:.nn ,,f

1:,111111 ·dcs . :1 lJ(1lJlt' !1t ·r;1ld .

h11~;]H·ti

:L l'1...:rt.)i11

'l']ij-..; I ) ,) ~t 1 !1

i11 -...1l1 11cc .

l

l,>l! Jli.

\'..\·-;

th1 ·

r it 11 111

;_:: <Jld :ind sih·,·r, ii« '"" ·' 11"1 n·ry "'' ·ll l1u1 i1 l>11l i1t: " '"' .1
swift rH 1111 1·r.
:\11d h1.: w,1s llh : univ :-;q11 •if Lii1n1·d1· _~ l )1 it
he li:1d (1n: si.slt:rs . .\11d tlius he :iddr1'SSL'(I J lc·ct"r :111d
the Troj:1ns : · (Jh Hcct,,r, (.·f\· noliJ.: lw:1n :11 1d 111i11d ur:~.-s
me lo ;i i'!'r"ae h near the sw ift s:1ili11;.:: ~l1qh,· ;111d '' , ,u~

~- --·:'.:;:;.0

.,1;_,
--· ~

··;-;i::

alw11t tiic:nl. ·

But the :thomin:tti (111 ni' the p:ttchc·d -t1;i litn:t1 t1·.11is btio11 1:; sc1rcely ht:ll<' r th:in tli:it nl l 1i,. l1:1rc L: ,·1:1 I
tr:i.nsi:t t i<>11, :i.s m:ty lw sc<:n fr"m thl· i'<>i],,\\·inc:. l'.\ :tll1p1e~ in -..v 1: :l_·h_, in s1iitt: tiC tht~ t..':tr t ~ L1ki·!1 ht~rt__~ :1i: :l
there tn pn'SlTV<' thl· En:.:.li sh idi,1111 i11L1d, tile \\·l11•k

,

_,_~~

.•. :.:..¥.l:=
.:'.!t ....
~

-- '~
~~ ~:'.~~-%"-} ~
_
_;...:..,~

tone is 1111111ist:tk:1li]\· 1·11r<:1.~11 : -

;~

~.- ......-1.._:___j

... J··rcdcrirk \\.il l 1.11n. tl1c g-n.-:1 t i•Jcct()r <if

J:r.1ndt'nll1ir .~- .

found his p1Jssessiu11s :iftcr the l'1Ji1"lusi"1 1 ,,f the l'1·;HT <>f
\Vcst p h1iia in :t sad ('(111diti,in sc:11kr"d tiir«!l .:.:h :tll 1ur1"
of

J,11\\'i ·r (

:crn1:1ny. F:1"-lt ! ' r;1~"i ;1. u111lcr l'( i!i~ h _.. ,1 1;)rt··in :1cy 1

all un<kr tile c'rnlr,,I ,,f :111 .tl1111JS t inckpL·ndc:nl :11il >il1t::. tl1is \v: 1s tl1e sLttt· rJf tiii11 .:...:s which pn·..,t·ntl·d it~;t·H !n his
unhi1s:;,-d c·yc :111,] !'n,·r;;,· ti1: \•:ill.
I I" s111"' '""!t-d 1·:r s t in
sh:1kinc; nif tlw l'"lisli y11kc : then lie turned his iwwh·
acquired ;111Lliurity ;1:;:1i11~l tite pri11k;;1_·s uf the cst:1t<:s,
1 /",',,,_ , /!11r -z.'<tJ".I ( F· r ,; J,.,,i/~.· ·

J\n :11;1liiti1n1s Ycr-.;inn 11f

:i.tl (' lllj)l to rc prnducl' Ili c f11rm

h.t• l

,1 1. l1 :l i>\ 11

I"

i11

111: 1

.)/,1...,·, 1,i11· ·. J:1n 11. 1ry, IS(J.). \'; ' . 1:-\_) ·l·

1l1·· !';1 .--.. .1l'. •' i11

I

:i ..;

'111":-.!i• •!l w(.i: l,l,

,,f

1', i:11 -...-,

w e ll :"h th l· tli "1 1~ ' ]1t 1\( t1l l' riri ~: in :i !.

i·-·\~,.;'.:~-~
----=~·
·~
:{

,, ·.

·~' :~

t'

(

~1

;,i::

,.i.4~..~-~
:.. ~'.;{,
.

:::_: -~

17

TRA NS L ATION.

16

T R ANSL A TJON.

.
1
. therefore but on e way ope n to
ransl at1on, t 1ere is,
'
lctel the th ought
W e must ( l) master co mp
Y
. . . .t
us.
. .
('>) . t ourselves to w ri t in g i
of th e o n g rn:tl, th en - sc
l ·n th e Fn al ish
d n in th e Erwlish hn g uage an l I
·."'
ow
o
' vis e our version with a vi ew to
way, a nd (3) th en r e .
[
.t with the th ought
'.b · 0 ··na it int o exact co n nrmi Y
.
. ,
nn o 1 "' . . l Tl at the tin 0«c of fo rei g nne ss m.l)
,
.
of th e ong m a · .
from the fol1
be r educed t o a m111 1mum nny be sce1
1 .
f
. .
f·
Mr Sai ntsbury's tran s at1on o
low1 ng pass:i.gc I om
.
.
r'e E liot : S cherer •s essay o n G' "or
~
o

and got fo r himself the cont rol of the milita ry a nd the
revenue in the P rovince. This t ook place a lso in Brand e nburg, in Cleves, and in the county of Mark. H is first
and last object was to establish an ever-ready s ta nding
army; for centuries no powe r of a ny importance h ad cared
fo r the protect ion o f northern Germany, a nd he had
learned that in the first place one must ma ke life secure,
and afterwards plan to improve its conditio ns. H e succeeded so fa r as to drive o ut from Brande nburg and
Prussia th e Swe d es, whose natio n since the clays of Gustav us Adolp hus h:i.d grow n to be one of the great powers;
a nd he was able with an armed ha nd a nd a d efi ant brow,
to confront even L ouis XJV., at that tim e the di sposer of
th e d estinies of Eu rope . On the gro und of these se rvices,
his son F rederick obtained, a ft er g re at efforts, the roya l
crown of Prussia; and hi s s uccessor, F red e rick William
I., became afte r him the fou nde r of th e first modern S tate
in Germany. His was a nature in which th e re pulsive
a nd the imposi ng, the uncout h and th e admirab le, we re
closely united . In hi: man ners a ro ug h and unre fin ed
peasant, in his family a tyrant, in hi s gove rnm e nt a d espot,
choleric al most t o madness, his re ig n would have been a
curse to the country, had h e not united with hi s unlimited
p ower a rare executive ability and a n inco rruptibl e fidelity to duty; and from first tn last h e consPna tc d a ll hi s
powers to the CC>mmo n we ,11. J;y him effect ive limiL1tiun~
were p ut upon the 111dcpc11dc nt action of t he provi nces.
and upo n the ove rgrow n pr ivileges of the estates.' ' 1

:c

1
eel too that mere curi os ity helped th e
"It must )e ow n '
'
.
.
. n seen that the
' , f these works ; for it w.1s soo .
·
It was .15kcd wl1 at
success o
,
a pseu<1on ym.
·· ··
name th ey 1)ore was ' . . f
( th e authors in ,·ogue
I
ti · r's sex Not a ew o .
.
wast ie a u 10 . . . . .
·1 t I to th e m a book whi« h
. .
Th ere
h ad th e honor o f hav 111 g attn ) \I cc
·. t·1 inly none o( th em was c;1p:1b1e o f wnt111 g.
cer.
- . cl
rntcr-rr uesscs in t he columns c•f the
we re ,.·uesses an co1
"'
.
I
.· . . . l i . tn w ,..,
. . One critic - :i 1· rc nc 1 c 1 tllc . 1 ~
n ewsp:tpc1::..
. ,
.
. . .. \ tint th e· :-.tit h111
. .
' . ·t ·i·h c\.l1ior:itc 11111 11 c11"n p1<1\ c\
h an 1us \\ '
.
.
·111d wh,11 i · . i11 1>rc· :\ll
of A rI 1/ !!l ! '' ' ' Ii: must
· 1w· 'l m.in. .· .. . . . I
Tlw c·n.
.
" . .,. ·ma11 \1·hcn th e ,·c tl ".ls I c n .
l•.n ~ ltsh c 1cT,_) · · '
M ... 1; . s h v narn< ;. l\u t
. , ·I :tntrc·ss _ 1 iss ,v.111. ,
cha nt e r was ,111 en c i.
l 11 I th e lll)'Sl er)' :tt the \'l"l'Y
.
' thin"th:i\'CO ll JCC
.
th ere \l':JS some .
'"'
'1
. . )<'. v ·111o;
1\·,1s I · 1·
(\ to \ " 111 .h 11
l' I ~ ..,
,
.
,
nH1111 e11t wh en it SlTllll'
.
.
.
rl I
--;11"
.
.
' l . i nk11<• \\' li in the 11\cLH\' \\'<> ' ' · •
n n ll1l ' C\liS 11\ll.l J I
.
..·
\' .. j 1\ic· lf"(1 / 11i // / .1f<I'
"
\
~1 \Tr\· '.'>t·n,nts P' I \Pt H . 1,
.
.
lud \\',,rt< Cl " 11
•
•
· . I . r1 ick s Ill it.
..\
'-'\1" ]1 ·.1d \\Titlcll t\lc<1il<1g1c.1
.l
.
.
j\ ,:;-ioi'. "' '
i.
th
.
l
1k
nf
· cc khr:1 tcd wor h. on
L
•
·
tra nslati on o f Str;tuss s
.
\
\VI t :1 mixture u[ con tradi ct 1nns ,111c
J esus was hers.
1a ,
..
I . , , to ack nowkcl;:::c: a
•
t
l t W.lS nnt e no ugh to 1:1\ C
'
.
surpn~es .
1· ·t o f Fn"hnd . more 1\t.1n tlut,

I

If we would avoid fore ig nness of t on e or idiom in
1

V on Syhel: Th e F o1111di1((' 1f the Germa n Emf ;rt hy /Villinm !. ,

i1p. 20---21.

\\' O rn::111

!!°'

~--

·t· -

~S

th e (irsl

1H1 VC l::-.

,,

r-.,

'

r8

TRANSLATION.

this woman combin ed faculties which had never been associated in the memory of man. She was a t once a savant
and a poet. There was in her the cr iti c wh o a nalyzes
and the ;utist who c reates. Nay, the pen which had interpreted Strau ss - the most pitiless adversa ry of Christian tradition that th e world has produced - this very
pen had just d rawn the charming portrait of Dinah, and
had put on the lips of this young Methodist girl th e inspi red di scourse at Haysl ope a nd the tou ching prayer in
the pri son."

4. Translation in which Form is as Important as Matter. Mu c h more di ffic ult th a n th e kind of tran slati on we
have been co nsiderin g is th a t in whi c h it is n o less
important to .preserve the fo rm in whi c h th e matt er
is p rese nt ed than the matt e r it se lf, as in th e case of
the Ilia d, for in st ance, whi ch must obv ious ly have
an alt og-cther d iffe re nt tone and quali ty in English
blank ve rse from that which it has in Greek h exameter. For a work of a rt, wh ether in prose or
verse, is more than a succession of words which express a seri es o f facts and ideas. In the work of
art, each word cl epcncl s for its val nc on it s p ower of
conn otati on as well as it s power o f dcnotati on.1 N or
is that all. In a work of a rt words are arr:rngccl, not
me rely acco rd in g t o the ord er whi ch clea rn ess demands, but in an o rde r whi ch h e ig ht e ns th e e motional powe r of th e words them se lves by th e mu s ical
1 Sec \Vcndc ll's /:'11.rlislt Comj>ositio11, Sc ribn e r & So ns, pp. 74- 5;
or, Cn rpc nt c r's F .n.,.,·is1·r in Nlit·/nri r an d J·.'11gli1h Co 111f ,,sitio 11, Ad·
va nccd Cour,e, pp. 19 1 and 2o6.

TRANS LATION.

·
e n t all itcraeffects of rhythm, bal an ce, qu a nt ity, ace
'
.
.
1
e
In th e g reate r numbe r of cases it
t1on or nym ·
·
· \ · I
is i~1possible to tran slat e a work of this ]om ~ it_1.
. "' 1·1
rm :i.n, it "'1
anyt 11111
i <e •adeqtiacy
• . En on·lish and Gc
.
~ru e, ar: lan guages s uffi cie ntl y s imilar 111 foi:ms ai~f
.b.l .t. , of sty le to rc n<lc r the tran sfen cncc
p oss1 1 1 1cs
.
( , · th e
m att e r and m ann e r in some m st anccs as 111 . . • ·
l brat ecl German translatio n of Shakspcre) st~ ik ~e "'~Y successful. But s uch cases a rc th e except ion,
1no
thy rcad
.ffamld b c no t unwor
.. o
.
.
n ot t h e. ru l e. Tl1 o twh
.
. G.erm:i.n, i"t is· certainly very curious read 111· p; ml
1 n rr 111
o
.·
f the two 1)assa«cs pnntet
French, as a compa11son o
"
below will prove: -

"0 th at this too, too solid fl esh would melt,
Th:i.w, and resolve itself into a de w!
Or th at the Eve rl asting had not fix':] ,
His canon 'gainst self- slaughter! 0 God ! 0 God!
How weary, stale, flat, and unprofitab\e
Seem to me all th e uses of thi s world .
' t I 0 fi e! 'tis an unweeded garde n,.
.
F ie on .
That grows to seed; things rank and gross in n ~ ture
.
1
That it should co me to th is .
'
. . .
Possess it mere Y·
But two month s dead! nay, not so much, not tw o.
So excellent a kin g; that was, to thi s,
Hyperi on to a satyr; so lov in g to my mother
That he mi ght not bctee m the w1n cb of heaven I
Vi sit her fa ce too roughly. H eave n and ea rth .·
Must I remember? why, she would hang on hun,
As if increase of appetite had grown
By what it feel on ; and yet, within a month -

\

·

1
.1
\

I

20

TNA NSL A T/ON.

/'/, ', J, V .\/. .•/ /'/UN.

Let me n o t think on"
/' ·
.
, _ ' r::u 1ty, thy n:in1e is ,
A 11ttl e month r ...
_.
•
\\Oman!1
•.
.
• ir e i c I Hise shoes we re old
With wh: ch slr f i: 0 . · '
.
·
1 1·1 N.
· c " " \ V u my poor Llthe r°s IJiJCT)'
•
' 'e 1 10be, ai i tea rs _ w Ii)· . • ,
'
·
() c; I
·'
s 1le, eve n s 1le_
,oc ! a beast, that wa . 1· ...
\Vo ul d 1
•
nts < iscou rsc of rea s o n
1:1 vc mo urn ·c1 lo rwc r .·
.
'
J\rfy fathe r's brothe r l . ,..,
man ied wit h my un c le,
·1·1 ..
' Jut no mo re like my father
J.tn l to Hercules."
.l/n111/d, Ac1 I., Sce ne

" Oh .1 po urqu o1· ccttc nn sse 1 t .

2.

peut-c ll c s 'a m ollir inr 1 1 , .I. c c e1re tro p e ndurc ie ne
•
:1 c o u e ur se fo ndr. t
.
c <' sc n ;so ucl re
' ••
e n flots de brin es 1
,
. . o u po urq uo 1 l'Ftc n ·l
'
.
arm c s:i fouclre contrc l '
,
i c n a-t-il pas
, l)'
c 1rn.: urtrc de so i-m e me 1 0 1 )' _ 1
: . . ic u ..
u . ie u ! qu 'elles me semblen t f. .. - va1n es, to utcs les J·ou iss·1 , d
as t1d1 e us cs, in s1p1des e t
·
· · nc cs c cc m o nd r • J · ,
. .
le d ed:ug nc e t q u 'il me 1·1 .. . r C
'
e. r_i >i e u, q ue JC
, ,
'
. ssc . e nes tc1u '1 ·I ·
c t cl..:ge ne re e n fri 1 . .
Ill c L1 1np ag rcste
'
c ic' I 1 n e sc co uvrc ciu e I • f .
ct d un e n:itu rc ·~ ro ssi<'.· rc t .
c e nuts amers
.
.., · ·
c sa uva 0rrc _ Ou e I. . I
.
~
es c ioscs e n
•
s o 1c nt ve nu es Fi 1 ;i.
N
. , . , pc 1n c d c ux m o is qu ' il e st m
,
- . on, p:is d c ux mo is e n co re ' U
. . . .
. . o rt .
Ct:t it aupres d e ccJ ui- . .
" n I O I S I :lCCO lllpii, qui
c 1 cc q u est un J)' .
.•
,
satyre; s i te nclrc pom rn ·1 rn l: re
' 'I
ic u p res cl un
mem e aux vents cl1 1 . ,I· 1··
, qu I n e pe nn e tt a it pas
·
c ic ( 1111p o rtun ~ r ·
.
so ufflc trop vi o le n t (,. I
e so n visage cl un
me reste r
Q. .-le ct tc rrc ! fa ut -il que Illa mc mo irc
· · · ·
uo i ! c llc s"lll ac hai t I ·
p:iss io n se t • t
.
· · ·
·
ui co mm c si sa
u a ccrn c pa r h possess .
cl a ns l'espace d'un m ois
.
.
io n, e t cepc ndant,
_ 0 f ·. ,
· · · · · - Je nc ve ux JJ:ls y p ..
rag il1tc la fe mm e ct t 0 1. ,
e nse r.
'
n avcz• c1u e le n ic• me no m !
l Tn m o is pci nc 1 _ .
.
•
·
.1va nt lll c lll c !=J U'c lf
Q
~ -'
sure avec laquell e e ll , . . .· .
·
e c t Use la c hause :1 s u111 Jc corps d
to ute e n l:irm cs. 01 11. ·ll
•
e m o n pa uvrc phe,
•
• c c, e 11c-1ne mc
b
pnvce d 'iclees ct cl.
·.
.
·
, ic 1, 1a rutc,
I .
e ra iso n, aura1t poussc I
P us 0 111 son

a

a

o ("

deu1 l. i\L tn ce avec 111 u 11 u 11 clc, le lrcrc de 111<1 11 11crc ,
mais qui ne rcssembk p:is plus it mun pcre quc 111u1 :1
l lercuk ."

In tran s latin;:; poetry , th;Lt spcc ic s of l'<illl}"J sit ic111
in whi ch form plays th e great est part, w e fr equen t ly
find o urse lves , t herefore, in a d il em ma. Tf our b 11g u:1ge doc s not co nt a in the rh y thmi c al or rn ctr ic:tl
for m which th e orig in al makes u se of, we ca n, at bes t,
o nly adop t the English form that seems m ost n ea rl y
t o rep rodu ce its e ffect. T a k e , for inst::rn cc, the 1nssag-c from th e Odyssq whi ch is print ed be low. To
rend e r it into Engli sh hexam eter, as p a rt h :ts d u ne
with a beautiful passagt.: fr om th e l !itul, in the ve rs ion
tha t follows , is mani fes tly inad eq uat e tran slat io n, for
it s ubst it ut es in En g li sh a cl um sy acc t.:ntual m et re for
wh at was in Greek a fl ex ibl e quantitat ivc m etn.:. The
three s ucceed in g ve r s io ns will s ho w three d iffc rt.: nt
po in ts of vie w, eac h of whi ch h as dt.:c id ecl limitat io ns.
If wc turn th e p assage fr om the Odyssq in to prose ,
h o wc:vc r rhythmi cal, we lose mu ch of th e musi c: d
c harm of th e o ri g in a l. P o pe gav e it the fav o ri t e
metri cal form of hi s d ay, a nd vVo rs lcy a fo rm whi ch,
th o ug h archai c in its assoc iation, S penser h:is
r e ndered almo st as fam ili a r t o us as th e h examet er
was to the Gree k s.
E ac h has sac rifi ced mu c h ;
which least it must be left to each s tu de nt 's t aste tu
d et ermine.
(a) . ~pov /)' €v {3fiaay1at urvyµ.lvu owµ.ura K{pK7]'>
~Earo!aw AaEuat, TrEpt<rKl'Trr'!' €vt xwP'!'·

22

/'!.'.-! NSL .-1 'f'I01V

T/.'A N S ! .A /'!OiV.

oi

aµ.cp<
µ.iv AVK()L rjcnw .',pl<rupot ~0£ ,\iovn-;,
Tffu~ aUT..,7 Kftri{Jt.)\.~f.v. f11t:f. K (LK<l.. ¢0..pµ.uK· (8wKtv.
ouo' OL y' ,:,f>Jl->J{)YJ<T<LV Err' a vOpa<TLV, &.,\,\' apu TOl y<

oi'1pr/cnv µu.Kp?/ifl

Tlicr..: wcr<.: ;t thuus:uid bales lrnrni11 ,; l!I ig lil "ll tl1 c
pl:ti11 - :l lld fr<> lll c;;tc·h li.1lc
l;l ickc:r' d th..: li g ht un the: :n1 1wr uf cumb:tl:lllh lifty

7Tf.pl<nru(vovTc.c; &.vEu-rav.

:Ir< •ll i HJ j t.

~ ~;- DT' t.v &µ<.pl Ui uKru KVv£s &lT·q(h.11 L~vTu

( 'li:tlll\Ji1i ,g t lic p11lsc :111d lurlc y, in lcJ 1tg !'<>11·.s \\':t it,·d tit"

1

CTu.[vwu'· «let

ytir1

n cp[pn µ.n,\[yµ."r''

W<; rou<; aµ.¢< AVKOL KfJUTlpwvvx(>

o,,1wv·

•·,

•!.

r':· ~~ -~
·,. ·. 't

C'h:irc::crs.
T et her\! b cs i1 k their c: tr s, a nd expected lite ~ J,,rii •II•
h..:r br ig ht tl11v11c. ·• '
lJAKT: 'flu !liaJ, viii., 55 3- 1>5.

~0£ Al<JVT(<;

cru.t'vov· ro't. O' EDSf.uruv, i7rd LOov alvO.. 7rf'A.o>pu..
ECTrnv o' iv rrpoOupuL<TL O(f'is KuAAL'TrAOKuµ.ow,
KlpK-,7<;
EvBrw ciKOl.'01' (~n801:rr..,7i; Oril Ku.;\~ ,

s·

iuruv i.rrotxoµ.f.1117> JlEyav uµ./Jporov, Ola 8<uwv

>..nrrJ. TE

Kut X.UfJlt.vru

(i') " Jn th e forest gl:id cs th ey fou11d the hall s ,,i· ( 'irn:
build..:d, of polished sto n e·, in a pl:tcc with \1iclc jll'"']'c c l.
J\nd all :ir<>1 ii td th..: pal:tc..: rnuu11t:tin-lircd W<1 il·c s :111d ll(111 s
wer e J'{):rniin c::. wli"rn she herse lf h:td liell'ill'ii"'i \\'ilh u ·il
clnws that she g ;tvc th e lll . Yet the b..::ists did nut .s •·t 1111
my ~~wn but lo : th,·y r.tmpul 1ho11t th c·m .111d f. t \111l'l l <>ll
thelll , w;i,l_'.g inl.!; the ir lon g tails.
1\ ncl as \\'hen do~s_ f:rn n
:iliot1l tlwir lnr,l when he C1)mcs from th e: fe:ht, f.,r li 1.·
alw:-iys brin.~s them tlH: fL1 .~ mu1ts th:tt southe d1c1r ll1 ul)d,
even S(J the strnng-cl:t\\'crl \HJlvc: s and the lions f:t11·11 cd
:tr<>lltHI t lw111 : h11t t lw y w.:re :1IYri ;.,'.1 1tul wlic11 they ~:111· till·
str:iii ~·;<' :llld tcrrii>k crc:1tt1rcs.
Su tl1 1.·y st<>"d .t t till: <J111"1
g-:1t<.: of th..: fair-tr..:sscd goddess, :rnd \\'itl1in t!t c:y he:nd
C irce :::.i1wiiw in a swc<.:t voic..:, as s h..: Ltr..: d t" :ui~ fr ,•
0
0
.
1
,.
Jwfnre the l.(n:at w..:b imperishahlc, such as is the 1a1H 1wu rk o f ;:.;o:idcsscs, fine uf wuof a11<l fLtll vf gr<1 c ..: <llld

Kat u. y'A.aa (pya 7J'EAOVTUL.
Q,~)'SSt:)', X., 210 - 221 .

(b)

"Tli..:y, a ll li u::Xd wi th hope , near th e corpse-pi kc!
ridges uf battl e,

Pass'cl

th ro ' the live lung night: spri n kJc '-~ lhc <.i.Lrk1JL'SS.

their wat c h-fires

:\s wh e n tlie moon shllles fuli 111 th e sky ;-and in
g lo ry, around he r,
Glitte r the stars o f ii e:tve n; nu breezes tu rulllc the
stilln ..:ss;.LJut, in the ca lm cle;tr liight, lung ranges of hills, and
of he adlan ds,
Fores ts, and all, ::. t,u1d uul; above them

and the pure bright a:ther

flCcpcllS, :tS sl:ll gJi1 11il! l'lS t>Lll tlj1<>11 S(:ll' ; -- :tlld tlit.:
s heph erd re ju ices :

spknd,inr ."

Not icss thi ck iii :lie .s p.tcc ·1JJiJ Ll1c J1..:<.:t a11d the strea u 1
of the Xanthus
Glimmer'd th e w:Hcil-li re lights of the Tro j a ns fro nting
tiic c ity.

:~ ':'

~

;

l~lJTC J 1Eli.

and

LA:'\(:.

1 Unfo rtun atclv there is, sn hr ~h I knnw, nq pu\1\i:-.l1 cd tr:1n sbti 1 1 11
or the Od .1·ss1y int~ Eng lish }lt' X:lllll'll' L Fur purpO"\t~s of cumJ Kl.T i-.un
I h:1 \'C th t'rc fnrc in-.. r·r ll' d a fairly l)'l'ic al p;1 s:-.~1~;c frun1 a li ·x:i.ml·tc r
1

tc1.11~1;1tiun oi

ll1i..:

l!i.z.f.

···~
-:::- t:n!!:ll

'--.--:

24

'/'/"A NSLA '/ '/U N.

'l'NANSL A TION.

(d) "The palace in a woody vale they fo un d,
I-I igh raised of sto ne; a shaded space around;
Where mountain wolves and brindled lions roam,
(By magi c tamed) familiar to the dome.
V\lith gc ntlt: blandishment our men they med,
And wag th eir tails, and fawning lick their feet.
As from some feast a man returning late,
H is faithful d ogs all meet him at the ga te,
Rejoicing round, some morse l to receive
(Such as th e goo<l man ever used to give),
Domestic thus th e g ris ly beasts drew near;
They gaze with \\'Onde r not unmix 'd with fear.
Now on the threshold of the dome th ey stood,
And heard a voice resound ing through th e wuod:
l'laced at her loom within, the goddess sung;
The vaulted roofs and solid pavem e nt rung.
O'er th e fair web the risin g figures shine,
Immortal labour! wort hy Jund divine."
l'OP~:.

(c) " So in the woods the house they found
Of C irce; stone, well-hewn, and on conspicuous ground.
Wolves of the mounta in all around the way,
And lions, softened by the spell s divine,
As each her philters had partaken , lay.
These cluster round the men's advancing lin e
Fawning like dogs, who, when the ir lo rd d o th dine,
Wait till he issues from the banquet-hall,
And for the choice ~ i fts which his hands assign
Fawn, for he ne'er (o rgds them - so these a ll
Fawn on our friend s, whom much th t: unwonted sights
appall.

Soon at he r ves ti bule they pause, and hear
A voice of singing from a lovely place,
Where C irce w<.;avcs her great web year by y<.:ar,
So shining, slender, and instinct with grace,
As weave the da ughters of immortal race."
\"JQl(S LEY.

EXERCISE.

I.

T_~~nslatc

the followi ng passages: -

1. "Sed quoniam res humanae fr agiles caducaeq ue sunt,
semp<.:r a liqui anquirencli sunt quos d iliga nius <:ta quibus
dili ga mur: caritate <.: nim benevolentiaque s ublata omni s
est c vita !'IUblata jucunditas. Mihi quidern Sc ipi o, qua111quam est subito ereptus, vivit tame n sempe rquc vivct;
virtutem e nim a mavi illius vivi quae exstincta non est.
Nee mih i soli vcrsatur ante oculos, qui ilb m semper in
manibus habui, sec! etiam postc ri s erit clara ct in sig nis.
Nemo unquam animo aut spc maj o ra suscipie t qu i sibi
non illius me moriam atque imag inem proponendam pukt.
Equidem ex omnibus rebus quas mihi aut fortuna aut
natura tribuit, nihil hab co quod cum arni c itia Scip ionis
possim comparare. In hac mi hi de re publica consensus,
in hac rerum privatarum consilium, in eadem requies plen'1
oblectat ionis fuit. Nunquam illum ne minima quidem re
offend i quod quiclem senseri m ; nihil auclivi ex co ipse
quod nollem. Una do mus erat, idem victus isque communis; neque militia solum sec! etiam peregrin ationes
rusticationesque communes. Nam quid ego de studiis
dicam cognoscencli semper aliquid atque discencli, in
quibus n ;moti ab oculis populi omne otiosum tempus contrivimus? Quarum rcrum recordatio et memoria si una

11•.·t, 1 ·s1. ..i Ii<

1 .• v.

n: J.\s1 . 1 no.\'.

il l 1 c c1d 1:--.:')ct, dl~~Hkriu111 c1J JI_Jl1r1c1io...;...,11ni ;tllJUt· :i riun
ll:>ii1~1i \.: ir i lcril.' nui)q l!Jo<id p11 .'-' .-..c1u . ~1..~d Jh·c ii l. t L·x~
stincta suu,· .t.it1 11t·111 11· 1·...~ po t.1us c t ;utgl' nlttr c og 1L1l
·
i<>ne ct
c 111 1i

1

! 1( 11 11

1

,

111.~1uun,1,

~ai 1rl · :'i

··Lt~

/ J c· .-l111iL1tia , Cha p. XXV!L

··I ntcgcr ,-i r:ie scclcrisq 11 c purns
1:-;

.'.;T.1\·1d.1 s:1.:.:; itt i.s.

J-L1.,u ·. 1il1:trcl 1·.1 :
:""ivc ]it·r :---;yrtt·s itt·r ac:-,lu1 1s:t.'-',
::iivc L1cturus per inlto.sp iLtk 111
Caucas um, vcl q11:1c loc:-i fahulnsus
.Lamb it Hy d;isp e s.
N :t111q uc m e si l \':\ liq111 .s in S:1 liin:1.
Vum meam c:1 11to I .:tlag:.c n. ct 1111 ra
Terminum c uris v:i.t:or cxped itis.
J'it _:_: it

l.t

1l

I l I 1t lIi 111 l

: •Ii 1il11 l ( \ 1 l !

fn111t.

lc llr... ,
--=-1h~-

-.

( 1,/ \,

11i:1111 1

coil:iit:l

prt~:l.lllt :-\,!
dll

:\ec \'t·11uL1I

rt

Jl( ) j\ .\("J ·: :

a1111ciLi:t prac~L.J.L11llt::. p t n ,: u~; . ·

1\un c.:.::ct .\l.r11ri,; j<t< ulis, 11 equc ;Hut ,

i -: I

\~·rr:l tl 11: 111)itJ:--; I H".~.!l .l

i11

I Jttl," l1tk1 11<-1 11 l..11 .1.:..:• Ii :1 111. tl1<1 ,
I l11 lc (· i. '1it1··11\ l ·111

1d.t11c u ri ,,ttlh l· ." scin, lll:l~ll\!Ill Lu n cn
atlt:nct rnilti ;1 ct:1>, ip".t ""Ltt1u111 , d1t111u, <:11irn j.t1 11 i 11 h<JC
tk;,1t;ctiu c~.,c 11u11 Jl"''1t 111 u11t1 lia ;tutc u 1 ln c \·j ,1 tokr.Liiili;t
c.ssc dl'l;c11t di;ttll ' ' 111.1.:.:;11;1 :-; 11111.
I Ltec lt;tliui d c amicitia
Ljll:lc diL c l"cllL
\ ' u.'> .ullc11 1 1
' 1,,1·1 ,,r 111 1··c;t \'II' 1ll t t:!Il IOCCllS,
·
~1;1c q1i;1 ~1ll1H...:1~i.l c:-.:-.l· ll c 1i1 P'H.c"'t, ut c:t cxccpta nihil
cl :--ii 11l1...,

ClCLl\0 :

~ 11 j 1

'.'-i (1ii.._,

pl.lee

1.. · h~1(jlll...'

d i. . '

1A·S { ;qi i t

ill Jlll 11lL ':-i .

rl:~11n : ·11t

IJ1 1 t'S

;i\

.1:!

\·ip~[, 11111

dt · l1 .1 t.ull1 ·. :1

Ji1

1 : t· .i.'1
1•

tr~'s

t:Ltil·t1t ~l it·ur j)!/'->ll '.

l·:t i ·, l t l 1.. ·11: l '

(I

l't "( •!I ll 11 1L·l 1\ :1.

.'. . '. ·1111 1H· ,

1,_· 11

1·11

t11~

, 1\

l l...· \t '

l l1S Ll 11

de

:-.1 \, !11

t •

J ,< '"'

i '•

l · t 1r...;

Sl "l! l--;

dL · r1i1t·r. c·: c~t·\ : ( · 1iL1> ."it ~
d't!!l lLli!l

,~

de

I 1 tr: . 1 i, ·ii t

· rl

i1n11111li1lt· ;1\ l.1 1l

<,

r l 1~

t•

< • 1 1l

·( ~ r ( ·

I1 •

rt11·1

:-i t'· liJ . t1i l1 ·r .

0

l t 'ilijH "lt'.

.. \Lli.'-'. ;l (·t.: 1n(1Jllt·nt. ~11r 1.1 <T t"ll' d ti t ·1dt ".tll, t1 11 td: '1 ·~ ii·r
p:1n1t. :'! c hev:il. hit'sst'. _ ('( l[lll' d .- 11x hn111111,·s ~(;ltl «tl.11< 1\l.

'

I 'u 1:--. . u n

-~.

.~·. r ( ): 11lt ·:~1 1_ 11 t

J\1:ng11<Tttlc, cl,1nt un c iJ:1!lc \'r ·11:11t de: tr:1n·r>:t-r k' I' 'l"''·
et q11 i dl'v~it c11 rn our1r.
11 llt: l"Jli \·.1it p.trlcr. ii ;1~1t. L k
h1 :1 s. Lt l 1. t.s . \·,·r .-. ., J',·1111t·1111

l l l<T lll t_'rll,

t~u ;d c porLc 11tu1n l1 cquc 11 1il it:1r is
l Ja un1 as lat is :1ii1- .11· " _·:1ktis,

"l~~l cL1111cur ~LllHli .'>">~Lll l1>l l J• lllJ"S.
\ . t . ! l .~~ t

"{) J

ls

1(_. ' \" (. ! 1 _'...:

1 •(

J 11

..,

I\ . '

:\ ec jr1Licie teilus ':c ncrat. lconum
1\ri(h nutrix.
Pone mc, pi .:..::i ~ ulJ1 i:ulh c i m 111 s
:\rl>or acstiva recrc:llur aura ,

.. J\1111, , Jc C<il<Jilt•I d11 jl l«lll t1 ·r , ,·..~'. illlL' IJI , ln.11ti ,·11 i'.t ll
son s; 1]Jrt · , cri.l <.i'u11c Vt ii .\" d1; t JllJh_: lTt_:

(2uud Lltll ."i

:111

1

'' l.t·s tr1i1npcttcs ~n1111.111·1d, L1

11H1riil1 1H·iHil :1c JT1 tlusqut:

jupplt<T lll'_l'. lld:

_'!__

tr<'l.

JHc· sqllc .\

l'r(~'->11!·~

',t ·

l'c'.\tt~'lllitL-

t ri1 1:\·, 1it

ll\:1"-\:-;t ·
:1t1

:-, ' t'.hr~lnl.1.

11rt·r:11·_· r

de 1· .1ik dru itc.

r.;11

d'.1!11.rd
r1 ~ . 1h

l.L: ;: 1:11HI ,J.111:.;cr

??Jz:
28

~i_··
{ :JI

J1,·.1.\·s1.1 nu.\'.

'/'I,'. I XS! .. I TIO.\'.

2<)

_i __

est au cen tn.:, o i1 le tir de l'c1111c11 1i s';i.-i 1;1rn" d ' i11 st i1wt.
Lorsqt1'u 11 fut sur Ll cr,~tc; d11 c;1il-:i irc l'l 'Jll" 1·,'11 co1 n1u c 11 y:l il dcSCl'lldre de J'autrc· cf.Jt", ,·,·r:-- Lt ,._1-.. 11 · 11 .tl:H· . il
1
apc1\·ut lrc·s nurcmcnt. i 1111 111illi1-r d,· 111 ;·trc·'· 1.-.s r:irr"·s
pruss ie 11 s sur lesq uel s on ks jdait. l r :iilin1rs. ii tr(Jtt:1 it
comme clans un rl:vc, ii avait une lcgere t1\ un tluttcment
<l'c tr e c nclo rmi , u n vidc cxtr:1ordina ire d e cc rvelk, qui le
laissait sans unc id Je . C 'L: t:1it h ma c hin e qui :ill:iit, sr>us
une imp ul sion irr(·s ist1blc. On rcpct:iit : '!::icntcz h b()tle I
scntez la lJulle i' pour scrrer ics r:ings le plus poss il 1k •: t
tellr do nn t:r llllC resista nce de gr:in it. J'ui s, £1 mesurc CjllC
le tro t s'accelerait, sc c ha ngca it e n galop e nr:i ge, Jes
c hasscurs d'.\rriq11c pnuss:i icnt, ,·, 1:1 mudc :ir:1bc, d e:-. u is
s a uvagcs, qui aiTobicnt !cu rs mo nturcs. 1:ic 11t (1 t, ce fut
un c course diahuliq11 c, un tr:1i11 d'e n fcr, ce furi c u x g:ilt1p,
ccs hmle111,: nt:; fcruccs, qu e k crcp1temc 11( cks Galles :l ccompagnait d ' un IJ1 uit de g rl:lc, en Lipant "Ill' [()lit le
1nC L,d, Je:-; ga111ciic~, lcs bidons, le c ui vrc d(·s Ullif,,r111cs et

de ~ har nais.
i J;l11s ccttc .~rCic. p:1ss:1it l'n11r;1~~:1n dt · \ ' l'llt
ct dt; fuudrc du11l k: ~ul Lrc 111i )l:i.it. L1i:-\~.1n1 :1n :--.ult·ii un~~
udcur de l.1 in c i_>rtJ kc ct de huvcs c11 s11ct:r ."
p. 3 19.

ZO LA: / ,11 /J(/1,,,/,· ,

re~

4. " Die Lcbcn~gcsc hi chtc des Jmmanu el Kant ist
schwer zu bcscilrcilicn.
!Jenn er h atte weder Lch t' n
noch Gcsc hi c htc. I·:r lcbtc e in mec ha ni sc h geo rdn c tcs,
fast abstra kt es 1 l:igcs tol zc n lcbe n in e in e m stillen ab«clege n e n Giissc hc n zu Kfinigsbt:rg, ei ne r a lte n Stadt an"' d e r
no rd ostli c he n G rcnze Ucutsc hlands. lch g laube n ic ht,
d ass di e grosse U hr cl c r dort ige n Kath edra le Jeide nsch a ftloser und rcgel miissigc r ihr :iusse rcs T age werk vollbrachte,
wie ihr L ands nLllln I rnmanucl Kant. Aufstehn Kaffe-

'

-=-:~~~:·:.;-~""·~>'-

trinkf'n, :-;ch rcihen, Kr1ile::_ic·nksc11 . l-:..;s1·11. :-;p:ui<'l'<'l1'.',•·i1 11,
i\ll t:s h ;1ttc seine \1,·st1111111tc· /.,-it, liild d1t· :'\ ,t< i1i •.1: 1·11
2::1nz .~ : t·n'.11 1. cLlS'-)

\\'11-.;:-:.lt'll

",f.

die Ci1)t ' kt · h:1lh \·i t·r

St'~ . 'S t ' L i1

I 11J111:1rn1.-l 1-.:.:rnl 111 ,;,·1111·111 ,c;r.1111'11 I ,t·1IJ1rH L. d.h 'I'·""" i1<'
l\. iihrcl1c11 in 1kr i l.111cl. :111.s s1111<.:r I !.11hil111rt: 11 .11. 1111< 1
na ch dcr klcinc:1 1 l.incl cn :illc c w:rndc:llc , die lll.lll ~1· i11l'i
\v cgcn

nnl· h

l'hil(1s()pl1t·11 .~ ;11ig nt·111it .

_ictzt den

.-\1 · i11111:il

s p:11,i1-rk e r rl1rrt :i11f unt! :111 . in jc"kr J.1l1 1·c,;,·1t, u11d
wcnn d:is \V,·ttcr trulic 11·:n ode r di1: gr:tu1·11 \\ '1r \L .-11 1· 11Jt·11
l\e .~i ·n

vcrk11nd1gtcn. s.1h llLUl

1 >it ·ncr. d1·r1 .1 11

SL' l lll'll

1lt·r \-' 111·~1·h : 1n.~ .

';#;,.!'.
~-

!-

-

"S o11dcrli:1rcr \( n11 tr:1q Z1Yicli1 ·11 do ill .'i1i..; " ·1· ·11 l .],, :1
d1·s :\l:t1 1ncs und sci11c11 zc· 1· ...;1u1·1·1Hk11. 11·1· lt11·1 n1.il 11" 1.. lr'l l
( :cd~1nkcn !
\\.:lhriich. h~Lltt'll die J: ur;...:cr \'()ll L·~11 1~ -.., ii 1 r:_.:,
clil~ ,:.:,. ,1 ·11.1 · j)l ·(!t ' lltllll;_", (J i l 'S C.'1 (;t·t ! ,\tlkt·!l .' l ,:..!_l ',l !lll t , >.It' \\lJi(J('l\
v11r

jl · l\t'Jl1

pf11~1di'll
:\lt·n~cfh·n

1\L11 11H_:

h: ·J !H'l1

; 1]~

t ·i 111:
\·(ir

l11 11ril · htvt - -

\\"t·it

;..:_· 1; ·111t · ti!1.tftc·rl·

t'lll l'll]

;\i)(' r

!"-) \ IJ:1rfr1c

dil' .L:- t!li._·n

~(lieu

!tti r .

L1 · 11t( ·

d<'I
-.., , 1i1. 11

t

111

Il l !!'
t ri

1!1111 111Li1h ;\11rlcres :1ls cill L' l1 \'11.tc·,,ur 1k1· l'l11;'""i' !1;.. -.
und wcnn er z ur l1c sti 111mt1: 11 :-;t 1111 d1; v11ri1 <·i\\,111rl. li>' ,
gr[isstc r ~ic frcundlich, und ri chtde n dwa 1u1.l 1 il1111 1!11"
' l'aschcn uh r."
ll EI;"..;E , /ur (~ ·, ·s1 hi,l11r" J ,. , J,' ,/1:.' :.11 "" ' i
J '/1i/<1\'1•/1ft,-,,

,·11

I J( 11f5,. ltlo1 11,/.

r;. "Ke nnst du d as Land, wo die Zitru11Cii l1l1ilill.
[m dunk c ln Laub die C old-Oran gc n gllih n,
E in sa nfter \Vind vom b buen ] l irnmcl \\·e h t,
Di e My rtc stil l und hoch der L orhccr stcht,
Kennst du cs wohl?
1>:1hin ! D ah in
Mocht' ic h mi t dir, () n1 ci n Cclichte r, zichn !

"'.....·.-~

· 11

L1111 pc. i111gstlich bL"sorgl h inter ih1n drcin 11·:11Hk l11 1J11:
eincm Lingcn Kcgcnsch1rn1 unt e r d c 111 1\rn1, ""' c111 J:i lt!

!:-~ ~

.l

1

30

TNANSL ·l TlnN.

, I

TN .· i .Y S!.. 1 ! /ON.

·· J;:.c11n st d u d :i s 1-Lrns I .'\u f :::> ~iu lc n ruh t si·i 11 I ):1c h
Ls g bnz t d c r S .tal, c .'i ~ t:l1 1 1 11m c rt ch .s ( ; ema c h
'
G1ai .\larn1u1'11; i.J ,·r ... !,·lin 11 n d s c hn 111icli :i n
.
\\ .; L--. ILi t 11 L1 11 {iir . du ;tr i!J l ' :-::; l(1 nd . gt·lh: 111

.)

when th e y ;l.fe c losc l; s 11111i:ir in rliyt hmi ,·al 11 1t'l l1" il t l1,·i1
poeti c e ffe ct is e s ,;c·nti;il ly d 111, ·r .. n t. t lic: 1r i11d!l 1tl u .1l :: 1· ''
di s tin.-t . 'J'h,: h e x ;1m d ,·r (I i th e· / /1.1.! 1,; ll• •t t l1,· ht· \.1 111<· ·
tcr uf t h e _.. /:'1/r·iJ. :\ii d if t l 1h Lt.~ t lit· ~ . \ :--it · l:1 r<·~ ; 1t ·1 ·t t • 1
rel;ltt'd f() n n s. it is c\·cn 11 1()rc t.)L \·iu11.'1 i 11 r1·-.,1J\ · t' l lt lt ·r n 1-..,
pe c uli :ir tu Olll: h nf.'.ll :i .~ l', li ke: t he / ,1 ::, ,1 /'1 11/<1 ,, [ t il t· 11.1 11.111,
fo r whi ,·h it is i11q i" ss il 1k to i'i11 d a s ;1t1 sf.1ct"ry t· 1111i1·.1 k 11 t

i'-c nn :--. t d u e s \\ult l ?

1

!h h i11 ! J J:ihi n
1\foc h l' i c h mit dir, 0 mei n Jlesc hu tze r, z i, ·/ 11 1 1

·f• .
"Ke nn st d1 1 d.-11 i:. ·rc; un d se in e n \ \ 'olk vn .-.;f, ·« i
U .t:, ;\ Lw i LiJ ;," r " uc: l1t 1m l'< e bc l sc inen \\'c,, .~.
J n Hiihi en \\·o iint d e r l> r:i c he n al tc llru t ;"'
Ls ::;tt irz t clc: r h :I:. u11d 1i b er in n d ie J; lutli.
Kerni::. t du i ii n wv ld t
Dahin ! D:i hin
Ce ht un sc r \V eg! 0 V:lt e r, b s s un s z ie hn I "
C O J<:Tll E.

IT. Co m p are ::rn d co n t r a s t th e cl i v c r~ c nt views 0 11
t ran s btio n exp ressed in t he p a s sage s g iven belo w.
vVith w hi c h d o y o u ag ree ?

. (a) " So ma n y \·e r s io ns o f th e D iTim: Comedy e xis t in
1·. ng !t s h th :i t a n e w o ne mi g h t we ll s e e m n e ed less . H u t
m o st of th ese tra n s la ti o ns a rc in ve rs e, a n d t h e inte ll ect ual te m p e r o f o ur t im e is imp;1t ie nt of a t ra n s muta ti o n in
w hi c h s u bsta n ce is s a c rifi ced fu r for m 's sa k e , a nd th e n e w
fo rm is itse lf d ifTcr e n t fro m th e o r ig in a l. Th e c o ndi t io ns
of v e r se in cl itTe r c nt la ng ua ge s va ry so wid e ly as t o m a k e
an y ve r s ilied t ra n s ht io n o f a p oe m b ut a n impe rfect r eprodu c tio n o f th e a rc h et y p e . f t is like an im pe r fe c t mirro r th a t r e nde rs bu t a parti :il like n e ss, in w hi c h esse nti a l
fe at.u~es . a re bl urre d or di st o rt e d. . . . Eac h lan g uage
ex h1 b 1ts its o wn spec ia l g t:n iu s in its po e ti c fo rm s . E ve n

;:'-~

=~-=

"'

i l l ;t J l t 1l J l C 1·

•· Jf.

l t Jl l ,:~ 1 l l ' .

th L·11. !ht· ~ Lttcnq )t

li(:

\· ,1i n t11 r1 · pr11d t1cl ·

t !tt ' ( 111"1: 1 1,r

t o rq w c s c: nt its ei'l'cct i11 ; t t un:,Ltt iu n , yc:t t h t: sul"; : .1 1h't .
o f a p oe m m :1y h :n ·l· such \\' 11 rth tlut it d cscr1·,.,, l " l w
kn o w n liy re :icl e rs w h o mu s t 1<.: ;1d 1t 111 tlil:i r 0 11 11 l.111:-'. 11.1:; c
or not ;ll al l. ln t hi s case th e ai 111 o f t li ,· tr;11h l. 1t• •r
s h o u ld be to r c ndn tht.'. suhsLrn c< '. f1 il l1·, l' x:i cth-, :1 11'1 ,, ::1 1
as c lose :1 co rre spo nd t: n c e tu th e tune .<IHI C.t) le , .t i i:c·
or ig in al a s is p oss ib le betwee n p ro s e :rnd p1Jctry . 1 lf t lw
c h a rm , o f th e p o we r of t he pn e m . sud 1 :1 tr :111,,Li t i• .i i ' .11 1
g ive bu t an i n :id eq u:1tc s ug;,: est iu n; the: m u ~i c a l lw11d 11 .J.S
of its e sse n c e, :ind the lo s s u f t he mll s ic a l b<1 nd is th e iu" s
o f th e bea ut y t o whi c h fo rm a n d s uh s Ll n ce m utuall y cont ributed , a n d in whi c h t hey we re h uth a l ik e h ;1rnwni zed
a nd s ublim ated. Th e rh y thmi c life o f the o r i ;~ i n :1 l is its
vit:il s pirit, a nd th e tr:rn s Ltti o n lo si n g thi s viu l s pir it is
a t best as t h e dull p laste r cas t to th e Ji v ing m arble o r the
brea thin g b ro n ze . T h e in t e ll e c tua l substa n c e is th e re ;
an d i f t h e w o rk b e good , so m e thin g o f t h e e m o t io n a l Cjll :1\ity m ay b e co nv e ye d ; t h e im ag in at io n m ay m o uld t he
p rose as it m o uld e d th e v e rs e, - bu t , aft e r a ll, ' t ransl :tti o n s a re but as turn-coa te d th in g s at b e s t ,' as I Jowell
said in on e of his Familiil r L etters."
C . E.

N O RT ON :

In trodu cti o n to hi ,; t ra nsbt in n

n ( th e / Jh •i11 r: (iJ111 1·dy .

>:>,:ci:c

. ~~~t7·::~

I~ ;:;·f~ ;

~-'. ~~~ii~' ..

32

TR ANS£A T ! ON.

DESCNll' T ! ON

(b) "In a p rose tra nsl:i ti o n th e ta s k of re prese nting
the music o f th e o ri g inal p oe m is no t atte mpted , and th e
o nl y p rob le m is to g ive a n exac t eq ui va le nt fo r t h e ma tt e r
a nd t he language o f t he o ri g in a l. T ran s lat io n s o f th e
Com mcrlia of thi s k ind have bee n pu b li s hed by Dr. C a rly le, by Mr. A . ]. 11ut le r, a nd M r. C. K No rto n. In th ese,
if a n opini o n m ay b e ofTered, Dr. Ca rlyle's ve rsion ma y
cl a im to be th e mo re literal, beca use o f it s g re:it.e r h n ldness i11 sulJst itu li 11g f11r 111od es of exp ress ion natur<tl lo
tl1e ft alia n bngu.tgc the ir ;1p prup riatc .E ng li s h e q uivalent.
But prose tr;1n slat ion, e \-en at its best, lea ves half th e
p rob le m unat te m p tcd; th e mu s ic, th e cad e n ces o f th e
p oe m a re lost. Blan k \' Crsc, suc h as Cary a n d Lo ngfe ll o w
h ave g ive n, is li tt le bette r. No :-i ttc m pt is lll <ld e to s;1tis fy t he ea r wi t h :rny effect correspond ing lo tli ;1t p rud uc1.:d
by Dan te's recurring ri mes : and in th ose p :-irts o f t he
p oem whe re t he mat te r is less e leva te d , a nd wh e re th e
di cti o n is s im ple, th e absence of rim e m a kes th e tran slatio n tedious."
S 1r ADW EU.: Preface to his trnn shti o n

of lh c fl ii i11t.• (_f, 111c1(r .
1

33
.~-

C l-! A PTER I IL
DESC.RIPTION .

1. The Uses of Descri ption. - T he n ec.::ssity fnr lks c ri pt io n occ u rs, as a ru le, u11 dc r t !trc.:c .ki 11<i's .,j c:1·c urn st an ccs: lirsl a nd rno s l co rn lll •Jilly, in \\'rl.ll 111.l)'
b e call e d p racti ca l m ;1Lk rs, w hl' n ;u1 L· n ~ 1 1 1 cL'I , l" r
c x :tm plc , o r :i n hi stor ia n, finds it ath· is :1 !Jlc to 11 ~ 1 p:trt
inform at io n in r cg-:i.rd t o Lhc v is ible aspec ts o t iw rs o n s o r o b je c t s ; seco ndl y , wh e n 11 ovcl ist s ; ll! d pods
perform a .s irn ibr o lTice in rc·.c:;:t r d tr •. Li1l' crl·:1t i11 11s r d
their im:w inations ; th irdly . wb_·n 11 1 the C<>1 1r"e l>I
~
.
d ai ly com muni cat io n we fin d it cu11vc 111u 1t tu g i n: an
a cc:i unt of th e impress io n m ade u po n us by some
pe r so n o r object whic h we h a \·L·. su: n . ''.'he sc.:1·.,11<1
s it u at io n, th a t of t h•: 11"vcl ist, ,,· ill pr"l,:tli :r 1·:1r1·ly <1 r
neve r ent e r th e p e r so n al 1·x p e ri e n cc ,, f lll•> o- t "l us.
th n twh o f c o urse an v 01H.: o f u s is c1111t inu :-i lly r1·: l' linc:;
'l' . llLl "'J.Ud.,·
inO'
irnar>·
i1;;:i r Jv dcsc ri pt iu n s ni;idc• liy ()thn
Co
;-.,
b
m e n; t he fi r st w e n uy all "f u s at o n e t ime ' "- :111 o th e r b e piaced in ; t il e t h ird is a s c o111rn u 11 :ts c:1:1
w e ll b e, and p h ys a brge p a rt in o rdin a ry co11\·cT~< L ­
t iu1 1.
\~

2. The Natural Method: the Photograph. -- T h e cas i('st
w ay to r e pro du ce u po n a n o th e r 's min .I t!tc· i111pr 1·.ssin.11
m a d e up o n your o wn by a sce n e., is t o p ut befo r e h is
e y es a p ict ure o f it. Ohv irn 1sly it is o n h· liy such

'~

.,
'ii

.'

34

/JESCN!l'T!ON.

m ea n s that th e one to whom you arc address ing
yourself can ge t impressions of at all the same k in d
::is those whi ch we re m::icl c u pon yo u r r e tina. In a
rece nt m ;igazinc, for in s t:rncc, there w:1s an :trliclc on
ren::iissance ga rtle11s in Italy . The text w:i s cl uli and
t ec hni cal, and in ~c ner:-tl failed to make :rny v ivi d im p r ession on the mi nd. The :icco mpanying- illustrations, h owever, were such pe r fect repres,·ntations of
the gardens in question th :i.t :tfte r some st ud y of them
one could scarcel y resist feel in g that he had seen the
ga rdens them seh·c·s.
In the s:imc~ w:iy :·irrhikcts
and engin ee rs . in snmc c:1st·~, d t'scr ilw - :uid dcstTilJL'.
with accuracy :wd complete n ess - a hou se, a m:tchi n c, or the· co untry thruu.c; h whi c h a r:i.il road is to
pass, by ph ot og-r:1phs, c h:i.rt s , ph ns, and diag- r:rn1s.
Even where rcpn·s('ntation of that sort is impo ss il1k
or inc<>n\' ·n ic nt, th e writ c-r who has t<> dc:tl with :lll
in t r icate s u bject will usually find it to his atlvantag-e,
wh e reve r it is poss ible, to insert d iag rams or illu st r:i.ti ons.
Th e photograph, or picto ri al illustration of
any sort, is certainly s upcriur to any co mbinat ion of
words as a med ium of d escript io n, in that it can appeal to th e eye as a whole :ind in an in s tant. It is
in frr io r to the effects t hat lang u age ca n produce, h ow ever, wh e n we wish tn c:1JJ :1ttc ntion n ot to the object
as a wh ole but to certa in s pec ial aspects or characte ri stics of th e object.

.. i"· t,, I 1r 1 , •
..1 I ___ th t' 1i:1 t. 11r;1l. -11c1 .i.i1 1"c
usu a lly not posst)
e
·
.
. · t1thcr
duce wh:1t miuht he calkcl ;tn i11v c ntnry , o1. in .
.
c. '
.
. ·t 1 . 1nrt ol l lie· l wt ,;til l
. ·' - a c.1cta1lcct :-1ccount, 1'· 11
J)
·
·
.
w o1us,
Th. f"l\<l\\ in c:, , \"r ,·\,ttn ·
_I
1 1 l:·c"tohc,k:-;111>c
'
•
or o 1_1lth <· 1·11111111<1\l
. . :l n "lll\"t~ll~Of\"
tic'st.1 !p\i()J1
p 1L'.,, JS
:
r obin, T11n/11s .·/ 1110·1(11/!ltS: L

_.

L

_ .

•

,.

,

.• _ .

.

•

"[

I. t

"Third anrl fn11rth qu i11 ~

e.., 11 .11

1if1h

·-:

litt le

:1

·c · '. ,
,
I l· .. i1i I 1· r"111><1 1 ·' 1 •
sliortcr, ,;ccond longer tlnn ,..1xt ' 'r _,111 "1- ·. ~ i
"1 t \1111
1 .
'
'
ab ove olivc-gr;ty, to p am l s· 1d{·S
. · U l \\.'- \ 1,__ ,\l t
I C\- ' clit~-.;) :"H. l : .l I~ p. utf
Hl throat wh itl', stre :1ke(I wit Il 11
) :1c;;
:i )c)JJ

·

:i.1
;\h{)\·c tlic

1._~\·l·

.

• .. ·

,.1,.

.1!lt1 111),

I

wliilt':
111 ·

i_.

i'

1

tindt·i

lL· r

t

p:irl~

;11111

iii\. t 1\'t ·11 ·,
. . . ..

i1: ' -11

t

()

\•.1 1\ 1 \ i l · u ·

tlic: win,.·s cl1es t11ul hr•'" 11 ' tlw "
. I .. ti ·hitl' ,J1n\1·i11" till' pl11111h«n11s irnwr l'"rllt>l l" .''I tit, '·,' '
\\
,.
-r '
. 11 J • . t ",, ,, , . , .i i , ... ,1
l' r" : \\·in•'S 1hrk-lirfl\1·n, 1h1· co; 1t icrs" ,., ;...u
,., I
. ·1 t ill ti 11\.;, I iii"' x i« 111c fc.i\ lll·r , li j'I".'
witl1 p.dc .1:, l , Lu s
_
·'
l il tl1<'
d 11 s kv- :tlo 1 1 ~ I he: riLJ::;e .lll l .
wi 1 h \\Ii i t e; 1) .11 1 \'C'ilow,
_
ti\'..
I
l I
i lH ' li(·~ .
"Lcn « th, nrn e .111c l " ' \t · n \ ; - rl \ c' ()i)L l\llh \\I i i i '
I
.
r."'
l f r t1·- thrc·t• onc-h1111dred1hs, I.iii 1•.c11 :\! 1(
Wlng, iiv c anc
u -..
. . ~ .. t·l r su..:, 1111L' and
seventy- live one- h undr edths me he" ' , . . ,
I

l wcntv-five o ne-hundredths.

.
.
l
"ltJ is verv seldom th;1t spcc 1mc1i,, exhi b it the: c" ,,,-,
,
1
in \\'inkr, :rnd 111
ex actly :is c!escrihcd. Nva rl y a ways
·
I
rufo11 s k:itl1t·r ·, .t r·· in:ir ·· t r·1'e'S ·tt othe r (J\llcS,
\ lC
H l0:"'
\.. -• ,, .
•
'I
cu l · H
n··\11C'i] with whitish. S0111c\ illl CS qu ite v lJs c UI 111~ ' IL
o
h
1
<l
too
h
a\·e
!1 10\\111 -., lt c-dc:Th c hbck feat h e rs of t c iea '
. ,
.
.]h
, e w11te
] . spn
. t ,,~l)OVC th e C)' t: surnct1111c
- 0" '
,, s c -\l1·1H \·;.
1n s .
.. _ . . l
t i-.; ll~ll:1ii\' c•111i c r'- ·
1
\f

fnrw:i rds

3. T he Inventory. - \\' lil'll it 1s not possible to descr ib e by mean s of :1 J!it tiii t: - - ;u 1d u[ c"urst: it is

35

DESCNl l' 'lION.

tnw : Hd~

tltc

ll<1~tr1

s,

111

.

.

-

I

s :trc :-i·- ·p.~The white: p:itc lJes on t i11· t\\'t) eyelid
.
.
i
.
:111d
l"'
"\c'ri"
r
ly
." '","·
rated from each other, ;1ntt·r1"r >

:-;trictl'd.

~ ,\J\l l i F. J_S:

/,';1 ,/, ·'/·

\ i :, • /

rr

;z~
--J

/1/

Simihr- dcscriptiuns fr1•n1 bot: 1ny, minn;il ugy, or
kindred sc ie n ces .'.l.re nn <J,.uht h111ili.1 r l" t.:nT_y <•Ile
of us . Th e ir p11r pus 1· ic; somd im,·s ll lc:rt.:ly lli,1t of
id en tifi cation. The writer is sat isfied if hi s wo rk is
used only fo r r cfr rcn ·,_:, whe n, with th e obj ect it self
p e rh aps at h ::i n d, th e rc:idcr disting ui s h es it from
othe r species of the s:m ic: ge nu s by mc;1n s o f the
elaborate description th ere furnish ed.
In m a ny
c::ises, h o wever, - that, for in st::i n ce, in which a h istori::in, in o rder to pave the way for a s ubseq ue nt
n a rra tive, un clcr t::ikcs to g ive a full acc o unt of th e
locality in whi c h an imp orta nt battl e was fo ug ht, the write r r eally wis h es to m ake th e r eader a s famil ia r with th e perso n s o r objec ts in quest ion ::is if he
h ad seen th e m h im scl f. J\ncl h e r e also d esc r iption
whi c h fo ll o ws the in ve nto ry meth od m ay b e appro priate and success ful.

4. Description by Detail: the Beginning. - Tn su c h
cases a care ful m et hod is absolutely indispe n sable.
W e cannot b egi n any wh e re a n d end anywhere. W e
mu s t b eg in at a p o int wh e re the r ead e r's kn o wledge
will t o u c h ours. It will be pro fitable to n o ti ce, for
e xam ple, in th e follow in g; quota ti o n fr o m l 11anltoc,
h o w Sir W a lter Scott, in desc ribin g Sir Brian de
Bois-Guilbert, is care ful at th e o utset to pre sent only
his more obv io u s phys ical cha ract e ris ti cs, r csc rvin gth e m o r e particubr deta ils of his d ress and bearing
until the r eade r is sufficiently fa miliar with the ro ug h
sketch, a s it w e r e , of till' perso n who se pi c ture th e
author desires to fix sha rp ly in his m e mo ry: -

.
f
''T he co m p:1n1011 "

.\ 1

/1 ' / /'/ '/il.\

I . cli11rt li di:...'..r1it.1ry \\':\-..;

:t

r1u11

.
I . .1:1 .11111 1·1 :1
t.111, :i1 1d 111 11,," . 11,
. .
I
pa sL ! ur t:. l
,
.
, ll .,l.1. 11 t l' .\t·1 ·l J:-,l: _..,( l llll·t
.. I I I\''
htl"llt'
:1111·i U>
(wurt.: \I'll!\.. I \J .~ . .~
..
f t!J, illl lll. lll j,,rlll,
,,.,
.
c
0 [ the '"llc' r jl:lll u
to ha ve ldt ll ulll'.
I·. ,
, ·
.
l ' ·l th· wh ole lo Jt ,111 11, butl l''.. , ,111 <1 ,,111 e 11·s,
h av rn"
rc:L llt.: t.:.(
c
l
i . . r I ll'tTic r1 -.1d1· t"
o .
. I ·1 thou s:tnt t t 111 s .1 II.
•
whicl1 h:1d susl.linu '
J
l . . ." ·,·r,·t! 11: :11 :1
. J l 1s h:.t l 11. t::> c 1
1
d :1 re a llwus:trtt llH Jrc: .
..
f tl1 :11 k111d 111111 11 tlic·
f· .. J "· 1t h f111 , - u
sc:t rl d cap, .lt.:t.:l
.
. bhn ce to tilt: sli:1 pc:
1•1···11 c h call llt f/ 1-/t• r, fro m its rcse m .
I
f re
'
Hi s co unten a nce w:1s t it.:re u .
f an in verte d mo rtar.
.
. . c: tlculatcd to
o
. . l· , . 1 ·u1d its cxpn.:sswn w.ts
-.
full y d 1s p .l) c<'
1 nu t cJf fear • llj )U ll str:111~1~. 1s.
1 .. . . . of ·tw t: ·r
im p rt:ss a ( eg 1ee
ntunll, y st' ro ng..an •I
, [)011·t:rfully exp rcss11·c:,
H i" h fc::ttur cs, 1 ·
·
· .
.
J)l ·ic·kncss 1 1· co n"'
I
·t 1nl v nc.rro
·
1
had bt:cn burn t a mu,, . . . I · 1~1 ·1nd llli " ht , in1 their
_ to th e trop1c.1 s , ·
·"'
f
sta n. l expos
. .u1e. 1 . s;-i .tcl to s-1um IJe·r ·tft
, c:r tli t: s lonn . u
ordin:1ry s l.lte, .le
. rDJ·ec ti o n o f th t: ve in s
.
I l ·1 ·sed awa y · 1J ut t 1l e p
1·
p:1ss1o n l :H P· s.
• . . . ' ith whi c h th e u pper 1p
f
1 1 1 the rc:H 11nes,., \I
.
,
of th e ore l e' ('
·
· . -· I ll] > J tl th e sJi .. IJtt.:s,
I . k bl 1- mu st tc ht:s qu1v e1e<
'
"
.
and its t i1 c,
ac,.
. , ! , I . t th e tcm1>esl mig ht he '1~,1 1 n
.
1 · Jy 111t1rna tct l u
JJ
cm ot1 0 11, P a m
· . · , cl ·tr k eve s tc. (
,
..
. .· . wak t: n t: d. l li s kct: n, p1 uu 11 1-,, .
and easil y1.t ice ., h1. stu1)
. . ( rff ct lli e s subdu t: d and d .lll u <I I I
I.
in t:ve Iry g Ia i 11 '
·
. id seem ec1 to c,11,·ill c ng·c opposit ion tv1 11s
,,.e rs c arec, ·
. .
·t fro m his road JY a
,..,
1
l asure of swee pm g I
wish es for t 1c Pc, ·
o f will . a deep scar
. I .. t io n of co ura ge a n c1
'
.
. . _ l hi s co untc:na11 cc
d t:tc nn 1ncL e xe r
.
.
,., '. acldit1 o na l sternness u .
.
on Ju s bio w ,., a\ c
.
f his t:)'es win c h had
. .
, • ·s ion to one o
'
.
and a sm1ste r e xpre s.
,
. ·io n and o f whi c h
'
.
. . ·J . . ire d o n th e sa me occ.1s
be en slight
. .. 011, yth11\jl
o1wh
lJCrfect, \1' as. in a slig ht and partial
the v1s1
o

.

. .

1111 1

sl r"11.~,

I"

ckgree di stort ed.
. . . Je rsona "c re sembled th:1t of
"The upper dress o f this J , , o
, ·( c nnntle.
.
.
. supt:,
·J . . b t ·ing
a long mon ,i:, i
,
'
his comparnon
tn
.

Lul 1l1c c olou r iJci 11.r:: sc;nict shrl\r"'I th;1t he di d 11, q lwillll' '
"
l u ;i11y ul ll1c iuur r t::_:ui:tr ore!.: r s ()1 111rn1k s . (hi the
ri~ !it ~i1uuli_k:r llf tlJL· lil. iritlc: lhtTt· \\ ·;1:--. c u t, i11 \\' hilt; c l(Jth ,

i Jl ;._',.

l1I

;\

jH

!

pr c\·c 1·1 \ c:d

;1 cruss uf a J>«uilictr r.. rn1. Thi·' 11pper nil'" conc c·:iktl
\\iu t at t1rst view sc·uned uthc: r i11 cuns1s tc nl ll'itli its
l'on11, ;t .~lllrt . 1u111cly. <>f li11kt·d nuil \\·itli ,.,i.:n'C s a nd
gl tl\' CS ,,f th e ""n1c', cw·iuusly pl.1 itcd and interwo ven, ;\s
ikx ibl..; tu the body as thuse which are now wrought in
til e slockin!!,·loo111 <nil ,,f lc:,.,s ,,J,durale matl'rials . Th<:
l 1_1 repart uf his th i .~· h:'. \';here t !H· fn!ds nf J1 i'-' ni: in t l t· pfT1111t 1L d thc·111 lu lw SCl'll, \\l'fC ;ll~c, C< J\ ' Cl't'(I \\illi li11k, ·d
nui l; the knees ;t1 id feet \\'l' r c dciendcd ll\· sp li nts, nr
thit1 p lates of slec l, inc;c n iuu,Jy jointed upon .ca «li <•tlwr;
.uid lll~ld li u.-.,..._·. rc.1cl1111.~ Jro 111 t li1· ~1 nkk· lo th e k ii cL',
ciid 111.i l ly !J' " k ' kd till' l",'.;-" , :1n ci comple ted t ile ridu"s
dck11S1\·c :11111<>111". T11 hi' .c:irr!k l1c \\'\lr(' ;1 ln11;.; and

i Jl {.
1 !1 1·

dc\·i l:t'

fr, ) 111 l)\_·111:-·. Sl'\'ll.

-

/\

[ 'l"' 1.i...:.: I I l .

("\. tt 111,\,__,

;-.;tl 1( i1·11t

\Vl ll

1

\'illlll1l0 1l- SC llSC,

llt\_' ;!~Ur t· d

i111.·i\1· :-.:. ,

j

\\'!dt!i ll('':n .~ di\ id \' cl

.h:icl.::.Ih~ \ L.ir the: r1i,l\; .
i("d i P " r ! tlJf_ I ,
j _

•Jf

~ 1 ~li(1rt

~i .11kt~

_ j_

i \I ' I i ~

-

I_ ' '·

I

fi i."' cr ;:1 1p;lnion , h nr :1. strun;.~
iP :--._1\ ·j.' ;,;.., :.::. 1ti ;11it \\:tr' - !H)r:-.:( · , ,,-hl rh
it i ii \· ;1 r·c n 11 t rt'( l
f1I1' L.1 li ! ,
\\j[Ji :L

l ;,,

;
"
'
"' lr11
111
:1, ·

]Jl'<.1 _! 1.' (' i1 1. ___

;1 111:

l ~ I "' Lc.11i .

frn n t.

( 111

iC'.

1 b111asccn c can· ing-, " "I iH '<I il< 1 i 11" 1·irlt-1 's pl 111 1wd hc·adp iccc anJ ho od of liLt il , 11iti1 J. lung- tw o-handed sword
used hy the chivalry o f th e per iod , A seco1 1d squire
heid a io ft his m a-;tt' r's l:rncl'. frn a1 t he: ntrc·111i ty of \'.hicJ 1
f'iutrered a ~m:i ll h:rndcrn lc o r ,;~ 1«'.1rnn . 1 1e-.ni11~; a cru ., s
of the sa m e for m with that cm lJ1·u idercd upon his cloak.
l l e aiso ca rri ed his sm:iil tr i.t11c:11L1r
shield. hrnad e n nu ···h
.
;1 t the lc •p l< .• pr<>Lccl ti 11: l11c.1'ol ;111 ci lru111 thence d 1111ini-.h~

~

_l __

L

·

I

u lit ~c'.

_..Ei.-~~~

-:c:

!_ - --·

._

-;-.--..

ll
!

IS

11

\

tl:h

lH_· t \\'t Tl)

itJ\()

\I]"] ( '

r(

j

ll

j( -

.1 t

l "'.~ t \ .•

l lt ":-\

\ \'

iJ~....-.

ill\_ \i t" "-,

1·,

f\ · 1

i 1HI

int-re~!.._,! .

I " "· 11 .'..'. ] c:I '<

t

l I

\11•

!:(1'-.;\(~11 ~

r<>.ld \ \,1y ( · 11rli ;1\H l \T

111«. · 1d '"'·

lit :11_~·: l11t\t1 1 !~_ · 1I
11
i ~ !°L!l"lll :-, \11.. ·d by t] p_·
! I;t'.:.

)°(\ ,\ d\',· .:

1·.ti i 1 ;-.,11 )1· \\ . 1.i L

(i\

ILL\ l l 1,:_:

i•nc· .'-'idc

of the saddle: ht111g ;1 short i>.l!c:c·:1x <' , riclily i1 1hid \li!li

l

j",_ .,.t

\\ ": t I 1 "I

th{· ~:t~11t · 1ir1111 !] 1i1

uf

rl·1·();_', ill/1. ·

t11

..-:- •

1. c:;

j1 ' '"-

11 \ ' \ 1,l SI' ; t It · .'. I

ftTt

;-tt

pi 1.· r>, (,

\

! 't .

i ,\ ~

;11HI

.l

i '; ;

ir, t he

J, .. t11,.,·1 1 tiwsl' tw" 11iccrs. "
'

'

5 . Description by Det ail : the Fundarnent~l, lrm'.g,e. - l t
f
imnor\':'ll1t
t h:tt \he re:t t\,- r s hould
DC. ~tJJC:
frum
0 l \'11
,
.
.
.
1

th e'. fi rsl t o ~'. rrrnp th e 1111rn e rnns details o l t11 e wlirnc:
·
~:ivin .~· .__· ~ Ll·\ 1 \it ·<ks c ri· pt1o
n ar"u11 <1' (Jll',.' 111,·11.11 1'111:1,'· ....'.·'.·, ., ..

uil

it s

ti:;ur c.

l'hcc \\'ith

n : Lttio11 l< l

a

sim11k f1111<l:t111«1i1:1I

i\oticL', f"r i11sLu1.-c, the w.1y in \1lii,·i1 \'ido 1·

DESCRfl'TiUN.

DESUUJ'TJON.

liugo begins his des c ription of th e battle-field at
Wa terloo, and t he f:tmiliar fi g ures ~vhi c h Carlyle uses

in his des cr ipt io n of Silesia: -

(11) "Th ost.: \\'h o wo uld ge t :i clear idea of th e b:1ttle
of v\'a te rl oo ha vt.: o n ly tu lay cl o wn upo n th t.: g ro und in
th e ir mind a ca pital A. Tlw left stroke o f the A is th e
roa d fr o 111 N iv e ll t.:s; th e ri g ht stroke is the road from Gcnappe ; th e c ross o f t he J\ is th e sunken road fr o m Ohain
to Braine l'Al le ud. The top of the J\ is Mont S ai nt J ea n ;
Wellington is there: the left- hand lo we r po int is 1-l o ugomot; Re il k is there, wit h J ero me Ho n:1 pa rt e : th e ri g ht
hand lo wer point is La Belle Allianct.:; Na p oko n is th ere.
J\ little belo w the point wh e rt.: th e crnss of the J\ m t.:ets
and c uts th e ri g ht stroke is La l l a ie Sai nt<.:. At th e micl<ll e of this cross is th t.: pn:cisc po int wh e re the fi nal ba ttl ewo rd was s poken . That.: the li o n is pl ace d , th e in vo lunt:irysy m bo l of th e sup reme heroism of the Impe rial Guard.
The tria ng le co nt::iin e d at th e to p of th e A, bet wee n th e
two strokes and t he cross, is th e plateau o f Mont S:iint
J e an. Th e struggle fo r thi s pla tea u was tht.: wh o le o f th e
battl e."
(b) "Schlc sie n, wh:i t we ca ll Si lesi::i, li es in el li pti c
shape, spread o n th e to p of Eu rope, partl y g irt with m o unta in s, like the cro wn or crest to th at part o f th e e arth hi g hest table-land of Gen na ny o r of the Cisa lpin c co untri es,
:ind send ing rive rs i nt o ;lll the seas. . . . It lea ns s lop ing,
as we hinte d, to th e cas t and to th e north ; a lo ng c urv ed
buttress of mountains (' Riesc nge birge,' Giant-Mountains,
is their b est-kn ow n nam e in fo re ig n co untri es) h o lding it
up on the south and wes t sides. This Giant-Mountain

41

. . If. J"ke
a• bill-ho ok (o r elliptic:tlly, :1s
shapes 1tse
t
.
ran gt.: ·. . .
ll . . cl h ook Lo,,.et h e r ma y ht.: so nic' t110
.. u d) · lnn l c .111
° ;\ vt.: ry p retty el \q· ,,.,1s,
· or
w::is s.
· · .
l·
·, I mil ·s ll1 le n"t t. . . . •
.
I1unc·\ le<
. o f th.c Euro i)c;UI (_"0 11t1ne n t,
.
. , t.:l 011 the "'s umnllt
1rrcg u 1:tr ov.1'
·f
cl
·II strt.:tc h t.: d out, 11·itli the
' l" k. ti . 1nlm of a let 11an we
I c
H.:
•
l I' ..11. l ·1 certain 1ler r l<> me.
·
l i r r • for th \111\ ) · "· l '
I
!Zi t.:st.:n~e > bl'. . . . tlnt hshio n tow:ird tht.: I H•rl \ stretc hin g o ut hi s ,11111 1;1 l . t. m e· 1s uri11 " two hu11d rcd
wes t _ p;1)m we ll s tn:lc lt.:l o u '
··
'"'.. ,, 1
ont.: hund1ed.
and t1. fty 1111·1 t.:S,. ..UH l th.l'. crossway
.

Plan. Arrangement and Classification. - Not kss
.
. . . l·. " ·] 'a r tht.: detail s o[ :lll chbor:tte
n ecessary [0 1 m.L -.Ill "' c t.:.
. . . .l ·
' \'"Sll""t.:
Ill
. .
t l1 a 11 th e dev ·ices we•l 1.1
e . .~,... Sl<<.
.
•
d esc ripti on
· l · · .. 11 .,·e
1
th ~ hst two sect io n s is an ord c r \y .an.d og1c:t .t11. i '"'1 ..
c,
. t o f the subicct
-m at t c. r. Nut1Cc ' for .c:o;allll'
.
men
.
(tl J'liin cs Y<>tch ow, in tht.: follow ing de scr ipt1 011 o . i_c '
.· . . ...
.
·I. , th , deta ils arc d1 v1tkd a ccrnd 1n~
6

reco rdin g m:ic lllle,
c
.
. . I . . . . . cd
t ti ·ir ch:ir:ict c r into t wo rn a 111 g roup s, .lil t .t11 an,..
i ~ tl~~ si mpk :ind log ic:il order w hi ch the u ses o( the
rn :ichine :it once sugge st : .
.
· .. ,
bl n r br:lSS h<>X, alH>lll
"The pra cti cal m ac hm e is .1 11 o o ~
. ·1·1 . .
. I1 ..1. 111 1l".
11"
inc hes six inc hes deep, w1L
be·d cu1·c:1.
.
1 o ~ · 1. 41)1acecl ; n a s m:1 ll stand in the rt.: a r o f t he pol\ 111~-ro(l m ,
b o x 1:> •
•
.. 1."s· . v f clcct1u1 1.
.
l .
··g ht of t he Jllcl•,.c:s
a n cl c·l c1
0
·rncl 111 P am si
·
t t he
'
. . i ( fi ·<l by th e jud"eS , :rnd pbse s lll 0
The vo ter IS ICe n I It.:.
.
-~· .· .,. th e lid vf th t.: bux,
. ·111 wh e re the ma c h111e is. O n i ,u,,111;,
.
.
st.
b [ · .•ti • ·L-1\l sh utt 111 " lwt h vole:!
c reen is clrn.wn up e o te 1e ,., • '
. "'
.
. , .
a s
.
.
Th e lid wh e n r :11sccl d isclose:-,
and m achm e fr om vie w. .
. . . T hc:re arc 'ts
.
e)·s
n
o
t
unlik
e organ st o ps.
a num b e r Of k

42
ro11 s u i key"

ti1 crc arc ti d;c h i11 l lic l-1<_·ld , :ind :1s
The
pr in ted inm e o f c:-i ch cand idate :ind th e o lli ce to whi ch
h e :t spir(· ~ ;1r t · jil:ti'~ · d );1 tl~1 · l 1 J;1 11( tl 1c'-ic' kt· ys .
.. 'l' h c c lt ·1 t .. r i 11 \' .. l ! !1:._:· 11ri · -..,-., ,· -., c]11\ \ / l tl lt' L1: y lH·;tri11 ;._:tl1r_~ 1i:111i1· "r 1 il l · < ;1 :H i1<:.11~ · i i( · \'. 1>.l 1L·:-. t 11 su p p()! r. ·r 11c
111;rny

,tc;

\\'C

Jnrrny LL:y s 111 :t r u w <ts there a re ul1iu:s lo he lilied .

t1

hl ' \

1 1

\ ';f) .

· 1r·t · '~:--1.. · <

" ' :- .

i

1t

t.tl k

l ' <i n:--; 1.11i t 'i y

stTlll: p :1inl itsc·lr
jt

st

•
l• i 11; !.'

JS

j l l ' l l :-< !

1

'

i~

i.~ l l <' 1..' '-- · :; ~~ ,1 r y : 11

\\" i l L' il

·
I ''·
111 uLl<1

111

l '11 t •t

I , I 111t . :• . I

1~ °1 1"...

:-.:l1 1t : J,~ tr\

; 1, L 1;\ 1·

.t

1 't .

11t"

the k c \·s (I: 1dl11 ·r "- ·;1 1H li1!:ttcs to tlic s :1nh · P l lH t'. tl1us
111 :1k ing it inip uss i h lt~ f, ,r ::n · ·l 1-c f ,r to \'<Jt t · f(}r nion· tli;1n

1Li I•

:1

0

.I ) \ .

i

\.. \

~ 1 11 1 · \ \ .; ;

) 1l

j i]1r ii11 ).- . r .i ' 1) \ ,

l 1:1 s I ( it k, · t 1 :1 l l

:c·\ . I

\ \ "1.'

,,r

11,,_. s ·· 1h it in· ~11r f . 1<· ,·

"il

l ) ,j 1

'

i t'\\. \. '

:-\ (1\\· .

1; ]

:1;,: 1,

1nt1 1 ti1l: j >:1n11() :

·
·lT
tl1c cyl111(l

' i'

.l

. \' !«

1

one call{l i cia tc to th e s:un e () /Ii i·· · : at the s:111 1c tinw this

l[ll i\LL' l \'

ke y h<ts J111µ1i11t e d rn dcl ii Ji\', Oil ;\ slip uf p:qwr lH' ne:11iJ,

whi c i1

a 11unil,e r - 11l1i c h is Liie trrt:d \'Ole cast fur that c1ndid :tl1...: ~l l tl l.il t i illl '. , '/ 'h i· 1._. i, ·< !it r \ ' 11 t r_· .-..; fqr c:ic h of tlii._· u tlicr

('T c:i. t '--r n ur n1 h ·

u ll :cc s in Lurn , rn lli c ,.,,1111 e 11.t y, ,.,Jiut:; d o \\'n Lile lid ,,f Lile
liux, ll1us rin<;111 g an alar m be ll ;rnd dropping t he sc reen
in rront, cxp~ 1 >il1 .~ 11 1;1t_ l:i11l · ~ lllli \'u tc r to tilt· \ ' it · \\. uf !lil'
j ud;;cs . Ti: c· i> c •.\. Ji ,; >•il in ·;;'.~- Li " ') t.: d l iiJt T ,J k , :ti ! th e
hl'}S, :111d tl1c lll :1clii11 e is rc·,1dy I u r the next v <ill'r.''
'/'·'.·<' .\-1.':1·, ,, , .-\pri1 1S, L"i .S 9, } ip. 326.

lc '!ll-\'''

\ t)

1111l:it

II~

.1 11

1;e a 1\Lt1· s

.

:ll

11l1 _1 n ·t

i1 1 rn " ti (l1 1.

i:;

1 . .
i>\

re· _, \

\\ " ' '·

1111 11<•:-o-: 1, :, . 1.. 1
l ll i_ li ·'

,011
-.

t he

. H 'l c J t.
111 1!

' r,
t 1il e r 1·: t•ll·

I I ,11 t l ) (

\\' i' )tl \\ ' 1

t

~~

11 l: . l I •

j; 'j '.'

ftngct at the twc11 t il'lli dd :ti! wlut th e· tilth :1 1:ci t h <'

J·>\ :111 1 111 , ·• I (i r

t L' i l t il

p:I 0'0' ,1 :::c·,

+•

111

\ \ "] J 1l· l1

~l

c(· ; · ~. lll1

t_'.\:tr n

I,]( " t iit: : (, ; ;tl\\' t!l.-'"'

c·( Ji1:--. : , 1i\~i 1i ;1~

~\ 1 . tli.l.'<"'•( ''.')

:: i 1· 111.:c: ;1 p1·11-11i l'll! rl: i>l l lc- 1" 11 ' s ,_- J1. 111 i 1' ,
to eke out \1:hat he tiiuu;.:.ht 1 lumu's 11i,~ .:.:; . 1 r di 1 1 1 1· ,,~
u1 11 k rtn,1L . ]i \

7. The Defect of t he !\Ic t ho ci of Details. - - Th e .•~ 1-,·at
i.. .. ~· t iiL.: 11 1t·1ii 1>1i ( ! t i\· ~ ~ i -i 1·i 1r·..:, J,\. :L \:i ...,I nt1 n ·ilH.T

t k ·fccL

,,( <kt .1i l s

1

1.s

<_>IJ >:

11 i1 1, ·li 1.s i11.,,.1l·1Jt 111 ti 1,· 11 ;1ture uf

J __" l ii.:.., u .i._-.~.....:

1:-..

.t1\\ . 1\ · :--;

11 1

" S J1c \',·.1 s

;t \ \'(11 11. 1;1

ri .:. : lit l>l ;1utif i:l. \'.· i1h !!1H·

tnot1nn , one \vc ird

fuilu\\·i ug dll•ll i11_·r 111 l l!:H.·, ~ tnd n o t st :1n d in :..:- c~ ql t ig·uuus to a nothe r in sp:ic e as lmcs a nd colors du in a
picture. Lan g uJ.ge. t lHT Pfn rl' . n1tur:illy th e m l'di11rn
of narration, fin d s ciiffi,-uJiy in r cprcsc ntin ;:; objccls
at rest. To mak e thi s diffi rn ]' \· p bin, we h:1\· c only
to consider the two m:w hin <·c; \\'hich we actu~lly use,
o n e to record bn g- 11:1 ~t ", the oth e r to rcprcsl'11t bodies
a t rest, - the p l1011 og r:q ih :u1d the cam e r a. \Vh cn

'.\ :'.ii

I l1!ll t 'I\ .

I •1 r ;~c

1-11 ','1

l ' \·1-· :; ,

\1·11 11

' l l <>\\' \ 1,· l ·. 1", 1·

~~lll .

' 1· 11i1

k

_:_L1:1
,

1

i 11 _·-·. •

gr:1cdul; a ;;ro1·e tilled 1cith g ra ce s . l.1ir .1rnwd. 1u li q 1tu o us. breat h in~ bcaut1· und1 s;.:u isecl . Th e l'<1 llll'k xi»11
Liir. tl h ; cht_'L' k ri >s\·. t l1L c r )u11 tc n :1nct_· p l1_:1..;.in .-: . tlit · i ·\i ·
-[ ( J f ih 11 :1t1 i 1·:il
- - - l u1i t'in t u.
bioomin::::;, a l 1<' ,luty. UJ\art111c1:1,_
cult>r, adding hri .~ld tll ·:-. s t(J ti1c !1 ri .:. .: htl·st (:l il·rry .. l~ II () : 1c
should d ve ivnr v ll'ith re~plcnd1·nt purp le . 1 In Jll' d::
lul\ f;, of ,dnzling whitl'ness: \\'lie11 ce slle \\':lS ctlkd the
swan-bum , ueautilul j Jcit:Jl."

44

LJESC!.'l l''//!)N.

DESCRll''J'/ON.

45
··::

\ t\lho ca n so pi ece and p:itch together this m:iss
of details as to fo rm in his mind a distinct image of
I felen 's b eauty? Far better, in m:rny cases, than a
large list of details, eve n if they be well class ified and
arranged, is a carefully s elect e d group o f aspects o r
characteristics.
Th e principk of sekction, whi c h
we arc now to cons ick r, is r eally the same g-reat
principle of meth od in compos it ion wh ich wc touched
o n in the Introd uct io n. To select from all that we
might say of th e uhjct:t, j ust what our specific idea of
the obj ec t allows, wh :tt o ur spec ific purpose requircs,
and wh a t ou r spec ifi c audicnc<.: can un dersta nd and
apprecia t e, is a m uc h s urer way to impress a distinct
image o n th e r eader's mind than that of the m e re
inventory.

merely presents so me " s triking points" of th e <>h·
jec t dcscr ib<.:d; it selects these points beca us e t hey
a rc s trikin g . A m o re nice sck c ti u n m ay clwos<.:
only suc h points of a n objec t as will brin;; out it:-;
rrcncral c h :uactcr. Tennyson, for in st an ce, in his
b
poe m called fi!ari1111 11 , sclects only such dd:tils of th e
sce ne as wiil brin ;; up in th e read e r's mind the gcncral sense of Mari:rn:t's .~r,·:tt lon e liness. J\Lui:1n :1 i,;
alone in h e r "moate d grang-c," w a itin g- for her lover,
who will never c ome back to her. The g ran g e is
itse lf ruinou s, deserted .
"With black est moss th e flow e r-plots
vVne thi c kly c ru sted , 011e :rn cl all:
Th e rn stecl 11ail s fell from th <.: knots
Tli:lt he ld th<.: pe:lr to thl: gaiJle-w:tll.
Th e hrokt:n s he ds look'cl sad :111d st ran g":
linlift ed w:1s th<.: cli11k in g lat c h;
\\'t.:cckcl :rncl wo rn th <.: a nc ient. thatc h
Upo n the 1011<.:ly mo:1ted g ran ge."

8. The Principle of Selection.- 'Ne mu st mak e up
our minds, th en , wh :1t arc the salient points of an
object, and g ive those a lo ne. Grant e d th<.: m ain
feat ures of the o bject desc ribed, the read e r ca n
build up a conccpt ion of the whole objcct for himself.
H e rc, for example, is a bit of description
from Fc!Li: /Jolt: -

.

'

At ni g ht Maria11a li e s sle e pless, lonely. seek ing
company even in the poplar-tre e ot1t side Jiu· 1·;111 d,1w .
"And ever wlie11 the muon wa s low,
And th e shrill winds were 11p :rnd aw:1y,
Jn the white c11rt:ii11 , to :rnd Im ,
Sh e saw the g 11 sty sl ud1nv ""'"Y·
B11t when tli e m uon w:1s ve ry luw,

"She [the h eroi ne] h :i d time to re m:irk that he [the
hero] W:ls a peculiar-looking person, hut not insignificant,
which was the quality that most hopeless ly consign ed a
man to perdition. I le w:1s ma ss ively built. The striking
points in his fac e wer<.: larg-e, cl ear, gray eyes and full
lips."

·'

And wi ld \\·inds ho111H.l \\' iti 1i 11 th eir cell.
T!i c ,-,l1.1d·•\\" ,,f tl11· P"i'l.1r f, ·11
l i1)r>11 her IJ\'11 , :tl"l"•>SS lwr i>ruw.

This d escr ipti o n, :1s (;l"u1gc Eliot herself s<1ys,

T

·"-:.:

D FSr !U!' T/ O 1\z

S he onlv~ s:iid ' 'T lic n i··
· ;try,
o ht is L'i 11.:
H e cometh n ut,' she s;-iid.
She s:iid. 'l a; 11 ;i\i·c:try, :ni·~:try,
l wo uld that I we re dead! ',,

/!/S I ·;.:/ /' f'/(l, \".

~
~.ii?t­

--t--

J\il the dct:tiis in J!.1ri,llm :trc tiills s<·i,:,·tcd s:rn\\" e nn1· f,q·.
get the dct:i.i ls , but only :1fLLr thq· k 11·c du11c \i1< ·ir
work, produced preci s,·ly the effect ll' hicii Tennys<Jll

ply tn brin;..; ()\lt :\Ltri:111:t',; l1>11,· l i11 c ss .

tlcsirecl.1
Desc ription by s elect ion m:i.y go farther s till.
T11 ste:i.<l of pre se ntin g seve ral im purLrnt tr: t its , or a sin g le irnport:i.nt tr:i.it, o f :in object , nun y wri te rs tr y t<l
sum up an en t ire object in one g ra nd cli:tr:1ctc ri st ic
tr::tit. Di c k e n s is p:i.rticnbrly fond of thi s mcth ,ld.
N ot ice, for cx::trnplc, the foll o win g p :tss:i..c;e from
.ll!arli1t C/111.:::::lcwi!, int roduc ing th e " shabby-gen -

In t.hc lon g <bys h e r lon el ine ss m:il:e s
.
eve ry t111y
•
sou n t 1 J:tr upur her, or see m 11l
'e voi ce s of old fri e nd s .

"J\1,1 .d:ly within th e dre:rni y h o use,
1 he d nnrs up o n their hi1wes cre ·1 k'd.
Th e, blu
,
. e fly SLIJW
"' in th"
· ~ JJ"·• 1"'1c ,. ti ie• m o use
l .elltl1d the m oul dering wa insco t s hri e k 'cl,
Or from th e crevice p ee r \ ! about.
Old faces g limm er'd thro' the do o rs
Old fo<Jtsk ps trod the upper ll oo rs; '
Old vo ices called her fro rn without.
Sh e o nly s:1id, 'l\Ty life is dreary,
He cometh no t,' she s:iicl .
She sa id,' ram awe:iry, :iw~:i ry,
I wo ul d that I were de:id ! '

"The sparrow's c hirrujl on the roo f
The slow c loc k ti c king, and th; so und
\\'hi c h to th e woo ing wind al oo f
Th e po pl:ir m ack, did all co nfound
J !er sense; but m ost s h e lo;ithed th e h our
When the thi c k-moted s unbeam by
Athwart the c h:1111h e rs, and the day
\Vas sloping to w;ird his western bower.
Then, s:1id s he, ' f am very dreary,
He will no t co ni e,' she sajd;
She we!lt , 'I :1 m a weary, aw e:ll'y,
<lh ( •O< I, that I were dead ! • "

.J/

teel" Mr. Ti gg : -

l

l
)

"The g e ntleman was of that o rde r o f appcaranrc
whi c h is c urrently te rm ed slnbh y-gc ntcel , th ough 111
res pect of his dress he can h:irdly b e s:1 id to h :wc been
in an y extremities, as his fin ge rs we re a lon g w:iy u ut o f
hi s gl o ves, and the soles of his feet were a t ;i n i11co n1·e 11ient distan ce fr o m the upp e r le: tth e r o f hi s b oots. 11 is
n ether gar me nts were o f a blu is h grey - 1·i o le 11t in it s
colours once, but sobcn..: d n o w b y ;ige and di11;;ine-.;sanJ we re so stretc hed a nd s train t: cl in a to ug h c<rnll ic t
b e tw ee n his braces ;ind hi s straps, th at th e y appe:ned
every m o ment in dan ge r o f /l ying :1 s under :i t ihe kn ee s.
}I is coat, in colo ur blue and of a milita ry cut, w:i.s lrnttont:d
and frogged up to his c hin . 11 is cr:ivat was, in hu t: :ind
pattern, like one of th ose m ant les whi c h h:iircln:ssers :ire
I For a lo ng anJ elaborate <ksc ripti o n of the sa me ki nd, rend
Edgar Al inn Poe's r;i11 of t/1,: //uuu •f Usher. ft is a long in , istc ncc
on the mood o f t~rror.

DF.\I~R f

;\Celi.~ 'c •.J JJ 1' •·u'
.J

'-

:,, •1···" ))
L

•

-,

..

;

il,11n; ',

I ' 1/0/ V.

+I
·
l 1-1 err

/JFSCRI /' J/O .\ '.

·
c 1·Jell ts , c1ur111,~
t )1c

~ tnd

pr(Jg-

Jc ::,~ ur the pr oft..:ss io :i;1i 111\sll'ri,·,-. !!is h :it iud :1rri1·,·rl
:t l ~~ 1 1'-:ii ;l jLl.'->S tJ1; 1t_ ll \\' • Jll i d li:l\"\ ' h i' lTI li:1 rd !1> dt·tL·r11 1in1_'
whether it was or i;::; in:tlly w hite or hl: tc k. li1 1t l1l' w o r e :t
Jl}(JlhL11..:lic ~-- ;L .'-il L1 _:~~y lll\Jll ..... ~.ll ' lit • l 1H):
IH 1li1111 :._:: in the
mee k a11d ll1t: rc iful w.1y. IH1l q111i e in llie tic~ rce :11.Hl ~;corn ­
f "l style -- Lile 1e;..: 1il:ir .'-'.1 l .111ic : ~<>1 I ,, f tlii 11;..:; :llld lie wnn·.
iw:--: ti•_·.-. . ~l \· .1.-..,t qt ;: i n tt l\- 11( \liil •1 thl ; l · ,\ l1.ur . 1 i l: \\-;ts \ ' cr v

1 )

f_'

,.

I! /

( •

pi!1

in

l'Llg· uc,

i!fty

\·i1i:1k111;-:

uf the pi ~1.gue.

gobl ins Poe

(,f t1 H·

ill()rt:

, . j] q\\'

:t'-i

Slt1i)

;t\•l l l\' , \\', !S

( i 11l1j il 1·d i1lt1• ~ 11 1

;1 11'1

c

ui

.\[dl"S .'-> ll •ll

;.;1 1 t--,fi \ ·

\\,\:--:.

c l1itl11·<i

fr 1 i111

]-h _' :td

f\,,it

to

11 1

:t

.lil .t -

:1 i1i1 ·,
T l1is

rn1k1·d Llw c1·cs ,,f :ill :1t

;is

r!(

ili\·

II

S()!Jlt' lllt'Jl\ ] 11·r
.. ( >p1),1_', \ !t•

l:tih· "f
ri _;,_::h 1

\lll

.l '-\

<if tilt·

1'( 1lllp :1n\· f ~ lr :1 ;-;q11 ;_::.

li1111 . ;1 :1t ! \ \ · ;; ) )

ht ·J"

l):l1

k

t()

t!l(·

d11i1J".

\'.". h

:\

, .,· ltit tlw l1·ss 1·\lr:1nr1l11i:1r1· < lu1 :l< t.· 1 .\ lt li 1·11 c:l 1
\.tii ;\''"'t i ]( • jl l " J' , <'I} i l l'"'{ d r· ~ ~ \ r il w\l, ' ,l)t ' l111i ] \ I !

10 1·<•111pl:1i11 <i f hi~ 1111r1.1t11r, 1l

ili1· L1...;t

(·11~: 11 i.1ti 1 iJi.

~111 · \\·.1-..;

dr''lhY ;t:HI !i( ·r li .:..: 1::1..:
n·s,·11il1kd ne·:irlv tii:1 1 lll till' l111_c:;<.' lllllllii e·"11 ,,f ( ), !1 >l «·1·
h1·1 ·r \\·]ij,_-h :--.tr 1() 1l. \'litli Jl.'-' ht .1d dri\.l' ll i n. < l<r--.t 11\· !1 (' r :- . :( L·.

t ·\·i1i (·n il\·

liitl\ :~;:111 d pcT so ns :ire ~~tid tu
L 11·1(_

\

11 i.'-\ Lt :Hi \\- ; [_'-) :--.t1H k i"u il <,r :--.,tl J ]1~ li 1_ ·Jr;-; c pl t itll t' ...:. , \\ l1h 11
he nodtkd l" :111rl frn \\'1th :1 j:1u111y :i11d k11•>1\ in~'. :11r
I.
1 '
:1 J. l t
li l! i!Ll 11 t 11 i,:..:.li j >Jl \',
;"ll l (i l l l 1 1 1~
w itl1 wl1w!i Ii, · :1pp1·:1n ·ii I " 11.11··· lw ,·11 jlh l l-:11 .. ck1n..: il• ' \\.11

( j ll!i <'

°fll'•J s c·:t1 11e ·11, s1>mc·wh:it

11r)( Ji1

t :.\t ·i·pti l l~< o!H'

f1 ·:1ltll" t ',

(1_:_::urL:

;:~;

\\·.ts

0

JS

dr11nk . sturrih]c

hini :l

111

L1cc

emhrnidcort'. d j,i;1ck s 1ik-\'l hl'l ruli, \\T;1pp<·d ll<-_c:;l1_'..'. <' lltiy
:ir1t111HI iiis f.1r lll :1 f1,_ 1· t lw f.1,l1i n 11 ,. f :t :--:1•.111i,l 1 < 1.. .11' .

\ \ '

h:t\'C died in Lonil11n :ii• 111e:.

! 10

lwh 11lti

I I is

wc·r ,· ;;l:tZ<:d 01\·c·r \'. iilt th e· f1111 1cs 11f i111 11si, .1t 1•,,1 .

<If tile:
\.v;1, ·i1

k1·rcd

M"t · i:t l t ·:1i:tn

1

The· Slc' Jl c·

hut

tt)

hirn-...t·lf.

liilill'. :ind Iii:; eyes.

1•r! 1l u1·t..· h:'-; jit..'(-iili:tri _\, :--. ir i i. i11.~TTi s :1
~in ·1 r~~ ~ t t iry . _;.'i.-in ~:- ! ', ·.r/,

t(i

s;d(r111 J -- -

confound ed
t!l

Jnft y :is to li:1n: the :1ppL::n;1111·1: of :1 !J11nn,·1 " r <T1111·11 llf
11i s Ji H 11lt I 1 \\ , 1-..;

9. Descrip tion l.Jy Exaggera t ion of a Sing le Trait. -

(I, ;

th

cic-nih· 11i:Hkt ·il t" 111.rit :1 jl:11 li• lli.t1· <ks<1i1lti .. 11. Tl1h
c< n1:-. i:-.. tt ·d i11 a f(1 rl· l1 L·.1d S1 J u111i.'"'1uliy :111d l~itk ( 1 <i ',! \

C:t rri cd lv ;m c.\lrclllc", - that is , to th e cx:ig-_'..'.·e·r:1 t in11
of ;i ~i n.~-j l. .'.' lr :tit or c1L1ract~'risi ic. -- - t 11 (· 1n1 ·f Jiod <lf
scicct irm thus ii cconws the chi,-f in ' ! rttllll"i!I ,,f s :itirc
: l il r1 (_' ~l r j c ;-it l! r ( '. ( q - () r (1\_' -~ i. i i 11 ; ~ q l ~ 1 i ;, t. t I ] .-~
i I i {'11
1

\\·,1s

ollt '.

dirty :lil d very pu;li~;. ; ver y l1ul d a1Jd 1·.-r1' 111can; very
~ \\":t~;.;·c1 i1 1.~ ;u1d \-\'.ry :--. l 1;1;,111g; \'t-ry n1u1 . li like a 111:111 \\·hn
1n igl1L li:t\· c l1 LL·n ~{Jillt_·t!1 ii1~ !.11•. : ti.cr . ;u1d u 11 spt·:1k:1h ly like
a nun 11 iiu deser ve d lu i1e su111eLi1i11g wurse.

i CJ;' 1J } ; ~:
cff1·c1" of

T, l·;..::s

c111: t 1·1:1lt '. d

111

:--. :. 1'.:1 ·

1d

;1

~, .i rits

1

'l'ht~ pnrt r;iits of t\V O of these hohp:iints as follo ws: ~

"Fronting Llii.: entr:111cc. :i nd elc \·:itul :1 lilt!" ahovp
11is C<11n11;1nJ11ns , ...;:it :t p1_ · r-..: 1 1n:1.~-,· \-,·!1 • · :1pi )1· ,1r1·( l t<) lw tlii·
pri.:sident of tlii.: l:thle.
I l1s st:1111rc: w:ts g:111nt :111d t; 1ll .

r u und, red, :1nd f111i ; a nd th ,__. s ;PJH·· IH ' i 1di ;1rit y: 'li r:!f l11
w :tnt i 1f p e t~ 11 1i :1 r 1ty . :itt:i c h cd it<.:; c lf tn li e r coi:nf(' ;-1;·1n(·e
\\'hich is hefnr r: n1 e ntinned in the c:1~t' of the prl·-.;idt·nt ~
tlt:1l is l•1 s:1y. only O l1 L' fr:1t11rc "r her f:tn· \\':t.s :>lll.liL:i,·n tly

i

H

d i~ ti11·_:·11i....,Ji t'd

t()

ntTd

;1

>1. · p:1Lltc·

ch

dn:rl. tltc :1 u 1tc Tarp:1u l 111 1111111. ·<11:\lel y

1r; 1ct1·r 11;ltii1ll

1n-

1,1 ,~L· nc:d tli:tt tltc

50

5[

JJESCN 11'7'/UN.

D ESCNIFTION.

sa m e re m ark mi g ht h ave appl ied to eac h indi vidual
person of th e p a rt y, eve r y one o f who m see m ed tu poss ess a m onopoly of so me particubr p o rtion of ph ysiognomy. With th e lady in qu es ti o n this p o rti o n prove d to
he the mo uth. Cu 1111n c11ci11g at the ri1; ht ear, it swept
wi t h a tcrrii ic chasm l v tli c left, th e s hurt pemLtnts wl1i ch
s he wore in either auri cle co ntinually bobbing into the
aperture. She m ade, h o we ve r, eve ry exertion to keep
her mouth closed ;llld loo k di g nified, in ;1 dr ess con s isting
of a n ew ly starc h ed ;ind irone d s hro ud cu min g up close
under h e r chin , with a crimple d rufll e of ca mbri c mu sl in."

11. The Principle of Suggesti on . - Sn f. t i \\"c h:t\"'..:
b ee n considcrin ,g the }'Ltctic:d ~idc ,,f tl1L· :1 1\ 1 .t dc: SLTipt ion ; tli:1t is. 11n w h y st :1t in g :1 <Trt.1 in 11:11 1 il"T
of t r a it s or ch:i r:tC\LTist ics in rL· ~: 1rd t<> :11 1 "h:• • t \I ' "
r:i.n im p r ess upnn th e r<':1der's llll• kr~t;11Hli11:c: su 111 1·thin cr likt : a c o m plete n u ti u! l uf it. ,:\11 11 tli1·r ~" 1 11 t1" 1 1
of
prohkm of lww lwst to (ksni l><: is : :I• •re .,

10. Description by a Single Trait: the Epithet. - The
m e tho d of d escr ipt io n by the s e lecti o n of a single
trait n ceci n o t n t:cessa ri ly h:1vc the effec t of s:i.tire
or car ic atu r e, or evt: n a grotesq ue effe c t. Nathaniel
1fawthornc describes wi th vivid n e s s wh e n h e speaks
of the "black, mood y bro w of S e ptimius FL·lton."
Homn fr eq uen tly r educes d esc ription t o a s in g le
epithet, - t o the constant ep ith et.
"The w c llg r eaved Achaian s," "f:tr-1 hr ti11 g J\po llu," "swiftfootcd A ch illes ,"" wi de-ru lin,g A ga m L·mnon," "whit c armcd Hera," ":r:g is-be:tr111 g Z e u s ,' ' " bright-ey e d
Ath e ne, " "crafty Ulyss es ," - all th ese arc bu t e xamples of desc ri ptio n by cxkw s tive s e le c tion. l lcre,
h o w ever, w e r each a po in t wh e r e we a cco mpli s h our
purpose of c::tllin g up a picture o f a p e r so n o r object
in the r eader's mind, no lun ge r by a h ost (1( details,
but by a s ing le d e tai l, th:i.t is, by s u ghest io n rather
than by simple a ssertion . \V e mu s t now conside r
in deta il the mctiwd ol Llc sc r1bing by suggestion .

ti-;<'

matter of a rt, f"r it :q •[><·:d s t11 the: inn ,g i1i:1ti1111 r.ttii1 r
th an to thL: U!l de rsLt11 d i11g. It tric:s to c:il i up .1
picture before us ; it tr ies tu su~:,.;c:st to u s th_L· 11:1turc·
of a n object whit: h, it m :ty he·, \\"c: luve n c·1t 11 .. 1· sn· 11
nor shall sec: ; tri l· s t" m:1ke :-':luw i11 <lllli i111.1 ~'. i :1.1t i .. 1b
"tlw li ,.·ht that llL'VcT w:1s on set and Lu1d ;" tr j, '•,
in fi;1C, ~int merel y to ~~ iV<' tJi c <k:1d f.l('tS ill i" l'.'..:,:1; ,)
tn a pe r so n <>r obj ec t , but t0 produce t he illus ir. 11 .. :
seeing- it ; n ot nwrc:ly tn i1kntify it , lrnt t11 i111, ·:-I 1rl'l it.

,.

For th is pu r pose bn ~ u:1gc is n ut \\" it h"ut rL·:o1.t11c•, s.
The prac t ical d is:1<lv:111t:i.'..!:l'. of VL:rlnl , [ ,.~ ,· rlJ'' lll ll .. :1 s
Wt: Ji:i.V e SeC ll, li es ill itc; ina lJi Jity t o prc· Sl'll t J\S !• si;:\s
:i t :i. g bnn: ,,[t he eye . :1:11! the: nccc,;s1\ 1· "I _q : ii_j, ' : ir, ,.~
thl'lll, 011 :u:cou11t u[ t h1: \cry 11: 1l11rc: ,,i· l.111 :_;1 11 .'..'. '" l <1
:i. proC'l'S S nf co-o rd1 11 :1t in11 Oil t l1" 11art 11f t he: u:1• _ier·
sr:i. ndin;.:;which is 1lcci,kdly w :1st dul ,,f th 1· :ttlL11t1> •11.
Its pr::i.ctical advant:1:c:c 1 011 till' 11tli'-·1· IJ.L11 .J,_ l1L·~ 111 '. : '
111111·cr t o select from th e dd:1ils pc· rt :111111 1 ~ l<> t :·1e
~1·holc obje c t, special tr:tih, - a 11 r ivik :.-,<' 1\1:1L:h 1.:1111\in c; scarcely possesses. The grea t :1rti :,Lic 1·:1 1uc of
th~~ n1 ~thotl of ~ug .~t·:-.;tli)n, nn th i..· ti thLT h:111tl. I i {·'~ 111

ih power to express the mobile:, cii:1n'..:,<':1hk q11ii1ty " i

.~c
"'

-~

•.:r

•·:~

-

·--;:
...,:-:-~

- -~

5.)

.D1"SCNI/'7JON.

/Jl: SCA' I !'I/UN

p e rso ns o r obj ec ts, which we call ch arm or uglin ess.
Lan guage, bein g itsc;lf in m ot io n, has a n inh e re nt
capacity for bui ld in g u p pictures in th e im ag in at io n
h y s uccess ive s uggestio ns . By v irtu i.: "f t h i.: power of
con notati o n which wo rds pnssi.:ss ,I l : rn.~: u:i ~ c..: ca n ofte n
s ugges t in a n in sta nt a pict ure which it c() 1ild produce
hy expl ic it description only a t g rea t expe nse uf tim e
and m ea ns.

l'•JJlil"rts thc111. 11•1l ,,f
u p ·1t C11T ·ll'S ti )('I 1l , 11(> 11\Jl>"~ e\"·r
,
repose, IJul even of kss p::iin .
.
"And as the cranes go s in ging their b ys, tn :1k1ng 111
air :1 lo ng line of thcm sc ln·s, so s:l\\' I c«1t1c· , utkring
wails, slu:les borne al o ng l1 y the afurcsa id strilc. \\ 'he rcfnrc· l s:1i d, ' i\Listt- r. \1·ho ar l'. tho se f"lk \\'ht1111 t i1c l1l:h k
a ir so cast i•, a tcs?' . . . ' J Id e n th ou sees t, fu r wi111111
so ]"n g :t t~nl'. of ill rev<Jlvccl; a 11d thnu scest tlic grc::tt
,\ c hili es. whu :i t tlt c end fu ught with luve. 'l'htJ ll scc't
I'aris. T ri s t :rn, - ' and m v re tha n a th u11s:\lld sludcs he
shu\\'~d me with liis linger, aml llcllllcd Lllclli, 11·Lulll lu\'C

12. Methods of Suggestion. - To su;:.;;:;-est c h:1rm or
hatefulness, we habitu ;illy mak i.: use , as a nile, of
o ne of th ri.:t.: de vices : ( 1) we sa y that the uh j ec t is
like somct hin'k else, or (~) we t ell what we feel when
w e sec the obji.:ct we wish to desc ri be, o r (3) we tell
what a ctual act io ns of the perso n o r objec t mak e it
charmi ng o r hateful. Not ice, for in st ance, how thc s < ~
m ethods arc employed in the fo ll ow in g passages : -

(a) "Now the woful notes begin to make th e mse ln .'. s
h ea rd ; now a m I co m e whe re mu c h la m e n tat io n s mi tes
m e. l h ad come into a place mute o f a ll lig ht , th a t bellows as th e sea docs in a te rn pest, if it is co mb ated by
opposing winds. The in ferna l hurri ca ne th a t n eve r rests
ca rri es alo ng th e s pirits in its rapi ne ; whirling and s miting it m o lests them. Wh e n they arriv e before its ru s hing
blast, he re a rc shr ieks, and bewailing, :rn J L11n e nting ;
h ere t hey b h sphe1nc the p o we r divine. I und erstood
that unto s uc h torme nt arc co nd emned th e ca rn a l s inn e rs
who subject reaso n unto lus t. A nd as th e ir wings b ea r
along the sta rlin gs in th e cold seasun in ;t troop brgc ;rnd
full, so that bla st the evil sp irits ; h ithe r, thithe r, down,

l

·~

Iif
H
i1

!tad l"' rtc d fro m utn life.
" /\ ft\:r 1 had he:ircl m y T eacher n a 111 c t he d:1mc:s CJf
cld and the c:n-alicrs, pity u1·L'lT:unc 111c, .u1d I "·'' 11·L·ll
ni .r h bew ildered. l bega n,' Poe t, willin ~ly wo u ld I ;,pe.1k
,.
with th ose tw o t hat go tugct hcr, and seem to he so l1;.;l 1t
up on the wind .' And h e to m e, 'Thou s lult see w ht.:11
th l'.y s h al l be nea rer to us, a nd du thou then pr,ty tl1e 111
by th:1t lO\T whic h leads them , a nd they \\'ill cu1llL' . ' . Soon
as th e wind swa ys th e m toward us I lif te d rny voice , '\>
we :tr y souls, cume spe ak tu us, unh: s;; Su 111 eu1 1e ftJrl,ids it..
"As doves, ca ll ed by desire , with wings up c n and
stea d y, 1ly through the air tu their S\\'cet n est, IJllrne by
th e ir will, th ese issued fr o m th e truup where l >ido is,
co m in g to us thro ugh th e mali gn a ir, so st ru ng w:ts t he
~

\ ,
j

co mp :1ssio nate c ry."

No inn:-i: !!ell, co JJI" v.

(h) "nut I, th at am no t s lup 'cl for spor tiv e tri cks,
Nor mad...: to co urt an amoro us look ing·ghss;
I, t h :tt :1111 ru<kly st:11llp'd , and \Lint lnn:'s 111:ijt·sty
To strut before a wanton :trnl,ling n ymph;
l, th :tt am e urLtil 'd of this fair propurtiun,

I
I

~;

5-+

/ 1/

I ' /-_.'i ( '/-.'I I'//(}.\.

C11c .tLcd uJ fc~:.ur._ · h_y tl1~sc1 n f,ii11;; :L1: u rt:,
J>cfun11·d _, u::1l :1i:-.h 'd 1 sen t lH~ l.orc iny ti111 e

I Ll l t ir c

tlit'

(l\ I H'r

t' l r i 1r,

\\·hen ~t!fcctt'd :-... l:- <J11.~l)

ln to th is l1 rea tl 11ng worl d, sc:ircc h:1 lf n1adc 11p,
.-\ 11d li1,1l s" Lrn1,·ly :ind 11nb;:,!i1u11.d1lc
T li :i l do;.:> l"irk .1t ll1c :1 .~ I li ,1il by 1l1c 1n: \\"li y, !, 111 t!ii .'i \':c;1k p1pi11 ,:. .:: t 1111 c (_1f !>1·. 1c 1·,
l !ave n o <i«li _'.; h l t o p:i ss :1w:1;· tl11: t i1111·,
U n less tu sec 111 \· sli:1dn w in th1~ s un,
/\nd rl• ·'«' an l "fl mint' C>\111 tk f"111 1i ly :
A nd tlicTc forl', sin ce I c: in 1v1t pr'"·"" :1 '" \Tr,
To c nt:e rt:1in t h<'Sl: f:1 ir \\Tll -Sj1,1l-. e1 1 d.1y s,
lam d c tc rrnin f' d tn prO \' C a \·ilL1i11,
And hate t l1c idic pka~11res ., f t lt l' se d:1ys ."
A·.:,,'. -.. ,'! "/, ,:·,u,/ Ill. , :\ ct I. , :-;.._.r_·11 c

(If

1n / / / f(ln

, ',t

hy

/1 ' / / ' //t 1. \ ·.

•I
'L!t

·' '

. 1II
\\ I ll\

l' ! lluti1i1 l.

1!1 l ·

;11 ::11 i

' f !111 .... . /, ·r

.i ·

: 11; '

11"<.t i1 l

·.

IJ·,-J.:, ·

Th e fo am is 11ut Gt1c·l, n L·it iic ·r d.,,., it n:n1 I. 'Iii ,· ·,\« ; , ·
Ol 111 i11 cl \1·i11c·Ji :ttlrii,Uit"S tu it tli1 _·,c· I i1 .t! .IL lc ·r> .,f , \Ji'..:.~
crc:lliire i:-;. (int.." i 11 ,,·h ii ' h tht· rL· . i--- i 11 1--~ 1i 11li111_-.(· i l) ~,· _
__ : 11 · i .
!\i i vioic- 11 1 kc ii11 '._'.S h :11-c t hc s ;1 1111· t · lk< I. Tl 1.. \ · 11r"d 1 1c ,.
1

in u.-.; ~1 Lti>l·n,·:-.:-.

I.

13. Th e P a t hetic Fallacy an cl Its Abu se - The nH· t hn.J
o f su;..:-~cstio n is ;"tpt to k::td th e im :1.!:: i11:1t iH · pnsn 11

int o a m :rnn e r of ex press io n or a s tate o f rni11d th at
at tri b ut es to i n:111 irn;:i t e objec t s th e acti o ns or qu;:iliti e s o f hum a n c rea t u r es. In some ca ses s u ch a mJnn c r u f e xp ress io n is a pp ropri a te :rnd effec tiv e; in
oth<.: rs it is weak :ind mi slead in g . H.u s kin has s tyleJ
th e n ;:i tur:il a nd :1 p prnp ri:ite u se of th ese a nthropom o rphi c fi g ures of s p ee ch th e l';:it h c t ic F :i lbcy, for
J rc:i so n w h ich the clcriv:1t io n o f th e wo rd "pa t h et ic "
nu kes e v id e nt. n11 sk i11 's s tate m e n t , whi c h h:t s bceo m c L1 mo 11 s, of t h e prin c ip le o n whi c h h e b e lieves
th e c ffe c tin~ use of t he path et ic falh cy is bascJ , we
sh a ll g ive i11 hi s o wn word s : "Of th e chea tin.;; of the fancy we s hall h ave to speak
prese nt ly ; lrn t, in t li is c h:tpk r, l w:int to examin e the

111

,i; l (it1 1

i1nprt· .... -....1. 111 1-....

1

t

I 1·

1 · .\ ( ' ! I I , l :

:

j I • I l :..~ "- ,

whi c h J \\·oui d _i..;e ne r:li ly c iLtr:t clc ri ze :is the · i'. rtl1d1c
1::1l l:11·y .·
" r<o w \i·c :ire in th (· li:1i>i t r, f r1111>icJ..r i:\ _::: th:..: I ; i]_,, \.
;\ .'-' c n1i 11 <'11tly :1 ch :1r;1ct('r (if J1l°h·ti( ·:1l .dt''"~c·ri 1) :i 1 1 i1 . :i: :i \
· t ·111 \\' It 1·c· li \l.l' ·1 1l" w 11. :1s "111 · "1 11 1111·11 1,1
te m pe r u •c 111 11H
· LI le .
I ;u t . I !H· l 1, · \ · l· , i f \\. t ' l( ·k
pue ti c:1i, l1 CCl\ ISe p:lSS!<J!
well into th e m :llln. 11e s i1.1 !l !'1 11 d tlie g 1·,·.1tc-:. t ."'·"·h ,:.,
n o t o fl e il :idrnil thi.~ kin d <> f f:rl sc ness , ·-- t l1 :1l ti ts 01ily
th e seco nd orde r 0f p oets who m1 wh cle l1 ght in :::
" T hu s, \\·h e n D a n te ckscr ib es t he sp trtls f." 1111g fr•>111
1· • ' r fro n1 a
th e bank o f Ac he ro n ' :1s clca ct Ie:t n ;s 11LI-""
·
f
b o ug h ,' he g i\'CS th e m ost pe r ect _im age poss 1lll c·of
. • thcir
. .: ,,
utt e r li •'hln ess, feeble n ess, p :1ss1ve n ess, :t nd sC.llLel :'\~
a go n y ,~( d cs p:1 ir, wi th u ut , h o we \·c: r, fo r :111 in st:u1t lo.s1,11~
hi s o wn cle:tr p erce pti o n th :it l l1Cs,· arc snuls .. :llld //t ,,_,, .. 1e
lea ves: he mak es n o co nfu s io n u f c111 e \\'tt h th e: o th,·r.
Hut when C o le rid g e sp e:1ks of

i:;

1

p

•Th e o ne reel le:if, t he l:i st of it s c!.111 .
That dan ces as ofte n :ts dan ce: it ca n ,'

h e h as a m orb id , th at is to s ay, a so far h lsc . icka ab o ut
the leaf: h e fan c ies a life in it, and wilt , whi c h the re :i re

/J f::SCN I /'/'!UN.

n ot; confuses its powerlessness with c ho ice, its fading
death with m erri ment, :rnd the wind that shakes it with
musi c . Herc, h o we ve r, there is some be :lllty, even in the
m o rbid passage ; but t ake :rn instance in H o me r a nd
J'ope.
\\'i th o ut th e kn ow lt.:clge o f U Iysses, El penor, his
you ngest foll o we r, has fallen from an upper c h:rn1b c r in
the C irce:rn p alace, :rncl ha s b een left d ca<l, un111issed Ly
hi s lcackr, o r com p:111i o ns, in the h:iste o f th eir d e parture.
Th ey cross th e sea to th e C imm e ri :111 Lind ; a nd Ulysses
summons the sh :1des fr o m 'J':irtarus. Th e lirst whi c h appears is that of the lus t Elpe no r. U lysses, :1mazed, and
in ex:ic tly th e s piril of bitt e r and te rrified lig htn ess which
is see n in 1 faml et, :1ddresses th e spirit with the simple,
startled wo rds: • Elpe nor ! How camcst thou under th e S l1< 1d uwy d:1rk11 css?
Hast th ou come faster on fout than I in 111 y l1lack s hip ? '
Which Pope re nd e rs thus: ' 0 , say. what angry powe r E lpc nor led
T o glide in shades, and wander with th e <l ead ?
How could th y suul, uy re:d ms and seas disjo ined.
Outfiy th e nim l>Ic sai l, and leave the lagging wind?'

I sincere ly h ope the re:H h.:r finds no pleasure he re . e ithe r
in the nimbleness of the sai l, o r th e lazin ess of th e wind!
And yet ho w is it tint th ese con ce its are so painful no w,
wh e n they ha ve been pleasant to us in the o ther insta nces ?
"For a very s im ple reaso n . They are not a j>11tltdir
falla cy at all, for they are put into the m o uth o f th e wrong
passio n - a pass io n ,,·hic h never could possib ly h ave
spoke n th em - :1g1J11 iz ·d c urios ity. U lysses wants to
kn o w the facts of the m:1tte r; and th e last thing hi s mind

57
could du at the m o me nt would be to p:lllse, or s u g~c ' t 111
any wise what was 110 / a fact. Th e deby in th e lirst three
lines, and co nceit in th e last, jar upun us i11 sta 11tl y, li ke
th e most fri g htful disco rd in mus ic.
No poet o( true
imaginati o n could p ossibly h:ive written th e p:lss:1;;e. .
"Therefore, we see th a t th e spirit o f truth rnu st ;;u1d e
us in so me sort, e ve n in o ur en joy men t u ( f:tll:t cy . l '" 1crid ire's fa llac y has no disco rd in it, but l' upe ll:l s set (/llf
teeth o n edge. \\' ith o ut further qu csti unin;.;, 1 will e11·
d e a vo r to sta te th e ma in beari ngs o( this 111 :11te r.
"The tempe ra me nt which admits th e p :1 1hetic Lil hey,
is, as J sa id above, tint of a mind and body in su me surt
too weak to dea l fully with what is bdure th c·111 "r 11pn11
th em; b o rn e away, o r ove r-c lo ud ed, o r uvcr-d:1 z1.k d by c111<>ti o n · :incl it is a m o re o r less n oble sl:lte, accurdi11~ tu the
fore~ o f th e emotio n whic h has induced it. F ur it is 11 u
credit to a man th at he is no t mo rbid u r inaccuute in his
p e rce ptions, \,hen h e h as n o s tre ng th o f feeling t.o ,,·:irp
th e m ; and it is in ge ne ral a s ig n o f hi g her cqiac1ty :rnd
stand in the r:inks o f being, that th e e nwtiun s s houl d he
strong en o ug h to vanqui s h, partly, th e intelle ct, and rna ke
it believe wh a t they c h oose . Hut it is still :1 gr:rncler cu11 diti o n when th e intel lect also ri ses, ti ll it is strong enough
to a sse rt its rule :iga in st, o r togeth e r with , th e u11110s t
e ffo rts of the p:issions; a nd the wh o le man ::.t:inds i11 :111
iron glow, white h ot, perhaps, but still st rung, and i1.1 IH J
wise evaporating; eve n if he melts, !us ing nunc ul l11 s
weig ht.
"So, then, we have the three ranks : th e m :111 whu pe rce ive s ri g htly, bec:iusc h e d oes not feel, :111 d lo \\'hu1 11
the prim rose is very :iccurately th~ prin1 rosc, l>cc:111se. he
does not lo ve it; th en, seco ndl y, th e 11lan \l"h u percc1v1;s

I JFSCl•l l''f'/U,V

w rongly, bcc:n1 sc he feels, :i nd to wh u n1 l he pri111r11sl· is
;u1 y thin g else tli:111 :t pnmro.~e : a s l:1r, :1 ,., 1111 , 11r :r f:ti 1y\
s hi e ld, or a fcns:1kc 11 lll:tid e n . 1\nd , l:tslly, thcr L' is th e
man w ho pcrc<:i vcs ri g htly in sp ill'. of his fee lings , :ind to
wh o m th e p ri1n rosc is fo rcrc r noth ing clsi: tli:t n itsel f - a
li t tl e £101\·er, apprehended i11 the \'lT)' phi n :111d k:tfy f:t ct
of it, wh a te ve r :ind how m:111y socn: r th e :i ss11c i:1liu1 h :111d
pass io ns nny he, tl ut cro1rd :irnun d it. :\ 11d . i1 1 ;.: ,·11n:tl,
these thri: e cl:tsscs 11n y be r:1 tc d in CJ >1111•:ir:t1i,·i: 1Jrd ,· r, :ts
th e m e n wh o a rc no t po<:ts at all, and th e poets of the
se co nd orde r, a nd t he poets o f th e first; o n ly, h uwi.:ver
g re at a m:rn m ay he, th e re ~re :i lways s o me sulJjcds which
<JJt,i ;lJ/ to th row hi111 uff hi s IJ:t h n cc; Sii lli l' , l• y which his
poo r hum ;i n cap :1 c ity o f th11ll ,'. .; h t s ho uld l >c (·, •lll/ llc'l'1'l l, :11 1d
broug- ht into th e in acc urate :rnrl \' :1g 11 e st :1k uf µ c rcc ptiun,
so th:it th e la11 g w1 gc of th e hi ~ hc s t in .spi1-. 1ti u n IJ ecu lll cs
b roke n , obsc ure. :ind wi ld in rn c L1p l1 11r, 11,c: n rlJlin;; th:il
o f th e we:ike r man, O\'erbornc by wea k e r th ings."
;1/tidrr n / ',1i 11t,-rs ,

\ Ol.

I . Ex :t111 11l \' t ile

1k,;1rq•ti,,11 s , .111 il 11111

J. " Canst th"u dr:111· nu t k,·i:u l1:11J ll'i1l 1 :111 f;,,,,k ) 111
Iii,; \ C!ll"'ll c' \\' it ii :1 C<il'd 11hich t l11• ll k1t1 ·,1 c[.,\\ II : (" " "I
th<ill 11 1 ;~ ;111 ho<1k 111t<1 li1s n"'" ) •·1· J.,,r, · Irr., [.11'. · ri1r•• 1.:: i1
with :t tii 11 rn ? \ \ 'ril h1; 11u ke 111 :111y ,, 111• 1• ll\.1 t1 ,, 11 s 111 11,,
thee? \\'il l he .,pc:tk ,,,,ft 11·11rds llllt" tillT ' \\ ' ii i lw 111.ti; ..
a CO\'c11:111t 11·ith th ee : wi lt 1.h,,11 Lr kl: h11 11 f,,1 :r >< :1 .1 :1 1
frn·i:nT > \\ ' ilt 1Ji,,11 1il. 1y \1iti1 l1i111 :rs 11i1i1 :r 1°111:' ••r
wilt tl1<.1 U l1i11d l1i111 C<Jr tl1y 111:tidc11s? :-; J1.1 ll t i\\ '"'"! '·'"
io ns nu ke: ;1 l1:rn qud 11 C li11n) .';lu ll th"y 1>.11L i11 111 .1:11 .. 11.c:
the lll c rc h:1nts ) C:rnst thou fill hi s skin l\iJl r l• .1r i•1 " i
.Jr()l\S.) <J r I) .I S I l l: : l( I \\' .\ t Il 1'I .'-)·11 s·1) { "I. I'>. .) I ,. I \ t I 1111 " i I 11\(I
up o n hi1n , rc lll Cll1i H:r t II C ·11 :1t l I l', ( I () IH> Ill 1 I r l.·
I :, ·i1 "l d . 111"
ho pe () [ him is in 1·:1 i11: sii: rll n ut <>11 c h e c:ist .:., ,., 11. ".\ 1·11
:it th e sie'.ht of him I 1\ 11 nc is su Jin1 ·L· tli. 11 d. 111' ·.111 11 1111
u p : wh ; th e n is :d1k t u st: rnd before r11 c ' \\ ii11 luth
prt:VL' ll lcd me, th :1t I should rq1 :1y h1111 ? \\'IL1h<« ·\·:·r. h
under t he wl w k he a\·c n is 111i 11 e. l 11·111 1111l C<>ll1 c.11 111.s
parts, n o r hi s pu1\·e r, n o r hi s co mely pru pu rt l<> ll. \\ i111
ca n discove r th e Ll cc n f hi s g ann ~ nt ? ur \\'ho c1n Cu lll L'.
to him with his cl n uhk bridl e? \\ ' ho c11 1 1•p<.: n tl11: d 111•h
of hi s fa ce? his tee th an; te rrib le ru und :1li"ut. 11 i.,
s cales a rc his prid e, s hut up t o~ d h <: r :1s with a cl« sc s1·:1l.
O ne is so nea r to :i nothe r, tint no a ir ca n co m e h ct11·1'<'ll
th e m. Th ey :i re joi nc u one to an o th er, thi: y sti1·k t11g cthcr, that th ey c annot b e s und e re d. Hy hi s 11 ees 111 ,.;s a
Ji "·ht clo th shine, ;ind hi s eyes :ire lik <: th e eyelids of th e
n~>rning . . O ut o f his m o uth go liurnin g la mps, and s pa rk s
1

iii.

14. Description by Means of Na rration . - J\ seco nd a rti st ic so lu t ion of the problem of d escr ipti o n is t o
su ggest th e n:i.turc o r an obj ect by tell in g- a sto ry
abo ut it. Th e handlin g of this m ethod, h o we ver,
obvio us ly perta ins t o the s ubj ec t of na rra t io n, whi c h
we shall co n s ide r in the n e xt c hapte r. l ckntical rn
principle is the useful clc vi ce by whi c h m otio n is introd uced int o d esc ri pt io n. J\ typ ical in st a nce wo uld
be one in whi ch a battlcfidd is described by an
o bs e rver who wal ks from one part of th e scen e t o
an oth e r, na rratin g what he se cs in wh ateve r s eq ue nce
is m ost co nve ni e nt for t he g rouping of th e indi s pen sable d e tail s.

Jo] J ,,win~

t]1c lll1::11h <'lll i'] "'; c".i i11 C.IL·h: ~

f

l

t

6o

Gr

DFSCN//''f'IU. V.

JJF.S CR ll'TION.

of fin.: kap uu t. ( lut of his 11 os tril s g(Jct h s 1n oke, as out
u( a SL·ct hin ;.: pol (J r c:ild ron . ' lli s lire :tth kind let h cu:ils,
and a !Lun e ,:.;-ueth out of hi s mouth . I 11 hi s n ec k re main ctli stre ng th, :\ncl sorrow is turm:d int o joy b c fure him.
The flak es of his fle s h are joined tuget h e r: th ey are lirm
in th e m s elves ; th e y c:innut be m o ved. His heart is as
Jinn a s a s to ne ; ye:1, as h :trd as a pie ce o f th e nether
lllillsto ne. \\ ' hen h e rai set h up hin1 se lf, th e mighty are
:1fr:1id: by re :1su11 uf break in gs th ey purify th e llls e lves.
'!'he s1rorcl of h im th :1t i:tycth a t him c: m1Hit l1old: the
spear, th e cLirt, 11 01· th e h :t rlJerge o n. I l e e s teem e th iro n
as s tr.tll' , :111 cl lir:1 ss as r<ittcn \l'<Hid. Th e arruw c: 11111ut
11i:tk e him flee: sl i11gst<>1 1c s ar e turn e d with him into
stubble. 1hrts :ire counted a s s tub ble : h e l:u1g h et h at
the s h:1ki11g of :1 spe: 1r. Sharp sto n es an.: under hi1n: he
sprea<let h sh:irp p o int ed th ings upon th e mire. I le n1 a kcth th e d eep to bo il li k e a pot: IH.: 111 :1k ct h th e sea lik e a
p ol of o intment. I Jc makcth a path tu shi n e after hilll;
01w ll'oulJ think the d eep to be hu:iry . U pu 11 earth th e re
is n u t hi s lik e, wh o is mad e wi t h o ut fe ar. I l e b e h o ldcth
all hi g h thin gs : he is a king over all th e c hildre n of
pride."

3. " 1\ nd 1, 'Cood L ea der, let us go on with gre:1te r
s p ee d, fo r n ow l am n o t weary a s before; and beho ld
n o w h o w th e hill c:1s ts hi s s h a d ow.' ' \\'t.: w ill go fo r11·:ird
with this d :1y ,' he a n swe re d,' as mu c h furth e r as we: sh:1 ll
yet be able; bu t th e fa c t is o ( o ther fo rm than tho u supp oses t. B e fore thou art th e r e - ab o ve th o u wilt sec hi m
r eturn, wh o is n ow hidd c: n by the hill -side so th :lt th () ll
dost not m ake his rays to bre ak. Hut sc:e th e re a sou l
whi c h sea.t ee! all :tlone is loo kin g to ward u ,;; it will po int
o ut to us th e speed iest w :1y.' \\ "e ca m e to it. 0 L o m bard s o ul, h ow lofty and scornf ul w :1 ,;t t l1n u ; and i11 the
m ove m e nt of thin e ey es g rav e and ,;low! 1t s :1icl n<>l
an y thing to us , ]Jul let u s go o n, lo o kin .:.!: o nly in 11i:1111 n· r
o f a 1io n wh e n h e co uc hes . \/ i rg i I. lww e 1·er. d re w 11t::1r
t o it, pra y in ,:.!; th :it it w o 11ld s h ow ti> u s th e h cs l :1scL·11l;
and it a nsw e re d n o t t o hi s re qu es t, ]Ju l o f o ur country
and life it :isk e d u s. And th e sweet l. e :1dcr h L·g:lll, ' :\l:rn tn:i ,' - :\lld th e s had e, al l in itse lf reclt 1se . ro se: toll':Hd 111111
from th e pla c e wh e re: erst it w a.s. s:1yin g , '0 1\!:rnt11 :1n,
l a m S o rdcllo of thy city,' - and th ey e mbra ced ea c h
o ther."
"Com e on, s ir; h e r e's th e place.
still. l! ow fe:uful
J\nd di zzy 'tis to cas t o ne' s e yes so lo w!
Th e c rows a.nd c h o ug h s th :ll wing th e mi <h1·:1 y air
S h o w sca rce so gross as b ee tle s. ll a lf wa y do wn
Han gs o n e that gathe rs s a.mp hir e, clre :1clf1tl tr:1de !
i\feth ink s h e seems no bigge r tlun his hc :\CI.
The fi s h e rm e n th:1t 11·a lk upun th e be :1c h
1\ppea r like mi ce; and yo ncl t :ill :111 c h nr i11 g b :irk
Diminish ' d t o h e r c oc k; he r c oc k, a hu oy

4. Rrig ar.

'.!. "But on m y e:us th e re s m ote a waili ng, where at .fo rward in te n t l o p e n wi <k m y eye . 1\ncl th e goo d 111 :1st er
s:1icl, ' Nuw, so n , th e c it y duws near th :1l is n:uned I >i s,
\vi t h it s h e a1·y c iti zens, 11·i th its g re a t thro ng. ' J\11d J,
'M:1stcr, a lre ad y i11 th e 1·:1l ley th e rell'itliin l clear ly dis·
cc rn its 111osq 11c:s. n·nnil io n . as if issu i11 g fr u m ti re:.' J\nd
h e said t o m e, ·Th e c:t« r1ul tire that blazc:s 1rithin th e m
di sp lays them r ed ;ts t h o u see s t in thi s low I fe ll .'"
N u wro~:

//di,

c~nto

viii.

S tand

LJFSCN!J' Tf ON.
D ESCRf f"l'f ON.

J\lm oc., t t oo
. g surge
Tl
I s rna JI f or .si«
"' ht . Tl i c murmurin
·I bl cs c h a fes
',
c i:1t o n t lc unn11mb e1"d id! c. p c)
:rnn ot be h eard so hi " h
I 'II I00 k
.'
T ·l ·
"' ·
n o m o re
. ut
- sw
. ht '
·i·,est m y )r;11n tu rn ··1 1HI th c. clc·I·1c 1e
0
op pl c do wn hcadl on rr
Glos/i'r .
,,.
" S
Edga r. " Ci\'C m e yo ur
foot

h:~i~c~ - m cYowht1 e arc
re yo u s tand .
now within

a

Of
the e xt re me \ 'l' I"'C
\
-~ · F or a 11 lJc n e:i. th th e m oon
Vo ul d l no t lc.1 p up ri ~h t.' '
..
A. 111,:,·· /Jt1 r , A ct I V. , Scene 6.

IL

1. Compa re with th e L aocoo n f

T

photo"Tlj'l
hs. o 1_ f I_o n1 m e m o ry 'th am
,.., '
l- 111 1ar - to
uesc ri pt ion of th e s:1mc
.
e o owmg
sce ne by Virg il' : --

y o u from
_,

Post ips um, a u x ili o subc unte m a c t eb fcrc ntcn1 ,
Corripiunt, s piri slluc liga nl in ge ntibu s; e l j:trn
B is m e dium a m p\exi, bi s col\ o squa m ca c ir c11 111
T e rg; a cbti, s upe rant q 11c c api te e t cc r vic ib u s a \t is.
Ille s irn ul m a n ib11s tc n clit di ve \l e re n o d os ,
P e rfu s u s s anic v itta s a troq11 e ve ne n o,
C la m o rcs s imul h o rr c nd os a d sidcr:t to ll it:
Q u a \es mu g itu s, fu g it quum sa u c ius a ra m
Tauru s e l in ce r ta m e xc ussit ce r vice sccu rim. "

,-1:'1ui.!, 11., 199- 224 .

2. vVhat <lcvice fo r produ c in g th e illu sion th :lt
good cksc ript ion dema nds is empl oyed in 1Iorn er's
fam ous descripti on of th e shi ek1 of J\ chi11cs ?
3. vVh at is th e valu e as descripti on of t he ful low-

111 g; p ass::i~e ?
"I r ·rc '1]'iud nl:1j 11 s mi ser is m lt
()] .. . ·
.
·
·
u o q11 e lre m e ndum
· pro \'l.d:1 p cc to 1.1 tur I> it
J . >JIC1
, t11r m .:i ,.,..·1,..,· ..1 l quc rm
n, clun11 s Nc j)lu n o ·su it "~ s 1<.e r< Ios
.
S,.wcoo
I
'<1
I . c m nes ta ll rt llll i11',..,rcn lc m lll 't' (.·1·,l I J..lt '1( I. ''l 1"1S
. I t1-a nq u il. .la pe
. r, .·1lt
- ·1
•,ccc :111 tc m .t;c m ini a T c.n cco
II or rcs co rde re ns - irnm c n s is or!· ·1 .
, . ln c11n11Jun l ic l ' "
"
- .
J I Hi s an~ucs
lit o r"\
I . ,,n,
' ·ct ..
· p :u 1tc rc1t1 e ·1d
'
• t Cll (l \lilt·
sI c. _ o i.t- q uo ru111 tn tcr ll u c tu ·s ·arr·.cc·t·.t J. 11 Iia c q uc '
. a 11 f-'. ulll c a c super:111t und :1s - 1nr . c ·t · .
I' on e l ,,,· .·
.
' · s .c e r.t po ntum
. c te r« a ·
J•"t . e,.,
· it s rnu atquc i111111 c ns·'·1 v 0 I urnrn
J
. . - "' ,
r so nrt us spumant c s:·tlo
/\rdc n lesqt1e oc 11 los su lh• ; ti . amq uc ;u v:t tcn e b :rnt,
.l ·1
. .
sa n ., u111 e ct rg ni
" · . ' "b": b us o r~ - '
S 1. ir '1 .la mb cb:111 t Ji n,.,111,..
' i a nti
l >1IT1w
·
'" ce rto
"'
llllU
S
V
\
Sll
exs:lll"llC~
111
·1 ..1g m .rne
.
"' ·'·
,.1ocoo
n
ta
]Jcl
unt
t
·
T
Co r . , .
; c p rim um parva clu o rum
po
I
]' i a n atorn. m se r11t·ns
- · ·:i 1111>l··
cX. ll S t1le rqu e
mp icat, e t m1 sc ros n1 nrs u d e pasc itur art11s .

'

"Full kn ec-d cc p li e s th e wint e r s n ow,
/\nd th e win te r wind s arc we:iril y s ig hin g :
T u ll ye th c c hur c h-b e ll s:1cl :tlld s lo w,
1\nd tre:1d softly an d s p c ak low,
For th c o l<l ye:tr li cs a -d yin g .
Old yc:ir, yt> 11 must n o t cli c;
Y o u c:1mc to us so rc:tclil y,
Y o u li ve d with us so st c:tdily,
Old year, yo u shall n o t di c."

HI. 1. D esc ri be th e s::im e persnn or objec t liy
th e two opposed m etholls, -clcscrip t iun hy deta il and
descripti on by s uggestion.
2. D escribe an obj ect, person, or sce ne m wh ich
you firn1 it n ecess ary to use a di ag r am or sket ch 111
o rd er t o s uppl eme nt th e vcrb:11 desc ript ion.

'·,\

.'I

NARRATfON.

N ARRATION.

Narrati ve
is the spec ia l fiel d of h1w
w1
ae
·
for
b.nc'u
~we
b c i11 :--,n;;..,
• r-.,
'
'n 't-i ,
itsel f a ser ies o f w o rds u t t e r ed in su ccess io n, is p e c ulia rl y achpted fo r r ep r ese ntin g seq u e n ce of eve nts

(!>)

1

in tim e.
/\. s in ,;lc pi ctur e c an n e ve r ad e quat el y r e pr ese nt a ser ies o f events; th at is, it ca n n eve r te ll us
a story : at bes t it can only s u gges t o n e . N a rra t ive
de:il s with what happ en s, a nd o bvi o usly nothin g c:in
.r ea ll y h appe n in a pi ct ure o r a st a tu e . T a k e , fo r
in s t a n ce, th a t s u ccess io n o f facts whi c h w e call
m us ic. Ar t ist s m ay port ray wi t h s u ccess th e h cc
o r th e fig u r e o f a pe rso n s in g in g , but it w o uld h e imp oss ib le adeq ua te ly to r ep re s e nt, o r ind eed e ve n to
su ggest , th e son g itself. Th a t la n g u age, h o we v e r,
m ay s u cceed wh e r e p a intin g and sc ulp t ur e mu s t fail,
is e vi de n t fr o m th e foll o win g- inst a n ce s: -

(a) " It ce:isecl; ye t still t he s ails made on
i\ pleasant noise til l noon,
i\ no ise li ke of a hi d d en brook
1

T he h cil ity wi th whi c h l:111g11 ogc cn n , os it we re, keep poce with
th e mo t inn () f 011 tw:ud eve nt s is ~uggestcd by J'o pe's w e ll-kn o wn Jin es: "\Vh e n l\j"x
'l'h t.• l int'

st ri1·~s

ti11)

snmc nick's vost weig ht to th row ,

hlu'1 rs :ind the w o rds

111 0 \ 'C

s lo w;

Not so when s wif t C:u11ill:1 sco urs tlh· pl:i. in ,
Fli c:s n · r r !lit.:

uidwn din~

corn, :i. nd s ki m" altmg th e rna in. ' '

.ii

Jn th e leafy mo n t h o f Jun e ,
That to th e slee ping wood s a ll ni ght
Singe th a quid tun e."
Cn1.ER 1ncr: : '! '!tr' .A Jt o> nl

CH/\ PTE R IV.

l . The Fit ness of Languag e for Narration . -

l

NA RRATI ON.

.1/,1ri111·r.

"!Tail to th l'.e, blith e s pirit J:ird th o u n<; vc r we rt Th a t fro m h eave n o r n e ;-ir it
P o urest th y full hea rt
In profuse stra ins o f unpre meditated art." '_
SI I !C l.LEY :

(r)

:~

(:,

'l ~. '' .~ lrf, n-l.

" Th e su n \\·as gone now; t he cu rled moo n
\\'as lik e a little fea th l'. r
Flutte rin g far d o wn th e g ulf ; and n o w
S he s pok e throu g h th e still weather.
Il e r vo ice w :is li ke th e \·o ice th e st:irs
I !:i d wh e n t hey s.lll f: togcthe r. ··
l-!. ns:-i 1: 1 11 : ?'h, /,'/,

~s , · il

I J. ,,11 1) -; , I

2. The Extent of the Material for Narrat ive. - - Not: " n ly
is n a rrat io n a fo rm o ( co mpos it ion f11r \\·h ic h bn~ u a.:.; , ·
is w e ll adapted , hut th e prope r s ttbj ec t-nn t_tc r fc> r na rr a ti ve _ ac t s :rn d eve n ts - is th e v e ry stu_ff o f w h 1cli
ou r Jives ar c rn acle. O ur fir s t q ue st ion 1s llicrd .. r«
l ike ly to b e , n n t h o w sktl l w e find <.: \'C ll ts lo put i1 1t11
o ur n a rrati ve, but wh e re shal l w e set t he l imit 1. ,r
th e m: h o w m a n y s h a ll w e admit? I t mi g ht, :i t_ first
s i ~h t , see m, fo r in stan ce, that it w o~ld he s 1m p1c
e n o tw h t o r eco rd the ex p e ri e n ce o f a s in gle m oment
in th~ life o f o n e m :-t n . J\ str ik in ,::.; p ass:1gc in Tol stor' s
nnd Pc11ff s h o w s , h () l\.l'VCr, w h:tt ~ llllll t itud e o f min o r eve nt s h e saw fl t to in cl ude 111 the

n·,,r

j
. ·'
.,!

:

I
I

• •,l

66

NA !t'NA TJON.
NARRATJON.

experiences of ::i m::i n who w::is :ilmost in st::i ntan eously
kilkd by ::i burst in g bo mb. \Vith wh at t akL'S pbce
in ju s t un c min1_1 te h e fills three p:ig<..:s. But t h <..: s tory
whi c h Tolstof 1s telli ng cove rs three m o nth s in one
hun dred a ncl forty p::ig<..:s. If, th e n, h e li::td t old th e
w hok story with the s :tm e fuln es s, the reco rd of th e
three m onths wo uld fil l ju st three lrnn clred a nd
e ig hty-e ight th o usand , e ig ht h uncl recl pages ; a nd
allowin g fift y ye::i rs fo r a m ::in's li fe , thi s way of
treatin g it wo uld fill seve nty -seve n milli o n, s e ve n
hun dred a ncl s ixty t h o us::i nd pages. Moreove r, the
life c1f th e m os t ord in a ry m a n d ocs n ot s ta nd off
hy itself lik e a stat ue; it is s h:1 ped a 11Cl n1 (/ uld ecl
by ot he r li ves ; it sh::ipcs an d m o ulds ot he r liv es.
U nless we take in to co ns id e ra ti o n t ho se oth e r li ves,
that lift.: we tell o f is hardly int e llig i!Jlc. F o r the
pu r poses of :111 ep ig ram th e life of a kin g m:iy be
tol d in :i qua t rai n. Th e E ar l of R oc hester p roposed
this for Kin g Char les II.: "11<.: rc lies om ~ovc reig n J.o rd th e K i11g,
\Vh ose word no m a n n.: li es 0 11,
Wh o nevc r said a foo li s h thing
No r c.:1·e r did :1 wi se o ne."

O n t he oth er ha nd, Th o m as C arlyle co n s icl e recl three
t_:10 usa1_1d p ages sca nt provis io n fur th e b iog ra p hy of
1' rcdenck the Great. How impres s ive, h o wc \-c r, th a t
bi ograph y is the foll owing comme nt will sh o w: "The most not :1hlc l'x a mp le n f unit y thus d e mo nst rabl e
th at r hav1; lately c orne a c ross is a boo k so lu ng , that

until last su mm1; r I n eve r had t he co urage to re:Hl ii.
mean C arlyle 's ..r:·r<·d, ·rid: tl1e ( ; red ! - :1 wo rk \\'hich cn mpri ses a co n s ide rable numbe r uf Y<>lu 111 c·s. oind t'.\·e nt yo n e distinct book s, each o f whi c h is s ul1d1 v1ded in t<> :1
number o ( c h a pters, o f whi c h ;nus t ar1; in turn sul icl i\·idt' d
into se parately nam 1;d sec ti o ns. Th e edit i<>n l re :1d i11
the sp:ne ho urs o f s ix o r e ig ht weeks, was pr inted r:itlic·r
cl osely on a page co ntaini11g, I s ho uld guess. fr u1n thr,·e
to four hun d red words. Th e number of th c.:se p:1ges 1\·:1s
in th e rea io n of three th o usa nd ; and t he matte rs disc
.
cussed th e re in e mbraced th e whol e r1; c,,nkd h1 stu1-y uf
Hr:rnd e nburg :rnd o f the H o use o( J J,, hcnzollcrn, :111d
p re tt y mu c h evc ry thin g that h appe n ed in E1in1pc: dur i11 g
th e fi rs t three-q uarte rs o f t he c.: ig ht n :nth cc·n111ry . s,,,._
e re ig ns fr o m .l lc.:nry th e.: F o wl e r tu Ca th e ri11 c th e Seco nd
c rowde d on us pe ll-me ll, - so ldi e rs, st:1tcsmc11, hutT011ns.
p easa nts; Volt:1ire, and l\'1'ari a Th e rcs :1 , a nd 1\ 11g uslus of
Sa xo ny, a nd all fo ur G eo rges o f Enghnd, :rnd t 1rn <• r
thr ee Lo u ises of F ra nce; tobacco par lia mc11ls, S iksi :111
wars, J' o tsd a m mill e rs, SC:l n cb ls, he ro is ms, schnnlnustcrs,
:lpot heca ri es, wh a t n o t th :1t whirl ed ah o ul in thi s wo rld of
o urs a ce ntury o r t wo :igo. Su c h a m ass " f li 1·i ng f:t cts
- fo r somehow Carl yle neve r lets a fa ct b c k li fe -- I k1cl
n e ve r see n flung toge th e r before; and yet th e l1ne c h id
impressio n I broug ht a way fr o m th e boo k w:1s th:1 t to :1
d eg ree r a re eve n in very s mall o n es it p u~sesse d as a
wh ole t he g re at t ra it of un ity. In o ne's mc nwry, e:i c h
fa c t by a nd by fe ll into its o wn pla ce: th e ch ief o nes
s tood out; the lesse r sank back int o a conf11 .;ccl but 11 o t
in ex tri c~tb l e mass of th robb in g vita lit y.
And from it a ll
emerged m ore and mo re clearly th e o ne ce ntral figure
who gave hi s nam e to th e wh ole , - Fred e ri c k <1f Pruss ia .

'
:'

68
l t was a s t h ey h nre on him f r o m all q11 a rrcrs o[ tim e :rnd
:h
lie rc:1ctcd 011 tli e rn f:tr :ind 11·"k. t in t .1 tl

space . and

t ht>St' t'\ ' •T1h

:1:1d

:iii Lik .sc jlcople 11·erc i11,,u;_;i 11 l1:ick <111 !

• • •(J11c;
\\' l t l11 it tl

l c'l lL\r I; , ··.s·.·1id 1' ]1JL1 . .·:-: i\·i11.:..:- t !1 . _ ·1 r ci 11l\1 _·1 _~,, t l l t 11 1 I,

t ile

,. .

n f t lwir rlt l> l_1 .~r .1 1 ,., [,, i1\·1: ;1;_.: :c i11. \\ . 1 1.;~, · 1·,-r e lse C:ir
l vlc w :1s. t he 1111i:1· nf t11i-; 1:i11.>111 1u u s li <>uk pru ves Jiim.
wh (' n lw c-!10.'"' 1<> I"· · Tii.l 11 ic : 1 n i~t."

If sn r h is t·!w scn j-·C o f the i<'C<Jrd of ;i s ir1 _::_: l1' Ii 1sto ri ca l tig-un_·, C()nsidn the imm e 11 s ity o f t h e t ask and
th e da rin g o f the m: rn who, lik e .S ir \V:dtc r R :tl e ig h,
sh o uld u11dcrt ake to write :1 l/is/u1y ilf l!tc //'odd.
3. An Objective Point Necessary. - \Vh ct her 0 11 e is
c a ll e d u po n to \ni~e a l1istory o f th e wo rld o r o f a
summ e r v:ic::it in n, t he re ari ses in on e 's m e m o ry ;i
g rea t an d co 11fu :,ed m a ss o f facts, e\•e 11ts and c om 1
m e nt s , a ll c om pet in g fo r a dm is s ion to the narr:itiv1-.
\!Ve a rc a lready sL1rtcd o n th e scco 11 d e p oc h o f our
'vVorlcl o r the seco n d wee k o f o ur Vac:i t io 11 , wh c 11
d oze n s o f m e m o ri es o f th e first e poc h o r o f t h e firs t
w ee k s ud denly :ippea r. 'vVc had forg ott e n th e m bl'forc; it is t oo mu c h tro uble to write th e firs t part al l
ove r a g:i in , and we dec ide t o in s ert them an y wh e re.
\Ve thu s prod uce co nfu s io n w o rse co nfound e d. Un di sc ip lin e d sto ry-kllc rs ;1 Jm ost always fall in to thi s
error.
They d o ub le a nd turn on th e ir own tr:i il s
lik e fri g htened h:ircs. 1re re, for in s ta n ce, is a sc rap
fro m the c o nve rs a ti o n of :i s o mewh:it exagge rat e d,
y e t not quite impos" ib k. y o un g wo m :i n pre s e nte d to
us by Charles Di c ke ns : -

. ' . ., l l j{ !

,....,; I _:...·, ll 11.~ .-...[

nut 11 L

(Ir

1( 1 \

;\

l

l ( > ·!1,
l
.· '' ll ' 1:

lj Li. l rr

I

i' . l \\ i _~. l !

;\·11<1["

l·

I

Jl

11

t \11 '. '

, . [ v d c:;n;\ J 1.,, .
'"';\

J:·11ic•li1'

•f' u r ,,,
j fL' d
110-

(_' l t. ' f11). '. ll1J -

. • :\J

I

()

J, l. h. l

.'

.
.....f I j 1111 .~.

l. I l ·i t \\'f irth \\·lit! t· ~ 1.,: r1 1d 1-...!_\ t, 1- · 1 . I ·1J<111 11n· d .is
J• lu l .l,.
Jc '.c
"
. y " f ( I ' 111
Ji · irtlcss J,y til e wh o .le suc 1l'l
. · I \\' 11 JI<_•ll l_ ~ \: I I I I l e,.
c.. . ·lf ri,,·ltt whl' n I Juve til e op p o 1t. 11111}
t ' u f d1 .'ill''
-~ . . ..Ill<!
lll \SC
,....
11 . ,. IT t int t li 1·r c· ll<ls. I '·.111 I . Ill ' I \II·

a gu ;llld srj lu 11.:.;· cu11c.ut ,, . ~
···1 c :111 ' 1, \1tlt1 11,' l el lllll cd
...

. .1

~'"

\'l'r\' W e ,\11.l
.
.
I
ha d. t u .IJ'~' n_~ lunt L· d and \\'l 11L· h \\ ' ;1s r 1·t t1rncl1
.•
1...'-. .II Y" li
•
wit hout note o r co mm l' nt. llu l ti 1'·it 1 llll' .lll
i l Inn.: \Hittcn t o m e i1·a1c Iicc l ..1s. I 11··is
. . ' I nil 11 :t 1Lt< 1•
CO ll (
'
_
. .. ·. .
I . \/\ c· r I sl1< 11ld
onl
)' c o m
e bac k \1· 1th :1 re l! 11 .lfu on t le l ,
.
.
'
·I-in N , t 11kcu 1 .l11u
h ·11·e kn o ll'n tli:1 t it in c :rnl (_.u I11 e t u 1' c'
' 1·1L' s th e third p b cc, ]J;irc f ou t. '
\\'I
'
I l 111c
· 111 «
' .' ' 'i\f y (l c.." l r j\ J1· ...
c J: in c· l1i11 '"
«· ,V<1 ll w1 ·rc I ll • L t u I ',
',
'
'
\ 'O ll lllll St )Jc;

.~ in i;t

whi ch

0

f

!1 e \'t.: f

b lam ed

\\,e

)' O U.

\\' C l-C

I H I 1lt t ou )·uu11·'
~'. l<>u

\lv1w
. .
. 11 11 ·

c nt ;rnd lt c lplc s s, t o d o an y thin g but aCC L' pt <1 11 1 s q1 .11.1t 1<111.
"l'llll
)' ICJll()!!. Sli', i[t •d :\1!1111 1.
I . I I IU\V I ll b" '·1"·()
l'ra y tlll){
h ' ' r-.
·
.
.
·k
'
IJIOCce
d
e
d
1: 1u ra ll' l tli llll.s ht -kcnc·d
" ' One m o r e rem.u ,
, I bilit v 'I. \1·is h to m a k e, o n e m u r e cxp l: rn:1t1un l \1·.1s 1l
\ O ou ffe r 'r'o r ,-I\-e cI·.i y s- I In· d ··1 cold in the h e ad fro m c ·11
r y1 11 ;,:
to
. - ·l Y 111
. tl·1e lnck
drawi1w-ruo
m s ll - o. n
whi ch l' p :1ssccl c nllte
·
"'
I .
1 ·till ··it the lia c k of. th e hou se. .to
th..: first f 001 anc s
. . Cllnf1rm
. lull
Ill)' \\' O J.( ls. - \\ ·I1e, n tlnt
· dre ary 11e nod h;1cl p .1 ssc d .·1.
. <l ir-.tr . F. IJe c: irn c :1c qua111lcL1
succeeded years ro 11 ccl on an

-

{j

70

1\ '.-J NRA 7'i01V.
,\ 'ANN.-/ 'l'/UJ\'.

with us at a mutual friend 's he was all atte ntion he called
next day, he soon beg;111 lo ca ll thn.:t: eve n in gs a week a nd
to send in littlt..: things fur supper, it was not lo\'e 0 11 Mr.
F .'s part it was ad oration, J\Tr. F. proposed with th e foll
:1 pprov;:d of 1.'apa and what could l d o ? ' "
Litt!.: Durr it, book i. , chap. xiii.

This is th e wa.y uncultivated people sometimes
talk a.nd wr ite wh e n they un clcrt::ikc to tell a story.
The ge neral tro uble is that they have no concept ion
o f what m ethod m e ans. Th ey gd nowhere b ec;1 use
they :-iim n11when::. F o r, :ift e r al l, the s imples t and
best receipt fur narrating anythi n g is, firs t, find out
what y•rn arc t o s:iy ; se cond, ::;ay it; and third, waste
nu t ime in get tin g ::;t:-irtcd.
4. The Two Great Classes of Subject-Matter in Narration
and the Means Appropriate to Each . - O ur main diffi c ulty,
then, in trying t o pres e nt in orderly fashion some of
the interestin g h:ippen in gs ex p e ri e nced by u s in this
in t ricate life o f o urs, is that we find o urselves in immin e nt dange r e ith er of confus io n, o r o f tediou s ness,
o r of both co nfu s ion and t ediousness. H o w shall we
a vo id th ese d:ui ge r s ? As in Des c r ipt io n, th e re are
two solu t io n s of the difficulty, - a pr::ictical ::;o lutiun
and :lll artist ic solutio n. The pract ical sol ution aim s
m e rel y at a c cur:tcy of fact ; it works by s im ple ::;election from t he re co rds of expe ri e n c e. \ Ve may ca ll
it, broad ly, 1 ! is tory. Th e artistic so lut ion aims to
makc d e ad fa cts t:tkc on flcsh and bl ood, a nd li ve fo r
us; it works by s ug;;es t iun . 'Ne may c a ll it, rough ly,
R om:incc.

- - 1vh
. il·h
-.
I l isto ry is the record ol· t l in sc ILtpj1l·1111. 1.:.:.~
we :l<>Tcc tu c:1l l r e:il ; R"nLtll CL', of thu s1 : h :1ppen1n:.:,"
whi ch w e a.~rec to pretend a r c rc:tl, -tlw u;;li :ill t h ~
while we kn<JW the y arc n o t real. Su rely, o ne \\'11,ulll
s;iy, there arc c 110t1 g h re al thin gs in th e 1n1rld; iv11: tt
is th e usc o( dressing- up li es :rnd nuk111 g IJClic·1·c
th ey a r c real t hings? \ Vhy not sli c k l11 Ltc t, m:1kt:
fa ct int e res tin g , an d g ive up fi c t i<ln alto:.:;ct h LT )
Thes e q u est io ns arc n ot unreason:tli k ; in deed , no
••el)' of
le ss a m a n th :tn 'l'l w111:1s C·.u·I ) ·le w·1s
. . hr
• ,...
- tl
. 1c
opiniun lh :1t w e sh"uld do well to g iv e '.'1·e r hct 11 1n
cnl irL· ly, sl ic k to fact, and m :tk c Lid 111 tcrcst111;.;.
Ca rl yle's plea fur fact is at leas t W<l rth uur ;1lt ention: -

' i

" J-l e rc t oo may w e not pause fo r an in st:lnt, ancl m:1kc
. Ico f mor' 'onsidcring
th e mult1llH
. ' I 1.c fl' c·ct.1 01·1?· '-'
.·
_
. ,
a pr:1c t 1ca
tals that han dle th l: l'en Ill thest: cla ys, and e;rn mo ~t l )
spe ll, a nd write witho ut g hring vioL'.ti o.ns of g r:11 n11ur,
··· · · l-l o w is· it ' th e n ' tlu t n o_
·
the qu estion
na t ura ll Y •a 1-·1sc"
\ Vork proceeds fr o m them, bearing any stamp of auth c 11 t1 city and pnnnn e nce; of wo rth for.mo:l: th ;rn "1,1e cLty.?
Shi )] o:i d s o f }':i shi o nahk Nove ls, Sc nt1111cn u l 1,h : me,.,.
Tralgcdil:s, }'arccs, J>iari l:S
Trave l, ' Lile s by
and
field, are swa llow ed mo nthly u1t o lh l: b ottom le,,,., .I ~o l. st il l
d oc s th e Press t oi l; innunll'rahle l' aper-m:1k e rs, ( u rnp< •sl tors l'rintl:rs' ]) l:v ils, lloukhincle rs, and l la\\'kcrs ;.; r1J\\'ll
hoa;se with lo ud proclaim ing rest n ut fr om th ei r laliour ;
l ·t.111 in to rr e nts ru shes on th e great :1 rray of l'ul,J1 c:1.anc s ,
'
.
· ·
l"l·
tions, unpausing, t o their Imai home ; and still ( >J,ltl'l on, i ,e
th e Grave cries, Give ! givl: ! How is it that of all these
countless ' multitudes no one can attain to tlit: smallest

o'.

l:cJOd

-.-,

t ..

,V. I A'l<'A J'/ON .

7'2

.. l '.-1 /\A'.·l l'JO. \ ·~

111 ark of excellence, or produce :tu;.:;lit tlt:tl slull e ndure
l .. n;.:;e r tli:u1 · snow-tl:ikc "ll the rin.:r,' "r tile- f\l,llll .,f pcnnybc(;r? \\'e an sll'er : Uec\usc they arc: foam ; L> ccause
then: is no R c'<lli(y in th em . Th ese Three Th uus:u HI men,
women, and children, tl ut nnke up tlie arn1y (Jf J;ritish
Authors, do nut, i[ \\'c \\·ill well consider it, S<c' :tnyt!tin ;.:; \1hatc1·er; conseqllcntly /{{1; ·c 11()tliin;.:; th :1t th ey c: u1 re c ord :rnd
ult<'r, unly 111orL' or k11·,:r things tli:tt th")' c::tll plat1s il>ly
prdcnd tn n· c ord. Th e l Tnin:r ..;e, <A 1\'l.rn :rnd ;\ :llllrl', is
still quite shut llj) fnllll thclll; tlic 'open secret' still uttcriv :\ secrci. l> cc:1t1sc nn s1·m p :uhv \1ith '\f.ttt ('1. "\.t\111'(·,
no lov e :tnd tr,;e sit11jil1c·ity 11! lt<::Ht 11:1.s 1.-t t1nf,,i,\t-d the
s:u 11c. N utilit1g Lul :t p1ufui 11u.1" c uf tlic1r (J\\!l p11.llui
gcr ul :ti i kinds, l1:rngs 1urt.:l'cr p:tintcd 111 the rct11i:1 ul
thc s•,: unitir tu tLttc~ p\_·r -.; 1.11 ;..; : :--1) th.tt the :-iLi! !"\ ' ~ - ! :'/. \\ itl1
\\'ii~ t tsoc\· c r 1t c11:!Jr:u.·t: .'-,

m :1 .~ic - l:rntcr11

r;1l ly

d .n..: ~
1

iiut ;llJiJc;1r a s :-.i> 111 c

,;Jud"''' ,,f t!t:tt

1~)1Jk...., ]'i~ i l t 1l

(

111111 .:..:.. ]1 .

s:t111t·

l11i:1 :_·y , - ( ·,\ 1:: \'

j

i -. '

v.·qu11dvd

:t11d

11.tll1 -

/,·,·.

s" Jlll\\11 11f lill'1 :1; \I\"( ' h f ttl il,., ~; :1 y ~; C , 1r l \ k Ill
effect, bccrnse ti1cTe is 1111 rc:1iity in it; :111d tlinc: is
n o r c:tl 1ty in it hn':tll:-.e •· l" rc·\·cr p:11nll'd 111 tltc rl'l i11:1
of these unfortun :ttc" :n1th,1rs h:rn gs 1111thi11 g but :1
pitiful Imac,<~ 11f t :: .. i:· "11· n :iit ifu 1 Sc·if, with its \',t11i tics, and gn1dc,inc::", :rnd r:11· ,·n,,t1s hunc::n ()r .tl l ki11<l.·;."
c.::1r i.\· ic 's h!1 .c;u:1.c::c: 11<''.' t' !. i.1d:s 'pt c c; yL'l in thc·sc 1·,·ry
\\·ords ---~ t1H_·:-;t: hitlt ·r \\'ri~·r~:-..; --- lic·s tlH: :1/l s \\'cr tn his
oh\cction . :mt.i t o !li s r·.:co?11n1c ?1d:ition th:it w e should
g- i\· c up firtion and s tick t·1 f:--Lc t, th:i.t '': c shnu ld c c 0sc
to wr ite 11<.1\'<; l", rhym' ·", tr:1;-',cdi,·s, Lucl·::o , - r1.>111:1 11c c::;
H

~·
\

J

'

"

r-

;

~:i

L i1

:

'

}

:

~

I
l

ti

. ':·;
-~

-

' ·'"':'

;~

-~--

r--="':

74

N.·1!.'NA TJON.

should so mu c h like to clo if we o nl y co uld . l'b in
fa c t cann ot , or at any rat<.: d ocs n ot, sa ti sfy these
w eak nesses - if we m ay call th e m weakne sses - of
o urs. And becau se plai n fact wil l not sa ti sfy u s, th e
r ecord of pbi n fact, which is hi sto ry, will n ot, h o weve r n obly tr<.::i.ted , ent irely sati sfy u s.
L eav in g,
h o weve r, fo r the m oment, the ro m a n tic t rea tm e nt of
lik, we mu s t n o w e xamine the historical treatment
of l ik, the un b iass cd reco rd of plain fa c t.

5. History: Interconnection of Facts . - \ Ve ha \·c just
seen that Na r r:tt iun is l":ts ic r than ]) cscr iption, bcc:msc wh e reas D esc ripti o n tri es t o put in to l:u1 ;piage,
w h ic h h as o n ly o ne d im c n s ion - ex t e n s iu n i11 t i 111 e s ol id objects, wh ich h:wc three dim e nsi o ns - extens io n upw::i.rcls, o utw::i.rds, ::ind s idew::i.ys in sp::i.ce Narrati o n, on the oth e r h a nd, h as but t o de :t! with
eve n ts whi c h, lik e b 11 g uage, have o nly o ne di m e nsion - exten s io n in tim e . Th::i.t is a ll true, and yet
it is also fals e : true, because a s in gle eve nt has s imply J u r::tt io n , s impl y beg ins a nd after :1 while is clo ne ;
false, b eca us e e n : ry m o m en t then.: arc ha ppc nin gmil l io n s and mi ll io 11 s uf eve n ts al l at once; false s till
m o re, because each of these m y riad eve n ts acts up o n
its neig hbo r, and is its<.:! [ in its turn reacted upo n .
As a s in gle sh ift of the kale idoscope wi 11 c h;t11 ge to
th e lea s t dcLti! th e whole patt e rn , so th e sl ig ht es t
sh ift of action in th e w o rld - a Cxsa r cross ing a
Rive r Rubi co n , :i J\Lirti11 l.i1thcr t l·:ir i11 g dow n p :ip isti cal t y ra nni es ! rum a c hurch's w;tl ls -- m :ty a lter

N.·1NI.' .·/ 7'10.V.

75

the wh ole course uf hunun lilc. Suc·h ,.;i11;..; lc cvc11h
do n ot s im ply h:1p pcn; they clu ngc all th e 0t l1 er
ha ppc nin ;,;- s abuut th e m a n d tu full ow ti 1e111. Til e
difficulty seems to cu m,; kick 01 1 us. To rq 1rc·sc 11t
merely a si m ple su cc ess io n of si n.:.:;lc e\·ents \\· uiil d lliit
be d iffi cult : we slwu ld me rely k1v e to j11t th e 111 dl)11·11
o ne aitcr an othe r :is t he brickby c· r I:iys (!li e hr id:
upo n the other. Lile, h ow,~ vL· r, is no s 1ll" li s i111l' lc
s uccessio n of s ingle e\·e11ts, !Jul r:ither a si1(T l'S s iu11
o f wlw lc armies o f L'\·ents m ;1rch in ,:.:; ;t!Jrc;1 c, l; 1111 r i;;
th e s uccess iun s im ple eith e r , hut a n imm c 11,.; L·ly L:<>111 pl icatcd succes,.; ion o f c:rn scs wh ich :ire ;tt t he s:lll l<.:
tim e effects and "f dlccts which ;trc ;1L tlic s:lll1c: ti11 1e
ca uses. All thi s we lt er uf \."() 11f11 s i1111 mu s t. 11 L· 1·utl1t·lcss, bc: dr illed into the s ingle -file m arch of hn:.:;u:i;e.

6. Guides for Selec ting the Facts in Hi stori cal Writ in g- :
Interest. - Th e probkm see m s s t i1p,·11, Jo 11 ,.; , i 111po s~ i ­
ble, hut yct we mak e s hift t1) so h ·c it stimehmv. \V e
arc all r e po rt e rs o f expe ri e n ce, and L"Xl' e r ience !us
t:tu g ht u s a practicil shu rth ;ind hy which \1·c ctn
learn to k eep so m e so rt of pace with h e r. T h is
s lw rtl ia]l( I is l11t crcs t.
\ Ve Like duw n 11·L; it (lllr
spec ia l in te r est lc;uls us t o sc-lect; the re st we rej,;L'l;
n:iy, we arc h :1rdly eve n aware of it s cxistc 11 cc:.
7. How Judgm ent should act as a Ch eck on Interest. In terest \\ ill natu rnlly g ui de u s in s ,:lect io11 , h11t
\\'c sh"11ld not me-rel y p:rn<k r l•J i11tnc st. \\. li:1t i,.;
sup c rfic i:tlly s triki11 .c;· is 11 ut :tlw:1ys u[ r c:il or h st in :.:;

'•. 'l

.V.·I NN.·I J"/U ,V.

i11 tcrest. The li1J1Turs o f h isto ry a rc nut :dw:iys th e
e ssc11t 1:1_l Jacts of hi story, n o r is pi ct ure sq ue ne ss a
test of 1m~l0rt: m ce . i\lilton, fur in s t:rn ce, w:is :t p ic ture sque l1;.;urc - a c hampion of l iberty , a p ulit ical
mar t yr, a puct, and bl ind, and thi s is what M:tc llllay,
e: tgc r fur a p ict uresque li g ure, nude of him .
.. If cn: r d es p o n d e 11 cy a11cl a,,per it y c(J ulcl b <.: excus<.:d 111
a11 y 111:11 1, they 111 ig lll li :1ve li ec 11 <.:x c used in 1\ l iltu n . Hut
th ~ ,,t re11 ~ tli o f lii s rni11d <; n : rc:1111 <.: e\' <.: ry c: ilalllit y. N<.: ith e r
IJI 111clncss, nur go u t, 11ur :1;..:l, , n o r p e nury, n o r d o m est ic
alll1 c t11111s , no r po liti c:i l cli s: 1ppo in t1 11 c 11ts , ll () r abu se, nur
pru se n p u u n, no r n cglt.:c t, h:td po11e r to di ,, turl; liis sedate
and 11L1 jc,, tic p:tli <.: llC<.:. 1 ! is s pirit s d u nu t see lll t o h ave
b<.: <.: 11 iii;..: Ii , !Jilt th ey wcr<.: s i11 g 11Lirl y cq u:tl ilt.: . JI is te inp cr
was serious, pcrlups sk rn ; but it was a ll'.lllJh.: r wh ich 110
s u f1<.: r111 gs cu uld rend er su llt.:n o r fre tful. S uc h as it was
wh e n, on the e1·e o ( gre at <.:V<.: n ts, h e rcturn c d fr o n 1 hi s
tr.11·els,_ i n th<.: prime of he:ilth a nd m an ly b<.:a ut y, Iu: td e d
with lit erary di s tin c ti o n s , and g lo win g with patri o ti c
hop<.:s ; su c h it co 11ti1111 c d tu li e w he n, :1fter li :tving cxpen c11 c u l <.:\'<.: ry c:1L un i1y \\'hi c h is in c itlt.: nt tu o ur n :iturc,
olcl , p oo r, s ig htless, :111 d di sg ra ced, he rdir<.: d t o hi s h ovel
tu d ie."

NARRATION

77

the fact that a l:ite biog raph e r o f hi s st ig m ati ses his fir s t
w ife , th e u nfo rtun a t e i\1a ry l'owell , a s 'a dull and co mtittl e of ev iden cc except th e hare f:t c t
)n o n b"'irl ' ' with o u t ·1
•
o f h e r d iff e re n ce wit h h er hu sban d . a n d s o m e innuen d oes
( indirec t in th e m selv es, and clea r ly t:1 inkd as k ,..t im on y:)
in l\1 il t o n 's ow n di vo rc e tra c t s . On th e wh o le, J\1ii tons
ch:uacte r w:-is n o t :111 :1mi :tbl e one , nor e1-..: 11 \\'holly <.:~ ti ­
mahl e. It is proh:1 l>l e that he n e ve r in t he c111 1rs <.: "f his
whol e life d id :i n y thin g th :it h e C(J n s id e rc d 11ro ng: hu t,
unfortunate ly, exa mpl e s are n u t Ln to se e k o f th e f:tc ilit y
with whi c h d es ir e c a n h e m a d e t o co nfu u1 Hl itsl' lf \\'ith
d c libcnte :ipprova l. Th a t h e 1us a n ex:1 c ti ng , if no t a
t yr:rnnic:i l, hu sb:rn d a n d fath e r, th :it h e h eld in til l' m ns t
p e remp to ry an d <.: x:1g gcratc d fash io n th c d unr in <.: , ,f th e
supe ri or ity of m :rn to wo m :rn, th at hi s c·gn 1i ,, 1n in :1 111:1 11
wh o h :id ;i c t11 :1ll y :1 cco rn p li s h <.: d kss wtJ11 !d h <.: h:ilf l11di ·
cro us a nd h :ilf d isgust in g, that hi s Ll c 11lty of appr ·c i:i ti o n
h eyo ncl his ow n imm <.:d iatc tas te s a nd in te rests \\' :t s s 1uall.
t hat hi s int o lc r:rn cc su r p :1ssccl t int o f :i 11 i11 q11i,,it o r. :1n d
th:it hi s cn nl ro\'l:rs i:1! h ab it s an d m a nm:rs o u tcl icl th e
li ce n se ev<.: n "f tint pe ri o d of co nt rove r sial :tl)\\ s c, - th c sc
a re p rnpos it ifl n s whi c h I c:rnn ot C(l ll Ceiv<.: to lie di ~p 11 tc d
by a n y co mpete n t c riti c awa re of th e b ets ."
SA i N T :-:l !IU H v:

.·/ / !i.slf11y 1i l ./1:.. t1 l•dhi1 11 /.i frr ,tf 11 r1· ,
pp. 316- 3 17.

Now r c:td wh:tt seem to have been the pbi 11 facts
in the

CLSe : -

"I Tis pcrso 11 :1I c h :1r:1c tc r was, ow in g tC> p o liti ca l m otives,
lo ng- t re ated \\·ith c x n· s~ i1·<.: ri ;;o m. Th e re acti o n t o Lib e ral
p o liti cs at th e l1cgi1111in~ of this ce ntury substituted fo r
this ri g o ur :t S<>llt <.:11·h:1 t cx cess iv<.: :tdlllirati o n , a nd cl'e n
IlUW tlic b:1la ncc is h :ndl y rc!:i to re d, as m a y be !:iec ii fr o m

8. Guides for Selecting the Facts in Historical Wri ti ng :
Sympat hy. - For a n y o n e w h o ll' ishes to r ee1ird f:td
trul y and v iv id ly, t here is, accord in g to C1 rly lc, " o ne
er ra nd and in valu :-iblc se c ret: " to keep the eyes opc n •
~ nd the h ea rt ope n . Th e valu e of kLTpin ;.:: 011 r \')'L'S
open - in te r est - we h:wc alrea d y discus sed ; t h e

val uc o. .f k"CC ])lll'.,.
· "' our l1•~·'
' " 1·t s· ope n - sy mpathy - will
b cl _oll)\' 1ou s t o . any one w ho !us rc:1d a bi onTa j) hy in
w11 c. .1 the . writ e r' ·s syn~
.
1 nt 11y o r fcllow -; h ip° with his
S \I lljec t bl o u ~g- ht out ·Slcl"S
~. ( If 11·is. c l i:ir:ic t c r whi ch

.. c. 1)ee n p:isscd
lwo ul d, u nde
. r ut h e r c i r c um .s t·rn
, c •~·s.' Iu'
JY
unn
ot
iced
.
Bos
wel
l's
I
fj
'
. st::rn
, . cc
11111 1. 1.1111, f nr 1n
· ..
.
· - J' r:
I s so
. _,..,,. re:i.t bt'C"t
.. ll .se l'ios.w e II' s eye s and h ea rt were'

,-r.

o pe n to th e pb111 fa cts before him .
. Historical Writin .
9.
fo r Choos·mg the F acts Ill
. Guides
.
- J a mes Boswell w:i s n ot, h oweve r,
a g1
so ft -he:i r tecl c hi ld ; h e w as an arti s t, on e
t h e g-1ca tes t th:it eve r tri e d to s a ve a fe w v alu able
f acts out of the v"''"st fl 00(1 o f ex p e ri. e n ce.
I-Ic not
o nl y kn e_·.w how t o sec ' b ut wh •::it t c) sec,
. , . anc1 sec..: .m <" t o
S:lVC .
1 0 .S '"l \" C ,,..e
<Y ' Il lS I lC w as will1n
' . u· t u t hro \v ,.,"' '
dross. I l ·
"
uway
n 11s tory, wh et h e r it be of the w o rld or of a
Sll ll1111
. t"io n :iccornpa ni cs s elect io n '
- e r \":1' C-lt
' 1011 ' 1·CJCC

ReJec~rnn.
c~t,

J

m ere~ .

:r

J~xcept

frn '.11 ::tct ual p rac t ice in writin g it is li a r:] to
c;u
·<· t t o r L·Jec
. t. Two
· n wkit k in ds o f f-i· c t ·s it is· 1)c..,

I1111 ts n1 :1v
.
- ' hCJW L'\" LT ' l> c. o f se r v ice:
(1) n :j ed whatevt: r. -do cs iwt
pl:iy
in
the
n
ar
r:it
ive
·1 11" 1·t
-f "t i
_
·
•
"
o e1 i er
r c.·JcC
. ·t w 11a t evc r 1s
.
c:i11sc o r . effect '.· (")
dc p t: nd e nt
up<
.
. 1n
. II :l h. 1:-i s scd Jlld.,·'"' m c nt . J\ .s t <1 ti i e st:co nd p o 111t
•
W
e
.1
n
eed
to
ob
sLT\"
'
1"
.
1
,, .
.. .
'_
c I cc u 1a r c a u t1n n, for it is not'
e.isy
lo lc .n .11 wh .:tt i111lu
c 11 ces·· ·1ff··c
.
.
•
~ t <> t11·
t o .tllow f,n th e ir d istorti o n.

7<)

NANN , / T!ON.

NARRATJON.

J. LH Ig m c n ts

and

10_. Romance_:. t he Tes t of the Fact not Li teral Truth but
Consistency.
.
· . , - I h_e rn :1i 11 c ha r:1c t ni ·s l1. (' r,-f i·um :m ce is
t 1i at it se e m s :it fir s t s i-'
ht
to
1).
.
I
I
.~
e 1111 L' Jl C IH t: nt of f:i c t.

In<leccl , 4cco r d in g t o Mr. Osc:i r \ Vildc, it dues not
seem t o m atte r what 1ics w e t el l in nJ1n :uice , p nwid c d
only that we t e ll th e m with a decoro usly g r:tvc f:tu· ;
fo r th e g reat trouble with lll<Hk rn fi ct io n is, if 11· 1_·
m ay bel ieve him , t h a t it is t t> U fond 11( lnr:1 d i11 g in
th e '1i o n' s s k in o ( f:t c t. T h is 111:1 y b e ovc r st:tt i11 ;..:: tii<·
m :ittc r a little, hu t the r e is ev idently se n s e i11 wl1:1t
Mr. 'vVild c s:iys . 1f we are g o i11 g t o writ e truth, -th:it is t o s:iy, hist o ry, - let us b y all m c:1 11 s be a cc urate. If, o n th e co ntrary, we arc wr it i11g l1ct i111 1,
why sh o uld we n o t, if w e choo s e, a mu se oursch·cs in
any way we pleas e ? why s hould we bother uurseh·cs
abo ut fac t at a ll? O n th e o th e r lnnd , w e rn :iy w el l
ask ourselves wheth e r Rid e r II :igg:inl's irnp11ss ible
:iclve n tu rcs o f imposs ible p eople arc ju st ified b c c ll! se
fi c ti o n h:is n ot hi11 g to do with bet ; a nd whether
s u c h an im probable plot as " l k y c\ic\c\lc, cliclcll c,
Th e c:1t an d th e fiddl e,
Th e co w jumpe d <1ve r th e m oo n ,"

is good :irt. Ce rt a i11l y n o t. R u m a11 c c is n o t hi s t o r y;
but th<.:n r o m :1m:c is n ot a sy 11on y m fo r n o n s crbc .
Th e re is trnth in ro man ce ; but it is truth not to
b :ild fac t, but t o id e:il s. In ro mance w e arc writ in '.C:
or r ead in g somet hin g whi c h we can sec a s a co n s is te nt wh ole. 'vVc und e r stand wh at the a u t h or is :1imin g at, :ind w e k e e p pace w it h his th o u g- ht. /\11 th:tt
w e d e m :i nd is th:it h e s hall t e ll u s so m L· th in ;..:: tint
h a n gs toget h e r, that is co n s iste nt.

Thi s is t he word

. i

So

NARRATION.

NARR A T/Ol\/.

whi ch expresses the trut h whi c h th e re is , or s h ould
b e, in rom a nce-co ns iste n cy , h:rn g in g t ogeth e r. The
troubl e with the s ta tem e nt that

wh e r e a nd the time wh e n it h appe n ed ; (4) the purpose - or the reaso n w h y the auth o r tells us that
it h appe n ed . C o rrespo nding to th ese fou r clements
arc four test qu es t ion s, whi ch we s hall do well, fClr a
whil e, t o ask o urse lves in rega rd to every 11a r r:1ti\·e
w e write o r read: ( r) Wh a t? (2) Wh u? (3) Wh e re
and when? (4) Why?

"The cow jumped ove r the moon,"
is, not tha t it is a li e, - the s ta t e m e nt s th at Paris
gave th e golde n apple to V c: n us, o r that Tom Jon es
ki ck~d Blifil, o r tha t poor little P a ul Dombey d ied,
arc li es n o le ss, - the trouble with th e co w's jumping
over the m oo n is th a t it is n ot a co ns istent li e that
it docs n ot h a n g- toget h e r. In fin e , we ;ire will/n rr in
.
.
ro m ;in cc to 1mag- 1ne :rny thin g but the in co ng ru ous.
If co ws h e co ws, a nd mo o ns h e m oo n s, it is ob v io usly
?ut of character an d in ap propri;it c fo r a ny co w t o
Ju mp over a n y moo n. The v e rse s thu s b eco m e me re ·
no n se nse v e rses, am us in g by their v e ry contrad ict ion s; :1lld :il l h ad no ve ls , lik e those of E . 1'. R oe or
Al bert R oss, arc b:td for prec ise ly th e sam e r L'aso n,
because th e c h:ir:1ctl' rs seem u nt ru e ancl in co ns iste nt
to th e irnag in :1 ti o n, if we reg ard them as any thin g
b e tter than n o n se nse.
~

11. Elements of All Narrative. - It is fr o m the princ iple o f co11;; istc ncy, wh et h e r t o a n id ea l o r t o fact ,
that :il l th e pr in c iples whic h m :1y g uid e us in writill g
narra tive arc der ived .
E ve ry narrativ e h as fo ur
cle m e nt s: ( 1) th e plot - that is, what happ e n ed ;
(:?) the c ha r:i ctc r - th a t is, the p e rsons to wh o m it
happl" ncd; ( 3) tlw s itua ti o n - th :1t is, th e pb cc

Sr

12. The Purpose . - .Alth o u g h th e purpose of a narr at ive is apt to be th e las t thin ~ whi c h the reade r
com es t o und e r sta nd, it is prope rl y o n e o f t h e fir s t
con ce pti o n s in th e a uth o r 's min d . The autho r' s p urp ose m ay be m e rely t o amu se, a s in J'ic/.·7,1irl
Papers; to a mu se, a nd at th e sa m e tim e t o r qJ resc nt hum a n n at ure, ;is in .!.. cs T rois 1l!o11sq11d11ir, ·s:
to prese nt to the read e r fa ct s whi c h lead to a d ist in ct
et hi cal infe re n ce, as in / /1111a A'11r/ 11i1111; t o p resent et hi cal ru les illust ra t ed h y accompanying- fa cts,
a s in the typ ica l Su nda y-sc h oo l sto ry; t o re prese nt
wh at th e a u tho r supp rise s to he m e rely the f:i cts ,
fr o m whi ch th e r eader m ay draw a ny inference h e
c hooses, as in th e work o f the m ode rn re alists; or to
gro up facts of i nvcst i g-~t t i o n and ima.~in a ti o n in s u ch
a way th:1t th e r eade r is s tirred t o g re ater symp:1thy
wi th th e va ri ous joy s a nd so r rows t o whi c h hum an ity
is subj ect . Wh ateve r th e pur pose in o u r m inds m ay
b e, howe ve r, we s h a ll clo we ll (1 ) to r ea li ze defini tc-l y
what it is, and (2) to we igh c:1rcf11ll y, h do rc beg innin g o ur n arrat i\'L'., th e SL'\'e r al m ea n s fn r att :1i11i n;;
it. In Kipling's A llfa//i"r r!f h11·/, for in s t:111 CL", is a n

Sz

NAA'!.'A 7'/0 N

account of three jrrnrnalists wh o had t oge th er seen
a sea-serpent, a n<l hacl eac h his espec ial object in view
in presentin g the "facts" in the case to the public.
One w::is a nxi o us t o m::ik e hi s perso nal p::irt in the
affair as prominent as pos s ible; another had set his
h eart on confirming- hy minut e clet:-i il s th e unimp eachable truth of his narr:tti ve; a nd a third , knmvin g- that
t he stories o f hi s t\\'O companiuns \rnu ld sc:1rce ly be
believed, h ad dete rmin ed t o give a colo rl ess account
of the occurrence, co n vi nc in g by its artle ssness.
\Vith such a purpose in vie w, eac h then ch ose the
m c::i ns which seemed to him m ost lik ely to produce
th e desired effect.
13. The Plot and the Characters. - Jf :w in g d efi ned
the purpose, the moral, the ne xt thing is tu e xpress
it s working throu g h li ve p eop le. ll e rc noveli sts
diverge : so me first \\·o rk out their plut, and let th e ir
characters develop as they may ; ot he rs m ake elabor:i.tc ch:i.r:i.cte r st udies, a nd pay 11 0 h eed t o pl ot.
E ith er extre me is obv iou sly b :-id. Over-at t e nti o n to
plot produ ces res ult s lik e th ose of Gahoriau , Ann a
K:i.therine Green, a nd Rid e r H:-i gg:u-d; t oo mu ch
int e rest in ch:i.racte r le:i.d s, o r is apt t o lc:td, t o tireso me psychologic:i.l ::in:i.lysis, :is freque ntl y in I fe nry
Jamcs, I':rnl Bourget, Howells, and George Eliot.
Mere plot -int e r est exc it es for the tim e b e in g, but
leaves the mind dchilit:-itecl. M e re char:i.cte r study,
with its spl itt in .~ of psych olo,t.; ic:tl hairs, and cnd kss pro'ing :111d c11n'ing ahnu!' m oti\'es , is, :1ft e r :i.11,

NARR A 7JON.

demorali zin g in it s effect s, in that it makes the
reade r ab normally m orb id. Th e best method is not
that whi ch rips :i. ch:-i ractc r ope n to pi ck out th e
nerves ancl arteries and st udy their qu i\'erin g·, b11t
th:i.t which works as nat ure works, hy building up,
by put t in g t ogcthn, hy desc ripti on acco rd ing to
beh av io r.
Herc it m:-iy be n ecessa ry t o r emind the st udent
of th e impo rtan ce of :i.ct io n in narrative. \Vh a t we
kn o w peopk about u s by is t h e ir b eha\' iur in all
kind s of s ituation s. If we wi sh to prese nt a c ruel
character, th er efo re, we sh o uld not t alk about his
crnclty, but put him in :i. pos it io n where, if he 1s
reall y cruel, he wi ll act c ru elly, as Mr. ll yde docs in
Steve n so n' s famous sto ry.
14. Situation. - In brin g in g out clearly th e cln r:-ict c rs and the plot, n oth in ;..; will be fo un d mo re h el pful
than asking o urselv es where we m ean to h a\·c t h e acts
whi c h m ak e up the body of our narr:i.t i\·e t :tkc pl:tcc,
and wh e n. H e rc d escr iptio n ri g h t ly enters int o nwd ern narrative, and prove s its elf indi spe nsabl e ; for o n
it depends the wh ole b ack gTo und , o r st:i.ge-sctt in g,
as it were, ag::iinst whi ch th e act io n sUlllls out in
strong relief, or from whi c h it ga in s p cc uli :i.r ch :tr:i.ct e ri s ti cs. Th e :i.cts th ::it m:-ike up narr:i.tivc, we must
notice, arc co n crete eve nts. They mu st tah· pl:t cc
at some g ive n tim e and at some g ive n s pot. J\t a ny
other tim e , a t a ny ot h e r place, wh a t occ urred would
be in some way diffe re nt. In Guy cle lVL1t1pass:1 nt' s

85

:V.JNl•.·I "//llN.

NARRATION

story c:illcd J1/00 11l<:.;l1t, for instan ce, it is o n the
pl:t cc and the time that th<.: whole plot turns, for the
ol d priest's h e:i rt coul d h ave so ften e d o nl y und er
such in fl u e nc es as t hose \\' it li \\·h ic h a
ni g ht in th<.: co un t ry s u1To t111d cd him.

moonlight

E XERCI S E.

1. \Vri t c ( 1) :t n :t rr:tti vc f.,1· the 111 :1Lu i: d "f 11·l\i •.:1i
you arc ind ebted tu hi s tu1·y;

(2)

:l

11 :1rr:tli\i; .t\ ic
Ol\'ll cx1 1L11 -

m :ttc ri :tl uf wh ich yuu draw lrnm )'<Jll r

15. The Beginnin g ; The Plan; Climax. - Three aclditi o n :tl p o int s it is n cccss:ny to ha n: clearly in mind .
Firs t, what c \· e r th e n :t rr:1 t in: nny h e , :1nd where ve r
and wh e n en.: r th <.: c\·cnts in qu est io n occ ur, it is w e ll
to ge t :11.Jout the n a rrating· of them as soon as p oss ible.

'' Crn11 p:1rc t I1c •l 1· 1·1·c r c n l :1 s 11ec t :-.. '". ,. t h l: S ;1l11 L
subjec t 11 r 11 u :.:,ht 0 11 l IJ y :111 hist1>ric:tl 11:1i11 t i11 ~~ :u1d
a11 hi s t<Jric:tl 1urrati ve .

The fir s t thin g t o do is to get th e c har a c t e rs in

;; . Co mp a r e . as i:tr you c:u1, the rn :t kri :il u s,·d \;y

\ Vh e n they arc on ce act in g there will he

Sco tt in h •rn ilu •c, Dt111i:ts 111 l he //1n«· I ;11111Jrn1, 11 .
in l lte ir lJeSlantl 1•, r cc m :t11, ·1:1-< Jlitl··,
~
'-'"Il t l C arh·k
1

m o ti o n .

op p o r t uni t ies e nou g h to d e fin e m o r e c learly th e ot he r
clements on whi ch \\' C h :tv e see n th :1t n :t rrati vc al so
d e p e n ds . Seco n d , 11:1rr:tti\·e must, of cou rs e , move
forw;ird , hut it s h ou ld n ot m ove un s t ead ily, hy s t:trts
and le:i ps.
\ Ve m :1y, fo r inst:111 ce, follow in a n y
g ive n in st an ce t he lo~ i c: tl r athe r th a n the stri ctl y
c hron o lngical o rde r of c \· c nt s , hu t w e s h all e rr if we
pa ss r epeat edly fro m o n e point o f vi e w to th e o th e r.
/\gain, w<.: may clHios c to prese nt a se ries o f e \T nt s
a s one of th e :ictnrs ·s:tw th e m, or :ts a looker-o n sa w
th e m, ()r, s u ccL·ss i1· e ly, in hot h w:iy s ; but it would he
unwis e t o con ft1 se th e two methods or fr L· qu c ntl y
to int e r rup t th e 11 a rr:tti 1·L· hy p:issi11 g- fro m o n e to th e
other.

C ll C C .

Third , cl i111a x klls st rin1 .c:; ly in stn ry-tcllin ~.

'vVc s h o uld work s le :1dily up tn th e point nf om n a rrative, :tncl th ,· n stn p.

\ Vh :tt is r1 -:1 ll y of most impor-

tan ce will th e n n cc11py :tn appropriatel y jlrt )J1 Ji11 L·11t
p os ition.

known hi sto ri ca l w u rk s .

-1. Tes t ;i 1111mhc r of ncws -narr:ttivcs from t y pic:tl
.
•
.
l
•• ;
'
· tu d ctc ri11in c i1u w Ltr tn c . 11L 1lu LU .tc c:h...
( l :ll·1)' p :ij lL· t·S,
wri ters' hands

ltas

been

i' r cs u1t e d

Ill

:11 1 u1111 n ·c "'·

'i:tri ly "s« ns:i.t io n :tl " f as h iun.

G. Tr v tu \\Ti t e a11 imp:1rl i:tl :1cc<>u11t u!" .11 1 : v«11l,
1

or series.

0 (

eve nts, in regard tu which yuu :tr <.: lik e ly

tu be s t rnngl y prej ud icecl.

\i. Trv to redu ce ttl s impli c ity :111d dfcd i1·L·11L· ss
a w a n dc;· in a n d cun(u se1 l n :ur:tt ive, by st ri k i1 1:.:,- u11t

6

{

.,·

all deta il s t lnt clo n ot essent ial\ y, as c: 111s c o r :1 s
cff cc t, co n ce rn t l1c m :i1· n l)<l1.11t CJf the s t o r)'·
7. \ Vhat diffe r en ces ca n Y" ll detect in th e '' purpuses uf' Gibbon, !\ Lt c aul:t 1\', C:1rlylc, Fruu<k, llum e,

"i

86
a nd Bancroft,
n ames?

NA NRAJ'/ON.
111

I"/.-! JJCIJ.IJ.

writin g t h e histories that bt:ar their

8. Cite n;i.rr::ttivcs, histor ic;i.l or fictitious, in which
y o u pla in ly re cognize the pa rt play ,;d b y" cl1aractcr"
and "situat io n," as dist in g ui s h ed from "plot."

\I. C ite n:irra t i1·es, h isto ri cal or fict it io u s, that
show "'·cnkvcloprnc: nt <•f plut, too little plot, t oo
much ch a r:1ctn-"tudy, too little l'11;1radt:r-study, too
dist in c t n "p ur ptlse ," a "p urpose" n ut s uffi c ie ntl y
di st in c t.

CI!/\ l'TER V.

'.•

CRITICI S M.
.\

1. Literary Criticis m and Its Im portance. · - ( ·rit it i>111 is
a1t exprcs s iu n of "i'ini"n :t s tu the W\11 ·th <Jr :1p1,1·,;pri:1ten es s ' , ( sum c <' 11 e's :t ct s or c •' 11 ' I 11 ct , <' :· :1~ r • ' t h •· 1'" ·r t h
ur appr"pri:tte1H·ss rd. :lily 11·"rk "f :1rt, wl1<· t i:t·1· t lw
art tu whic·h it pc·rt:ti11s h e a fi ne art or :t usd1il :1rt.
\ Ve a rc here", IH1w cn: r, C\ll1Cc.-r11 e d 1vith t: r iti,·is111 .. 11Jy
Ill a Jll Ore l im ited SL' l1SL', :lS a n e .\ prCSS ion u( 011i11i1111
i11 regard tu the \Vurth ul ;u1y pi ece ol ll'rit1 1i;.:, wlutStJe1·c r _; i.t"., literary criticism. l Tow co1111ntHt it is
fur us, in an age wh en most uf the: st udc:nt's k1111ll'l cdgc a nd mu c h of his a mu se m ent cumc tu h i1 11
thro1 1gh book s, to express "ur "pi111.,11s 01 1 s11t.·li
1n attcrs in writing and co n ve rsati o n, it is ll(!t h:trd ! •1
sec, n or how important ::t part c ri t ic is m o( thi s surt
pl:ty s i11 th e lift: uf every cd uc:ited man .
2. The First R equisite : a Knowledge of the F acts. - ] 11
urdcr to critic ise a p iece of writt e n work f:tirly, it
is first n ecessa r y to und e rs tand n ot only what th"
:1utlwr h ::ts d o n e, hut what he h :ts tri ed to d() . Ju st
what, we must a s k ourselves, has the author said, and,
fmthermorc, w h at h as h<xn hi s obj ec t in say ing- it.
\ Vint w:i.s th e time a nd wh a t th e circ um st:1 nces
under wh ich h e wrntc?
\ Vh::tt was h is m :ite ri a l ?
\Vh at a im did he have in v ie w, - to amllSL'. , tu inst ru c t,

88

C A' / T!CJSil/.

CNF/'JC/SM.

to inform, to incite, to warn? 111 maki11 g· up o ne's
opinion, fo r instance, about l\1r. Guldwin Smith's
. .
\
rece nt hi sto ry of the United States, it 1s important
to bear in mind that the authur is an En g li s hman,
lon g r es iden t in Ca nad;1, that he writes pr imarily fur
En;..;li s hm en , and tltat h is o bject is merel y t o prese nt
a clea r outline uf the 110.liti c d hi s t1lry.
Jn the case of
a tr;m slat ion of l lur;i cc, a.~ain, it would be necessa ry
to nuti cl: whcthl:r th e version w;is n1ad e 11·ith the
object of prese rving n1 e rd y th e tl1011 ~ ht of the or ig inal, or with thl: o bjec t uf pres e rving the poetical
cha rm of the o rig inal as well.

3. Judgment must be Rendered in Accordance with the
Facts. -.1\.s a rule, we must judge an author by the
rebti u n between what he has du11c and what he has
tried tu d o. \Ve m ;ty, to b c s ure, quarrel wi t h him at
the outse t for aiming tuo high o r too low; but c ritic ism on this point, ;ilthough it c m sca rce ly fail to
brin g up im port;u1t quest ion s of art, is after all
another nntter. \V hat is, st ri ct ly spea kin g, in the
c riti c 's h a nds for <lec isio11, is the qu es ti o n wh e t h e r th e
writer !us don e well the work wh ic h he h ;1 s und e rtaken. Now, ulll·i(lu sl y , Mr. Golclwin S mi t h 's history
uf th e United States sho uld not be jud ged o n tlll! sallll:
bas is as an ot h e r h oo k o n the sa m e s ubj ec t written by
an Am e ri ca n, on a large r o r a s mall e r · scale, cons idering- t h e subject from a not h e r point of v iew, a nd
expli c itly address ed to a n American audience; n or
should Mr. A.]. Butler's translatiun o f th e Dim.ne

Comedy , which a im s on ly to rcndcr Dante's t ho ug ht
in the must litcral fashion, b i:: judged un the :·;;u1 1e
b asis as the vers ion of the F1t1~I;t1lory by !\Ir.
Shadwell, who attempts to reproduce not o nl y tlt e
th o ug ht but the mu s ic of the g r eat poem.
4. Structure: the Beginning. - At th e ope nin g of a
piece o f lit e rary cr iti cis m it is frequ cn tly n ccess:i ry
to devote a parag raph to s uch introduct o ry m :1ttl: r
a s will explain to th e r eader wh y th e bo()k in quest io n
cl ese rv cs no t ice, who the auth o r is a n d why lil: is
w ell o r ill qualified for the Lisk, a nd what t he part icula r c irc um s t ances, if any, we re un der whi ch the
work was writt e n . The following, for in st:rnce, is
th e bc bcrinni1w of a review in the New Y ork i\Tt1/ioll
for Oct. 26, 1893, of the late P rofesso r Ten Brink' s
("J

Slw/..·spcre: S1ti\KS1'1,;1,E: F1l11j

Vi1r/,·s1mgc:n aus rkm

Jl1.' r!tl/(/nl Im B ri11!:.

J\ ~1dr!11.1·s

7'011

Strassburg: Tri.ibner, 1893.

"J\t th e tim e uf his death, in J :rnuar y, 1892, T en l: ri11k
had b rought hi s J !is/01)' of R11.~!isl1 .Lilffal1ir,· only tu
t.lic thres hold oft.he Fli zal >L:th:111 per iud , and h :1d ll(}l 111 :1de
Shakspere the s ulJjec t o( any s uch Ion;; a 11 d tlturuu~lt
in vestigati on as he had bestowed on C lt:iuccr. .\ t tl1 e
same tim e, Shakspere had long been a favorite stud y with
him. .lt was th e g reat dramati st that fo rm ed fur liiru
th e ce ntral attraction of E ng li s h p hil ol()gy, an d di spe lle d
whatever mi sgivi ngs he mig ht at any tim e: h <l\"c had conce rning th e n:irrown css of his speci:1lty. After hi s untim ely death, therefore, it w:1s natural that th e pupils

<)O

r ·;.-; //1·/.\.I/.

wh o Ju d IJee11 delig hted with his academic lectures upon
:::ihakspere s ho u ld wi sh lo s<.:<.: them in print. The manuscr ipt p ro1·cd unav:iiLd>k, :rnd so, :ts a sccund c hoice, his
li tcr;1ry executors dccidcd tu pu lili-.;/1 :1 course uf pupular
lectures d c livered b y him in 1.s:-;:-; at F u11kfor1 -.,11-t hc,\hi11. TJH.:sc fo rm tile contents of the: vo lum e before
us ."

5. Structure: the Summary. - A ft<.T suc h rrefatory
matter as is n ecessary co mc:s wha t m :-iy b<..: c::i lled thc
summ ary.

lI ere Lli c re is upportun ity for the dis play

vf skiil in co n c ise n::irra tion o r exposition; fo r, before
p::is s in g jud g mcnt un the b oo k in question, it is our
d uty to in fo rm tlw r eade r just what the gist of its
co n tents is. In th is lies, in m os t c::ises, a large part

uf th e val u e o f a good r e vi e w.
Granted that we
kn o w in b ri ef wh :it t here is in a book, w e may know
all tlnt we can: t o kn o w about it.

In thl: case of
the v o lum e of lectu res men t io n e d in Sect ion 4, for
in sta n ce, th l: r cv il: w c r an d c riti c d e votes fiv(; success ive p::i rag rap h s to sL1ting thl: main p o ints o f th e five
lec tures, - a 11 am oun t of information which would,
for t h e ge nl:r;tl re:1der, suffice.

6. Structure : the Decision. - After the summary
comes an o piniun as to the v a lul: of th e boo k as a

l jl

idea of this irnport:lllt

a bcrc neral

p:1rt

ul

lit c Ltry

criti c ism : •· Fru 111 thi s l1ricf acc·<Ju11t .it 111·11 'l/'I" .' 1r ti.nt
' t/ 1<· k<t
. 11r,·s
.
1
•·
•
t
S
li
ii
s')c·i·1:111
"/1,,\.1rsl
p.
:ne i11 nu scllSL'. :t cu 1lll t1llltl<>ll ". . .. I . '
.. 11 ·ts
·It
.
tr
c·
1[111e11L
u
l
t1
1c
,,
,iJ,jccl
·
.
I
1
vVe Juve; ll O l lele :O. llL .
.
..
I
. I. ·I
1 l, .. ·/ Id luv c li :1 d if the; g 1t1<:d ,1t1l.iur l.t<.
Wl: dou l t ess " io u
. .
. . . ·. i is tlte littk
live d a few yc::H s lo nge r. Sll ll, ]li st .1s l ..' . '. ·~]
. . . rtii\· of ·1 c<>1·dial wc·k111 1IL'. It l e.ids I" ' ·'·
vo u1 ne is \\ ti
~·
·
. ·
.
.
· . .
I p·(i<H! sl · 11sc.
a nt I 1· anl I ·is. c·i'nnc
· · tc r •ic
' · tl /,1·
· t1 1l,.1111l ·\ .11H ."
~-lc1:c' and t he re . t uu. llllii c dd c d in :1 cuntc:-..t "' , ·,is1· /'"iJl l:
··t· 11 o ne Ji .. hts ll]J Ull ulise rv;ctw11 s t.liat ~u tu the
l a r ex pos1
IO ,
o
·
.
l · . .. ·,.
h l:·lr t o f the nuttcr, and testify to riches hell Ill ILse 11c.
.
h c.::r<.:
1111
And,
aft<.;r a ll ' we cIou 1>tic s.·s have
,
. '. u ne11c1
.
. bered
.. f
.
I ·1 I ·i c- d S<'" ilfo ldi n•• the 111:1111 .s t1 !J:-,t.11 1ll. u
with any [l ll " ug · · ··
. o•
.. , ·
. ,
r . J..:1n1nl
•I .1 t Ten J:1·ink woul d h :i vc.:: h :1d t<> ~.l) 111 .t ·" 11 ~ .
·
\\ l. . .
I t t'nc t1tl c'in ···c
tn.::1t1~e . \\"·'" nn y· n ote in co 11 c lu s1o n t 1:1
I . ·"· .
is fa ced by :1 sp irit <.: d etch in;.; o f the au th o r, a11d t ut llH
One or two t111l111 g 111 1,., .
bu · ]· is hand so m e ly print<.:d.
·
j ' -~
- o,, /J LI l
.0 ' s I iavc co. m e. t(J ou r ·1lkntwn:
;:,,
pnnt
•
.
• •<JJ-1a, p.
,,
j ,ur 11<1,
· p. I -·1G ··me! <:be 11· here ; I-I11idc1g1 llllil, p. 9 -1·
c

E XERCI S E.

1. \ Nritl: r cv il: w s uf two r ccl:nt ho o k:-.; :

( I) :L vol ·ss
·1y
s
tnvcls
hio"T
~Ljlhy,
or
sc
ience;
(2) :1
o
f
tune
c . . · · , ._
·'
0

v o lum e of poetry, a no v el, or a play.
.
. . .·
2. R ead Arn.->ld's essay o n the Fun c tion ul <... i 1t -

whol e , anJ as tu th l: r elation of the parts to the

ici<>m at the

who k. To th is may he aclckcl, u s ually in a separate
parag raph, th e m e n tio n of s u c h e rrors a s arc n o t in

content s .

thcrn sc l vl:s im port: mt. The co n c ludin g parag rap h of
the review alrl:;:idy referre d to will give the student

r ev ie w s.

Prese n t

·r·irn e ,

amI comment o n
b

it s

k

3. Test the valu e o f a numb e r of new s p a p e r oo .N ot ice wh et h e r th ey a r c mer c l ~ cornpl 1-

rn c nt a ry, ul11·1·'~ cessarily co ndemnat ory, o r iud1 c 1all y

fair.

i

F. \. l'USI /'JU. \'_

C Jl J\ !'Tl·: 1'- V L
EXPOSITION _

1. Distinction between the Two Great Classes of Composition. - Jus t as Des c ription alld Nari;tt iu11 d Gt! with
the u ul e r worl d of sce nes :tlld k1pp c ni11gs, so d o E xpus iti o n,1 Arg um ent, :iml 1\:rs u:1sio11 deal with the
inner world of thoughts :md fc e lin 6s. J\11d just as the
hi g h est :ti rn of Descr ipt io n :t11d N:trrat io n is to prod uce illusiun , so the hig h est ai m uf Expositiun, Argurne nt, and l'ersuasio n is to impart knowledge or to
influen ce bel ief and a ction.
2. Exposition is Beneficial to Intellectual Growth. - Th e
qu :ilit ics of min d \\'hi c h hrin ~; s uccess in l·:x pos iti on
and J\rf;t tm cnt a rc uf a diifcrcnt order from th ose
whi c h bring success in N: 1rrat io n and D e scripti on.
Th l: h r il l i:lll cy , f:1cilc wit, :1 11d L1n cy o f the g (Jod nuvclist a rc hy nu means to be d esp ised; but th ey s tand
less high in the ctt:t!og ue of v irtue s that educat ion
bys m ost stre ss 011 th:1n th e :ibility t o r c:ison, to
in fer, to expla in , :rnd tn prove - powers whi ch betoken sou 1HI and \'ignrous in t c llc c t ual l ifc. \V c n eed
perhaps to culti\·atc our irn agi n:1tio ns, but we need
:thovc all to ma ke s ure of the g uidin g fa c ulti es of
life-th e reason and the und e rs t:rnclin g. Intelligent
1

For a definiti o n ., f J-:xj><J' itiu n, se c lnlru ductio n, page 4.

EX l 'OSJ'f'/ON

<)3

thinkin g mu s t, therefo r e, b e o ur :tim dur in g t h e
r e mainde r of thi s co ur se of study.
J n :tcquiring
hab its o f int e lli gent and cohe rent tho ug ht, 11u t hi11;.; .
we s h all discover by exper ien ce, is more helpful th:rn
practice in wri tten Exposition . For, u nless Wl: ca n
exp ress what we t h ink, it is u sc:lcss c\·e r tu prete nd
th :1 t we kn o w wh at we think . 1 low litt le w e re: llly
und e rs t a nd any g ive n s ubjv ct Wl: n ever full y rea li ze
until we :ire o bli ged to spe:tk n r w r ite co nn ectedly
abo ut it.
In gc ner:il, th e n, the ccl u cat ive importance n f Expos it ion - whi ch we t a k e fur th e momen t , \\'itl1t1ut
further definitio n, to h e s im ply th e Cllhc 1·c11t a11d intell ige nt expr ess io n of t h ought - is tl ut it c h e cks
the overha sty lc:tps of the im :1g in :1t ion hy for l· in g :t
cl ea rer un tlc rs t :rnding of what th e leap is ior :u1tl 1••.
I t counteracts th e opposite d:rngc r of c n tnt: tinin:_; :1t
th e sam e time t1Hl m :iny co nfli c ting itk: 1s hy f.1rc i11 .:.::
us to s tthordin :tl:l', at least for th e t im e hc in g, :111
other idc:1s to the on e w e arc in the act of eX JHllltHl ing. lt forces us also to k11ow wh :1t we k11 nw clc: 1i-ly,
in stead of :iftc r th e h azy fa s hion of th e m e re u111lroductivc r eade r. It s h ow s u s, fi n ally, the r~ :tl diflic ult y a n cl co m plexity of thoughts whi ch \ \ ' C h:1\·l:
p c rh ::ips b ee n in the h ab it of talking abou t \\'it h a
sel f-co nfid e nt ::iss ump t ion of kn owledge .
Di sc iplin e of th o ug ht in gl~ neral is not , howeve r,
the o nly se r vice of E xpos itio11. 'vV c s h all 11ccd it in
fulfillin g th e duti es of any profes s ion o r hr:t nc h o f
trade we may e nt e r. Eve ry wh e re -- in law, i11 nwdi-

'j

'·I

94

FXPOS! Jiui\'.

F.\·1·1 !SI Fl<!,\".

cine, in te:tc hin g, in pn: aching, in b us iness_ wc shall
find it of the u tm ost impllrtan ce to be.: able.: t o o-ive
0
others an intelli g ible and cohere nt account of our
id c.:as. Oftc.:n, in dcnl, p la in Expos ition is a b e tter
m c:in s of conv in c in g- others than J\rguml'nt itself.
Und e rsta ndin g what :-i. m:-i.n's ideas arc nrnst in a ny
case be.: the firs t step t o ward s accepting them .

for safctv : n c: ithc r shal l he 1kl i1·c-r a11:: Ii _\' li 10. ,::;re :1t
str e ngt h: " II e re we learn ccrl.tin Lt c h .tJ, , •li t i1 .i;·,, c:
in gene r al ; to w it , th:1 t h e is in :\Tr. Si· 1r 11 1<> 11 th ",;
op inio n a familiar d ornest ic :1 11i11ul, th :tl Ki 1 1 ~~ l\.1 eh anl lon;..:;c·d f1>r 0 11< : of th e h1 irsc kin,! f,11 ~ :ti"·. ty. :t>l< l
that till.: s: tc re d writ e r h e ld th e strc'nc>,th , ,f :t h():·::c· 11"
safety. All this knowled g e has t o do wi t h no p:uti cular h o r se : a hors e m ay be.: white or hLid;. or l r<>1'.·11
o r bay, ::i nd y e t be a fam ili :tr cl \J rn e st ic :t11i1n :il, yet he.:
for Kin ~
« Ri c h a rd a m ea n s o[ sa fcl)' , -yl·t h,; in t h e
P s almi st ' s thou g ht no m eans o f safety.
A ga in, s up pose we wi s h to know ::ill that is e ssential t o thi s idea o f h o rs e in g t: n e r:t!, all th :1t m111lc rn
sc ic n ct: has :-igrec d 0 11 c o nc t: rnin g him. \\' e t 11;·n,
say, t o an c n cy c lnp:ulia :-i r t icle <lll l )o rs e. In the·
h 'nrJ•dofrrrlirl 1"rilr11111io r, UIHle r t h:1t g«n c-r:tl ti t k,
is a solid :-i rti c lc of n ear ly e ighty Ct>lumn s , s tatin~· :-is
su c c in c tl y :-is poss ib le wh:it lh t: seve r:tl k:trn e d wr ite rs
s u ppose to he th e m ost css c nti ~tl :-ind i11te res ti11 g
prt:se n t kn owlcdg-c con ce rni ng horse in g e n e r:-il.
Firs t, th ey tak e up hi s zoiihig ic::il d esce n t frcJlll t:1p irlik e lit tle :-inirn a ls li\·in~ in th e: eoc e n c period; then
th i.: horse' s a. nat o my, hi story, managc m c 11t, lirc·etl in g ,
stablc-managcm c n t, sa.ddlc - man a~c m e n t, :i 111 I n se fu r
racing. D escri pt io n s of particula r s:rn1 plc p :trts :ind
animals, n:irrative s of parti c u la r ep isod e :; in hors chistory, e nt e r in to the: co urs e.: of the ar t icl1·; li11 t th,:
wh o le.: drift of tht: essay is s imply t o m ak e :-is clc:tr as
p ossibl e thi s co n ception o f h o rst: in ~ e ncr :1l. Th eoretically, Expo s iti on :ilw:1ys expo und s th e nature o r
1

3. The_Subject-Matter of Exposition. - Th e subjectnn tt: r with whi ch E xposi ti o n dea ls is n ot perceptions,
but ideas. Thu11 ghts, idca s, ge n e rali za tion s - s uch
:ubj cc t-111attc r is :1lw:1ys essc nti :1l ly th e s:1111c, in that
I ~ compr ises nur r e nccti o n s u po n or abo ut thin g-s o uts ide us. Now, t hin gs 011ts ide u s, w e shn11ld notice
arc ;il ways p:irti c 11lar thin gs : thi s parti c ular horse'.
for exa mple, nr that pa rti cula r h o rse. Horse in rre nc r:tl nowh~·re _e xists in th <.; o ut e r world, th oug h it ~i:iy
r :::id il y e xi st rn o ur thn11ght. \ Ve c:1 n de s cr ibe a parti c ular h"rsc :is s o m:rny h;-inds hig h, a nd with such
::ind s uch eh a r:1 c teristi es; h11t w e obviously ca nn o t
d_es c nbe h ors e in gene ral; fo r, if we givt: him pa rti c ular c har:1 cte r1s t 1e s o f colm- o r sh :ipe or s ize, he
c_e ases to h e h1>rs t: in g e neral and be co mes the p::irt1 c t1lar a111m :t! we d e slTibc.
\V h_at, then, c:rn 11· l: s ay abo u t h orse in gc n e r ::il ?
Mr._ Stnrm011th, in his d ict ion a ry, is s:itisfied with
say in g, a. f:m1 il i:11· d o me~;t i c a nim al.
Ri c hard JII
fi g htin g o n Hos11'<>rth fidd, cr ied: "A h orse ! ;
h orse! my ki11 .'.~·dom f() r a horse!" The Psa lmi st,
on t h t: oth e r h a nd, s:1id: "/\n h n rsc is a 1·1 in thin n·
b

EX !'OSI J'/QJ\,'.

EXl'OSITION.

c hara cte r of so met hin g i11 J;·n1{·rrt!. P ra c ti cally, it may
dea l e ith er \\'i t h an object in ge neral or with anyth in g
tha t m:ty bc: co ns id e red as a n in teg ral id ea: th e charac ter c> f Napoleo n, for in st an ce, th e Fr:rn co-l'russian
\ V:tr, o r, in brid, any s ubjec t :tbout which o ne could
writ e an essay or a re view.

n othin g but the makin g; clear of th e cb ss ificatio ns
, t lHI S macl c. Th e fir ·st c1 uest ion , th e refo
. . re,.
we have
that we have t: o ask o ursc l ve s w h e n we• " 1·c bc«
." llllllll "'"
. .o n of a g .iv.en s.. u b JC
. .C t 1.,
·s \ Vhat /,.111rl. .of. a
the cxpos 1t1
ti. rr is it? \ Vhen we hav e answered that q ues ti o n
1111,,,
. . ..1 po111
· l of clq1 <.trturc:
ca n· ta ke o ur own ;rn s11·c1, . .ts
.
wc:
.
.
I
•
·k
Wh
at
kind
uf thing
'
. · is
fo r a n e w 111qu1ry, all( .is '
it '! P ru cc:cd i1w in this fash io n, Wt: arc no t likely t o
e nco unt e r a ny "'g reat pract1·caI t rff
' i c' ulty in cullc:ct 111g
..
t c " ·1] for Exj)OS it ion . F o r in stan ce , kt us s uppose
Ill a 11.
. .
.
r . . ' ·1 · ks
that Mr. Stormonth, in writrng his l 1ct1ona1 ), , " .
h im sclf, wh e n he co m es to t lie .icI..
e .t . o r h o rs. e Ill .~-c n.. 1 \Vh at kind of thin g is hor se 111 ge ne ral? J\.n
e ia,
.
· ·.1l?. J\ <l<>mcst 1c
. .l
But what k 111d
o f .<1111m
a111m.1.
.
I
(
clom<'
st it· a ni m:il
!\
a nim :tl.
Hut wk1t k111 < <•
. ,
. fc1r .pr:1cl
.
.1c: il .purffi
f:tmiliar dom es t ·ic :-i1111· 11. a 1· j\ nd
11oscs Mr. St<lr lll flllth thinks thi s cl:t ss dw;1t_1"11 s11 ':
. s ly lie m1·g·Il t 1l.·ti· ' . l«• n t 11111. t'<I Gth,
c ic nt , th ough oh1·1<>u
..
irnccss inddinit cly, u11til h e h ;1d acld_cd lo h is 11 "t.
1.
l I ·f111itio n ·ill th e li111 itati o11 s \\·lii t· h th l· ;1t 1th()1 s
s 1111 p e l c
·
. !' .
·. In \· .
1'11 the r11t)'[
/ tJJh1cdt1l )/'//ti/I///(( /
• e
() f t Ile ar t I"le
C
.

4. Unity in Exposition. - S in ce Exposition is s imply
th e e xpla nati on of a thought, e very good Exposit ion
is capable of be ing- reduced to a s in g le term, whi ch
contains the idea expo unded in its mos t ge n e ral form;
th at is, we s hall find o n e xam i11 at io n that in th e co here nt trea tm e nt of ex pos itory ni;ttter th e re is a lways
0 11 e cent ral idea f rom \\'h ich all th e threads of Exposition proceed. !\II th e work Cl [ J fe r bcrt Spe nce r, fo r
in s ta nce, is the c:x1Hn11Hlin,:.:; <>[ a si ngle, s impl e id ea,
w h ich m :1y he C: .\]lrt·ssc d in un tcc lrni ca l lan g uage
so111,·11·h :1 t :ts fol low s : e 1·i: ry thi11 g in th e univnsc: is
co11ti11u all y cha ng in;.: in :1ccn rchn ce wi t h fi.\ cd laws.
If a ll C.\pns itions of wh:1tcve r so rt, wheth e r tht.:y
includ e o nly a few spoke n worcls o r vol 11rn cs upon
volum es o f close prin t, arc reduc ible t o a sin ;.: lc, s im ple id ea, it fc>ll0\1s tl1 :tt if we unclcrs t;ll!d th e prin c ipl es rn1 whi c h th e l'Xj H>L1 1Hl in g· of a s in ~k, s im ple idea
is based wc u11tl c: rst;111 d the prin c ipl es o n whi ch all
Expos it io n is based. T hese prin c iples we shall now
cons icie r.

5. Method of Collecti ng Material for Exposition. - Th ink in g is s i1npl y th,~ p r<1c<'ss n f arr:111 g i11 .~ nnr pe rception s
acco rdin;..; to th e ir cl iffn(' 11t l; in ds , :llld F.\po s ition is

97

0

s 11c:c ifi c:d .
,, f I .
t. ll.s_
]'crh:-ips, however, t 1le 1)CS t ill11 s tr:1tio11 .
. ·
• .s c lfor othe rs. 111111c
method of quc st1n11111g·
ones
. " 1tl
le> obta in material l«ir Fxp11siti n11, coni cs frf)lll I i . Jt1>.
l le is try in g- to find o ut what so rt of th 111;..; a S ()Jl'.11,., ~
l I c: int e nd s cvc: nt u;1lly to say t h:1t a s() ph1,;t i:, lil't.
IS
.
.. 1l e. ,_,o
er · c, ". t o wo rk to C.\ jlOlllld wliat
:tn,
.
a n an ••lc r, a 1H l s<1
~
.
.
\iV,
slnl
l
noti
ce
how
eve
ry
sll'J>
111
I
hj e
l
·1nu L I
IS.
L .
'
•
b
.
.
.
..-1 ....
is
a
n
;tnSl\'t"I"
\fl
t
IC
spccific:tt l() J1 of wh:1 t .rn .in" t.I . is, .·
.
. . I
p11ss ii>k ljll t"Sl i1111 , \ \lli:1t Sflrt 111 tl1111 _g IS t li1s .

:· :~

~I
~! ~

;

,,
i1

~

~

~

'.'~ 11 '~

t

"

l~

l
f1
~

"

il

~

~i

)'

.I

~
I

~

I
I~
•I'1

~
II

. r~

F.YFOS!T!ON

! ':,\ · /' OS!TJ ON.

S tra11go-. L e t us b egin by :i s king wh e th e r he [ an
:ingl e r] is a man ha v ing o r no t having art, but having
so me o th e r po we r.
Tl1mdd11s. He is clea rly a man of :irt.
Sir. And th e re :i re two kinds of a rts?
l'!tcm:I. H o w is that?

T/1 cac/. C lea rl y in th e acquisitive c la ss.
Sir. :\ncl the a cqui s iti ve m ay be s ubdi vide d int o \\\'O
p a rts: there is vo lunta ry ex c ll:ln gc, w hi c h is dfcdcd. hy
g ift s, hire, purc ha se; a nd t he o ther p :1rt uf :1c q111 s1 t1l' c,
whi c h ta k es h y fo rce o f wo rd o r de e d , m :1y be te rm e d for ci-

Sir. Th e re is agri cu lture, and th e te ndin g o f mo rtal
creatures; and the art of constru c t in '' o r m o t1ldin r.- vcs"'
b
sels, as we te rm th e m, a nd th e re is th e a rt o f imitation ·
'
all th ese m:i y prope rl y b e cal led by :i s ingle n a me.
Tltmd. W hat do yo u m c:i n ? i\ nd wh:it is th e na me ?
S ir. H e \\'h o brings into e xi s te nce so met hin g that did
not exist befo re is sai d to be a p ro d uce r, :1 nd th :it whi ch
is b roug ht into ex isten ce is s:i id to h e produ ce d.
J'/t,·rrf'I. Tru e.
S ir. J\nd a ll the :uts whi c h we re jt1 s t n o w me nti o ned
arc c harac te riz e d by this po we r o f produ c ing?
Tlt,·t1,·/. Th e y arc .
Sir. Th en let us sum th e m up und er the nam e of
pro d uc ti vc a rt.
l'lmtd. V c ry goo d.
S ir . Next fol lows th e whol e c l:t ss o f lea rnin g and
acquirin g kno11·icdgc, togethe r wit h trade, fig htin g, hunting; s in ce no ne o f th ese prndu ces anything, but is o nly
e ng aged in conque rin g b y wo rd o r d eed , o r in preve ntin g
ot he rs fro m co nqu e rin g things whi c h ex ist and ha ve a l-ready been produ ce d - in e:ic h and a ll o f th e se br:111 c hes
th e re appea rs to he :1n :1 rt whi c h m ay he ca lled acquisitive.
Tl1Ctrd. V cs, that is th e prope r n:un c.
<'
.,Ir.
,see .1ng . th e n. th at :i ll arts ' arc e ith e r acqui s iti ve
o r prod uc til' l' , in ll'hi ch ( l:is.s s hall ll'L: pl: 1cc th e :1rt of th e
an g ler I

ble e xc han ge?
1'/icacl. Th at is im p li e d in wh a t !us he c n s:1icl.
,)"tr.
And m ay n o t this for c ible e xc ha nge b e :1ga in s ulidi vicled?
7 '/wrcl. H ow?
Sir. Open force m ay b e cal led fighti ng. :rncl sec ret
fo rce m :1y h :we th e gc ncr:il 11 :1rne o f h11ntin g?
Tlt<"t1 d. Y cs.
Sir. J\nd th e re \\'ill be a want o f di scrimi11 :1tit 1n 111 no t
furth e r divi d in g th e :ut of huntin g.
'l '/wrd. l lo w \\'OUlcl you 111 ak c th e di1·is io n 1
.'Jir. Into th e hunting of li1·ing and of lifeless prey .
T/1m d. Yes, if b o th kinds ex is t.
,'-;Ir.
Of co ur se th ey ex ist; th e huntin g :1ftLT li ic-kss
things ha vin g no spec i:tl n:ull c, exce pt ill th e (':tsc "f di1·i1 w and s uc h small m :tl tc rs m :1y lie om it ted ; th L: h t11 1ti11:-:
af~~r living t hin g s nuy be call e d animal huntin g.
J'/1c11et. Y cs .
Str. And animal huntin g m :1y h e truly sa id to h :1vc
tw o divi s io n s, land-animal huntin g, whi c h h:1s rn :rny kind s
ancl na mes, and th e o th e r th e huntin g a ft e r an irn :ll s wh o

swim , - water-animal hunting?
Tltt:m'/. Tru e .
•<;tr. And of swimming a nim :1 ls, o n e c b ss li ves

•Jll

the

win g and th e o th e r in the wate r?
T/1 c11d. Cert:1inl y.
Sir. Fowling is the ge ne ral te rm und l' r whi c h th e
huntin g o f :i ll birds is in c lude d .

100

Theact.

F .\' /' OS I '/'ION.

FX! 'OSIT!ON

True.

Sir. Th e hunting of the w:1lt.:r an imal s Jus
the general
n a me of fish ing.
7'/t<·ad. Yes.
Sir. , \ nd shall
we not divide this sort o f lrnnting also
int o two prin c ipal kind s?
l'/ici1d. \\'hat arc thcv?
Sir. Th e rt.: is o ne k i~1d 11·]1 i"·Ji
t a k·cs l Ilt.: lll 111
· nets, the
~
oth<.: r which tak es them Jiy a blow.
J'/t,·act. \ \"h:1l clo ) "CH I m ea n, a nd J1c, 11, <I<)
·
yo u disting111sh
th <.: m?
Sir. As to the first kind - s in e<.: all
th :1l s11 rro11nds
and en clos<.:s :rny thi1w
lo preve nt <.:g rcss, n1 ay lie rig htly
c all ed an e n closure_:_~
J '/1r·1rd. V cry true.
.\Ir.
1-'o r whi c h
r<.:a son twig li:isk ets, c:1.o; ti11 g- ne ts,
n oost.:s, c rc<.: ls, ~. 1111 tl1 1·1
II
"
t.: ''e n1 :1y :1 In: le rlll t'! I "cnclosures .. ,

True.
.\Ir. !\ nd t lie rd<> re / · r·
. t 11 s 1rs t kind u f litlll!in ,:.; ma y be
c i/l n / hy us huntin e'.· 11 ti
/
•.
.,
I t'll C us11res, ur so111 t.: tl1i11 C'.· uf tl1.·1t·
so rt ?
"
7'/tcact. Y cs.
J'/tr,1d.

S ir. Th e ot her kind, whi c h is prac tised with hooks
and thrcc-pro 11 ,,·ed S /) ..1 ..
..
"'
. L. ' s, II' 1
ien sum111cd up und e r o ne
name, may be c:ill cd s trikin .-r unl es s yc1t1 'J"J . t· t
r.'
· ·
,
1c11e ~ us c:-i n
f-inc I so me better n:unt:?
·' ·
J'/tcad. No
tt
l
J
ma er a JO ut ti c nam e - that will d o ver)•
we ll.
.;\Ir. There is n ne mode of st1iking whi c h is d o ne at
n1 ,.., ht. and by the lig ht of a lire, .rnd is c.1llcd hy th e hunters thcmselvt.:s firin ~" · or spe :mng
·
hy fir e li g ht.
7'/tt't1d.
Tru e.
.

IOI

Sir. And the fi sh in.:.; by cby is c:tlkd liy th e ;..'.<'ll<T:tl
1un1 e of " fishin g 11·ith lnrlJs," since the spt.::trs, t"'" art:
barbed :1t the poi n t.
T/1<-.1.l. Yes; th :1t is th e t e rm.
Sir. Of this lJarl1-lis hi11 g , tli:tt \\'hi ch strik'"' tl1c li,.,h,
who is IJc /o \\', fru rn ;1liu\'c: is c;tl lnl "P«:1ri11;..:, lw1 .1t h <· tl: is
1s th e 11·;1y in wh ich tht.: threvprun ge d spt.::1 rs :tr e ust.:d.
l'/1<<1.l. Yes ; tll:lt is :t ter m whi c h is e mp! oyt.: d .
.\Ir. Th e n tht.:rt.: is only one kind r<.: mainin g .
J'/t <,1d. \\ 'h:tt is th at?
Sir. \Vh e n th e blow whi c h is g iven by the hu"k is nut
as \\'ith th <.: spea r fix<.:cl in any p;1rt u f th e prey, 1>11t al,uut
th t.: hL:ad :11Hl mo uth , tht.: in on:men t is from l>e low upw :1rds,
and th e tis h is drawn out with r<.:t.:ds and rod s : - \\' Jut is
tht.: ri g ht nam e uf that, Th c:ae tdu s?
Tl1<11d. T s uspec t th at 1ve ha ve now cliscoveri.: d the object of o ur sea rc h.
Sir. Th e n now you and l have come to an und ersta11di 11 g nu t unly ;tl,out tlit.: n:11 ne (Jf the anglt.:r's art, l1ut ali<i11t
th e <kl.111iti<> 11 <>f tht.: thi ng. <hi t.: h:tlf u f :dl :trl. \\:1s :wqui,., iti vt.: - li;tlf u f th<; :1cqui ,., itin: was co nq11 L·sl or t:1ki11 g !Jy
fu rce, h:tlf o r tl1is 'l':t s h1 11 1ti1 1.!.!;, :111d Jul [ ,,f tli c ht11Ili11g
was huntin ;; anirn:lls, h:tlf u r this was huntin g \\':ll t.:r-:1nim :tl s - of this ag:1 in, th e und e r h:tlf was fi s hin g , lu lf o f
i"1 s hin g wa s striking; th e lirst h a lf of thi s w:ts fi s hin g ll'ith
a barlJ, and one half of this, being th e kind whi c h s trik <.:s
with :t hoo k and draws th e fisli fr o m bt.:luw 11 pw:trds, is
th e kind which we arc no w see kin g, and whi c h is hen ce
d e noted angling ( ucr7ru.At<uTLK:;/· 1~vua7ru1rOut) .
Pla to:

.\·opl1ist ( J uw dt 's trau slatiun, cli iti u11 of 1S71, vul. iii.,

Pl'· 47S-So ) .

10:::!

£_\'l'OS/l/!1 ,\ '.

6. Method of Collecting Material for Exposition : Exclusion and Analogy. - To exhaust the pos s ibilities of

E xpusit io11 we mu st add :t second te st question to
our nH1u1ry. Our fir st qucstiu11 is: \Vhat is the
thing we arc thinking of? Our second question is:
\Vh ~tt kind of thing is it 1111! !
Naturally, rnorcover,
in dealing- with an entirely new, or a somewhat unfamiliar subject, we arc far more likely to know what
it is not th:rn what it is_ Even in the analysis of a
f:t111iliar subject it is often natural to by stress at
once on the qualities or characteristics it docs not
possess. Of the British l\Tuseurn, for in stance, we
mi ght say that it is an enormous library, a wcllarr:u1ged libr:i ry, a library where the sc holar is sure,
as a rule, to find almost :ill the printed material he
wishes t o u se; lrnt we should be ju st as lik ely to
begin by stating tint it is not a library fr•im which
books could be taken to o ne 's h o use - a proposition
th:1t at once distinguishes it from some other large
librari es. i\~ai n, if we were asked to expound so
Lunili:tr a subject
as l l:trvanl Collc"c
we mi<
cht
.
b
'
b
easily make distinctions of importance by showing
that it is not entirely a local in st itution, not a sectarian in st itut io11, nut a co-educational institution.
l\ third test question, \Vhat is the thing like? is
especially \'~iluablc for literary purposes. It g-ivcs
vividness to the id ea of the thing- expounded by
associ:1t i11 g it with ideas lll Ore familiar or more striking th:rn itself. \\'e cculd r ead il y g ive a foreigner,
for in st:rncc, some id e: t of what o ur govl: rnmcnt is

/:'.\'/'OSI '/'.JUN

103

jf we bid st r ess u 11 the poi11ts ul similarity between
our politic:tl orga11iz:Ltiun :u1d those with ~\'hi ch h_e is
Luniliar in his own c<•llltlry. J\n ,l\rnerll':.tll 11111versity, we could t e ll a 1t En g lishlll :t n, is in stll_'h :llld
such r espects like an English univ e rs ity , and 111 s uch
and such respe cts like a German uniVLTsity. \V e
mu st not forget, howev'<: r, th:tt conip:trisuns :uid :u1:tlogics arc d:t11gerous, because they ar e l>y nature
inc~~tct statements. To say what a thing is like is
obvio usly not say in g what it is:

7. Practical Hints. - J\ practical hint as to the most
convenil:nt m ethod of procedure in Expositi on will
pcrliaps he of v:tlue. It is often wurth while ~">r t.hc
hc ·'inncr, bdorc und e rtakin g to expo und a subject, t u
tal~c three sheds of paper, and to write at the top of
the first sheet the words, \Vhat it is 110/; at the top uf
the second sheet thl: words, \\/h at it is; at the top
of the third shL~ et the wurds, \Vhat it is like. As ide:ts
occur to the student, from observation or reading, he
c: lll then jot them d<>Wn un the appnipriate she et.
Jn this way the substance of an essay will ;,;row
almost without conscious effort on th e part uf thl:
writer 1 arnl shape itsdf intn a very fair o rderlin ess.
Fur in stan cc, let us suppose that, reali z ing- that c ritic is m is 011e of the most importan t and ch:lractcristic
,,-c11 rcs uf literature at th e presl: nt day, I und ertake to
"~xpound my id ea of what criticism is, ai~d that I
h :t\'e p repared my three sh eets of p:1per for notes.
I happe 11 , we will ;; uppose, to hear some one say of

'"

'ii

10 5

L.\I'cJSI J'IUN.

1c,·x /'US! /'/UN.

a s hrew or a goss ip, th at s he is ;t ve ry l·ritio 1/ perso n - fo reve r finding fault . Is that, thc11, wh :tt T
m ea n by c riti c ism - fin d ing Ltult? CcrLt i11l y nut.
I therefore jot doll'n o n m y lir s t sheet o f p:1per:
" C ritici s m is 110 / m ere fault-finding." A g ain, we
will suppose, I think of go in g t o a ce rtain play , and,
asking a friend wh et h e r it is worth while or not, I
am advised to co nsul t So-and-So, who is excess ively
fo nd of the theatre. So-and-So is ev id e ntl y h e ld to
h e a good crit ic because he is fon J o f wh a l h e critic ises. The idea is s ug,~estivc , a nd I e nter on my
secon d s h eet th e n ote that c riti c ism i:; sym pat heti c,
modifying the st a teme n t , on s e co nd thought , by e nterin g o n my first sheet again th e m e morandum that of
co urse cr it ic is m is not mere fin d in g- favor :my m ore
than it is m e rel y finding fault. O n my third sheet
observat ion mi gh t lead me t o n ote that criti c ism is
l i kc j ust ice, u n pre judi ced. Su c h men10 r:rnda, macle
m ent:dly o r re co rd ed . :ire in m os t cases th e n ecessary
steps toward re nd e ring tu ourselves a clear a cco unt
of our ideas.

steps and h ow r:i.pic!l y it is well to k;icl up tu th e ce11tr:tl idea. \ Vh :tt s uch a phn s h o uld h e may be g:tthered from the ftJll ow i11 g sk eleto n of a 11 int e resti ng
chapt e r in th e 11111 rr ict11t Cu111 111<11t7,•£·rd!lt. Some s u ch
sc heme i\1r. Bryce must have worked 011 in th e
process of co mpos it io n. The qu :tlity uf style to be
· E• xp1>SI·t·10 11 , 1·t s hei uld b e: n 11t 1ced '. is cle
~ trscc ured 111
.
.

8. The Plan. - i\km o randa of the sort ju st mentio n ed arc, howeve r, b r from co ns ti t utin g th e s keleto n of the Ex pos ition itse lf, thou g h th ey 111 :1y s ug gest
in th e rou g h the orde r which it is be s t t o pursue.
Wh e n the m:ltnial for the Expos iti on is a ll in, it is
neccss;1ry t o dec id e carefully upnn th e stru cture of
th e c ss:i.y :1s a wh ole. clctc rminin g at wh at po int it is
b es t under the circumstances to b eg in, and by what

m.: ss, the v::t ri ou s dev ices for sc.:cur in g wlll c h it is
n ot necc ss:i. ry h ere t o rc.:pe:i.t.

ir 1.

T!t c U ni71crsitics. (Vol. ii., chap. c i.)
Introdu ct ion . General peculiar it ies o ( the hi st ory of i \m e ri ca:1 u11ivcrsities.
Th e fo un d in g of H arvard .
Th e founding of othe r colleges f rom 1G93 t o
I 76-1.
the" 11ri\·~1tc"
Tw o t y p es o [ J\
. m c ri· ca n coll•~'!!CS:
~

t ype .

.

. ..

'\I ;,_ Two typ es of /\m c ri ca n coll q-'.cs : the .. publi c

type.
In s titu t io ns th:-tt d o not fall in e ith e r class .
Why treatm e n t of th e s uhj l:ct of !\ rn e ri ca n u111vc r s iti es mu st be hricf and orderly. I
S ta lislirs in reg:i. rd to colleg es.

General clit1rac!cr of t/ic 1111iv crsi1frs and co//,~i;·cs:
th e b e tt e r class.

1

In th e rest of !h e -.k.:kl o n h e~ <lin gs prin ted in iI ~ li cs nre thn>c

· ~c·If ·1 1\ ~·cr
. t t:l
• l •~l the b c•'i
nni ng
o( the p:tr:i g r:1ph
whi· ch i\1· r. j ~ ry c c } 11111
b
.

in qttt..:stiun.

106

F.r !'US! I"!< JN.

!·.". \' J'(IS/l'/UN

i i 10. Ge n era l c haracte r of the u11i ve rsities and col-

i1 ~~J . Degrees :tn l I ·~·."·' ·.1 111·1.•1 ·. ttions: bx it ·y i11 g r:J11Li11;..::

lq.:;es: the p oo r er class.
ir 11. The n ·-;"·111/l"J. o f the collq;es.

de g r ees.

i i 1 '2. The· .':" '7 'n-11111n1 ! of the c()lk,c_;l'.s: m St~1tc colkgc:s.
i i 13. Th e gove rnm ent of the colleges: in other colleges.
~i

1.l. Tl1c g m-crnrncnt of th e e .,]lcges : rnu ve 111 1.::11l
l ow;1ni rL'j l r l:sc ntat iu n of
;;o\·c-rn ing !Joanis.

ii 1:'). J/1c
ir 1Ii. The
i1 17. T lh;
i i i i:i. The

.."

['.i.

~~.
.) ' '

~: \_. :_:_ 1· ~- . \ •

i1 i:i I. j, osl-J.; rad1111 I ,; ,-011 ;s, ·s.
i t ;)~. j, nifi·ssio111d a 11<! S(lt'lil ijfr sc!too!s.
•:! i~; ~ . J\. (si ·in·i'lt in j\ 111 ,:riL·a n C(lllq;es .
~ i ~ - 1.
:~ t ~ •

·:1

l md1i11::· staff: in th e E as t.

..

•. 11·,/s / { 1 t!<·s<·r-: ·i11. '. ;· s!ttl!culs .
~\,1c i1 d Ii/;· <f lite s!11dot1s : in ge11cr:d.
S<>c i:11 ii f, · ,, f 1 ]i,- st 11> k11' s : !1:1\l"rn 1\ I>''.

~

• I i) I.

"

te:1ch i11 g staff: in th e \V est.

' .1 · . ·
.
] \ l ti; f t '}/.

.

,l

1. 11-"•'
numlwr
o f t h'-· J\111c·r1,
·: 1n u>l 0"-·
.
.
i•

l ~...·,·s and u ni\·ersil ic s a r c de n om 11 1:tl1»n:1l.

te:1 c l1 in.~ s taff: s:1h ri cs.

1 ~,·ii· ;i,, 11 : r cl i :~·in us

t e a c hing sLlff : soc i:d position.

·;·1

1/\·
: .'J/r/ /l/ r '/ l'.- : 1

l~l t~

•

" • -

-

-

.

1.. ·,!1t(d/J e 11

.
_l, 'J _,', •1 i 1,

11 :

.

~

.~

.

- -~

Lt 1-L t l li Cat i(>11.

~l

f , ,1c11! d1slrili11l1 t1 11 ol 1111/7•1-rsilio· a11d 01/ln:«·s.
.\_,r.\/1 Ji/

cxcrc isc· s.

. n ··, , .~ . 1 ·,. ,-tlJL ( 1/-11111.; •,f.\·llr

/,1{ J.'

J>~· '-· .'J-/ii r/1 ///.\· .

lil

(_'/

/l/S/r111 //111; :

c: .~1._ ·~1·-:c s\· stt ·11L

· n o f. 11 111v
· crs it ,v eii 11 c-: 1l1<1 11 lu r
p1«1vis1"
\\ "C\lll< 11 : s « p:ir:tt » i 11~tit ut i<J1h .
.11i..ty .. r
tlic

10. The'.

·.: 11

t)J\' ,'.-:,T1..J\\' tl1

ii :2-L Sy,.,tc1n :t1 1d 111<.::liHHis ul i11 s t ru c tiu11 dcc:1y of
tlh; "rcciLtliun" syste m.
i1 '2G. l\. i'!/1tirn11oils .for c11!rancc.
i1 ~Ii . ] J,:::r<1·s a11J ,x,m1i1111!ic111s: d e;_~Tccs ll (Jt :-twa nkd,
as frc L!llcnLly in Eu rope, o n the re s ults of a
s i11 glc cx :1111 in ation .
i1 :27 . D eg r ees an d ex:1rn i11 :1tio 11 s: cont ra s t between
thc Amcr ic:lll syste m and th :1t in Vllt;"lle at
Oxford ;111d C a m hr idge.
:28. D eg rees and c.\:1111in:tt iu11s: v ;tlu c of Amer ican
degrees .

ir

· :tlldllS:
·
sue i:tl Lil u c t•f a
i i 30 . l) ,_·:c,rn·s and cx:urnn

g raduates upon

i1 '.:'.U. Ji11ildi1(i;·s rr11d c.rli'r111zl aspect.
ii :21. Ji111c sj>o1! i11 st11d.1'.

.i1 -·'·

I 07

.' \ 11 11 ·1 · i 1 ,(l l

(;,·1 11·1 .ti
~: t ~ -

i t .rn.

.,j,

, ·\

):1,

, ,- 1\ . i\

·

", l :'

I• >llS :

J

\

l ilt"

< .>· 11

1· 1·

,·,,] \, .· ·,« s

.t

re:

j l1 ;t ;, i: \ \ l ' t >I l r: 11 IS j l I" 11.
i. . • . .
·
• .
ti le. .stru .~.~
· .. ·k hdw1«:1
1
(,~ c 11 c r•tl uu::,cl
\,tl 1»11.,.
.
th e g reate r univ e r s itie s a nd the dc 1wn11 11:1-

t ion al colleges.
Gen e ral obse r v :tt io n s : .A m c ri ca n

.
. .
u 111\·l' r,;1\ ic·s

fn..:e a n d l'''l'uhr ; the alleged d:11 1gc r fru111
the influ e n ce ul s m a ll and we•tk cuilcr;<-'S un

iT.t G.

hi g h sL111d a rcls.
lcarnin .c:: is
· n s: tli"~ lii .:..::hcr
Gen e r al obsc:rvat 1o
.
1'
1
1
·.
·
!
·
1
l11t
i, .11s, \\hi c h
]
in n o da 11 ge r trom s u e l
·'"
do, in their w:ty, :1 ~·,1c: 1 l ck:tl u [ c:,uud.

(

J:'XJ'OSI TJON.
108

I O<)

! ·.".\'/'!IS/ !JON.

i i .J(j. Gene ral <>bsc rv:tt ion : conc lu s ion:
"If I
lll:1y vc n l urc tu s tate the i m prcssio11 whi ch
the J\mcri c; rn un ivers it ies have maclc upon
llle, I \\'iil s:ty Lint while of al l th e in s titu tions of the co untry thc·y arc those of
which the J\111e ri ca ns spc:tk lllll st m ude::;tly,
an d in deed d eprcc tt in ;.; ly , they arc th ose
11·liich s e L' lll lo be a t Lh i,; 1110 111 c 11t m:tkin g
the s11·iftcst progress, a11d tu h:t ve th e bri g htest promise fur the fu t ure. Th ey arc s uppl y in g exactly thos e thin gs whi c h Eu ropea n
cr it ics h:t\·c hi the rt o fou n d la ck in g in Ame rica ; ancl th ey a rc co11tr ibuti11 g tu h e r pol itical as w ell :1s to h e r co n templati ve life
clements of inest im able w o rth."
9. What is Indispensable to a Good Exposition. - Indispe nsab le t o a guud Ex pos il ion arc: ( I ) :t deli n it e s ubj cct , n ot too Ltrgc ft1r th e wri te r' s in furn1atit111; (2)
an un p re jud iced mind; (3) a clear cu 11 ccpt iu n of the
capacity and prc1·ious inform at iun of th ..: perso n, or
pe rso 11 s, t o 1rh orn the Exposit io n is addn:ssed; (4)
a good lxgi1111 ing; (5) orde rl y struct ur <.:; (6) a co ncl us io n th :tt s urn s up, if poss ible, the matt e r conLt in ecl in t he whole Exposit io n .

10. Exercise. - I t w ill not be n ecessary t o p rin t
h e re mater i:tls f11r :i.n exerc ise o n th e prin c iples of
Ex pos itiun.
c;f)()d L .\pos itiun s arc so co mm o n 111
h ooks, m agaz in es, a nd even in n ewspapers, that it

.
. f
th e st ud e n t, es p ec ial1y under the.
w ill be easy o r
b
]
e ol
.
.
f \1'1s 1'11 st ru ct o r to find a n a un c :rn c
.
t11rcct1on o
·
·
'
.
..
]
,.
1 . 1 nt h o f w h at h e sh n uld st ri ve aft c 1, an<
e.\arnp cs , l
.
· ·
f 1\T r j llh ll
of what h e sh ould s \ 11111 . The wri t m ~s o
.
P rof T)rndall rn :iy , as :1
1
1
.'"·
]·n
P
rof
Hu
:-:
C)'•
a
n
t
·
l 1" " •
•
1] of popubr
rule, he r eco mm e nd ed as ~oo d J11 ()( c s
F:-:pos it io n.

I IO

ARGUMENT.
ARC U A1FNT

CHAPTER VII.
ARGUMENT.

1. _Argument an Act of Judgment. - Three s te ps lead
na tu1ally toward the ·1 ttitu I. 0 f
. I
.
.
'
<c
m111< s u1t:1bl e for
;:u rr um ent · ( 1) LI • . ·t ·
·
"".- .
. . ncc1 a 1nty 111 reg-:i rd t o the truth or
falsity of :i. certa in propos itio n .(") in fo.
f .
h o th sidcs o f th e qne s t ·o . ( ~) ' I m a ion as to
f
, .· ,
. i n' _.) :iccq i t:rn ce :rncl d efence
o o ne s ide o r the oth e r
J\ .,,.
.
..
·ff , .
1,.., umc11t is thus :i. m ore
.
.
c cct 1ve mea n s of esc:i i· "
..
t i . 1·
. .
. . l 111 ,,., p:n .1 1} S IS of jud crment
l , tn
~xpos 1t1on 1
\V ,
·t ·
'"
]]
. .
·.
c GlS Ill nu r lot fo r "·no d and
a •. as 1t we re, with :in id ea or bel id J·u st '\S~ J r ~ I t
I ,·t ·
l
· · ··
. d11 e
ics1 at1ng ietween life or death, b:ised hi s fin ;il j11d ...'
m e nt on the r esults f
,..\VI
.
. .. o an arg um e nt:itiv e process.
l .. 1at he '.l 1sc ussed with hims e lf ;u1d th e results of
i1 s re:iso111ng m:iy be represe nt ed as follows:-

Q11r.rl/1111.

Pro.

To h e or not to b e ?

~lcep is p c:ice, and d e:i th is hut s lee p

Co11.. Sleep m :iy not he 11cacc, i·f tl1t·. I.
s ce pe r' s
cn 11 sc 1«11ce b e not ck·1n ·111 cl I . ti 1
. . .
·
.
•
• ' •
l e .i
m;iy rese mble
sic( P 111 this rL·s pcct.
F1.·!!·o.
J\ .s 111 y consc ien
· ce is n ot clean,
,
prefe r
to be.

\Vhen, th e rcfrn • w e a1-.~ cn 11f1·ri11te1l
with other
ways of thinkin~· th;llJ <H ir s th . _ . .. .
.
..
LI e .11 L. t 1H l'C cn 11rses
w e may Like: ( I)w e
.
m ay c rn1ti11ut~ 111 ;i st:ite of

I JI

d oubt and indecisio n; (~) we 11i;1y s urrender our
ow n ideas and accept blindl y th osc o f others ; or (3)
wc may accept one s ide or thc other of the qu es til)n,
h;ising our acceptan ce on ::ts s tri ctly lng ictl a clemunst ratio n as we s h o uld d e mand in nnth c m at ics.
2. Argument a Means of Self-defence. - Arg u ment 1s
for ou r thou g hts what bo\ing is fu r ou r p e rs"ns an ::irt of self-defen ce. Ju st :is a" sc ie n t ifi c" fc ::i thcrweight may be completely v ictorious ove r ::t hig bully
who h as n ot ma ste red the diffe re n ce b et w ee n an
"unclerh::tncl c ut" :i ncl ::t "cross -co u11t e r," so in th e
are n a of ide::ts a puny a nd flim sy id ca o fte n f,>r the m om e nt gets the b et ter o f a gr;i ncl ;incl strong idea, jus t
be cau se the puny idea was pres e nt ed cleve r ly, while
the g ra nd id ea clid n ot know h o w to defend itself.
There is, co n sequently, no sure prot ec ti o n ag:lin s t a
d o mine e ring idea, ex ce pt to m ee t it 011 it s own grn und,
a11d to defeat its s oph ist ical logic by so un d :trg umcnt.
To kn o w whn t s o und arg ument is, is thc purpose of
o ur st u dy now. It is bas ccl, we m ay pre mi se , not on
a 11 y a rhi tr:i ry s e t of ru les, hut o n a ser ies of pra c ti c:tl
ohscrv;it ions drawn frum th e u s~tge of men who h:ive
Ind m o~;t w e igh t in the ser io us affai rs of life, wh e re
;i rgu m t: nt in wei g hin g- th e pros and co n s of a hw, an
a c ti o n, a principle, an adm ini s tr:ttio11, Ins se1Ted
them as both shield and sword.
3. The Dignity of Expos ition a nd the Dan ge rs of the
Argumentative Attitude. - In th e nr st pl :tcv, h t l\\"("\T I",
a wo rd or two as t o th e clangers of ~tr g t1 11ll· 11L1t irn 1.

CI 2

.-1 J.'Cf!;J!J.: N l'.

Exposition, the m ere rr iv irio- forth o f
.
di g ni licd, peacdul a 1""' ·lf ,..,
.
facts, is c:i.lm,
.
· ' IH sc -co n ta 11w d
Th .
1s 1111 c onccrn c d ·is t
·J
·
c man who
.
.
· · o \\ nt ot 11c r s m:i y think . .
. .
.
01 s.ty or
hcl1c 1·c 111 IT""lrd t 1 .
,..,.
() ll S np 111 IOll S wh o ,,. "
'
th e s t a tem ent r1 f 111. .
,.,oc s on with
.
'
s o wn v iews 11 J· · JI
tru s ive l)' is of tl
·
.tCI< Y :111d unob' .
.
le sort o f st uff tk1t C ....
Napoleon s arc mad . 0 f
N
· . .t.:s.11s a nd
c ·
o o n e c ·1n h i! t
and adm irc th e r 1 . ·t fi.
· .'
o r esp ect
. J
.
J ll C
11m n c:ss of h1111 wl
sec ' s to imposc hi s 0
tl
10 n ever
· w n H1 11 ~.J1t s u po n 0 t l1 , . l
. l ·
c 1s, Jllt as
w el l decl in es to li e ·
M:i.tthcw J\... l J im pose( lljlO ll hy ot h e rs ' th o twhts
•
llloi, a m :1n who w· s
.
"· ·
m os t m e n of uur Ii' ,
. ..
.l. , Jll: r h:qis, above
ot l1 c 1·s <>[ t l
. l nc p:is s 1on :1kly fo nd of co n vin cin O"
·
l e rl '' l t 0 f j . ·
o
·J .
"
irs id ea s a nd th e c i...
t 1c 1rs, h:-1s n cn: r th ·l ... f ·I · I
.
r 01 of
I
c cs s L t t ie lie·11 1t 0 f
and Jifc into whi c h .,,.
· Y
a t 10 ug ht
- a Jif , 1· ', l
. a1....,1 1m c n t a nd s trife dn not e nte r
e 11 C( as t h e stars l ive.
·i
ic s 1 cncc round th e m
, . ll nd 1s tra c tccl by the s ig hts th ey sec '
I hese d e ma nd not lh :1t th e thirws witirn11t
ih cm
Y1 c ld the m love, amuseme nt, ~mpathy.

"Unaffri rr htcd h. ti
.

.t:>

)'

"And ll'ith J.O r ti , . . ,
,
'
} _ic s ta rs perfo rm th e ir s hinin rr
11 nd l11 c sc;i ll. J
,.,,
.· • s o ng-, moon-s il vcr'd roll.
.
1
·o:lsle llf-p(f>l sc d thvy li ve, nor pin c with no,t inn1' ll c cvc r (Jf so
. me< 1·11/··c .
,.,
rni g so ul.
" Bou nd ed IJy th , 1 . 1
CJ i sc i·cs, an d unrega rdful
r 11 ll'll'lt
st ··1t.c ('.nr)' s o t lie r \\'0 1·i·s
·
·
rn t Iic 1r
.
.
'" ma Y JJc
n11· 11 !:1sks ;1/I th .
. '
T
'
'
Cir rowe rs pn11nn<r
h csc ~11: 1111 the n1i •,.htv 1,·r,. )·n
" ,.,,
,....
J
..... •
11 see.

//RC U. J!FNJ :

I !

~
.)

If, then , w e c::rn li ve withou t d e mandin g th:-i t things
wi t h o ut u s y ield u s love, a mu se m ent, :-ind sy mpat h y;
if w e ca n avo id pinin g when w e n ote th e fe ve r of
so m e differ in g so ul ; if, in sho rt, we ca n r c,; t c<1n tentcd with li c in g a ni c re p ass i1·c sped:1t1) r of the
lifc o f th c world :-it hr_gc, w e c:in well di s p e n se with
thc a r g urn e n t:it ivc , :-ind he co nt e n t with th c l'.\pos itory , moo d . But if, on th e ot h e r h and, we; ;.;· ive way
t o th e l ove of a rg um e n t fu r th e m e r e s:ike of :i rg um c nt , w e sh:1ll he in :i worsc cond itio n than t lut o f
th e m e r e p :1ss ive s p ectato r. Th e lil)rn :irg 11LT, :1s
m ost of u s kn ow hy e.\pe ri e n ce , will t:ik c n<>llii n ~; <>n
trn st, not eve n him self; h e c: 1n say n oth in g witli<111t
i111 111ed i:1 t cly turni ng 11 pn 11 h imself w ith a p d ula n t,
vVh y d id J s:iy th a t r:tt h e r th a n th e oppo s it e' J lc
c:1n do n ot hin g w ith out inquirin g of his te:1se d SL:l f.
vVh y do I clo t k 1t) or, Sh()jild l d o th is? ] [ ;t11y on e
e lse m :·1k es the m ost inn oce nt assert io n , h e C< 111tr:icli cts for the m ere plc:i.surc o f t:1ki ng th e othcr s ide.
Jn cke cl, th e love of a r g u in g , of w eig hin g th c p1·os
and co n s o f eve r y quest io n th at m eets u s, rn:ty b e com e a d isc:isc, a r ecogni zed di seasc. E ve n w he n
the pass io n fo r a rg um c n tat io n do cs n o t n .: :1i'h nrnrhi cl ity, it r e m a ins :i s tat e o f min d t o b e sedulou s ly
avo ided. Fi tz;;e r;1ld' s co mpla int: "Myself wh e n y oun g did eagerl y fr equ en t
l Joclo r and Saint, a nd hca rd :; rc:1l :1r;..: 11111 c11t
J\l io ul it a n d aJ,.,ut; /J11t. c1·c r lll()rc
Ca m e out h y th e s:i me do" r whnc i11 I went;

I..

'I

rq

A!.'CUA!FA' T

- this complaint
days.
we 11car very frequ e ntly

I I

in

th ese

..
4. Earnestness and Tact the Mai
Argument. - The c1 u:i.l iti . . f
_n Qualities called for in
,
cs o m111d m ost
argument arc , ..., 1.11 ~ ·t
· n ecessary in
.
"" cs n ess and ta t F · . ,
stra 1" ht to it s"" l
.
c .
..11 n cst ncss goes
. o
. ooa' and nnpres ses th , .
l
by its vio·or flllfl 1"11t . t
. .'
c J c;Jt e r or hearer
,.,
'
. e n n css
T ·1ct . .
.
practical fo rm of S" l11j)"t l . . .
'
i:.;, as it woro, a
.
· _,
" iy, an actt 1·1l putt111g
·
selves in to tl
of our• .
·
1e p 1,1cc of our h ea r ..
ourselves t o his l · ·l
l .
.' c 1' accommocbtin""
· CVc
to 1 IS pr . !"
"
be that tl · · l .·
'
. ·
cJu c ices . I t may well
11s )emg all th11ws lo · II
. .
dangerous jf Cl. ·
[.-.
"
m e n i:; morally
,
. '
• I n e( 1 t oo
;i r; but i 11
""
.
any form of r .
.
a1,.,ume11t, 111
t 1sco ursc wl 11 c h l , .· ...
convince it ·. ·.
. .
<cs ii cs to move or
'
is Vlltually rnd1 spe nsablc.
5. The Point at Issue
M01.e llllj)Olt:l
.
·t
• 11 even than
e;irnestness and t.., ' t
.
1
uC ' w llC 1l :i.ft c r
II
vantag-cs of m:i.nncr i· n l i . ' , .
a ' arc merely :id. :
'
< euate is t l . l . l ·
.
a d1 st 111 ct ide;i of the
t
'
ie Ll )1.t of fnrmmcr
. "'
n a urc :rnd ext . t f
and the exact 11.0 · t
.
· en o a question
111
at I SS U e l ·f '
offer ar""uments f
. ·. ' .)c o1c attempting to
o
.
or or ag:i.1 11 st it
\ Vl .
.
tant sho uld ask hims ·lf . l
.
ut, the d1spu. C 1 l 0 my OJJll)
0 -rce abo ut_
·
< n cnt a nd I clisao
:-ipo1ntoffactor:i.
.. ·
. .
'.qu es ti o n of prmc1ple,
a question of ri,.·ht . . f
0
01 0 c xpcd I 'llC r ? ]) I
assert that mv 0
·.
c ) ·
u m ea n to
,
pponcnt is sur ·l
.
probably wron ,.,. ? wrc . f
· c .Y WI ong, o r 0 11 ly
"·
>n g o r ahv:i. ,·s 0 1.
11ncl e r ccrt-ii 11 .-.
·
• .1"
wron ff o nly
· ·
c 11 c11m st:i n ccs ? -1. .
'''
· 111:-i1y
· . CjllL'S[ l.()IJ . . . {
· ·
" .tnswcr .st IC·I l pi.e,
l 1m
.
s is " le n n·:ill y r·n ·· , l,
m a tter :imic:ilih· :rnrl .
.
_se tt c th e wh(jle
.J
wit 1l<>llt cl1 sc uss 1n11 o1· 1· ··1
•
" s1 c ncc

5

our opp on e nt by s howin g him that he has misun<lcrstood u s.
6. The Proposition; the Terms. -Arg um e nt is possibk o n ly when th ere is :i. distin c t proposition ;is its
b ::1s is . \V e do not argu e s imply about the telcgr:iph,
fo r in sta n ce, but we m:1y ::ug u e for o r again s t the
pro pnsii ion that the ;:;overn m c nt sho ul d purc ha se and
c"ntro l the telegraph systems of the U 1\ltul ~tatc~.
'Ne mu s t he careful, th l' n , to h a ,·e as the li:ts is of any
arg um ent in w hi c h we may c ng1ge a di s tinct prnpos ili1i 11 , :1 distinct :-iffi rrn 1tio11 , wh ich it is o ur olijcct
e it h e r to 1wo,·e or t1i cl is prO\·c.
\Ne mu st be c u·cful, too, to un clerst1nd j11 s t wh :tt
it is which we a rc to prove or to clisprn,·e. ;\ proposition is, as it w e re, ;i n eq ua tion hctwccn two terms .
For L"xamplc, in the proposition, "the formatiun of
trust s is injuri ous lo the publi c welfare," the two
terms a rc ( 1) "th e formation of tru s ts;" and (2 )
"injuri o us lo th e pulilic w elfa re." The p ropositio n
to he prm·c d is th:1t ( r) falls un der the head <•f (2);
iJ"., that the fnrm:1tion of trusts belongs to th :1t cbss
of thin gs which a rc injuriou s t() the publi c welfare.
Complete prn()f is therefore impo ss ible un less th ere
h e a dis t in ct und e rsta nding as to wh at we m ea n by a
trust, or th e form:-ition of a tru s t, and as to what we
m e:i n hy "injurio us tn the publi c welfare." Otherwis L', an o ppon e nt mi.~ ht rejo in, "I :ig-rce with you
that wh:1t you 111 c 11tio11 is inju rious tn th e pt1hli c welfare, hut l do not gr:rn t th at it is, st ri ct ly spc:ik in p;,

116

117

A RC ( 1.1 / FN7:

a trust;" or, "I ag1-cc with you that tru st s h ave the
effect you menti on , hu t I do not g rant tlut effects of
that so rt arc injurious t o th e publi c we lf:nL:." Notice,
th e n, that it is necessary, hdure co mpl ete log ical
proof is poss ible, for those ,,·h 1> argue n n th e alfirmative s id e of :rny qt1L'st ion to h e in complete acco rd
with those who arg ue 011 th e ne;._; ali,·e side as to the
terms of which the question o r propu s iti1>n is composed.

1 . · l'fe W'lS anythin g hut a
jealous, e nvious, hateful; i 1s t
, a poet. Then
reiure l'ope was not
11
e
t
true poem :
·t' F ]..·ar A llan l'u e, w ]iom some
.
with equal r easo n mus _(""
·t tlnt
.· . ... «o so far as to call th e on e true poe
,.
cnt1cs o ·
. 1 .. , 1 the nam e of puet.
America has prolh:c.ccl, 1Je ~ eniet , .. , to "· iv e to the
Th e kind of d e finition wh ich w e ,lie . "'. t f the
.
.
. • the ve1y 100 o
term poet is thus, 1ll t 111s case,
num issue it self.
.
I
- In defining our
Terms and the Special ssue.
. .
.
1
c
1 tlnt we neell a definition not on y
"
.
.
" . l ,.t h
t e rm s we may nn c
· 1 c the sent 1111ent ;L::.so c i.ttcl "I
vo
nl
'ts
a
woi
l ' t>L
·
l
u f a'
•. '
.
.
l'. "
of the thou ••1t
- . l of the full l lllj> icatl<lll
"
th<.: wo1 c '
l l t 'tls o of th e limits and
x 1ressed in th e w on ' Ht ' ·
· .
- · . _
c. l
. 1.
1 ich for the purpo se of this p::ut1 cu
exte11t wit itn w 1
'
.
t· l· , tl1. word. For ex am e
t v , me ·1n to ,1 ,e
lar argurncn '\ e
'
.
. , . l I · . , -cl Cullc "·c
,
. . i i ubr fo re n sic toptc ,tt ,u \ a 1
,o
plc, a ve 1Y l O[
.
\ V·ts J\·no n hu rr
. - . •ca rs a•"O was th e questt0n, . , : . .
, ,
so 1~1c ) . . "o ? 1n th is case :i prelimu1ary .uulyi:; uilty of tre.1sun.
.
[ at l ··1st one t e rm
.
. · · ,,. f the meanmg o ' e, ·
.
. . . ·,,1 t it mi «ht seem e\' Is is :ind 11m tt 1n"' o
. 11 . )O rt <rnt At fi1 st st"' i
"'
is :i 1111 1_ . ' . . .
" '"uilt " w:is sclf-e.x pbnatury,
dent that the term
o
~
. , l, t to
1J 1d
' .
, the c uestion is stmply equtva en
I ·.
, .
I
But th e co urt bd ore
:incl tlut
Burr commit treaso n ·
A :iron
- . · l \ ~ c iclcJ that h e was not
whi ch Aaron Burr was tnec l e .
.
tl e l ·ast
·1
f treaso n The court dt<l not tn 1
c •.
i;·111 ty o
'· ·
.
· it lucl on
•
13 .. <.] ' l not comm it treason'
, '
I ..
ls for thinkin •.,. othcraffirm that u1 r ic
very ,,. 00 t g t uu nt .
"'
th e co ntrary ,
"
c~ nn o t be
. . . Accord in n- t u l ;lW, l1 O\\'C \·e r , a' man "
w1::.c.
"'
, .. l
. a rc two eye.· 1ercl1 •··uilt)' of treason unle ss t ierc'
cu n::.tL
o

8

7. Definition of Terms. - ll c fin ing the terms be tween
whi ch we wi sh to l' SL 1hlish a ,!.:; i,·e n re bt ioll is often
of th e g reatest imporL, nce, if we would a\·o id misCOll CL' pl ion and render rd ut at ion iIll poss ih k. Tak e,
ftJr in sta nce , the prtlposition, fr equelltly uph l:lcl, that
l'ope ,,-a s not a pod . ()]J,·iou sly , the g r e; tt dirii culty
h e re is t o define the term poet ; f,ir if th e contestants
co ul d ag re e o n wh:tt is in volved in th e t e rm po e t , the
rest would h e a me re matt e r of inv est ig ation. One
writer o n the subjec t, an UtHkrg raduat e, s:tt isfiecl
him self wi t h a lit cr:d int erp retation of a d e finition
take n frnh1 a dictio nary, to wit, that a poet is a
m;ikc r, a nuk er of \'erse s. Pope m;id e verses, thcrcf ore l'ope was a p oet. But th e n ;iny rhym ster must
be a poet also, a nd a J"('(luc!io ad 11/J.rnrd1111t co uld at
any mo ment point ou t th e falla cy whi c h th e loos eness
of th e defin ition permit s. Another writ e r co nt e nted
him self with a de finition bas ed o n Milt o n' s r e fl ec tion
that h e wh n wo uld \\Titc poetry nf a hi g h <mk r mu st
mak e his life a tnt e poem. Now, l'ope wa s often

.

"':;.~·:'
. / Nr,/ '. 11/'.,\''/:

11 8

witn esses to :·111 ope n t r1: asowihl, ·

of the acct1scd

In H

..

.

J

t le p a 1l
.
.
l!I r s case t wo s u c h witn esses
could not Le p rod uced and ·o .. .
l
., .
' •
c ns cq ue nt y li e escaped
co 1~ v1c_t !Oil fo r Jac k of ad l1l iss i blc cv id e n ce. Nevert_h_c k ~s, Bt1rr _m ay h:i\'e b ee n m o rally g uilty of the
er imc Wllh \1· h1ch he w:is cli: irg cd.
\ Ve re;tlly n· ·l tl·
l...
.,
cc< ' lc n , a ( 11·rs 101l of th e t e rm " "T1ilt "
l hcre arc t wo kin ds o f <•ui lt le u· tl ·t11 1l 11 .. I "" Ny.
l
l
.
t>
'
;-,'
•
lOJ .t .
OW
ega ly 13t1rr's c:tse is folly settled. tl1 . - . "
'
· .
..
.
,
e re rs n o U S <~
Ill I CO j>e n Ill ". It
\ \/ . • - , .
.
,., .
c .lie co11seq11ell tl y limited l o th .
.qt1csl 1o n: \ Vas Bt1rr 1ll or:tl ly g11 ilty o f trea so n? B11~
.1_111.J ll m~ y ac_lt1: dly co mmit a c ri1ne o r h e rn :1y s impl
Tly
t ry tu' Ill e it he r c:1s e h e is mur:1lly " llil ty
prupos itio n '.11 ques tio ll ca n thus be lll :t l~ st ilj marl~
s peci fic Ly 11m1 t 111 ,,· it . \ Vi~ !\ · _
""
·
• .,
.u o n Bu rr a c tu a lly or
o nly ill ill t<.:nt io n gui lty of tr<.:aso n?
:ic, ''''

9. The Speda_J I ss ue. - Th e d e finiti o n of the t e rms
o f Olli propos 1t 1un th11s Inds t o ' t ) . ·I· .
.
.
.
.
·
·
• J 1c 111J 111 :1 1y :m a lys is
of I h: qu: st 10 11 , wh i_c h res t1lt s i11 :1 c loser and closer
sh u ttr11g 111 o t th e iss ue o r nt h . .
. -J
. I
.
'
. CJ, p e r i:tps, a m o re
.trH m o re r1 gn ro11s s lllltt in,,· o u t o t· 111 ·1tt . '"'
· e1 11 0 11 -cssent ·. ] . .
.
1.t t o .t spec1:tl :md dcterrni nin" iss11c
Tl
l I
.
" . .
ie exc uc ed
nnt t. . ·11 l
. e_r w1 w s u l'11 :is is :dready a g reed upo n with out
qu cst1n 11 by the co 11 ll'sl:t 11ts o r suc h ". . . .. 1
..
'
.. s IS I I I c e van t
o r u111mport:uJ t f<>r th e r eso lu t ion of th e . . , · I
I
clct erminin rc · ·. , 'l'I ·
.
spec ia an(
.
,., issue.
i1 s w ill be cka r fr o m th e f 0 llo w1n .-...- s--t·a t emen t o f t IJc "·e n· ·r" l " TJ <I tl
. I is
."
~ "
"
JC spec r::i
s u es in H11rke 's
111
\\' <: - 'now n pica fur r cco n r. ili a ti o n
with /\m e ri c:t. Tli e o ri;,:, i11 :d is s 11 c, the !..'.'c 1t c 1·:1l
~
- iss ue,

I I<)

W<ts , \V:tr 11r l'e:tce? l>y :t1uly~ i s Burk e sl1 .. w ..:t! tli:it
war meant in this c:1se the attempt to coe r ce t lie
co lo ni es, and th at pe;i.ce co uld b e sec ured only by
co 1npro1nis c o r concess ion.

F\1rt hcr, coc rciu n

i

•

>.

\ Vl i tdd

h ave for it s encl the enforce m <.:nt of lcg ishtiu11 wi tho ut re prese n ta ti o n ; co m prom ise would be a llo win g
th e colo ni es to purch ase im munity frum Ll\:ttio n
with rJ11t r ep resentat io n; co n cess io n co ul d only re s ult
in allu w in g- th e colu11 iL·s rq1 re se 11L1t iu11, <Jr in reli evin g them frum Ll\atio n. N ow , as b ot h sides would
a g ree that re prese ntatio n w;i.s imposs ible 011 acco unt
of th e geogr:1p hi c tl pos it iu n of th e col o ni es, the
whu lc questi , •n turns on the po in t wh ether E11.:.'.la11d
shou ld o r shou ld n ot t ax the c oln ni es. ln ,.,te:1d uf
the ge n e r::il issue, \ Nar ur l'eace, we h ave, thcrd11re ,
the triple iss u e, e nforced taxati o n, t empo rary t :i\ ati o n, o r n o tax:iti o n . Burke th e n proc<.:eds to show
th e evils of fo rce and tempo ri zin g and th e pos it ive
m e rit s of h o n es t co n cess io n.
10. Proof. - /\her w e h ave defined o ur t e rm s, as
th e p rocess descr ibed in the precedin g s e c ti o n s is
t ec h11i c:1lly called, th e n ex t s t ep is t o prep:ne :i seri es
of s ubo rdin ate pro pos iti o n s, as a co nclu s ion frum a ll
or mo st o f wh ich the proo f of the mai n propos iti o n
mu st fo ll o w. For in sta n ce, if wt.: wish to prove that
the gove rnment s h o uld p urc h ;i.se :incl co ntrol t he tclcg r~lph systems o f t h e Unit e d Stat es, w e mi g ht devise
th e fo ll o w in g m et h od o f proof.

I. The pres ent sy s tem is (a) inconvenient and

;
~'

"

:

..

120

_., 1,·<; u .u;,-_v;:
A ;,·r;r :. 11l·."N'l:

(b) unf:t\"CJrablc t o th e prcse 1Jt welfare uf th e people
and (() t o indu s trial progre ss.

( I)

II. The gove rnment Ins a rig ht tu Ltke poss ession
of telcgr:iph lin es by purch ;ise.

(2)
(3)

11 I. Then.: would be lll :my and g reat advantages
in g< J\"LTnlllent owncrsh ip.
lV. The cost a nd in cu11vcniencc of th e cha nge
s u.c:gcsted would be s m;il I.

V. Al leged ol1ject io1Js tu the c h ;mge arc uf little
wei.!..;·ht_
VI. No ch:ingc o th e r ll1 :i n th at s uggcstt.:d is pr:ictic:illy or th eo reti ca lly p oss ible.
Propos it ion I., then, would prm·e that so m e change
for the better is n ecessary; l'ropos iti u ns If., Ill.,
and IV., that the chan ge s uggest ed wo uld be feas ibl e
and for th e best in terests c1f the country; l'roposition V., that alleged or r c: il objecti o ns do no t huh!, or
arc of com paratively little weight; l'ropusition VI.
sh ut s o u t all ot h e r c han ges except th ose whi c h would
fall under t he pLt n s ug_ges tvd. 1f these s ix proposition s arc true, then it is indi sputably prn vcd that the
go vernment should purc h ase and co ntrul the teleg raph syste m s uf the U nit ed Stat es .
The next step in the example we h ave ta ken .is
to prove c:tc h nne of these s ix subordin;it"c propositio ns. l'ro pl)s it io n I., fur in st:mce, that the present
system is i11 co11vL•n ie nt and unfavora hl · both to the
prese nt \l"L·lf:t1·c o f till: peo pl e a nd to in d us t r ial progress, Ill ig ht dq Jc lld 011 th e fulluwing scriL·s of lesser
propos itions : -

12 1

The present syste m is a nwnopuly.
It is produ c tive of debys.
.
The charges unde r it arc extorti onate.

The s e ri e s mi g ht be easily extent I e< J: Th e' . truth
_.
u( l ' ropos 1t1011 I . mu s·t thu .s be inferre
. . d I rum 11
,,· opo::,1( .
. .
) (?) (") etc. l'ropus 1t 1on s ( 1) , (-), 3_),
t 1u11s (I ' - ' .) '
. I . . . ''"testimony, or, 111
·tc i·c··s t in turn, u pon cv 1t en ce t
.
t
e .,
· •
.
t
IJ · ru e.
short, up u n facts wh ich ar c known
n~adc to
.. .
( ") for i ns tanL·e , s h u u Id b e
l'ropo::. 1t!OI J .) '
.
· . . , . · of extordepcnd upon we ll-authent1catcd mst .u1cc::.
tiunate cha rges.

'»

11 Another Example of Proo f . _To m:-ik e pe. rfectly
- Jl p1u
- (>l IS
lcar- the sy llog istic proces s by w I11c
.. ,:1t]
c• - • , 1 1 -t u s ta.kc a noth e r examp l e,. the ··1ruuments
)y
,_,
t a 1net , c
. · . . ·I. uf the s pewhich Burke s uppo rted the n eg at ive ~ 1 < e ll j. ·!· I
. 111
. ,_,ec
c. t.wn {'\.
...., . Shou c <,ng ant
c ial iss ul: referred to
tax the America n Colon ies ?
should not tax the Alllcril'ropos ition: ] ~;n.,·bnd
"'
can Culo nic s.

I. Tax:it ion would be unju st, fur -

(a) taxation without represe ntati o n

IS

tyr-

anny.
I I. Taxation would be in exped ie nt, for ( , The Amcri c:i.n coloni es arc too prospera; O LI S ;1ntI 1iuwcrful to be offended with
safety.

A />(," ( '. 1/ J·: N / '.

( h) V "l1111 t :1ry c" 11t r ii>11tiun pays b et t e r than
:t fu rced le vy, as is proved by th e case of
] . I r e la nd .

I .'
~

;

k 11 o w 11 i11 t li e c:ts1..:' is it· :d sn C•>1 1s i,; t1·1it ll'it 11 i 1" · · ~ 1 >
S uc h Cj ll L:s ti ., 11 s s ugg es t lli:t l we: li:11·e st ill t" , ., ,, ~ i. l c 1
m o r e cl uscly the k in ds ~ f e vid en ce u n w lt 1clt 11r1 >•>l 1s

~- \ Vale s.
3. Ch es te r.

bJ.s ed .

4. Durh am .

13. Kin ds of Eviden ce . - Let us c·x: 1n11n c lhL: kind s
of L: Vid cn c e un which pnin f h ~1 s h L·1: 11 h:1,;1·d in t lt "
ill u stra t io n s w e h :l\' l: al re:1d y 11s1:1 1.
Hur k L· ~ .11 :..: 11
m e n t t k1t t:t.\ a t iu n w ithu ut rc:pr e s c·11 t: 1t i11n is 1111 j u s l
is a m :tl lcr o f pure r e:ts o n in g : it sLl rt s fr, 11 11 a gc·n c ral pr in c ip le a n d e nds in a ge n e ral pr in c iple ; til 1r it ,
t k 1t the b a s is of t as a t iun is a c1 1n tr:1ct by wlt i1·h 11 11c
p a r t y pays th e o t h e r p:-i rt y t o p rutL' c t it. l i, the n ,
e it h e r the p a y m e nt u r t h L: p rutl: c t io n is wa n tin _;, the
co n t rac t is n u ll a n d vo id.
N o w, th e i\rn e r ic:tn s ass L: rt u l that t h e 1m ill:cl itJ !l F11 :;1. 11 HI tJ ff c r c:d wa~ v: tl 11elcs s , and th e r d"re d e cl in c'<l to p :1y f,,r it. :-:,,> h r
Burk L:'s arg u rn L: nt is 11>:-:; ic tl a nd s •, u n d, f>ri> i' ir/,·,/
w e ca n :tCL' L: !'t h is pre 111 1s c· s . \ V h :1t h e s:11·s i,; thi s.
[ l\1.1j •1r l'rc: 111 is1· I T :1.\ :il i1 >11 witllllllt :1d c·11tu i" I ,·\ 11111 i:,
11 11 j 11 st. p.1i n 1>r I 'r c 111 is 1· I T h c l: 1x: tt i' •11 "l t Ii,. :\ 111 c 1ic:u1 colo ni es is w itlw u t :ll leq u at e rd urn. Cun cl 11 s iu11 :
T il l: taxat io 11 u f t hL: i \ rne ri c:rn colun ics is u11ju ~ L.
T he r ea l ev idence n eeded n uw is tu pruve tli :tt th e
t ~1x a ti o n o f thL: Arn L: r ica n c o lo n ies is w it h o u t ad eq uate
r et urn . If t h is is t rtt l: th e c()n c lu s i1 m i,; t rll c', f11 r we
m :1y :tccc p t th e m aj o r p r emi se as scH-ev it k llt. ll u rk L·
br in g-s fu nv :1rd the ll ecess :i ry c \· i1k11 ce l1y sh" 11·i ll ,'. :;
s 1~:. ,r11s of i-\ n1c ri c:1 n pro spi.: rit \' :111 d o f th e Il cL·d L..:.'-' .'-' l1 CSS
o f Hriti s h protect io n :rnd in ll: r1crc n u:.
T he ki n d

!\ s, uf cu urs1..', p roj ec t s whi c h :i re unju s t a nd inexped ie n t - ll'lii c h :ire n ot wo rt hy t u s u c c eed and cann ot su cce e d -sh o uld n o t b e att e m pte d , it foll ows
th :tt En g hnd sho uld nu t tax th e A m e r ica n C oloni es.
12. Proof and Evidence.-1\ s st ill a n ot h e r illu st rati o n, le t u s t ak e t he q u cst iu 11 in r eg a rd t u !\aro n Burr
\\' h ic h ir e d isc u ss ed in .'::iect iu n 8 . H ere leg al g uilt
de m a n d s t h e /Jo11a f l.Jc· t e s t im o ny o f two witn esses to
a n on: rt a c t o f t r c:1so 11. J .eg a ll y s p e :1k in g, th e n, t he
spe c ia l is s ue b 1..· c nrn L·s, !\ 1·c t h e re , o r :ir e th e r e n ot,
tw o s u c h w itness e s tu be fo un d ? No w, let u s su pp ose t ha t Jo h n D o c :rnd Ri c h a rd R oe offe r t h emse ll·e s . Ohv iC1t1 sly t he ques ti o n t urn s at o n ce o n t h e
p e rs o n a l c lia r ack r o f t hese witn esses . I s th e ir t estin10 n y o n t hL: f:t ce u( it pro bable, w e mu s t as k ours elves ; is it , th a t is to say, co n s is t e n t wi t h ord in a ry
expe ri e n ce. If, for e x:1 mpk, a n ig n o ra n t camp-fo llo we r sho u ld tc:; ti fy t h a t t h L: :is t u tL: Burr h ad confided t o hi m his wh ole pbn o f s u bve rtin g t h e U nit ed
.'::it:i t e s gn 1· 1..·r 11rn c·11 t, co1 d d we a c c L:p t hi s s t at e m e n t
a s p rob:i b le ? Ts th L: t e s timo n y o ff ere d, Wl: may fu rth e r a sk ours e lve s , cu n s iste nt with th e facts a lr eady

.

·-

-- ~

-~

''~

- . r, ~;

--~.
'·I

-- ~

.- ..

.'/ Nr ,' f 1.l f / ·. :\ ' '/'

I:.' ..\

11l
i_....;

l'Villl ' l1('l '

li~·rl~ ;1 d 1:! ll ' l ' \i .

t:1 1..·

:1r,'. .'._ ll l l1 C ! ll

1,l :--:.1 Jtl\\', 1:~)1 t i ~.i t

i>c: t

I Ill',

t l:1.· j ll.(!; 1•1 :-. i t i! l \l

l n:L lli.1L

\'vhtcli c u u 1\i

u u t

l i l l"l" C

;1rt; \

'-'\l > ~ \V L· r c

t'. l

J l '\lJ!l

Sl_:...', ll,

i11 <jl !•. ~t

i{J)}

( J ll.~ lll

l11

l.1i11 l.1cl:, i11 t:\l~kllCC

the

i-1

It~ 1i11i-p~1~l- l.'-i

u.-..; l·d .

1)(·1 l 1,11J :--, l ji, i ; i1i1 1>; 1..·1)1 1111111111 \

11 r( i il (l :--. !l1 lJ !l

i-1rl}0 i.

c u n c ius i\-c t h :1t

~l

ll l ·!._

111

'.i ~

"\rnc:1ic.1
t ( ) ~" i .... c ( 'ii l 1~· \. \ ) '11 i 1 ~ ' ~ <· \. . \'1 l ~ 11 l )l 11 : I q l ~ ' ~ ' : I (. \ \ I ) \ 1l1 I. i 11 t li l _'.
]on _~- run. h, · t h:• ~~- ~ 11ntT.
l ilTt', ;i~~· ; tin, Hurk1.._:'s log"iL~ is
S() U iii-;) p r ; -,\·i; ~ 1 · d ~h ;1 !· h r r;1;i s11 ~ 1·~ t:1nt i:t! t~ hi s n1in n r
kft

lti

th ;it s u ch JS r~n .:_~ l:tnd' s o rdin:tr\' C.\p Cri e nCC
in her dc ali n ~ with her d!·pn1dl·ncit·s
J fne the l'Vi dcnc c \v hich he ;1.dditccs is c1l the 11.1 Lur c uf cx:J.11l~
plcs. CcrL1in ti1ings i1app c n cci in lrcbnd, i;1 \Vaics,
.l ~ Cii " < ' 1·. :11 fl 1:r ii1:: 1 . T i1 is i ~ t li« : 1r:;1 1111c·11l f 1·\1 111

I

l :-~ I 1 l

11«v1T 11111<111«: 1 iH'V

\\' i. '

t ' :t11 1

111

••lhl='. r ,~ ;l scs
S ~ Ll

111 - 1:1 y

1~ :

,,·li :it

h:1vc· ;it
li:111i1l · 11 ~

, !il •, · l·~;_. ~t !f ' l)" '~1 ·

r!Ji t_'

'.lj JjJ .ll·c 11 l

will li. q11H·1i

in

11 C .

<~>1 · ~ i .1 :J1 il1,
__

if

in t 1h· ~ ri;11

pf

1~urr a \Vif n~ ss hrou ;:.: .-l1t

1:1i '.··:1 r

ti nu ht

.c:- r ~nTly :1s

tD

s p1..:cics 11( c\· :d c 1H:c, ll 1 l~ ;,rr-:,u1nc...:11l b~tscd

i'J'!\l ~ l

"
~

lli•l

c'\l « t,

l

i. ' t j

I_ I

L t

t tl l l:-. Jdt ·ril t,:_:,

l J...: I I l _, , I 11. : \.

Jilc:- t · IJL

l

I 1i-( '

I •

\ \

'

J( ' .

I \ '-,

pr1· '.' ~\ Il l

( l >

t Jflr:i;

1

Ji

;

k'

'l'

I \.

~

[1i : 1·-.

l "!1IJ,!1 l l!1ll>; l _)) . I >

n: :-: tt n1·..:\v h:1t s in1i'..1r

--•.-

ti

till'

i.

t

1 \\' 1 1 1

~-~

t

l ' n i p<h1t11 • r1

k1 1.1\\·11

i, ll

:-;('('l>J1il d11t'S lliil

1·u l ·

J

:1; , ,:y

:-., i ! i J [ l j \ 1·: , ..:. 1. ·

l. ! > l i

~\ t' 11 1 _-.;, l

(Ji!l.1..·1·1.. ·11t iy.

s1 tiPl1

JS

:i(

.. 11. , i 1!

t 1;

l •1

J; (·

j; I-> t

i. i < : .'"> J, 1.· .-,· 1!

'

•iJ ' -

( t)

. , · .._ · ·, , ; 1

1

trp· c.. : t n

:1 11 1 !

j, (

:t ~~ · ~ Jlll -1< " 1 ) 11· l I 11!i1 1d
1·:.:1!\

~ i: \ ·

(1 ··,1i1

~"·-..:, t '-i t:·.-·:--. :;,_.. :: :- ,

1r1J<''

:1 :--; t· r1H·,

t~; \ \.'i:\ ' 1t

-4--

].1

:1 ,

.1•-

' \ j •l 1111

\'1" !

ti !\

!)](' jJ /"1 •! 1!\ '-d! ] ·I I ) ,
! .'"'> ll ' l l :

1

i

l1. ·

1 •• 1: : :

T ,,

, Ll l 1 i t 1l \ ·

( ~ I , ) ~11 g:.; 1·'.',i~ 1·1· : ;~..,1111-..; \\' J1y l l i i ' :1i11 1 :: 1_

jJLt t l~~ i\) 1 (.

( ~)

r \. · : 1 ~( J]l ~ \ \'h \

it

!S

1111~1'.1\ · 11 .\

t 1t1 c: :u1 d (_)) r t...':l.'->1 1il >, \\! I} il is Jl(il ;u11'\l' t · 1,;1 i 11:. 1: t": :-. . , ·

~

:i

-±

lr,, 1: 1 i lie: l:1c ·L \\'c 111: 11' 1i:1l11uliy,

-

;,

:~· ·_lj

( ~
---~~
( ~

~

!: j
I

·•;;;

1

~.·¥1~ - ~

: ·~

.·~

:inr\.-· c c-d~..,n 7 1-, n , h:1 '. 11;T ~ \·. 1·.-: ~ : c h ini cT s Li1: tt :i f:1l· t t · .\i~;t:;,

or due:,;

I \

lr!ill1

t ·. 1 - 1 ·'"'

st1 1111· s

the
on

j; \....:..)

t

('.') Is ir

--"-

the third

1\

lJ 1_· Ll -l!L'. 11111 ; (_·1 · :---', i1 11i i .t1 · <._'(1/J1l1l111! 1-.;.

. .1

i u r\,·:1 ri! ;i~:~tin .c.:_ t 11 1:11 ~h n1 d< l :-:1 Hnv 11nn1i st: 1k:Lhlc si,:~ns

,,f int <ni c:it inn . \',·c

1: 1 i -, i it

h\ il

1> t.11 1cl

1 ) 1 · 1~ 1 -~ ·; :... 1t1 1lli \V"-:- 1t t av t i:..; l ·'. ;1:-; is : 1 1~11,11· l·111

ci~c

11;~,t c r c 1r ct~rn s t :t ncc:s s u bs t:intt :li lY the

trtii.·.

t>..: ·. 1in ~_·; s ·-.: ·-=: t~ 1

g «n1·r:il

l<-;ist

i 11

, I i -.._ Il l : I ( · 11

I :l ' l : l \.

\._' I

;;1·11\ ·1... '.

1 • · r 1' · !

iio ini s n f ;~1 n1 i:: iri: y : ;1r·p!

j l)

I \_

t111 d'

i.-..;t.

14. Test s of Evidence. - T lie,: le _, \ q LH.. · ~t i, ,lh 11 , · f, ,1111,[
u s1' ru i in coikcti11 ~; 1h,, s11hwrt -11nttcT f,-n J·: \r'"' iri , ·11
were, \Vh:it is it? Wh:ct is it not? Wh:it is it iikc?
I 11 coik:cti ng- evidence lor or :1;~::tin s t the Ln:Lh of :t

pr c n;i_~i '

r:i r c lv or

]• •

t_ ' >:._

_\ /

l l t ' l.
( . ·-., ~ . I ;

z_ u ;_:;; i1:l d p: 1s sL·d

I >urk c :u·.~. u c :' t h.1L il F1i:.J.11J<!

1

it

lli

ll\J ~ Lruc.

th:tl \V'. !V .

J\ ~,.1i11,

1.'i l. l l l

i

c· I r c' 11 lll ~ t , \ : i c· c· ~ ,

r l he

lI I l '. : <.'

c\

--=r
"
_;1_

Th :tl tl 1c· tr: t1 · k~ "f . 1 ti "_'..'.· :1rc· j,1111\\i 111 ti1c: ~ : 111d, lur

111sli111l ·v, 1.s

. l/ I

, ! /1' 1 , · /

1.5.

S ome Ki nds of F \'id enc e :ire S tro nr;cr th:rn Ot ll l'h . i<.oh1~Tl J·:urlqn, lil h is . ll! rt l(• /J / !' 1 1/ .l/ 1 ' /1 u;, ·/ ·,· 1/ r. ~,!\''-,

-;:--

'-1

:· -~

.·I NCC.llic . \ ' ; :

m:iin1:1ins."
Tn tl1 c F11n ·d1•fri'rli11 flri! 1rn11ira Prof.
\V:1 nl writ1·s t11:i1 " ;111 v li1 111id .. '-""Jt ;1i11in!_'. organic
m:i.tt c r, o r ;my s olid food.stuff
:ill u wc cl to s t and
(':\ / "'' ~- "! t ~1 I fit ·

;1 i1·) '." 1 111Jl "-\\. ,l rl!l:"i

\Vil11 l1 : 1t 'l~·r i ; t."

°N11\V,

\vhy dn \V t' ht·ii1· v1· i11 I1'r11f \_\.~;1rd'~ n1i1 ·r1il1t· s ~ ind nnt
in H11rlo11's nlll itit ll d i11<•\I S ,i ,_.,·ih I lk<':111S(', we m:iy
pcrlup s a!l SW<-T, we c:rn v e rify th e f,>J mcr :md not
the la tte r. Hu t . :1lr. -r :i li. 11111.-ss W<' 111:1kc :rn <':\ :rn1 1nation 0f iood-stll!f und er su c h conditions with a
j)()\\'t: rfu1 m ic r<"is n ' i' ' " :t k:tt \' lT\' 1«·11· fll 11s :1r" cqi:t hk of :ict u:tliv pcrfn rmin,,- o r lik1:h· ;1,·tll :tllv to pnforrn . we arc ,obl iged t o ~1ke
\.V:ml's 'word for
hi s propos iti on, :rncl to r e fu se to t:1k c l':1 r;icclsus'

i:ror:

w nrd for li is.

l':1r;icclsus never saw a devil, we may
urge. a nd l'rnf. \V:rn l has sn~n hactcri:i. Hu t l':1r:ln:lsus sa id h e h:-td seen devils . Jn nw: ni hi s w n rk s he
"rcf'kons 11 p." s:tvs Hnrt n n. "111 :1 11 v ph c,·s in Ccrm:uiy, wh e re Liicy (dn·i !s ) d o 1:s1ul!y w:dk 111 ]1Ltk:
cn:i.ts. sn rn c two fcl'l ]rq1 '-'.'. " \V ,· :trL· :< ti ll. h11w,·1·c r.
un cn nvin n:.! ; we s:iv Jl<T h :1ps t 11:11 l':1r:1c,.b11s lied ,
th:i.t we dou bt hi s ~1utlni : · ity o n :; uch nntt crs, that
h e may have written in .::: nod fait h, hut that o n such
~uhj cc ls hi s ey e \Va ~; ~ c~tr ccly s:tnc.
l l t' H ', tlwn , 1v t' h :ivc ;-i snrt nf c virkn rc which
in v olve~ ~ tt le;1 '-'l l \\· n n ·r1 11ir('n1r·11t': g t1nd f ;1l l h :i nd
s:inity. Th e pa rt good hith phys is oll\•ious; hO\v
far san ity e n te rs into th e question w e c:i n s ee by

consirl crin g the s it1uti o11 a li ttle more c:i.rdully.
1'ar;i ccls1 1s 1i"1. 11; c.-: ,"1 l 11 t11 c 1111 c riti cal :l~'.e : he is,
th e r efore. n <>t t<> ill' rcliL·,] <>ll. 11 r1. f. \V;ird . on the

C(Jntr:try, 1s n nl only :1 li\ in ~ :u1tl1<11· i; '" ~uLin· t \ <>
c rriS SC\:1llli1Llt i<Jll, but jil' t'Sl llll . 1i>l_\' i11 lllll\ li \\ 1! i1 l 11l'
zi.r_~ c ur ;ite \V ety~ 0f n1 n dc-rn ~\ i cnr :· ~ ht" 1L: . th!·r(' !nn-.
1

t o be r e li ed o n . ])u t '.:) ll; ' Ji n:.:c· t;1~ll \\·r_· c1111 1(! r 1. ·; o;t h c exp er ience ol l\1 :1:-;l c r 1 :~ l C iUS L' ~i.r1.L1 : 1 T \rhu. i1:.~
S1ll1 tclh th, cc1 11j11rul ll i>. ill lli c: \' 1'. 1: "I .. 1; r
""' i
1 4< )1,

" sc \·e11 d c \·ils. i11 (_;r,_.,_·k lll 'i"''' i, .11i , >11 i 1., ;\ \·

\' <_'.'\ I' S

,,f

:l ,'..';t_',

rwlcly <If

Slllll<_'.

('illll jl L· \i»l1

S»::l<'

:rn1l

1>:1k; a1hl Ji, : a:-;i,1:d th1·m m ::rny tjll•'.~ l i 1>11s, :111 1! tll< 1·
l n:11 l 1 ~ re:t ilv :tn ~\Vt·i·s th:t t th c·y \ VtT C :h'ri:d d1·v1 ! -.: . th.ii
they li\T d ::rnd di ed :-ts m e n dicl, s :1\· c th:1t 1lw\- ' ': 1T1'
br lon ger ii vcd ." Suppose tint we we re to h:ive
su 1 11 :t vivi11 p:1rt ic u1:11: C.\fH. :ricill·t: \Vili1 lit'.Vi;:"; sl1tll1lt!
w e n ot i)c co nvi11 ccd ol the existence u[

Ii,

t lh::1 1 ?

then, we h:ive :i dirL'Ct p c r s on::il c· xpLTiL'IHT rif :rnythin.~~ ho\v c vcr st r a~1 gc o r in1i 1r o h;1hlc, iL is pi·:1 ct ic:tlly i111;rn:-;sihk t11 r1·s1 r.1i11 i•lllS<'l\1 ·:; l1111n ]H']1 1 \ i 11 ~
in ti 1c r1·:tiit _
1· 11 !" t lu t 1·\p<: r1t_·11c"'-:. Tii" f.1:: ;, ,_ 1 \I<'~· 1
:1\\' ~1 y fr om d irec t pcr,.;Dn:il c :\pc1· i,' ncc. th e ].. ,; ,;,, 1·t.1i :1
is :tny prnot we may brin;..; fo rwa rd. Tilt,; ]'"in t 111
vi e w suggests the foilow in g sc hem e c1 f ev iLkncc.
16. A Scheme of the Relative Force of Different Sorts of
Evidence.
!(";,) Dire cl: i\Tv:;.elf as wit11 e~ ... .
I.

run

i

[n,,.. ., j,L i :'I t L

t

S \lql;- ,11. 1 b""'l f ii! l1, . . . .i 11j .- t t ~ ~t -: t i:1 :-c

Idecreas in g clegree from (a ) to (b).]

E .'i pe ri c ncc :

Lib) Indirect. [ ( 1 ) 1.iving
~

w1tne~ses, s ubject

to

cruS-"-cX~Ufl·

I i11ation J if-' , tt~stimon y
I

( !) I ), ·,1 il \\ it n, .,,\·" ·
~ ~ -Ht! it 1. di"!t

11 .. t

-.. 11L

i··· !

ti•

(

1 "" "

j _... , .iH!h.,! llV.

;:~
-..,~

128

ARCU Jl/EN T
JI.

Inference

after
J';irtial
Expe rience :

III.
Jn feren cc

IJCfun.:!
Expt.:ric ncc :

l
I

1) Inference fr om circumst:i.ntial ev idence: Sign.

[llesitle r,ta: Jn add iti o n t o. san it y and good fa ith, good
1udgrncnt, mo re liable to error in (b) than (a).]

[J'.'.)

~

)

Infere nce from precede nt: Example.
D irect log ica l prnh:ihility: ,7 fri ori argume nt.

[l>csidl'. ratum: In addition to the above, correct
ason ingJ .

) J1~dirt:c t log ica l probabilit y: paraboli c :ugurnc nt

_

(hc titi uus example) .

17. The Strength and Weakness of the Kinds of Evidence: Evidence before Experience. -The weakest of all

evidence is the fictitious example. Burton, for instance, proves the existence of wit chcraft by the
alleged example of Circe, whose ch arms tr:rn sformecl
into beasts the compani ons of Uly ss es. J\ little
stro nge r th a n the fictitious example is th e kincl of
parabolic reaso ning so cn111111on in th cc .Jog-i cal literature. The stren.~t li o[ the p:1rahlc li es in tile fact
that its truth i,; supposedly self-evident. That such
arg um ents, however, arc merely hy pot h eses which
require in th ei r turn to be proved, even the tyro in
reasoning ca n read ily un dersta nd . J\gain, instead
of taking a fictitious example, a fable, or a hypothetiG tl case, W\; may di sc t1ss in ge n er:tl the n:iture of the
case we arc cn ncc rned in proving-. \Ve know nothing about th\.: fact in the particubr case und e r disc ussio n ; hut in g·ene r:tl we draw ce rtain r! priori
inferences, 'as cl id I 1L·gc l when h e esta blished log- ically
that the re cuult! Jlf)t he a pla11et betw ee n Mars
and Ve11us - a prnposil in n af'Lcrw:trds di s proved by

act ual discovery. The value of the apriori meth od
- the use, in brief, of evidence before experience is in supplyin g an hypothesis. Darwin, fo r in stance,
merely ve rified by arguments from si g n the theory
of evol uti on, guessed long before by general concl us ions of antecedent probability. Arguments based on
evidence "before exper ience" cannot, then, be relied
on for complete proof, efficac ious as they may be in
supplementing or int roduc in g the res ults of evidence
of other kinds. Arguments from sign, on the other
Jund, unl ess of the strongest possible kind, can
rarely be accepted as conclusive without the confirmation affo rd ed by argum ents from antecedent prnh:ibility. Unless there arc reasons in general tlnt
dispose us to beli eve a proposition, even th e facts
which exper ie nce rn :1y bring furw:ird in it s favor lose
much of their value.

j,
I

Ji
I

I

tial expe rience, th e most common sort of ev id ence,
is ev id e n ce based eit h er on inference from precedent,
the so un clcst fo rm of the argument from examplL'. ,
o r on inference from a large numb e r of facts already
establ ished; i. e., the arg- um ent from s ign. The princ iple o n which the first rests is that thin g-s whi c h a rc
al ik e in m a ny points will also be al ike in uther points.
I Jere th e obv ious cla nger is that the dc,c;ree of lih:ncss shot tltl prov e insttlfleient. The aclvant:tge of the
arg um e nt from example is t h:tt it is L'XCcllcnl in co n-

j

l
1
I

18. Strength and Weakness of the Kinds of Evidence:
Evidence after Partial Experience. - Evidence after par-

i'

l
i

AR GUM E NT.

AA' CUA!ENT.

firm a tion of inferences drawn from other species of
evid e nce : when we h ave already sh own anythin g to
be true o n oth e r g roun ds, it is he lpful also to show
th at it is not a s olita ry case, that oth e r inst an ces confirm in ge ne ral th e truth of our p ro positi on. Stronger,
howeve r, tlun an infere nce from a pa ralld case is
ev id e n ce of the seco nd sort, whi ch present s, in th e
form o( t h e arg um e nt from s ig n, infere nces fr om a
brg e num ber of fa cts ac tually es tabli s hed a bout the
case in po int. I-l e re the principle is th at wh en seve ral eve n ts - a, b, a nd c, for in s t:tn cc -are sh own
to go nat ur:illy or in e v it abl y t oget he r, a nd wh en in
a s in gle c:ise a a nd (1 have h:i ppe necl, we b elieve that
r h:ts also k1ppenecl . Tf, fo r exa m ple, A h:is in hi s
possess ion goods st ole n fro m B, if A 's fo ot print s are
fo un d in the s n ow be fo re B's wind ow imm ediat ely
;iftc r th e theft, if A 's hand s :t re c ut by th e broken
gbss of B's windo w, and if A 's hat was left in B's
room at th e time of the thdt, we are pa rtially or
wh olly ju st ifi ed in beli ev in g th a t A was con ce rn ed in
th e rob be ry of B. The dan ge r o f the arg um e nt from
si g n is th a t co nsta ntl y assoc ia ted with c ircumstantial
ev id e nce in t h e pop ubr mind ancl abunda ntly illustrat ed by th e fert il e d r::imati c th e me of the innoce nt
ma n un justly accused o f wron g . Co mpl ete proo f
from pa rt ial e xpe ri e nce is c umulativ e, de pe ndin g on
th e numb c.T and ch a racter of th e fa cts or si g ns ad du ce d .

full expe ri e nc e is obvi ously the stron gest fo rm of
evid e nce th at can b e brought forward in fa vo r of ::i ny
propos iti on. A s its ch aract e r ~ nd fo rce m ay he rc.:acl il y
seen from S ec ti o n r 5 a bove, and fro m th e first m ::i i11
divisi on in th e S c h em e in Section 16, we shall n ot
n eed to discuss it furth e r h e re.
20. Briefs for Argument . - Furth e r de t a il s in reg:t rd
to the con stru cti on of an ::irg um e nt b elo ng· e ith e r tn
a more elabo ra te treati se on arg um c n t::it ive co m positi on, or fall uncl e r the gc ne r::il prin c iples whi ch
gove rn th e co nst ru c ti on of th e wh ole cum pos it ion .1
I I e re we need a dd o nly in s tructi ons in reg:ml to th e
plan of a n arg um e nt, or wh at is us ually call ed th e
bri ef.
A "brief" fo r ::in a rg ument is s impl y ::i bri ef
outlin e of th e arg um e n t. It s fun cti on is t o re p rese nt th e arg um e nt in miniat ure, to co ntain ;ill th e
ess e ntial clem e nt s, to show all th e neces sary ste ps
of the arg um e nt it sd f. A s an arg um e nt is a propos iti o n pro ved, so a bri ef mu st alw::iys co nt a in t wo
thin g s: ( r) th e p ropos ition to be proved ; (2) th e
p roo f. N o w, any proof of any propositi on ca n be redu ced to the simpl e fo rm : A is B because :i: is J'. 1(
it is not self-evid e nt th a t :i: is J', t h e process of s holl' in g why A is B mu s t b e carri ed one st e p far t he r: A
is B bcc::iu se x iSJ', and .r isJ' becau se Mi s N. If it
is not e vident th::it Mi s N, th e process mu st be c::irri cd

19. Strength and Weakness of the Kinds of Evidence:
Evidence based on Full Experience. - Evid e n ce based on

I S<:'c \V ~ nd e ll 's F.11,,·ii.th r.1111fn.ritin11, c h~p. iY., nr Corpcntcr' s
l~xr.rr is,•s i11 /,'ltdor fr n11 d /:.: 11~·lish ( 'omfo si tion, chn.p . xi.

131

132

A RC U 1l//,·Nr.

on still further. A brief, then, is simply a sequence
of reasons for a proposition.
F o r furthe r instru c ti.on in the very important art,
of drawin g briefs, and for full examples of good, bad,
ancI indifferent briefs on a v:triety· of subjects, the
student should co nsult Mr. G. I'. Baker's pamphlet:
Spccimm J,'ri1f1· ( TIarvard Co-operative Society,
Second Edition).
21. Exercise on the Principles of Argument . - In Argument, as in Exposit io n, material for discussion is
ready at h :rncl in the books, magaz ines, ancl papers
of the clay, and n eed not be here reprinted. After
learn in g ho w to dr:-iw up a brief for ;in arg ument, the
student sho uld first praetise himself in arranging
in the form of a brief several of th e arguments reprinted a nd ed it ed in M r. G. 1'. l bkcr's J)fatcrialsfor
A1:r;11mc11/ali<.1c Compositio1t (lknry Holt and Company). The same little boo k will al so be found to
contain almost all the mat te r n ecessa ry, in an elcment :1 ry course, for the illustration of the main
principles of argument. The student should then
pass on to the drawing up of briefs on subject-matter
which he has him se lf investigated and collected, and
to th e construction of arg um e nts. He will gain
most in su ch work, if he he s ubj ec ted as much as
pos sible throughout both pro cesses to the candid
cr itici sm of his instructor and his fellow-students.

22. Persuasion. - Pe rs uasion may he of two kinds:
it m:i.y produce it s effects by convi nc in g the int ell ect

133

or by influ encing the emot ions. If it be of th e first
sort, it scarcc:ly differs from Argument; if of the second, it depends for success upon skill in dis covering
th e dominant mood of the p erson or perso ns addressed,
and in deftly playing on that mood until it shades off
into a state of feeling concordant with that which the
writer desires to excite. In so far as ]\:rs uas ion is
argum e ntative, the student will hardly need a further
statement of its elementary principles; in so far as
it depends upon a rousing particular emotions, he will
gain more by the st udy of human nature than by any
other means. G e neral inform ation ::is to the principles on whi ch Pers ua s ion is based may be found in
the trc:itment of Force in any good tcxt-IJuok on
rhetoric.

· :·1 11 , f, < ~01. 1. VN

· 1(> <(1S' 'f l:

·S ' 11 11.if,

p

,\ f1 '.) ' . l. :\. \ '~ <..: \ · ,r ; 1\ · l ~

' '.· IH

,7.1.t.'.1, /

· .1v · 1 1 1v., 1 · 1 ~

«Jl '"•'11.' ll'

·a I ' s.t.'//?I

·sG ';sn;r/os

'T l :·l .\\U' l

s,0 1>= 1J JO UlHJ qrn cJ.1.
'8 1 FHHt1 t.: S

·.1..1,:T.\\ O[
'r-.:us t'\11oj

·65 'Ill•[

·zz

' UO!ll!( "lll! J.T. ~.lJl ! ([

'<IVl'r{

·ov

«•:111 11

·9z

•I/

' 1) 11 .

1(/ 11.f

,7.1 1//1•!1'/,l 'f,

I

J1 llll

11 0,1~~1;. 1 ,y I 1J' .1/lf.'." 1 '·'·1.')

·6z
·£1 I ' J.'IJJA~(JJlf. V .l /llllQ

''JL1 V ~ l ll J

'nlf/l lt.111.)

·,(1 u.(,t10 pin: !'''.'!!

·sz
.( JI/.

'11 0 11.•'7:11c

'(J~I V ,\\l [ ~. I

·rt· '111•11 _,._,/-'. I

1

l

·~1 :· 11 ...:0 11

:'1 :tS

'!'"''!
·:·I t'\ l '.·1J

f

·:.t1 11.1.~ 1 u ~)

4/'IV ~l :·l: )/'.. 1.1 : 1.

·:1:»1>1:·1: ) '.w 1·1:.J

·69 ';u ,1nr1 :1;11r1 ~lv '! "-'l·'/: : 1111.) ''-''·'"Ii' ·s i-.::·1)1 :> 1([
·z z cl'''.'// :-lt jl JO tJ(1!llT·a n :1.I. · .1.>IV(l
·1 9 ' .( 111;n.1: 111,f ~09 'z5 '!!-'// ·:1.1.'"-'.l' (J
·ft ' S'.·l~S\' i\'. \'{ \f SflNJ. 1..'\V.l. SXO:)
·t-9 ' ·1·' 11 .'· 11 '/L"
'01'

1

/1' .., ,I ,') ? If/ :'f.1_1. t .1j'.l. ~ ·{

l" ·'.l.J ll f'

' '.·l'l ,\' l}I VJ

·: >NV,_{ < l ~ V

}l :·l lJ J .!.n H

·£z ' ,( ,ss.1/ 0
1

·So i

' 'lll ' ,·11.~!.11n1111110.) 1111.J_1 .t,1111 1·· :'11.1.

·GS

·z l

·a::u.ono

·"''/./,

·Sz ' ".'l.' .7.'1111 · ·"(/
~I l ' ,(11/11. 1~~'.l i<f

l ' .1.J 11 ,1p11,1/ ,'( / :/;·'.\'

· u;.1:.1.1 1:->

· : 1:1,\)I H

"111£

·:-111 .r. ';r111rH
• i\\'.·l llJ ,J .V 1\1. ' c1'1 0:-J'}I v

S3~VSSVcI OJ. X:ICTNI

/1 \ '/ IF. \ '

C' . E.

f\.:01.:.· I\):",

'/'!! l'. l .\S.J1 ,'/-.S (l { '(l'/'/·./1.

l r1.t 111\luct i1111

30 ; //,//, 5::!,

C1 1Jl/1i(I' ,

llO ;

1..

Iii . . T 1:11 i.... b t i•111 uf tli l·

Tra 11 :-. l:1 ti •JJ1 l•y J:11 tcl1 . .: r a 11 d

Ut1 \'S S J·:\' .

/J1: 1Jt<
1

/',111 , <1 /1•1 1· . (1 1 .

L 111 ;..', , 23 ;

l iy l'n 11...: , 24 ;

J,y \\" 11 rs k y , 2:J.
] ' I .XI"·
S. fh i ..t, •; S .
I 11)1·: . /\ ·111.;r F.·sl , .JS.
l 't ll 'E,
T 1a 11 s L1 t i1H 1 t• f th e u.(1 ·.1 s,y, ::q ; (q .
1-'.:u l 11f, 66 .
l\.1 1.., . . 1.:· 1 ri , }) . t ;.
'f'lt1· /,' /, _o ,·.l />,1111,1,,/, (15 .

l ..:.ih "l lE S'l' EIL

. 1/ ,•./t'J·!I / '11/ 11/rT .1 1

J.:_ lh KJ ::.; .
1

~ 1\l '.'\ 'l' S ll ll h: Y , ( ; .

L }.11

l .fi,.f,

I

7; f c/1_-

/.1 /<1"1 / llll ( )

~ - \~ I PEl.S .

St: ll El\ E IL

f: ·t1 11 h 11,·,

3;.
111

:--; 11 ,\1 1\\' !·: 1 L.

l

~ l l :\ J.: s 1 · 1 ·: 1.: I':.

J/ ,1111/rl ,

1

1d:1n ·

Jij ., Tr :i 11... l:it i11 11 .,f 1ih · l)/-;• /11, · < ·,,11,,·,(1·1 32 .
J ~) :

·1~111

S 1n : 1. 1.i-:Y.

\ 'o'.'i ~YBEI..
T1 ·:~:-:y ...; 1)~ .

;l

F r v 1w l1 11 :1 11. . l:1 ti.i 11

;, ·,·u,-.'

A "i11 :..,' Ni,!/<1r.I Ill., 53 :

\\ .1-: :'\ 1 •i-:1 1..
\\"n 1~s l. E\' .
!~ "

1•f /l,1111/d,

l .t i11 ·, 6 1.

.'? 1·/, 11 /.· (,5 .
1

J'h ,· l, •11u1:.i11 .: 1if!lt1.· ( ,.1r111 .t11 F111flr, ·,
.l/.rri11 11.t ,

4:;.

. /i ·,,"iil, 62 .

\ "n:1:11. .

/ ,U L \ .

. ,1 ~ d1 c 1 c r 1 ::,

76 .
/,' /re/\ 1y . . \ .,;-,1 F11...J.r11J1 35 .
L'r'ol:~~,· r.!iul, 1 7 .

,d•dlt<1 11

St 'l )T T.

S·l ·

T r :111:-- bt i11 1l

F11_. . ·lid1 < ·, ,111f',11/1f,.11,

T r:rn . .; l:i 1i1111 11f ll 1L

I >,:;,,,,/,·, z.7 .

r.G .

c >. ~1 ·J1". 1',

:::q .

15.

~u ;

