RHEri10RIC
IJY

ALFRED H . \VELSH

.M.

ASS I S 'l'AN 'I' PlWF'ESSO lt llf' lll ~ T fJ I \\' ANll l' NU L I S II I N T i m
I

S l 'l'Y; A U'l'llO lt 01'

'

0

1 rn \ E l .CJP~ I

O lllO S'l'A'rI~ UNIVEfi -

E:'i'I' Uf' ENU 1.• 1.S ll l.LTEllA'l'U RE AND

-i

\

Tl :\1. 8 <H'

ENGL l ~ U ,

l·:T c.

I
Rheto ri c iR nothin g b11 t r easo n WP ll clrnssed. :1.11d argume nt put in o rder., ) EltEMY CU Ll, JF:I\

!•'o r rn y p n rt, 1 a m eo 11 v i11 <.:C' d th at t h e 111 etlwd o f lca:· lii11 g w hi c h a pproac h es
m o~t

n ca rl_v to ti1 e 111 et hotl of ii11·('sti .!!a.tio11 i• in co m parably t h P

l'n11t e nt. with

~c r v in g

np a f' cll' barre n aml

l ifP l c~s

tJ e~t :

ll'hlch th Py g r e w. -- B vn 1rn

j

CH I CAG O

:-; c . (: I:, r n r:

R A N I)

s in ce, uot

trnth $, it lea d s to the s tock ou

(! ()

M I' 1\ N

y

{1/\_ -

DEDIOA.TED
1' 0

C OPY 1:1 r: 11T,

1885

BY S. C. U ltWUS A :'W

GO \ TETINOR CHARLES FOSTER

COMPANY

'L'ucrc have bee n fc ll'cr fri e nd~ on earth t h an ki11gs.- Co11·LEY

22126

PE,EFAOE.
HAVING considered in his former work, Essentials

of Enplish, what way be called tbe mechanics ol'
lang uage, th e author hopes in the present volume to have
made an acceptable contribution to Rhetoric proper,
regarded as the art of ernployin g words in tbe most.
elJ-icient way to instruct, to please, to convince, or t u
persuade.
The aim has been not merely to exercise the student
in composi tion, but to familiarize him with th e qualities
of literature, to provide hill1 with t he nome nclature of
eriticism and with a. directory of style; to acquaint hirn
with the modes of inventing, distributing, and enforcin g
matter; to p;et him into tltc hab it of canvassing a subject,
of reading upon it reilectiv ely, of investigatin g it systematically, of extracting essential facts and setting them
forth effectively; for 'it is with language as with a violin,'
says Vinet, 'w e must learn to play it. One does not
come into the world with skill to handle the bow.'
A small minority will write, almost all will read; and,
while rhetorical study possesses a hig h value as a means
of cultivating reflective habits and of refining the writer's
style by indicati ng illustrativ ely the excellencies that 'a re
to be followed and the faults t hat are to be eschewed, its
great end i s to i11 r r0ri .c:0 1·l1 0 ,., ,.,,1 0 1·'" n r. ,. .,,,. J ,, ... 1·1· . 1: ..

\

PHEFACE.

Vl

which he takes delight, and hence, through improved imagination an<l taste, toward n high er stage of intellectual

O·O NTENTS.

enjoyment.
No pains have been spared to make the illustrations and
exerci ses apposite, ample, entertaining, aucl authoritative.
manner~

As to

a chief a nxiety has been to avoid color-

CHAPTER I.

T'

CoM PnEHENSION AND UnuTY OF RHETORIC

less and unattractive statem ent- a mere aggregation of
mi es or interpretation of law.
tilian, 'bare treatises

O il

CI-IAPTER Il.

'In general,' says Quin-

art, t hrough too much aJTectatio n

UNIT OF ExPRESSl ON-Trrr.; S rrnTENCE

or subtlety, break a ncl cut clown whatever is noble in eloque n ce; drink up a.11 t he blood of t houg ht, and lay bare

CHAPTEn

METHODS OF ExPn.Ess10N- F1c:uRER

t he bones, w hi ch, whi le t hey ought to exist and to be
united

uy

CII!l. l)TEL1, IV.

thf'i 1· li g:111J<' 1Jl·s , ought st.ill to be covered with

.\[ETH ODS OF EXPRESSION -

fl esh. '

A treatise O il ~n c h a language as ou rs must, to be valuable, be illcleht~rl to 111uch tliat lrns prece<led it in li terary research.

P.1<:RSJ'lCUJTY

CHAPTEH V.
MET[)ODS 01<' EXPRESSION- ENEl'W Y

The author while trnvellin

way over old ground, has oeen continually taught and

IJJ.

CHAPTER VI.
METHODS OF EXPRESSION- ELEGANCE

irr:fiue11ced b3 hi:s prefleness0rs- Dr. Blair, Lord CampCHA PTEH VII.

bell, Arc hbi shop \\Tliately, D r. Bascom, Jam es De Mill e,

Professor A. S. H iJJ, Professor Alexander Bain, and _
others.

'It would have been ridi culous in Bonifacio,'

says Huskin , 'to refuse to employ Titian's way of laying
on color, if be felt it the best, because he had not himself
discovered it.'

METHODS

OF

ExPRESSJON-SurPLEl\CENTARY

A.H.W.

Arns
l ;.?

(CAPITALIZATION AND PuNcTu ATIQN)

CHAPTER VIII.
METHODS OF EXPRESSION-STYLE

'The greatest,' he adds, 'is he who has

bee n oftenest aided .'

. l!

CHAPTEH,

TX .

SUBSTANCE OF Ex:PRESSIO:N- INVENTION

. l ij

Cofombus, 0., Jnty

CHAPTER X.
FoRMR OF EXPRESSION- D r;;sc mPTION, NARnATJVE ,

CONTENTS.

Vlll

CHAPTEB X L
iESTHETlCS OF EXJ'RESSJON -

lllIA GIN ATlON

PA GE

• 215

CHAPTER XII .
.JESTI-I E TlUS OF 1£XPRESSION -

TASTE

. 222

CHAPTEH. XIIL
.L1LsT HETi cs OF

l£x1'rtEss 10N

- 1\rn

BEA UTIFUL

. 231

CHAPTEH XIV.
.1EsTII ETlUS OF ExPJrnss:oN -

TILE

Su l:ILIME

COMPHEHENSION AND U TILITY .

. 241

A yo11th ,·1·h o wo nhl t he Oly mpi c IJ011orR gn i11 ,
A ll a rl:R m11 Rt try a nd eve ry toi l Sl1 $tai11.- HnuAcE.
.!ESTI-IETWS OF 1£xPnERS ION -

T1rn RID ICU L OUS

. 249

CFlAPTER XVI.
lJEPAHT~IE N'J'S 01<' l£X l'l ~ESSION - EI'ISTLE

. 203

CHAPTEH X VJ1.
I JE J'AH.'J ' MENTS OF Ex 1'l"{, J·:ss 10 N - Ess AY

. 21.rn

CHAPTEB XVIII.
l>EPAin'MENTf, ot•'

Ex1 ·1rnss10N- EhsTOHY

. 2'14

CHAPTER XIX.
DEl'AH.Tl\tENTS OF ExPRESSlON-ScrnNcE

. 279

CHAPTER XX.
DEPAI~Tl\IENTS OF ExPn.Ess10N- FICTIO N

• 284-

CHAPTER XXL
DEl'ARTl\rnNTS OF Exl'RESS ION -

CHAPTER

ORATORY

. 2H5

xxn.

DE P A1n111ENTS OF ExP1rnsHLON -

Po1n·1~v

. 308

'rhe wiRc in hen.rt s hall h e ca ll ed prntl ent, b11 t the
incr e ase th learnin g.- SO LOMON.

Y ou

swcct n c~ s

of the lip·

are about to begin a course of rh etorical discip lin e. You cann ot, it is mauifest, be made adequa tely to compre hend at once notions which th e study
itself is intended to enab le you to und ersta nd ; but it is
desirable that you should be enabled to forrn at least some
vague con ception of t he road t lrn,t yo u are to travel a ntl
of the point to which it w ill conduct you.
In t hese days · o f paper and print, wh en t he mind is
reached chi efly through t he medium of the eye, rh etori c
as ks not, as fo rm erly, wh ether yo u are to be a poet, a
scientist, or a debate l', but sim ply wh eth er it is your wi sh
to be put in t he ri g ht way of co mmunicat in g yo urseH
with power to others. Expression of thought in l auguag~
is regarded, in all its vari eti es, as one depart ment, gove rn ed
by the same :fundamental principles. Th eoreti cally a nc1
practically, rhetoric h as r efer e nce to th e mode, rath er
than to the material, of express ion . Form ancl substance,
indeed, coexist in mutual <lep e ndcnce, ancl to know t he
Jaws o f t he one WQ m11st co ns icl <> r t.IH' 11 :1. I 11 re o!' I 111: otl1cr :

CO!'f PREHENSION AND UTILITY.

COMPLETE ltlIETOJUC.

2

bu t w here in t hey a re sep arable, t he first is h ere t h e
sp ec ia l a n d d o min a nt top ic of inq uiry.
It has b ee n c ustomary to di vide t lt e arts i nto .fine, elef!ant , o r l i /1eral j a nd -us~flll, m ech anical, or jJ?'(tctical:
Lit e ll es ig 11 o f t lt e fi rst be i.11g to r efi ne t he lti g lt er facu lt ies,
a.ml t hus to a ffonl a larger a mou nt of a 111 ore elevated
kin d o f e njoy m e nt; o f t he seco ml, to qua li fy a h u ma n
bei1w
to act t he part of a d exterous iust rnrn ent. If fo r
t"l
co n Ye11 ie 11 cc we a d m it t l1 e d ivision, r heto ri c ev ident ly lias
t he characte r of both c lasses. But t lt e di stin ct io n is esse ut ia ll y s up erfi c ia l ; fo r, wit h t h e progress of civ ilizatio n,
t here is a p rogress ive unio n of t he usefu l a. ud t he b ea ut ifu l ; whil e, with t l1 e growt h of a more spiritua l view o [
hum:w rl est iny, wlt atever is co ndu cive to t he hi g hest ed ucation of t l1 e nob lest powers is held to be of pree mi 11 c nt
use. Th e rh eto ri cia n lll ay, t herefore, chee rfu ll y profess
]1im scH a u t ili ta ri a n, a nd , 0 11 t. lt e specia l gro uml of its
utili ty, cla im fo r !ti s a rt its pec uli ar i111portance.
Every a rt is close ly a lliecl to on e o r 111orn scie nces which
fu r ni s h th e p rin c iples t hat gove rn a n(l expla in it. fo
nmki11 g lt a r111 o ny between matter a nd ma nn e r, a n d u:~ i11 g
l w t Ii to sc ( ~ ur c wor t hy c 11 <ls, rh eto ri c subsidi zes Orcuw 11,ar,
whi cl1 uni tes wunl s iu co rrec t co nstrn ct io n ; <L ll d Lur;ic,
whi c h tests t lt c va lidi ty of t he reaso nin g . ln so fa r as it
ex p resses 111 or a l states, or ai 111 s to excite t l1 0111, it is relatell
Lo ]1,'t/i. ies. lt is a lli eLl t o _//i.,'0t lwtics by co 1tf'. on 11 ity wit lt
t he Jaws of taste - t he great 1u ollerator t lrnt wars agai nst
Pxcess . B u t it d oes not properly e111 bracc t l1 cse iu t heir
in teg ri ty. Jt dues not ass n111 c in to its elf p nrcly scicut ific
in Yestigatio ns a ml d iscussions of t.l1 cm . lt tak es t he ir
laws as settlccl a nd app lies t hclll , wh e re t lt crc is oceasio11 ,
to its ow n pu rposes. S in ce th oug ht is n ow c01iveyecl fa r
more frettue 11 t ly hy t he pe11 than by the vo ice, E'locittion
1s but accidentally subsidiary . Th e two arts s hou ld be
1

1

/

f

'

1

•

( ~~) \'Oca l express io n is n ot necessar,y to t he artist ic an ·
fure iblc e mbodime nt of t lw ug ht; (3 ) t hey a rc dist inct, ::;
111uc h so t hat great stre 11 gt li in eith er may cons ist wi t I
great weak u ess i n t he ot her. Many exce11 e nt actors Jia 1· ,
bee n u tterly un ab le to co nst rnct an oration, wl1ile rna 11,
exce lle n t co mp osers h ave bee n m iserable speak e rs.
.
A 11 a rg u111 011 t, however, m ay vio late 110 ru le, eithe r ()
gram mar or of logic, a 11 cl may also be fau lt lessly prr1
11 oun ced, yet fai l of t li e in te nded effect. Iu ot her word::;
r hetoric l1 as r equ ire111 c nts uf its ow 11.
]t ta k es t 11,
t lt o ug l1 ts t hus gra 11111 i::it icall y aflll logically approved, :w d
so c l ~t li cs t lt ern, so arra nges t he m, as to m a k e t he p ro du cl
p lcas u1 g, forcefu l, effective.
'~'he laws of labor allll 1n e t hocl arc equally b i11 d i11g up o 11
ge nws a nd me diocrity. T l1 c co n1111 o n artis:w owes l1i::;
u t most pro fi c icu cy to p crfoct fa 111ili a ri ty wi t h rnl cs, il' nu l
wit h th e ir fou nda t io n, - a forgetfo lu ess of t li e m in tl ic i 1
11n co nscio ns a pplicat io11. P J1i llias will be va i1il y afire wi t l1
t he cou cep t ion of .Juve u11l css li e lt as a p ri or k 11 ow leclge of
a. 11 ato ~11 y, a nd uses l1 is c hi se l vv it lt pa in stakin g care, syst e rn:it1cal.ly, t lt o ug lt at last wit ho ut fo rn1 al teae hi11 g . T l1c
gem us oJ B eethove n wi ll a va i I n ot. hi 11 g to t he co 111 pose 1
unless li e cu n fo nn s to t l1 c laws of 111usical fo rn1 , orc hestrat ion a llll lt a.nn o ny. A lways t lt ere is t he search fo r mea ns
su ited to a n e11 d. vVi ll yo u d u as we ll wit h scattered as
wit h con ce n tratecl fo rces, as we ll wit ho ut meditatio n as
wit h it, wi t hou t pu rpose as wit lt it , wi t hou t ur cler as wit h
it? Y c t suc h is a rt - t he assemblage of tlt e mea ns for
makin g o r do ing a th ing . To exclu de it - t hat is, to
excl ude re fl ectio1.1 o r t he use of rnet hod- il:i s imply tu
re11 o un cc. p~r~ectw n.
Art by exe rc isi ug· itseH beco mes
wh at habit 1s 111 tlt e mo ra l li fe-seco nd u at ure i ntelli cre nt
.
.
.
'
b
rnstrnct, rn ~o luu ta ry observa nce of r ul e. This is p recise l,y
the case w1th Shakespeare, as a.ttestecl by t he E11 loi:rv of'
n

UO~ ll ' L ETE

4

COMPREHENSION AND UTILITY.

H,HETOJU U.

Y eL 111 11 st. l 1111L g iYP Na.Lm c :tll: Lli ,v arL,
.i\ly µ;P nt.l c S hn.kcspl':tr, 11111 sL enjo y a. prtrL;
For t,\1 n11 g h (,]i r, p11 r.l 's 111:1.l.t;(\I" N:i.t.11n· he,
11 is n.rL doLh µ; irn Utl) (:1 shio11: n.1Hl L11n.L he
\\rl1() l" i-·lc· to \\' l' l·l n ::i !iYi1w line 11n1 sl: sweat.,
(Snc h :i.s t hin e rt,J'(') n.111\ st. rik c th e scco111l l1 c;1,L
\ 1 ,011 th1~ i\l11scs' a111·il: t.11rn Lhe .s:1.111 c
.
1
( .\nd hini ~c\( \\'ii.It i t) I.hat. h e Lh111ks Lo fra 111c,
Or l'n r t lw l:1url' l he ma~· g-n.in :t Sl"or11 ,
For u. gonrl pnrf' s 111.n1 fo rr.~ 11'Cll a.~ lwni. .
And s w ·li ?l'crt Ili on. (;ook hnw the fa(,h c r s face
I ,i 1· p,; i11 hi s iss 11 e, eYell so Lhe race
.
()( S h: tkcspc:i,r 's 111 illl1 rtnrl 111m111ers llrig hLl y sl1111 es
Tn his 1l'ell-fnrnerl n, nJ lnte~fi.Zr>,rl Z1:ne8,
1n each of whi ch h e secrn s to slia.k c a lau cc,
As hrnmli sh cd rtt t he eyes of I gnor;i,nce.
I

, :--;

1:"'>

'~

_

I\ I

J

-

(

>

Tlt c rul es o f rh etori c are bnt a. co ncise ge neral expression
o( tl1 c ina1111 cr in wl1iclt it ltas b ee n fou n!l ~hat t h e rn~ste rs
lia. vc ac l 11· cvec1 sn cc'ess. . Th
- e)'
. are .gi·e 11 erahzecl .cxp .en ence,
.
. .
. . ., II s1) heres a t eac her wl11 eh rn sp1red
a ncl cx pe rr e ncc is, 111 "
•' .
. •
_
- . · t to whi cl1 orduia.r)' 111 e n 111ust atte nd.
lll C ll C allll U t, I e.J CC , ·
'H e who will uot auswer to t he rudd er rnust a.11swer to
th e ro cl<S.'
Perhaps all seri ous oppos1t10n to t he art . has ans.en
$Cli se . with
•
rrorn ti IC n.1) U SC. 0 cL 1' .t ' eith er to hide tlt e want of.
e xcess of sn n11c1 aml or11arn c11t.' or to. h oo~lw1~il< ..t he Jlld ~t he fan C)'• , hk e Mil to n s B eh al, wh ose
111<'. 11 t l))' ·illi·
' ' irino·
b
tongue
l h t' J•1 >'d 111 n.1rna, arnl cn111(1 111:1ke th e worse appear
Tlw l1clt.c r r easo n , to perp lex nml cln.sh
1\lal.ll rest COllll Sels.

But on tir e one hand , r Iietorr· c L:l oes n ot undertak e . to
rc 111 ~c1 y barrenn ess, to furni sh vitali zin g· ene rgy or mlt1~e
iowcr - withont whi ch all art mu st b e th~ m erest .surface!
1
()_ 11 t i1c ut l1 cr ' it is n o conclusion again
st tlte
wor<.
..
·li
e
hshi
o11
tliat
fl
gc
n
tle
lll
an's
livery
may
e x ec 11 c11 ce o ( !'
<
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• ·r .
1 '

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,

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.,,,.,. ,. ,.
'

rn ...f n ri r· _ Lnki11 ~!·

nn

noff~ of rlil

f' l -

en ces in m en, r egar<ls o nly th e ir uniY ersal natural practi •
wh en they speak or write well, be tlt ey gifte<l or 11 u
leaving t o e very 011e tlt e full, fr ee use o( 11 is p ee n Ii :·
resources to effect l1is fr ee ly 0hose 11 e ncls.
To exercise th e imagination alld improve t he tas l•
with th eir attenda nt h appy effects 0 11 life, by bri11gi11
into vie w th e chief beauties that 01.1gl1 t to be illlitated a11
th e leading d e fects tliat ought t o be s ltu1111 ed ; to u11l e:u
bad hab its; to substitu te t l1 e best rno<l els for tlt e worst' '
the indiffere nt; to c ul t ivate ac curate thinking, as well ;1
accurate spea kiug, by tir e careful practice of putting 0 11
se ntim ents into words accord ing to law; to euable t l1
perso n of brain and e motion to put himself in co111mu11icn
tion with th e minds ancl h earts of oth ers und er th e m os
fav orable circumstau ces; to gu id e a ncl d e velop; to shortc1
tir e time and the unc ertain ty of walking iu tir e dark; such are th e utiliti es, subjective and objective, 011 whie l
we r est th e di g nity a nd n1 erit of t he presen t study. L(•
us d efin e Rhetori c, th e refor e, as t!i.e art of enabliu;; th us

wh o have 1:w metltiny to sity, to say it tu the best mfrw,
tage.

CO ~!

PJ,G'l'E

l t lf F;T() l{.I C.

li1 l' first rin r -pi ts wit h a cheer if thr t.hu111lrr of t he ,gun s lrnd hre n
tr 1Tihl e it~ wn s now grnw ing s11 bli11 w it. WftS like th e footfft ll of' god 011
th " lrdgrs of'. c lnml on1· forts a 1Hl IJat-.t<?ri es still t hrn;c;L out t heir
1nig hly ann s nc ro,.:,.: I.h e vall ey th e g 11ns that li11 ed t,h e are of tl1 P
nr<:L [1!1] i11 onr frnnL ope 11Pd like tl1 r f:111 of hwifo r and co nverged
L}l('ir fire it was rifles ftlHl mu sketry it \\';;,; g rnpe a.nil cn11ister it, wa;:;
,.: hP!I n11d ;:; hrn.p11 el 111iss ion rid ge was Yo ivn,11ii"· a t housarnl torrents or
red pnurr d o,·rr its brink a nd r11 shP1l t.ogct hcr to its base nrnl still
Ll1 L• >< ull.li1n c di n. pa.son rnll c1l on c<:lwe,; Lliat. hnd 1iev<> r wa ked li efon·
1·oa red ou1. f1·0111 heig ht to heig ht. :11Hl en!IL-11 frn111 tl1 c Ja r ra.11 ge;; or
wn ld ro11s ri1l ge t.n lonko11 t 111 n111tln.i11 - /11>11j / f oy/01· c1111171 o./lll .field
(B)

(4)

cl l'on 1l'll l' p11;.;;:;e;:;><rt.l1 a<: rc;.; Intl 1ht> land ;:;ea pe i
half t.lt P chnr111 s tu 111 <' it yi1 •ld et l1 ll! Oll ey ca.1111ot Luy
el eo n l1arl 10 r;; ;.; lnt h ;Lnd d1il11P;.;s frrshe11i11g Yi go r
he i11 1·el vet i i11 fu st.ia.11 ri e hCI' nmn n.m j
clenn is n s in.r e t.o g rnnil eur frl'r n,;:; th oug ht am i
<·1 <'1 111 f<>P S n. sPorr o f' drwt.11 rs n<'r1l of n one have i
w Pn l1'.11- ~ 111T o 11n<I P d <'fl l'f>-1• n1·irnn e11 cle0 n fears to di e
deaLlt 111ay crn11 c lie"l l find 1110 rca d.1' ha.ppirr man arn i
- charles maclwy
th ou lilfl c t ri ck;.;.1· p11 ck
wi t.11 ;i.111.ir. to.1·;:; "" 1'111111il y ])(':=-L11<:k
li g h L a ;:; th t• s i11 g i11 g· liirll th a t wings tlt r air
the tl oo r 1l1 P 1l no 1· hr 'll t 11111 blr Ll own th e stair
1h on darlin g of th~' sire
wit~· jnnP lu>' ll S!' t hi ~ pin a forn nfire
Llto11 i111p of 111irt h and joy
i11 lo1·es tl en. r e hai11 c:o ;;t mug so brig ht a link
th ou iLlol of t.l1y pn re111 s clrat t he bo~·
t here goes my ink-hood

CI-IAPTER VIII.
l\CETHODS OF EXPH.E SSlON -STYLE:.
Th " Ht y l<• j ,; of th e 11 i:1 11. - l1 irFFQN.
St y li· i ~ tl w go"'am l' r 0 11 wh i t: h I.he ,;e<:< h o f t.r11t h fl oat t. hro 11g h 1.h P. wo rl<l .llA Nt: :<ll"T.

W

E speak of sty le i u arc hi t ec tu re, i11 painting, in
mu sic, or in a u y of th e fin e a rts, w eaning t h er e by
t he mode of p r esentatio n; of style in rn a un e rs, m ea. 11i11g th e c h aracte ri st ic way of co nductin g one 's se lf; of
style in dress, 111 ea. 11i11g t la~ preva le nt fashion , or t h at
pec uliar to a n i11Jividua l. So s t.y le in di:;course is th e
special m an ne r in whic h t ho ug ht is e xpressed. Note t he
poi 11 ts of differ e n ce and r e:;e111 bb nce i 11 t ir e foll o w i11 g.
Observ e th e Anglo-Sax o n si 111plicity of so m e, a nd t he
class ical statelin ess of ot h e rs. O ue sh o ws a d ec ided prefer e nce for s hort :;e 11t e 11 ces, ano t he r for lo ng. H e re t he
mov e rn e ut is calm a11d regul ar; th e r e, disjointed, j erky,
volmLni c:
A ce rtain ma n Jrn.ll two sons. 1\ rnl t he younger of t hem StLirl lo
his Jal11 er, Give me t he por tion o f goods Ll1a.L falJ eth t.o 111e. A rnl
he divilled unto t helll hi ,.; li vi ng . Ami 11ot nrn11 y tlap; afl er, tl11·
yo unger son gathered all togel hcr . a nd too k hi .~: journey into a fa r
co unt.l'y, ;md t here wa.stoLl hi s substa.11 ee in rioto us li vin g. A nd
wh en he had s prnt nll , t here nrn:-:c a 111ig hty famine in t.lrnt la nd;
a ntl h e began to be in wa nt . And he wen t allll jniuecl hilllse lf to n
citi ze n oI Lliat. co untl'y; a nd he se n t lti111 into Lhe fields to feed
swine. A nd lie woukl fai n have filled his bell y wit h the hu sks t hat
the swine dill eat: :mcl u o ma n gave unt o him.-Bible.
'\Vere l a.mbiLious of an y ot her pntrnn t ha n th e public, I would
inscribe this work Lo a sta.tes11rn11 wlw, in a. long, a storw y, aud n.L
111

ll2

C O\! PLETE IUl i;;TORIC .

··11 g th an 1111rort.nn:i.l c nd111i11i.sf,ra.Lio11, had man y polit ical oppo11 e111,,J1JvJst willro11L n 11('J',;unnl <·11 L•111y ; wh o has reLai11 ed 011 hi s [a ll [rolll
" •we r m:111y r:i.il .h 1'1tl :l.lld di ::; i11 Lcrec;t ctl Jri e11<1", a11d who 1111de r Ut1 ~
1r1 ·s,-11n· of ,<e 1· pn~ i11fir1nily e nj oys th e lirnly l'igor o[ his 111i11d :LrHl
l1t ~ l'cli1 •ity ul' Iri s i1won1pu.ml >le t.c1nt1e r.-Uiblion.
,\ i'oo 1i,; lr L"l11 ,; i,; lc11 cy i::; Lill' holJgu iJ!ilt of li t tle lllilllb, adoraJ by
il li• • ,;ln.ll•.s111cn :1.1111 1t11iln,;o pl w r,; a n<l <lil'inc::;. \ViL11 co11 sislcn ey :t.
Ile 1na.v as well co1u:er11 hi1111·ll' wil Ir Iii,; ,.; lr a<low on Lhc wall. Ou! ll[H>ll your g nunl c<l lip,.;.
;1·11· lh c111 11p wit Ir pa.ck-tlirc:ttl - <lo. l<~ J se , ii' yo u would be a 11m11.
JIL'<ik wlrat yo11 t·l1ink t.o-<lay in word s as !1:1.nl as e~rn11 0 11-ball f3, a nd
11- 11H>rrn1r sp1;:1k wlmt l.0-111.,rruw tlrink,;, i11 word s as hanl ag ain hu 11 g h i! . ~ n11trn. di ct. c veryt lri11 g ,m u s:iid to-tl:1.y. ' A.Ii, then,·
:o; (' l:i.i111 cLl Ll1 c agc•l Jadic,;, ' y1111 !' hall Im s11.rc lo be 1t1i::;1u1Ller::;toml.'
\[i ,.;1111!lcr,;L11nd ! It is a rigl1 t rool',- wonl.-E111e1·san.
·T1·: J.1. "" 1il l1a,.; .si111pl~' 11otl1i11g Lo <lo.

Tn <>1nil rn crn pr:11ricnl ,-11,-t ·c plivili e;.; 1.lrat rest 011 vac11u111 , loo k a L
" "' " B\'rn11, 11·IH> re:1IJ_1' Jiad 11111c h ::;11hsla11 cr i11 hi111 . SitLi11g U1 erc
11 his ,;e ll'-cx ilc, wil.lt a 1n·o11d h ead :-;I.riving to per::> n:ule it;-;cl[ Llrn L
I d e ,;;pi ,; 1 ~;; I.h e e n Li re erc> ate1l 1111 i ve rse ; arH1 l'ar oil', i 11 foggy Baby•111, let an~' pitifull est wltip .~ ler draw pen on him , your pro111l By ro n
1ritltes in torhtrc>. as if L11c piLi[11I whipste r were a m ag ician, or hi><
" ! II a gah·a11i c 1rire str11ek int.o Byro11 's s11i11 al marrow!
L a 111c11t.!J le, despi en.hlc. on e lmd rath er Im a kilLc11 :111d c ry mew! Oh , so n
11' A1la111, g rn:1.L or littl e, :Lcco1·tli11 g :i..~ Ll1011 art lov ctble, those th o11
jq•"t with will lorn 1.hl'e !-C'm1yle.

S ty le ' is fro 111 th e Lati11 styl11s, a steel instrum e nt.
rsed by th e Homans for wri t ing 011 wax e 11 t a ble ts. By
111 easy m e taphor it ca111 e to d e not e th e m ethod of co 111 11osi t io n, as 'pell' is now fr equ e ntly a symbol for auth o r
'" lite rature .
Subjective Aspect.-As th e attire, tli e behavior, th e
' ir, indi cat e tli e disp osition and habits of th e p e rson d1 e tlt e r cl c a,11ly ur slov e nly, t a steful or tawdry, sensible or
'11n lisli , re fin e d or booris h - so a writ e r's sty le is, in no
111i111portant se 11se, tli e 111a.t e rial e xp ress io11 of his ::;oul-lif'e;
,·or his words are but th e outward s ig ns, tl1 e visibl e copi es,
11' hi s ideas. His c hoice o f te n11 s, l11 s wa y of puttiug th e lll
'<Jg·e tli e r, nmke (Lo sp eak co11v e ntio11 a lly) tli c ganu e nt of Iri s

1

)iE'J'l lODS OU' E X PnBBS IO N -

STYLI ~ .

143

thoug ht, showin g by th e fall of th e folds ( \vh e n once yuu
have learu ed to read) what h e likes, what he can do,- his
clumsiness, his c le ve rness, his ii11agi11atio11, his d elig hts.
If th e words carry t oo rnn c h orrrnrn e nt, y ou ruay know
that he is greed y of pl easure ; if t oo little, that he is hard,
dry, inse nsiti\' C, and th e lik e; if tou great bulk, that he is
affect ed; if full of co nunonpla ces se t forth with sole mnity
or flourish, that he is s illy ; if voluuly utte red, with volum e
of sound, r ea c hin g us as sou11cls a11d not hing mo re, th a t h e
is unreal a nd holl o w ; if 111urky or obsc ure , that he has a
coufu::;e d habit of mind, \«tg ue ness and indirectn ess of
purpose. A t root, th e virtu es of styl e are m o rn!. H e nce
the saying of Milto n, that he who woul (l write good poe try
111ust mak e Iris life a poe lll. It is partly , 110 doubt ,
beca use sty le is t li e u11 co nsc ~ ious re velat ion o f th e hidd e n
self, tlrnt m e n are influ e 11 cecl by language as nrnch as by
idea s.
Objective Aspect.-Tli o ugh sty le rece ives its p eculiar forrn chie tly froru th e me ntal m o ve m e n t s of wltich it
is th e e xpressio11, it is g rea tly m odified by e xternal condition s - as fnln ess ancl forc e of ,· ocabulary; th e choice,
numb e r, and al'l'a.11g e 111 e nt of words ; fr equ e ncy of practice
in co111positi o 11; co lllple t e ness o f p re paration , and carefulness of li11i s lt ; th e 11a.ture of tli e subj ec ts treat ed, th e e nd
sougl1t., and the power o f pe rsons acld re~ s e d. Th e inne r
and th e oute r, th e oriµ;ina l anJ th e acquired, blend a.nd
re ve al th e 111se lves i11 th e result,
Diversities.- S t yl e, th ell, varies with many conside r ations, but pree rni11e11tly with charac ter. In literature as
in painting, Ori e ntals are more fan ciful or pi cturesque
than Europeans; sa.\'ap;es than ci vii ized rn e n. The Italians are warm and passio nat e ; th e Fre nch, rapid and
s parkling; th e G er111a.ns, c lu111 sy aud unwieldy-Lessing ,
Ric hter, and a. Ce w oth e rs, e x ce pted.

144

H5

COJ\lP LETE ltH ETO l~IC.

Aga.in: the mann er of one age differs frorn that of anot he r. No E11glis l11n a11 n o w writes in the style or Ki11g
Alfred or of Baco n. The lite rary garniture of the Elizahct hans, like that of their bodi es, was stiff and elaborate in k et> pi11g with their peaked bearcls, staru hed eo lian:;,
t nlllk hose, and quilted donb.l e ts. In Pope's day- t he
day o f powrlere ll queues, cocked hats, aufl lace rnfll us :-:tyle was hi g hl y artif ic ial, eve n fini ca l, lik e t he 1nanne rs
and l'as hious of souiety.
To-day the stately per iods of
.I ()h 11 so 11 would 110L li e to I era Led.
Thu imliviclual write rs o f auy age, indeed, benr to
e ach otl1cr a general reselllb la11ce in the metltod of ex pressing th e ir thoughts, as they do in their dispositiow;
and tastes; yet, as wit h t he leaves of the forest, there are
n ever two imlistingui s habl y a like. The more orig in a l a11d
nPntive the writ e r, t he n1 01·c distinctive his styl e. \!V here
is h e t l1at could wear successfully the lfr ery of Carl y le?
\rl'll will hav e si 111il ar or clissi1uilar sty les, according as
I hl:'.)' l1 aYe sim ilar or dissimilar natures and e nviro u111 e11ts.
Oo\·iously there are rna11 y possible divisions of sty le,
t·.o be ex pressed by a great va ri ety of adj ect iv es, accorcli11 g to t li e qua,li ty which serv es as a principle of divis ion.
Tims with respect to t h e 11un1ber of words, it may 11e
called co ncise, sententious, laco nic, terse, copious, diffnse,
,-e rbose, etc. ; with r es pect to arra.ugement, naLural, in,·e rtecl, loose, periodic, smooth or flowin g , easy or grace1'111, etc.
A cornpositio11 abounding in any 011e of the
figures would be d esc rib ed by a <lerivative from t l1 at
liµ;ure;
as n1 etap ho ri ca l, a11tithetical, epigram111ati c,
iro ni cal, ell ip tical, etc. The use of ornament in g e nera l
wou ld lie d es ignated, according to the amount of irnage ry
prr :-;e nt, by sueh ep ith e t s as elega nt, flowery , ornate, irnaginativ e. A style c haracteriz ed by misplaced and over·
wrought finery is sa id to be fl orid; if marked by co 11m1011p laees floridly exp ressed, witlt more or less ~f mock or

real e nthusias m, it is said to be sti lted or seJJtimeutal; if
very ext ravagant a.ml e11tltus ias li c, ra11ti11g; if st udiously
cl0Lhi11g plaiu a.11Ll sin1plc ma tt.er i11 lon g, ponderous
words, prete ntious; if gandily and dece itfully orna11ie11ta.l,
1u cretrici o us; if liigl1-sou11di11g - big, with little or n o
111 ca nin g - pornpo11s, µ.ra11diloque11t, sopliouioric, bo 1u bastic. ][th e writ er is co nsta n t ly thrustiJJg forward Iii:-; ow 11
persoJJa. li ty, li e is egot istic. J f h e aboumls iu co111n101J
forn1s o [ (!X prnss ion - if li e is l'a.rniliar, yet rises in so 111 e
d e no-re< ~ above Ll1< ~ <:011vcrsaLio11a l, li e is idi o nmti c and sin1 pie . His diction is see111i11gly a 1t less.
He writes so
easily that the reader im ag in es ho c:i 11 wr ite as well hilllse Lf. H his words are s welling, if hi s se11tences are lon g
and involveJ, if hi s ton e is co11straiu ed, h e is labored.
E ith e r if li e alludes [reque11tly to tl 1e literatur e ur history
of Greece and Ho 111 e, o r if li e writes i11 acconla11cc with
Lite Liest standards, li e is elassiua.l. lf h e co n veys by hiu t
or implication much t.lia.t is u ot actually ex pressed, li e is
suggestive. If he possess es mu c h lrn111an iutcres t, wa.nuth
of heart, he is sympath etic or human e. Possessin g lrnma11i ty in a high degree, he will usually be popular. ] r
he ex hibits a ready flow of words aml great ease of co 111posiLion, he is flu e nt. If rich i11 t houg ht as well as copious
in diction, be is ailluen t. H li e has vivacity, acco rn pani eel
by novelty a nd wit, he is racy. H ltis illlagery is re fin ed,
his suggestions delicate, and his expr ess ions tenderly
gracefu l, h e is s piritu e lle. A style which has some ornamc 11 t and co nsicl e ralil e polis l1 , is neat; if destitute of
fi g ures, wit, humor, and blood, it is dry- tolerable i11
didaetic writing 011 ly; if clea r and s imple, not harsh, yet
with o ut m ere e mb e lli s hm e nt, it is plain.
Many of the features denoted liy tlie above aucl ot he r
adjectives wiJJ not seld o m be J'ou 11Ll to coexist in tlte sa111e
author, while one or more t11n.y h e e.<; p ecially pro111incnt.
Thus Mi lton is massi\'e, diguilicd, classical, inrng i11atin:,
10

14fi

CO ,\lP.LBT E IUI ETOHW.

e tc. ; Loe ke a nd Sw ift are p la in, id iomatic, etc.; Macaulay
is bri lli ~~n t, etu.; ' l'lt a c ke ray is virnuions, ope n, etc.; A ddiso n is fl owi ng, e lt-ga 11 t, e tc. ; Uolds 111i th a 11cl Ir vin g are
grace ful , liunia11 c, <'lt c.; Ca rlyl< : is ru gged, ve hem e nt, e Lc. ;
Hu s kin is staLely, a fllu e 11 t, etc.; S helley a nd K eats an ?
sp iritu e ll e, s uggest i,·e, eLc.; E 11 w rso 11 is co ncise, e 11 e rget ie,
t e rse, et<:.; T e nn yso n, co rrect, poli s hed, o rn aLe; l-:la wt l1 o rn e, pure, 1le li cate, Jlow i11µ;, pla cid; S ha kes peare, ve rsat ile, fo r est-lik e. The p e rf(~c t wnte r's style wi ll l> e, not
a pipe, hu t au o rµ;n n, with 111a11 y banks of k eys.
Primary Qualities.-No absol11 t.e sla11d a rd is to be
set up. Tlt e styl e tle 1ua11d ed in a ny ccrn 1positio n d e pe nds
upo11 t li e 111a11 , t lt e t he rn e, a nd t.lio e11d. Th at will be
good , relativdy to t l1 e inclivid11 a l, in whic l1 !tis p ec uliarit ies hav e fnll a nd fre <~ play . Tha t wil l he good ge ne rally
in whicd1 p rop e r word s are put, in prope r p la ces, and a rP
vita li zed lwo/ t he t li ou•rl1t.
A ll g·o od stvles, whate ve r Llt e ir
b
min o r diffo re nces, s ho uld possess certa.i11 leadiug prope rt ies. lf a writ e r would l>c eas ily uncl e rst oo<l, li e must be
clea r. H li e would secu r e t lt e hi g hest adaptat io n of form
t·o t lt 1~ o hj cct proposed, he 111u st. p lease: a 1Hl if li e wou ld
p lease, n.s w ell as in fo rm, he 111ust be re fin ed or c ho ice. ] r
he wou ld i111 press lti111 sc lf upo n ot l1 crs, li e 111ust be vigo rous. Tlt11 s t he great e xcell e nces of 111 e t hod - t l1 e cli a.ra.e1er ist ics i11 wlti c h re puLablc n1 et hod s ong l1 t to agree, arP
p e rspi c uity, e lega nce, a 1J cl e ne rgy. Of t hese t h ree, t l1 e
firs t is t. hc 111 ost esse ntial. \iVit li out t hi s, whi c h is as lig h t
to tlt e ey e, t lt e e ff eet of: t he ot he rs is lost. Th e seco nd ,
wlti c h a R~ u111 es va ri o ns p os it.i o ns in th e d iiie re nt kind s of
prose, ra 11 g i11 g fro rn t l1 e lo west cl 0g ree to t l1 e ltig lt est, front
tlt e 1u e re lu stTe o f clearn ess tu t he b1!auty nno grace of lifl',
is, in so 111 e o f its e le 111 e 11 t.s, a. s uppl e 111 e n tary cause o f forc e,
a. nrl is a lways necessary to g iv e pl eas ure to taste. It
h eco rn es t lt e 111 or c in1 p erat in ' as c ul ture iu creases. Tli c
third , in its S C \'l~ ral <1spect.s of th oro ug hn ess, rapid ity, a nd
L

• '

UETHODS OF EXPRESSION -

I

l

STYLE.

147

direct ness, o r of st rengtli, vi vacit.y, a11d vigor, stallds in timate ly co 111J ec t erl witl1 t lt e wi ll , a nd is only s econdary to
t he first, wh eth e r t he purpose be to in str uct, to co nvin ce,
or t o persuad e. If t h e prese ntati o n be fee ble, dull, a11cl
heavy, t he t ho ug ht ca u not exc ite t he me 11tal powe rs of t li P
reade r or heare r.
·Fundamental Principles.- U nd erlyin g all th ese
va ri eties a nd a ll rh et ori ca l m ax iu1s, a re two laws, fo re ve r
whoev e r w is hes to wr ite or to speak
t o be r e bo·anled bv
.,
wo rds Llt at will be fe lt - t lt e eco no my a nd t lt c stiinulat iu 11
of atte n tio n. Th e form e r m:-ty be t.hus stated a. nd ex pla in ed:
R egardi ng lan guage as an apparatus of sy mb o ls fo r t li e
co 11 ve)1a 11 ce of tli o ug l1 t, we may say t hat, as iu a 111 ec l1 a11 ical apparatus, tli e 111 ore s impl e a 11cl t he bett e r arrange.cl its
parts, t he g reate r will be t he eff ec t produced. [n e ith e r
case wli ate n -i r fo rce is a l>sorhed by th e mac hin e 1s
'
de du cted from th e res ult. A rea.J e r or lis t e ue r has at
eac h rn o me11t but a limited a 111 o u11t o.f me ntal powe r
ava ilabl e . T o recog nize and in terpret th e sy mbols p rese n t ed to hiu1 , req uires pa rt of t lti s p o wer; to arrange aucl
combin e t he images suggested requires a furt he r part;
a nd o nly that p a rt wl1iclt rc rnain s can be used for rea li;,o;ing
the thouo·ht
co11,·ev
Hence, t he rnore t i111 e a nd atte no
., ed.
tio u it tak es to rece ive allll uud e rstaud eac h sen t e nce, t he
less tim e a.11 d atte n tio n ca11 l> e g ive n to th e co n ta in ed
idea; a nd t he less vivicl l.v wi ll t lt at id e:-t be co11 ce iYecl.
To pre ve n t unu ecessary was t e is, t he 11 , a n i1t1portan t
secre t of e ff ec t. Anot he r mod e of reac lti11 g t he Sa. Ill e
rmrnl t is to sti mulate me n ta l act ion by appea ls to th e
imaginatio n, by variation s of method, and by in t e ns ity of
fee liu g. T o c harm t he fa ncy by a figure, or to p lease t he
se nse of melody by a cad e nce, is, ofte n, t.o d eep e n t h e
impressio n of t he se n t i111 e 11 t . Th e d eclarat.ive fo rm is
<(lti t e as eco nomi cal as t he in ter rogative ; but a hea.r0r who

14-8

COil! PLETF. H ffl~TO IUC .

is li stless whil e assertious 0 11ly a re 111 acle, will b e upon the
a le rt wlt c n li e is appea le d to by a question. vVorcls wlii e li
('"i 111 c (rntn 110 d ee per so11rce t it a n t he lips, lack a 111 ost
p ote n t, ule 111 e nt of c ffeetive11 css. 'Logie set 0 11 (-ire' is
one nf t li e rnconl<·'l de fini tio ns of e loque nce. 'I::leat is
lif'n. a.11d uu ld is dnatli ,' says t il e s1 ·.ie 11 t ist. U netio11 111:uks
1' 11rrnws in li <·a rls.
U11hrol..:(•1J u11ifor111ity, aga in , becomes
offo 11 s iH'. If a fl owe r b e lt e lcl to t he 11 use too Ionµ;, we
liccome i11 se 11 s ibl e to it$ o d or. Few r ead t he aut h ors t lt at
:d wavs s~~ e lll to sou nd t li e se lf-sa1 11 e 11 ute.
Importance. - Jf st-._yl l~ is t l1 e re nd er in g 111 o re or less
.ius t ly t li u i11warcl lif e, if t lt at t lt ouglit w hic h is you r co11<'C I'll ca11 r eac h t h e rnitHl co lllpl e te ly a nd with a ll its
:1.1lva11tages o nl y wlt e n it is well expressed, it oug h t not to
he n ecessar y to insi st t lt at sty le is a gTeat matte r. How
1mrny are t he re w ho know h o w to t hi11k t hat do not know
!1ow to write? 'To write we ll ,' sa.ys Buffou, 'is at once
to t ltin k \v e il , to fee l w e ll, :wd to r e nd e r we ll. ' To n eg lect
fo rm is Ll 1us to 11 eg lec t, in som e so r t, the life a.nd the
facu lty of co 111mn11icatio 11.
Sty ln is t li <~ art istic part of li teratu re, lt arcl ly less va.lu a.lil e t ha n tl1 c substa. 11 ce, if tlt e product is to be p en111.w e 11t.
i t is t.lio prin c ip a l f e ature in w lti cli t he writ e r ca.11 be
!)rig i11 a l. Ont of t h e sa.111 e stones lll ay b e rea re Ll a Par1 li c 11 o n o r a. t . an~ rn .
S li :i k cs pe are 's power lay nut i11
lill(ling n u t 11 cw 111 a.t.<:i ri:d , but i11 i111 parti 11 g n ew li fe to
11· ha.Lev or !t n disco \' e rcd; Ca rl y le \;, n ot iu th e nov e lty o f
11·lia.t l1< ) !t as sa id , b11t i11 t he ·1nrrH i11 wliiclt he bas sa ill it.
[ 11 S IH' lley's vcn;e, in Hawth o r11 e 's p e ri ods, iu H.uski11's
gTa11Cl !t :1r 111 0 11iL'S, who is 11 ot se 11 s ible of influ ences Ll ui tc
d ist i11 cl" l'ro 111 t-hn 111at t<·r? Tl w sa.111 c tltougltt, expressed
li,v 0 11 e a u t lt o r, w ill 111akc 11 s yaw 11 , by }L1t ot her w ill start: !< ~
11s.
L\11 inff•riPr \\"ork 111ay nlit.ai n passport to futurity
1 !tro1JO'!t \\"i(1 :l1 e n ' of forn1 , 11·l1il o a work of 111 erit. 111 ay fail
b
•'
of su ccess t- l1rongl1 lack of forma l e xm~ ll e 11 cc. Sa id

)rnTHOD S OF EXPltESSJON -

STY LE.

149

Napoleon: '\iVlia.t is ca ll e d style, goocl or Imel. doP.s not
affect me. l care o nl y for t h o force of the t hought.' As
we ll rnigltt lt e hav e said t hat lt c nare< l 11 ot lti11 g (or t he
arra 11 ge111 e11t of hi s so ldi ers i11 battle - o nl y for t he en e rgy
with w!ticlt tlt ey wou ld li g h t. 'Th e lig h t in g powe r of
so ldi ers,' says Dr. :Ma.L he ws, 'depends upo n t he tacti ca l
ski ll wit !t w hi c h t hey are h a.nLll e<l; a nd tl1 P force of irl e as
depe11ds upon t h e wa.y in w hi c lt t.h e ve rba l ba.tt-.a.li o 11 s t hat
re prese n t t h em a.re mars hall ed 011 the battle-fie lds of
t houg ht .'
Cultivation.- S tyl e , s i11 ce it partak<'s of t. lw c lt a.ra.ct e ristics of th e i11 d iv idu a l, is, like a11y oth e r quality,
im provab le.
Th.in!.: and rcrul closely, with t he steady
direction of the mind to o n e thi ng. C lear, co ncisf', and
vigorous ex pression 111ust. sprin g from a. we ll -furnished
111iJl(l, h aving a fu ll g rasp, a. rl istin et vie\\' of t he s u b j ec t.,
t he e nd, a.nd t he m e ans. V\.' l10ever is ma ste r of hi s
t h ought, is master of t he worcl fitted to e xpress it ; w hil e
he who on ly half posse sses it, see ks in vain to tort ure o u t
of language t he s ecr et of t hat inspiration w hi c h s hon ld be
in himself.
It: wns t.h c J, oast of Dante t. lia.t no word had
ever forced hi111 t o say w hat h.e would n ot, t houg h he had
forced ma.ny a word to sa.y w lt at it would 11 nt. No 1· can
tlte most br illi a n t in t e ll ect clo wit.!t o ut a. 11 accnmulated
fnu<l of fa c ts a nd id eas. B efore .J o l1n so11 bega n th e
R1tml>ler, he had fill e d a co mmo11plac e -book with material s. Addiso n a m as,., e cl three fo li os of t. l1 oug hl. a nd illu stratio ns be fore lt e b egan t he 8pectutO?'/ a nd after t lt e
Guardian was finish ed li e re p li e d to tlw s uggestio n of a

ExcoJ le 11 ces of
mi 11 cl a.re less t he g ift of 11n t nre t l1 a. 11 t he rewards of
industry. Jt. is on ly by t he di sc iplin e of e 11 fl rget ic actio n
that the veteran a cco mplis h es with ease what seemed

I 50

C U ~lP L ET~

rn J ET OlUC .

impossib le to t he raw r ecru it. It was after years of la.bur
Lliat. Hap lt a e l was ab le to t h rnw hi s conceptio11 upo n
. ~ a n vas, perfect a n<l co m plete, wit hout t he necess ity of
r1•al izing it by p iece m ea l in i nt erm e d iate at te 111 pts. I t
11·as beca use G ibbo n harl lo ng writte n st11 diously, t hat he
•'ot ild send t he la st three vo lnlll es of t he .Decline m1.(l F'all
I <l t l1 0 p res:-; i11 t.lt e fi rst dnu1g ht.
''J'lrn sty le of a.11 a ut hor,'
111' says, 's ho 11l1l be a 11 i111 a.ge of his mind, but t he choice
:11H l co 111111 a ncl of la nLr uao·0 is t he fr ui t of exe rc ise.' Savs
u
·'
(J nin t ili a 11 : ' ] e 11j nin t hat snc h as are begi1111ing t he
practice of compositio n w r ite slowly a nd wit h a nx ious
.!P libe rat ion. Th e ir great obj ect, at firs t, shoul d be t o
wr it e as well as poss ible ; practice will enab le t hem to
wr ite q ui ckl y . By d eg rees, matte r will offe r itself still
111ore read ily; wo rd s w ill be at h a nd; composit ion wi ll
!low; e 1·e rythi 11 g, ns in t hl• a rra ng 0111 P11 t o f a we ll -o rd e red.
ra. 111ily, will p rese n t itself in its pro per place. Th e S lllll of
t li e w hole is thi s : by hasty comp os it ion we sha 11 ne ver
·1cquire t he a rt of co m pos in g we ll ; by wri ting well, we
. ; ha ll soo n be able to wr it e spef'cl il y .'
Th e best writers a nd t he ablest
B evisP crw~ (/(,lly .
' !Jt~a k ers hav e d e voted great labor to t he correct io n a nd
Swift tcst(~ d t he in tellig ib le ness
rdi ne me11t of rle ta1 ls.
>f his se n te n ces by read ing t hem to th e uul eam ed.
lh trk e's m a nu sc ri pt was covered wit h interli11 eations a nd
1 lt orat io ns.
vV he 11 a lady ask ed .Jo hnso n, afte1· an e la b·irate re vi s io n of hi s early papers in t he Ro.mble1·, whe t he r
11<> co ul 1l now irnpn>" e a ny o f t hem, he r eplied: 'Yrs,
111arl a. 111 , I cou Ill ma k e eve n t he best of th em better sti 11.'
' t e rn e sp e nt s ix mo nt hs in p e r fect in g- a d iminu t ive volu me.
lh1 ffo 11 mn1 l e e le ve n (lraug hts of hi s J.Y ature before li e se nt it.
10 t l1 e press.
C e r va n t es took tw e lve years to w ri te t he sec11111 pa. rt of !Jon (/,1ti:1 ~ote .
Gibbo n ga 1·e most critical study
,,, t he format io n of hi s sty le. 'lHa ny e x pe rim e n ts,' he says,
w~re 111 ade be fo re I coulcl h it t he 111 id<l le tone betw ee n a
<J

l51
d ull ch ro ni cle a nd a r hetorical clecla 111 ation: t h ree times
did I co mp ose t he fo·st ch apte r, and twic e t he seco nd a nd
t hird, b efo re I was to lerably satisfi ed wit h th eir effect.'
P rescott, at t he age of: tw e nty-fiv e, resu m ed t he study of
rh e tor ic with a.ssicl nous p e rseveran ce. Havin g wr itte n
several cha p te rs of F'e rrli11 a.11 rl a. 11rl Isabella, he said : 'Two
or t hr ee fa. ni ts of style occu r to n1e in lookin g· over so 111 e
fo r 111 er compos1t 1o ns. T oo 111 any a<lj ect ives; too many
co n ple ts of s nbstan tives as wPll as arl.i <'ctives, a nd perhaps of verbs; too set; se nt nncns too 11rn ch in t. hc sa111 e
mo u ld; too fo rm a l p e rip hras is in stPad of fam ili ar; se nt e11 ces
bala nced by rriuls, lmts, a nd se mico lons; too ma ny p recise,
emphatic prono un s, a.s t hese, th ose, which, etc., in stead of
t he par ticles the, a, etc.' Says t h e t e rse a nd vig·orous
Vif ebster: 'Mv stvle wa.s not fo rm ed wit hout great care,
a nd ea. rn nst ~~ud;, of t h e best autho rs. l hav e la.bore<l
ha.rd u pon it, for T early fe lt t he im po rta:·1ce of exp ression
to t houg· ht. l ha.v e r e-w ri tt e n se n t e ncP afte r se nte nce,
a. nd p ond ered lo ng upo n ea ch alterat io n. ' ' It s hall not
less h n t 1110re stre nu ou sl:l h e in culcated ,' says Carly le,
'th at, in t he way of wr it ing, no µ;nmt t hi ng wa.s ever, or
eve r will be, d o ne wit h e~1 se, b n t wit h di ffi cul ty.' P lato
wrote t he beginnin g o f hi s R ej>'1r11Uc ma ny ti mes in a
uTeat var iety
~
. of ways
...
' 11 nal l.y n~ achi ng·' a style so p erfect
t.hat it seem s a r t less. Th e a ncie nts t houg·h t it worthy to
be ca. llecl divi ne.
R eorl th.rwv u.yhly the standard Enr1lish a11rl Amm·ico.n
As t he yo un g pai nter or sc nl ptor, not. cont e nt
111 i.t /w1·s.
wi t h t cx t.- books a nd le('.t u res, spmirl s mon t hs or y ears i11
t he gall eri es of F lore nce a nd 11.om e, in onln r to learn how
t.he g reat masters of fo rm a nd color wroug ht t heir miracl es of art, so t he stude nt of style s hou lcl de vote himse lf
t.o t he m asterp ieces of li t e ra tu rv., i11 o rder to e nr ich bi s
1·ocah ulary, to a cq ui re i n so 111 c d eg re e t h e secret of t h eir
powe r, to lletect liis o w11 d efic ie ncies, to ele vate and

CO\ll'LETE Bil K l'OHI C.

1·<· fin c l1i s taste. ' l i~ \·il c01 mnuni cat io11s co rru1Jt ::-.<rood
11 1a 11n e rs. ' ( )11 e's wo rd s, lik e lii s n1 a n11 e rs, dep e nd larg e ly
111 t.h e co 111pan y lw p t, a.nd a.re learn ed larg·ely by un co 11 w io 11 s i111itat io n. C hoose t he bes t, whether of ne wspa1•e rs o r of hooks. 'To writ e well, ' says Dryde n, 'on e
11 111 s t l1 n, \·e fr eq ue nt li a.bitud cs wit. Ii t he best co mpany.'
1
1~u i11 t ili a 11 :u h ·isecl hi s pupil s, a lso, to practice w hat is
·al lell pa.ra plirnse w it h refere nce to prose, a11cl m etaphrase
1\· it h rcl'c rc nce to poe t ry. Th ey co ns ist alik e in t ra11 s1at i11 g· passages fro n1 good a Ht li o rs in to ot he r words in
ii P s a me tongu e. F ranklin a dd ed t he co nv e rse of p a ra, d1rase. Ifo la i<l asid e hi s ve rs io n o f Ac1cl iso11 , for ex1 lllpl e, until
he had forgotte n t he phraseology of tlrn
>1· ig ina.l, and t li c 11 turncrl i t hac k, wi t h as close co nfo rmity
" A<lrl iso 11 's s ty le a s li e was ab le to co mmand. Eve n
•t~ tt. e r, pe rh a ps, is t li e pract ice o f t r a ns lat ing fr o111 o ne
a ng ua gc in t o a not her. Tir e learn e r is thu s guard ed
11-•J tin s f·. licco nri11 g a se r vil e cop y ist. H e paints a s imilar
1ict urc, lrnt witli differnnt pig111 e11 ts.
B ea r in mind t h e pri11 c ipl 8s a nd maxims set fort h and
ilust rat ed i11 preceding cliapt e rs, w it h special refe r en ce to
Ire c li n ico, 11nmher, a 11 d arra ngem e nt of words.
R e 111 0mb e r, a lso, tbrtt sple ndid p hrases a nd swe llin g
0. n t e11 eos c:a.n fo rm 11 0 s ubstitute fo r kn owle dg e a 11 cl r efl ecio n . lk \ Vhately's :1 chi ce is excell e nt: 'Let a n author
1.udy t l1 0 IH's t 111 orl 0ls - m ark t he ir bea ut ies of style, a nd
l\\'0 ll u po n t li ei 11 , t.lrat he ma y in se ns ibl y ca.te ll t he h ab it
.r ox pross in g himse lf with E lega nce ; a nd wh e n be has
·1>1 11plet() d a ny co rnp osiLio n, li e m ay r evise it , a nd ca uiu us ly nlf·<'l' an y pa ssag e tl1n.t is awkward a nd harsh, as
1· ,, J] as t.lr ose t lra t arn fco l>l e :rn cl obscu r e : but le t him
•<' vo r, wl1il n writing" t l1ink o f any beauties of sty le ; liut
" nf e n t liinrnn lf w iLlr s nc lr as nin.y occu r spontan eo usly.
lo s lr oulcl care full y st 11 cl y P e rs11ic11i tv as he o-oes alo no"
•
.
·'
b
~'
1
e may also, t houg h 111 u re ca utiously, aim in like 111a1111 e r

MBTHODS OF liJX PHESSION -

STYLE.

153

at En P- rgy; !m t if he is e ml oavoring a ft e r E lega uc.:e, he
wi ll h ard ly fai l to bet ray t hat e ml eavor; a nd in proportion
as be d oes t,lii s, h e will be so fa r fro m g iYin g pl easu re, to
u·ood J' ndg·es t hat he will offen d more t ha n by th e rud est
t":l
•
'
simplici ty.' If you would be a cc urate, be tru e ; if clear,
write w it h sympathy a nd a desire to b e in te llig ible ; if
power fu l, be earnest; if p leasant, cultivate a se nse of
rhythm a nd ord er. ' Struggle unw eari edl y ,' says Carl y le,
'to acqu ire what is possible fo r e very God-c reated ma n, a
free, ope 11, hum ble so ui: speak n ot at all, in a11y wise, till
you hav e so me what to spe ak.'
' A l ton"eth e r' says Go et he, 'tir e stv le of a write r is a
0
'
•
fa ithful re prese ntative o f his n1i11rl; t her efore, if a ny rn a u
"vish to write a cle ar sty le , let lii111 rirs t b e cl ea r i11 hi s
t houg hts ; a ncl if he wo uld write iu a uoble sty le, let him
first possess a 110\J le so ul.'

SUBSTANCE 01< l£XPLtESS J.ON -

()HA P'I' P.:11 TX . .
~U B S T ANC I£
Kx:1 11ii1H· \\'(•11 ~

OF EXPHESSJON -lNVKNTlON.
.\' t •

writ.<•r:-:, we igh wit·li 1·11re

\V h:il ~ 11il :' _1'0111' g 1• 11i1 1:', ll' h al. .\'0 111' ~ f . l' <' ll g f . h w ill

IH'H l'. - Il oltACE .

' frn · r n·:id f.ill y 1111 h l11·c th o 11 g hl: yo 11nw lf 1·111pt.y; 11 1·1·er write t ill yo u ha1·c
r•·ad .u>11r"·ll' 1'111l .- ll 1c wn:1t .
l111·t· 11li o11. th1111.g h it <".:1 11 h p c 1ilti1·:1 11 ·d , c:11111 ol he 1'1 ·d11ct•d to rnl <·: l hnt• i'
11 0 • c i1·11<'l' w h ic h ll' ill 1· 11 nh l<' n m 1111 to het. hi11k hirn ~C' lf o f that w hi c h 11·ill R11it
Iii:' p11rpo:' <'. B11 t 11· h• ·11 h e /i uR thou g ht nf ~ 0111el h i11 .!.!: . ~c i e 11 cc w ill tell hi111
11 l1l'fhn lhal ll'hich lu > h :1 ~ t l1011 g h t. of '.1·ill s 11il. hi ~ pnrpn ~e or 11ot..-,T. S. MILL .

T l:TE word il'. ne11tim1 is ckrivcd from t he Lat in

invenfr1),,

·
to co111 n 111 , to e nt er . Ry t he natura l progress o l
l:i 11µ;uag-e l'rn 111 t11e lite ra l to th o 111 e h1, pli o ri ca l, it came i11
1 o1·u<· ess

of t im e to s ig nify dis cove ry.

H.he torically, it

L~ < 1 11 sists in t ho facu lty of findin g whatsoever is proper to

i)e ~aid, and of devising su itab le fo rm s fo r t he p urpose
·if d isco urse . Abso lu t e ly, i t is t he whole tale nt, prese nting- itse lf n.t e very point in t h e art.. Th o in ve nt io 11 of t hP
id e as , o r of t he matter, howe \"t·r, is in ve nti o n in t hP hi g hl'St se ns e of t ho t er m.
Choice of Subject.-Tl1 n subj ect m ay be furnished,
a nd i nv e 11ti o11 will t he n b e tax ed 0 11ly in treating i t; as i11
" Oii rts 0 f Ja W, i II leg is lat i VO d e lmtes, i11 prize essays, in
111a 11y acad e 111i ca l exercises:
or it m ay be left to yo ur
· · lioi ct~; as i11 pulpit e loque nce, in occnsio ual addresses,
111'1 in 111 ost kind s ol' co 111pos iti o n. If the latte r, le t it. be
!P. ve l to the capacity of you r audie nce. Let it be c hose n
\\' ith r e fe re n ce to t he occas io n and you r design, whether
I o instruc t, to con vi11 ce, to pe rsuad e, to p lease, or a ll of
t hese.
hl\t ·s
id

INVENTION.

1fii)

_r will ~e l
"f'r . - Th e att e rnp t t o dis cuss a. s ubj ect no · ~ur y
wit hin your power nrns t isstH' i11 vagary, frigidity, a nd
fa ilure. A wise distrust is be ttor t h an a u ove rw ee nin g
confi d e nce o r a false pride. T o do a nyt hin g e xc ell e nt ly,
you s hou Id do it fr o rn conviction . U 11 le ss y o u ar e yourself in t e re ste d, you ca 11n ot expe ct to interest ot her s. The
wo rd s that are ' h a lf battles' a re ne ve r spo k e n but in si n ce ri ty . Not hin g is mo re e as il y d e t e cte d, o r 1n o re repe lle nt , t lia.11 a lu k c wa r111 ea.n1 e st n css o r a co nn t< ~ rfn i t e 11tl111sias111. H e rn e rnber, too, t hat t he hum b le st subj ect m ay be
li f t ed in to t he region of literature. Cowpe r produce d a
g·reat po c 1n o n 'The Sofa.,' a nd ca ll ed it The Tusk
A
sto le n loc k of h a ir i nspired ·Pope 's b rillia11t mock-li e rnic
poe m , Th e Rape of t!i.e .Loci.:. A London lin e n-d rape r,
Izaak vV a. lto n, WOil a n ho norable place a 1u o 11g British
a u t hors by a t reatise 0 11 A ng lin g, writte n, p e rhaps, to
t ea.c h t he a ng le r's lowly cra.l't, yet i11 suc b sweet a 11d se ri ous <l ictio 11 , with such infus io n of rati o na l loyalty to
thi11 gs hum a n and Divine , of s impl e , ch il d -like love for
the b ea u t ies of ea rth and sky, t hat hi s li ttle book 0 11
fishi11g· has outliv ed many a more a 111bi t io us work.
Determination of Suqject.-H a vin g ch ose n yo ur
subj ect, conte m p late it fro 111 a particular point of view,
11
.... 1..~+
;"
irrele va nt. If yo u d ecide, fo r
~ t e lli io n to t h e religious a.spe c ts
o no rni cal a ncl its soc ia l asp ect s.
(mth, r est ric t you rself to o ne or
e ptions o[ it,- Hop e ful11 ess of
L'i111 e for Educn.tio11, o r Pl easures
:1 Youth lw S p e n t ? T he /!,'(' 11e ra I
by a n essay ist rni g ht be D1·eums,
r lP art icle , essay, c h a.pt.e r, or se c30 111 e limi tary notio n; as, Drearm;
, a ll(l S lee p; Drea m s a.ml th eir

COM PLE'l'l~ H.TIETOlUC.

Causes; Crim es in Drearn s ; Extrno rdi rmry Dreams; Laws
of Drn:uns; Lite rature of Dreams; Strangely F ulfi ll ed
UrPa n1 s ; Warnings in Dreams, etc.
:So mu c h of t he s nbj ec t as yo u inte 11<l to dev e lop, is,
w hethe r i111plied o r for m all y stated, t ec hnically known as
t Ir e status. lt is sometim es distinguish ed as the th esis, or
th em e. Ot her na111 es a.re commo nl y appli ed, as positi011,
standpoint, central thou,qht, proposition. Thus the
ground, m ain id ea, point of vie w, ce ntral thought, o r
status 0£ ll urk e's speec h 011 Co11eil iatfon 'llJith .A merica
is, that t he peo pl e of' tir e A 1n e ri ca 11 coloni 0s s hould he
ad mi tted in to a n in terest in tl1 e co11 stituti on, and be
a ll owed t he ri g h ts o f E 11 g lis h111 e 11. Th e status of Bu nyan's
Pilr11·im's P1·or1res:.:, as of Dante's .Divina Comrneclfrt, is
th e tria ls of t h e sou l in its stages from conve rsio n to
g lory, or fro m t h e prnbati o n of earth to th e r ewards ol'
heave 11 ; of Thackeray's Vi.1.nily F'afr, denu nc iatio11 of
::; ha ms; of Hawth orn e\; Scarlet L etter, t he ete rnal a nd
illimitabl e co nseque nce.s of human act ion.
Th e status is evid e ntly at t ho t lrresho ld of a ll good
writ in g, a nd is t h e genn of t he e ntire discomse. If p rope rly co nceived a nd ex pressed, it s hould be the fru i t of
prolonged re fl ectio n. It shou ld have unity; sho ul d be
cl ea r; should be co111pre h e 11 si ,,e rath e r t li an exte ns iv e. Not
ot he rwise is it possibl e fo r a11 y work, li terary or a rt isti c,
to be we ll do ne.
A MoTeat d eal of t he di sco m fort a ll cl difficultv., of writi ng'
co mpositi o ns arises fro n1 t he want of a well-d e fin ed subj ec t., or nucleus of t houg h t . \!V hen the young co n fess
t ha t t hey do not know what to write abou t, it w ill ofte n
be found t h at t hey have bee n di ssipating t heir e ne rgi es i11
th e e ndeavor to cove r too wide a range. In a ll proha.b ility, t hey have formed no status. ll011esty or Th e Ideal
is not a status, but. a term. To treat of eit her, th e writer
shou ld begin by asking w hat he believes to be true of it -

SLIB::>T ANU.E 01<' EX!'ltESolO.N -

lNV E.NTlUN.

157

t hat is, by frami ug some propos ition respecti ng it: as,
H o nesty is t ir e best po licy; Love of t he idea l [is] a11
evide nce of t ir e so ul 's i111111urtality; Th e inst inct w l1i c h
prornpt:s Ill a ll tu fo nn and p u rs ue a 11 ideal of c haracter or
co n<litio11 is the mains1Jrino·
of. hum a n prooTess
·' or ' Th e
b
b
effort to realize :smu e t hiu g better a nd Ii ig lr e r t han t he
prese nt actual is th e law o f the wo rl d .
Th e iu1portance of a status k e pt steadily in vie w is we ll
illu strated by Ur. J. H. N e wman, w ho supposes a you ng
Mr. IJrow11 to have wr ittu n a eo mpositi o u whi c h has lrne n
se n t by his a cl111iri11g fath e r to a tutor (Mr. B lack) at t ir e
U niv e rsity:
F'OltTES

l.~ 1>1tT UNA

.\ U.I U \ 'A T. 1

Of all t he u nuertain allll cn.pri uio11 ::; powers wh ich rnle our earthly
de:-;t iny , Fo rtun e is t he uhi ef. W ho lm,.: not hen 1:Ll of the poor bein g
ra ised. up , a nd t he ric h lwi11g laid lowr A lexa nder t he Great said
he envicJ l>ioge nc,; in hi s lub, because I>i ogcnes uou lll have nothing
less. \!Ve need not go [ar .for a 11 instance of fort un e. vVho was so
great a::; Nie hol as, Ll1 e Czar of all th e H.uss ian s, a year ago, aml now
he is 'fallen, [a llc11 from his hig h esLaLe, without a fri end. to gra.cr
his obsequies.' T he Turk,.; ;1 re t he fin est spcd111e11 uf Lh e h un11111
rnce, yet. Lhey ton ha\'e e.x 1H· ri c11ucd Lhe vici:s::;itudes of fortune.
Horn.CL1 su..rs t hat we shoul<l wrap ourselves in our virtue when fortun e c ha 11 ges. Nn,poleo n. too, shows us how li ttle we can rely on
fort 1111e; but lii s fo,11\Ls, great as t hey were, are being red ee med by
hi s neph ew, Loui s Napoleo n, who has :; l1 uw 11 l1im sclf very different.
from whnt; we ex peetccl, t hough he has never ex pla.in ed ho"· he came
to swear to tl 1 1 ~ Co n:=:t it 11 Lion, a11c1 t hen mou nt ed the im peria l throne .
From nil t hi s iL appearn that 1n.~ sho11ld. r ely on fort 111w only whil e
it rerna.in:-<,- rPc>o lleet in g t he words of the t hesis, 'Fortes fortuna
ndj 11 vaL '; a1Hl f.h:t.!, n.l)f)ve a ll. we sho11hl ever cultivate those virLues whi ch wi ll neve r fa il u~ , aw l 1\·hieh are a sure basis o( respec1:Lbility, 11nd will profit us here and hern1JLer.

'Not one word of this,' snys ])Jr. Black, to whn111 t he bny'f' fat her
has ,;nbmiLteJ t he composition for criticism, 'is upon Ll1e fh esi::-....
"Fode:; fortn na adju v:i.t;" is a 1wo7108ilion; it sLatrs a C1!rlnin g-1• 11 r.-

158

C OllPJ_, ET I~

H. IJETOltl C.

ml prirwiple; :iml thi s is just what. :111 ordinary boy wou ld be s un'
t.n 1ni :-;,.:. :1n1l H.olicrt d ocs n1i ;;s iL. H e gws off at once Oll t he word
"forl 1111:1.. '· "l1\1rt 1111a " w:i s 11 0[ lii s suhj ed; the Ll1csis was inte nd ed
Lo .g-11ide !1in1. ror hi,.: own g f)f)d: li e re f11 ,.;cs to be p11t i1tL• J Jcadi1Jg
;; tri11 gs ; 111· lm' aks louse, a1ul r11ns olf in hi s owu fashio n o n the
l1 ro:1d fi nill :t. lid in Willl dt:L:<C or '' for[.1111 0 " in,.;[e;1d or c l\1:-<ing witJ1
1lw :- uuj ce l, whi cl1, :i s bein g d e li11it e. " ·0 1tld lmn· s11ppPrt.Pd iii Ill.
'H w ould han ~ bee n \ "C. I)' ( ~ 1'111 • 1 Lo h:we 1-olll :L buy Lo write un
" (orf u1w ··: it wo11ld ha re lJ<'et1 lik e :i skin g hi111 Iii,.: o pinio n of
"Lhi11 g ,.: in g( •nc rnl." ]i'o rL1111 e is "grn>d.'" "l>ad ,"" "eaprie iou,.;."
" u1 iex 11ce tl' il , "' 11•11 th uu,.;:111d t hing:; all aL ouce -yn n ;;ee tlwlll :i.11
in t he Cirmln,.;, a 111l one of lh e11t :i s 111ueh as tltc other. 'fe n t.h n11 ~: 111d t hin gs 111ny be e<:Lill o[ it: g iY c Ill e one o f tli c111. a nd I will wri LP
11po11 it; l e:L111wt \\Ti to o il 1n orc thn.11 one ; H.oue rt prefers to writi·
ll}'Ull a ll. ..
'Nnw, I will prnph e,.;y n11e t.hi11g t>f ltu lw rt, unl ess thi s fa. nil i ~
kn nf'k ed 011L ol: l1i111,. co11t.i111H·1 l llH'f'('il1 •ss Mr. Hl :Lck : 'vV hcn Ii\'
g-ro"·" II] >, a11d. l1 a"' t.n 111 a ke a s 111·\'(· lt , 11 r writ e n letter l'or Lh c paper:;,
he will look ont fo r ll om ~ r ,.: , f111l-l1low11 flpw (' r,.:. fig11rl'f<. ;o; nmrL cx-

[W<·s,.: io11 :<, trill' <]1 L0Laf.in11:;, lt:i l'k 11 <·ycd bcgi1111ing,.: a11t l c11di11g:;,
po lllpo11 s ci rc u111loc11I ion,.:, :111d so 0 11 ; lrn t t li e 111 ea.11i11g, t lw se nse.
tho so l iil "'!ll ::il', tl11 • fo 1111d ;tf .io11 , yu 11 111a:· Ii 1111 t t·. Ji c ,.:Ii ppc r lon g
e11011g h befo re yo u catch it. '

Accumulation of Material.- AftAr th e e hoi ee and
d e t e rlllinati o n o ( yo ur s nbj ec t, th e ne xt ste p is Lo take
:i econ nt of what you know or t hink, to recall and e volv e ,
hy pati e nt re fl ec tion, all that can lJ e 1iiadc usd ul in 0x hihi t i11g and e 11forn i11 g your v i<~ ws. 'l'l1ong ltt rnu st IH'
co 11ti1111 0 11s a1HI co 11 c<" 11 t ra te d , dire d ·.ed to a d e liuitn o hj <·'.d,
not a.llowl'd tu wa11dc r l'ron1 0 11 e t hing to a11otli e r. It. is
pl)ssibl n t o !1101.: ynnr sulij<·d in to shape. As tro o ps, to
a c hi e ve a. g lo ri u 11s ,- jl ~ l " ry , 111ust be 11uu:; lml e d up o n tlH '
salll n plain , oli ey 1111 " s a111 L'. eo111111a11de r, light th e sa 111 e fo e ;
so till' f'a c ulti l's, t.o e lfoet anything· importa nt., tllust a c t
in co nce r t, si c'i'.e t lt1~ i r purposn with vigor, and pnrs u P it
with µ e rs e ve rn.11 ce . '1'111· p oet' s soul, lik e th e 111a11i a 1·'s
A_v e, 111ay roll in fin e ff!'. llZ.)'i but to the studellt, steadi ll f'SS o f gaze is indi s p c nsnh l0.
Onl.Y this ca n r ev ive t·lt p

SUBSTANCE OF EXPRESSIO N -

I NVENTION .

159

fa c ts aud principles whi c h li e Jornuwt in the m e mory,
unfold. t he full import ol' muc h t.hat is th er e , brin g tog e th er the scatte red l'r:1g 111 c 11ts, cliscove r n e w rc lat;io us,
an t1 afford a ge ne ral icl ca. or t he lin e of developm e nt.
As well 111i g ht genius say, ' Go to, l will rnake a re lig·i o u, '
as, ' Go to, I will rna.k e a great essay.' 'l'he propose LI
result ca nn ot be r each ed by p ress ure o r cran11ning, or by
t he m ost heroic e xte mp ore e nd e avo r. The rays of th e
in te ll ec t must be conv erge d to a fo c us, and be held there .
'Th e s ubj ec t,' says Dr. Mat he ws, 'mu st be broodec1 ove r
fr o m day to day, till, by th e lrnl f- co nsc io n s, half-u11 co 11scio us processes of thought, all t ha.t is un esse ntial, in co ng-ruous, or fore ign, has bee n s long hed ofI; till all diffic ulti es, surveyecl again and agaiu from n ew a.11gl es of vision ,
lin. ve bec 11 resolve d, a.11d tlta.t whic h was at 'first but a faint
suggestio n of trnth, has s nrrou11d c cl itself, by a kind ol'
e lec tiv e affi11ity of id ea s, with appropriate image ry and
illustrntion, and stands out, at last, i11 Gold r e li ef anrl in
full propo r t io n befo r e t lt n 111 e 11 ta l eye.'
This pre vious m ed itat io n will prepare you to r ead wit.It
adva11tag·e what ot he rs liav e wriLten. You will be less
liabl e to b e div e rt e d to for e ig n 1uatte r s, a.11d will rl et e ct
more quickly whate ve r is re late d to yo ur subj ect. Be n ot
biasn<l by the a.utliorit_v o f' a 11a111 e . \ Veigh ancl co ns id e r.
Le t· your reading be vari ed . N e w vi e w s will thus h e
obtain ed, a nd yo ur knowl e dge will b e comprehensiv e.
Le t your a.utliors be not o nl y ii; uuiso11 with yo ur op ininn s, hnt also adv e rse to t h<' 111. You will t ltus be co n stra in e d to self-nct ivi ty, fee lin g yourse lf stre ngth e ned hy
co in c id e nce, and incited to a. 111ore careful exarniuation ll\·
diffe r e nce. Says Sir \Villiarn Harnilto11, 'To read pass iv ely . to learn-is, in reality, 11ot to learn at all. 111
study, impli c it faith, b e li e f upon authority, is worse e ve n
than, for a time, erron eo us spec ul atio11.' 'I r.a. 11 that th e
bes t t h011H',' says Dr. Arno ld, 'whi c h s hows that th e boy

I r;o

CO)IP L l•:TJ·: H II ETUIU C.

11a s read a.nd t h o ug ht fo r him self; t hat t he next best
wlii c h s ho ws that li e has read several books, an<l dig ested
what, li e 11a.s nmtl; :L11cl t ha t t he worst whi c h shows t lrn.t
li e has fo ll o wed bu t o ne book, and that without r e fl ect. ion. ' (3iblio;1's pract ic :e l'urni s hes a goo d ge ne ral rule:
'A ft e r a rapid g la nce 011 t he s ubj ect a.ml distribution of a.
11 e w book, I s us pe llll t he readin g of it, whic h J o nl y res um e afte r ha ,·in g e xa111in ed t he su bj ect in all its relat ions; a.ftc r l1 av ing ca lled np in lll ,Y solitary walks all t ha.t
I have ma.cl , ur t lt o11g l1 t o r lc;1.l'Jlc •d in rega.rd Lo t l1< ~ s uh .i cut of th e whol e book or of so 1u c c hapte r i11 particular.
I thus 1Jlace mysel f in a co n<li t ion to add_ to my g e n ~ r a l
sLock of knowl edge, a nd T am t hu s some tim es favorao ly
disposed liy t he a.eco rclan ee, so niet. im es a rm e d by tl1.e
oppos iti on, o f o ur vi e ws' Hi s 111·< ·ec pts, as _w e ll as Ill s
exa n1pl e, a re va lua b le hiu ts : 'Let us read with 111 et h ~d,
a 11 d propose to o urse lves a n e ncl to which a ll ou r st u,di es
D etac hed p a rcels o f' knowledge ea 11not fo n11
111 ay po int.
:1 W IJ O l e. . . . vV hik W C jJl'O rtl OSe a n e nd in our r eading,
let n ot this e ncl be too re mote; and wh e n o nce we have
a t t a i necl it, let o ur atte 11 ti o n be cl i rected to a. cl iffcre n t
su bj ect. In co 11 sta 11 ey wea k e ns t li e uudmsta11di11g; n, lo ng
a. 11 d exclu siv e applieation to a s ing le objeet harde ns a nd
co ntracts it . . . . To r ead wi t h atte n t ion, exac tly to d efin e t he e xpression of o ur a u t ho r, n e ve r to ad mit a co11 c)u ..
s io n wi t hou t co 111pre he 1Hling iLs reaso 11 , o fte n to pa use,
re fl ec t a nd i nte rroga.te ou rse lves; t it cse are so 1na11 y a d vices ,~hi ch it is ea~y to g ive, hut difficult to fo llo w.' It.
ma.v be add ed t hat, t.o re nd e r imp ressions spec ine and
dist.inet, t he t houg h ts gat he retl or s uggested s hou ld be
e itli e r ca refu ll y fix ed in me 111 ory o r noted o n pa.pe r,
g rouped aroun~l t he ce ntral id ea i11 acco rd a nce with t he ir
rc· LJf i ve va lue a.11d p e r t in e nce.
?\n i1w
e ui1 .v <·an dra.w wate r from a well t. lt at is dry.
n 11
O nl y the Omnipote n t ca n ereat<-~ . Th e loftiest ge niu s

:::>UJJSTANCE OF J<;XP l.tESi::l l.U N-lNVENTlO N .

lGl

lloes not feed o n itself and spin co bw e bs o ut of its o wn
bowels. Tt is esse n t ia lly r eee pti\'C~, r cuo rnbiuin g a nd re east in g t li e :fu n d ed t houg ht of t he ages. He nce t ho
a neie n ts ca lled Me mory t he m ot he r of all t he Muses, a nd
C l1a tPaubri a ncl n.ve r rccl t l1 at t he hi g hest produetiuns arc
eo mposed on1y of r ecoll ect io ns. V irg il, Da nte, C ha uce r,
Spe nser, Mil to n, a nd S hakes peare wore d e btors to a n
in calcu lab le exte nt, i llu stratin g Mo li <~re 's prin c iple, t hat
li e recov n r nd l1i s prnpnrty wl1erevc.~r he l'.ot111d it ; and
E111 e rso11's, 'Tli oug· l1 t is t l1 c prope rty of l1i111 who c:u1
e 11 t e rbt i11 it , and of him wlio ea.n adequately place it. 1
A ll t hat tl1 ey had read, as we ll as a ll tha t t hey l1 ad see n,
t he r esu l ts of r eacli 11g, e xper ie nce, a 11d r eflectio11, w e nt
into th e mil l, suffering
'A sea-c han ge

Into something rich a nrl st range.'
Th e fam ous w riters and spea k e rs of t he world, we rep eat, . h ave f elt t he importan ce oC fillin g we ll t he storeh o use o:f t he mind, in prepa rat io n wh e ther for some
special task or for t heir li fe-wo rk. Tb ey liave been g reedy
J evo ure rs of books, seizi11 g a nd u t ilizin g e very approp riate im age or apt t ho ug h t whic11 t hey could pick up in
th eir r eadi ng. .Robertson spe nt m uch of his t ime in the
study of geology, c he mistry, and ot her sc ie nces, to g ive
strength and fr es hn ess to his serm ons. Hundre<ls of passages in M ilt.on a r e paraphrases or literal trans lations of
passages in th e Greek and Latin poets, while his diction
has b een affirmed to be t he elaborated out co me of t he
best words of a ll antecedent poetry. Currn.11, the orator,
studied Eng lis h and class ical literature with in defat igable
zeal. B urk e owed bi s vast knowledge and in ex haustible
vocabulary to a n extensive acq ua in tance with books. His
speec hes abou nd with poet ica l gems, especially from V irgi l
a nd Milto n. Erskine cor111 11 itted a large pa.rt of t he latte r
to memory, :wd so familiariz ed himself with S lia.kespea re
11

1 G2

CU .,ll'J ,E T E lULETU lt l. C.

t lm t, it is said, he co uld haye co m 'ers eLl on almost a ny subj ec t for <lays toget her in th e phrases of th e g reat 1£11g-li s h <lranmtist. 'Jn li terature,' C ho<ite was wo11t to say,
'you iiml id eas. Th er e o ne s ho uld daily r e ple nish l1i s
stock. Th e wh oln nw ge of polite literature s hou ld be
\·exed fo r t ho ug h ts.' Pope wa,s a m ult ifa rious r ead er, b ut
dil ige ntly se lective; adopt ing a ll poetic o rnam e nts, graceful co11trasts, noble se nti111 c 11 ts, and sto rin g th e m away as
hi s li terary wanlrobe; co111bini11g a, ncl classify ing into a
me ntal <1i e tionary, so as to be ready at liis call, th e materin.ls whic h mi g ht serve to ro und hi s pe ri ods o r illumin at e
hi s icl cas. vVhat J1 e lt ear<l, mornovcr, he was a,tte n t ive to
reta in. If co n ve rsatio n offered a nyt hin g, h e co mmitted
it to pape r. lf a t ho ug ht or phrase, happi e r t ha n usua l,
occ urred to lti111 , he wrote it d o wn . ' vV hat is a g r eat
111a11,' as k s E111 e rso n, 'bnt 011 e of g reat afliniti cs, who
takes up into l1i111 self all a rts, sc ie nces, a. ll kn owables, a s
hi s food?' Else wh ere li e asse rts that th e g reat man must
be a great r cacler, a nd possess grea t ass imil ating pow e r.
H e is g reat est who co n ve r ts rn ost of his pred ecessors and
cu 11 te rnpo ra ries into nu tri me nt fo r him self.

Disposition.-Jt is ass u1n ed that you have thus far
had co usbllltly in vis io n th e status of yo ur in te nded prollu ct io11; thn.t yo u lta,vc g radually d e veloped ce rtain leading t ho ug h ts whi ch shou ld e nter in to it, or p erhaps t l1a L
you ha ve pre pared a sche me of top ics - m ere liint s to
g ui <le your thi 11king a.ml investigation; also, that und er
ca.c h of t hese princ ipa l heads you have decided upon ce1'tain s ubord ina te o nes ; a.nd that yo u have more o r kss
closely exa.111i11 ed th e ideas met with or e volved, to fi 11d
wh et her th ey h ave the ch aracteristics which justify o r
re quire Lh eir a d o ption. Thus, suppose your su bject to be
Grn;s JL',

a nd yo ur o u t liuc :

t;U HSTAN CE OJ." EXPKE8SION- I N \'8NTIO N .

1U3

1. Orig in (1 ) J\fa11 1mL urnll .v n. e01111111111i caf·.i rc being .
(2) That of wliic lt Lit e mi11d is foll " -ill co lllc out in expressio n.

2. J\l ornl a spect:; (l) 1\ co nstan t inC rncLion o f t he Go ld en Rule.
(2) Evil effects npon indi vidual s and ;;ociel-y.
0. Encou raged by caterers for the public prcs1; .
•!. C ure for gossip- c ultnrc.

S uppose, aga in, yo ur s ubj ect to he
Tim ELECTnrc T E LEUJtAPll.
~ I aJw; :

A be·1M:ficent in·v enhon.

Ouf.li1H':
Pro11 10f.es i nlel Iigc ncc -

Co rn pa ri so n bet.ween pasL a ncl present I 11 flu erwe on co 111111crce - On scc nrity - 011 morality - On peace -

0 11 eivili zal io11.

Or, 011cc rn or e,
l\ lE~IOlt Y.

(

Sche me :
What it is - Tts val1rn -AL wh:Lt p0ri ml us uall y clcvtd npr d Kimb-Should I.Jc se lective - l\fa.n 'cllous feats - H ow i111pairl'd lluw illl prnv cd.

A sermon by F . \ 1V. H.ober tson on the t e xt, 'And you that
were so m etime alie nated rt11<l e nemies in you r minds by
wi ck ed work s, y e t n ow hath h e reco uc iled,' presents L11 e
fo ll ow i 11 g fo rm:
1. Alienation (1) God from man.
(2) l\lan fro111 God .
~.

H.eeo ncilin.tion (1 ) Man to <foci.
(2) l\fa n to 111 a.11 .
(:3) J\fn. n to liimse lf.
(4) 1\la11 to his dnty.

Th e seve nth clrnp ter o f Dr. Drap e r' s C01Vlict bet11;e1;n
St'ierwe and R elir;ion prese nts t h e following sc he me : Subj ect, which is the same as t he title of th e work

'

104

(:0,\ll' L ETE lUI ETO tn c .

] 65

C o N vr,1 c T BET WEE N S u rn Nc 10 ASD R E L IGION .

~ taL 11 ,:; :

r:on fJ'()uersy re.sp ect in,q the a,ge uf the ecirth.

( :Ja ss i ti.eat ion :·
Sc ripi.11rnl view t hat the ea rt h is o nl y l'iX t ho usa nd years old , a nd
1.li a.t it; was nmd e in a wee k. - Patrist ic c hrono logy fo u nd er! 0 11 t he
:i g-es o f' t he p:r.t.ri a rch s.- Dit11 c11l 1. ies a r i,.; in g from diffe rent c.st. im aL1•,.;
i 11 cliffc re11 t \'Crs iu11s of Lhl' Bib le.- L egem l of t he Delu g e.-T li e
rPpco p ii11 g. - The Tower of' Babe l ; t he con fusion of t ung 11 cs.T li e primi Livc la ng uagt>.- Discovery by Uass ini of t he obb te ue:;s o f
: ill' plan et cl up itcr. - D iscover y by Ne wto n o f t he ob lateness of t li l'
i '~ a r L h . -De1 l11 c t i o n t hat s he has been m ode ll ed by m ec lta nica I
1•:i.11scs.- Confir m:1.t-.ion of this by p;co log ica l discoveries respect ing
:1.q 11eons rocks ; cor robo r atio n by o rg a nic re ma in:<.- The ueccssit.y
n f n.d mit t ill ,!.\' 1•n o l' lll0 1lS] ,Y [0 11 g pc ri O([S of f; i11 w. - ])j c; place ll tell t Of' t lw
d od .rinc o f Crentio n by tlrnL o f' Evolu t ion.- ]) i:;eove ries respec t i11 g
I he A nt iqui ty of Ma n.-The t im e-scale a nd s pa ce-scale of the wo rld
:1rr. i11fini t-.c. - j\[rnlc ra t io11 w it h which t he lliscussion of the Age o [
1lie ·w orl1l lrns bee n cond uc ted.

T he nin t h c hapte r of t he fi rst volume of G ibbon's Rome
:~· iv e s th e fo llo win g :
G tm MA N Y.

·-; 1.n.t ns: The statP of Germany tilt the incrt8ion of the barbctrian::; in

t/1e t.ime of the Emperor D ec ins.
.\I LH,ly,_iS :
.
f
I . Pl1y:;1ca
. n t,.
·.cu.turns
-\ Exte
1

1. Clim ate -

.

2. Or ig in of t. he Ge rma n :; -

.

e ffect s o n t he nati ve:;.

fab les aml conject ure:-<.

(
' 0 f leLters.
j I g norn. nce Of a.rts a ull 1.tgri r. 11l t 11 rr. .
/ 0 [ t he use ot meta.ls .

J

:!. l~et 1 Pr:i.I condi t ion

J

1nclolence.
T a.sLc fo r sLro ng liquor s.

1

Sa va.µ;cry.

\ l ~ rcr.d o rn .

1. l'o lil.i ca l a"111•d - Po p11l1tr as:;(' lltbli c,.;.
( A u t hori t y of. pri nee,; a nd ma.gisLrat.es.
!}. Ger ma n c lm:o t it y - its probable ca u:;es.
1

in peace .
G. R e ] 1.g 1.or1 )\ EITcct.:;
"
. ·
t ]<, ficcts 111 war.

7. Tlte Lmtd s.
\ \ V nn t. of ar 111s.
8. Cn.u,_e;; whi c h dwe kPcl prog 1·pss -) \~a'.1 t ~r d i s~ip li11 e .
l t ·I 1'1 1 1l 1srwn"1o ns.
H. D isLi nct ion of t he (fo rn m 11 Ll' il1e.

10. Nu m be rs.

S ta rt ing wit h a roug h draft of \vlt at you :tre to com m uni c:tte, y on will bea r iu 111ind t !tat t he a na lyt ic process
111 ust acco m pa ny t he processes of refl ectio n a nd researc h.
Th e fo rm er sho ul d be s ha p ed in t he grow in g lig bt of t he
latter, whi c h it ser ves to d irec t. B efo r e proceedin g t o
wri t e, t he re sho uld he a lin a l s ur vey of t h e fi eld of in q ui ry ,
a nd a fin a l re \'is io n of yo ur abstract, or pla n . This is t he
t ime to e ns ure seque nce mid u nity of parts. T he d ist ri bu t i11 g of id eas t o th e ir app ro p ri ate pl a,ces so as to fo rrn a
com ple t e, ha rm o nio us who le, is ca ll ed <lisp osition.
Th e pl a n, or rig ht d ivis io n a ud s ub d ivis io n of your sub j e ct , must he a p ro mine nt obj ec t of atte nt io n a 11cl st udy.
[t sig-11ifi es li tt le how o pul e nt yo u m ay b e, j r yo u have no
co11111 ia.nd o•:er you r t r ea s ures. H und reds cn.11 produce a
cro wd of good id eas upo n a ny su bj ect, fo r one th at ca n
m a rshal t hem w it h best effec t . Says V in et: ' Good
t houg h ts . . . are :tbu ndant. T he :tr t of orgam z111 g
t he m is not so co mm o11 . . . . vV e sho uld p e rha ps be
· wit hin l>ou nds in saying t liat di s positio n in a d isco urse is
11 o t of more seco ndary im po r t au ce t ha n t h e mode of
ao·g
re bo·ation of m o lecul es in a l)hvs
ica l s u bsta nce ; t hi s
M
..
mou e in a g reat meas ure con s ti tutes t he na t ure of t he
hocly .' O rig in aJity, a cco rdi ng to P a.seal, co nsists less in
t he ne wn ess of th e t hong lt ts t ha n in t heir co mbinati o n.
'Every ma n, as he wa lks t hro ug h th e stree ts,' says De
CJuin cey, ' may co ntrive to j ot clown an in depen de n t
t hou g ht ; a short-h and m e mo ra nd um of a g rea t t ru t h.
. . . Stand ing on o n e k•g, y o u may ac comp lis h t hi s.
T he labor of com p os it io n begins whe n y ou have t o put

1 (j (j

C O~IPLETE RH ETORIC.
SU B STA NC

1
Ir.e a\ s o f tliou.g·ht into P l
tl1 P1 · t
.,
,. oom; to we ave
. . n '" o a co11t111uo us whol e · to
,
.
tl1 c 111 · t o hl o w tl1
t
'
co1111 t.ct, t o iutrodu cc>
'
e rn o u o r e xpa,11cl t h . . .
t o a clasp ' Tl f ll
.
e ll! , t o cany the1 11
"
ic . o o w1110·
p·tss· . f,10 111 B
. .
0
a11 c f
' · .1.ge
urk e is at on ce
II o rce 111 e 11t and a11 illu strati o n of 111 et liod:
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· ·1!1I·t JOH
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11 cecssnry to '
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r:liarter i.s - Wl1t• Llt C'!' ti , ,
.
ic v o111panv s n.!Jll «c of' II ,·.,
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I n I.Ins
grea t; obi'ce t IJ,. . 1
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J!l' 1·111iss io11 lo co nsid er ti . . ,
"". ' ' · ' . u Y·
s t:dl beg yo 11 r
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, ic11 t.:0 111 1ll CI. lit Lwo 110-ltt; -. 1'. ·I· II
• Litt tl1 c11 Lli c c:o1tnnerui-tl
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co111prc hc11d th eir co 1Hl11 ct . ti . . . .
I
·' 111 w .11c 1 I mean In
Ill
IC!! le1l er·i.I l:'LI)' 'l
.
J!<>wors and stntcs i ndo[J, 1 l 011 t. t·I
. ' . ' - ·Lt:I ·.Y as It relates to
, · 1c oth er rntc 111
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ei L
co ndu ct to tlt o co nn triAs ' t i . . .
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! O lll! SC L t) 0 titan CO lllltlOI!

I~

OF EX L'l!. E 88 fO N -

CNV EN T IO N .

H i'(

yo ur Sf' j)arate ti

'l'lto attonLi o11. sir wlticl1 T ,· I
111s 1 Io prcsc rrn t0
ti 1 .
·
·
IH ~ co11sirl crc1l a..:: 111111 00
"~'"Ll' Y . . ·fl'
" t I,. me
0i a cc 1'Cl1 N
v ·~ · ,
I · 101 . will 1101.
to Sl'lcct ion n11t of t·lt e . (' :t_
• i o , n 11g o sn cn.11 Ir e!p llH'
, 111_1111 .c 111a""
of n1·tLP1"
u11d r• 1· 1111· eye or en
·
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t 10 g1ea t· lt~ad 111 g
po111 t.s I lta1'c in vi ew.

If yo n wo uld write with
fi l
me th odi c al
EI .
f
con JC e nce and ce rtainty, he
•
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avrng o nncl all th
. ·d ·
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wl11 c h aeo 1·t 11 .1... y
e car rnal p o in ts rnto
' ..,
... SPe n1 yo.
b'
I
e xa111i11 e them criti ~ ~11'. u1 su j ec t s ionlcl be r eso lv e d,
ea c l1 (if a
) ' · .Y, as we ll as th e s ubdivisions of
'11 .)' s nc 1I ' to s ee that th e
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.
i11 0· tl1 e lin e of ti
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01(. e1 is org a111 c, carn·b t
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,
. ro ug tt naturally and suo·<,.esti vely
T ·, t
no op1 c lie rais e l t
I
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.-, a
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should be s ,· , . l . o tie r:rnk of coi\rdinate wh e n ii
_
, ' 11 )O l'l 111a.te.
Avo i l t f"
· .
.
\' o ur sk c lf't
,f .
l
et rous rn1rlt1pl1 caL1on.
. on or ram e wo rk of cou ,
· 11 fi
. .
and <1 e t c n11i11 e ti
. '
i sc, w1
1x th e lrlllrts
l
• .
,
re c o nt e nts o f th e three o·.
11
;~r\<; ; ~:u(!rsc,-th ~ In t1·od1tct ion, th e Discussio~: (~:. b;:~::l)s

1

·

1

, l)J/.f ' , /(, 8J. O?/,.

Th e i11trod11 c ti 011

." " .,,.,. ; ,. .. .

I

1 ,

•.

.
' nr exnrr 1rn111, is d os i,!r11 e cl t
"

.()

O j>f ~ n

!

'

Iit'

th e di scourse , it sh o n1d b e closely co nn ec t e d with it, bri efly
comluctin g t o it without any a ppeara n ce of artifi ce or forcf~ .
It s ho uld contain onl y wh a t is easily urnl e rstood aud will be
r e ad ii y a d rn ittcd. It sh ould a wak e n inte r est, if Hot curiosity,
ancl sho uld di sp ose t. he mind pleasurabl y , if n ot eage rly, to
wh a t fo ll o ws . Tho ug· h it 11 ced n o t b e writ.te n last, its
d e t e rminati o n s ho ulcl b e d e fcn e<l till th e e nd proposed is
clisti11 ctl y app re he mk:d , a.nil tl1 c 111 e:t11s t o he e mploy ed a n~
c le arly di scc rn ecl. Yo u c a11 introduce he tte 1· wh e n y ou
know what is t o lie i11troducecl. C icer o t e lls u s tha t it
was his c usto m firs t t o plan and diges t th e m a t e rials
gath e r ed, am1 last of all t o co nsid e r with what li e sh o uld
begin; for, if he atte mpt ed th e iutroduc t ion first , nothing
o ccurred to him but what was triflin g a nd comm o npl ace.
'!'Ii c le ng th of th e i 11 t rodu ctio n will d e pe nd u pou th e
na t ure a nd e xte nt of th e compositio n. It would be in
p oo r tas t e to er ect a hu ge p o rti co be fore a small building .
vVh a t is to b e d esired is not a d e lay or an inte rn.I more
o r less w e ll occupi e d , bu t a preparati o n. Th e op e ning of
vVebste r's rejoinder t o H ay ne is nov e l and striking :
Mr. Prcside11t.-\Vho11 Lhc marin er lms boon tosscLl for ma11v
<h,Ys in thick weather, nrnl 0 11 :1.11 unkn own sea, he naturnll,v arn.il,lii111sclf of t he first ptt11so in tho storlll , Lit e ea rliest glnn co of the ,;1111 .
to Lake his lati tuLlo, and asce1fo.i11 how fat· t he elements lmvo 11rin•11
him from hi s true course. Let ns imi tate thi s prULlence, arnl.
before we flon.t farth er on Lit e waves of Lhis debate. refer to th1•
poi11L from whi.elt we L1cp:tr tcd, t.lmt we IIHL,1' at least lie al1l c to cn11 jPl'l11rc where we now arc. I ask for tho rcaui11 g of tho resolu!;io11
lidorn Lit e Senato.
Th e e x orcliurn is fre qu e ntly omitted al t oge th er, as jn sh o rt
essays , and, occasio 11ally, in oth e r produc ti o ns wh ere th n
di sc u ssion cau be e nter e d upon at o nce without abrnpt. 11 ess. C ice ro' s first o ra ti o n against C atiline is an e xa111pl e :
Qnn11sq nr>. l anrlem nJ111/1>1·p,, Crilihnrr. , p nfientict nos{r ri - ' lfoll'

] G8

UO ,\ll'LETE lt H ETORIC .

w hi c h furni s h es tl1 e prope r mea ns of re t i.ring fro 111 th e
dis c uss irJ11. lt; li a.s pla.ue :Lfte r t l1 e subj ec t has bee n co 111 pl ot e ly t reated, :Ls th o exo n liu111 has be fore t he s ubj ect
l1 as hec 11 e n tered up o n. ·1t may b< ~ d escripti ve, omoti o11 a l
- [Ji1re ly a n npp ca l to t he fe ulin g·s, e 111plrntic - a 11 e n1phasis of spec ial p ropos iti o ns, rd ros pective - a re cap itu l:t tio11 o r co11de 11 scd s 1111rn1:uy of wh at has bee u said. lt
is h er e t hat yo n are to r eap th e h a r\' es t of t he seed sow 11
at t h e o u tset. Exami n e t li e sen110 11 s of C ha 11ni11 g-, Hobe rt so 11 , B (~ec h e r, o r t he essays o f Aflrli so n, Mo n tague,
.lVLwaul ay, Hu 11 t, Land o r, E 111 e rson ; and observe, for
yo urse lv es, t he c haracte rs whi c h t he in trnductiou a nd t h e
co u clus irn1 prese n t.
But d isco nrse ca nn ot have the e ne rgy or e legance o f a
[i,·ing wh o le t ill suitab le co nn ectin g link s are found; t hnt
is, trnn siti o us from 011 0 pa.rt to a 11 oth er which s ha ll g ive
co he re n ce to t h e c::rnst ituc nt ele me nts. The ir purpose is
twofold and opp osite,- to d ist in g ui sh a nd to uni te. A
good tra 11 s itio 11 comb in es seve ra l qualities. lt s ho uld
look bo t h to what preced es and to what fo llows, a nd
s hould d o t hi s i11 agre e 111 e 11t wit h t he com1u o n m odes of
assoc i:Lti ng t h e t ho ughts, ma kin g t he poin ts of co11 taet so
plain t ha,t t h ey can be in s tant ly discove red. . lt is n ot
s111Ti c ie 11t that t h o co nn e ction be r eal a ml m~ce ssa ry- it
lllU St be appare n t. Says .J o lin Qu in cy Ada. Ills or t li esP
i11f. e rt11 ed iate icl cas, o r r efe re nces, w het he r a nn o un ced wit.Ii
st nrli o us for rn a li ty or in vo lve tl in t h e s hell o f i11di roct
alln s io n: 'Th e sam e nat u ral av ors io11 of 1n ankind to ah·
n1pt11 ess at t lw co mn1 e 11 ce m on t o r close of a n o rnti o 11,
whi c h h a~;; es tabli s hed t he n11 s to rn of ope nin g wit h :111
exo rdiu111 and o f e nrlin g with a p e rorat ion, h as e rec t ed
t hese bn"d.qcs o \·0 r t h e va ri ous inl e ts w hi ch in t e rsect t h e
diffo r e11 t r egio ns of t l1 e pro\' in ce.' It is this d e m a nd tha t
has c reated t h e co 11 t i1111 at ive particles, wh ose nso nncl
va lu e have bee n e lse w here re 111 a rke d: lwwevc1·, morr'm't'1',

~lJBSTA.N CE

or

EXl' l tESSJON- I N \'l ~N TION.

169

indcecl, thus, Gonsequently, fnrth e1·, ctga.in, likewise, e t c.
Observe how Go ld smi t h 's Tr avellm· p asses, iu its d es cr ipt io n of co untri es, frnm Ita ly t o S wi t ze rl a nd:
My so ul. t.111·11 frn111 1·hc111 : - L1 1r11 we Lu !'Urvey
Wh ere ro ug her clim es a nobl0r race di spl ay .

S imila rl y fro 111 S witze rl a nd to Fra nce :
Some ster11er 1·i rt 11es · o'er t he 11w11 nta.i n's breast
l\fay sit l ikc l::dco ns, co we rin g 011 tl1c ncsl. :
But a ll Lhc gc11tlc r 111 oral s s uc h as pl rLy
Throu g h life's more cul t nred walk:::, a nd c lmr m the way,
These, fol' dispersed, on t imorow; pinio ns ll y,
T o sport and flu t ler in a kinder sky.
To kind el' s kies, whe re gentle!' 111anne rs reig n,
T t nm - and F ra nce displays hel' brig ht domain.

Mil ton, in revisin g Paradise L ost, 111 ade a d ivis ion of t h e
seve11th book at t he e nd of Gabriel's na rrativ e to Adam,
g iving, fo r t h e Jirst line of t h e resnlti11g eighth book,
To whom t hus Afla1n g rntefu lly rcp li eLl.

Hut to a.void a beg i1111in g so a.b rnpt, t hree lin es we re
ad d ed, by way of t ra.11sition, a 11 d Ada m's r e ply ts no w
introd u ced by t h e fol lo wiu g bea u t iful pi c tu re :
Th e :t11gcl encl 01l, and in 1\.Ll:u11 's car
So cha 1'111i11 g· ldt hi s rn i1•0, tli :1.f; he a while
'l'h o11 g li t. lii111 sl ill spca.ki11g, sLill st.ood fi xed Lo heal';
Th en, as new wakccl, Urns g rnLcfull y re pli ed.

Amplifi.cation .-T li e o u t i i ne be i11 g d ete rmin ed, t he
n ext s t ep is to fill i t up - so t o e nl arge upo n th e id eas
e xpressed und e r t he va ri o us h eads as to co n ve rt t he fl es hless a.bst.ra c t into a vivid ex hibi tio 11. This process is
called arnplifi catio11. 'It is t he m oral a nd intell ec tua l
le ns whi ch, with o ut alte rin g t h e nat ure of t he tli i11 gs
th e mse lv es, swe lls and co ntracts t heir d i me ns ions by t he
m edium throug h which it prese nts t he m to t he ey e.' '
1 .Tol111 l/11i11r.y ;\d a m s.

] '(0

CO ~!PLETl ~

HJTETOlGC.

Th e hare e nun c iatio n of a fact o r trntl1 d oes n ot afford
t i111 r\ f'or di ges ti o 11 a nll ass i111iJ at io 11. The mind 11111 s t lH'
d e t.ain e d, if it is to be i111pressed . Tims t h e pro p os it io n
'l rl ea l sce n es of fe li c ity a re lik e r e mote objects i11 a la nd scape, whose di st:rnce mak es t h e m fair,' is i11te lli g ibl e , but
111ark h o w th e p oet, by ex pa11di11 g it, m akes it f'e lt:
1\ L s111111r1Pr rve, wh en lkan;n's ethereal how

Span s wit h IJri p;l1 t n.reh th o g li Llcri11 g l1ill s below,
\Vhy In .ro11 111 0111d.ai 11 t.11rn s t he 11111 si11g· <'_\' e.
\\'h osl' ,_;1111l>righ t. s11111111iL 111i11g· lcs wiLlt Ll1< ~ ;.; l;y!'
\Vh y do tl 10;.;e cliffs o[ shadowy Li11t appl':Lr
'!\ lore swcd. th nn n.11 Lhr la 111bcapc s111ili11g 11 C'a r r
"l'i;.; di st:111 cc lcn1l s r ncl1:1.11L1 m' 11 L to Lhc vit'w,
A rni rolws !.li e 111oun tain i11 its az 11rc h11 c.
Thus, \r it.h <lcli g· hf., we lin ge r to sunoy
'l'lin prnrnised joys of li fo's 11n111 cas11rr cl way;
Thu s. from a far. each d i111-di scovo r'll ser ne
More pl eas in g seems t.lrnn :dl I.he past !in s hrr n,
And every fo rm t hat Fn,ncy can rr pa.i1·
Fro lll dark ob li vio n, glows divin ely t herc.-Gam71bell.
Th e n ature of the t h o ug h t a nd th e e ml in vi e w must
cl ecid e wh a t m ea ns o f a mplifi catio n are m ost suitabl e.
Th e two of c hie f importance a r e e num eration a nd co mpa ri so n. Thus Add ison amplifi es th e ge n e ral truth t h at
nat ure is full of life, by c itin g in sta n ces, s ingly trilling,
p e rhaps , but, co llec tive ly, foll o f co nvin cing force:
]i,; \·rr.v pa.rt o[ 111 ntter is peo pl cll, every g ree n leaf: swnrms with
i11lmhita nLs. '!'h ere is sen.rec a si11 gle l111mor i11 th e uml y of n nm11,
nr n f' an:v other ani innl, in whi ch ou r glasses Lio not LliscoYer 111 _yriad $
ol' livin g <'l'<':durco:;. 'J'l1 c snrl'n.c:e of: a nim als is also cov crnd wi th
ol IH' r a 11i111:1b, whi ch a rc in th e sa.111 e 111anner Lhe basis of oth er :111i111:ds. f.h:i.t. li\· 1 ~ upon it.. Na_r, \\'C fin1l in t he most solill uodi P;.;, as
in 111 a rbl c it sr l f. innn1n crnhl c rell s n.nd en.vi Lies, t lmt a rc erowd1·tl
wit.Ii ;.;11cl1 i1nperee pt.ibl e inh a lJiLn.11 Ls as arc too lit.U c for L11 e 11alm l
1·.rc to di scm·rr. On Lhc other l1 :111tl. if we loo k in to t he lll orc bu lky
pa.rt .;.; of n:t.l 11rr . we src I. he sr:i s, la kes, rivers, t.rl•rn in g wiLlt 11u111l 1<·rh·s;.; kind s "r liYin g neat 11res. We ti111l er ery 111 ou1d ai n :1.11<l 111:1.r<.: !1.
11·ild1·1·1w-.:-.: :1 111 ! 11·11n1 l. 1il 1·1ili 1'11! !1- «l<H'k<'<l \Yi lli l1 ir1l >' a nd li p:i c: I;.:: :111<!

SUBSTANCE Of/ EX PRESSION -

1NYENTTO N .

1rt

eve ry part o[ 111:1Ltor nffonlin g propl' r ll t'ccs::::uies a1ul co nr onir nc<'S
f'or t he li ve lih ood o[ mul tituLlcs wh ieh inhabi t, it.
'L'h e e laborate m e n t ion o f d e tails is a lead in g quality of
Bunyan, Defoe, a nd Carly le . It would b e d iffi c ult, h oweve r, t o fin<l a m o re strikin g exa mpl e t h a n S hakespea re 's
<l esn ripti o 11 o f <J u ee11 lVfoh:
Sh0 CO ll'l ('S
[11 shn.pc 110 !Jigge r tl1:Ln a. 11 ag: d.c stone
()11 t he forelin gPI' o( a 11 alderm a n;
llrawn witlt a Learn ol' li t.tic a1,ollli es
1\ t h wart 111011 's 11 oscs, as th ey li e aslcr.p ;
l ler wngo n-spolrns 111 adc o[ long spi1111el's' legs;
Th e covel', of t lt e wi 11gs of g rn;.;shoppcr::: ;
'['he trnces, o[ t ho smal lest. spid er's \\·c lJ:
'!'h o co lla rs, of Lhc 1110011-sltin e's wn.Lc ry br1w 1s :
I lt'r whip of cricket';; !Jones; the la.sh of tilrn ;
Her mLgoncr, a sma ll grey-con.tell g un.t,
Not lmlE so big as a r oun d littl e wo1·111,
P rick\ l fro 111 Lh c lazy fin ger of a maid.
Iler chariot is a n Clllp t,r lrnzcl1111 t,
l\l:ul c by t l1 c joiner sq nirrcl or old g rnl>,
Time out of 111iml t he fairi es' con.clnn n.kers.

It is obviously im possib le to g ive a li st of a ll t h e m ean s of
amp lifi cat ion, w hic h are as nume rou s as t h e w ays by whi c h
t h oug ht is c learly , stro11 g ly, a ncl e lega ntl y e xpressed . It
rare ly h a pp e n s t hat a w ri t e r is r est ri cted to 0 11 e of t h e m.
G e n e ra lly diffe r e n t m odes a r e co mbi11 ed , as in th e fo ll o wi11 g exquisite passage :
Dill you never in walk in g in the fiel<l s come acrnss n large rla t.
ston P, \~hi c !t hn.d lai11, nohotl y k11 n\vs !1 nw long, just wh ere Y011
(o n1Hl it, witlt t he grass forming a littl e hedge. a,; it Wl' l'C', a ll ro1111d
it. elose to its c<lges '? a 11ll h:Lr e yon not, in 01Je1li c11 ce !.o n. kind of
foo lin g t hnt to hl yon it hall bee n lyi ng t here lo11 g cuong h. in ,; i1111 a lod yonr stick or yo n1· Coot or your fin ge rs untl cl' iLs eLl g<', n11d
turn ed it over ns a hnnscw iCe t urns a cake, when she s:tys Lo linrsell',
'It's done brown 011011.gh liy t hi s Li 1110 '? vVl 1at nn rnlll rcvcl:i.t ion,
:i.1111 wh :tt an unfnro,;l'.t'n :1.nil 1111pk:1,sa11 t sul'pri ;::o t.o a s111a ll crn1111111 11if \' f " " , ... ,.,. l'"( i-:lf'ill'I' n l' wlti l' !I '"'" !i nd 11 111. SllSJH'l' il'd, 11111.i l Liii'

UO M l'LETI•; IW

l ~ TOl t l U .

s111ldf' n 1list11n y a rnl scntteri11g n111<rng· t he mcn1hers produced l.Jy you r
l.11rni11g the· ol1l sto ne over! Bl:tdf's oC g-rnss ltattcne<l d ow n, «~~ l n r­
lrss. n1aLl r d Lngdh r r, as if Lit e.\· lt n.d hr<' n hl t,:te hcd :tllll irn ned;
hid l•1 >11 s e rawling c r c al.11t·1 ~s. sotlll' of Lhc111 1 ~o l co p t.nro 11 s, ot· ltunt vs hPll ed - l.11rt.l e-1Jugs one want s Lo call Llt e11t; so 111e ol' Llt cn1 softt.'t'.
Intl. c u11ni11 g ly s pn•acl oll t a nd co mpressed like t.it>pi1w w:tl e he,:
( 11n l.11n• tt c•,·er lnscs a c rack or a crev icl'. t11itul yo u. or a join t in a
l :t.\' C' l'll lw<l sle:id, i>lll. sit e alwa..ys has one ol' he r fl aJ.-patl.c rn li vn i-.i11H'kc•l'pers to s lidl' into i i); hla e k. g lossy c rie kt'l.s, wit·lt I. heir long fil a1111•ttl s sl.icki11g OllL like t.ltu whip;; o( f'nllr-lto1 ·,;e stage-coac hes :
lltoLionl ess s lu g-like c reat11r1 ·s; yo1tttg lat·v:B. pCl'hnps t11o rc horribl e
it~ I.heir J>lllpy st ill11 ess Limn eve n i11 Lit e inf'orn a l wrigg le of 11t nl ut ' tl ~r !
B111. no Sl)O ll Ct' is t hl' ;;Lo11c l.lll'llf'll, aml t he whol eso mr lig· ftt· o r
d n.y let. in 11p011 Lltis co tnpres~c d and bfill(led eom1111111ity o[ cree pin g·
tl1111 gs. 1.11:1.11 rLll n f ll 10t11 wltielt e11joy lli e l11 xnry of leg;;-a11 (l so mP
111' I l11 ~ lll h:t.\'I' a g1>od 111at1y- ru s!t ro11t11l wildly. IJ111.Li11 g· l'a<·lt n!. h<' I'
and uv1• t·yLlti11g· i11 I.heir way, and rntd in a g'<' ll t' rnl s(a11q>l' il C' f'ur
11nd ergrn111Hl n-1.reats frnn1 t he n ~g i u n poiso 11 cd Ly s1111 s ltitl l'. NC'xl.
year you will find I.li e grns;; g row in g l.n. 11 and g n·Pn wh ere t. hl' sto 11 p
lay; t.lt e gronncl -binl I.mild s lwr n esL where Lit e beetle ha.cl hi s !t ole;
Lit e da nd eli on n.n<l t.he buLt.erc11p n.rl' grnw ing l.l1 crc, a nd Lit e IJroad
1'n.11 s of in spc•t :rngr l'3 opP11 n. n1l sltu L orn r thr ir go l1k11 lli;;ks as t he
rltytltrni c waves o f'. blissfnl co nsc io11s nes. · pul sal.e throug h I.heir g loriti r.11 l.Jei11g .
Th e ;;!.n11e is a neient r. rror. 'l'hl' g rass is l1111n:1.11 11:1.t urr., IJ1>1' ttn
dow n an d hl en.<;hccl o f' a ll iLs co:or by it. '1'11 <' sha pes whic h :m•
l'nu11d lw ncn.t.h n.rn !he crafty br ings Uta.I; t ltri rn in darkn ess. a nd 1111·
\l'C:r kc!r nrgn nisms kept. helpl ess by ii'. H e who t nrn s Lhe sto ne O \ 'l'I'
i: whost)('ve r llftl.s t hn sta ff of t.rntlt lo 1.lt c oltl ly ing in cul.Jus. 11 0 111:111.r t· wlt r.I hr r he d o it with n. s<• ri o11 s [ace or n. la ughin g one. 'l'h P
11 cx L ye:ir stnncls for th e c;ot11i11 g t im e. Then shall t he imt nre whid1
h:11l In.in l>ln.n clll' d :ind brok en ri sr in iLs full stn.l,11re aml nat irn hn C's
i11 I he s1111 shi11 1' . 'l'hc·11 sl1:1ll Gn1l 's min st.rnls build th eir nr.s l-.s in I ht•
hc:r rl s o f a. new-horn l111111 a11ity . Th en shall bcanty, lli,·in el.r Inkin g·
011 tlin l's a nd co lors, li g lt L 11pn11 t he so uls of m r n, as tltl' l.Jul.Ll• rflri111:i ge o f' t he hentifi e<l spiri t ri sin g fro 111 Lho dnst - sonrs from ' 1.lw
s lwll t.ltn.I. lt el1l a )' OOl' g n1h. ,,· lt ich 1rn11ld never have fo und \ri11 g,;
l111d 11 ot. th e stone Lee n li fted.-JJr. /Iolm es.

SUBSTAN CE OF EXPRESSION -

INV ENT CON.

by d elig h t, we quote.' Never hesitate to quote a u a u t hor
who will stre ngthe n or illut11iu ate yo ur position. G reat
na mes have g reat weig·ht. 'It is ge nerall y supposed,' says
U' Jsraeli, 'that wh e re there is uo q uotation t here will be
fou nd m ost ori g inality . . . . Tlt e g reate r p<Lrt of ou r
writers, in co nseq ue nce, have become so ori g in al t hat 110
o ne cares to imitate t he m; a nd t hose who ne ver quote, i11
retu rn a re seldom quoted.' Probably no wr iter has quoted
more co piously a nd forcefu ll y than ::S ir vYillir. . m Hamilton,
him self one of th e most e rudit e a nd b rilli a nt of men. Be
solicitous to quote aptly a.11d use.f ully. Em erso n well
says: 'In literature quotation is good onl y wh e n t he
write r whom I follow goes my way, and, bein g be tte r
11101.111tec l than T, g ives m e a. cast, as we say; but iC l lik e
t he gay equipage so well as to go out of my road, ] had
better have goue afoot.'
EXEJWISjjjS.

1. What is t he statm; of Jlfocbeth. of Campbell's Last .i llan, or of
l lol laud ',; Bitter-Sweet?
2. Crit icise and a me11J t he fo llow in g analysis of The College
Burning:
(1) The smothe red sprem1iug of t he fire.
(2) 'L'he kindling of t he fire .
(3) Progress from p1trt to jl[Lrt; of: th e building.

(4) The bursting out of t he Hames.
(fi) I m portancc of Eclueu.Lion.
(6 ) The ruins.
(7) The s in of carelessness.
(8) The dyi 11g ollL of t he lire.
(9) Classica l stud y.
(10) The u t ility of fire cleprut me nts.
(11 ) R elati ve clestrncti vene::;s of fire and water.
(12) Cause of t he fire.

3. Uo rreet t he fau lts in t he s ubj oin ed atmly::;is of Ange r:

<"luotat io11 s, if tasteful a nil .i11<li cious, give co 111pl df' t1< 's"

173

(1) Wlrnt iL is.

SU BSTA.N CE UF BX l'ltESSlON- J. N \ "ENTlO N .

17±
' go< c 1rn ,.;1~ q lH' 11 I. 11po11 I. hr i11d11l gc 11 ue o( ;Lngc r.
(:'•) I'1t: 1\ l 111
(·I) l·: ll'l't.: fo< <m Lllll i11ili vid1 1;tl a 111l 011 :;ouiet.y.
(!i) j' loral el 1arncLe r o [ Llti s pas,; iun.
(Ii ) l~u 0Lat i o 11 s - whaL ot.her,; sa,y of it.
(i) A lll'l'o< 1 111 in a viole11L fi L o r pas,; io11 Im,; Lite ;Lp[1e;Lrn11 ce
ol' :1 111:111 ia c.
(~ ) A11 ;1 11 .g r.1· lll:l.11 ope ns hi s mo11 Lh a 111l ,;h 1ll.s hi s eyeP.. -C!/,lu .
·I. l'r1·p;11't' :1 11 ;111aly,; i,; u [ !frt.m!PI. Uir· lie/.ir~ n . lirsL hook ol' l111nr.lrring",.; l>,q,.nd of 8{1•1•11y !Iollorc, l+o l11"111i t. lt 's !Jr~se rleil
I 'ilffl..'J", or I la111illn 11 's l 1 ~e t 11 rn o il 1'h.e ( .111.11se.s of l'lt. i losu11hy.

1fis1• f ,11sl .

G. T a ke aceuu11L o[ yo 11r prese nt. lrn ow lcdgc or opi11i u11 s 0 11 ca.uh
of I he l'oll owi 11 g subj ce t.s; n[Le r reflcc lio11 a 11d (if 11 cecs::;a n ' ) af'l1·r
inr1•sf.igaL io11 , d ct.: i1lc upOJ1 t he poi11 L of ri ew l'ro111 whi c h Ll ie.:::11lijed
,.; lmll lie regard ed - if I li e st·a t1 1;; is 11 0L girn 11 in Lhe fo r111 i11 wlii t" h
I he ,.;1il1jeeL is lll'l'>'e 11 Lcll Cor Lrcn.t 111e11 t ; read , eit he r a:; yo u nmy el1•1'1 ,
or a,.; i11di l';Lted by Lhc acco111pa11 ,v i11 g rcfcrc1wes; dd.er111 iue Lit e g1~11e rn,I head,.;, a 111l ar 1 ·a 11 g1 ~ I.he ,.; pecia,I 1111d e r L11 e111 , ur re vise yo ur prnYi ,.; io 11:1.l a1ia ly::: is if s uc h ha:; lme11 11rnJe ; a111plify- Jispo:;e yu 11r
111 a.Leria b ill l'lfot.:Li 1·e order:
(I) .lL1PPJ NEss mmE I N P uRsuf'l' TllAN

JN P oss 1·; ss10N.

Sl•e i\1011 La ig ne's Es,-ays, p. i.l8:J; H.oyn.I Pnllt of' I ii fe, p. R81! :
ll a111 ill u11·,- 1\ll'Lap l1 .n' il·o<, l1c•cL1 1re I. pp. G- !J; Ha rn 11 's J'll.c11 Lal l'lii ll1so ph y, p. Gl2 ; i{11 sid 11's i\lodcrn P1tint.crs, Vol. 1, p. lU.
(2) U0Nsc r1~ N c 1 ·;.

. :-i1·c i\J011 I:i.ig 11 e's E s"avs, pp. 22!J, 231; G l aLl ~ t one's J\ I ig h L 11f
l:1 .!..d 1t. JI · I LO ; :-i111ile"' l>11 iy, p. Ul ; Ul1Lrk e':; :-:>elf-Cnl L1 1re, p. l!J:"i ;
< 'oll'l'idg1)'s A id s Lo ltl' lkeLio 11 , pp. 14!i, 147, 003; Pop ul a r tll' iCll Cl)
~lo11Lhly, Vol. JX, p. 80 ; dn'<l, Vo l. X lll , p. G; Joseph ( '. oo k',; Co 11 ,.;i ·i t> 11 1·e, pp. rn. tii, l i t ; Way h11d 's l!} l<: 11 H.' llls o[ .l\ [orn.I Se iell <..:e , l'I'·
l!J . ;) !I. 'II: 11 •>,rl ',.; <\elop1l'ili a o.r P rncL il'al lltioLaLion,.;, pp. tit - Ii:! ;
I la n· 11',.; i\ ll' 11 t.al l'hil o,.;op l1y, p. 3 14; 8d 1uyler\; 1~; 1npiri t.:al. n11d lfa1i 1 JJ 1;il l'syl' hnlogy, pp. 4::0, 48!! ; 1~11 ,-kin ':; .l\Jod crn Pni11Lers, Vo l. 11 ,
p. :l;); S l1:1k es peare's ll P11ry V I, J\ d 3, :-i1:e11 e I ; J:.ie hn.n l Ill , l \ ei. I,
~i;e 11 c '1, ,\ et :), :-:\co ne 3 ; llelll'y V .lll , AcL 2, Sce ne 2, l\ eL :J, :-iee ne 2.
(H) Uo1·:s .l'onm.TY on H .1c 11 1o:s

DEVELOP C nAit ACTE Jt BEST.

See l~oyn,l J'aLh o[ Iii 1'1.', p. 120; I l11111 c rL0 11's lnLel led1ml Iii 1'1 '.
pp. 187, :{41: lie Bo.1· Pope's l\ lotk rn F:i1w ics a nil F oll ies, l'· 'i!I;
' l'u l11111gp'c; l>a il y Tho 11 g·l1 L". p. 2(i:l: Jl oll a111l's Gold Fo il , p. l'i!J ; ll nlh11d ',- l1l• ll 1·1·,.; lo t lw . 1 01 11 • ,.: 1· ~ . I" :::;.-, ; 1::11·o 11'c; ·1 ·; ~,.; ; 11 ·~ • .\.\ \I \' ·

175

l\!11.t.hc\\·s' Gct lin g On in t he vVorl<l, p. 280 ; Smi les' Self-Ilelp, pp.
:1-1-~ . H44 : Nal. io11 , Vo l. JI! , p. 2 1;); , \ Lhrnti c J\ lo11 t hl y, Vn l.
Xli\il, p. 84G; Wl1ippl e'::: Su ct.:es::: a. 11 11 ib C o 11di ti o 11 ~, p . 27H : Cieorge
J\la.edo11al<l's Cheerful Wonts, p. G7; gu:;kin's J\l ouc rn PainLers, Vol.
I , pp. 4-G.

..to.

(4)

FH lE :-I US HJP .

Ree A lcott's T n.hk-'l'nl k, p. 'iii ; B11eo 11 's E ssn. ~·s, XXV I [ ; E11l1'r:-;1111 ',.; l ~~;.;ap' . 11' in;I. S1·ri e,.;, \T l ; G rce il'y',.; lli11 L,.; Lown. rd 1: e ro r111 ~, p.
::!i7; ~ li L1· li 1·l l 's [{t•\'L' ri c,; o( a lbl' hclor, p. 2 12; M11 11g<•r°;; 011 1111'
Thr( •.,.;hold , p. :J I; Fu,- fe r',.; New l\e l11 p11 ,dia of Prad ica.l l.~ 110 Lal. i o 11 ,.; ,
l'I'· 172- :) ; Uco rge i\bcdu11 ;Lld 'c; () heerf11 I Word s. p. lli7; Nor( I1
A 111eri ca n !tev ie w, Vo l. IJXXX IU , p. J04, Vo l. CXX.\IX, p. 4G::;
[,ivi11 g Age, V ol. UX X I.\:, p. 2 14; Tlrnckerny '::; Louuon SkeLclie;:;,
pp. 2G, U4 ; Aleult's 'l'al..ile-'l'alk , p. 77.

(G) DA NC ING.
See Hlaf'kwoocl's l\f::i.gar.ine, ·v ol. V I , p . 48; Talm age's A b0111i11 aLio1t oC ~ I 01 Jiorn Soe ieLy, p. 7!J; Cl1a.111 be rs' B 11 cyclopax l in., Vo l. LU,
p. 41 2; J\ l1111 ge r's On Lhc Thres hold , p. 1!)1 ; Th rn 11 aso11's Fn ~ hi n 11a hi e .A 111usenw 11 ts, p. ll !i; !Ji vi11 g Ag<,, 1,XXJ.l l, p. G5; Pe1111 y
J\l:i g11,;1, i Il l', Vo l. V, p. 1; L eig h Hunt's Seer, p. lOG; Wise's Yo ung
L;Ld y':; Co1111selo r, p. mu.

(G) N OVP: L-H. EA DING.
Sec Potter's A merica n J\ lo11 t hl y, Vo l. XTI, p. 187; ]!}tl i11hu rg li
l tcl' iew, Vol. X I illJ , p. iJ;j(j ; P uLna.m's l\ lagrL;1,ine, Vol. IV, p. il8!J;
J1i1·in g 1\ g1', Vol. UX I,, p. 34!1; Nal.io11 , Vol. ll, p. lati ; 'l'al 111 age\
Da il y Th oug li Lc;, p. il27; Hollaml's F; vc ry- lhy Top ic:;. p. 2.(j!): Jfo yal
PaLh o[ J., i(e, p. 102; J,c H.oy P ope's !Uode rn Paucies and Li'ollies,
p. 172 ; .Pri11eeLo n lfo ri ew , Vol. X JJr, p. 202.
(7) A

T.1 STG FO Jt

r,1T1rn.ATUH,E.

See I h'. Porter's H11ob a111l lfomlin g, pp. ::o, :i7-47, 72-80; 1'10 11p. 2:) 4 ; lla1n e rL0 11 's 111Lell ed11 a l l iife , pp. J4 i. :J;')3,
H84; l\ I.1111ger's 0 11 t.h e Th rcs lwl< l. p. 15G; l3el'ehe r'::: Si.al' P a p<· rs. p.
2f>O; gnrnrso n',.; Soc iety a1ul Soli f'. 11dc, p. 1(17; Sc ribner's J\lo11thl y,
Vo l. XV, p. (j:-) l; !Jivin g Age, lJX l fl , p. 72 : Clar ke's Self-Culture,
p. 307; ls;mc D 'l sraeli 's M i:::uell a 11ies, Vol. I, p. 22.
tai ~ n e'c; 1~~,;,;ay s.

(8) FLOWE l1S.

S ec Beeche1"s Slar Paper,.;. p. !):l; Becelrnr's F'rui l, Plowe r~ . anll
Farmin g, p. 11 7 ; lt u::;kiu's Stml i1•,.; o[ Wa y:;id• i l ~ l mre rs : r\ II l he
Yr;Lr Ro 11m1, Vol. VTI, p. 41'1; ALla ntic Montlil.y, Vol. X, p . G!J4;

l'IG

COc"III'LET I ~ JU i

l ~ TO

LU C.

l,i vin .!.\" l\ gc, \ rol. XfX. p. 2-U ; Ch:1111IJ" r"'' .Jo11rnal , Vol. XX ll.
I'· I l 'i; lt1 1,.; ki11',.; Mo11ern P:ii1il l~ r;;; . V11l. 11 , p. !II, Vo l. Ill. pp. l!l: l,
:2:3 7. Vo l. \ r, Pi'· 88, U2, !17: ll1ly L a111l Ward·;; Uyulop;t~dia o[ J'ra1.;I ieal (~11<1laLin11:<, pp. J2;") - liJ:.~.

(!I) ( 'o-1rnt](:,\'l'IO :'< .

:-;,.e 'l'h l' N:1L iu11 , Vo l. X. p. t :) ..(.; ilnrl , Vol. Xf , pp. 24, i38il; if1i1l ,
\ ' ol. .\ n. p. 0-W: ibi1l . Vol. X.\. L\, p. iJli-l; .!!}dt·d ic i\la.ga.1.i11e, Vol .
.\L I I. I'· 208; J;ivi11 g Ag1•. Vol. l' X.\.X\"' l, p. Wfi; Llolla11d',.: EveryI >:1.1• T"pi e;-;, p. lWI: . -\111 er i1·:1 11 .Jo11rnal nf l·~d11 Gat. i o 11 , Vo l. XV II . I'·
::Ht;: I 11l l' 1'11:1.lio11al H.c1·il' ll' , Vol. XL V, p. liJO; Norlh .A111eriea11 l{cl'icw. Vut. uxxxvr, p. 2·5.

( lU) f)J t EA~lS.
S('C IJ:t1·c 11·." i'.le11t:d J'hiln,.:ll plr,1·, p. :!i'il; (i eu rge i'.hcd(l11;1,ld ·,.;
<' lr ce rl'11 I \Von( ,.;. l'· l '!!J; l ~c l cct i c ~I :i.ga1. inc, Vol. LXXX II , p. 27!1;
i liirl, Vo l. XUV I. p. 27; d111l, Vo l. f, X.VJ, p. 701.; Atla11 Lie 1\ lo11Lhl y,
Vu l. XJ,VI. p. 402; Nort h A1n eri c:t11 ltl' vi ew. Vo l. UXX I \T. p. 17U:
l iising Agl', \' nl. UXL, p. :H4; Sl':i.lli cld ',.: Lit crnt ure and C11rios iLi c,.:
"f' .1Jn•a111,.:; Hnis1no11t',.: 11 a.11nei1 rnLio11 s. p. J :) !) ; H oyL",.; Cyelopmdi:l
,,f Pra vLiea l l~1t1Jtat i o ns . l'P· UU- 8; .dso rnrious works on l\Ic n t:d
:-;eil'lll'C.
(11 ) l NFLUEt\C 1·;

OF 'I'll!;

C: IWSA UEltS.

Sen Br.\'ce';; Holy IVrn 1ft 11 l •~111pin', pp. HM. lGG, 1G7. l!)P,, 205, 20!l ;
li"wis· lli :;; t·. o ry of Gcrm;Lny , pp. 171, 18:i , 2 113, 211); l\Liel mm1's Jli ,-lor.v or th e Crn ,;adcrs, Vo l. J, fo t.rod 1tc Lirrn , p. 24, Vol. Ill, pp. H'2 fi ,
:::m: ll.:1.lla1n 's J\fid(lle Age;;, J.111l cx; Oil1lion's Rome, ]1111ex; Y(• at..-;'
(irnw t,ll:u11l Vici:-;;;it,nd e;; of Co 111111 crec, pp. 171, 174: Jln,llnm \ Li11·r:1,t 11 re o[ l ~1 11 '<J(>l' . \Tnl. I. pp. l t:l. l -W; l\Ii lrn an's L tttin Chri td i:rnit.y,
\ rol. l V, pp. 24-il-l, :J4, G8, Vo l. V U f, pp. 370, 440: Palg rn.vo';; 11 i;-;l 1ll·_1' of Normandy a 1111 l<:n g laml , Vol. V[, eli:tp. xi; l\[ay':=: Dc1111 wr:1<:y in !~ mo pe, Vol. T, pp. 25-!-·2G U; Blanqui·;; His tory o[ PoJit.il':t l
1 ·~ ( '011 0 11.lJ, pp. l 25-Ul3, 147.

(.12)

J.J EAu 1Nn

CAus 1•:s

OF ·rn11;

P 1wNc 11 REVOLUTIO N .

~eo 'J'hi c•r:;' l ~re 11 e h lfo nJln Lion, Vo l. J, chap. i: Co n1pamLi 1·c IJi,.:-

1.J ny o[ l>ific re11I. Opinions of British Writ.er;; on Frend1 Jkvoluti1111.
\'" I. I. pp. I. J1. 80. 11 ~!, 12!J. Hll, 148, 15G, l:"i!:l, 10!), 604. Vol. II.
I'· 4:) 0: Vn n J,aun ',.: French H.cvol11 Lionary Epoch, Introcl11d ion.
\'" I. l, chaps. i. ii: Tain e's Frenc h lfovol ntiou, Vol. I, clmp<: . i. ii:
i /11'1 1. An cient J{,egim e, Boo k V, chaps . i, ii; Abuott's Frc11 ch H c~ 1·1)­
l11 t. io11 , chap. iv ; ~chlosser's JJi sLoryo ( Eighteenth Ce11 tu ry, Vol. VI,

SUBSTANCE U.F EXI'ltESSION-IXnrnTlO:N.

177

<' imp. i ; Von Sybel"s fl istory of t he French Ttevolution, Vo l. 1,
Bonk I, e lmp ~ . i-iii. Book fl I, d1:ip. i ; Ad1t111s' (U. K. ) 1'!011arehy
and Dc111 ocrncy i11 Ji'r811cc , p. U: llvcr's 1'lotlern E11 ropl', Vo l. HI,
pp. 007- :'Jcl.7: .Alison's I li,.;ln ry t> I' Bnropc (J•~di11lH1t".1,;' ii , 18U:i), cha ps.
ii, iii ; Ki tc liin's Hi s!ory of P'r:11H;e, pp. 0G2, J02, GO.), 50U; North
J\111eriean H.eview, Vo l. CX XXVLI , p. 888 ; .1\iason'::i ilistory of
F'rn11 ee ; Carlyle's li'reu ch ltc vol u lion.
1

(13)

'l'!t lAJ , UY JURY.

8cc Stnlih's Constitutiona l IL i;;l.n rr o[ l ~ 11 g l a1Hl, Vol. I , pp. 275,
:mG, 472, 473, 488, 48D, 607-UOU. U20 (G rand Jury), Vol. I, pp. 4G9.
Ul7 ; Stnhb·s Select OharLcrs, Par L J \' ; O r eas ~'s J£11gl ish Co11 st it uLion , c:li:tp. xii i; F'orsy tHs ( 'v\Tlll.) I li story of ' l' ria l hy .f11rr; De 'J'ocq uevill c's ll crn ocmcy in A111 c ri ea, .lnd u;; ; 'l.':i s11·pl1 - l,a 11g 1111•a1l's Co 11stiLutio1ml Histo ry of E11gla nrl , pp. !JO. 128. 158, lGJ.- 170; Step hen::;'
Ue J.,omc's 11.: nglislt Con stit 11 tion, Vol. ll , p. 788; Blaekstonc's
Co11111 rn 11 Lrtri cs (Covl cy ',.; ctliLi o11 ), Vo l. JI , l)· 3L17 : NorLl1 1\ 111criea11
l{,cview, Vo l. XCI I, p. 2D7; d1id, Vol. CXI X, p. 21!.J; N il e's H.egist.cr, Vol. Xlll, p. 1!~!1; Cu 11 Lury , \fol. XXVJ, p. 2UD; JuLcnrnLional
L\.eview, Vol. XIV, p. 158.
( 14)

i ~N(1 J,l f; Jl

l>r:.AMA.

Sc<' Bl:tir's Lectnres 011 l t lrn l,ori c; ll a1..liWs l.JiLcraL11re of t he 1\ge
oJ Eli1.aucLh; Warton ';; I Ii sto ry of 11.: ng lis h PoeLry ; I lalla1n·s Lilerat.111·c o l' l<J11rnpe : NC'w i\111 cri c:u1 Cyc lopa.: 11i:t ; l(11ig hL's, H11d;;o n's,
ur Mal o11c';; Li fe o( S h:i kcspca re; Chamuer,.:';; Cyclop:ed in oI E11 g- Ii::d1
l1it ern.turc; l ~neydo p; 11dia Brit.a1111iea ; \T'nrl.11 A111c ri c:i.1t lfo l'i ew,
Vo l;o;. XXXVJi l a11Ll UXXV I: <Li.l,1.xy, Vul. X IX: Ec lcel. ic Hcv icw.
\T ol. XC; HlaekwooJ.'s l\.lagazi11 e, Vol. LXX.lX; Uollier's Eng lish
I lra1naLic P oet ry.
H. Di sc uss the life and work o f Goet he under t he head;; of bi ography, writings, style, mnk (nlllo11 g t he world's authors), eharaet.er,
anrl infl11 e11ce.
Sec Em erson's Hq1rcse 11 Latirn 1'fl'11; Car l.vl e's IE!-i:-n.,v,:; 11 ut.tn n'!-i
l~s s ays in Li terary Critici." 111; IIurst.'s Life allll LiteraLurc in t he
Fatherland; Goou wi n's Uydopm<lia ol' Biog rn. ph_v: Tut.ti c's Germ an
r.eaders; Americrtu Uydopm1l i:t ; l ~ 11 cyc l o 1.xcd i:t Hri t'.:t1111 ic;t; N atio11,
Vol. XXXH; Etli11 b urg lt lfov iew, Vol. OVI; Livin g Age, Vol.
CXX IX: l<Jclectie l\Iagaziue, Vol. l..JXXX; CouLem pornry .Review,
November, 1884.

12

FOKMS 01<' EXPirnSSlON.

Oll1~PTEH

F'rnm Lh e re1l gas h, fn,IJ !wavy, nne by one,
l1ilrn tlte fir:-;t of n, t hu1 ule r-s ltoWC l': and HOW
T he a,re 1m swim,.: am un cl hilll - he i,.: go ne
8re ceased the inhunttm shout whic h lrnil\ 1 Uie wretc h who
won.

X.

I.le hetml it, but he hecdccl not- his eyes
\Vere wi t h hi s hear f·., a lld t lmt was far :Lway.
H e reek' cl ll Ot of t he lire h e lost 11 0 1.' prir.e,
B11t. ·where his rnd e hu t hy t he Danube lay.
There were his you 11g l>ar b:LL' L<LJLS all at pln.y,
There was t heir Dacian mother - he, t heir sire,
Rntchet"d to make a ltolllan holi clay A ll t his rush'(l wi th hi :-; IJlood - S li a ll he ex pire
Allll unavenged ?-Arise ! ye Goth::;, a nd gl11t yo ur ire !

FOHMS OF EXPHESSION.
\\' hat. T wonhl ther e for e r eCO llllll l' nd t;o y o11 i,, t.h at. hcforc yon ' it. d n w11 In
on any s11h.i e(' t. yo 11 wo uld :-: pe 11cl ~0 1n c clny s i11 co 11 ~ide ri11 g it. pu t.ti ng
·11· n nt the ,a 111 e tilll l', in ~ h ort h i11t ,, <'Vl' r y th o11g h t. w hi c h "" c urs lo yo 11 a ~
ll JH'I' to Jll ake :t par t of yo ur intl'nrl e cl pi<'cc.
W h en yon h ave t. h11 ~ outaitll 'cl
" n ll e l'li ou of th e tho11 g h b, exa min e lht •m care f11ll y " ·i t.h thi s vie\\" to Ji11d
l1i c h of t.h e m i' propn t.o b e pr l'~ c nt c d fir ~ t to the mi nd of the r catl e r, t hat ht ·,
ing po ~~ C 8~e d o f th at, 111 ay be b e lt.er <ii s pnsl'tl to rcct· h ·c what yo1 1 int e n1l for
" s 1•contl ; a 111l thus I wo11 lil h :t\·c yo n 1111 1. a fi g ure bef o r e 0 nch th o 11 g h t to ntark
f11t.11re pla ce in yo ur co mpositin11. For so C\' t•ry prccl' rlin g co ltlpos itinn prl'·
ri ng the mind for t h at w h ic h i s to fo ll ow, :ttHl th e n•:Hl e r ofl t·1 1 a n t.ic ip atin!.!; ii .
proret,ds w ith <·Hsl' a 11d p lcas 11r c a n d approhat io 11 , : t ~ sec rnin ~ co 11ti1111all .' · to
... t hi s own th o n g h ts . 111 thi s nwd t• \'OI L lt :l\·c a t: lta11c1· for :1 p e rfel' I prntl1w •11; i)('ca 11 ~ t: th e niintl altt~ 11tli11 g lir ~l to ll 1e ,-L·nti 1n1 ·11t.s alo11 c, ll<'XI In tltt·
·tltotl alo.11 L:, e a ch par t i ~ lik e ly lo I.Jc I.J e tter pe rfornH;tl, and , l think, Joo, in
- l irn c .- ])Jt. FHAN J,LIN .

r it1~

['

HE seve ral kinds of co 111 µosit io n rn ay b e co n side re d

,,

D e::;cripti o n is of:te n sa id to be

objective wh e n i t relatPs

tn t hings p e rceptibl e by t h e s e nses; s1d?ject-ive, wh e 11 i t
re late s to t hin b<rs coo·
nizable by th e mind. The for m e r,
b
which includ es t h e works of 11 atu r e allll o f a r t , wh e tlwr

in r es t or in motion, is most conspic u ous in books of trav e l
O l'

a<lve n ture, in w rit ings which g ive a n acco unt of c ities

o r c i vilized co unt ri es, as Kan e's voyages to th e Arcti c r e o· io ns ' Li vi1wstone's
ex1>
loratio 11 s in Africa, Pre scott's his b
.

~

ullll e r four ge n eral types .

Description. -

17!3

tories of Mexi co and P e ru.

'l'lt e l atter r efers es p ec ia lly to

D e scr ip t io n is th e ex hihi t io 11 of t l11 '

t h e deli11 eat io 11 of m e n ta l states, as in Sata n' s o r Hamlet's

,,~ xist e n t parts a1Hl quali t ies ol' an o hj e c t , rea l or imaµ:i-

so lil oquy; of t h e 1110rnl and in te ll e ut u a l fac ul t ies, as in

Jt is a.kin to

sc ie ntifi c tre:t.tis es ; o f individu a l c h aracte r, as in biog-

Lt ca nn ot e qual t lt e 111 in

\· id1 wss, lrn t wli:d; t h ey c a.11 o nl y st1gµ:t'st, it ca n full y

ra.plti es; of e m ot io ns, as seen in t h e face . Th e seco nd,
lik e t h e first, r nganls natura l sce n e ry a nd hum a n h a ndi-

1·.u un t.
u 1u1,.ht

work , b u t it do es so interpretat i ve ly , r eHective ly.

1ry, 111ater ia l ur s pirit ual , by 11 wa m; o f \\' o rd s.
··a\\' in µ;, p ai n t in g, sc ulpture .

b

'

Its pi d .n re eo nt.ai11 s 111 o rc infor n1a t.io n , ll tol'I'
lll ore c~ n\i,·c 11in .,. t<lut•lt1·s.
I Ill\\' 111uc h , for in ·
~

:1n ce, dew s Byron add t.o ilt l ~ <·xprt>ssin· p o\\'l'I' of 11111rbl.his fc n ·id lin es 011 Lit e dying· g·ladiator:

t h e o n e, th e m ore i11t er n a.l, ofte n arises from th e oth er, the
m ore e xte rnal; a n d botlt are in te rmin g le d, as in Carlyle' s
p o rtrayal of Cro 11nv e ll 's p e rsonal featu r es :

I st'l ' 1H'f'•1n• Till ! t li!• (lJndiaf nr liP:
Ill ' ll·:1 11 ,.; 1q11111 hi ;; lin11d - hi -< 11111111~· brow
<'n11 Sl' 1tl ,.: tn 11P:itl1. h11t. l'<llllfll• '(" ll L!"' ll .1',
Alld Iii ,.: d mn 1i'd l11':t d ;;i 11k ~ ::rnd11 :11l.'· lnw J\ n<I I ltrn11g l1 hi ,.: ;;i dt • i lfl' 1:1 -< I di"' I'"'· l lil1i11 g ~ lnw
0

1~ ...:

Thu s

Massive stnt.iu·e; big, nrnssi ve head , of so 111 ewlmt leonine aspect.;
w:Lr1. above t he righ t eyebrow; nose of eo nsid embll'. blu11 t, :vp1ilinc
propodions; strict, yet co pi om: Ii ps: fnll of al I ITn m11 lo11 s se 11 silJilif.iPs ; a 11rl a.Iso, if 11 eed lie. of a ll fieree 11 cs,.:es a.11d rigo rs: deep. loving
pyes--cnll thei n grnrn, ea ll Lh e111 :::Lem - - look in .~ fro111 11111li-r I l11JS•'

J.80

COM.l:'LETE lUiE'l'ORlC.
FORMS OF EXPllBSS IO N.

<' raggy hrows :i s if i11 lifr lnng· so 1nm, nml yet not thinking it. .·orrmY .
t. hi11ki11g it, 011l y labo r ;LJHl e11dL•u.1·or.

Ao·a.
o in ' i( o bi'. cc ts a.re d e lin eated in succession and d etail, pret ty muc h as t heir aspects mi g ht appear to a spectat or who from a n e min e n ce a llows his gaze to wa nd e r
here and there irrep;ubrly, th e description is said to be
11rtnorwnic, as in Go ltls 111i t lt 's Trciveller, L ongfe ll o w\;
llnitdin:J (~/ the Ship, a.nd D efoe's Voyage Buund th e

Vvrtd.

J

Tli u:::;:

Th ey LI. he S paniarrl s] hall not ;ul vaneed far, wh en, tnrni ng a 11
111 g lo of Lite s ierra, t.lt ey ~rnddP11l,r cn.nw 011 a vie w whi c h 111 01·c Limn
•11111pe11;.;afod t he toil ,; of t l1 e pn~cL•d i11g d ay. IL wa::; that oJ t he
1·:tllcy of .i'llcx ico, or T c11 oe ht it ln11, as mo re com111011l y eall c<L liy Lite
•1:1.tives; whic h, wit lt ii.,; pi d .11resq11e assc 111 blngc of water, woodln11d ,
111 11 P1tll iva.f.1•d pl a i11 ,.;, iL;; ,.; Jii11i11 g- cil.i e,; a111l sh:ul ow.r hill ,;, wa;;
·pn·arl 011 t lik e >'< llll t' .!.!"ay a11rl .!.!"n rg1•o us p;1.11ont111a hdor1 ~ f hem. 111
' lit' hi g hl y ra refi ed at 111 0 .~ ph c rc of Lhc::;e uppe r region,;, m·c 11 re111 0Le
il1j ed~ h·a.ve a hrilli a 11 ey of eo l11ri11g a 11d ;L 1listi11cL 11css of 011Lli1u•
1· hi<'h sl'P.lll t.o a 1111jhila f,e 1listn 11 ee. Strdc hiug Jar a way a t th eir
·,,c f., were see 11 11 11lil c forrsl s o[ rm k, sycamore, and cotlar, a.11d
11• yo 11rl Yr ll ow fi cl1b o[ 111 aiw, a 11d the towering 111ag uey, i11ler11 i.11 g ll'd .ll"il.h orc ha rd s a nd lil oo 111i11g ga.rd cns ; for Ilowrrs, i11 s11 e h
IP11rn11tl for t. heir reli g ious fosL i1·als, were t!l'C ll 111orc a lm 11da 11 l i11
!ti,; pop11l o11s vall ey Lha.11 in ot he r pa rt,; o[ .A11al11mc. [11 t he cc11l rn
11' 1lt e g reat basi11 we re lJcl1 elt1 lit e lakes, oec11pyi 11g t hen a llllll'h
:1.rgc r portion of ils ,.; 11rfacc Lhan aL prese nt, t heir borders t lti ek ly
:f 11 1l1kd wilh I own s a11d h:1.r11l eb; ; n, 11ll in t he millst.- like so 11in 111 Ii:111 P iil pn•s,.; wil".11 her co ronal n[ pearls - t he fa ir c it.y of l\fox iPo,
1· i1 Ii h!·r whiLc Lowe rs a.1111 pyra.111i1la l tc111plcs, reposin g , ;ls it WPl't',
•11 lit e ho,.;n 111 o[ t he walr.r,.;-th e fa.r-[am cd 'Veni ce o.[ f"h e Azl.ecs.'
I I io·h 11Yer nil r11se th o rnrnl hill of Chn. p111Lepec, t he res idence o[ th e
\ l t:~ i ca11 111011arelt s. cro1~1 11 od wil.h Lhe s:u11 e ~rove of g iga11t.i c 1·y•rL•,.;sps whi l' h ;ii f.l1i s 1ln y fli11 g I.heir hron,d ,.;harlows o ver f.lw l:i11rl.
11 flit : di sf.:i.m·n l1t•yo11d L11 u bl11 e wate rs o[ Ll1 c lake, and ru·:i rh·
r'l'l'Cll ('d l1y i11I Pr n· 11i11g foli:t gP, w ;t ,; ,.;ce 11 a. s hi11in g s pec k. ll1 n
i1·al 1 ~apih1l o f T ezc 11co ; :111rl ,;Lill f11rf .her 011. t he da.rk licit of p11r,ln-r1'. ,ginlli11;; I.h e va liP I' arn 11111l. lik1: :1. ri 1· l1 ,;p f ti 11 g whil'h 11 aL 11 n ~
1:11 1 1l1·vist•t l for t he ra.irl'st o[ l11· r .i 1·1r1 •J,;, Such wa.s lire beautif ul
i,.;io11 which lJrokc 011 Lire eyes of Lhe co1u1ucrors.-Prescott.

181

/

H , h oweve r, t he parts n.re groupetl fo r a rt ist ic eff0c t
( a.bout so r~1 e co mm on ce n tre, ~vhi c ~1, in t he mid s ~ o ~ pa'.·t1 c ulars, is k ept co 11sta 11 t l_y 111 v ie w, th e clesc r 1pt1011 i s
call ed sr,enic. Maca ulay thus p rese nts th e in t e ri or of
\ iV est 111i11s te r Hall at t he trial of vV arre 11 Hast in gs, t he
.!.!.' Ure of t he brilliant asse 111 acc us ed be in o<r t he ce n tra l li .,
bl age :
Th e "Tay okl wall s were hung wif·. h sca.rl ct. Th e long ga ll r ri es
cro.:d~1l uy a n a11t li e11 cc sneli as l1 a.s r;i r!' l.1r PXe iLcd I li e fPa r,; 11 r
I.li e e11111 lntio11 of an oraLor. T here Wf'l't' gnJ.IH·rc·d togd hm· fro111 a ll
parts nf a g reat, free, enlig hte ned, a nd pros11rm11 s ren,lm g r:wc n. 1111
l'e111 a lc lovelin ess, wit :i.ntl lrarni11 g, Ll 10 rcp1·c:--c• 11 La l i1'cs o[ every ::w ionce :t1Hl of e very a r t. Th ere we re seatell arou nd t he quee n L11 c fairha ircd ·'V(l\lno·
1lam.th
Lc rs of t he house or Bl'll m;w ick. Th ere Lh t•
0
'-'
rnnbas;;arl nrs of grnaL ki11gs a nd co nr111 nn wt' :1,Jl.l1 s gn.zed wil.h a.1l111i ral.io11 011 a spr:d:idc wl1i nli 11 0 oUIC'r c111111Lry i11 l.l1 n world l'11 11lrl
prese nt. 'l'h ern S irltl n11 s, in t he pri111 u o f her majest ic lic:111l.,r ,
looke1l with c111otio11 on a scone s urpassin g all f lie i1ni taLions o f I h1'
stage. Th ere t he hi sto ri:111 of t. he l.:tn 111a 11 J 1~ 1npire t. ho11 g ht o f I li e'
d ays wh en Cice ro pl ca.drcl t he cause o[ S icil.1' against Ve rros. nnrl
when, lJcforc a se nate whi ch st ill rrt.ain r1 l sn11in show or frcerl o1n .
T acit us t huml c rc,1 again st t he oppresso r o r A fri ca. Th ere Wf'rt \
seP11 s ille by s icle (;110 g rcat-.csL pn.i n Lcr a11d Llw gTcaLcsL sc hola r of f l1t~
age. Th e spcc Lac lc h:vl n.l111rn(I H.cy nol1lk l' rn 11t I.hat easel wh il·h ltas
preser ved to us t he t houg h t. i'ul l'u relieads o[ ;;o mnny writers a 11d
statesmen, am1 t he sweet s 1nil e~ n[ so ma ny nolJ!c matrons. It hail
im1uced Pnrr to suspend hi s ln!Jors 011 t ha t llar k n.ml profo11nd min e
from which he hrt<l extrnetPd n. vnst. Lreas11rc of c r11di tion - a t re11sm e
too o[ten buri e1l in th e ead h. too 0He11 parnd cd with in jmlicious
nncl inelegant osten tation, l111 t still precious. mass ivP, nn1l s plcllllill.
'l'h erc ap peared tho vo l11 pt 11 0 1 t.~ c ha rms of he r Lo wh rn 11 t he heir of
th e thro11c had in secret plig htrn l !ti s (;ti.t h. Th ere, too, wa~ f' he, t he
lieau tifnl mothct· of a bea n t. if itl rncc, t he Sain t. Cec ilia, whose l1cli cnLe feat 11res, lig h tc1l up by love a nr11111r sic, at'L ha,; r·escU('ll fro11r f hn
co mm on llecay. 'l'here were Lil e 11 icm lrn rs of t lmt hrilli a 11 t socid .r
whi ch ynoted , 0ri ticisc1l, rtnLl ex:e hnrr gctl rc p~t rtecs lllllle r th e ri r h
peacoc k han g ing o.f Mrs. l\fo n t.aguc; a nd t here Lir e ladies wh ose Ii ps.
more pcrsunsirn t lm11 t hose of Pox: hi1 m:elf. h:id cn1Tir d I.hr \VL•;: lrni11 stc r election again st pn,ln,cc a11d Lrras ury, shone aro11ml Uco rg iairn., du c hess of Dc1r01 1shi re.
Wt ) l'P.

CO M f'l , ET E

FOlt.\I S O F E\. l'Jtl ~SS J ON.

mr ETOLUC.

e nd ca \·or to prcse11 t s ue h fe atures or i<l 0as as a sculp to r o r
a pa in te r co ukl lay holll of a nd wo rk out after you. 'l'hns :

Us nnll y, 111 o bj ect ive d esc ription, i t will promote u11iLy
a 11d cl e fi11i te 11 ess to c haracter ize th e wh o le, th e co ntents
lie in g give 11 in th e orrl er that th ey occu py in th e plan. A
liPlrl, for exa mpl e, is t ri a ng ul ar, quaclra11gular, etc.; a hill,
··o ni cal, o r t run cn.te<l; a town, circular a nd co mpact, or
long and stragglin g; a tra ct of cou 11 t ry, 11eart.-s haped.
' ] ' h t~ outlin e, t.li e s ize, a ce ntral o bj ect, or an epith et. may
l" 11rni sh t he cles irc1l CO l11}) l'e h c ns ive t.)'
[le ' Mo·e 11 e rnl)vJ' t J1ou Mo·lt
,
11ot a l 11 ays, sta,t ecl first :

8 ue h is t he ponl' moo rln,nll t ract of conn try ; Zornll orf t he cenfrP
of it~ .-wlwr e !, he battl e i" likely to llc :-Zorndor[ n.1Hl c11vi ro 11s. rL
b:L1'n ynasi- isl awl a 111011g th e"o 1voo1ls : cxt.r nsi vo [J((,lrl cro11111, of t l1 r
l:u1d"ca pe, g irt wiLh a .f1·izzle o[ firwom1 s a ll romH].- Oarlyle.

It wns a 111ou11 Lai11 at whose vcnla nt feet
A sp:i.cions phi 11. nu Lstrntc hcd in circ uit wid e.
TJay pll' asa nt-, ; from its si<lc t·. wo rivers fl ow'<l.
Th e 0110 wi111li11g . Lhe other strnig ht, nml lcCt bdll'r.e n
Fair ch:i 111paig11 wit.h less rivers i11 tervci11 '1l ,
Th en meet in g joi11'1l their t ri bute to t he sen. ;
W iLh hcnl Lhc pa.st 11rcs t hrong'u , with Hocks t hn hill:;;
Hu go cities ancl hi g h Lower'11 , Lhftl; well n1i g l1t scc111
Th e scats or mi g htiest lll OlllLl'ChS; n,ncl so large
Th e prospect \rn.s, Lhat here m111 t here w:Ls rn01 11
P or ba rre n uescl't, [o nn La inlcss aml 1lr y.-1'.ldion.

Th e hat.ti c of WaLc1·\oo was fo ught 011 a piece of g ron11il rese111 a eap it a l J\. Th e l ~ 11 gli sl1 we re at. Ll1 c n.pt•x, tlu~ li'rc· nch :iL th P
l" •·l'I,, nml the hat.Li e was d l'c id c!l abont, t. 11 (~ cr 11 tn•.- l "ictor IJityo.

l il in g

So \rnrk Ll1 c· hn11 ey- h<'PS,
Crc:i.t.111·0" t.lmt hy :L rn le in nat,11 rc t r :i ch
Tim act. nf onkr tn a 7JPnpli-1! f.-i11 !1dmn.
Th c.v lir1.YP a kin ,[_(' nnd ofli 1·1' r.-; of sort s:
\YhPrl' ,.;n11H' , lilrn n1:1 g i"t mt I':', rn rrrd. at ho111e ;
Ut hl• rs, lik1~ 11wn·l1 :11lt s, ,-1·11l11rl' trad1• :1' 1r 11a d ;
ULl11 ·rs. lik e ,.;n l.Ji pr;;, nr 111 c•d i11 t l1Pir ~I in!.!:",
i\ ( a];p lJOO\; 11pn11 t hr s11111n1 Pr';; \' (' h l'L h11d ~ .
\Vl1i <' h ('ill :t _!.!:P t hl'y with 1111•rtT 111 :1reh bring lw 111e
'l'n th P tP11t -r11.rn l nf tl wir l' ll1p1•r1>1·;
\V li 11. h11 si1•d in hi s 111 njPst .1'. !' II l'H'.\·s
'!'h i' "i11 g i11g lll : ISll ll S )11 1il1li11g l'()O f ,.; O f' goJtl,
'l'h 1· l'i1·il l'it iz1• 11 ,.; lrn C':uli11 g up tl11· 110 110,v,
Tiii' JH •or llll'<'h :i.11 ie port ers crowd i11 g in
'l'l1 1• ir hc:1vy l11ml c11 s aL hi s n:1 1To1r gfttc.
Th n ~arl-L· ~·c d ju "l-icc, wit h hi s "nrl y h11111,
llPliv r rin g o'rr to 0xec1Llors pnl c
'l'h c· la zy yaw ning dro uo. -S hake8pert1'e.

Cnr0 111nst be take n t hat th e points selected shall h0
110 t. fw ll'-co 11 t rnd icto ry or t rivi al, but true, a nd, a.s -far as

poss ible, n e w, esse11t.ial, striking ; determinat e and co n<Tete, s uch as partic ul a ri ze s trong·ly; harmo ni ous, suc h as
lil c rnl readily i11t.n o n e illlage; co ncise ly a nd sintpl y put,
·u as not to wea ry t he atte nt ion by exaggeratin g or ove rThese clirec tio11s are co111pre l1 emled in t hi s :
loading.

183

•

Gat her abuncla11t rn:tLe rial. Collect yo ur ) \VII t hough ts,
a111l a ll the in fo rm at iou within r eac h. H ead whn.t ot he rs
have written up o n th e s ubj ect. lf von are to llescril1 e
somethi ng with whi c h yo u may become acqua inted by
ohservatio11, take a note-boo k, a.11 d ma ke me 111 ora11 (la of
what you see. Says L ock hart of Scott:
On his v i s i t.in .~ RokclJy, he "ai<l to me, 'Yon lrn.ve o(Len gi1·e11
me n1 n,tcri als fo r a ronm nce; now l wa.11t a go011 rnbbe r's cav e, n.llll
:w oh1 church of t he right so rt.' \Ve rocle out, mul he fo 111111 wlt nt
he wanted in t he olLl sbtc qtrnrries of Brig na l, a.ml th e rnin ed abbry
of Figg lcstone. I obsci'VCll hi111 not in g llcwn even the peculi a r litt le
wilcl-Jl owc rs an1l herbs t hat tteciclentally grew around a n<l on t;lt r
si11c o[ a bold crag, nNLl' hi s in te n11ed cn,ve of Guy Denzi l ; a 11d
co n Id not help s:i.ying-, t lrnt a,: he wn.s not to be 11 pon oath i 11 hi s
work, 11rtisios, violets, a rnl primroses won\11 he a" pneti c:i.l as n.n y of
t he hu111hl er plants he W fl,S CXfl.lllillill g'. f Jn,11g hc1l , in shor t, ftl hi ;;
sc r11p1d o11snP;:;s : but I nmler;;t.orn1 h im wh en he re plirnl, t hat in
11 aL11 rc hcr sc ll' no Lwo sce nes :i.rn exactly a like ; a ncl tlmt whoc,·r r
co pies t rnl y what i::; hr.fore hi " eyes. will po"sess t·hc same rn.r iety in
hi s 1lescri pt·. io11 s, n1111 exhi b it a.pp:trr ntly ftl l i111 :1gi nat inn as bo1111dlcs,.;
as the range of nature in th e scene he reconls; whereas, whorn~1·

FORllfS OF EXPRESSION .

COMPLETE JUJETORIC.

11sl.s to imag in al.ion will soo n firnl hi s ow11 mirnl circnm sr ri bcd 11.11<1
1i! r:1dr •d f.o a [t•1r f':w o rif 1~ im ag<'s. :1 11d Lh c n•pctif.io11 of f. l1 esc wil l,
·111 cr or ]aLer, pro1l11cc f.haf. 1·ery 111 n11 nlo 11 y :i.11tl l>n.nc1111css whi eh
H ' al ways hn.ll11tct1 (lesc rip tive poetry in t he lrnm1 s of a ny buL
I io11L wurshipjH'l.'S of trnth.

••111 cmber t hat associn,t.ed fo elin g·s n. nd circum stances
'~ a g reat a id to descri ptio11.
I11 t hi s way, as in vari1s oth ers - in terpretation, co 111pariso n, infere nce - t he
:1d nr is put in p ossessio n of what is nearly or remote ly
·11 11 ect ecl wit h tlie subj ect treated. See, for illustratio11 ,
»ro n's stanzas 011 t he dyin g g ln.(li ator, or Macaulay's
ntc h of \Vestminste r Hall , to whi ch, as contemplated
f.<: rn a.ll y, we are t hu s i11 troc111 cec1:

•

T he pln,ce was wortl1 .v of' snch a trial. It wn,s the gr eat hal l oJ
illin.m R1rfu s - th e lmll whi ch harl r csoundr.ll wit h n,cclamations
t.l1 c i11 an g 11 nLL io11 o[ thirty k i11 g-s : I. he ha.I I which hn,d witnessetl
· just se ntence of Baco n a nd the ju,;t alisul11 1,io11 oJ Somers ; the
11 where the eloq11 ence of Strafford h:t.d for a moment awed aml
·1Ler1 a victoriou s pn,rty inflam ed with just resentment ; the hall
" ' l'C Charles had co n Cronterl the H igh Cou rt of Justice with the
1,cid coumge whi ch h as half retleemetl his fa me.

B eginn ers shou lrl formally prepare a sch eme of th e
·rns to b e not iced. Thu s, i11 t he description of places
cl countries, 'an abstract might present :.:;ome suc h shape
Lli is:
Si I. nation; ex tent; gencrnl appen,rn.nce ; peculiar features; sur11uli11 gs; eli11mf.e; sn il :1.11d pr01l 11cLin11 s ; popul ation; civilizat ion;
:d ionf' to hisLory; relaf. ions to co11 Lm 11 pm·m·y co nntri es; prospects;
lreLions.

t.he description of persons, again , so me of the fo l .ving heads would he fou nd helpfu l:
Age; fci l'ln , La ll or sltrnt, f-l r.shy or lcn,n , etc. ; face, hair, eyes,
'"· month, cx prcss io11 ;I <1rnss ; niann crs: pec uli arities ; characte r.
1Ii if s a.11 foc<'<ll' 11f .s n1Hl cn1· iron111e11f., such n.s parentage, natio n1 _y . reli gion, ctl ucaLio11; clrnr:ideristin utterances ; ment al n.hili t.i cs :
11 il y tL11<l social ti es ; comp:trif'o n wiLh other clrnrncters; prospec ts.

..

185

But whether skeletons of plan be actuall y written out or
not, it is e vid e nt t lrnt whe n obi'ects
of a 11 ,;v <l eoTee
of Colli,
b
pl exity a re to be described, t he wr ite r or speaker mu st
proceed accorcli ng to met hod. No artistic resu lt can be
rnac hecl without selection a 11<l order.
Th ese remarks o n represe nt at ion in ln.11 0o·uao·e
mav
llLl •y
u
J
<'0 11 clucle with a passage fr o m Carlyl e - himself one of
th e forern os t amo ng me n in descr iptive power: 'On e
gra nd i11va,luahl e sec ret t here is, ho we ver, which 111clncles a ll t he rest, a nd, what is · comfortable, lies
clearly 111 e very ma n's power - to have a n open, lovi ng heart, aud wlrnt fo llows from t he possessio n of snch.
Trnly it has bee n said- e111ph atica lly i11 t hese clays
11 ong·ht it to be repeated- a lovi110'
o heart is t he beD"i
b
ning of a ll kno wledge. T hi s it is t hat op ens t he whol e
mind, quick ens every faculty of t he inte llect to do its fit
work - that of lcnowin,q, and, th erefrom by pure consequence, of vividly utte1·ing forth. Other secret of bein g
graph ic is there none wort h hav i11g ; but this is an a llsuHicient one.'
Narrative.- A narrati ve is t he exhi bition of successive views, or of consecutive in c ide nts and of obj ects
changing from one phase to another. In this it differs
from description, which represents a th ing, not as becoming , growing, progressing, but fu 11 damc ntally as bein,c;,
irrespective of tim e, o r at the time the scene is observed. Th e latter, for in stance, ex hibi ts Lady Macbeth
in the attitude or actio n of an isolated moment, but the
for mer recounts th e whole story.
It is easy to see that th e two processes a,re closely conn ected. Commonly t hey are combi ned. Jndeed, t he
r ecital of important events, as a battle, a campaigu, a
voyage, colonization, must often be a series of descriptions. But descr iption is rat her th e g·a rnitu re of literature; arnl a means rather than th e substance. The great

COMPLETE RITETOIUC.

;s 1s na rrative. \\There it cloes not prcclominate, it is
' n e mploye d to support an argu111fmt or to 111 ove t li l'
I, as .in ·judi c ial a l)(l in pulpi t e lm1u e nce; o r to illustraL•'
I e nfo rce a less on, as in morals, r e ligi o n, fa.blos, and
:1 bl es.
\\T he n the facts narrated a r e e xte rn a l, t h e na.rrat in' is
t he obj ec tive kind. Thi s is the esse ntial characte r ol'
•·Ii hi sto ry, e pi c p oetl'y, m ost p rose li ct ion , a nd 11 m 11 ,.
1es, as tlte Cliar,qe r~f' the Li,qht B1·i,qade. l t is l'r1•·11t , a lso, i11 sc ie n t ifi c writin gs.
\V lt e 11 the facts narrated are in tfm 1a l - t l1on g lit s,
li ngs, d esir es, pri11 c iples - t h e ll fl l'l' at iH~ is o f t. h c s 11h l i\·e kinrl: n.s wli e 11 hi sto ry co 1wN ns it se lf wiLl1 tl1 t'
lt· ruu1Tc 11t o l' n1 Pa. ni11 g ; wh c 11 hioµ;r:i pli y dw e lls up1111
d1:tractc r n.s wd l ;i.s the n.<•.t iC1 11 of t li e s11hj1·c·t; wl1t'11
11 ovc l ex l1ihit s t·h c ,,.() rkinp:s of I li e 111i11il and h Pnr t:
" 11 p o0tr_v is allP!.!_'<l ri<'al or int r11s111·1 ·fi\·(• , :1.s ~p<'11spr\1
'' i' l f'
(/11r •1•11e,
T e 1111 ysn 11 ' s / 11 ,l/, 111urit1111, 1111d t ht•
·1!111s ol' I );1. ,·i<l .
Tlin si11qd1 •,;f. f <l nll of 11arrati'·" is Px r• 111plili Pc l wh <' rt' \'t•r
· a i111 is to t• ;d1il1it t' \"f'l d s <> r <'i r•·1 1111 st;111< f's i11 t.h c ordPr
1 lit•ir <ll'C'.llJ'l'<'lll'C', t•.liro 11 o logi1 ·alh·, wit l1nu t :lil y <' J11ka\·nr
l'x plai11 or a eco unt. for t hf' 111; ns i11 <·hroniclPs, a1111al s,
,.,. strn-.r-t••lli11g·. Tltc~ l1i g· h pr fnrn1 s am di st. i11g·11islt Pd
c xpla.11a.tnry a <<'<1111p:111illl c 11t s-n\·c 1it s am <'•111sid<'r0d
111 clist.i11d rcfo rc 11<:c t.o t li 0 ir <:tl nn cct.i11g· ('a uses, as i11
·s t. 1110<!0.rn hi s t o ri e s. 'l' li c <lrcl< ~ r of t.i111 n is 011ly gl'llt'I'\' fo ll oworl ; lng· ica. I S NfllC ~ IH' C is e hi Pfly r0g·arcl<'1l. l•\ir
·11 pro d11 d .io11 s a rn:i.t.11r• ' r d1 • \·1~ lnp111 e 11t ., a. 111orc di :-H't'l'll·; jndg 111 c nt., a.11d :t wid0r rc>:w h o f i11t<~ ll cc t am r0c111in•1I.
A too orow1h•d ca. 11\':1S s p o il s t.ho pi 1~ t 11ro. TliP p11rpn:P
11a rra. ti ve b e i11 g to cx liihi t a n p\·1·11L i11 it s ri sP, Jll'O).!Tt'ss,
l com pletio n, t h e n ccPss it.y of carcf1illy scl0cL i11 g tl1<'
1'1. ic ul a rs to be i11 co rp oratc1 l i11Ln it is obv io us.
l.t. 1s
· vulgar mind that forgets a nd spares no t hin g; ig no0

0

ra11t t hat ever y story is s n b;ject to the law o ( dramati c
poetry-fest£nat rtd eventmn, and that all whi ch d oes
not co nc ur to the effec t, weak e ns it. M rs. Q ui ckl y's re ply
to F'alstaff co ncernin g hi s indebted ness to her, suppli es a
good exampl e of this peculiarity:
W hat is t he gross sum t hat I owe t h ee ·~
Hostess. l'lfar1·y, if t.h on wcrt an ltn11cst 111:111 , t·.11,vself n.llfl th .111 1011 cy, ton. '!'hon clid :<L swear to 111e on n. pnrce l gil t-goblet, sitting·
i11 n1 y Dnl phi n-cha111\Je1-, at t he round tabl e, by a sea-coal fire. 011
Wecln es<h)· in \iVhit.snn-wce k, wl1 en t.hc Prince brok e thy hea11 for
likenin g him to a sin g in g rn n.11 or \Vi1ul so r ; t l1 011 <liclst swear to me
t.ltrrn, as l was washin g t hy wo t111<l. t.n 111:u1·y rn r., :uHl make me 111 .1·
La.1 !y Ll1y wi[<'. Ca.11 ,.;I. t.lto11 cl env it'? Diel 11 01. Gooilwi[e Keec h. t. 111·
l111t clie 1·'s wife. come i11 th en, a.11 rl C[•.11 in c Gn:-;!' ip Quickly? eomi11 g·
in Lo borrow a JllCS>' n[ vin cgn. r; t.nllin g u s she lrncl :i. gnncl di sh of
prn.w ns; wh ereby t hou clillst dc!=: iru t.o cn.L so me; whcrnby 1 iolu tl1t•c•
t. lt cy we re ill fo r a g r1•e 11 wonncl '? A nd di1l ;;L ll OL t hou, wh en sit e wn s
g·o 11c tlnwn st.n.irs, des ire Ill<~ to lie no more so fa111ilia1· with snclt
poor peopl e, say in g. tlin.t em ln11µ; I.hey shonlil en.I] 111 P J\ f: tdn111 '?
And !litlsL t.11 011 not ki ss me, anti bi1l Ill ~ fetc h t. hee Lhir ty shillingsr
I pnt t.h ee now to thy book-oath, r1en)' iL ii' thnn ca nst.
Ji'a l.~ l r~tf.

Sei ze upon some leading facL o r gove rnillg- co nce ption.
Discriminate the esse nti a ls . He.iect what is only accesso 1·y to the ob;ject which yo u woul<l k ee p in prominence.
Thus th e uni ty of th e l ast c haµtN of Prescott's Conrzitesl
r~f Jlfr:dco is in tl1 e sub j ec t-Co rtes. Th e principal co ncu rre nt stre ams, to which, in tu rn , all minor ones mnst be
t1·ibutary, n.re g ive n i11 th e following divi s io n s :
Co rtes embarks fo r Mex ico. Stops at Hispani ola. Proeee1.li11gs
or l11 e Alulienee. lia11<ls nt V ilb B.icn.. Rece ptin11 i11 Mexico. RPL i n~s to hi s ]};st.ates.
JI is lmprn vc ment of them. His Voyages of
L>i >:cover,v. Ho e111b:i.rks [or C~tl iforni n . Disastrou s Expet1i tio11.
Arri val of a Viceroy. Poli cy of Lhe Crown. l\fari ti rn e E 11 te rpri ~1·s
<J f Co rl.es. His I>i sgw;t with i\IP111l nz:i.. fl is fil!al H.etnr11 t.n Cas1.ilr.
l:l.o joins the Expo<li Lio11 to ,\ lg it• rs. His eold H.ecoptio11 by <Jl1n.rk,.;
V. Col'f1's' last Letter to t he ]ij mpernr. Taken ill at Seville. {fr.;
v\' ill. Sc rnplcs of Co nscience as to Slavery. Views e11 te 1-t.ai11 cd
on t his Topic. He moves Lo Unst i ll eja. Death o[ Co rtes. Tli !<

188

COJ\lPLETE 1UIETOH.1C.

Ol1srrJ11irs. Prtlr nf hi s llcllln.ins. Posterity of Oort.es. Hi s Clin.racLer. His Knigh t-errantry. 11 is ]\[iii Lary Geni11 f'. Pow er n1·p r
his Sollliers. Charnct.c r as a Co11q1ie1·or. Ilis c11liglttc11 r1l Vipw,-.
ll is privat0 ].Jifc. Hi s Bigot ry. Hi s 1\[a1111crs arnl l ln,l 1its.

All of which is co rnpre li o ndc d unde r-R ev is it s M e xi co ;
r e tires to his estates; voyages of discoYery; Ji11al r e tllrn
to Cast il e ; co lJ rece p t io 11 ; (lea. th; c hnra ct e r.
Mak e app:irc 11t th e s ubordination o f what is d e p e nl1 e n t .
L e t n ot th e m a in poi11t b e obscure d by a too e xte nd e d
treatm e nt of a s eco nd a ry o n e. The tra11sitions s h o uld be
(li sti n ctly m a rk e d. lf th e n arrat iv e is to h am co 11 t inu ous
move 111 e nt, th e sce n e s houhl not be shiftel1 111 orc than is
absolutely n e cessa ry. Ne edl ess transfers are lik e distracting pic tures. Ev e ry drama must be co nstructed on
a narrativ e ske le t o n ca lle d tl1 e plot, all(l the most effect ive
thin g is a sit1.t1ttion- a. s triking sce n e, with a n irnp o rtant in e id e n t, to whi c h th e previous action lea.els, and
from wlii c h others are d eclu ccd. A story which ce ntres,
lik e Hofn:nson Crus oe, in o n e prin cipa l nct o r or e \·e nt,
i:;; far 111ore in te res ting thnn any eompe ndiult1 of t li P
workl's history, in which t he grou lldwork is c han g in g
i11 cessa11tl y. lf t h e n arrat ive is lo ng , or if th ere is a ny
co ns id e rabl e bre ak o l' th e tl1read, the labor of co mpreh e nding n1H1 re m e mb e ring may be lighte n e<l by surnman es. S u c h n co mp re h e 11 s i,·e vi e w may close a c hnpt e r
witl1 ru1vantag e, or ope n a n ew one. To b e truthful in
th e r ea l worh1, and prob:tb le i11 th e imaginary; to b e distin c t, a nd t o b e co n cis e - nrc th e qualiti es which c riti cs
d1i c fl y r<><Jllire in narrn.t.iv< ~ style; ea.eh of which enrr i<'s
LhP ev id e n ce ol' its i1npo rtannP. Cow pe r Jia,s w e ll sa.i d:
J\ tn.I<• :-< ltlllll•l lie juclicinns, clc:tr, succinct ;
'l'h r 1:1ng·11ng1' pla.in. a11d in cid t! nis wcll linke<l;
'l'ell 1111 !. ns nr w wl1at cvury hody kn ows,
And . ll <'W or nlcl. sf ill l1:1 slcn to n. close.
'l'h ern CC ntcri 11 g· in :1, f(l< !llS, l"Oltlt(l H IH] neat,
Lot :di yonr 1':1,\ 'S or i11for11rnLion mee t.

FU lUlS 0 JI .Jo;.\ I:' HE::iSION.

180

Exposition.-N a 11 rns an cl state ments may he indiYidual; as, 'Clarence,' 'Tl1 c ea rth's surface is eq n a l to
t he produ c t of its diam e t e r by its ci r c um fer e nce' : or ge n e ral; as, 'man,' 'Th e surf.aee of a sphere is equal to th e
product of its diam e t e r by th e c ircu rn fe r e u ce of a great
e irel e.' To gath e r up into o n e view all the obj ec ts that
p ossess orga ni s n1, li fe, se nsatio n, v o luntary m otion, a nd to
d es ig nate t h e whol e b y a wo rd, 'animal'; or, again, to
bring· together in th e 111i11d all known thin gs that agree in
t h e r ound fo rm, a nd to appl y to th e 111 a nam e eollectively,
'round' or 'circle'- is to g e n e ra liz e a notion. When
11ames or notions are bou nd toge ther so as to eo11stitute a
s in g-le thought, t h e resu lt is a p1·u1Jusitiu-n/ <Ls, 'U11liu1it e d pow e r vitiates th e c haraeter.'
Amply to ex plain or lay ope n the seuse or 111 ea 11i11g of'
1wtious and prop os it io ns, is called e.t jJosition. 'l'o exp o und a notion- to re nde r it d e terminat e aml in te lli gib le, is to defin e it. 'J'ltc µroc ess is threefo ld, in c ludin g
th e svmbo l t h e notio n itself, and its r elatio u Lo oth e r
v
'
u ot ions.
Th e syml>o l is d e fin e d, as sue li, by giving its ongw,
d e rivation, and eo 111pos itio 11 ; a his tory of its changes i11
form and use; its various c urrent meanings, if any, from
which it requires to be disc riminated. Sir \Villia111 Hamilton thus ope ns his le cture 0 11 th e uature and co111pre·
heusion of Philosophy:
'l'l1ere :ue two q 11esLio11 :-< l.o b l' answered: l sL. vVlmL is the mea11 i11 i.!· Ill" I.li e nn,mP.? n.rnl 2cl. What, i,- f.IH' 111Pa11i11g of' tlt e l/1i nf7 ? J\.11
111;c<Wl" l' t.o tli e former 1r11e,.:l,io11 i,.: n. IIonll'<l in :1. 11rnni11al dcfi11i l io11 lll"
I lt e LL'. 1'111 phi/u8Uflh!J, ottlll in a lti:-<Lu ry o[ its e1nploy1n c11l a11d :1.ppli <·ali o11. Ln reganl Lo Lhc eLymo logical sig niiimti on o[ t.h e word.
Philosophy i,; lL Lenn of Greek origi n. l.t is a c:ompotlutl of cpiJ.uc; ,
a l unCI" or fr1:en<7 ; attcl rmcpfo, w1;sdoin-spccnlativc wi sdo m. l'hi lo:-<u ph y is t hu s. literally, n lo1Je of wi::;duin . . . . Jt is probab le, I
thi11k, UmL Soerntes >\'as tlt r fir,.:t who adopt.eel, or aL JeasL t he fir;;t .
who famili<ui zell, the ex prc"sio11 . H was 11aLnrnl Llmt lt e ,;ltuuhl IJL'.

l90

CO~l PLE TE

lt H .ETUJtlC.

FOltMS OJ•' IJ;XJ' lt ESSlON.

n11 x io11s to eo nt,ra!li sLing ni s h lii111 se lf from t he Sopl1isls (11 [ m1 cp 11! ,
11 [ ti 11<f '.1T Tr1.!), lil c rally. t he wise men ; a 11rl 11 0 L1\l'lll co 11ld 111on·
a ppmpri:i,1.cl.r ridi c11l c the nrroga11 ce o[ Lhe,.;e preLc111ler:;, or affurd n
h:1ppi cr eo 11tra:;;t to t heir li:t11 g ht.y llrsig natio11 , t h:rn l;hal, of' pl1iJo,.;op lwr (i. e. the lo ve 1· of wisurnn); a 1Hl, at Lhe ~a 11w tim e, iL i,.; l'1 ·rl :1 i11 LhaL the s11bsta11Lin)s cpc i,ur,11 cpc'r1. a.111! cpc i.1/r,ucpuc; Jir;:;t a,pJ H':l r i11
I he writings o.f t he Socrn, tic scltonl. H i,.; trn c, in1ll'cd, th:it 1111• \' 1'!'11
<[Ci.11r,1)(foiY is fo nrnl i11 H c roLlqtus, i11 t.he n.1klrc,.;,.; 11.r Crll',.;11 ,.; to
So lon; nnLl th a t, Loo, i 11 n pn,r Lici pi:d fo l'ln, lu d es ig n:tl e t Ill' lat t1·r
"" n 111 a.11 wlio had Lra vek!l :dJ1" md [or 1lic Jllll'[Hl>'C o[ lll"'lllirilli,!
J, 1101rl cdgc . I t is. Uierrfo n'. 11 0L inqio,;,.; ible t h:it , hl'l'ore th e t i11 H· of
~"L" rat. c·s, tl1 u,.;1 \ who d c 1·otcd tl11rn1 sc• l1·c,; Lo UH• p11r,.;11it of I h1) l1i .L:" h• ·r
l1r:i.n r hes 111'. k11 ow lcdgc Wl'l'C occ nsinw1lly d1•,.;ig 11:1.t Pd phil o,;opl1 1• r,.; :
11111. it i,.; l':ir 111o re prnlmhl c t.!1:1,t. S1wrnl1'>' and hi,.; ,.;1• hool fir ,.; I ap prll 11riatcd t.h n l<' l'lll as a di st.i11di1· 1· :1pp1 •ll:1tin11: and th ;tl tl w wo rd
11!1i/oso; 1h11 , in eo11 ,.;eq111•11 ee or t hi,.; "l'l'l'<'Jll'i:tl io11 , { ";illll' lo 111 ·
1•1 11pl o.n'd Jor th 1• c:o111ph•111L' 11t. ol' 111! hi .c:: h1 ·r l;1111wl1·d L::1'. 11 11.J , 111 111"'
''" l"'c: i;d l.1·. to d l' 1111Le lh 1• sr· i1 J1>'1' 1·11111·1 •rsr11 il rrlu11tl flu · ·jl l' i11ri11fi. .~ 11r
r' 1111sr•s of e.1:i8lf'l/!'. r'. TIH \ l1· r111 11hifr1su11'1y. I 111:t.1· 11111 i1 ·1', whi..J1 wn-<
11 1·i.!.d 11a ll.\' a,.;,.; 111111·.J in 111111! 1•,.;l .1', ,.;1111 11 !11,.:f ii.; :-\1wrat i1 · 1111d l'fn1111l11g- ical ,.; ig1 1ifi 1"< il io11, nnd n •l 11r111 •.J I•• t 11" 11w1111i11;_! of •rur!•1, ,.,. w:,.
d11m . ll11i11t.ili:111 1·11JI,.; it 11111111·11 ,·11 ,« il• · 11f i ., , ,-11111111; ~.·111· 1 · 11. 1..1111r 11
i11 1·irlios11111; l•: pi..t 1·t 11 ,.; <' 111111 ,;1•!-.: hi " ,.: 1·l1 11 l1tr" 11111 !11 "all t l1 c• 111 'l" il"·'
· l'ltilo,.;11pl11·r,.;': n11d ;mnu l i-.: 111 11 · 11( 1111' 11w,.;t unli11a ry 1·)'itlt l'l:11·itl1 wlii .. !1 )'l1il u,;u l'l <.I' i,.; 111111· ;i-.:,;11,.i:1l1·d.

m et hod of verbal explicatio n; a s, ' A wish is an inacti\' e
d e sire .'

Thu s :

' rntnsticity,' be:;iues being se ien ti lieally d.efiued by Analysis [as
Lhe power of bod ies to recove r t heir fo rm after co mpressio11] , b
rcmlcreLl easier o f' nndcrsta mlin g by a se ric:; of exampl es of ela,;t ic
ho<lie;; - a piece of lmlia rnbbcr, a spring, :m ivory bn II , n bladd er
11[ n,ir, etc.- <tilll by counter reference to nou- elc~stic s uli~ta 11 ce,
a:;

elay.-JJnin.

Tints, also, mod e rn d ict io nari es su pple m e nt th e ir fornia.I
d d i.11iti o 1J s pi cto riall y . A log ic al d e Vi11iti o n, it m ay b e
add ed, comprises two things, - so m e thing m o re ge n e ral
t.lia11 th e n ot io n d e fin ell a n d ass um e d to b e bette r k11ow11 ,
st.yl e d th e y enus)· a nd so 111e tlii11g d esc riptiv e of th e dif-

f ere 11 ce b e tw ee n tli e J efi1J e cl 11 ot io11 ( o r s p ecies ) aml t l1 c
g e nus; as, 'A triangl e is a pol ygo n of thr ee side s.' StH~ li
brevity a nd seve rity, h o w ever, are l ess su i tab l e fo r popular
apprehe 11 s io 11 tliau a11 exte 11Je d un fo l d in g or d es c ription,
pres e nting t h e subj ec t iu a vari e ty of v ie w s, o r by a ki)l(l

of r e iterated explanat ion, as ill Adam S mith's e xposition
of r emurse.

(l)

by fixing th e 111 ea 111J1g

of tli e t e rm s, a s a lre ady indi c ate d.

Tlrns Martin ea u , di ::;-

A proposition is e xpoundccl

Tli e t• t.y 111ologi<·al a11d l1ist ori1 ·al 1•1) 11sid 1•ratio11 o f a word
111 s1·i ·

eo urs iu g from t h e t e xt , 'Tli e ea rn e st ex p ec tation of th e
creature wait e t,h f:or t l1 e 111 a 11i festat io n of tli c ::;0 11 8 of God,'

l's p ce ially, it. is <11' 1·ital i111p u rta11 c:1\ ; for a11 abstra c t
Le nn i.-; illu111i11a.tPd by tl11· <'01ll'l'<'t1 \ idPa of its radieal.
A n o t io11 111a y IH ~ f11rt It Pr ,,,. <1t lll'n1· i sc~ d c fi11 Pd , i11cl1wt -

l' ll Cf',

says :

iv e ly - hy liri11 g i11 g· forward Ll11~ part i1·11lars 011 wlii c l1 it is
ha sed: ant iLli dica lly - hy 111C' 11ti o 11i11g· its eo 11 trnsts; o r
analyti c ally - hy st:1.ti11g· it.s l'.1Jnst it 11p;i(,s. Tliu s m1111d 11 ess 111ay be c xplai11 (' d by s liowi11 g-, or re f1·rri11g- to , a 1111111 ·
IJ e r of bodi e i; of that. g e 1Je •ral li g- 11rc-- a wli eP I, a turnip, a

It ill, an a ppl e, t.lt e sun, e l<'.; s t raig·ltt , hy it s llpposit P, h P11t
or c r oo k ed; geo 111 e Lry, by its ul e 111e 11t.ary eo n ec p Lio 11 s, t.'11 ~
sci e 11 ce of p os iti o n, exte 1rn io n, and funn.

V e r y ofte n it is 11 ccess ary o r d e sirable to con1-

bine two or more of th ese m eth ods.

1

n fLPll i111pa.rts gn'a(. \·i1·id11 <·ss (n t l1 P si g 11ili1 :11tio11.

HH

Th e last is t l1 e

•

Among t h0 <lcnp .vet lll',g·lndc1l hin t.s whi ch li e lir nen,th I.he s nrl'a.ee oE t:lerip t ure, t here is no11 e 111 ore ,.;ea relti11 g Limn Llw di:;tinct.ion
hPrc assn111 c1l lm Lwee 11 Lit e cren/.nre an ll tl1 c son or God . Tl1 c crea,..
lnre is simpiy the fabri e or hi e; skill, l'l'latell to l1i111 as the texture to
I.he lmml t hat weaves it, iml ebtcd tn l1im fo r its existe11 ee, C<Lrryi11 g
iu iLse lf his pmposc, but onl y as a thing-a tool - an nrticl c - i11
Lit e out fit of his worhl. 'J'h e son is I.l ie partake r or his esse nee, t.l1 r)
n·peatcr of his Lil\', relaLc11 t.o lti111 as th e e hild wh om Lhe pare11L,.;
cann ot hind er from l>ei11 g lik e tl1 e111 se l Vl»,; ; gTowi 11g 11 p t herefo re
.i nto his imtLge, and lieLrayiug, e ven in ex ile tLlld :;eniLl1<lc, an irre-

I 02

CONPLETE HHETORIC.

1''0 l{~l_S 01? EXP l{ESSION .

!'l'!':-<,d\llc f:y mpathy with hi s a ffoct io11 s, arn1 yearnin g town.rds him n,,.:
t li e cn·rlasL i11g home. [11 1Jt :~11 , hot.It th ese characte rs are united .
1\ :-< :t proc111cL of 11:1,ti1rc, hor11 Lo take a pince and pnss away a 111 011 g
I he orga11isrns of this l'arLl1 , he is a crcn.t.ure nu less than the cnLLle
011 a tho11 sri11d hill s, nm1 Grn1 is l1 is Jfrt,kl' I'. As a ve hi c le of so111eI hi11g above 1mt.ure, as lifL!'d i11t.o I.li e freedom of p e~ ·::;onnl ex ist·c11<.:e,
:1,; ,; liari11g in t l1 e li fo of the Etenrnl Spirit, he is a sou of (livi11 e
Ii 11cagc, and Gml is Ii is F'uJ her.

A pendulum swinging .i11 :-t rn,1·1111111 !in.,; Lo nvP ITnl ll e 011 ly {.he
slig ht fri ctio n at its poin t u( c: 11 spc11sio 11 , a nd , wli c11 011 GC in rn ot in11 ,
will vibrn,te for a day or rn ore.

(2 ) By obYcrse it e ration. As eve ry aifirmation , for inst.a n ·e , in vo lv es th e d e nial o[ its co n tradi c t o ry, a prin c ipl e,
having b c (~ n a llirin e d d irect ly , 111ay b e ite rate d l>y d e nyi ng
t li e C01llltc r -prnpos itio11: 'This roo m is li g h t'= ' This r oo m
is n ot dark' ; 'All kn o wled ge is f"ro111 nxp c ri e nce '= 'Th e r e
is 11 0 intuitirn ku o wl edge.' (3 ) By exa mples. This 1s
a I ways, fr o 111 its sup e ri o r for ce, th e le ading m e thod of
nx p os ilory writing.
Ur. A rn ott, in his _Elem ents of
l)/1.y sics, tlrns e x e mplifi es the ge n e ral priucipl e t hat n1 0 t. io 11 is na t urall y as p e nmw e nt as r est, the o nly ca us es of
reta rd at io n, wh e n l> od ies ar e le ft to themse lv es, b e in g
frictio n and the r esista n ce or t li e air :
J\ l1n.ll ro ll ccl nn level grass sn1111 c;l,u p s - if roll ed on a <':ll'J>\'l
rwr r a smoo th floor, it goes lungl' r - if on the Liare tlnnr. it g"1's
longer st.ill - on a s11wot Ii sl1 cl'L 111' ice, it hardl y s1dfers rel: ml11t i1111
l'rn111 fri d iu11 , and , i[ Lhe air lie 1nCJving with it,, will n ·:1cl1 a di st:inL
I'll ill L.
. . . '! 1 11'11 li U.le wind111ill wl1 ee b :::d in lll 0Lio11 l• >,~- 1'! 111'1' wit Ii
1• rpial 1·clcwity , 11111. CJ!' ll'lii1 ~ li CJn r has th e lbt. ;.;i dl's of t Iii • 1·11111•,;
( un11' d to lh l' ir l' lllll'>'l'. :1.11d Llw ot.l 1l' l' t.lw 1•dgcs, ii' nwYing in I Ill' 11ir,
1rill ;:(.CJ[' :it. 1·e ry clill'en•nt. t i111!'s, li11 t, if plan•d in a vcss<• I l'r11111 wl1i 1·h
I li e a ir li:i s l1l'e n renw 1-cd, Liley will bot Ii rcvoll' e n11wli l1111 g1· r. 11nd
will sttt p r•x:1ctly Luget.l1 cr.
,\ s it, f':ll:ili tat.es t li e 111 otio n o[ lb l1 l'S :111d 11f ,; hip,; in t 111• w11t1·r.
t.lmL t.hey have taperin g fo rn1 s before :11 1d IH• l1ind . "'' ""''" it f1wili t:i.l r, U1 c 11wtio11 o[ liinl s i11 !.li e :1 ir, tl1a L tl1 l' .I" l111r t• ""11 H• 11·li11t .,f
sirnil:tr fon11.
A larg-e spinning Lop, wit.Ii a !i1ll' hard 1•ni nt , "''' i11 r:apid 11111! i1111
in a. vac uum , on a lmnl sn1uo tl1 c:11rl':11:•', will contilllll' t 11rni11 ,.: for
Ii our:::.

(4) By illu strations- assoc iat e d fa cts, similar o r a 11 a logo 11s
cases, as llistin g ui s h e cl from parti c ular in sta 11 ces. Loc k e,
s p e aking of tli e d ecay of our m e nbd aequ isit ion s, says :
'Pictures draw11 in o ur 111i11d s are laid in fadin g col o rs ,
and, unl ess som e times rcfrnsli e d, vanish arnl disapp ea r.'
Th e N e w T estam e n t :d)Onncls in ex pl a natory co nqiariso ns .
AbsLrnct i1le as - as, n o tably, in t h e parabl e o f t h e so we r are made i11t e llig-i.bl e t h ro n µ: li Ll1 0 m e cliurn of th e se nses.
Tli e fo ll ow in g, fro n1 Tli oodorc L)arkc r, is a, good s p ec im e n
of .i llustrativ e exposition:
J.lavc yo n neve r see u lll Cn an1l wo 11 w11 whom s0 111e di sa.st-cr drn\'e
Lo a great act of prayer, a mt by a111 l by Lile rli:mste r wa.s forgot., lmL
Lh e sweet ness of reli g ion rema iu ecl :rncl wa n 11ml t heir so ul ? So have
I see n n sto rm in l:i.ttcr :::pri11 g; aml :1 U was black, !"ave where t-.l1 e
Jig-·ht nin g tore t he clowl wit l1 thu nd erin g rent;. T he wind s bl ew
a nd t he ni.in s fe ll, as tli oug l1 !tearn n had opened it:; windows. Wlin.t
a cl e vastaL ion L11 crc was ! NoL a s11id er's web t h:Lt was ouL o[ (luo rs
escaped tli e stor m, wIi t(' h torn up ove n t he stroug-uran chcll oa k.
But. 0re long th e lig ht nin g h:ul go1w by, Li m th11mler was spent a111l
f' ile11 t, Lhe r:i.i11 was ove r, t he western wi 1Hl came np wit l1 its sweet
breath, t;lir. ( ~ l o ll!l s were d1ri sc1l a.way. and Lhe rntrcat.ing· :-;t;or111 th rew
a sear[ of rainliow;.; ov er her Jair sliould ers :i.n(l respl cnd elJt 11 cc k,
and looked back and. :s111i! e1l, allll so wiLllllrew r1ml p tt'i::>Cd out of
sig hL. Bnt fo r weeks long Lhe fields held up t heir ha.mls foll o[
a mbrosial flowers, and a ll t he sum 111er th rough t. he g r:1ss wa.s g r0 c11er,
t.h c brooks wrre full er, and t-.h e trees cast a morc rnnbra geous shadl'.
hecnnse t hat storm passed by- t houg h a ll t he rest of earth had long
ago fo rgot the storm, its rai nbows, aml its rnin.

(5) By inferences, applications, and co ns equ e nces.

Th e
stude nt of Mathematics or of Physics will be at n o loss tn
und erstan d how g r eatiy principles are expanded to th e
mind by turning them to immediate account. L e t us
quote from an essayist, Mr. Sam u e l Baily, who has b cc 11
setting fort h certain e ducatio nal doctrines :

194:
Fro111 Utl'"e Ja111 i I iar fae L!', i 11 w·Mal i ng Lit e irre:;istililc Le nllency In
Jll'r:,;11 11:11 ;i,.;,- i111ila.t ion a11d Ll1e d111.'< 1iiilil.y oJ ii ,.; cJiech. we lll :t,,Y d cd11 re
f. Ji e Jiig it imporf;t!ICC ol' pJn.e i11 g e ltiJdre ll 1r iLJ1 peopl e who <L l'C l'aS.\ ' ,
11:1 L11ral , ;111d g r;t<'d11l i11 t heir 1kpo rlt1H•11t., who i' Jll'<Lk with cntT1 ·c t11 e:,;,- a1111 p11rit .r , and :ire f'n· e fro111 ol1j ed io11nu le hnl1i b. No J)o111i11i l: :-;a,11q1"""" ,.; J1 011ld l1 r• 1w n11itl ed \\'li l' rn it. is 110,-s ilJil'. lo w'1:lll!I P
I ii L
' lll. Tl11 • !llll'l' lll'('.l': 1l<' 11 t. prn1 ·I il'l ' ol' l'01 11111il f.i11 g <"l1ildn •11 l.11 I hn
l':t.re of' l.l1P l:i1111 ·. ( ii l' dl'i'nl'llll'd , 1.l1 l' r1111.g· lt . 1111• 1111 co 11Ll1 , t h1 : 1111 g·ai11 ly,
t.Jw ri ck!'!.\' ('il .IH•r i11 holly or 111i11d, i,.; 1111 \V i11d 1°l'd g·c 11 L' rall y al1:i.11rl otll'd . 11 j,.; IH ·1·0111i11.g· 1111d1 •r:-; lond lli:1f. a 11 i11 ~ fnll'l .o r is all flH: l11'fl.1·1'
1'11r l1l'i11 g a l'a1·11ral1l1: " J1L'ci 1111 •11 ul' hi s own rau·, c1·1:11 i11 pli y:-; il:al
1111:1,liLi cs :1.11d aeeu111pli!']1111 e 11Ls.
J\s a l'lli<·. do 11 01. 1:011fitle _yrn1r childre n Lo :rn,v on e whn:-;c lial1il,~,
111:t1 111 r r:-;, spL·.ee h, ]'lay of' co 1111(e1t :L1H:1•., a11d d cpnrti11 e11I. yo 11 \\·o ulcl
nnL lilw tltc 111 Lo irnitaLc. 1L is 1lo11l.>tlc,.;s c.xLnrni ely difnc11Jt. Ln act
011 s11c h n r11h·; a coi111n·on1i "1'. l1cl.w <'(' ll wnlco11w aml Hnw eleo me
•1w1,Ji ties, i:-;, i11 ge 11 crn l, t.l1 c 0 1tl y praeLieab le reslluree.

Fro m wlmt ha.s bee n sa.id, it will h e seen t hat ex positio n is tlt e ~; t.ylc~ of Lrca t111 c nt ap pli cabl e to knowl edge of
th e scie ntific c lass, i11 c lu <l i11 g, witl1 ge ne raliti es of the high('St ri go r - as l\.Iatlt c111atics, C he 111istry, Log ic, Natura l
Flistory, Cha 111111a.r - those or th e looser a nd probl e1n at. ica l
kind - Ethics, .Uisto ry, E<lucatio11, Politi cs, Th eo logy,
C ritici s 111 , s ubj ects p c rta.i11in g t.o li fe and society, in whi c h
t he mod e or ]1 ;wd li11 g is made to serve the literary e ncl s
o r popular interes ts.

Argu1nent. - Owing to th e un conscious e rrors of
op ini o n, t he warpin g effec t of' fee li11 g, hab it, and intc r C's t ,
th e rna11y 111 otiv es which rnay indu ce others to mis!Pad
us, we arc n ut 11 s11;dly co 11 vi 11 ced of trut h o r fa.ls e h(J od hy
sim ple st.atc111 e 11t , lrn t require a.11 i11de p c ml c 111-. basi s of
rational hc li c f. L:l.urnan i11fir1nity a11ll sin cO lll)H ' l us l o
clc111all(l, li eyu rnl the me re assertio11 t hat a prop11sit ion
is t ru e o r fals e, w h.y iL is so. To n.dd111·n fact s and
prin cipl es as e vid e nce of: ot her facts and pri1H·ipl Ps
is call ed m",qu.ment, in t he st ric t. er se ns e. It s ailll is to
produce conviction - assunwce founded 0 11 a cka r ;q 1pr<'-

.FORMS OF l•J\. PR~ SS ION.

•

•

1%

he nsion of th e grou nds or reasons of be li e f. ln this it is
primarily distinguish ed from e xp os ition, whi c h aims, first
of a ll, t o remov e ignorance - to inst ru c t .
If the reasoni.ng is f rnlll t he whol e to a part - from a
ge neral truth, however esta blish ed, to a pa.rti c ular app licat io n o f it, t lt c process is s;1. i<l to he dr:.rl1r,r:t£n e; a s, All
me n a.re mort.:d , tlt e rnf'orc WP shall <li fl . ()I' Ll1is c lt ara.ct.e r
is tho lor;i:r~ rr.l syllo!fis1n, wl1iclt co ns ists or tlm~e p ropos i1 ions - ilU {.jor, 1nin"1·, a.11(1. r~ "11.1d11,si on.
l<'ro m t l1 c two
former, which are t he pre mises, t he latter is a necessa ry
i11 ference; beca use in tlt om its s uh,i ec t and predicate ,
sty led by logicians major :wrl mino r terms, or ext re mes,
are distin ctly co mp;tred witlt <t miclrll e ter lll, o r a parti c ular
common to th e m both. Th u s:

All i\l is P,
A ll Si" M,
. · . All Sis I'.

But this is t oo stiff a nd t edious to be popular. . [n li terary
co mposition, in o rdinary speech, t he invariable mod e is
the enthy1ne1ne- a form of argume nt with o ne premise
s n ppresscd:
\Var is an evil , because it prrnl11ces h1unan misery .
H ere the reasoning beg ins with the conclusion, and
assigns the minor premise alone for its reason. The
major pre mise is omitted, si nce, though it must be tacitly
admitted, its formal enunciation is obviously needless.

196

(.) 0 '.ll PLIHE R lrETOR H .: .

8 11pply in g t h n 0 111i ss io11 , ;u11l
beco m es t rul y sy llog ist ic :
v\T hnLu rur prod1 wc,.; il1111rn11

i11 v c rL i11 ~

111i ~ r~ r .v

is

<Lil

•

Lhi_: u rd c r, Lh c fo rrn

e \·c n a p r o b a bl e c01 1c lns io 11 . Fro m 0 11 e in sta nce, e.g. of
tlt e assass inat io n of a n U s urp e r, i t w o ul d not be a ll o w; tb le
t o in fe r th e ce r ta in ty, o r e ve n t lt e p ro b a bility , o f a lik e
fat e a t t e 11 d i1 wM a ll Usu r1)e rs.' 1 T hat fo rm of ind uct io n, iL
m ay be w e ll t o a d d, i11 whi c h t he uni fo rm co mpa ni o ns hip
of t wo fac t s t/i,1·ongh a ,qreat variety of circwnstances
le ads to t he ir be ing regarde d a s ca use a nd effe c t, is a p op u la r favo rit e , a nd p ec uli a rl y liab le to a b u se. 'Ma ny 00 111m o n m od es o f re a so ning a re fa ll a c io u s e xamples o f t hi s
ca no n. A par t ic ul a r m od e of l ife is call ed h ea lt hy,
beca use it has b ee n t he IHtb it o f a he a lt hy m a n; a cc rtrti11
in s t it u t io n is la ud e d, b eca use a n a tio n lt as pros pered
un d er it. Th e log ic ia n in s u c h in s ta n ces w o u ld say t hat
t lt e co n d it io ns of a tr u e induc t io n h a ve n ot bee n co 111 p lied
w it h. Th e e asie st m od e of d isabu s in g a n ord in ary mi11 (l
is to p roduc e insta nce s w h e re t li e sa m e t hin g h as be e n
2
pre se n t wit ho ut th e sa m e e ffe ct.'
It will b e care full y note d t ha t t h e c ur re nt of th o ug h t,
i 11 d ed u ct io n, is fro m s u hj ect t o pre cl i cate ; in in <l uctio 11 ,
from predi ca t e to s ubj ec t . Th e aceo 111pa 11y i11 g a na lyses
illustrate , rh e to ri c a ll y, t he ap pli catio n of bot h m et hod s :

ev il:

\ V:i.r p rnd1 n;cs h11111 a 11 111i,-e ry;
Therefore W<Ll' is :i.n e v il.

ff, 0 11 t lt e c o n t ra ry, t. lt n p m c<rns 1s front indi vidu a l
Lru t li s, kn o wn o r a d111i LL1:1l, Ll1 e rca,so ni11 g- is sa irl to be
ind/lf~ / i ,, r; ; for1na l, in wlti c h t lt e infe re n ce is n ecess ilaLc d by t lt e hw s o f t l10ug h L, as w he n we r easo n fr o m a ll
t lt c p a r ts d isc ret irn ly t.o t h e w ho le co ll ec tive ly ; 1·eal, in
w hi e lt we infe r t l1 at wl mt is t rn e uf t lt e p a r ts e xa mine d is
t n u~ o l' Lit e wh o le . 'l'hlls, ()Xp nri e nce n~ 11<l e rs it hi g hl y
pro ba b le, tl1 0 11g h not e c r ta i11, t hat s no w will fa ll in D ece ml 1o r.
F' ro m presc 11 t :wcl p ast o bse r vat io n, t hat t he ti d e s
lt av c d a il y e bbe d and fl owecl, we co nclu d e t hat t h e sa m e
ph c11 u 11 rn 110 11 will c o 11 t i11L1 e. F'rn m t. he uni fo rml y e 11 fe e hli11 g- Plfoc t of <L ros id c 11 ee in t he tro pi cs, we in fe r t lt at
nxtre 111<l lt e a t is d e t e rio ra t in g to t he lrn111 a n s.r'te rn.
Tl1 c rea lly indu ct ive a rg n1 nc nL res ts 0 11 rese m b la n ce ,
s 11 ri11 gs from e xp e ri e n ce, a lTirnu; 1n o re .i n t he c o nc lus io n
1.lt a 11 is g ive n in t h e p rn 111i sc1; ; a nd h e nce ca n n e ve r be
d e m o ns t rat ive, t houg h a ll o wed to hav e t he foru e o( 111o ra l
•:n r tain ty , pro vid e<l t he fa cts 0 11 whi c li it is foun d e d b t)
s111li e ic 11 Lly 11111ll ()l'OUS. ' [u t lt e in ve st ig a t io n o ( t h e la ws
o f na t u re, a s ing le e x pe rim e nt , fairl y a 11cl ca refull y 111 a d c ,
is us u a lly a ll o we d t o b e c o nclus ive, b e cau se we c a11 t h(!ll
pretty ne a rly asce r ta i 11 all th e c ircu msta nces o p ernt i ng :
<L C he mi s t wh o ha d a sce rta ine d , in a s ing le s pce i111 e 11
o l' o-o ld i ts catJalJili tv o f c o mbining· witl1 m er c ury, wo uld
:::>
'
•'
·~
11 ot t hink it necessa ry to try t he S< Lll1C ex pe rim e n t wi t. It
se ve ral o th e r s p ec im e ns, but w1 m lcl dra w th e co11 c lu s io1 1
c. 0 11 ce rnin g t hose m e tals un ive rsall y, a nd with c e r taint y .
111 h11111 a n n ITa irs, o n t he co n tra ry , o ur un ce r ta in ty rcspc di 11 g· 11ut ny of t lt c c irc um s ta nces t it at m i:i,_y a ffec t t h e r0s11lt,
u bliges us t o eo ll ec t 111 a ny co iueid ing ins ta nces to wa r ra n t

Hl 7

FO JU I S OF P.X l'R ESS ION-.

'1'1rn~rn:

l( No11' L1rnu 1·: 1s Po wEit.

(1 ) 1Jednr:li 1·e : Snl>j ccL Ln prccli c:i.l.t' .

Kn owl r dge : i11cre:Lses t he pk :Ls111·es of life,
bri 11 gs ail va11 tage;;,
enables one t he bet tcr lu d isclmrge thr. du ties
of life.
prevents wea ri11 0ss.
c l e v 1 L t~cs t he 111i11d .
procures Lhc rcs ped or othr rs.
'T'h er efore, Knowlr 1lg-e is power.
(2) Juduc licP: l'rctli l'1Lf,e to s11lijrc l..

•

1 Dr.

\\"hate ly .

" Pro f e s ~ n r

Ba in .

l

~J S

COi'l fPLl ~ TI ~

RH l~ 'l'OltW.

FO JO LS OF

Po we r co 11 s is ts i11: hea lth o [ body,
disc ip lin e of rniml,
force o ( c ha rac te r,
e 11 l:.trgcd reso urces,
co 111p1:eli e11 sive views.
e xte 11cl ecl in fl uc11 ee. 1
;\ 11 t hc:;;C' , :ts res1 il ts. 11 rn.v he t.mcl'd tn lrn o wl ecl gc : hc ncc . K uow led ge i,.; pn ll' e r.

'/ 'hP. m P: 'l'h c l ; 11i f.l> cl States Unvcrn111 e nt s ho uld
C hin C'c;c lrn111i g raLio 11.

not

rcsLrid

rliti ons of rJ· t hat 13 li as so me attr ibute in co rnpatibl e w it h
r ,· or t hat t l1 e c ircu111 sta 11 ces attP ndi ng 13 prevent t he

,

(l) D eilnctiue: S 11 IJject to pred icate.

Al l m e n a rc c reate<! fr ee a ncl C'l)ll:tl .
A ll me n are e n t itl ecl Lo li fe, lil1C' 1t.v. a 11 cl t. hr p11rs11i L o( h nppi 11 css .
A ll have Lh e ri g li L Lo e ngage in :1.11.r l:d1o r whic h dues not co11Jiiet
wiL h t he la ws of t h e Ja nel.
A ll a ro e n t it lecl Lo t he res ults o.C t he ir lnbo r.
Com petit io n is t he li fe of trad e.
Foreig ne rs 11 rny eve11tt1a ll y 1Jcco11ic C' iti zc ns.
(2)

l ndnct1:ve: Predi cate

Lo s1tl1jPe.t:.

Am erica. a n as.vlun1 fo r a ll.
Th e C hin ese are pea ceab le a nd law-a bidin g .
Th e C hin ese are i11cl11 sfrion s n11cl t hri ft'.v.
The C hin ese are d oc il e and tractablC' . .
Th e ir re lig io n is 11 0 wo rse tlrn11 infitl r lit·. v.
They a re not ope n vio lato rs of law.
.
Therefo re. t he Un itcJ. States Gove mn H'nt shonltl not rest ric t·
lmmig rn,t io n. 2

I ' hin ese

ef

A rg u111 e nt by anal or;y is inferen ce from t he partial
s i111il a ri t_v o f thin gs to th e ir co mpl ete similarity. Th e re
is rese mblance of prnperty or r e la tion, with accompany ing- disparity. Thus A has t he attributes l, m , n, r_; 13
has t he at tributes l, -111,, n; t herefo re B probably has t liP
att ribu te 1·. T o r efut e this a rg um e nt it is necessa1·y tu
s how e it he r t hat 1· is t he effec t of some attribute found in
A but not in B ; t l1 at certain circum stances are present
wit h A, lrn L abse nt. fron1 B, whird1 are indispe nsab le co n'At.lupk tl f rn 111 Bancroft' s 11letl1od

11/

Rn(tlisli Composition,

~

l bicl .

r •: X: l ' Hl~SS WN.

1

ex iste nce of r . T o illu strate: Th e ea rth is a n opaqu o.
solirl, nea.rly sph eri cal, rle rives li g ht a nd heat fro rn t h1•
su n, a rHl is inh a bite d; t he moo n is a n opaque solid, nea rl y
sp heri cal, d eriv es lig ht a nd !teat fro m t he !Su11; he nce t he
111 00 11 is proba bl y inh a bited.
Th e po in ts of differe nce,
l1 owever - notalily, that t he m oo n has 11 0 atmosp here a nd
11 0 wate r-pr ese 11t a eo unt c r p roba bility t hat t he moo 11
is n ot inhabited, oi· Ll1a,t t he co ncli tio ns o u whi ch li fe
t he re dep e ll<l s a re esse n t ia ll y cl iffere nt from wha t th ey
a re he re.
Analogical a rg um e n t is t he more probable in proport ion to t he numb er a n cl acc uracy of t he obse rvations, a nd
to t he n um b er and im po r tance of t he cong rue nt att ri butes. It ag rees with r eal i11cluct io n in t he fact t ha t bot h
g ive o nly probab le res ults, a nd that th e rl eg ree of pruba bility may va ry betwee n i1nposs ib ili ty a ud absolu te ce rta in ty without eve r r ea c hin g e it her limit. 'l'be two d iff er
iu th e res pec t that we in fe r, by o ne, t hat objects agre eiug
in ce rtain resp ec ts, ag ree in ot he r r espec ts; by t lt e othe r,
t hat an att ri bute be lo ng ing to m a ny ob jects o f a class,
belougs to all t he obj ects of t h at class.
A na logy may be us efu ll y e mployed to show th e r easo n able ness of a co nc lusio n, to re move prejud ice, to si le nce
ob ject ions, and so to prepare the mi nd for t he recept io n
of knowl edge. Bi s ho p B ll t ler app lies it with great pow er
to the subject of natural and re vea led reli g ion. 'l'h e fo llow ing fro m his cha pter on t he immortality of th e so ul is
an illu strati oll:
Fro m our b ein g born into t he prese n t world in t he h elpless, i111 per fect state of infan cy, a nd ha1·ing ar ri rncl fro 111 t he11 ec to 11 mtun·
age, we liu(l it to be a ge nc ntl law o f n ature iu our o wn spec ies, t hal
t he sa me creat ures, t he sam e in(1i Yic111als, should ex ist in ll eg rees of
li fe a11 d pc rcrpLi011, wiLli c:q•:1.1 -it i<' ;; of ar.Lio n , or enjuy 111c11 t, a nd

:WO

co \I l'L l ~' I ' I•;

H lr E T O in c.

s 11 lfnin g, i11 Oll e pl~ l'i od o[ 1 IH•ir l1e i1 1g, g reat l_v 1liffr l'Cll L rm111 t hose
:1pj1oi11 Lrd t.hrnn in :u1 ot li er IH' ri od of' ii. 1\ 11d in other crcaL 11rc>< t hc
s:i.111 0 law hold ;.:. For Lhe 1liffr rr 11 en o r tl1 ei r eapaciLies nnu stales o[
life at Lllf•ir l1irU1 (to go 110 l1 ig hc r) a n1l i11 1n:tlurity; t he c ha nge o r
11·01·111s int o fli 1•,::, :t11d the l'as t, c11l a l'g<' 111c11 L of t heir Jocomotivc pow1· rs hy suc h c- hangc; n. ntl 1Jir1l:> a 111l insects bur:;tin g t ho sh ell, t hr ir
hnhiLnt io11 , :ttHl by thi s 111c:t11 s c ni.eri1 1g i11Lu a new world, f urni shc<l
1r it h 11e w neco111111011at.io11 s for t hc111 ; :1 11d fiml ing n n ow sphere of
:wt.i o n ass ig 1H•d t hem; - t IH•;.:c am in sta nces of thi s go11 cra l law of
11:t.f . 1m~ . 'l'h11 s, a ll tho Yn,ri o11s r1111l wo 11dPrl'u l tra ns l'orn1 aLions of
:111i111 als am Lo be take n in to eo11s i1lcr:i.l io11 lte!'c. Bu t t he states of
lil'e in wl1 ieh we oursP !l'(•s r:-fr; l-ed forn 1crly, i11 th e wo111b n11 ll in our
i11fa11 cy, :ire a lm ost n.s tliffo l'(•nt fro111 01 1r prese n t, in nir1.Lu re age, as
it is pos,_; ilJl e Lo co11 ce iYc a 11 y t1rn st-ates 01 · degrees of li fe cnn he.
' l'hc rdo rc. that we a rc Lo nx i >< f~ hr.rPn fl e r in n, state ns d ifferr n t (s upjl•lse ) fro111 Olli' Jl l'Cf'C ll t, [I S tJii,.; is fl'Olll 011 1' fOl'lll Cl', is bu t acco rdin g
lo t he a 11a log,1' of 11 n.tU l'C; :lf'C!1 l'di11 g 1.o a 11:it11 ral ord ol' Ol' ap pointlll Cllt, of t he VOi')' sa me k i11d ll' it.11 what we h ave a lrcauy cx pcri o11 ced.

-VVh on we a ll ege or in fe r tlt at so rn et lii11 g will prove
{ru e i11 o ne case becaus e it ha.p pe notl in a11otb er, as t hat
Ucology, or any ot he r s c i n m ~c, wi ll 011 its first i n trodu ction be d ecri ed as al ll·er se t o r eli g ion beca use As tronomy
was so d ec ri ed, we are sai d to a rg ue by example. Burke,
i11 hi s s peech on th e East lucli a Bi ll, sustains th e charge
of hy poc ri sy aga in st t hat famous Co mpany by add ucing
Ll1 e ir t r eat me nt of Has t ings, o u t he o ne li a nd, whom th ey
r<~ pro h e 11rl od wit.It unp a ra ll e led aS J.J e ri tv yet co ntiuued to
'.
lrnst w it h th e e nt ire co ntro l of th e ir affairs ; and of Mu nson, Cleav eri11 g, and F'ra11 cis, on th e other, whom t hey
' min ocl by th e ir pmi ses.' Th e for ce of example as proo l'
l'l'Sts ul ti ma te ly upon t he pr i11 cipl e t ha.t like causes prodn ce lik e e ffec ts, as in Pa.t ri ck H e nry's famous sente nce :
'Cmsa r ha.cl li is B ru tu s, C har les t he F irst hi s Cromwell ,
a nd G eo rge t he Thinl - rn:iy profit by th e ir e xample. '
\V hon, on t he prin cip le tl iat t he g reat er in clu d es th e
less, it is argu ed that wh at is t rne in one case is more
e \' ide ntly so in a not he r in wl1ic h th e cirnumsta. 11 cci:; a n•
.;

FORMS OF EX PR ESS ION .

20]

more favorab le,. th e a rgu me n t is call ed ct forti 01·i. Ex a m ples, it is importa11t to r e 111e1nlJe r, 111 ay be a rg um e ntativ e, illustrative, or orn ame n tal. Th ey may also subserv e
a ny two of th ese purposes at t he same time. Furth er,
t hey may be r eal, or inve nted. Th e latte r, to have weig ht,
must have an ai r of fitn ess a nd probabi li ty.
\Vh e n it is so ug ht to p rove t he probab le e x ist ence o( a
fact by adduci ng some ot her fact or mark t hat al ways or
g·e ne rally preceJ es, acco mpa ni es, or fo ll ows it, the process
is kn own as a rg um e n t from si,qn . Th e sig ns a re not
a.ge nts, but r easo ns. If t he r easo nin g is fr om cause to
effect, it is called a p1·iori / if from eff ect to cause,
a posterio1·i. From t he low stage of the t herm omete r
(and he nce of the t e mpe rature) it is in fe rred t hat th o
riv er will freez e ; from t he prevailing hi g h rate of interest,
tl1a t th ere is li tt le n11 e mµl oyed cap ita.I. If a dwellin g,
care fu ll y sec ured, has bee n e11 to rerl w it l1 out viole nce a nd _
robb ed , t here probably was cooperat io n from wit hin. If
hum a.11 blood is fou nll o n t he clot hes of a p e rso n suspected
or acrmsed of murcl er, t he cli scove ry t e nd s to prod uce belie f in his g uilt. Proof affo rd ed in t hi s way is knowu, in
co urts of law, as circwnstantiltl evidence, to which g reat
valu e is attached.
Th e a rg um e nt is esse nt ia ll y of this class when, in a t ri al
fo r murde r, ev ide nce t ha t t he accusecl hated th e murd ered
man, coveted his property, or was r e ve nge ful, is used to
show why he may have commit ted t he dcecl. It is antecede nt ly probab le t hat what is ma intain ed is tru e, si nce
th e spec ifi ed motives or influe nces tend to prod uce it.
'Th e fo rce of t he arg-u 111 e 11 t in th is case va ri es wit h t he
deg ree of this probability , wh ich d epends, in its turn,
upon t he prese nce or abse nce of oth e r a ntecedent probabiliti es - that is, of causes te ndin g to pre vent hate or cov
etous ness from producing i ts natural effect. In a civilized
co111mu11ity, suc h a. probab ili ty, i f unacco mpa ni ed by othe r

~02

203

CfHil'L ET I ~ l n rnT O ru e .

llOlU l S OF EXl'trnsi::;r oN .

ed de 11 ce, would be ve ry sm all ; for, in a civilized co mmunity , th e passions a11d app e ti tes are counte rac t ed by so
111a11y oth e r causes th a t tli ey rarely produce th eir na tural
e ffects : but among savages such a prol>ability wo uld
amount t o a r easo na ble ce r ta inty.' 1
On th e ass nrnpti o n th at 111 e n will say wha t th ey belie ve
to he t rn e rath er than wh at t hey believe t o be fal se,
testimony is a varie ty o f sig n, implying th e facts it
t estifies to as more or less necessary co nditious o f its
o wn exist e nce. But 'it hath bee n observed, that from
e xpe rie nce we learn t o co nri11 e our beli ef iu lmman tes tirn o ny within th e pro per bound s. H e nce we a re tau g ht to
consider ma ny at te ncla 11t circ urn st.a nces, which se rve eit he r
t o corrobo rate o r t o in va lid ate its evidence. Th e rep u ta t io n o f th e a tteste r, hi s ma nn e r of address, th e na tu re o f
th e fac t a ttested, th e occ;:i,sion o f g iving th e t estiru ony,
th e poss il>le or probable rl es ig n in g ivin g· it, th e di spos iti on of tlt e heare rs to wh om it was g iv e n, a nd se ve ral
oth e r c irc umsta nces, have all co nsitle rabl e influe nce in f-ixing tli e d egree of credibility.' 2 \ iVhen th e sa me fac t. is
re po rted hy a nu111he r o f witn esses, whe re no pre \'i o11 s
co ncert can have tak e n pl ace, t he concurrence itself, ind epe nde ntly o f th e charac te r of th e witnesses, may stt!li cl'
for co n vict io11 a nd ac ti on, sin ce, that suc.h an ag ree ni c nt
slr o uld h e accid e ntal, is rn orally impossible. Unwillin g- or
und es ig ned t estimon y is st ro ng" because th e fornH' r is
agains t self-love or self interest, while th e latte r pr<'c lttd es
th e su spi cion of fabri cati on.
An oth e r vari ety o f sign is mrtf/,lwity, whil'h n 's Jl " " tM
111atters into whi ch o pini on most largely en te rs. l 1111 bl1,,
pe rh a ps, to investi g ate for ourse lves, we subs t it 11I !' tl 11•
fac nlti es o f oth ers fo r our o wn, a nr:l acce pt tir e j11 d~ 1 11Pt1l
of a co mpe t e nt pe rso n up on so me Joulit.ful qtt cst ion of

fa c t, doctrin e, or practice, as a suffi cie nt reason for belief
in rela tion to suc h qu es tion. Th e opinions of legal tribunals thus becom e va lid preced e nts in law. A ll kinds of
pro fe ssional advice belong t o this orde r. \ iV hile, howeve r,
s uch propositio ns as co me from hi g h sources may be pres um ed to be tru e, we s hould uot un rle rvalu e th e God-give n
faculties with which we are to e xa min e a11cl comprehe nd
truth. 'As wate r,' says B acon, 'will not asce nd hig he r
than the le vel of th e fir st spring -h ead from wh ence it
d escendeth, so kn owledge de riv ed from Ari stotle, and
e;cempted f rom li be1·ty (f eaxuninntion, will not rise again
hi g he r than th e knowl edg·e o f Aristo tl e ; an<l, th e refor e,
althoug h th e positi on b e good, opor tet lliseentem, erede1·e,
ye t it must be co upled with this, oportet edoetwn, j u.diear e, for disciples do o we unto masters o nly a judg me n t ,
until th ey b e fully in st ruct ed; a nd not a n a bsolute resignatio n or pe rp e tua l capti vity ; and th e re for e, to con clud e
this p oint, I will say no more, but so let g reat authors
have their due, as tim e, whi ch is th e a uth or of a uthors, be
not d eprived of hi.s du e, whi c h is, furth e r a nd furth er to
d iscover truth.'
According to th e in te n t ion o r purpose of th e reasone r,
argum e nts are (1) (li?'ef~ t - applied ope nly, seriously,
imm ediately to th e proo f of a propos it ion ; (2) in clfrect applied either t o th e d isproof of a pre mise by mea ns of arr
a bsurd co nclusi on drawn fro111 it, o r to th e proo f of a
premise by showin g th e fa lsity of its contradictory . vVhen
it is a ffirm ed th at a n art or an in stitntion should be
nbolished because lial>l e to g reat al>u sc, th e answ e r is that
th e obj ection li es eq ua lly ag ain st th e best thin gs in th e
world ' non e of whi ch ' th e refore, is worthv
of culti vation .!
an absurdity. vVh e n th e g ive n propositi on a nd its contradictory a1·e con sider ed - as, man is a free agent, man
is not a fr ee a. bo·e nt - t he latt er is ass um ed to be tru e, and
is t he n shown to involve so me fa lse p rin cipl e, or to lead t o

I A.

~-

ll i ll.

2 L or <l ('n 111 ph1 •ll.

205

COMPLETE HllETUIUC.

FOR.i\IS OF EXPRESSION .

conseque11 ces rnaui Cestly fal se ; he nce the assum ecl proposition is false, aucl th e g ive n propositiou is t ru e, fo r o f
two eoutradictories oue must be, a ud only one can be,
trn e. Thi s is the fa mous R educt io ad .Ahsurdwn, so falllili ar to s tudents of Eu c licli a n geo 111 etry .
lt is o bvi ous t hat th e firs t requi site i11 a <li sc uss io11 is t o
have a clear nrH] e rsta n<liu g of tli e point to be argued.
Without su c h distinctn ess of view as the focus or pol e-star
of dis co urse, cornpositi o11 will beco me perpl exed, obscu re,
and loos:. Tli e artifi cia l lll ea11s of furth e ring t his obj ec t
arc furni s hed by tli e arts o f exposition: the lea<ling t ern1s
s hould be a cc ura t ely d efin ed, and understood in th e same
se nse; t he qu estion s hould be expressed iu d eti11ite and
perspicuous lan g uage, with all necessary li1nitat ions ~ ml
qualification s, by th e e xclusion of irrelevant or un d isp u ted
po~n~s, by enum erat ion of th e various antagonistic
o_P m10ns, by obverse iterat iou aud e xample. Mau y quest ions a re contro,·e rtecl o nly beca use tlie parti es see t hem
in differe nt aspec ts. Expli ca tion of meanir w
is often t he
0
effectual me thod of d ec itli11 g th e co ntroversy.
To a d e bate r it is ofte u of g reat importa nce to d e termine at th e outset on which sid e tli e presumption li es,
a ud to w Iii ch the burden of proof - O?t/ltS p1·01Jawli belongs. Th e first, for exampl e, is in favor of the
acc used, who is not required to prove his inn oce nce; whil e
the seco nd r ests on th e acc user, who must substantiate
his charge of g uilt. Should a n advocate volu11tcf' r a
d efence of hi s wi t ness's cha racte r before it had bee n q11 cstioried, th e ve ry atte mpt would rai se suspicion tl1at fli t>
cl1 a ract er need ed bolsterin g . If a sland ered pc rsu n,
in stead of r eply ing by a si111pl e de ni al and a d efia11 eP of
proof, wer e to und ertak e his ow u vindi cation, tli c rl's ul t
would be, iu llla11y cases, that the evid ence coll cetcd
mig ht eve n l1 ave t he e ffect of exc iting clistrn st. Ll«> rl'in
co n sists t li e g r eat ach·a11 tage t l1 at t he side on whi ch tli1'

presumption li es has over th e oppos ite -- that it must be
held to triumph until a clec is ive case has been mad e 011t
aga inst it. Not to be vanqnished is to vanquish. 'A
bndy of troops may be p erl'cctly acl eguate to th e defenct;
o f a fortress aga i11 st any attae k that may be rnacl e on it;
whi ch yet, if, ig nora nt of t he atlvanta.ge th ey possess,
t hey sa lly fo rt h inLo th e ope n fie lrl to e nco unte r t he e ne111 y ,
nrny suffe r a r epulse. At any rate, e ve n if strong e noug h
to act on t he offe nsive, t hey o ug ht still to k eep possess io n
o f th e ir fortr ess. Jn lik e n1 a 1111 er, i[ yo u have th e Presnmption 0 11 yo ur s ide, a11d ca n but 1·r;(1tte a ll the :trgu111 c11ts broug ht ag a.i11st y on, yo u hav e, for t he prese nt at
least, gain ed a vi ctory: but if you abandon this posit-ion,
by s1dfo rin g this Presump t ion t.o be fo rgotte n, which is in
fact lecwin!J out one oj~ p erhap:;, yow· str1111'fleSt arg 1r,m ents,
yo u may appear to be 111aki11g a feeb le attack, in stead of
a t riumphant d efe nce. 1
Th ere is a pres umption ii1 fa vor o f tli e cl efc 11 d1rnt, i11
fav o r o f prevailing beli efs, and cstahli sli ed for ms, poli t ical, social, re li g io us : that is, t he lrnrrle n o ( p roof is thrown
11po11 the co 1nplaiwt11t, assa ila11t, or i1111ovator - up o11 any
one propos in g to i11fringe up on tlie ri g h ts of man, to infli ct p e nalti t~s, to e xpe l a.11 act ual possesso r, to alter or
d estroy an ex isting institution, to i1npeac li a long-sa nctioned op inion, to propagate a n e w faith. Tli e ultirnatP
ge ne ral prin cipl e o n which t he pa rt icul a r maxirns of presu mptiou r est see 111 s to be t hi s: that, in the absence of
a ny absolute crite rion of trut h, whate ve r is should, without suffi cieu t r easo n again s t it, be rega rd ed as t rn e, rig ht,
or expedient, thou g h the probability of its being suc h may
leave r oo m fo r doubt.
Th e sun ey of a rg um ents for and again st th e proposition to be ma intain ed, sbou Id be as wid e and thorough as
p ossible. A mong those whic l1 occur, se lect such as are

204

t

Dr. Wh ately.

COl\IPL ETE

Jtl-ll~ TOIU C .

11 ot o nl y a ppli m1hl e Ind co n vi11 c in g. Take in to account
t ii e ;1n.ture o f t he ma tter to be proved, wh ethe r o ne o f
lact or of th eo ry . If yo n aim to pers uade , co ns ide r the
•·o ndi tio n of thos e a.ddr0sscd , wli e t li e r th ey are c ultivat ed
or ig no rant, ca ndi Ll o r prc jndi cccl . Co mpariso ns a nd e x:i 1upl es, t. h o ng· h less a.c c'. trat e, n re 111 ore e fli cac io w; t h a. 11
fo r111 a. I d c d1tt ~ t.io 11 s, b eca u se Lhcy 'i11i 1:k e 11 ra l l1e r Limn btx
th o ug h t. IJe n1 e n1b e r t hat a. slro ngN e ffect. is prod1 1eerl
11y t l1 e Lho ro ug·h t rca t.n1 P. 11 L of a fow a rg n11w11 ts t ha n hy
th e ir 111ulLipli cation .
To exte nd th e n1 too far se n ·es
rat he r to r e nd e r a. <'ause s 11 s p ec t nd t ha n to g i l' A it. w e ig l1 t.
'En~ ry sp ea k e r s ho uld place lii111 sulr: in t he s itnation o f a
l1 Aar e r, a nd t hink h o w he wnnlcl b u affected by t hose
re aso ns w hi c l1 li e pnrp ost~ s to c 111pl oy fo r p ersuading
ot he rs. F o r h e rnu st n ot ex pect to i111pose on m:111ki11d hy
111 e re a r ts o [ s p l'ec l1. Tl1 ey a r n not so eas il y i111 posecl 0 11
as publi c s 1wa. k e rs nru so n1 c ti1n es a pt to t hink . S hre wd11 ess a 11d sagac ity am fou ml a.111 o ng a ll ranks; a. ml th e
s p ea.lrnr may be praised fo r hi s lin e d isco urse, whil e yet
t. he hear e rs a re 11 ot p e rsuaded o( t he trul. h of a 11 y o ne
t hin g he has utte red.' 1
As to nrrn11 gA m e 11t., whil e t l1 e wri te r or s pe ak e r s l1 u ulrl
l1im sp,lf h a.\'e a cle ar co n ce ption o f t he thin g to be prn vf' d
he fo r e uml e rtaki11g to :trµ;u e i11 its s upp or t, it s di s tin!'f
stat e m e nt at th e ou tst~t ma y o r may n ot b e ad visa.bl<-'. In
I he na.t.ura In ud l og ical order, t he pro p os iti o n is a1111 o u1 wcd,
o r t he q u est io n is stated aml t he a ns we r is g iv e n, the 11 t lw
argum e nt s fo ll o w, proceedin g from t he less to t he g rea t <'r.
H11 t wh e n th e to pi c is nnpa lata.h le o r li able to lw: 111i s11 11d crs too d, it is we ll to lwg in wi t h suc h p rn1 11i se s a s will
~· ai11 a r eady ass<' n t, :1. 11d t h11 s l( •:ul up , liy g radu:d approach ,
I<> t lt e co n e lus ion.
Argu m e nts obtai 11 ec1 fro 111 t h e thPsi s
l iy t h e e xpnf:iit io 11 of its esse n t ia l notio ns, s ho uld co nw
lirs t, s in ce Lh ey estab li s h th e poss ib ility o r pro hahil it.y o f
1 J)r.

Blair.

FO l lJ\L~

OJ'

E\ L' IU-:SSlO~.

207

w hat is a.sse r ted . Th e a n t ic ipat io n o ( its t rut h, a.waken ed
by t h is m e t h od, m ay t h e n be co 11f-ir111 ed by t he a.tt.e nda nL
circ uni sta n ces, by t est im o 11 y, by a n a logy, a n d e xalllple .
Th e stress is to be put up o n t hose co 11siderat io 11 s whi c h
fir st in vi t e auJ t he u occ upy t he 111i11 fl. In ge ne ral, a. stro ng
arg um e n t s ho ul fl be u sed fi rst, th e v ery stro ng es t pe rhaps
la st., a nd t he weak e r o nes b e i11 Lro dn ceJ in t he middle .
In ref u tat io n, t he reve rs e orcl e r is ofte n adopted - th e
op po ne n t's m a. in a.rgurn<)n t is lirst r e plied to , 'les L,' ;i s
Q uin t ilian sa.ys, 'i f t hi s is i11 t in) rniLHl o( Lh e hearers t hey
m ay t hink it n11 a 11 S\\·e rnb le ui1 t il it is a nswer ed'; aft.e r
w hic h lh e 111i11 o r o nes arc di s posed o( w it h grea t e r case
and w it h H. gro wth o f iu1pruss io 11. It will be o f adva n tage
to set fo rth cx pli Gitly, at Ll1 e co 1111n e 1we 111 e 11t, a. II t hat li e
lias ad 111itted, with a ny va li rnh le i11 fore 11 ces fair ly d e du c ibl e
therefro m. lf h e h as mi xed a ud b hrn ded !ti s a rg urn e n ts,
t h ey s ho ul d be dise 11 ta 11g le<l a 11 d a 11s w<'rnd sepa rately.
It m ay n ot b e a mi ss to add t hat h e wh o see k s t he t ru t h
will trea t. a n adve rsa ry wi t h ca11cl o r a 11cl fairness, not with
irri table acrimony or ass u111 e d co 11t e n1pt.
Th e co nc lus io n ma.y :tpt ly be a. br ie f sum 111i11g up o f t he
mai n points; a 11 e u1plrns is of so m e head, o r of t he stat us
itse lf; or a n ex hor tatio n. 'Th e re a r e at t hi s p o in t two
o pposetl e rrors, a lm ost eq uall y fata l, w l1i c h 111 c n fall in to
acco rding to t h e ir s eve ra l c haracte ri st ics - a Llirec t app eal
wit ho ut that prese nt at io n o f trut h whi c h g iv 0s it propri e ty
anrl p owe r; a cli scmis io u of prin c iples wit h out t hat e nforcAm e 11t which g ives them va lu e . lt is o nly wh e n t he body
of thought is a nimated by fittin g e m otio n, t hat w e ha\· e a.
li vin g p rod u ct; o nly w h e n the wi ll is reac h e d t hro up;li t l1 e
inte ll ect as w e ll as t h e hea rt·. , t ha.L rna.11 a.c hi evcs prog;·ess.' 1
You r e tu embe r, finally, t ha,t in dis cuss in g t h e 111 eth ods o f
comp os ition it was urge d tha t yo u b e h ea.rtil y oec upi erl
w it h yo ur t ho ug h t a ucl s in ce re in your expression; that
J

Ur. lla,.: co m .

lO ~I

,·o ur mann e r s l1 o uld he uo 11rlu e11 t with t l1 e matter, varying
its piLch and tnne a ccordin g to th e s ubj ec t treat ed; that.,
whateve r 1, e t he s ubj ect, its b earings 11rnst be fix ed and
a lways Yi s ihl e ; tliat words, se 11 Le ncrn;, a11d pnrag raph s
s ho11ld be link e cl doscly, sy 111rn of-ri cally, att ractively togef l1 nr in p rog r vss iv e rno ve 11lf•11 L to wa rd a c lenrly app r <> l1 c 11d c• il goa l. l twas ohs e rn~ tl t it at Ji. li ef oric consid e rs al so
1 li n :1.11di C' 11 cc rPa.dt·rs a 11d IH•a n ·rs; t ha t t he esse n t ial
•11uiliti cs of styl e - p c rs pi c 11i1 y, e 11 nrgy, elega11 ce- will
sfa 11d i11 diff c·n~ 11 t r c la f. io 11 s Lo P:w h oL he r a11d ex ist i11
d iffer e nt d egrees, a cco nli11 g t.o th e g e 11 c rnl ancl th e sp ec ial
·h: trn.c tcr o f t li e oc<..msion n.11cl t.li n e ffec. t to l>c procluced 1u e 11li g li t.c 11 o r co11vin ce t h e u1lllers t.a11cli11g, to pl ea.so th e
i11ia g in:Lt io 11 or to inllu e n ce tlt e will: that is, to e lu c ida te
wl1 at is 11ot kuown o r n ot di st in ct ly p e rce iY ed ; to indu ce
:1 n ew beli ef o r j11dµ:lll e 11 t o r to 111 0<.lify 0 11 0 already e xisting; to grnt ify t lt n se nse o [ t he bea 11 t iful , tli c s ub li111 e, t he
111a.r vell o us, th e ridi c ulo us ; or t.o i11eli11 c t b e will to su c h or
' ue h an a c t. Th ese sev e ral 011<.ls, '"hi c h e mbra ce in vary' 11 g promine n ce th e s e ve ra l ex pressio nal forms of whi c h
1 J1i s
c hnptc r treats, a.re, though separable in th eo ry,
1sually co nj o i11 e cl i11 pract ice, ea c h r eta ining, how eve r, it s
·liaractc ri stic fcat urc in the sa m e discourse. On e o f
t li e 111, it is tru e, must in e ve ry case b e prin cipal, the oth e rs
!icing i11trodn cecl only in subser vie ncy to t h e ma.in d esi g n.
\Vitl10nt so m e g ratifi catio n th e atte n t ion must in e vitably
la g . vVitliout se n t im e nts o r ideas HO write r or spea k e r
·an b e p e rman e ntly i111pressive. vVithout the assista1H..:c
,[ r easo n aud imag inatio n, co11dnct ca n11 ot be soundly
let e r111i11 ed.
Th e :ugurnentative an<l th e e in ot iomd eve ry wh e re s us:1in eacl1 ot he r. 111 p o liti cal co ntro ve rsy, as e ve rybody
; 11 o ws, th e e ffort to co nvi11 ce or p ersu a de is pote ntly a sso·iate1l with c nt e rtn.i11mc 11 t in t he shape of ridi c ule ancl
·a ri cature; but eve n h ere t h e m ost 1!ff'ective orators are
1

FOR~IS

PLl·:T E H LrnTu h I c;.

OF BXI' ltESSTON.

209

n ot t hose wli o m a k e t h e p eo pl e laug h. The hum o ri st
111us t be serious. Th e sc ie nti st 111us t be attrac tive - mu st
occ upy him se lf with fo rm. Tli e preac h e r, wh o hopes to
produ ce a certain di spm;iLiou o( so ul, 111us t be t each er as
well as e xhorte r.
EXt<j lW l SES.
1. I 11 a, co nLrove r::;y t.011 c hi11g- the Di1·in e ori !.(' i11 o f Chri stia ni t y,
on whi e li sid e doc:; t.lic hunlc11 o f proo[ r c~t?
2.. \Vim!. is I.he

o.

tl c~e rip t i vc

11 1eLhod n[ 1\11 alo 111 y?

Uli a rael.c ri ze th e f'o ll ow i11 g pa;:;s:igc :
A p0i11L f.lin.t s li ow'!l f-. li n va ll f'y, st. reLehed
AL lc11 gLl 1 llcfo rr 11 ;:; ; :1.11d, 11ot; di f'b 111 f-. fa r,
Upo11 :i. ri sin g gro111Hl a, g l'n.)' c hurch-lower,
vVl10sp, ha t.tlc mcnts we re scrcc ncll by t u.fteLl t rees.
A nd to1r;ud s a c ry;:;tn. 1 mel'c. t hn.t i<LY beyo11tl
Amo11 g stee p hi IIf' a nil wood;:; c111 bo;:;o metl , fl owed
A cnp inns ;:;tream wi Lli boltll.v-wimli11 g co urse ;
H ere trn cea.ble. t here hidd e n - t here a.gain
To sigh t rcstn rc(l, and g li tte rin g in th e sun.
On t he st rea m';:; bank, au ll everyw here, ap peared
F'air dwelli11 gs, sin g le, or in soeial kn ots :
:Soru e scattered o'er Lhe leve l, oLhers perched
On t he 11ill s ide;:;. a chee rful qu iet scc11 c,
Now in its 1n orn i11g purity arra.yed.- Worrl8111orth.

4. And t.hi:<:
H::i.dng now. l\lr. S pPa kt' r, go ne Lhrou g h Lhe Ya.riom: depositions
t hat have bee n made ucfore .\'(lll-lrn vin g froin th e e1·idf' nce ;:;hown
Lhat t il e n.1leged gT01uHls o[ Lhc hi g h-ha il i Ifs 111 ot.ives were t he direcL
l'e ve rsc of t l1 o;:;c he decla res lo Llii s ll o11 ;:e tn h:wc bee n hi s 111 0Li veshaving shown t-.lia.t h e was in haliits nf' cht11d cs Lin e i11 tcrco11rse with
111 .v opponenL;:; - hrLYin g shown L11 at li e wrLs in J.hc consta nt co m se of
rece ivin g e:1; pnl'le inform at ion in nn illi cit a nd ;:;lrn111 ef11l secl'ecy havin g ;:;Jwwn that. he positive ly :wd sol c11111l .v cl c11ictl th e se ri es of
ini rp1it n11s proceedin gs in th e Ye,, lry whi ch he boldl y n,vnw;: :i.t yo m
bn.r - har in g ;:;hown th:i.L t he poll 1rn s a;:; mn ch a sc rn Liny as a ny poll
can pos:=:ihly be - hrw i11 g ex plain ed 111 y views ii: th e en .! nf. nf a.ii y
dema nd o[ n, ;:;r rn t iny- Ji a,· in g d c,;:c ~ rilJ e d fh c sprc ic!" o[ i11 t i111 icl:i.t ion
11sec1 (o t hi ,: ma n, a,11 cl eo nfirn1 ed Lh:1.1., so l'n.r [ro111 l'Xc11lpa f.i11 g-. iL
1tf

no

CO)lPLETE JtHETORIC.

tend s g reat.Ir t-<1 c rimi1rnte him - hav ing show n this. s ir, and shown
it. by t lw el' i(1e ncc whi c h yo!1 have hea,rcl at yo nr bar. I sha ll co n1;lud e I. hi s p:i.rL (1( Ill )' cY i1lc11 cc wit h s11 h111itti11 g· Lo crn ry 111a11 o f
honor nn<1 (':1 11d or who hears 111 e, whet.li er he 1 ·< · a ll~1 t11i11k,; t l1 aL I.h r~
high -lrni li fl' o( \\'e:ot.111i11sLer cxc r(' iscd a mu 1Hl :u1d li o11 r,sL Ji s<" 1:etin11
in gra 11 Li 11 g a scr ut in y, su ppoc: i11 g fo r a rg um ent':; salrn t lmt li e
ad ua Ily pn:"se"se1l t he power to gran L it.-Fo. i:.
fi. J\ re Lhc (ol lowing d escripLi rn. 11;!,rraLi H, ex posit.ory or argu111e11t ati \'C?

( l) I (le ny not !Jut:. t hat:. it is of tl1 e gTent.csl. cn nce1·n111cnt in th e
ch11rd 1 a nd eo n1111 onwt•a1Ll1, t.o lia n• a vig il n. nt. r· yc hnw ltuo b: he111 enn
1hc111 ;:;elve;:; as wu ll as rn c n ; a nti t herc:i l'ter Lo co n fin e, irnpri so n, an d
d o ,:ha r pcst justice 011 tl1 e1n as m:defn ctors; fo r l.Jook:; arc not absolu tely (l eml U1i11 g:", l.Ju t do contai n a. proge ny of Ji l'e in t he111 , to he
a;; ac tive as that. so ul was wlr o:ol' prnge n_v tlrcy are; 1my, t hey do
preserve. as in a phial. t.Jr c purest c fli cacy a1Hl extractio n of t hat.
Ii Ying intellect LlmL bred t hclll . l kn ow t hey are m; JiveJ.v, am1 MS
YigPrnwdy prod 11 cLiY c, ns Llr o:::c f;1.bulo11 ,,; 1lnigons' t.cet lt ; a nd bei ng
smn1 np a11d do wn, 1n n.y cha nrn' In ,;p ri11 g up :1rn1c(l ln cn. AIHl yet.
n n thl'. ol her lia1u1 , unl ess w;1 ri11 C's,.; be used. a;; good a l1u ost kill a
1nn11 a,; kill a goo1 l book. \ Vho kill ;:; a 111;w kill s a rl'aso 11 n.ble creat11n". lim1's i111;i.g·c; ln1L he 1rlro 1l e,; l roys a good book, ki ll s reason
it:-:clf. kilb t. hc i111 agc of God , a;:; it wero, in Lil e eye. Ma ny a 111 :1. n
li ves a. b1mlc11 to t he ca rt h ; hut a good book is t.l1l' precio11s Ji (ehl ood of a 1n astcr-spirit cn1 balmrtl n111l t rc1LS l!l'C' (1 up 011 p11rpo;;e ton
li fe bcyo ml li f'e. Hi s t rn e 11 0 nge c:m restore a. lifo, whereof perlmps
!h ere i:; no grl'n.L Joss; a n1l r evo lu tio ns of nges (lo nqt. ofL recover t he
loss of a rejcd.e(l (.rut.Ii , fo r the wan t of which whole nat ions fan' t he
worse. \Vc sho11 l<l l 1e wa r.v, t·. ll(' reforc, 1r hn t pe rsce11 t io11 we ra.i ::w
again st t he living la bors oJ publi c !llen, how we sp ill tlrnt seaso ned
lil'c of man, prcse r ve(l and stored 11 p in books ; sin ce we see a kind
o[ hmni cirl c nw.y be t lrn s com 111i tLed , somPt irn es a kind of 111 artyrdo111; a nd i[ iL cxtr rnl Lo t he wl1 ole i111prec:s io11. a kind o [ nrnssa('. re,
wh ereo f Lh e cxcc 11! ion C1111,,; not in t he slnyin g of a n elemen LnJ life,
bu L :;t ri kcs aL th e ethereal aml soft Psse11 cc, t he breath of reu:;on
it.se][; slays n.n in11nort:dity rat.h e r 1.11:1.11 a li fe .-Jlhltrm.
(2) T here is 110 thing produ ced. no eve nt h ap pen in g , 111 1.l1 e
kn ow n 1111i vr rse whi elr i::- nnl co11n cde(l b~· a n11i[onnity or i11 cvi t.:1ble ;:;eq 11 c111·e wit.h so111c orw nr 11 1nn· of I he ph enomena wl1i d 1 pn•-

FORMS OF EXPRESSION.

211

si milar manner with some that preceded t hem , and so on . All the
pheno mena of natu re, t.he n, nrc t he necessa r.\·, or in othe r words .
t he 11rt ern 1clit ional, co 11sequ e11 ccs o( >'O lll C J'on11 er co llncat ion of
causes. The state of' t he whole 1111irnr,;c. aL a ny in sta nt, is Lhc co 11 seq uc11ce of its state nt Lh c previous in sta nt. II one kn ew a ll t he
age nts which e xist at t he pr:c:;ent 111 0111 e nt, aml t. he laws of t heir
agency, lie might predict t he wh ole future hislo ry of Lhe uni ve r;;e.J.
Ndl. 1

s.

6 . W hich of the four fonus ot: expre:;sion
fo llowing, and w hie h pre(lomi1rntes ~

~tre

combined in the

Thn t,y pc-:;: pec ics of eve ry g-c 1111 s, t il e ty pe-ge 1111 s nf every [a,mily.
is, t hen, one whi ch po'3sc:;,;cs a ll I he e haml't .e r:; arn l propcreic::: o[ t.111'
gell ll $ in a 1narked a nd pro1ni11E'nt nrn1 111c r. The type or t he Ho;;e
fam il.v lms alternnte ::;Lipttl a tc leaves, wants th e ;1Jb11111 en, has t. he
ov nles 11ot erect, !ms the st ig mat.a c: i111 pie, a nr1 hc,.; id c:-; t he:'e fcatu res.
which di stin g ui sh it from t he except ions or vari et ies in its eta""• it.
has t he feat ures which make it prominen t in its class. 1.t is one o(
t hose whic: h possess c lea rl y scven1.l leading attribu te:;; a 11d th 11s.
t ho11 g h we ca nnot s:ty of n. ny one ge 1111 " t lia.t i t must be t he typo ol'
t he fa mily, or of a ny 0 111J s pec ies that it inn8f be Lil e t..vpc of tin~
ge nus, we a re st ill not wholly to :>eek : th e type mu st, be co 1111ecte1.l
by ma ny affi ni ties w.ith most of t he ot hers of iLs group; it mu st be
near Lite ee ntre of the crowu, aml not one of the stragglers.Whewell .
7. The same of Lhis:
Glass is a tran ·parent, impermeable, and brittle su bstance. IL"
essential ingredien ts are sili ca a.nrl potash, to which vari ous otlw r
substa nces are occasio rmll y arl<le11 ; one of t he mo:;t comm on aw I
important of which is ox ide of Jea.d , by whi ch t he fu sibility and
den sity of t he glass is in creased, so that it is lll ore en.sil v wo rked and
more brilliaut, especia lly whe n orname nteu by eutL ing . There a rc
several kim1s of g lass, dirl'eri11g in the ir composition , n.nd cn1pl oye<l
for differe nt purposes. Plint-glriss is nsccl for deca nters, drinkin g ·
glasses, c handeliers, amt othe r orn nrn e11 ted .furniture : it is composed
o r t he three substa nces a lreat1y 11a 111ed . Crown-.glass, which is used
fnr winrlows, is cornpound ecl o f s ili ca aml sorla., with a port.ion of
lim e. Green bottle-gfoss i:; made of a mi xt ure of sn.nd with impure
wood-ashe:;, kelp, a nd a port ion of hri ek clay. These kinus of g lass
rtrc nrnnufacturetl by fusin g th eir eleme11Ls iu a furnace, 11.ml the n

212

COllII)LE TE JtHRTOltlC .

s uhj P.din _g th em to I.he operat ion o [ blo111i11,_r7. Plale-,q fnss, t he fin est
or :ill ki11tl s. a nd th e 111 0;:;(, d ifli l' ult. lo 111:1.kc, is u><cd in ce rtain philosop l1i cal in s l.n 1111 c11 Ls, and a lso [or mirrors a nd willllo ws. II. is
<·0111puscd u[ fin e sallll , so1la.. li11 w, blac k ox id e o[ 11rn11 ga11 0se.
co ba lt. hli1 P, :rnd f'rn.g 111 cn Ls o [ goo11 g in.,.:;:;, Th ese niatcr iaJs. wh en
in a sl a.te o[ pe rf'ect fusi o n, arc poured out on a hot copper plaLP;
and t he 111:1 ss i:-< t hl' n rn ll cd o ut , a 1111 l':t,b l. rrnd poli:;li c<l l1y g rinding'.
G lass is s11 ppos(•d to lmn; bee n i11 r c11 L<:LI a.111 ong Lhc l'lic.c11i c ia11s.
Th e 1liseo 1·e r.1· o f' pi('f'l"" o [ g in s,; in Lil e rnin s of ' l'IH •lies, sl1 ows t.l1nL iL
was lrnow11 In t.lw l•;g,r pl.i a ns. II st>e 111 s Lo li arP lil'(' ll :q1Jd i(•tl 11.v
t.!J p1n :d111ost cxd us in.!ly Lo a r1 i('il's of o r11 a 111 c 11l mid J11 x11ry. l~11L
now it has hceo111 c a n arl icl e of ge neral 111 ili l.y. :i nd iL>< nw 111Jf':LC'l urn
is 011c o f i.IH ) hig· lirs t i11l.cn'sL. 1f we co11 sid r r Lil e worl.hl c'ss 11 css ol'
t.he ori g i11:d 11m l.c ri:tl s fro111 whi c h iL is 111 :Hl e. tlw i11 ge n11il.y cx hihit.ed in t he proecss of 111n.ki11g it , LIH' bP.a ul.v of th e form s i11l o whi (' h
it. is ul Li111at cl.r 111old ed , anrl t he rnriet.y of lll Osl use l'ul a nd 11 e<'essn r,1·
purpo,.;cs whi eh it. SC l' l'l'S. iL is 11 01 loo 111uch to ::-:i.y th at t. he 11rn1111 ffi cLurc is one of t.lie 111ost impor t.:rnt i11 Hie hi stor.v of i111·c nti 01 1s.
i\oL two ee 11 Luri es h n,ve elapsed ,:;i1H'e g lass Sl l] H'l'Se<l rcl th e no11 clr'.' CripL fl llll nn snt is faeLo ry pro1·isio11s fo r111 0rl y used for wind ows; but.
sn <· 1·ifl ent. lms brc 11 it.s util it y. thnl th e 111ca 11cst eot.ln g·e is no w suppli ed wil h ii . in rarions .for111 s. Tl1 e '1 (1 1J SPS o r I.he riel1 nnd t.lie poo r
alik e nre now en nst rn e Lefl wiLli g reate r at.l.e nt ion t o lig ht, c heerful n r ss, and bea ut.y, fro111 t.he supply of gbss bei11 g so a lrnndn.11 t nnrl
d1 cnp. Arnl I.here can be 11 0 questi on th aL t he tn.stes ~111d liauits of
hnth cln sscs a l ik e lrnH' lwe11 improved by t he liberal use nf t his
admirabl e prndnc L of irnlu s! ria,I skill.- Cha1nbe1's's Ency clopedia, .

8. J)i scu;:s t.1 1C fn llnw in g argu11w11 ts:

FOHJ\IS OF E XPRESS lO N .

Among t hose th i 11 gs tl mt il n so, t.herc :ire governm ents;
. ·. Governments ong ht to be rcs i><Led .
(G) lf t he wife yo u espouse be benu Lifitl, she exc ites jea lou,;,v;
If s he be ng ly, s it e di sgusts;
Therefol'e it is best not tu 1trnt'l'_Y.-Bfos.

9. Th e fo llow in g lines we l'e addrc;o;seLl to t he A 11;c•riea n peo pl e
t irn e of des po nd e ncy. Classify Lhe a. rg u1n e11 L:
Oi'eaf, 1Jritai11 , aL t lt 1 ~ ex pt> 11sc of l,ill'l :e lllilli n11 s of p1>11111b, 11
kill nd a lr1111dred a 11d lir l.y Y:i.11k e1 •,; Ll1i ,.; ea 111paig·11 , wlri f: lr i,.; t.w1 ·11
tl1 uwmnd pou1ul s a lr <)ad; a nd at !Junke!' Hill she gai11 1'd a lllil 1·
gro und. ha. I[ or whie h s he lost agai n by O lli' Lakin g pos l. 011 111 011 1
11 ill. l>11ri11 g I ht ) ~:i. 11 10 t.i111 e s ixL.v tl1 owm11d el1ildre11 lm vc l1ce 11 1111 1
i11 A 1ucl'iea . Fm111 Ll1(•sn tlat:L 111 :1.y eas il y lie calc ulated L11 e ti 11
a 11Ll ex pense necessary Lu kill us al l, :wcl CO IHf lWI' th e wh ole Le rri tnr
10. G ive t he to pi ca l ouL li11 e uf t lt e hi ,.;to ry o( c real io11 a>< 111·
se nted in Gnies ii:;.

11. \\' ri te out in onlc r Lit e lea ding i1 wid e11Ls i11 lh t> lift> 11[' C\ t·,-;1 •
Pitt, aml Napoleo n.
12. Desc r ibe :
(1) Th e Brifod1 Pa rli a1 11f'nl .

(2) The Go vern111 c11 t

U11ited State;;.

(4) The Yose mite Valley.

13. H.eLl nee Lu t he sy llogisl:i(: fo rm:
(1) \V hy boast we, Glancus, o nr cx tcndecl l'eig n,

Wh ere Xanthus' strnam::; e11rir. h t he L yeinn plain ,
· Our nmnerou;:; henl!;;, t lmt rn uge t he frui tful fi e ld.
A ud lt iJls, wh ere l"in es t heir purpl e ha l'vest yield.
Out· foa 111ing IJo\\' ls witl1 pure r 11ceL11.1· crow n'cl ,
On 1· feasts e n ha.n c'cl wit h 111 usic 's sprig ht ly sound ;
Why 011 tlto;;e sho re;; a re we with :joy sur vey'd,
Ad rnir \ l as he roes, a 11Ll us gods obey'tl,
Un less g reat a.cl.s s 11 peri ul' rn e ri t. pro Ye,
A n cl YimlicaLe the bot rn tPo us pow e1·,.; above i'
"l'is ours t he dig ni t y t hey g ive to gmce;
The first i11 1ra Jor, as the lin:t i11 place.- l:fome.r .

( I ) U nd e r Chatha m. t.he Bril.ish nation rose s11cl denly to prospe ri Ly: tlH·rcforn hr. was the cn.11 sc of Lhe imp ronm e nL.
(2) Sl:Llr;:, in res pPC'.f. l.n Yi la. I cn11 sl.it11 t.io11. a.rr like individna.l::- th e y pa,;s throu g h t he s11 ecess i1·e st.ages o f infan c.v, yo nLh, nrnt.urit,r,

old :1ge, and d eath.
(3) Th e s ttn a !Hl pl:Ln et.s g ra.1 it.:1le : th e refore th e stars gra. l'itn Le.
(4) J>es ig ni11 g pe rso ns nrc u11l .rn sL1rn rL11 y;

Evr r yhorly fnr111 s d es ig ns;
. · . Nobod y can he t rusted.
(fi) Wliatc v0 r re prPSS<'S !.he libe rty nf m nnkiml nng ht, t.n he r0sis lcd:

ur t he

(8 ) l\Iou ut Etua.

(2)

If t here's a power al.Jove us.
.t\ ud that t li t> l't• is nil 1wt. 11rt> Pl'i P" a l11 u1l

COi\lPLETE l U rETOltIC.

I n ri.ll h er works, h e mus t tlelig h t in v irt ue ;
A nd t haL, w hich Il e de lig hts in , mn st he lrn ppy. -Add,ison.
(3) lHa n i>: e ith e r rt frf'e o r n. n rees>:it aLt•d age nt. Ir Lit e lrtttc r,
111' cann o t., o f' hi111 ;;p )I', d P.e itl c IJct wec 11 eoidlict: ing m ot ive,:, am! is
r respon,: ihl e. B11 t. t h esP conelu s io ns are co ntrnLlicted by co n scious·1t•;.;:-:. Th e re.fo re he is free.

OII.t1-P 'T1ER X I.
LEST HETI CS 0 1" EXP W£SS10N - IMA GINATIO N.

14. Di>:c u>:s : 0 11g lit: ca pita l p11nis l1111 e11 t Lo h e nbolit:h etl ?
Sec Nat io n . Vol. YIIJ , p. lUli, ·v ol. X VI , p. 213; No rth A 111 e ri·:1 11 lfo ,·ie ll' . Vol. l1X ll , p. 40, Vo l. CXVJ, p. 138, Vo l. OXXX lll.
" G34; FurPig n (~ 11 n. rt c rl y H e ,·i ew, Vo l. XX LV, p. 394; Hl ac k\\'ood 's
\lagaz in c, Vo l. X XV U , p. 8GG; 'W esLm i n>:Lc r HC\·icw, Vol. XV ll,
, '· G2, Vol. X CI , p. 42fl ; Carso n \: Ca pi Lal P1111i cd1111 e nt i>: J\1 u rd e1·

·1111 ng in a ti o11 iR th e nir o f 111int!. - l3 AJLLF. Y.
Th P poet's CY<', in a fi ne frn 11 ;o:y ro llin g,
D ot. It g l :t n ec f rn rn h eavc 11 to ea r t h, frn111 t!a rth to hPa1·e 11,

J\ 11d,

I11'gali zed; l\l o nt.:i.g 11's 011 t h e 1'11ni,; l1n1t' n L of' l>eath ; Cheever 's
l'1 1ni s h111 e 11L by Death ; Uux's P ri11 eip lcs of P 1111is h111 e11 t, pp. 1-1 4,
~ I seq.; S. G. Good r ich 's Yo nn g A m e rica 11, p p. 284, 23G; For t1ig·h tl y H,e,·iew, Vol. X I1, p. G81.

Hl. Di sc uss : A r e la l>o r-strikes, o n t he wh ole, be neficia l a rnl
i11s tifial>l e '?
Sec B owe n 's A me rican P oli t ical E co n om y, p. 110 ; B rn.ssey's O n
\Vo r k a n<l ' Vnges, p. 1 ; No r t h A111 c ri can Re view, J a nua ry, 1885 ;
\V illi :1 1n 'l'rnnL's '.l'ratlc U nio ns; N a.h on , Vol. XXXVIJ , p. 70; Inte r11at·.io11al f{ py jpw, V ol. X I V, p. H!J'.l; Frn !"er'sJVfagazin e, Vo l. C, p. 7U7;
\Vcs tn1i11 st r r H cvicw, Vol. L XXl V . p. 1; R ri tish Qua r te rl y, Vol.
i,V l 11 , I'· n:w; f,ivin g Age. Vol. X XXI X, p. 227; Blac kwootl's J\Iaga1, i11 e, Vo l. C' l . p. 7 18; Ilc11ryGco rgc's f-;ocia ll' ro lJl e ms, p. l78; H e nry
Uco rg·e's Progress a 11tl P ove r ty, p. 28 1; F. B. H awley's Capital an d
l'op u ln.tio n , p. 130 : J osr ph 's Cook 's J,a!Jor, p. 28G; ' Villia m llosc her 's
Pri n ci ples of Po lit ical Eco n om y, Vol. I, p. 17G, Vol. II, p . 84.

im agi nnt io11 bod ies fo rt.It

A local ha bitatio n a nti a name. - S11 AK1is N;,1 1rn .

IN ~ b o~ k

of to pogra phy .o r ~· touri st's j ~~11·wd, we mig ht
See yo n row o l prn es at t w d1 o·ht e ve h o w
iO'l
'
'
s horn a nd bo wed , th ey be nd before t he sea-blast.' N o w
obser ve th e n1agical effec t of uni on with th e spiri t ua l, or
rat her of refraction th ro ug h it:
r eMl,

Hi. Di sc 11 >:s : ls A m erica r ead y fo r Lhc ad option of frec-t ra ll e
11rin ciples?
Sec Th o m pso n 's Poli t ical Fico n o 1n~', pp. gf)1-3GO ; P'a wcett's Free
l' rm le a n tl Pl'otectio n , p p. 48-70; C:i.ir ncs' Poli t ical Jko 11 0111y, pp.
m; seq.; Yo ung's Jn t rmlnct io n lo th e Sc iont:e o f Gove rn111 e11 t . pp.
!'ii seq.; Bo we n 's A m criea n P o lit-ical ICco 11 o m y, pp. 480 seq. ; S ulli1·:111 's Protectio n to Nati vo lmlu st ry; N or t h A merican Re 1·iow, Vo l.
\ I,, p. 122, Vol. XCV, p. 4G3, Vo l. CXXVIll , p. GOG ; A tl a n tic,
\Toi. XXXV I. p. 2fl8; N a.t io n, Vol. XXV Lll, p. lGl ; Frnsc l"s J\faga1, i11 e, Vo l. CCXXII , p. U04; Bl ac kwood \: 1\Lagazinc, Vol. CCXXII,
I' · 447; Ellinlmrg h H-c vi cw, Vol. XU, p. 1:30.

HR

Th e f'on11 ~ of t. hi11 gH 1111lrnow n . t h e pod'" JH!lt
'J11n11 H t.h e111 to R hap c ~.: , and .L': i Vt'~ to niry 11<,Lhi11g

•

l
I

Yo n row of u leak n. ml v isio nary pin es,
B y tw ilig h t g lim pse <li scen w tl , m a rk! how t h ey lice
:F'ro m t he fie rce "ea -blas t, a ll t heir tresses wikl.
Streaming befo re t he111. -Shakespeare .

So t he la 1Hlscap e pa in ter, o mi tt ing t he d eta il s: g ives u s
o nl y t h e spirit a nd splc rHlor. Prose rea li ty va lues N a ture
as s ubs t an ce ; p oeti c, as sy mb ol. Not e, in th e fo llowin g
stanza o n th e deat h of K eats, tli e vita li zi1Jg a nd exalt in g
po we r of min d, when, penetrat ed wi t h its sen t im ent., it
projects it o ut wa rd, as i f hea ven aw..l earth we re but th e
painted viciss it ud es of so ul:
J\lo rni ng song ht
H er easte l'n wa tc h- towe r, a nd , h e r l iair 1111 bo1111t] ,
\ Ve t w it h t he tears t hat s l10 ultl ad o rn the g round ,
l>im111cll t h e ae ria l eyes t hnt kirHllc day ;
Afar t he m ela nch oly Uum1le r m oan ol1,
Pale Ocea n in 11n q 11iel: s lrn nl>er lay,
A ml Ll1 c wild winds .fle w ' ro n ml , sobbi ng in t heir 11ism ay .

IG

UOlllPLETE lW Kl'OlUC.

. A<.:STHETlCS OF EXl'lrnSSION-DI AGIN ATION.

-eats, con te mpl at in g t he lig ures scu lptu red upon a G reian nm, sees a, ma rbl e yout h in pu rsu it of a n1arble maid,
11cl limls in that susp ond eLl sce ne a type or picture of his
,,,.11 tensed as pira tio n-f-incl s consolatio n, too, in tli e
l1 ought t hat, t h oug h t he yo u t l1 can uever succeed in hi s
·lia,se, h e can never fa ll a ny farther behind in it. What
i 11 e r in slance of 111 ouldi11 g a nd interpretative en ergy?

mind's own. Time, p lace, and circu mstance fall out or are
vari eLl at will; t he sce ne is laicl when a nd where ,;e lik e·
th e inc iden ts fo llow eac h ot her 11 0 longe r in their ac tual
~'rder, but are co '.1forn1ecl to the p leas ure of the a rtist.
thus S helley, tak1ug t he sky, t he abstractio n of death
and the in venti~ ns of his f ell ow-m e n in g lass, in color, ir~
dome, a nd puttrng th e m toget her acco rd ing to the li a r- ·
rn o11y of truths e rnb odied in eac h, prese nts us this fi o· u re
o f tl1 e destroyer t hat, walking a.loft, treaJs o ut this lifebubbl e of colors :

l•'air yout h l1e ncat.h t he Lree::-, th ou canst not leave
Tl1 y so ng, uor ever can those LrC'l'S be IJare;
Bold lover, n eve r, ne,·er canst thou k iss,
'l'hough winning near th e goal! Yl'I; do 11ot g-rieve:

Th e on e n·111n.i?1 e< ; t ho many
c ha n bo-o an c1 !J'l<·>; ·
.
. 1-1 °::1,\·e11 \; light fo rever ::; Ji iu e::; ; ea rL11 's sli at1uws fir;
L 1fo like a dom e of 111a 11y colo red glass,
Stains th e whi t.P rafl i n.nc~ o[ ete rnity,
Until d eat h tramples it to lmg111 outs.

S he cannot. fa<le th oug h t·.li ou hast no L t.hy IJli s::;,
F'orever wilt thou love am! she Le fa ir.

l'li at faculty which thu s perceives the symboli c characte r
,f t hin gs; which transfuses tl1 e iuanimate with a n iutelli •:e nt presence and d ep icts it in li ving movement; or colt' cts a nd fuses objects a nd facts, and weaves over th em a
ase ular web of e motional relatio nship, a imin g at a rn~ w
· 11 ll fa irer whol e, because speak ing after the ideal and not
' ft er the appare nt-is the Imagination.
Th e word means a n i?nag /ng, or a marking of lik e1esses. 'fli e power itself g ives fo rm to thought-not
1ecessarily utte red form, but fo rm capable of being
ttter ed ill sh ap e or in sound, or in any mode up on which
he senses cau lay ho ld. B ecause it resembles most t he
»rime operation of the power of God, it has be e n called
.he creative facu lty, aml its exe rcise creation.
Its function is to replace in t houg ht, form er percep: ions a nd sensations, to combine t hem, not according to
1 Ii e original ancl actual, but rath er according to t he mind's
1wn desfre a nd stand ard ; so that w hil e the groundwork
·if the represe ntat ion is somethin g which has been, at
->Orne time, an object of percept ion, the picture itself, as
1 t stamls before the mind in its completeness, is not
a
r: opy uf a nyt hin g a ctually perceived, but a creation of t he

217

l

,"') ,

'

Here is a n e w thought-for1n, though none of the ma t erial
th at ¥·oes to .mak ~ it. has been originated. Generally
spealnng, th e 1mag111at1011 takes forms already ex isting ,
and gath er~ th e m about a t hought so muc:h hig her than
they, that it ca 11 g r oup and subordin ate a nd harrn onize
th em into a whole which shall un ve il m· render visi ble
t hat t hought.
Of . imagination as the. facul ty of r ecombining- or ()Onstructrng anew the ma.tenals w lii cl1 exp erien ce a ud obser··
vation fon~isl.1 for it to work wit h or upon, there are
sev~ral van.e t1es. Wh~n it combin es to class ify and generalize, to mvent, to discover, or to instruct it is scimitf(ic. \.VI~en it deals ideally and suggesti v~ly with t,he
l~1gl~ er obJects of nature and spirit, exciting th e nobler
fee lrn ?·s. and c.alling iuto action t he uobler capacit ies of
man, It IS poetic, or a?·tistic, by em iu euce. In the for me r
case, the re~u lt is a formul a, w hose paramount purpose is
b~ as bnef and comprehensive as possible; as, 'Evolu tion .Is a process from the uniform and in de lini te to t he
multiform and detinite.' I11 the latter, the result is a for m

t?

<J01'11'L E'l'B lUTJ ~ TOl!CC.

8

· ra t h er
fo r111 s, w I10SA eo n t ro11"1 ng a ·1111 ls,
. , to h P. as beo11t'nl as possilJle ; as T e 1111 yso 11's In Jfenwria.'11t. Botli
:i \ ' e1wage t.hen1selv es on the sam e se t of facts.
Th e
.J
b
.
''l'l
,,,el is t hu s a joi11t pro(ln ct of science a nd art.
ie
·eat modern n ovelist is at once scie nt ifi c and poetic: nud
·re it see111 s to m e, in t he n ovel, we have the meet in g ,
•1' reco 11 c il'i ation, the kiss, of science a11cl poetry.
F or
a.111pl e, George E li ot, ha ving with t hose ke en eyes of
·rs coll ect e(l a. 1Hl analyze<l a n(l sorted lllany facts of Brit11 life, bind s t hclll togc thc~ r into a tru e poe tic sy n thesis,
, f'or in stan ce, Daniel ])eronclrt., w hrn 1 in stead of g ivin g
, the nl t i111 a.t<: rcl;.i,tion s of a. II hN fa ds in t he sha.p e of a.
l'lltula, lik e t hat o f e volutio n, sh e g ives tl1 e m to us in
•e beautifu l creation of Gwe 11rlolc11 1-ln.rle th a nd a ll t he
li er str ikin g fon 11 s whi ch 111ovc throug h t he book as
nliodim c n ts in i! C'sh a. nd blood o f t he scie n t ifi c relatio ns
·t wecu aJl li e r faets.' 1
\V he n t he e nds a r e for mere pl easure, aml the associa, n1 s, as well as t h e e111o t. ions exc it ed, ar e not especia lly
111 oblin g , th e poetic activity beco mes f ancy. li'ancy is
1 exe rti on upo n a sma ll er scale of t h e same faculty of
lii eh irn ag inati on is the hi g h er elem e nt. Fan cy is s uper·ial, joins by acc id e ntal rese mbla n ce, and amuses us.
· 1ngi nation is ce nt ral, uses a.11 orga uic class ification, a11d
panels us. Thou g h both can he gra ve a nd g ay, th e
nrc nat ural s ph e re of th e one 1s co medy; of the oth er,
:1ge<ly.
\V"h e11 the action of r eason is nearly suspended, o r
·nnan e ntly set as ide, as iu rev erie, dreaming, somnarndi sm , and in sanity, we have phantasy, whose effects or
·oclucts, sev ered from all re lations of place, tirn e, or
·evious cognition, arc s imply grotesque, or, as we say ,
111f((stic.

vV heu, agaiu, we form for our pmsuit an ideal of rna11J

t> illney La11ier.

LES'l'HETICS OF EXPltESSlON -

B l AG I .NATlU N.

2H1

hood or womanhood, when we imagin e what we are t o he
and to b ecome in fortune and su ccess, thus including
mo re or less d istinctly what we ought to be in charact e r
a nd in perfor mance, th e imag in ation is, in t his r elat ion,
eth ical.
Think, now, of t he importa nce, the benefits, th e influe nce, of thi s faculty. Th e vividn P.ss and force of comp osition d epe nd la rgely u po n its sk ilful use. Th e orator
regnires it. H is chief r eso urc es are illustration and r ese inbl a 11 cc. ' i\T ith out it, th e painter a nd t he sc ulptor
would have 11 0 enlarged se nse, 110 s uggestive ness, to
< ~x hibit in co lor nnd in ston e.
As fo r tl1 e poet, according
Lu his rneasure of it is he hig h er or lower:

l

'H m ay he take n f o r :Ln nx io n1 , that. whe re we get gr eat c r0at i1·p
1•01ve r, 111 a 11 y-s i!led11 ess, a 111l n co nj1u ictio 11 of grn nd cn neeption ,;
witlt Ll1 e 0m ot io n a l s11hli111 c, t here we l1 n Yc fir~t- e h1,ss poet ry, a 1Hl
wh ere a n y o( Llt e::;c qualities arc wa.n t i11g, first-class poetry is n o t.
IL in a .v a lso UC as r eaJily gra n ted , tl1n t t li c cbss or poetry IJ C.Xt in
orcl l• r is wh e re t he re i::; a lack of c r caJ.i ve powe r, but fr eque n t. in,;La11 ees o f c it-.l 1er of t h e two f'o nrccs o[ the s ublim e co1 11 bin e( l w i th ;1
p m minc n t 1na 11i l'esLatio n of t he r cprcse n t.ati vo fac 11 lty. _F'ro 111 tit i.-<
le vel Lhc next ste p in Urn (lcsec 11 t to t.lH \ I hircl o r itistlteLie o rd e r, i:-;
t he r a ri ty o r an y i11 sta.uec oC t.he s11hli1m\ with g reat v igo ur of
!lcscripLio11 , in whi c h Lit e s pi.riLn a l do111111a! cs OYl' I' t-IH· 1nnJ<' rial.
Th e lo west step of a ll lri,nd s 11 s 0 11 t.l in.L grn 11nd wlt ern we get inferior
combinatio n s of th e imag in:i,t i vc a 111l r c prcse n ta live el e me n ts in
;:;econ cl-rate cl cse ri p ti 1-c poetr.v, anrl 1dwre fl ig lt ts of frrn cy a nd sal1ies of wi t a rc s nbsLitnted fo r s11blime h11rc< ts of passio n , a nd the
s piritua l nrnnifost:Lt.io 11s of bcan t.y. Tl1i s is n ot t h e sph e re of eth ereal types, bnt of n1 atc ria l e n11Jodi 1nc nt>". Bcyoncl the fronti er of
Lhif' se ns uous r eg io n , we co m e in co11Ln.e L with I.h e <lrC'a,ry wastes of
t h e ac tua l, in w hich m ost co 1nn1 o n- plaee clta rncte r::; are co nte nt to
s pin ont t he great lHLlk of th e ir Ji vns. ' 1

Have we not see n that ha lf of our lan g uage is its work,
losing its poe tic asp ect by comm onn ess of use ? 'Thinkest thou,' says Carly le, 'th e re vvere no poets till Dan
I ,J. Dc1·e.1' : Gomparali've E.<limote nf' .llo1 /f1' 11 !JJ11qiislt l'o els .

2 ~0

COMPLETE RHETORIC .

Ch au cer? N o h ea rt b urnin g wit h a th o ug ht whi ch it
co ul d not h o ld, a n d l1 acl 11 0 wo rcl for ; a ])(l 11 eeJ e d t o shap e
a nd coin a word fo r -w hat t hou call es t a lll e Lap hor, t rope,
o r t he like ? J:f'o r e ve ry word we have, t here was s uc h a
m a n a nd poe t . Th e cokles t wo rd was once a g low in g n ew
me tap ho r, a 11 cl bo ld, qu estio nab le ori g ina li t y. Th e very
att ention, do es it 11ot mea u a n att e11,tio, a st1·etcli i11 l1-t o !
F'ancy t hat act of th e min d, whi c h all were co nsc ious of,
w hi ch uo ne had y et na med-w hen t hi s ll e w poet fi rst fe lt
bou ml a nd <lri ve11 t o rrn m e it. H is qu estion able or ig ina lity allll ne w g low in g m e tap ho r was fou ud adoptab le,
in t ellig ib le, a 11 d l'C lll a ins ou r 11 1w1 e for it to t hi s <lay.'
It is of in est illl a.bl e va lue to us a ll. Th e p oet, t he
orato r, t he a r t ist, can co 11 vey t o u s no full er, d eep er
rn ea ni ng t ha u we hav e sou l to r ece ive. Th e same hea ve ns
a re o ve r t h e a stro nome r a nd hi s llog. T he p resid e nt a nd
t he pig look up o n t he 11 rn ny -colo recl 11 10 rni11 g a nd ev en in g .
Bu t what a d iITe re n t wo rl J it is t o d og a nd astrono m er,
p ig a 11d p resid e nt ! S c ie nce pu lls t he s now-d rop to
s l1rcds, b u t w h e nce co mes its id ea of s uffe rin g hop e a nd
pa le co n fid e nt s ubm issio n ? O ne p e rso n, viewi11 g N iaga ra
r~ a lls, t hin ks it a g ood p lace for s pong in g c lot h.
vV hy
Lloes a nothe r cry out, 'God of gra nd e ur, what m ag nifi ce nce ! ' B ey o nd t he body's 11 eeds of bread, clo t hin g-,
lodg ing, a nd med icin e, w ho s3es t ha t ea rt h a ud sky a re
sta rred w it h lo ve lin ess, a nd, w it ha l, reads th e lesso n
t h e reof?
L east o f a ll a re t he pr:wtif'.al n ses of t. he i111 a.µ: in at io n
to Le. ov erl ook ed. I. t lif ts us ab f•\' e o urse l\' ns, creat es fo r
us sLa lllla nls o f a ttai1111H•nt Lo wlii e li w1~ lll ay a.spire, a nd
wit ho u t t he \'i s if111 of whi ch norie ca n ri se. l t look s fro 111
t he actual to t l1 0 d e si ra bl e a nd possild e, co nce ivin g t hat
wliic h is lll ore p e rl' Pct t li a. 11 tl1 e ln1111 a 11 ey e hat h see u o r
t li e hu m a n ha nd hatl 1 wro 11 g ht. Th e ideal is t he bo w
prom ise wh ic h we s ha ll JJ e ver reaeh, b ut wit hou t w hir'

1ESTH ETI C8 OF E XP HESSIO N -

HIA GI N AT ION.

221

s ho ul d not be w hat we are. Th e beasts hav e t heir pa radi se a roun d t he m - m a u's is e ver Lefo re hi m, moving
f'o rw a. r<l as he m oves.
vV hate ver o ur ideals a re, false or t ru e, elevated or lo w,
t hfly are s ure to e xert a most hea lthfu l o r a most ba ne fu l
infl u e nce upo n sat isfactio n a nd s uccess. It is much less
w hat we a re a 11 cl possess th a n wha t we imag in e t hat we
oug ht t o be a nd to hav e, t h at is d ecisive of happ iness a nd
mi se ry .
A ll t hat ca n be sa id, t he n, t e nds to e nforc e t he cu lt u rn
a nd clisc ip li ne of th e in1 ag· i11 at ion - imag in at ion a s cl istiHg ui shed fro m t hat seduct ive a nd en e rvating stat e k no wn
as re ve ri e o r castle- huil cl i11 g . T hi s c u lt ure is need ed primar il y to coun te ract t he pro ne ness to m ateriali sm and
ea rt hin ess. It is needed to enable u s to see t h e g re at
po we r, b ea u ty, a nd wisJ o rn of t hin g s; to subo rd in ate
t li e m ea ns of li vi ng to t he e nds of life, to beget in us a
nob le un res t., a n e ve r-r e ne wed awak in g fr om t he <lead, a
ceaseless q ne::;t ionin g of t he pas t for t he inte rpre ta t ion
o f' t he fu ture, a n nrg in g 0 11 o f: t he m ot io ns of li fe . T be
ve ry e x is t e nce o f: t he im ag in at io n is p roof: t ha t it may be
improved to o ur g ood, o r neglect ed a nd a.b used to ou r
har m. Of direct mea n s, t he wh ole is co mpri sed in t wo
wo rds - foorl a nd ex erc ise. Seek t rue v isio ns, drea m
no b le drea,ms. Goet he a< hi ses us to hav e con stant ly
before ou r ey es, t hat is, in t li e room we most fr equ en t,
some wo rk of t he b est atta in ab le a.rt. C ulti vate fe llowshi p w it h n at ure, and in li t e rat u re sur ro un d you rselves
wit h t he g e nia l presen ue of th e hig h-miud ed .

h:STIJETJ CR OF BXPRRSSION -

CHA P'rEH XII.
)1.<~S THETICS

OF EXP HESSION - TA STK

Tn ~tc. likt• lm :ig in nt ion, i ~ a. word ·.v hi c h ha • h een forced to ex t e nd if$ ~n1·ice• far lw~· mlfl th;. JH>inl to 1..J1ic h pilil11~oph ,1· w u 11ld hav e <·o nfi.11 ed l h t'lll. 1t
i• ;I rn c taphor, take n frotn :I ]l((RRi1 1(' '" n 'l' of th 1• h11111 an body . :tnd t.r:111•fcrrt•r!
10 1h i 11 g~ whi c h an· in their es8e n ce not pa ,;~ive - tu inte ll ect 11 a l acts and operolinns. - WoHn~wo1iT11.

HEN in t he sphere of se nse cert:ti11 ob j ects ar('
bro ught i11 co n ta.ct wit h t he appropriate p hysica I
o rga n, t he re is fir st a n affectio n of t he se nsibili ty, a m e re>
fne lin g, of whi c h we are cog11i za11 t; t he n a jud g 111 e 11t t hat
t he object so a. ff Pcti11 g us pnssessc•s sud1 a11J suc h cprali1 ics- is s wcf't , so11 r, hi t l <~r, (:1c.
111 ot her wo rd s, we say
tl1a.t the tl1ing f 1 1 sl1'.~ so a11cl su. \\' h pn, agai11, \\' (' rega rd
a s pl endid s nrJ S('t or :t 11 ob le sta lw ·, we are eor 1scious of
a11 e 111 otio n an (' lll ot io n o f pka s n rn a nd d e li g ht ; t lin 11
lin <l onrse l\' es exc la ir11i11 g 111 e 11 ta ll y o r aloud,' How beautil'nl ! 'or' )) o w ~T and ! ' \i\Te lll <l)' pn!Se nt ly observe witJr
care ful eye t h l~ d (\ta il s, a nd t he rula.tio n of' t he severa l
parts to t he wh o le, suck in g to know what it is in t he O JH '
o r t he o th <'l' t hat. pl eases us; a nd we are g ratifi ed t he
111 nre or t l1 e less, in proportion as we asce rta in its merits
o r defects.
Betw e(• 11 t he two cases t l1 erc is so 111 e arrnl nµ:y, su lli ciPnl
to s uggest a tra.11 s l' e r of 11 a.111 e fr o111 tlie for111 e r t.o thl'
latter; a nd h e nce, in many languag-es, t he pow er of perceivin g t he beautifu l an 1l s11h !iJ11 e in 11a.tnrc, art., a nd
li terature, is ca ll ed Jhst e. Tl ;µ: h se nsi bili ty, !o,·i11g 11 ess,
\vhich is a n attribut e o f a. II nolil c rni11d s, is, ind eed , t he
fo un(lation, the sp ri11 g, t. h c~ li fe . Th ere is n eith er motive

W

2'.22

TA RTE .

223

nor oppo rtu nit.y for t h e exercise of perceptive power, if
pleas ure be wantiug. Hence Burke's definition of taste' That fac ul ty or t hose facult ies of th e mind which w·e
c~ff'ectecl with, or w lii ch fo1·m a j?tclg11ient <-~t: the works of
imagi n atio n a nd the elega nt arts'; a nd A lison's-' Th at
faculty of the mind by wh ic li we p erceive and e?ljO!J whatever is beautiful or sub li me in t he works of nature a nd
a,rt.' P hilosop hi cally, how e ver, t he word denotes the intellectual rather t hau t he emotio11al element of t he
process. 'l'h e two are c losely related, yet clearly clistingu is lrnble. T he latter is par;s iv c - is th e capabili ty of
Le iug moved; the former ir; active- is t he capabi li ty of
judging as to the beauty o r deforlllity, merit or demerit,
of a t hin g-of di scerning- t he fit ness of particu lar causes
to produce in us pa rticu lar effects. Th e o ne is more
na t ive ; t he ot her, 111 ore acqu ired. The p easa nt a nd tl1e
savage have lively sensibil ity, Lut li tt le or 110 <liscri.lllirr ation. T he acco 111plished mnsician has most criti cal knowledge, but the li ste uiu g a nd wo nd ering c hil d, who judges
scarcely o r not at a ll, may foe ! m ost. Of taste, t herefore,
in t he metap horica l mea nin g, it has been said with much
justn ess: 'Th e esse utial e le in e nt whi c h co nstitutes it , pertai ns to t he reaso n ; it is, in trut h, o nl y o ne of t be forrns
of t hi s sovere ig n powe r, which tak es differe nt nam es
acco rdin g to t li e objects whi c h it d eals with - reason,
properly speak ing, wh e n it employs itse lf in t he sphere
of specu lative truth; conscience, whe n it reveals to u s
truths moral and practical ; tast e, w he n it appreciates t he
beauty a nd s ui tab le ness of objects in the rea l world , or o [
wo rk s of a rt.' 1
Nor is taste to be confounded wit h imagi nat ion. Th e
first may be esse ntially d e fec t ive where t h e seco nd ex ists
in a. hi g h degree, as happ e ns always with c hild re n a. nd
barba ria ns, a n d not in fr flfJ ll P. 11 t ly wit h t he prolluctions of
1

lle11:1rrl.

COMPLETE RH ETO IU C.

t he p rn.=- t, tlrn painte r, t he orator. Th0 sccon<l is producer,
nPato r ; t h0 fir st. is lawg i.-e r, director. Th e disti nctio n is
111uc h th0 salll c as between ta le nt nrnl gen ius. On e is
0xecu t i,·e power, powe r o( crit icism, po".:er of consc ious
!·c fl ectio11, power to adapt m ea ns to ends. The other is
"11pe ri or po"·er of inst inc t, spo11 ta 11 0ous in t ui t io11 , pow er
fo ori g in ate new fo rlll s out of old matter. Both are royal
,~ :· n es t s , not ofte n lodged in t he sam e ho<ly.
Tast e, lik e e \·cry othe r fa c ulty o( t he min<l , dep end s nn
" irc um sta nces fo r the d egree o f its de velopm ent, a nd t he
111ode o f it s ne t.ion . ' !\That on e age or ind ividua l approves
:i 11 othe r will condem u.
Th e In d ian rP.joices in th e di s figll rern e nt. of hi s hody by tclttooing, paint, a nd f eath ers.
Th e A siati cs p referred i11 poetry allll eloque nce th e tu mi d,
1 lw o rn alll e 11 ta l, th e g-au<ly;
t l1 e Greeks admired t he
<" lraste a nd si mple. Home thoug h t t he architec tural style
nf At li e ns toot a 111 e, a n'l in a ll he r public bu ildi ng s so ug ht
tn dazz le by lu xur ious d ecoration. Th e Middl e A ge lov ed
f·. lr e rlark and massive, a nd re Yi,·in g Eur.ope gave her fav or
l o th e imposing- a nd be wild e rin g Got hi c.
T he metaph ysif' a l qu ibbling of the Dark Aµ; e had its day of popularity.
T he IJ; li zabethan Eup l1uists, now fa lle n into neglect, enjoyed un bo un d ed ap pl ause . Du rin g t he Restoration, a n
a ff t>c t.cd hrilli :rn cy of w it was t he fashion in vogue. \i\Te
speak not. o( th e div e rs ity amo ng contemporaneous uat ions, nor of t l1 at which is matter of daily and fami liar
obse r vati on wi1.h each. Birth, previous t rain in g, habits
o f t houg ht., are modify in g i11flu e11 ces. You have all heard
o f t he rna.llwrnatician t hat could ne Yer find anyt hin g sublim e in .P<tr((clise l,ost, hut ' eou ld ne ver read t he qu e ri es
at. t he encl of N e wto n's Optics without feeling bis hair
stand on c rnl and his blood run colcl. '
Ci ,·ii iza.tio n moves forwa rd . The id eals of yeste rday
a r0 sl1 nwn to lw fals e hy t he id ea ls of to-morrow, whi c h
are o nl y rclati,·c ly tru e. Th e finalities of t he past y i l~ ld

.M8TlIE Tl CS OF BXPJrnSSIO N -

TAST_E .

to th e large r g e ne ra li zati o ns of t li e prese nt, and each
d enotes t ho height of t he lrnman soul in its hou r. Othe rwise e xpressed, taste is variant but progressi ve, as are
oth er forms of mental activity - eonscie uce, for iust:wee .
lts d ec isions are not all equally correct, and wliere t hey
are co nflietive, those must be est ee med just a ud tru e t hat
coin cide wit h the co11curre 11t voice of th e majority of t he
educated, refl ective, and p ract iced. But have we, the n,
it will be said, u o othe r c rite ri on 0£ what is beautifu l
t li a 11 t li e app robation of th e majority? Must we coll ect'
th e voices of others, before we form any judg mellt for
ourselves, of what deserves app lause in eloque uce or
poe try? By no means ; th ere are vri11 ciples of reaso n aud
sou nd judgment which can be appliccl to matters of taste,
as we ll as to t li e subj ects of se ionce and philosophy. He
who adm ires or censures a ny work of g eJJius, is always
ready , if his taste be in any deg ree improved, to assig n
some reasou:; for his d ecision. H e appeals t o principles,
and points out the grou nd s on whic h he proceeds. Taste
is a so rt of compou n<l power, in which t he light of the
und ersta ndin g a lways mingles, more or less, with the fe elings of sentim ent. 1
'l'hat we are bouud to lik e 011 e thing rather than
another, is gra nted g e uern lly by men's speaking of bad or
good taste, though frequeutly J euie <l, w heu we pass to
particulars, by the assertion of each that he has a right to
his opinion. Good taste conforms to the authori ty of
judges who stand for that ul~irn ate approximation or
unity of prefe rences to whic h cha ng es of opin ion a rrive
in consequ ence of expe ri en ce. ' Bad taste violates t he
rul es and principles by which se11siti ve and well inform ed
minds are g uided in such matters. -'Our purity of t aste, '
says Huskin, 'is best tested by its universality, for if we
can ouly admire this thi ng or that, we may be sure t hat
I

Dr. lllair.

t

UU ;\ll' LBTB lUl.ETU ltl C.

•ur ca.use for liking is of a finit e a11cl false nature . l3ut. if
rn call perceive beauty i11 e v e rything of GoJ's d oing, we
11a,y ::trgue that we have reached the true perception of its
111iversal laws.

Hence, false taste may be k11ow11 l>y its

astidious11ess, by its demands of porn p, sple ndor, and
111usual combination, by its enjoyment only of particular
·Lyles aud modes of things, aml by i ts prid e , a lso, for it
s forever meddliug, rn e 11Jing,

a c cumulating, a nd self-

·xu lting .'
Taste, it is n eed less tu say, both ad111its aml requ ire s
·nltivatio11, e motionally a nd inte ll ec tually. Hnsdn css of
\(~art <lark c lls tl1e u11d e rsta11<lin g . Ernotion ceases to be
'clt, if disregarded; is stre ngthen e d, if c h er ished.
1lllch is misleading, want of it is vulgarity.

Too

Perc e ption is

1uicke11ed by love, judgment is t c n1p e recl by n:q e ratior1 ;
>oth are more swiftly

a111l e lfocli\'e ly

used when tllf~

·n e rgy a11d passion o f a 111 oral n at u re a r c l>ehiml tlic 111 .
' ' ritical writings, works of 11 a.1'111'1', 111 <Hk ls of exce ll c11ec1li e approY ctl

prutl11 ct ions i11

lit e ral

lll'I!

am! nrt - - must

liecrnne familiar IJy c·losc ohs1·n·atio11 and careful study.

I t were to b e dcs irr cl, of co urs e, that the fou11datio11
<li u uld b e l a iLl inn brnad and a111ple c11llt1re of the whole
111i11d; and, underlying all s p ec ial efforts after impron~ 111 c nt i11 this direction, s h o uld he t he 111a.xim t.liat c.xprPs '< in11 is 111ore tlia11 form.

Tit o f1.llowi11g uttcn:.11 ecs

ol'

th ~

•2T e at art-cr iti c of: the age a.re eo111111 e11Lle<l to your t.huught-

f 11 I consi d era.tio n:
\Vh el"l.' \'PI' llH· l\'ord ' t:i ste ' i,; J1 ,;1·d wit.It rc,;prd t11111atter:o> of art.
it. indi<·:tfl'C' c it lwr t li:lf the I hi11 g Sjt11k1·1 1 ot' l1<·lo11g" t." ;.;01111· i11t'eri"r

.. \:1.;.;s o[ ol1jcc l.;.; , "r t !Jal. th e jll'!'s1111 sp1·11ki11 .g h:i s n f:d se 1:011< ·c11t i11 11
,. f its 11 :1.L11re. lt'o r. c1111,;idPr t IJ( • ex:1ct. sP 11 s1 ' in wl1ich 11 work of art
i;.; t<a i1l to lie 'i11 ,g ood or li:id ln sll·.' ]t. does 11ul. 111e:111 th at. it is
1rne, or [abe; t.haL it. is lw:111til'1tl or ug ly; li11t. thnt, it docs or drn·s
11<1L comply eiL11 e r "·i t h tl11 ~ ln\\·s of' ('hoi('e. whic·h are en(orvPd ln·
1·c rLui11 111odes n[ Ji l'c; or Lhe hal1ils of 1niJ11l pro<1u cc<l l1y :t pa rtie ul:tr ;.;orL ul cd ucat.io u. lt dues nut. IJJ(_•:1.11 Jlll'l'd y [ashiu1mule, tl1at. is,

.1ESTHETl CS OF BXl' ltH8S 10N -

TASTK

227

complying with a 1nomentary . ca price of tho uppe r chtsscs ; hut it
means a.greeing with t he li aliitual s1 ·11 se whi c h the mos t refi11eLl Pd 11caLio11, co111mo11 to those uppe r c lnsses a t the pc rio< l, gil"Cs to their
whole 1JJim1. Now, ther efore, :;o for as t l1at educ:aLiou does indeed
t.eml to rna.ke the se nses cleli caLe, mal Llw perecp tio ns acc nrnLe, and
thus enabl es peopl e to be plea:;e<l wit h quiet instead uf gaudy eolor,
anil with grn.ceJ ul insteall or L:1mrse lol'lll; a11d, by }011g acr111a.i11ta,1l<.:C wiLl1 Lhe besL tl1i1 1gs, to disce rn <tlti c kl y wl1 a l is 1i11 e J'ru111 what.
is en 11111 10 11 ;- so Iar, aequircd 1:1.sLe is 11n li u nomltle fa.l:ully, n. 11<1 it.
is t.rue prai se of anyt hin g to !"a.y it is 'i 11 g·uod tn sLe.' Jfot so far :1s
t hi s high er 0Lln eal.i1>n lms a te 11d1 ~ 11 e.Y Lo 1m1.Tow Lh.e sy llljtaL hies a 11d
lt :m le11 t he ltctLrt, climi11i;.; l1i11g Lit e i11 LcresL uf all lieattLifol Llti11 gs by
f:J.111ili: tr it.y, nnLil. even whn.t is IJ1:sL <):t1 1 li:inll y pl ea se, a11 d wh:J.i; is
ltr ig hl.esL hardl y e11Le rt.:1i11 ;- H > 1':1.r as iL l'osl.e r.-; pri11'!, a.111[ l<.':1.1 ls 1111 \11
t.n [01111d Lit e pleasure t hey take in a 11 ythi 11g, 11ot 011 the worthi11 ess
of t.he thing, but on t l1e d egree in whi ch it incli catcs so me gre:LL ncs;;
of tl.1ei1.· ow n (as people build marble porticoe:;, a11d inlay m arl.de
fl.oor:;, not , -;11 much liecause t ltey li.ke tl ie co lors of marble, or Iind iL
p lca!"a11 t to tho foot, a.s because s uch porc hes nm1 floor s arc costly,
a. nd separated in all hnu1rn1 eyes fr ou1 plain c ntra.uces of stone a nd
ti mber) ;-so far as it leads pco 1llc Lo pre[n gracefuln ess o.C Lire~::-,
ma nne r, awl as pect, to valu e o f s n ltsta nee :111c'l heart, liking a well said
Lhi11g IJcLter t han <L Lnw thiug, n.11d a well. train ed 111an11et· bette r Li mn
a ,.;i nce rc one, a.ml a delicately forna)cl faee bettor than a gnocl-uatu rerl
11n1', and in all other ways a. nd U1in g.~ sctLi11g e11sto m a 11cl se1111Jla.11ce
above e1·erla.:;;ti ng trnth ;-so far, finally , as it induces n, se nse o f
i11h ere 11t <listinet.i on hetwee11 nla;.;s and c l:t.!'<S, and cau ses evcryLhing
lo be more 01_· l e~s despised whi eh l1 ;Ls 110 social rank, so tha t the
affectio n, pl eas ure, or gr ief o [ a c lo wn are looked upon as of no
interest compiLrccl with the alfcct. io11 ancl grid o[ n. well-I.ired urnn ;j usL so far, in all these severnl ways, Lhc fee lin g induced by wlrnt is
Palled a ' li beral eclueat-.ion ' is 11 Lterly :tclvorse to t: he um1crsta mlin g of
11 oltle art; :rnd the name whic h i:-; giYen tn t ho [ee ling,-7'as/.e, G~ftl,
nnsto,-in a ll languages, indicat es the ba:oe ne,;s of it, for it impli es
that art gives on ly a kind of pleasure a nalogous to tlmt dcri Yed fr om
eating by the pa.late. - Ritslcin.
The qualities most frequ e ntly ascribed to a good taste
are:

(1) Refinement, implyiug a progress, so that what is

pleasing in one age, or one period of life, is not so in
another;

(2) Delicacy, implyiug th e ability to discover

I
CU j' l L'L'E T E .ll Ll K l' U JU C.

T
I

·111ties and hle niishes t hat are hi ll<le n fro n1 t he common
" , whi c h pe rc e i,·es onl y what is in so 111 e degree hold
l p:d pa bln; (3) Gu rr ec t ness, i111 plyi1J g agree me nt wit l1
· o·c 11 c ra l co nse nt of: a tt age, a nrl, st ill more, of succcss:~·es. Th e scco11J lea ns tt1 orc to fee ling, a nd is ma 1_1i l1: ll c hi cfl •.v in tl iscertti1 w::::> late n t beauty a ml trn c m e n t;
. t hird lea ns n1 ore to reaso n, is co n1parnt ive, di sc ri111i 1 i,·c
a nd res1)ects c h icil y t he i111 prove me nt of taste
'
.
oug h its conn ectio n wit h t he u1Hlersta11 d ing;. Th e hrst
· \' be sa id to co111prehe11 ll bot h. A hi g hly refin ed, a
,·c taste, mak es u se of th e se nses, b nt does not rest in
·11 1. Th e rn ai n t hin g is t h e d esi f;n, t he in telli g iul e
111 , not co nsL r uab lc to se nse, but addressing itse lC
Pl y to th e in ward eye .
IL will be see n at o nce t hat t he scie nt i11c a nd rh etorical
1:;; 0 of taste is cl ilie rc11 t fr om t hat of co 11 1111011 acce pta 11.
l n fact, t li c tcr 111 lt as a d iv e rsity of 111 cauings, t hree
whic h a.re to bH part icula rl y notcll. \ \T lt c 11 a pe rso n is
1
to Jia,v c a taste fo r a cerla i11 p urs ui t, occu patio11 ,
1
11tsc rn e n t or stud y, it is rea ll y 111 cant t hat he has a fo 11 d ..;s o r i 11 clination for it, a11d eit her of t hese words wo uld
Ill Oro prec ise.
\ ,Y lt e n he is sa id to have a taste f~r . t.he
: 1.11 t ifu l, it is 111 ea 11 t t hat Ir e l1a s a li vely suscept1b1h ty
" it. \ V ir e n lt c is said to have good taste in objects of
:inty, it is mean t t hat he :judges read il y a nd acc urately
0 11 such objects as awa ke n t hat s usceptibility.
T !t e a.p pli ca.tio n of taste to t he several fi ne ar ts is cri t i111 whose o ffi ce i.s to d isting ui s h t he beau tiful from its
pl;si te i u eve ry pe r (o r111 a nce; a nd from par ticula r i u, 11ces (suc h as co me nearest t o tli e stand~rd) to. asce nd.
()"enera l p rincipl es concernin g the vanous kmds of
·i~ty in works of ge nius. 'l'li e Fi ne Arts ar e : (1) -~re'.li­
tnre, in wlti c h t lt e r cali r.atio n of beauty or s11bJect1ve
·a. is su bord in ate to a 11 e nd of outward utility; (2)
1ndseape-ganlening, wh ic h comprehends, p rimarily, t he

l

•

,

lay in <Y out of <Yrou nds a.nd secon<l a ril v, t he t reatme nt of
b
::::>
'
'
·'
t hese grou nd s by c ul t u re, a nd t he in vestme n t of t he m
wit h such forms as ut ili ty a u<l bea u ty may p rescribehav ing its sprin g (li ke t he precedin g) in huma n necessity,
but, in the supp ly of th is want, in vit i11g decoration; (3)
/icnlptnre, whose d ifl tin ctive e xcelle nce is t hat it e mbod ies t he hig hest poss ible d eg ree of fo rmal beau ty in a
s i11 g le fi g u re, eo 11 ve rt i11 p; (u nli ke t he first) t he ma rble or
t he sto ne in to a n exp ress ion of t he insp irin g idea -m ost
of ten, man, in the fu ll -developed e nergy of h is p hys ical,
moral, an d in tellec t ua l be in g; ( 4) Pm:ntin.r;, wh ich, w it h
t he superior p li a. ncy a nd ma nageableness of its mate ri al,
can rep resent under on e view a numbe r o f d istin ct objects or simulta neo us e ve nts, a.nd ca.n ex hibit , beyond
ri valry, th ose more deli cate a. nd evanesce nt p henome na.·
whi ch int e rpret the heart to the eye, showi ng, in th e
human :figure, t he inner state, its pass ions a nd emotions,
in a ll t heir dept h a nd variety, (5) Jlfusic, in w hi ch t he
sens uous eleme n t, sound, is com p letely ble nded a nd ide nt ifi ed wit h t he fee lin g o r passion ex pressed, t he op posites
of variety a nd u ni ty bein g reco nciled i n a satisfy in g whole
by two esse nti al prope rt ies - q ua nt ity, or d u rat ion in
t ime, a nd qua lity, or · t he key a nd scale of to ne, th e one
laying t he fo u ndat io n of rhyt hmi cal moveme nt, t he ot he r
of me lody a nd har mony; y ield in g no d istin ct im age, yet
awak e ning assoc iat ions, revivi ng memo ries, and at its best,
full o f ha un t in g t hough t, a sense of t he myste ry of being ;
(6 ) Literatw·e, in t he less e xte nded se nse - thought
a nd fee ling car efull y, curi ously, o r beautifu ll y exprnssed,
a fford in g p leasure not only by t he t hings said, b ut by t he
way in w hi ch t hey a re said.
T he p lea.su res d e riv ed from natura l obj ects and t ir e
elegant arts are k now n as t he P leas ures of Taste. Th ey
may also be call ed P leasures of t l1 e I mag in ation, a.s far as
t hey call for t he e xercise of 1.li is fa.cu ltv or ll epeml upo n

'30
Ls ac tion.

COJ\IPLETB RHETORIC.

So f a r as related to orga ni c impression, they

1rn y ield ed firs t a11cl principa lly by the m os t refi ned and

:p iritnal of a ll ou r se nses, s ig ht a nd hea rin g . Th ere is,
rJ be su re, a. pl eas ure i11 th e scent of a rose, in the fl avor
,f a fruit, in the manipulation of a s mooth, soft, and
elvet s urface; but tlie nostr il s, t h e palate, and th e touch,
1 re by co 111mo n co ns eu t , h eld to be of infe ri or rank to t he
.,·es and ea.rs, w hose pleasu r0s are a n en d i11 th e ms e lves ,·,c reas in g ir1 exquisite n ess by r npctitio11, co ntributin g tu
li e re finirw
r ath er than th e sustainin <g· of life, and ll eYer
h
·xpos in g th e ir votaries to t he charg·e of inte mp eranc e or
11o rd it1afo indulge nce. 'Vve s tan<l, t herefore, engaged i11
1011o r, as we ll as interest, to seco nd th e purp oses of 1Jature,
'.Y cul t ivatin g t be pl eas ures of t he eye a nd ear; tbose,
·s pec ia ll y, t lrn.t r equ ire extraordinary c ulture - such as
· rise from po et ry , p a in t in g, se 1ilpt11re, mu s ic, gard e nin g,
· nd arc l1it Pct ur<~ . Tl1i s, <)Sp<>cia.lly , is t.h<~ dut.y of tir e
·ind ent, who hns e lnis ur 0 t.o i111p ro,·p t hPir 111i11ds a nd
l1 (~ ir feclin µ;s . Th e fi11 <> arts ar<' l'O t11 ri\' <'rl t.n µ;irn pl <'as11n•
" t he eye nn<l l'a r, di s rcganli11g tli1 ~ infe rior sc uscs. .A
;1ste fo 1'. tl1<>sP ar1s is a plant tlrat g·rows natura ll y i11
11:iny soil s; ln1 L wilhou t c ul tur<', sca rc<> ly to pcrfe c.tio11 in
111 y soi l. It is s uscP p ti hk of lllu ch rc fln Pme nt; a nd is, by
rr o p e r ca n•, g r cn.t ly imprm ·c ri.
In t his respect, a tast e i11
lrP fin e a r ts goes ha. nil in ha.ml with the moral se nse, t o
d 1i ch, in<l eed, it is nearl y alli ed.' 1
1

OII t~PTEH
~ S THETI CS

Xll f.

Ui1' EXP LtESSION-THE

l mA UTIVU L.

\

I
I

Ile who e1t 11nol >'CC tir e !Jea 11 t. if11! Rid e i " a bad pairrlul', a h ad fri end, n had

Jo,·e r ; he c:1 1111 ot lift lli 8 mind and hi s h cal'l Ro hi g h Hti goo dn cs, ,·- JOUBEnT.
Th 0 11 sc f11l c n co 111·ag<'R il."tdf : for t.111! 1111al t i t 11d e prod11 ee i t , and 1111 on e 1::111
di R p ~ 11 ~e w i th it.: t h e b "a n t if11l 11111 ~ t he en co uraged ; f o l' few ca n set it fnl'tlr ,

and m an y n ee d it.- GoF. Tll E.

AN
r _l_

J

I

·1

I
•

Lunl l\ umes,

•

afflu e nt awl i 111 tu ortal th e me, to so me notion of
whi ch we !ll ay be h e lped, though we reach not th e
heart of t he mystery .
A figure of speec h, a t ho ug ht, a ·s tar, a landscape, a
musi cal a ir, m ay strike us pleasurably without a ny direct
a nd d e finit e exertion of t he in t e ll ect. What is that one
property that they ha \' e in co 1111r1011- what ·is beauty?
Accordin g to Hum e, it is sub;j ective - a m ere f eeling, a
quality r esidin g in t ir e perc ip ient, and n ot in th e exte rn a l
object . 'Tirings are not bea utiful in them selv es,' says
J effrey, 'but o nl y as t hey se rve to suggest interes ting;
co nce ptions t o t he mind. ' Th e re fore, a poe m a nd a pair
of slippers, a 11 act of ch a rity a. nd a saddle-horse, are
equally beautiful, s iu ce all alik e may lead to the same
c hain of in te restin g re mem bra nces.
The univ ersa l speech and co nsc iousn ess of m en attest
that the beautiful cmn es into our experi e nce from without,
a reality not originate d within us. But wh at is it in th e
object that constitutes its bea u ty? Is it novelty? All
things, when first see n, are nove l; but Hot all are beau tiful, w hil e many co nti nu e to c harm us wh en th ey hav e
ceasf\cl to he cur io us or strange, a nd oth e rs e ve n <ligpleas1'

co:m•J,f,TE

RIJ ETORH.:.

ily beca 11 se I h0y are n ew. Or is it utility -- fitn ess to
lucc in so me way t o ou r welfare, to serv e in some way
purposes'? Th e n is a stack of st raw fairer than t he
;de ltn <)S of lll Ol'lli11 g, 0 1' a spade lll Ore ad mirab le t ha n
Is it wdty h1, vm·1'.ety? Not
A pol lo Be lvid e re?
·.,·t.lii11µ: is ll 0:wtifn l t lia. t pmsc nts t hi s cor nbi1m t iu11 ,
1 ,~ so me Lhin gs t lt a.t lack it, as parti cul ar co lors, vall eys o r cloud-masses, are beaut iful. l s it order and p1·u1ion P Tit o snout or t he leg of t he swine is as fin e a
·in 1e 11 of t hese e le me 11 ts in co11jll11 ct ion as that of t he
•' a 11d gracefu l courser, but it is not equally adm ired,
l111ire<l at a ll.
'here 1·ern a i11 s t h e spiri tual t h eory, which makes beauty
<l11 s ist i11 t h e more o r loss ira.11 slt11'< !11 t cmbodi111 e nt of
B e hilJ(l n.11d wit hin e \'my f<in11 o f being· - t he
!al, t l1 e vio let, the sprea di11 g c li11 , t ho druopi11 g wil , t he statue, t lt e cntl1e dral , insPc:J-, bird, l>cas t, and
1-tli e ro is i111m anP 11 t, and rnrioll sly ma11ifcstcd, t lt e
r-80 111: a. II m ea n son1ct hin g, a ll exp ress son 1ct hi11 g-;
in proport io11 to d e pth of 111 c>a 11i11 g-, to lu111i11 011 sness of
rt'ss io n - i11 propo rti o n as t he Jnli11i t e discloses itself,
I 1j cc t, act~ t houµ; h t, or e moti o n beautifu l. Thus Hegel
1111 cs i11t.clliµ;ible, w hen he call s t l1 e bP-aut ifu l 'the se n1s s hinin g fort h of t he id ea'; a nd Sc helling, who says:
·<' bc:wLif1d is beyo n<l fo rm ; it is substa nce, t h e uni ·:11; it is t he look and ex pressiou of the spiri t of

•

of t he ir truths and th e exce ll ence of their mann er .
for e most, a definition of t he word :

1

l 11'0,.'

0 :rn~ tn be cong ratu lated t. lt at so hi g h an auth ority
\l r. H u skin ha.s spoke n so fully, so clearly, so instrucly , o n t hi s s nbj ect.. Of t he t heoretical writings of
•rs in t hi s fi e ld, we mi g ht a lni ost say, 'Burn t hem, for
r va. ln c is in Jllodeni Painters.'
Surely no apology
be 11 cedecl for quoting, at some length, utteran ces
will so amply reward you r attention by the nobleness
1

\

ll~ST H BTl CS OF EXPRESRJON- THE HEAFTI PlJL.

,,.1
...

,

2:13
And,

Hy the term ben,nty, the n, properly are sig nified two t hin gs.
F irst, f.lrnt external quality o[ bod ies alrcauy so often spoke n of, :tml
whi ch, "·hether it occur i n rt st.one, fl ower, beast, 0 1· in rna11, is al>sol11 tcly i1l f' ttl:i cal, whi ch, as r h n. v1 ~ :i.l rna!l y asscrLc<l , 111ay be show n t«J
lie in srnne sort typica l of ti1c l>i,·in c attril>ute!:', a nd which, t herefore, [ slrn.ll, for di stin ct ion's sake, call typ ical beauty; and,
seco n<larily, the appearance o f fc licito ns fulfi l1n e11 t.s of function in
li vin g tiri ngs. more especially of !,li e joyfu l anrl r ig ht exe rtion of 1w 1·fec t life i11 man. Anu thi s kin d of beauty I sha ll call vital beauty.

Accord ing ly, of exter nal Nature so co nceived :
She h as a body aml a sou l 1ike man; lint her so11 l is the De ity .
It is possibl e to r~prescnt t he bouy wit hont t he spirit; a 11 u this shall
be l ike to t hose wh ose senses arc on ly cog ni za,nt of body. It is possible to rep resent t he sp iri t in its ord in a r y and in ferior manifcsta,t ions ; and this shall be like to I.hose who lrnve not watc hed for its
mome nts of power. It, is poss ible Lo rcprc:-c n t t he spi ri t in its sec ret
a n(l hig h operations; anu t lii s shall be like on ly Lo those to· whose
watc hing t l1ey have beeu revealed.

111 t he more dP-fin ite articula.te e xp ress ion of the spi ritmt l,
lies the main differ e n ce between the mineral and the
plant. A warmer sympathy with th e latte r is natural,
and the attr ibution of life to it but expresses the fin er
feeling of fe llows hip with it. Happy is he who 111 t he
materia l fo rms of t he world recogniz es the Divine.
Of t hat second kind of beauty which cons ists in t he
'a.ppearance of felicit ous fu lfilm ent of function in livin g
things':
I have already noticed t he exam ple of ver y pure and hi gh typical
l1eant.y which is to be fo 11nu in t he lines a nd gradations of un sullied
snow. If, passing to t he edge of a sheet of it, upon t he lower Al ps,
early in May, we find, as we are nearly sure to find, two 01· t hree
li ttle round open in gs pi crcrn1 in it. aml through these emergent, a.
s lender, pe nsi\'e, fragile flow e r, whose sma ll, <lark, purple-fr in ged
bell ha ngs down allll s h ml<l crs over t he icy cleft t hat it lrns cloven,
:is i( partly wondering at its own rece nt gr:we, n,ncl partl y dying of
1·cry fatignr after its html won victor y; we sha ll be, or we oug ht to

234

OOM:PLETE RHETORI C.

Le, moved b.1' a tnt·all y diffe re nt i111p ressio11 n( lovclin csf; fro m t hat.
whid1 we recci rn a11 1011 g t he d carl it:c a nd t he i1ll e clo nd s. The re i;-;
11ow 11 ttcrcd to 11s a vall fo r S? mpat hy, now ollerc<l Lo us :rn imng-1 •
of 111o ra.l p111·po;;e :rnrl achicvc.1u c11i. wlii e h, hnwe 1·e r 111H~ o 11 se ious o r
;.;c 11 sc l1•"" tlw c n•:tLu re m n~r i111ler d lw t.hnt: s11 st•.em:s t.o t'< i.11. l'nn11nt.
li t> lw:i nl wiLhnnt; aflcet io n, nor <:11 11 tr m r latcd witho ut wo rship. liy
:111 .1· o f 11s wl1 ose hear t is ri g h Lly t1111 cl l, or whose H1i11d is elearly n. 11d
"11 re l.v s ig l1 lp1 J.
From tli e foregoing observation s, it must be pJ a i11 t l iat
eer ta in e le m e nts e nte r into the j(n·11 1,r1.t£on o f th e b e aut i-

signs of it, o th e r s into t h e e1 ~joy1J1 en t o f it -

fu l - are

are r e inforce m ents of its effects, whil e t h ey do n ot co n st itut e it s g rou nJ or esse nce. Of the latter c lass is : 1~ f'ol! ia­
t ion, whi c h, t h oug h n ot a prin c ipl e o r ca u se o f lJ e a 11 1y, is
a m ost inip orta nt source of t h e pl eas ures of t aste. Tl1u s
of mu s ic t h e poe t says :
\Vit h easy fon·r it nl'1 •11s :il l 1111 · c-1· 11 "
\V hcre 111e111 1J1".1· "lt> 1il. \\. h1·n •\ 1• r 11· ,. 11:11·" h<'a rd
A ki 11drr1l 111 Plf)1h, 1111' "' 'P li P n ·1•111 ...:.
A nd " ·i1li it. 1111it s 1tl l'1 1"1m•s 1111d if,: J'lli ll ".

A with e r e d lea f 111;-i.y ass is t. us to liH' 0 \"1'rH!!lli 11 tli c happy
h ours t h at h ave 1·:111is li c cl int.o t lit> r• ·a rward <>f Ti111 P. .I l ow
11111 c li a<ld itio 11 a l int e r 0s t. d ocs l' liildl1 oo d d c ri1·e fr u m its
suggest io n s of in11 oce 11 ce, of

l':I

r Pl<'ss gaie ly , of 1111 s u s p e d -

i11 µ: co 1did e n cc, of h e lpl essnes s, of blarni:l c ss and ldissful
ig noran ce !

111 a rnra.l l a nrl sca p l~ -grce11 111 r adm1·s dott e d

w it h s h e<~ p and cattl e , a nd wa,te r ed by purlin g st re arn s,
womllall<l roa d s with figurns of m e n a nd h o rses, w e ll- ti ll e d
li e ld s h o rd e r c cl by tufte d h e d ges, and n eat cottages h a lf
hidd e n

in

trees, see n

und e r hrigl1t s ki es a lld in good

w e at he r, n1t1<.d 1 o f t h e grat ifi cation a fford ed by t h e sce n e
is cl ue to th o pi ct nre of hnrn a n lm ppin ess tlrat th e mind is
assiste d in fonn in µ; - to t h o appeara n ce s of co m fort and
co n t e nt, of t h e industry by w hi1 ~ h t hose bl ess in gs an'
irrsurnd, and o f t h e s inr p li c ity by w hi c h th ey are co n trasted w it h the bustl e of a c ity life; a nd p erhaps om

JESTHETICS OF EXPRESS ION -

THE BEAUTlFUL.

23[)

d e li g ht is e nhan ced by the dre ams in wh ic h w e a re led to
in du lge 'of those primi t iv e o r fabu lo u s tim e s wh e n rn a, n
w as un corr u pted by lu x ury a n d a m b iti o n, a n d of th ose
hum b le r etreats in which we fo ndly irnagi11 e that l ove a n d
philosop h y may find an unp ollu ted asy lum.' For t h e r est,
le t us tra n scr i be a passa,,.e from -M r. A li so n:

"

vVlmt, fo r insLa11 ee, i,.; t he impression we frel from t he sce ne ry of
spring? T he soft nrnl gc n1-. le green with whi ch t he ear t h is sp rea.d,
t·h e freble texture of the plants a. 11 rl Jlow()r c;, tl1 e yo1111 g· o( a. 11i111 als
just en1.Prin g int.o life, aml t he rcrn a i11 s of win ter ycL lin gerin g a.rno 11 gt he woods a. nd hill s - a ll co nspire to i.nfu ;::c into onr 111i11tls so mewha.L
of tlia.L fo nrfol tc ml ern ess wit:li whi <' h infanc.1' is 11 s11:1ll.1· hchcl11.
vViLh such a se nt im ent. how in numerab le a.re t he i1l eas w hi c h prcsc 11 L
th ern sel ves to onr imagi 1rntion ! i1l ens, it is ap pa rent·., by no means
eo nfl.netl to t he scr. ne before 0111· eyes, o r to t he poss ible th•solatio11
whi ch rnay ye t: awnit its i11 fant l w: w t ~r . bnt which a lm ost i11 rn lun.tarilv exte nd thClllS\dvrs to a na log ic;: 1rith t he life o f lll ft ll, ILllll bnng
bt>fo re us a ll those i111 n.p;es o f hope or fcnr, wh i 1 ~ h . according to onr
f)C-f' til iar s iL11 a t.i n11s, have t he d o111 in io11 () r O lli.' Iwarts! - Th e beau Ly
uf a utu mn is aeco111p:rn ir.1l wi l.lt a ;-; i111il:u· exercise of t houg ht.: Th e
leaves begi11 t hen to <lrop fro 111 !h e trees ; the fl owers n.ml shrnlJ;:; ,
wit h whi ch t he fl.e lcl s were ad nrn ed in t he summ er mon t hs, decny .
t he wood s :rn< l groves a rc s il ent: t.IH'! s11n hi mself sec111 s gnu1n:tlly !.u
withclrnw hi s lig ht. 01· t.n IJ1 'f'o 111e e11 frc hl cd in his powe r. \Vho is
t h e n~, who, at; t his seaso n, d ot's 11 0(-. fe() l Iri s mind illlpressr.cl wit.Ir a
~e n t. im c n t of 11 ie la.11c hol y? or ll'h o is :i.ble to re,;;ist t hat-. c urren t of
t lr o11g ht, whi ch, fro lll suc h n. ppc:1r:i.1wr,; o( <lecn.1', ;::o nat11rn.1l y !rads
him to tl1 P snlcn111 i11mp;i11 n.t io11 of !. li nt inc'v ita.l,J p f':i.tP. whi ch is t"
bring 011 alike t lrn rlcca~· o f life, o[ e111 p ire, a111l o[ 11:tt nre itself?

The b eautiful in li te ra.t ure co m p ri ses a ll t h at raises 111
th e mind. an e motion of th e g l adso nr e, p lac id kind , simil a r
to t h at exc ited by th e co 11 te rn p latio 11 of t h e beauti fu l in
nature .

lt app e ars in t h e theme, iu t h e inv e n t ion, in

thought, sentim e nt,
style .

irnage r y,

move m e nt -

matter

and

'This sinµ:ula.r advan ta.ge, writin gs a nd di sco unw

p ossess, that th ey e n co mp ass so large a nd ri c h a fie ld 0 11
all s ide s, and h ave powe r to ex hibi t , in great perfectio11,
not a. sing le set of o bj0 c ts o nly, but a l most the whole of

..
t

236

C O~I

P l, ETE

llHETORfG.

those which give pleasure to taste and imag ination ;
whether tl1at pl easure arise from sublimity, from beauty
in its diITere nt forms, from design and art, from moral
sentim e nt, from nov elty, frorn harmony, from wit, humor,
a nd ridi cul e.' Th e subject of litera ry bea uty has bee n
abundantly illustrated jn th is a nd preceding chapters.
S ha k espeare, Milton, Golds111ith, \tVordsworth, Scott, S he lley, Keats, Irving, Hawthorne, Tennyson, George Eliot,
arul Ruskin, are a notab le f e w of the m an y whose pictures
enrich the g reat art-gall ery of English letters. .Artists o f
the heautifnl are th ey all, lovi ng and d elicate.
'Vh cn beauty is j o in eu wiLh sad11ess or so rrow, we ha\' c
pathos, a word that, deriv ed (rorn the Gree k ;raOdv , pri111arily meant to si~tf'e1·, aml impli e<l vch e 1n e 11 c~ : lrnL has 11nw
_Q,Tow n to m e an that whi(' l1 awn ke ns tC'11d<>r c 111 ot io11s.
c hiefly those of hnma11 c and IH'ar ty sy 111pat l1y . I >i<"l<P11 s"
d escription of the d eath or lit ti!! j\'pl] in ()f,/ ( '11 riu8ify
Shop is a good cxn nrpl c. ( >11ly n•111i11di11g you of J\.1 •11ts'
exq uisite lin es 011 the 111arlil 0 fig-11n ·s of t Ii<> UrPcia11 11rn,
we cite from th0 l'lr•11s111·1's r~( llu111' th e followi11µ ·:
ll:irk. th r wild 111n11inc ~ ill ,!!;~ to d1iclr th f' ga le•
That waft s so sltm· hPr ln,·rr·~ di sfn11t ~a il; . . .
Off \1·Jipn ~«> II 111oon !in s <'li1 11l11•d th!' 111iclni,:..:h1 ;;ky
J\ 11d t.hn lonr srn.-liird wakP~ ii s 1rilcl1•s1 n_r,
Pikcl 011 Lli c st e<' p, her !da zing fngols u11rn
To Jin i 1 t.hr li:i rk t h:i t. 11 r1·p r ea 11 n'f 11 rn:
A 1111 st.ill sl1 r wait·.s, li11 t searer fnrlira rs t·o 11·ppp,
That constan t lo rn can li11gt•1· on th e drl'j.i.

Th e pathetic is commensurate with literature itself, a11d
now h er e is it more strikingly present than in Eccl es ias tes.
the Book of .Toh, an<l the p c11ito11tial Psalms. It was tlie
Hebraic race that tauµ;ht, 'By th e sad!loss of the cou 11tenance the heart is 111nd e better,' anrl 'Better is the
ho use of mourning tha11 th e house of mirth.' No quality
of literature is profounder, holi er, more purifying, more
elevating, more e ncluri ng.

lESTHETICS OF E.X:PltESSION -THE 13EAUT1FUL.

237

When beauty is sought by the disposal of heterogeneous ele me nts in such a m a nn er as to produce, on th e
whole, the effect of beautiful wildn ess- the appearance
of beiug wildly fr ee frou1 rnl es, we hav e the pii;tureS'}lle,
which, as a 11 ack uowJ eclgeLl e le 111 e11t of art, was born in
the contrasts of m eui:.eval ti.111 es, wh e u th e fragments and
ruins of a ncient thiugs we re gradually gro uping themselves toge ther with the ne w a nd still half-savage, into
somet hing like unity.
Gnarled oaks, rnineu towers in
forest depths, old and aba11clo 11 cu mills, with th e fru itless
stream still slipping through the worn wheel, Gothic
cathedrals, t e111pest-won 1, p urhi1.p s overgrown in part with
moss or ivy, may be offered as instances. ln li terature,
illustrat ions may be fou nd, amo ng· other places, in the
feudal romances and in JJfm·1ni on.
The primitive of beallty rn.ea us [JOUd. vVith the Greek,
the p e rfect fair, th e idea l of hurnau asp iration, was the
beautiful and good - ru wAuv ul.ra.Ur).,,. From the clays of
Plato, tlie good, the tru e, and the beautiful, have heen
accepted as the all-compre he nsiv e ideas.
Philosophers
and poets have r egarded them as standing in very close
relationship to one another, differing rather in their mode
of expression and in t he r e latio ns th ey sustain to us, than
rn essence. It is in this spirit ! hat Whitti e r says:
The goocl is always beautiful , t he beautiful b good .

And K eats:
Beauty is lrnth , truth beauty - tl rnt is all
Ye know 011 en.rtli , and all ye neell to know .

Likewise Ake rrnide:
Tr11tlt and good are Oll C,
A nd beauty dwell s in thc 111 , a nll they in her,

\Vit.h like participation.

' lf,' says Cousi n, 'th e tru e, th e good, a11cl the beautiful
appear to be distinct and separate, it is not because they
arc so in fact, but because th ey are given forth [with

UO _\L I:' LETE J UI J ~TU 11.IU.

il~ ::-iTHKl'l U:::l Ul<' K\. PlU~::::>::::> J U .N -THB B E A UTIF UL.

dirJ°<' rl' n t re lat ive p ror11 i11 e 11 ce ] in d iffe re n t o bj ects.'

Y e t,

w hat. e ve r lll ay h e t h e ir u l t in1 at e and r ea l c hara c t er , wh e th e r
o f kin s hip o r of 0 11 e n e::;s, t h e y diffe r iu as p e ct. A li om e l v
111 a.y b e e nd e are d to u ,.; by its l ig ht o f g e ni us, i t~
.'. !.· lo \\· or s y nq mt h y , a nd lo vel in o::;::; o [ h e art, b u t w e s h a ll
l'a< '('

n ot he b ro ug h t t o p ro n o un ce i t, i11 it ::;e lf, b e a u t if ul , t lt o u o h
attrnet; i ,·e. Th e good, a g ai11 , prop o s es a n e nd t o b e

:c-

O nly Lo s piri t c a n ::;p iri t b e in t e lli g ib le .

239

Th e s hinin g o [

ue lost

t li e Et e rn a l - i ts ric lme s s , n o b le n e ss, puri ty, will
upo n trn , wit h o u t a 11 inward a p p e t i t e t h e refor.

T o firnl

t li e b e a u tif ul, w e must c a r ry it w it h u s, e lse a worl d -w id e
~e arc h will n ot d isco ver i t.
T o t h e un k iu d le cl miud t lH !
fa ce of n atur e is Ll ark11 ess, a n d art is voi Ll of c li a rni.

'He,'

~mys J__,ord J e ffe r y , ' w i ll a l way s see t h e m ost l> e aut.y w h ose

G<'1 npl is l1 e d , a nd in vol ve s t lw id e a of lll o ra1 ol> li o·a.t i'o 11

affectio n s a r e wa r m e s t a n d 111 o st e x e r c i::;ed, w h o ::;e im ag i-

add~e:;sed:

11 ati o 11 i s t b e m ost puw e r f ul , aml w h o h as t li e m ost a c c u s -

O n e o f th e m ost r e m a rk a bl e t hin gs in th e w o rl d i s t h e
hun da.nee o f b e a u t y - o f wh at n o t o nly s e r ve s m ate ri a l

g row s g i.ves t l1o u g lr ts Lou d ee p fo r t e a r s .
Se n sib ili ty to t h e b e ant. iful- co 111 p e t e 1J ce to fe el t h e
in vis i b l e i n t h e v is i.b le , is a li b e ra l iz in g a. n cl c i viliz in g

0

,,.I11·1" t I1e b e a u t i ful p rop oses n o e llll , c a rri es 11 0 obli o·at io n '
In it is pure ly f r ee a nd sp o n ta. 1ie o n ::;. Th e t ru e is
n ot to t l1 e se n ::; e s, bu t to t lt e r e aso n.
:1

n ee rl s, b ut fee ds a n d c o 111 fo 1'ts t h e fin e r a 11 Ll ni ce r fa c ul t ie s
o f m a n . Th e co mm o n e st t. li i ug ::; a rc a d o rn ed , n ot w i t h
'> r11 a. 111 0 11 t th at i::; pu t o n , but w it h t hat whi c h o-rows o u t o f
.
ti
t.I1t· 1r s 11bs ta n c e, wh ic h affec t s t h e ir fo r111 a 11cl s hi11 e s t h rouo·h
p \·e ry li11 e a111 e n t.:
~
'l' lll' rl' l'orl! 011 1.· ve1'.v 111 01To1r. nn • w1· wreat hing
1\ fl o m Jr,Y ha 11d lo hin d us Lo ll1 e t·a rt li
S pil t• n l' 1[,.s po111le1 w1•. •Jf l·he inh 11111 :1 11 clenr t h
O f nolill' n:1 t11re.s, o f' Lhc g lon111 y d ;1.v,;,
01' n il Ll1 n 1111hea lth y n11d o'e nl ;1rlw 11ed 1rays
:\l:1 d11 l'nr n11r se:tre hi11g : ye,.; , i11 s pit e o f ::11.
Sn1n e s hnpe of l1ea11 ly 11 10 \'es awny ll w pa ll
Ft·rn 11 11111· dn.r k ,.; piril ,.;. :-;nc h t lw s1111, L11 c 11100 11 ,
'l'n•t•,.; nld a nd .n rnn g, sprn11 I i11 g a sliad ,r l1uo11
1 ~11 1' si111pi P. s ht't' p ; and s1w h nn • d a lfo dil s
\Villi 1111• gT• ·t· n ll'11 rld li 1<'y Ji q • in; a nd 1·l<'n l' rill s
Th :1 I l'or I h1!111 se h ·l'" a ('ll1>li11 g <'11 1' <' 1' 1. 111al\1'
·(i :i in ,.; I. lli1· ho t ,.;t•a,.:nn: 11 11 • 1.11 idf'111 <'s f l1r:il;<'
f{il'i 1 \1·if Ji II "Jll' i11 k li11.!,! 01'· 1'11i l' llll i"k-1'11."P liJ 110111 s ;
.\ llli ,.; ud1 I on i,.: I 111• g r:llld t• 11r of t Ill' d11n111 ,.;
\Vu ha r p i111:1 .::i111 •d l'o r 1111• 111ig hl1· d(•ad ;
A.II lo ve ly t:i le,- I h:i t. ll' l' li :11·t· '1 1·:1;·,J 11 1· l'l':td :
.-\11 e11tii l'""' 1'11 111 ll:ii n ol' i1 11 11 111rf :il dri11I;.
Pouring 11111.n 11 s fron1 1111· li >':1\'t'11 "' l 1 rin k. - fl-,•11/.~ .

to lll e d ltiru s e lf t o att e n d t o t h e o bj ec ts by w hic h h e is
s urro urnle<l. ' T o a W o r d s w o r t. li , t. li e n1 e a n e st t lri11 g t lr aL

p o w e r.

Th e m ore of it, as t h u s d e f-i u e d , is e ve r t h e mo r P

o f t h e tru e .

Tir e h ig h e r a nd mor e v a ri e d i ts c u l ture, th e

mo re i s t h e c ul ture of t h e i n t e ll e ct cl ravv n in a nd co nstraiu e cl.

Its sti m u latin g s u nshi ne r efi u e s , puri fies, a ucl

expand s t he m oral fee lin gs a lso , ju::;t as co m pa ni o n s hip
with th e ug ly, fa l s e , a JJ d vic io u s, corru p t s , st u p e fi es, a nd
d eg rade s t h e m .

T o t h e a c t ion of eve ry ot h e r fac ulty it.

imparts v i v idn ess a n d grace .

H ig hly g ifted w it h it, m e n

h e co rn e c reati ve , u pl>o rn e a n d in sp i red by t ir e id e a l, w hi c h
b urn s as a t ra JJ s fig urin g ll a. 111 e .

vVi t lr o ut i t, s c ie n c e is

c ramped a nd p oo r , r e li g io n i s n a r row, li fe unri p e n e d a nd
fr acti o n a l.
Th e n at u re of man , ind ee d, fro m c hild h ood, a nd fr o m
t h e hum b le st co ndi t ion s, s ee 11 1s, as it w e r e , ever t o c r y
a lo ud fo r s o m e s ig n o r to k en of wh at is bea u tifu l in so m e
of t h e m a n y sp h e r e s of m in d or se u se.

B ut t oo o f t e n t h e

fru ctify in g in stin ct l a n g uis h e s a n d di es, b ecause ove rla id
by t h e ni clrn a c ks a n d ot h e r rubb is h of Vani ty Fair, b e cau s e
o f t h e too h a rd stress of bod il y wa n t , or t h e pre:;s ure o f
e x cess ive bus iness . M e n postp o n e th e ir m a nh ood t ill t h e y
hav e au e state, th e n fi n <l Llr at t h e estate r id es th e m .

Th ey

240

COM PLETE

JUIEToruc.

~at and c~ rink, that tliey may aft erw ard exec ute th e id eal
W oulcl 1t not be bett e1,. ' says .I'•, merson, 'to be<ri11 hi o·li0.r·
11p,- to se rve th e id eal before they eat a nd dr1'11bl( t a -·
th ·I l ·
.
, o se rve
.· c '. c ea lll cat.mg and drinking, in drawiug th e brea th
. e b ac I( to'
,rnd 111 the fu11ct1011s of life?
· · B e·1
' ·nty 1·1111st co 111
th e useful arts, and the di st inction betwee u th e fiJJ e and
the
. . tt e u. I t, 1ustory
·
. . . useful arts. be fo
. rgo
we re truly to ld
if life were nobly
t ·,_
l[
'
. .
spe11 ' l u won ( be no lon ger easy ()r
possibl e t o d1strnguish t he one from the otl . I .
1ei.
n nature
·
.
.
II
'
a J::> useful, a ll is beautiful.'

OI-IAP'TEH

xrv.

1ESTHETICS OF EXPEESSTON-THE SU13LfM E.
'J'h c so ul is 1rnturnlly c lc1•ntcd hy t h e t rn c "nh lim e, and, lifte d up w it h
ex ultation, i s iill erl with tran spor t a nd in wa rd prill e. - L ONG I NU~.

Th e b eautiful h as r e fe r c 11 ce to th e fo rm o f ~11 obj ec t, a nd t h e fac ili ty 11· it ll
w hi ch it i s c ompreh e nd e d. Fo r b c :111 ty, m ag ni t ncl e i ~ a n imp e dim e nt. S nh
Jimit.y, o n th e contrnry, r cq ui1·cs 111nl!1lit11cl c ·:t.R if,.: co nditi o n , a nd t he forml eF ~ i:n ot unfr c q11 c ntl y s ublim e. - S m \\ ' 1r.r.r A~r llA M IJ.TO N.

i\ NY object, thoug ht, or emotion, which co nveys an
f _l_ illlpress ion of surpass ing great ness or power, is
sublime. Th e tempest-tossed ocean, th e roaring and im ..
passable cataract, th e sh out of a multitude, eclipses,
thunder, and abysses, d ept h beyond depth of the sta rry
heave ns, land s swept with hurrica nes, the wid e expan se
of earth, barren wi t h moor or waving with corn and
forest, stand, with other similar scen es, in th e first rank
of material sublimity. U nflinching co urage, t owering
ambition, victory ov e r self, un com mon intrepidity a nd
pe rfect composure in so me critical and hig h situatiou, as
devotion to truth in defiance of popular fury, or th e
deliber at e m easurement of the d eath-doom, are types of
sublimity in the moral world. Of this description a re th e
historic words of Crnsar to the t errified pilot, 'What fear
you? You carry C::esar '; of Hildebrand, who, dying at.
Salerno af:ter a long and bitter struggle, said, 'I ha ve
loved righteousness and hated iniquity, and therefore l
die in e_x ile '; of Luth er on departing for vVorms, ''l'h oug l1
there were as many devils in Worms as tiles on th e housetops, st ill I would ente r' ; of Haleig h, as he fe lt the erl g<'
of: th e axe before b y ing hi s head on th e bloc k, '.Lt is ;i

ClL\lPLET E IUI l~ TOH I C .

.1t:STHETICS OF BXPRESS ION -

~way

t h e w at e r to t h e e xp irin g

sol~ i er,

'T h y

How t he li t la ke s hines, :L phosphoric sea,
A nd t he b ig rni n comes tla uci ng to t he ear t h!
A nd no w again 'tis b lac k, - a 111l n ow, t he glee
Of t he lou d hill s shakes with its mo un tain 111i rt h,
A s if t hey d id rejo ice o'e r a young ea r t hquake's bir t h.

n ecessity is g r eate r th a n min e' ; of G il be r t, go rn g dow n

• t· se·i< ,, 'Nev
e r m i n d ' we a r e as n ear h eave n at sea as
,\,

243

A sharer in t hy fierce a nd fa r delig h t,A portio n of t.lt c te 11q 1t~st a1ul of thee !

s h ar p r e m edy b u t w ill cure a ll di seases ' ; of S i d n ey, as
h e n wtio n ed

THE SlJil LBIE.

J

N e lso 11 , o n t h e eve of battl e, ' E n g l a n d. e xp ec ts eve r y m a n to do hi s ll uty '; of ~a p ol,eo 11 , ' Sold 1 ~_rs,
fro m t h e su mmi ts of: yo n de r PY ram1ds fo r ty ce n t u1 i ~s

It will be un ders t oo d fro m th e se re m arks t h a t t h e lead -

loo k dow n u po n yo u '; o f t h e mar tyre d L<tt i111 e r to l11 s

ing e l eme n ts of t h e s u b l im e, or so u rces o f its accompan y -

c o m pan io n at t h e stake, as t h e li g h te d faggots w ere
rrood comfo r t , Master Hi cll ey , a n d p lay
b ro u g h t , 'Ile of :,,
. , l'
t h e m a n: w e s h a ll t hi s day li g ht such a ca n d le, by Gol s

in g

a.s h ore'; of

UT " Ce in E n o- la n d as

I t r u st s h a ll 11 e ve r h e p u t out.'

'
"'
'
I
Eve r y o n e is co n scious t h at t h e e ffect_ pro d u ce d by t 1"
h t l1i1 ws
pl Pns u r:d il<'.
co n t e mp·1a ·t ·10 11 of suc
.
,..., . i ·s 1wc uli. a r -

b

. <•

in deed b u t a ltooe t h e r o f t h e s e ri o u s lrn1d , 111 a rk <' d PHii
0
'
·
I . I
h y a deg r ee of awf uln ess a n d sole mn ity a l i ts 1<' 1).! 1!: n 11
c iev a t io n a 11 d e xp a 11 s iu 11 of tl1 <' 11 1i 11 <1 111 11<·h nhtl\"<' nnil
beyo n d its o rdina ry state.

Tl11 1s it e li iPf tc•sl of th e

~ uh ·

l ime i s t li at it bani s lt t~s li tt l1• 11ess of th o 1q.~li t and fpi•l11 1J!.
11
·. 1e
(l 0 111 a ·111 o t' tl, ic', 111i .vsi('
·- ··d , 111n st 11l 1j1•1'ls of .s 11h -

I

ti

limi tv i t will he r ea dil y
.J)

Sl'l" ll ,

!"X\' i l1 ~

c 111 o t io 11 s of n
•

•

llllXPll

n at ur e, - l111111ili:1 t io 11 a n d aw<' . ll('r h n p s, o r i~s pinn g- pur ~
p osP, overco ni it1 µ; tlw ti 111 id a nd fe1'.l1 !P, r o 11s 111 µ- t. h c loft)
·
\\' 1"t 11 ..,_,.~c-..,., tl· tl'· Pxtdl
a t1 0 11 o f Jh·ro
11 in a n
a lH l l l a. ri11 g .
·
·
A !pi n e t h11nd e rst o r111 :
Th P ,.; k 1- i,.; c h:i it g<'d ! - :111 rl s1wh :1 1·11:1 II .!.:'•' ! t l N ig hl.
_\rid :-; t ~•l' lll. :tlld rl:irkn ""' · y1' :1n· w11 111lr11 11 ,.; ,:1 r1111 g .
Yi·t. loi t·h i 11 y1111r :-;t rl' 11.gt h . :t' i,.; ti ll' li !!ht
(ir :1 d :i rl~ 1•\'1: i11 11·11111 :111 ! l·':i r :1l<1 11 g·.
f•' r 11 m 111 ·:1;:
~ ·' :11111111''.
,..,
l 1" 1w:1 I·'· 11. H' 1··1• ·11· 1·1 11 ."~ (' l"I• ."
·
·
..
..
ti
.
li
lliun1
l1
•r!
!'
<
111
fm111
<Hl l' 10111• tdn wl.
1
1
I J l .o \.)1 :-, , I(
Bui. t'l't'l'I. 1111 11rii1:1i1 1 11 011' h:i.t h 1'11 u11rl a lttng· 111'.
,\ 11 tl .fur:;, ,111 ,.;11·p r,.; . Lhr111 1.g h l1 L' I' 111i,.;t.1· shr1111il .
B:wk t o Lit e :j oyo us J\ lps. wl1 0 1·1111 t.o lt er alo ud. !
0

, \ nil t hi s is in I.h e n ight-. : - i\lu,.;t. g lori ous ni g-lil!
T ho n wcrt 110t sen t fo r sl11 111 her ! kt me IJe

emoti on, a r e, exte rn a ll y,

th e

vast a n d

illi mitab le,

dark n ess, obsc urity, a nd s il ence, whic h las t t hree ideas
affec t powerfull y t h e im ag in at io n , as is full y exe m p lifi e d

Rime of the Ancient llfi.xriner, partic ul a rl y

in Co ler id ge's
111

t h ese lin e:":
Still as a slave lJef'or(.) hi s lonl ,
'l' hc ocetL ll lmLh 11 0 b last;
H is great brig ht eye m ost sile 11 t.ly
Up to t he moon is cast .

A lso in Ca m pbell's L ast ] lfcm:
rna r t h's cities lm1l Il l) i'U ll ntl nor Lrea d ,
A nd ;;hips were d rifti11 g w it l1 t he d ead
T o s l10res where a ll was uu m b.
A n d in thi s n oble passage of .T ob:
rn t houg hts from t he visio ns o[ t he nig h t., when d eep slee p
[all eth 11po11 men, fea r cam e u po n me, a.IJ(l trem blin g, wh ich rnaclf'
a ll my bo nes to shake. Then a s pi rit passed before my fa ce, t he
ha ir of 1n y flesh st oull up : it stood ::;till ; b ut I co uhl n ot d iscern t he
fo n11 t herenf; a n i 111ag-e was befo re rn i11c eyes ; t here wa s silence;
a rnl I h eard a voice - 1 ti ha ll mo rtal 11irw be more j ust t han Gml ? '

If to t h e s e e le m e n ts of s u b li m i ty we add sp iri tua l
h e rois m , s e lf -sac rifi ce, P r o m e t h e a n e n durance , ma r ty r-li ke
co n sta n cy - i n brie f, t h e m ore forcefu l aud ma ss i ve p h en ome n a of t h e moral world ,-

we s h a ll pe r ce ive th e t ru t h of

t h e state 111 e n t t h at s u b limi ty is 0 1dy a 11ot h e r word fo r t h e
effect of great ness v irtue, b e a u ty .

g r eatne ss of m att er, space, po w e r ,

W hi c h of t h e m do e s n ot e n ter i n to E m er-

son's p i ctu r e sq u e -s u b lime co n ceptiou of t h e Process io n of

CO~JPLETE

RHETORIC.

.Jl~S THB'.I'CC S

fe, 'the etern a l picture whi ch nat11re paints in the stree ts
·1 h movin g 11\ e ll and c hildre n, b eggars and fin e ladies,
a ped in r eel and gree n and b lue a nd g ray; lo ng-haire d,
i1.zlecl, white-fa.eccl , wri11kl cd, giant, dwarf, ex panded,
'is li ,-cappecl ancl based by li eave 11, ea rth, and sea.'
Tli e foundation of the sublime iu literature is in tlrn
•>ug bt, the subj ec t or object of which must be such as,
itself, is able, with sovereign power, to fill, expa11d, and
•ve tli e soul. Th e Bibl e abounds in high est instan ces,
pec iall y wh ere, as i11 the following passage, the Almighty
d <~ sc ri he d:
He stood , and m e n.~11 red the ea,rl;l1:
H e hehel<l, a111l drove asnndcr Uie nations;
Th e e1·c rl ast.i11 g hill s were Sl·.al.tP1·cd.
Th e perpetual hill ::; <lid bow.
Th e rn o11ntai11 fl saw thee, allll Lliev Lremhl e<l ;
Th e nn•rf1011·i11g ul' I.lie w:dt'r:< J1<1-:<:<t'd liy;
Th e d eep n1t ercd Iii ::; rnicc, and li[l.ed 11p hi" hand s n11

•e firs t, seco nd, and third books o r J->11radisr~ l: osl an' n
.; f·a, in ed fli g ht iuto the rogions oi' tll<' s11hli11w. Talu',
,- e xample, th e d esc ription o [ ~ata11 a s li e app ears al 1lw
:1d of the vanquishc<l infe rnal l1os ts :

1<· 11 tltis spectacle o f n siq>nior 11a1urc• cn~ c ting itself

:: i11st distress, a1111il1ilati11g liy its o wn lire tlta.t of th<'
II into whi c h it i::; plung ed :

Sll BLL~L E.

245

Is this the regio11. t his t.ltr so il. the climr.
Sa.id th en the lost arch:rn gL.J , t li is the sea l.
That we must cha nge for heav'n, this rnonrnfnl glooiu
F or t hat celestial lig ht. Y Be it so, sin ce lie
vVho n ow is SoVl'an Cft ll t1 is pose fl. 11(1 bill
Wh a t slmll ue right: f:i.rLlie s1. f:m111 him i;; best.
\Vhom reason hat l1 cqnall'd , force .hat h rnmle supreme
Abo1re hi s eqna.J s. Farewe ll hnppy field s,
Wh ere joy forever dwells ! Dail horrors, ha il
lnfcrna l world! a.nrl t.lw11 profo11ml cst. Tiell
Rneei ve 1.lt y new possessor ; one who hri 11 _gs
A mind not to be clta np;ccl l>y pl:we or 1i111 c.

hi ~ h.

I Ie, aho r e t.h1' n 'st,
In slmp<' and ges1.11rP pn>111ll .r 1·111i111 •11t,
Kf .opd likt ' a 1.m1·L,r: his forrn ltnd 11111 .r..t [,,;.: I
J\ II lt1·r origi11:1l hri _
gl11.J1l':<:<, nor :q•1 •t•:1r'd
[,1•,;,; 111a11 :1.1·<·l1:1ngt·l r11i11"d: :111d 11 11' !':\•'•'"'"
or _gl11ry ol 1s1 ·11r'd: :I ." wl11 ·11 1111' :< 1111 li t' \\' ri "• 'll,
l,CJoks 111r1111 _!.!·l1 tlw h11ri zt 11tl:1l 111i -tr nir.
:-;1111r11 11f Iii ,; l11•:1111 s; or. fr11111 l11 •lii11d 1111' IJl fH) ll,
I 11 din1 1•1·lip..;t•. di,;as1 r1111 ,; I wili g lil ,; llt'd..;
011l1alf1h•· 11:11io11 s, 1111d willi 1"t•:1r of ('h1111g1•
1'1 ,rpll'x< '" 1111111:1 n ·l1,;. I >:1 rkt ·n 'd ..;o, y1 ·1 sl1,,11e
,\ !in\' n t.l 1('111 :t 11 111 · :t '". .Ii :111 _g1• I_

OF EXPRESS ION-TI-IE

I

It will be seen that in th e abov e d escripti o ns there is
nothing· trivia.I t o degrade the wh ole ; no unn ecessary
words to relax tl1e tensi o n of th e miu cl ; 11 0 inco ngruity
between swelliug diction and a co mm onpla. ce subj ect.
Abstract :w<l geueral terms arc avoicleil; tl1e most striking c irc11rn sta nces are selectell; a 11cl capital illlages a.re
brought close toge th er, each worthy of that whi ch it
illustrates or supports; in short, th ere is grnndeur of
mann er couspiriug with grandeur of substance.
These
qualiti es are furth er exemplified when Satan, surprised in
the garden of Eden, is preparing to battle with th e angel
sentinels:
Th' angelic srpin.llron bright
Turn ell fier y red , slrnrpcning in m oon ed hor ns
'l'o hem him round,
On the oth er sille, Sa.tnn, a larrn et:l,
Collecting all his mi g ht, clilated stootl,
Jjike T e neri!-Ie or A tlas, nnrc111o ved;
11 if> stature re:-i.chf'1l th e sky, a.llll on hi s c rest
Sat H orror plnrne<l.

And again wh e n he
Abdiel:

lS

stricken down by the sword of

'l'en paf'.cs lrngc
He h ack recoil'd; tl1 n 1c11t!1 on bencletl knee ,
His ma.ssy spear npstay 'il; as if n il earth
'Vincls nncler ground , or waters forci ng way,

COMPL l •:TI~

l tf:l.E'J'\JH.I U.

Sid elong h:ul pn she(l a monn t.ai11 from its seat,
Il:i.I[ s ullk with a ll its pine,.:.
.~ sse 11ti a l s of image ry and sty le are co mbin e d with
i11e11t effect i11 this passage fro m Oss ian:

\bla st l':t lll f1 frolll t-.lrn m onnt.ain: 011 if.s wi ngs was t.he sp il'i t uf
Il l\ e:w1 r lo lii s pi n.er in hi s 1.rt'l'Ol'S, nnt1 shoo k his llu sky
' '" IL is c ~1 cs :i.ppr n.r Ii ke flam es in h j,.: (lark [ace : his vo ice is Ii ke
11111. lh111 nlcl'. Fillp;:tl advnneetl h is sprn l' ill nig ht, a.ntl rni sed
1· oi('1• O il hig h. ' ~Oil o[ ni µ; Ji t . l'ef.il'e : (':di t hy Winds, :t,lll[ ny !
.1- dosL t hou co1l1 r l.o lll ,Y prese nce wit.It f. hy s!i:111ow,r a.n ns? I >o I
I lt.1· glno lll ,Y for1n , " pirit~ o f (1i sma l Lod a.? ·vveak is Lh,r shiP ld nl'
11 1" : f'pnitl n is lh aL 111 nt.rn l' U1 y s wnn1! 'l'li ('. lilast ro lb 1-hr 1n
·f li f' r : and Lh ou 1li pi •I[ art. lu"t. Fly fro1n n1.1· prnse11el', ,.:o il of'
lit.! e:i.11 f.hy ll' ill11 s a n1LHy ! '
In.

'1c 11 L ear is tu rn e d out of d oors by his daughte rs, m t 111·
·I ni g h t, t he sto rm in his breas t: llHtrri es itse ll' \\'ill1 a
1s t ly j oy to t he storm of t h e e le rn e nts, wl1i cli ~<·<· 111 s
11 1etl i11 t. he r.ra.s l1i11 g sp le mlor o f t he verse :
Blow, wi nd s. a lld c rac k you r 0.hrnks! H:i g·P. lilo w!
\' rn 1 nnJa r:1,(•.1.,.; a1ul h11rr i1•:1.11 0!'.s, s1101 1t-.
Till .1·011 h:i.1·p drl·ncltecl 011r st.cr pl f•s, drnwtH'd t. hr· ('Ol'ks!
\'011 s1tlph11rous ancl Lho11g hl'.-exPc 11 t.i 11g 1ires,
V:11111t.-i;n11rie rs lo oak-cil'n,1·i11g· I h1111 d!'ruolts.
Si11 gn 111 y white hen.<l ! 1\ nil f.11 011. nll- shnki ng t l11111d t•r,
S111il c· tin t 1.11<' t.hick roh 111di f.y n· th r worl1l!
Cr:wk 11 nl 11rc··s 111 011l11s. :i ll ge n11 p11 ,.: ;. pill nt. otll'<'.
'l'hnt. make ingrnl cf11l 111:rn !

1ot li n r li11 P cxn.rnpl c of Lit e dr:u nat i( : subli11H' ts that.
1·st. ol' passion - sulililll c gril'I' i11fla111 cd int o rage · i(~ h S li akcs p cnrc ma.k cs o lrl Nmt h11111b c rla11d utte r wh e 11
l1 ca.rs of hi s son P e rcy ' s clc•atli:
Now hin'L 111.r lirnw;;; with iron, 1111d 111'!11'nlll'h
Th1' rn ggl'1kst hour th:il t.i111<' :i lld f:111• t•:1 11 bring
To frow 11 11po11 r 11rn g1'<l Nori h111 11 IH•r l:111d .
LcL he:i.rnn ki ss P:trf h! No 11· ll' t. nnt. 11al 11 rc's lmucl
KP<'Jl thr wi11 <' fl oods ('.O tdi11 Pd: 11·1 ordr r (lie!
A ntl let t he world no longer Le a slnge,

:EN'l ' ll

l~ TL CS

UF

li:X l'J U ~SS I ON"

-

THE SU BLL\lE.

247

'l'o l'P<, d eonte ntion in n, lin gering :il'i :
But leL one sp iri t of t.l1e fi rst-bon1 Caill
Reig 11 in a l.I bosoms; anll a ll hearts being set
On b lood y courses, t he rud e ::;cc ne 111ay encl,
And flarlrn ess be I.he hn ri er of t he dead !

Th e mi.nd ca nn ot be k e pt foreve r o u t he he ig hts. No
write r has suffic ie n t force of ge niu s to be uni11t e rrnpteclly
sub lilll e . Not a ll a re e ve n occasio11a ll y so . S ublimity is
t he lire of im:tg in a.tio 11 , b rea king fort h 111 o re freque ntly,
aud w ith greater lustre, i11 so m e t. ha n i11 at. he rs. Of mode rn f i~ 11 g li s h aut ho rs it 111 a.y be said t hat no poet sin ce
Milton affords so m any passages of th e ki11d as the im p e tu o us and ve he m e n t Byron.
0 11 the other hand, Leanty, beca nse less intense, is
prolonged a nd may be perpetua l.
Age ca lln nt withe r he r. ll nr e11,-lo 111 sta le
Iler i11li11 il.t> va rint..v.

sa.ys S hakes p eare, a. 11<1 t he sa 111 e Lrut h 1s liu e ly exp ressed
by l\: e ats:
A thi11g o( bea1 1f.y i,.: :.L joy forever:
'lb loveli1wss i11 t.:rcases; iL wi ll 11 rn~ 1 ·
Pass i11 tn 11 oth ill g ness, 111!1; sL ill 1ri ll i<Pq>
.A howcr C[Ui et [o r l1s, n1111 a sleep
F111l of sweet (l ren.ms. n.11 11 h ealt h a nd qui et bren.t hing.

Th e differe nce is we ll described and illustrated in T e nnyso n's ode to M il to n:
0 mig hty-111 011 t hetl in ve n tor of ha rn1onies.
0 ski lled 1-0 s ill g nf Tim e or Eternity,

Gor1-gifted orp;n11 -vo ice of England.
1Hilt;on, a 11: u11e to r esonnrl fo r ages :
\ Vhof<e T itan a 11 g'l' ls, G-n.bri el, Abdie l,
Starr'd fro m J eho1·ah 's gorgeo ns an nori cs,
Tower, as t he dee p-tonel1 em pyren n
Ri ngs to t h e roar of n.n angel onset Me rath er all t.lin.f; howrry Jove l i11 es$,
Th e brooks of l~ ll e 11 n1:1.11ily 111un1111ri11g .

ICO:i\IPLETE RHETORIC.

A11c1 11l no m profu "c ;111d f· ('d a r a rch es
Chan11 , as a wamlPre1· oHt i11 <l('ea11,
\Vl1 rrc sc1111 e re l'11 lgc11 t s111isct of India
Strra111 s o'f'I' a ri ch arnbros in.I ocean isle,
A 11d eri111;:;011-h11ecl Lh r sfat <' ly pn.lm-woo<ls
-W hi sper in o<loro11" hcig lil;; of even.

Th e high est a'st li etic effeet is proLlucecl by the co n1111 cti on of th e s11blim e and bea11tiful, as in -, N est minster
\ bb ey, the cath ed ra l of S t. P e ter, tlie !•'alls of N iagara.
l.ilton never fo rgets this p rin cipl e of art. So- bea uty
ernp eri11 g sublimity, sublimi ty elevating beauty- P a 11de' 10 11H1111 nses
-Like an cx nlf.at io n, wif-. li 1-.hc so und
Of <llllc<·t sy 111ph o11i p,; a11cl \'o ic:es sweet.,
l311ilt like a fc111ple whf'rc piln sfers rouml
\V r rc sr f-,, a nd Unric pill a rs. ove rlaid
\Vif-. h go l<l c11 a r r hi frn.,·c: 11nr dicl f.h ern wa nt
Cornier, or fri eze, wiLh uussy sculptures g mvrm ;
The roof was fretted gold.

OI-IAPTEH X V.
.!ESTHETICS OF EXPH.ESSION -THE
RIDICU LOU S.
IJ11mor i s wit 11 11d l o1·e.-T11 Ar KEBAY.

En· 1-_y r cse ml>Ja11ce of id eas i' 11 ot th a t. whi c h w e call wit, unl ef<s it lie l• u c h
a o ne that g iv es deli g ht a nd snrpri se to th e r rarler . Th e'e two prop erti es see m
es~e nti a l to wit, more partic 11la rl y the last. - Annr s oN .

fT is de.rived fro~1 th e Saxon witan, modern G-erma.11 wissen, win ch means 'to know.' Its first
application, ther efo re, was to th e intell ect. A witty was
form e rly a wi se 111a11, a man of quick apprehension, of
vigorous intellectual powe rs. As late as th e r eign of
Elizabeth, a man of great wit siguified a man of great
judgment. To this day, we say of a p e rson, if he is selfp ossessed and rational, that he is in his wits; if oth erwise,
that he is out of his wits. It is in this general sense of
quick wisdom that Pope obse rve s:

W

Trne wit is nature to :ul vantage drest,
What oft was thought, l>ut ne'e r so well expros!':ed.

Lord Hussell ' s defi.uiti on of a proverb, 'Tli e wisdom of
many ancl th e wit of one,' would thus form a wi tticism;
like wise Coleridge's comparison of a sing le th oug ht to a
wave of the sea, which takes its shape from the waves
which precede and follow it; and of experience to the
stern-lights of a ship, which illumine only the track it
has p assed.
But wit, as currently und e rstood, is a dive rting or mirthrnaki11g power - the power of so associating obj ects not
u sually conn ect ed as to produce a pleasant surprise. Its
essfl utial element consists m the accidental, awkward,

250

U O~lPLETJ<;

H.HF.TOltl(),

MSTHETICS OF EXPRESSIO N -TH E lUIJfUULOUS.

or int e n tional rrron 1)inu.· or bri11giug to no·e- t h e r ' in a surld e 11
a11cl unexp ec t e d ma1111 e r, of obj ects or id eas t hat are i11
t h e ir na ture in uo ngru o u s. Most of th e wit that w e ca ll
Lri s h is t h e r es ult. of acc ident-a b lund e r, a bull. A
g e 11 t le 11 rn.11 iu a coffee-house writiug a le tte r , and p or ce i\' in g n.11 Tri s h man b e hind hi111 , eo11 c lu decl: 'l wo uld say
111 n r e , but a t.a ll fri s h111 a n is re ncli11g m ·e r Ill .)' s hou ld e r
P\·e ry word I write .' 'You li L·! yo n sco u11dr e l, ' sa id tlw
sP I f-co 11,·iC'.t.e d Hili e rni a 11 .
......

..1

\ !\T h e r e th e juxtapos iti o n i s des ipn ecl, as in what is 111 o n ·
prop e rl y d n110111i11 ate d wit, th e i11 eo 11grn it.i cs are of rnri o 11 s
typ <"s. Th e rl e ba.se m e n t of t h e c le rn.t 0rl and µ:ra \'P liy
111 e a11 s of fi g u res and phras<'s that ar<' 111 0a 11 11 11d co11 ·
temptib le , takes th e Ila.Ill e o f' f1lf.ri<>s111w :
'I Ion\ Lo h P:i.r I.li e l li1111d r r h11r,.;I,

(fer woodl:1.11d. 1il:1i11. :1 11d hill; Li kf' l li r\ loud 1101 i' of II ll J! l'.I' ~ willf'.

Pl'I il in nin g fnr ,.; ll'ill. ·

BuLl e r's _ffi1di l n·1r s :dl'1 >rds 1111.111 Pro11 Pl ill11 i-; l rntio11

:-;, •••

a lso Ce n·:1nt cs' t!Psnipliq11 1>f tlH' l111td 1! 1>1 lw 1•11 1>011
<,Jnix.o t0 n11rl t IH · wi11d -111ill s, 11 h11r!Ps1p11• 011 t 111• 1rn1• i1 •111
t l)L1r11n111 <' 11t s. T o thi s di\·is in11 lil' )o11g- <'<>lll)>Os it ions i11
wliicl1 a Jll'e \·aili11 g- s1•r in11s l <>llf' is llll f'X )H' <' l«dly 1•li1111 g-1•d
at t.h f' e losp, as i11 (; o ld s 111itli's / -,'/1'!1.'I 011 .l/o./11n1 / l/11i;:1•;
:-;l1 r :-:1r111·1' 1111' 11 1•k lil•nrh1111d l o pl l'n"<•
\\· i1 Ii

111 11111 11' 1'"' w1111dr1111 " wi1111i11 i.,::

~Ill' 11 1' \ ' 1'1'

r11lll)\\'I '" ll'i1 •1\ 1•d

\\'/l .\' "' , -

{ '11 / f'SS 11·hr•11 s/11• 11·11 .~ .~ i1111i 11y .

Uf' similar nat11n' is l 111' J)flJ"l)(ly. a !'n111pos itin11 of li k1'
so 1111rl lo a.1101-.h nr, hut of l11dino11s ly difTPl'l'llf 111 Pn 11i11 g-.
A wri te r, for oxa 111pl e, Pn11111Nating- tlif' 111isPri Ps of !i f<'.
s a.ys t li nt., as IH' c li111li Prl into a l>Ntli 111 a rin' r st0a 111 -lioat,
I l.lio11 g· h1., as I hn ll nwr1 l rnr 11 111To11· hr1 l.
J\ 1ul p1111 (' hrod 11p 111 y ll H':l!!l'l' pill ow.
I low Ll11 • fop a.11d 111 <' ,: I r:lll .!!• 'I' ~ lin11ld 1rt>:i d n'1 •r 1111· h "11d.
J\ s r ,: pp.J n11 Ill." w: 1.1· ,,.,.,. t '' " l1i ll1 111·.

251

Whi c h is ev id e ntl y a parody on a. sta.11za in that beautiful
poe m that co 1111r1 e m o rates th e buria l o( S ir Jolin Moore.
Th e co nv e r se of t h e burl esque is t.li e mock-herofr,
which a ggra n d izes t h e in s ig 11ifica.11 t.
Lu this kind o f
pl easa n try th e wr it in gs o( P o p e abou nd. L o rd Petre
ha vin g c ut a lock o l' h a. ir frn111 t h e head o f n fashionabl e
be a u ty, a n d a gu :uro l e 11 s 11i11 g, Pope , t hinkin g to la ug h
th e estra n ged lo \•e r s in to r eco11 c ilia.tio n, writf' s a n e pi c 1'/i e R1tpe of the L ock. l11 vo cat io n s , apostroph es, co lll1cils, fat.a l catast roph es, fearf 11l co 111ba.ts b e tw ee n b eaux
and b e ll es, sp irit s of th e air- sy lphs, g n o m es, 11 y111p h s,
nnd salama nd e rs-form t h e p on t ic 111 ec lla.nisrn a nd act. io n .
Th e loft in ess o f stvl e co 11 trnsts wi t h tlw fri\·o lous n ature
o f t l1 e (Wf' n ts. Tl~ e hi sto ry o l' a trifl e is g ive n with the
p o mp of h e raldry , a nd th e m e a n est t hin gs are set off
with stately phra.se a ncl profus e o rn am e n t . A gam e at
cards is a, millli c ..\iVa.t e d oo, wlwse hosts a.re 1n a rs h a. lle cl by
t h e king a nd qu ee 11 of h e a rts:
Behold fo ur kin g-,:. in 111 aj cst~· re1'rred.
\Vi t h hnarv wlti"'ke r::: a 1Hl a fo rk 1· Lea rd:
A nu fo nr ·fn.ir q11 ce11 ::: wh o::<r li a n;ls suf<tni n a ll ow' 1"
Th ' CX[ll'Cf<,, ive r 111l>le:11
th r ir so ft r r }'O\\' E' I':
:B'our knn. vcf< in p;nrl> s1i ec i11 c l., a l r11 sty li:rn1l;
Cap" on t h eir hcatls, nnd ha!Lcnls in th eir lrnml ;
A nd part.i colorr.11 t.m ops, a shinin g t ra in ,
Drn.wn fo rth to cn mlin.t o n t.h r. vehct plain.

or

Th e o f t-quoted passage in wlii c h t h e h e roin e's ra.ge is told,
is a good example of th e ludi c rous junction of small things
with great :
'l'h cn fl ashed th e Ji vin g lig htnin g fro m her eyes.
A rnl Re rcn n1 s of hor ror rcn t t h ' a!Ir ig h tell ,:ki es.
Not lo ud er shri e ks Lo pi tyin g H en.v'n a re cas l.,
Wh e n l111Rlmn1ls or whrn la.p1l ogs brnath c t heir last.

Wit, a s n o w und e rstooll , is o fte n eJ> i fJ ra11 11nt1 ti1:, c hi e fl y
(

' {'

!I ( ) (

,;_ A t> 1 , ~·· 1

1l1 1ll

~) ~

('• Ji (I

252

CO~lPLETE

R.HF:TOIUC.

fri e nd to Tall eyra nd. 'y As, ' h e replied, 'especially when
they amuse t h e m se lv es.'
Said Uelia to a rc\-e rend <lean,
'What i:en."on crm Le o·iven
s·mce
.., ,
marriage is a holy thi ng,
That. ti 1e.v ham 11011 e in heaven ?,
'Tl
.. iey Irn.ve, ' says he, ' no wom en th ere.'
She <] 11 iek ret.11 rn s t.li e jest
' \ii\T0111011 Lli err. arn. b11t. 1'111 nfraid
'
'l'l1ny ca1111ol. li11d a pri esL. ' -Swij't.

' iV, ittv
, · . 10
· 11, as abov e, is
· usually styl ed
,'' r e' tort i11 co nv c1s.i.t
1 ep m te1
,.
How lia1)J))'
. .
. I a111 to be seated l> e t w.e0 11 a \v1t
.

an_cl a u e auty,' said a fop to .Ma.dame de S tae l. ' \ ' cs' n"·
pli ell sli e, 'and without j)QSsess i11 ""0· e1't l1 e, r'
.
.f e 1·r o 11'
< was
famous for his brilliancy aml readi11ess. At a. t:Prtai11
s.uppe r of sh ee ps' li e ac j s, agues t was so elin n110d wit Ii hi s
fareT that h e. throw dow11 hi s' knife '·111cl
f'o1 ·I·' • <'X<'
· Ia1111111
· · g'
'\~ell, say I, s h eeps' h e ads fo r eve r! ' 'Tl1Pn.'s <'g-ot il'lm :
said .Je rrold.
·
'
Oth e r spec ies of witticism are the rnrit>ti <' s of pla\· llJ>Oll
~vords , .double ente11d1·es, o r doubl e 111 ca 11i11 .!.!'S, i 11 ~ 1udi 11 ~
iro ny, 11mue nclo, sar eas rn , co n111Hlr11rns, nnd puns. Tlii •
last, though l e.ast m erito ri ous, :trn 111 ost fn:, 111011 1, !-'pt•i·i m e rn; of the l11gh e r orcler a.re:
IL is death, which li:ipJH' ll l'd in hi s lit• rt Ji,
J\ t. fort _y odd h<'fl'll;

Th c_v Wl'llL a nd tol d !ht' ~Px t o11 . 1111d
Th e se xton Loll'd the hPll .- Jlo11d.

Mn._ :-»_r1i,11r,1:-;,-Yn11 :trl' a 1111 ·111lil' l' of l'11rlin1 11 r 11f. 11 nd 011 " 11 r
y 1111

f-. Jie lllH.J Or1t._r wliil.!11 hn s d1111111 1'd 111_\· t'<>llllt l'.\' to di ·-.;t rn et ion
ha\·c br,!.!'1111 l.o h11r11 011r town~ :111d u111rdi ·r Olli' JH'o iilr
I I

yo11r lia1ub! Tl1 rr :ll'C' st:iilll'd with tlir 111 l r . . Jl)ll ( '.IJHlll
y
_
·
.
not " ~ 011r rr lat w11s !
011 arnl I wrrn long fn c nd-.;. Yon arr now Ill.)' <• n r m~-, nnd I 11 111
Vimr.~.
B. F'rtAi\'Kl.lN.
\Vitti c.isms not cris t'-11w t.IY C Iy P- 111 I >raced in the prece di11i.!·
e11umerat10n may b e d esc rilwrl as surpr is in p; t.!i 0 rnincl 1»,-

_;E STHETICS OF EXPH,ESSLO.N -THE RlDlCULOUS.

~53

th e qu ee rn ess or singularity of tli e imagery th ey employ.
Wh e n C urrnn fo ught hi s du e l wit Ii .Judge Egan, the latte r,
who w a s a big· man, direct e cl t h e atte ntion of the s econd
to th e advantage which, in this respec t, his adversary had
ove r him: 'I-:Ie may hit m e as e asily as h e would a haystack, and I might as w e ll b e aiming at the edge of a knife
as at his le an ca rcass.' 'We ll,' said Curran, 'let th e ge ntlema.n c halk t h e size of my body 011 your sidP, and lc L
ev e ry ball l1it ti 11g o uLsi<l e of that go for 11 ot hi11g.'
Speakin g· of havin g been sha111pooe d at M:ahommecl's
Baths at Brighton, Sidne y Smith said, 'Th ey squeeze d
e noug h o ut of me to mak e a l ea n curate.' To the Bishop
of N e w 7'calancl, ;just b e fore his d e parture for that cannibal dio cese, h e s a ifl: 'A bi s hop s h o uld b e g ive n to hospitality , and n e ver b e without a smoked little boy in th e
bacon-rac k and <t col rl rni ss io nary o n th e siclcboarcl.'
A witti cis m 's pros p e ri ty-S lia.k e sp care to the co utrary ofte n li es 1iot only 'i11 th e tongue of hirn who mak e s it,'
but in hi s nrnnn e r of sp e aking it, and in the occasion
which brings it fort h. Nove lty, too, is an essent ial ingredi e nt. Th e refore it will se lfl o m h e ar tra.11splautatio11,
anrl suffe rs by repet iti o n. Nothing, it has b ee n writte11,
is so drea ry as a j e st-book. Th e c h oicer win es los e th e ir
fla vor by e xposure.
But th e drnariue ss of p e rp e tual and sustained wit is
fulJ(la.rn e ntal. To b e i11 cessa. ntly surprise d is to be soon
w earied, and finally rli sg ust e ll. 1-Iuclibras is saved from
t e diousness by b e in g re ad i11 small quantities. 'Wit is
th e god of m o rn e nts,' says Bruyere. Butle r appare utiy
so co n ceives its limit.atio ns, in th es e lin e s:
\Ve g rant although he hatl 11111 eh wit,
1l <o wn.s very ,.;l1y or 11 si11g it.,
As IJC i11 g loLh Le> 11·ea r it 01tL;
:\.11Ll t herefore bC1ro iL not a l11 Jnt,,
lTn l c~s,; P ll hol icla.ys, or ,:n,
; \ >< men t·.heir IJet>t rq1pnrel d11

254

UO.\lJ>L l~ 'f' J•; H II

!~TO

hJ C.

.1"F.ST HB'f'T OS OF BX PRl;;oS.LO .N -

In c;o 111111 >s iti o n a nd i11 co n1•ersa ti o 11, wit s h o ulcl b e b u t an
occa.s io11al a cco111pa ni111 e n t.
in t e rrupt tl1 e 1ra i11 of

As to th e first, t o div e r t and

tl10ug l1 t too mn c l1 is to l os e t h e

i nterest a.ncl atte nti o n tl11 e to tl1 e ea nlin a l point.

As fo r

f"11 e s eeo 11d , wit s h o uld h e L li c~ s e asoning, n ot t h e f ood .
rTs 11all y n o ne ! an) so fe arnd a11cl l1 atcd a s l 1ab it u a l wi ts
.

and t h e r e are n o g r e at e r bores t h;w p e rs iste n t pun ste rs.
"\V hil e 111irtli n1 ay

'

be s ec u red at th e cost of co n v ict io 11

indul ge n ce incre as e s d c 1J1 a 11d, a ncl tli c

flat;b~red

w it

w h~

c on sta n t ly e xhibit s l1i s p o w e r is li a bl e to d e""e JJ e rat e into a.
hulioon.

Corwi n w as fea. r f1il t h at h e

b c rnd 011l y a s a e low11.

wo1~ltl

l1 n r e ni e ni-

As a habi t, i ndee d, wit is n eees -

sa ril y inimi cal to t lt e u o bl e r fa c ulties.

Th e t end e 11 cy to

111ark a.1H.1 t r m1s11re trivial co u11 ec tio11s in thin gs diverse
a ncl remot e ca nn ot beco 111 e prod o 111iwwt without d et rin ie nt
to th e hi g h e r, r e fl ect i ve p ower, whi c h, n e g l ectin g r e l a tions
thn t a r e clistallt and fa n c iful , a dh eres t o wh at are substa nt ial a nd p c n111.u1 e 11 t .

'M e 1n o ry a nd w it,' says Lo rd Ka in es

' arc o f te n co nJ.Oll. ied: so lid judgm e n t seld o 111 with e i t h e r. ''
This print:ipl e , whi c h do cs .n ot d e n y t hat th e cu l t iv ate d

and g r t> at m ay b e witty , probab ly sugge sts I-laz li tt's o h se r1·at io 11: '\Vit is t l1 e r a r est qu a lity to b e rne t with a m o n gp e opl e ot e du cat iu 11, and t l1 e 111ost co mu 1011 a m o ng t h·~
nn e du cated. '

A p e ril o u s ]>ossess io n, hil t st ill a pre c io u s o n e , wh t~ t h e r
w e co n s id e r it as an instru111 e 11 t of co rrection and r eforni ,
a.n aid to di sco u rse , o r a m e ans of r e laxat ion a nd u li ee r.

Says ~ id1H ·_r S 111ith, l1i111 s0 lf 0 11 e uf t h e k ee n est of wits:
I li :trl' f:ilk <·1l " r the \ il a 11gn o r wi t.. I <lo not rn ca ll hy t hat fn
P11 k r i11fo 1·n1111111111pl:J(·1· il1 ·c la111 :il ion agai ns t facu lti es hcc:.Luse f li l'I"
;~, re cla11 gc r1111 :-; : 11:i t. i_" d:111 .g1.•rn 11.o, c lor1u cn cc is <l a11 gcro 11 s, a tnlc!ll.I
for olJ;:;crvaf 1011 1;; d nngPro 11 ~, 1·YPJ",v f.'1i11 g is tlnn g·e ron::; t hat Jin :-;
l' fTi ea1·_v :1 1H[ vigo r for it :-; d1ar: wfc ri ;:; f.i cs; n ot hin g is ::;:iJe lJut 11 1edin~· rit.y. 'l'h ~ l111 ;; i11 c,.;:-; i,.; . i11 <'Oll cl11 cf i11 g t he 1111 (lcr::;ta11tli11 g well , tn
ri "k "on1 ntl11ng: f.fl aim nt 1111ifing fhi11 g:-; t l1 nf. a rc com111 011l y in eo mpnf".ilJ]c ._ Tl1 e men.ni11g of a.11 l'Xt r:i.ord i11 nry man is, t hat 1i 1; i:-< l'l..'/hl

TH E IUDlO UL OUS.

250

111 c n, Hot 0 11 e man; tlw,t h e has ns much wit as iI he lmd n o se nse,
as m n eh sl:' 11 se a s if he Imel 11 0 wi t; t lrnt his comluct is n.s jutlic' io11s as ii' h e \\" CJ'e t h e c111lle::; L o [ ltu11 1lu1 beings, a 11d h is ima.g inn.t.ion
as b rilliant n.s if h e were irrcf. ri urnbly rninml. B n t wh en wit is
co m Lin ell with se nse a nd i11[o r111 ~Lti" 1t ; whe n it i,; ,.;o[te ned h y benevolence, a nd re::;t rninell uy stro ng prin c ipl es; whe n it is in f.l1 e lmmb
of a ma n who ca n u se i t and d es pise i t, who ca n Le wit;ty and somet hin g mn ch better t ha n wiLf.y, who loves h onor, j usL icc, d ece ncy,
good 1mt n rc , morali ty-, a nd r eli g ion , te n thousa nd t i111 es bette r t lm11
wi t; wit. is t hen n. h ca11 tifn l a n<l cl c lig h Lfol pa rt of om nature.
'l'i11' rc j,.: 1w m ore i11 ten•:-;ti11 g speclade t.Jmn t o see t h e e ffect:-; u[
wit llJl ll ll f.h e ll ifl'ercnt c Jmract.ers o r lll C ll ; t h:lll f.o nb::;er \"C it CX J1<l.lldi11 g cn11 Lin11 , re la xin g cli g 11i t.y, 1111fn•(•z i11 g co] (l11c :ss, t<';Lt: hin g np;c·
:u 1d care and pain to ::- 111 ilc, ext o rt i 11 g reln cta11 t g lea 111s of pleas ure
[ro111 mel:u1cl10l r, an cl c liarn1 ing pvc n t h e pa.11g::; of g rief. It is
pl en.sa 11 t to obse ;'Ve h ow it pe11 et rn.Lcs throu gh the cohln ess a n<l row kwnnln ess o f' soc idy, g rn.clll a lly uri11g·i11g me n nca.rer toge t.hcr, n.1Hl
lik e t he co10bi11c<l fo rce of w i11c :1.11 11 oil , g ives c1·c ry rn a n a glncl
!tea.r t a n<l n s hinin g co11nLe na nce. <l enuin e n. nll i 11n nec n t. wit lik e
f hi s is s urcfr t he flavo r o f t h e 111i11ll ! ~fa n co uJ<l direct hi s wa.ys b ~·
pl foin reasn;1 , and suppor t hi s li fe b y tas te lrss foo d ; h11t God has
g i1·c 11 11 s wit a 11Cl ffa vo r a nd liri g l1 t 11 css a nd la ug h t er a.1J(l pcr[111n es
t.n e nli vc• n t he dn. ~'s o l' 111a n's pil g ri111n.gc, a.11d t o 'c ha rn1 hi s ptLin ed
s t e ps ove r t he bnruiug lll a rl. '

;i.11([

Let us 11 ow loo k f o r t li e c li a.racte ris t ius of hum o r:
1\l y fri e11fl, Sir H.uge r, be ing a goo<l Churcl1nrn.n. ha,; liea n t ili cd
t he i11sicle of his church witl1 seve rnl texts of l1i s ow n e hoos i11 g; li e
ha.s lik ewise g iven a hamlso 111 e pulpit-cloth, a1Hl rail ed i11 t. he co 1.11111m1ion- t:Lble at his o wn expense. J [e li a,s ofte n tol<l rn e t.ha t at l1i s
co min g to his esta.te h e fo 1u1cl 11i s 1m ri s hio11 er::; ve ry irreg ul a r ; und
t hat in order to nrnke t h em kneel a nd join in t h e l"l'S]HllJSl'", he g :1.n ·
P \ ' C' J" V <lll C of: t he lll n, Jiassuck a 11 i°[ a l:O lllllJ On-[>r:L)"l' I" uoo k. a11cl at f )IC'
sa1n ~ ti me empl oying an i t i11 e rnu t si11 g ing -111astcr, wh o g oes a l1011f.
tl1 c co nntxy for t h at p nrpose, Lo i nst l'llCt thc111 r ight·l.1· in t h e l un es
o f th e psal 111s -11 po n wh ir.h th ey now Yer y 111 uc li v:d uc t li e111sc.l vcc:,
n.ml incl cc<l 0 11t -do rn ost of t he t:flnlltry churcli es t hat J h nve h en nl.
As S ir H.oge r is la ndlorcl to t he whole eo ng rcgv,t io n, he kee ps t hem i n
ve ry guocl order, ancl will s ufl'cr 1wliod y to slee p in it lJL:::;iclus hilll sc ll' ;
fo r if: h v r•.lm nce h P l1 :LS lH'c n s11rprise<l i11t.u a sl1orf, 11;q1 nL c:en11 0 11 ,
11po11 rc1'. u,·l' ri11!.!," 011L o l' i t, l1 l~ sf:1,11cl c: 11p ;i, nd loo k,; :d m1Jf, hi111 , :i.n<l if

2i5G

C O~I PLETE

RHETORIC.

he secs an~· borl y rl;;c noddin g-. r it hcr wa,kes t hem him self, or se nds
hi s f'c r vanL;; Lo t lll'rn. Scn r~: r.l othe r of t he knig ht's partic nhri tief'
hrca k rrnt 11pon th ese OCl'a!'io11 s-su rn c times h e will be Jc ugt hc nin <r
. .
b
. fl
01r I a 1·c rse lll 10 s111 g 111 g psa hn s, Ji n. If n minute after t h e rest of th e
co 11 g rrgat io11 ha 1·c d o11 c wiLh iL; sor 11 dimes wh en he is rlcasecl wi t h
I.li e rn a lf c r o f hi s ll r r 0Lio11. he 1n·o no1u1 oes Amen three o r fo 11r tiJn es
l o th e sa.nw pra ye r. a nd !'nr11 ctiru cs f:i tn nd s 11p wh en e vPr yhocl y e lse
ii' upon th eir k11 ('Cs, Lo eo 1111I. tlie co 11 grcgal.io 11 , or sec if ~ur y r~ f' hi s
h' 11 :mt s are rni ss ir1g.-A.rldisr111 .

Our n e xt seleut io 11 is frrn 11 l•' idding's Tom ./01ws. Partrid ge, ha ]( harh e r, ha.If sc l1 oo l11r aster, goes to t ir e t lH~at re,
as T o m 's atte nd a n t, t o w it ness t li e pe rfor11ran ce o f
Tlr1111 lei :
,\f'. LIH ' e nd o f t he p la.v ,Jones a" kcd him whi c h of t he [> laye rs he
had 11.kud bc;; I. To this he n.n ~we red, with so me appearan ce of
indig rr at.ion n l. t ho q 11 csLio11 : ' Th e king witho11 t llouiJ!;.' ' Jnd ceil ,
i\l_r. Part ricl gc .' sai1l J\Trs. l\'[ill er, 'you arc 11 0L of: tir e sa111 c op inion
w1 Lh t he Lo wn: for they :ire nll ng!'ced t hat Ha mlet is acted uy Ur e
hest player whn ,,,.<' I' wns 011 tir e stage.' 'He t he !Jest player! '
nicd Pa l't l'id ge, wi t.Ir a <·• >11l <" 111 pt110 11s s nee r ; '1rh y. I co ul d ;:i,~1; ns
we ll ns h e 111 .n<e lf. I alll s11rc if' T lrn <l see n a glr n;; I; 1 s hould hu,1·e
lnnketl in Lir e Ycr.1· sallH' 11 1ar111e r. n11d <1011 0 j 11sf, :rs Ir e did . A nd
I.h e n. lo IJc Slll'C, ill tiraf. S('l!ll n, as y1111 ca ll ed it, IJetwcc 11 Jri111 and ]Jj ,_
rnot hc r, \\'here yo11 ln ld 111 c he ndcd so li11 e. why, L o rd lr clp m l'! :u ir
rnn 11 - t.h :it . is. a ny gornl r11 :t11 - t hat; lm1l s11el1 a 111 of·lr el', wo ul1l h:i, 1 ·~
d o ne cxnr·Ll y 1. he s:i 11 ic. ] kn ow yo 11 are o nly joki ng wil;h 111 n ; hut.
in<l ee<l , 111ada. r11. f.110ng h T was 11e1·cr at a play in Lond on, yn t I ha ve
see n ac ting before in t he co11111'.ry; and the king for 111 y 1;r one r : he
"peak s :ill lri ;.: 11·<ml ;; <li ;.:t incfl y, hn!J a,s Jond again a~ Lir e of; hcr".
.A 11 .vbo1l y rn ay see Ju' is an a<.: tor.'

Th e fo ll o win g is fro111 Jni11g's L ey end of Sleepy Ifoltvw,
th e hero of whi uli is a wortlr y w ig ht of t he n a me of l c lrabod C ra11e, whose bu s in ess is to inst ru ct t he c hildre n of
J1i s e 11 ulia11tc d r eg io n :
Ile wns tall , lrn L exceclli11 g l_v lank , ll'it.lr narrow s ho11lder::;, long
a l'lll S a r11l legs, harHl" t hat (1a11g lcd a mile 011 t of his sleeves, focL f.hn.I.
mig h t ha ve >'crvc<l fo r sho1•cls, :i.1111 hi s wir ole f'ra.11r e rn ost looselv h 1111 gl ogc f.he r. Iii " lr c;Hl w:r s s r11 al l. a 11 tl fl a t at top, wi t h Jr 11 g~ cars.
large g rcl" ll g ln;;:;y eyes, a nd a l11 11g "11ipc nose, :;o t hat. iL looked like

, ESTUETI Ct:i OF ~Xl' ltEt:iS l ON'-'J.' 111~ ltID IUULOL't:i.

;w7

a WL'aLl1t•n:nek. p<' rc lr r d upon hi " s pi11dlc J1 cck. !:o tPll wlri elr way Lir e
winrl bl ew . T o s('e hilll sl ridir1 g a lllrr g lir e pro fil e of n hill 0 11 n,
wi 11d v d:is. wi t h hi s clothes bagg in g :i.11<! fl 11I t.e ri11 g :ii 1011 t Ir i111, 011 c
111i g-lr.t, lr :i,;·e rni shtke n him fol' tir e gc 11i11s of fa 111ir1 e d cf'C<' 11di11g ll j>fl ll
Ur ~ e:1.rtl1 , or ::-;0 11 w sca rcc mw (' lnped fr n111 a co r11fi cld . . . . .111
:r/lrlif.i o r1 lo hi s oL!r r r voca l iq11 ;;, li e was Lir e si11 g ir1 g-111asler
nf I. he 11 f' ig·J1horlt ond , a 111l pi cked 11p 11r a 11 y hriglrL s hillir> gs l'.v
i11 sl. r11 1.,L ir1 g f.lr "' }'fl llll g' fo lks i11 psa l111 od ,v. lL w: Ls :t r11:i.l.ler u l'
11 0 Iii.I.le v:1.11i l.y l.o liir11 , 011 f:i1111d:r. ~·s , to Lak e Iri s .sl.:dio11 i11
l'rn11L of Lill'. c l11rre h ga ll 1' r',V, wi l It :t l1a11d of c hos(' ll :-< i11 p;c rs; wl1 c l'f',
i11 Iri s nw rr r11ir1d , he <:o r11p lrl1!ly 1·:1rri1!d awn.1· Lir e p:r.111 1 fm r11 11 11 :
pa rs11 11. C(• rlair1 ii. is, Iri s 1·oil:c l'C'-'1> 1111d c1 I f:i.r a l11 >1·1· ni l 1111 " l'v~L of
I.he < : •>11 gTt',~:r,t. i o 11; a rrcl l ii C' rc a rc p<'< :11li:1,r q11:1 1·c rs sL ill l.o IJ1! l1 L':1rd i11
i.11: 1.1. f' h11 n :lr , a rrd wlric:lr rn a.v 01·1· 11 lie hea rd h:ill' a ;11il c llll', qr1il c Ill
I.Ir r' oppos ilt· sitl c o[ lh c r11ill-po 11d. 011 a;;:( ill S 11nd:ty 111 11 r11ir1 g, 11·lr i< ·lr
:r,I'! ) s:1,id to lie lc·g iLir11n.tnly d csec11 (l cd frn 111 Ur e 11 osn o[ l<: h:i.lmrl
Urnnc . . . . li e w:to:, in f:1 d, a 11 0( !11 r11 ixl.11rc o[ f< llla.ll slr rewdrwss
a.rrrl ::; i111pil'. e rcd11iil.y. I.Li s appef. il c Jor t ir e 111 a r rn ll ou;o:, :1.11<1 Iri s
JHiwers of (li gcsL ing it, were t't]it:tl h ex l rnordi11:1I ',\'; arHl bot.Jr lr nt l
lrec· rr i11 ere:1.sc d l1y lris l'l'"id C' rr ce in t.11i s !' jWIJl1011ml reg io rr. No la lc
w:r"' Lon gToss o r 111 onst.ror1s fnr hi ,; ca p:1 c io11s s\\':dlow . IL w:is o f' Lr rr
hi s dt) li ~· lrl., n. l'l1•r Iri s s<· lr oo l """"' di s11rissed i11 I.he :ifl crn oo rr , fn
sl.rnl.d r irir11 sc ll' 011 f.lr L\ ri l' h l11•d of' l' lor<• r, !1orckrir1 g Ur e lit.fi e lJrn11k
I lr :d. ll'l1i11qwrecl li.v Iii ,; ;;e hocil -ho rr sc', :111tl tlrr re co n ove r olcl i\ia.Llrer's
di rcfol ta l (~s, nnlil Lir e g:i lh c rir1 g d11 :k o( f.lie e\'C nin g rn atle fir e
prinl.P<l pap;e a r11 erc 11ri "L brf'orc Iri s eyes. Arnl t hen as Ir e we nd ed
hi s w:1.y, liy !'Warnp arnl st. rea r11 :111<1 awfu l woollla11d, io tir e [a.rnr lwnse wlr ere he ha ppc1H'•l t.n l>e q 11 a r'f'erc1l , c 1·e ry ::::01111<1o(11:1,Lnrn, n.L
I hat wif·eJ ri11 g hnur, On tt-e rc(1 Iri s cxc itc<l i111n.gi 11:rLio11: Lir e r11oa.11 o[
t ir e wh i p-poo r-wi IL :Cro11 1 t he lr ii 1-!'idc ; t he l>od i ri g c ry o[ Lir e Lr<'cLo:i.d , t hat harbi ngel' ol' sf.nnn; I.Ir e tlrear y h on ti 11 g of t. lr e sc l'ecc l1nw l, or t ir e s1Hhle11 rn slling in tir e t hic ket of l>inl s Cri glrlc11 cc1 from
1.Jr c i1· roost. Th e fi re-Hi es, too. wlri ch spa.rkl ed most viv idl .v i11 Ute
tln.rk c;;f. pi n.cc:<, now n.1Hl t hen sf,a rl.l cll lri111 , as 0 11 0 of. unco111111 011
!1rig·Jrt .11 Pss wo11ltl sf.rcnrn a c·rnss lii s p:iJ.h ; a. rrd ii'. lJ.1· ch:rnee, n. hu ge
IJl ock hearl o( n. \Joell e en. in c wi ng i11g Ir i:=; 1Jl11rnl e ri 11 g fl igh I. agai rr st
Jrir11, the poo l' va rlet w::i,s r<'a<l y Lo givr HJ> t he g host, wit. Ir t he id ea
Lhat Ir e was sLrnck wit.Ir a \rilclt's Loken. JJi s onl y l'eso11rce, 011 s 11 elr
occas io rr s, e itlr cr to drown Llr o11 g h t, nr dri ve a.war c1·i! s)'iri Ls, w:rs
Lo si11 g psalm tiures;-a1Hl Lh e gond peo pl e or S lce p_v lfo ll 1>1v, as tlr cy
s:tt IJy 1.lr eir <lonrs of a n e 1'c11i11g, we re ofte n fillell wiL!t awe, aL hear17

258

C OillPLETE IUI ETOIUC.

in g hi ;.; nnc;:i.I 111 clnd.v, ' i11 li11k e1l ;;wect. ncsc: long (lrnwn out,' Jl nnti11 g
l'ro111 t he di;;La11L hill , or a ln11 g Uie tl usky road .

Tlr ese exte rHl c cl <1uotatious suggest at o n ce t he di ITusi ,.c
a nd p e cu li a r nat ure of: hu111 or. The pl eas ure bre a k s u n t
at 11 0 parti c ular p oi 11 t, but fo llows us all t he way; nowlr e r c
J.mrt ic ularly stri ki11 g, !Jut in se parabl e fro m tlre c liaracter
or s ubj ec t . Tir e la ug lr - if su e Ir th ere b e - is n ot t lrnt uf
victory, d e ri s io 11 , or Sl'O l'll , hut of inn oce 11t ra ill ery a nd
lr ar111 less j est - g e ni a l a. 11 d kindly, t h e poin ts of 111ir t lr
se e 111i11 g to bl e nd i11 tu 0 11 e co u:·se of ,·isible de li g ht.
A111 c ri ca 11 h u m o r is g e 11 ern ll y far less s u btle . Tlrat u[
Dr. Hol111 cs is e xcc p t io 11 a ll y d e licate, but, t houg h spo 11 ta111 ~ ous a nd perpe tua l, it is assoc iat ell wit h so mu ch d cptlr
of t ho ug ht, s u c h fr e qu e n t novelty of spe cu li1tio 11 , t hat Ir e
ca nn ot b e class ifie d as a 111 e re lrn111 or ist. \ Vit h suclr pat"
t ia l exce ptions or moclif1 cat io 11 s, it llla.y be said t hat ln1111 or
in t lris co un try, b es id e s wanti11g, as a r u le, i11 t hat hi g lr
li t e rnry fonn w hi c h <listing uis hes t ir e E ng li s h, is e xtrnvaga 11 t, 111 orn pa lpl'l.b le, 11 10rc i11 t he sty le of broall comedy.
It will su it t h o purpose of illus tratio n t o r eg·anl A rt e 111as
\iV:U"d a.sits re prcsc 11 tat i vn. 111 t ho sup posititious vo ca.t io 11
of s li ow 111 a 11 a.11d wax-work e xlribitor, li e we n t e ve rywlH~ re.
A m o ng th o F'ree-Love rs, 'for examp le, 'a pcr[e ctly orfu l looki n fo 111 a le ' c la i111 s him as li er 'affinity':
Tire cx:-:c. 11 Lr ic fo rrmlc c lutched 111e fra uticly IJy t he arn 1 and
holl e red :
'Yn11a m111 i11 (', 0 yo n arc lllinc !'
' :-;c:Ln ~c l.\· .' l sed , e nd everi11 Lo g iL loo::;e from her.
il uL ::; he d 1111g
Lo llll! nnd sctl :
' You :ire my AITinity ! '
' '\Vhat 11 pon a rt h i:-: Llml? ' l shouLcd.
' Dost t ho11 not, know?'
' No, I llosLcn L! ·
' Li sti n, ma n , & l' ll Lcll ye ! ' sell t he sLmngc fe 111 a le; ' fo1
~· c ar:-: I lr av ycarncfl for t hee. J kn owd thou wast in th e world.
:o urnwh:i.n·s, t ho T didn ' t, know wlinrc. J\ ly henrt sa.id he won ld e11111
·1 11d J look 0o urage . Jle h(( s curn - hc"s here - yo u air hirn - \'•lit

JESTHETICS OF E.X.PltES:::l lON -

TH E JU JH C U LOUS . 2;)()

ai r 111 y Affinity! O 'tis Loo mutch ! too rnutch '; a ml s ir e sulJ\Je cl
a.gi n.
'Y es, · I a. 11 sercl, 'l t hink it i" :i. (larn siLe ton n1 11k l1 ! '
'1-1a:;t t hou not yearned for rue? " :o lr e yell ed , r:i 11 g i11 . h er h a nd ;;
lil)e a fc rurd e pln.v actcr .
'Nnt a .vearn ! ' l \Jell e rel al Ute top of my voice, t h rowin her
aw:Ly fro rn me.

vV e rnav now atte nd, appreciatively, to som e points of
d iff er e nce .betwee n wit a 11<1 lnw1 or. \ V it pe rtai11s ratlr er
to ide as, is t hus 111 ore s udd e n, sta r tlin g, transient; lil!rn o r
p e rb1i11s rnL l1 e r to p e rso ns a nd t.l1i11gs, is 111 on) co 11 t i11u o us,
l'orn 1s tire staple of t ir e comie in li fe a nd li t e ratur e.
Llurn or is a ll. Wit slr oul d he 0111 ,\· hronglr L
'L'o turn agreeably su111 e proper thought.-Hw:k iny ha.in.

vV it is brilliant, c uttin g, 111 o re a drnirabl e, li ab le to pall o n
r e petition; hum o r is mild er , t he g e nt ly 111irtltful, long
<lraw11 out, less to b e feared , irn111 ortal by its t rn t lrfulness
to 11 a.t u re-at le ast in its best dev e lopm e nts, as for inst.a. n ee, tli e c h aract e r of Fa lstaff. W hil e wit is more
purely inte llectual, hu111 or impli es au adm ix tu r e of se11 ti111 e nt. Ev e n l\fark Twaiu moralizes, ill ustratin g t he fact,
as do t ir e biographies of most hum orists a nd wits, that 111
th e fabric of t lr e ir (~ motio11s t li e warp of melau c li o ly is
crossed by t h e woof o f ch ee rfuln ess.
Mr. vV hippl e, oue of th e best of observ e rs, draws t he
dist in c t io n as fo ll ows:
WiL is n.br trpt, darting, scornful. and tosses its a nalog ies in your
fn cc; IL11111 nr is slow a.ml s li y, in sin11n.t.in g it" fon i11 to yo 111· hearL.

Wit is i1ega.ti ve, :urnlytieal, <l cs t rnc ti vc ; l l111u or is c rca.ti \'e, Tire
co uplets of Pope are witty, b11t Sancho Pamm is a hn111 orn 11 s c reation. 1NiL, when en.rn cst, has t he earnest ness of passion , sceki11g to
d cstrov; llu111or lr :ts the cn.m cst ness o f: a lfoctio n, n. 11rl wo nl1l li(t, np
what i~'3 :-;ec111ingly low int" onr c harity a ncl love. \Vit., l1ri g ht, rap i(l,
a,rnl Llas t.in g as the lightning, tlashe,:;, str ikes, aml va ni ,.; IJ es in an instant; Hnnr or, warn1 a.ml all-cmbmci11g a.:; the sum;hi11 e, lKtLl 1e,.; iLii
obj ects in u, ge nial aml abidi ng lig h L. \ViL i 111 pli es haLrcll or eout empt oJ foll y a rnl cri1n e, prodt1l 'f'" il.s Plfod,.; Ii \· l 1ri ~ 1 , -:i 1n1· k:-: •ii' ,.: 111·-

2GO

.JESTHETICS OF EXP l ~ESSfON-Tlrn H.IDJ CU LO US.

prisr, 11scs Ili c whip of c:cn rpin11 s n111l lit e brancli11g-iro11, stabs, stillgs,
pi11 ohrs. lci1t1trrs, gon cl s. I rascs, c·c•rl'Od<'s, t11tcl ern1i11 es; l1111nor iinpli cs
a :-:tire e1111 c!'plin11 nJ' th e hcat1li1'1il, Ll1 e ni:t.jesLie, a. ncl I.li e tr11 c liv
who,.;c lig ht it s11rveys :i.11cl s h;qH's 1.h eir oppos iles. Jt is a 1t 11 /na.;1
i11f111e ncc, s0H c11i11g \\'it;J1 mirth Lli e ragged in e<Jlialilit's o( ex isic!ncc.
pron1 o i i n ~· to lerant vic!W:'< of Iii'<', briclgi11g over th o spauc,.; which
::<ep arnLe Lhe lofty from I.he low ly, the grcnt from th e lrn111ble.

\ V h e u wit a nrl l111t11or arn e mpl oyee! to i11fln e 11 c:e op ini on,
t he prod uct is ?'idieale. Tlie d iffere nce li es in tl1 0 int c 11iio11, - t.o P.xc it P co nt e lllp t o r avc• rs ion. Tl111s t.li<! a11tliors
of' R qje1 ·trxl Addresses, iu lin c!s oste ns ibl y 0 11 tl1 e n ; lrn ildiug
of: Drury Lan e Th eatre , ridicule t h e m ate ri alistic doct.riue
of Lu cretius as r e vived by 111 ode rn scie n ce :
]l'ron1 Hon.Li 11 g clem o. 11 Ls i IL chaos h 111'1 eel ,
Se lf-forlll cd of ai.nin,.;, sp ra ng Lhe i11fa11t wol'lcl.
No grrnt li'irst Canse i11 ;;p irc1l the happy pl ot.,
Bn t all was n1:1.tter,-a11d 110 matte r what,.Ai.om s niLrncLed by so t11 e la\\' nccn lt,
Se iJ li11 g in spheres,- tl1i ::; g lobe wn s U1c r esult.
l s ing how casual bricks, i11 airy climb,
E1wo1111i.e rcd ca stt;il co w-Jinir:-:, e:i.sn:tl li11H• ;
Il ow r afi.crs, born e tlirouglt Wall1l cri11 g do 11cls clnLe,
"l(is;.;c1l i11 I.heir s lope l>l11 c elc tnni1l.al sliii.e,
( !Jii spnd ;.;olid lira. ms in c hn.n <·c~ -dirceLc d fury,
1\ 11 11 gave Lo birth our re nont.tell Drury.

1,mrn l l's 11/r;low Pape1-.~, writt e n i11 th e days o f s la ver y,
a11 <l bas ed 0 11 the most clea r co nviction of justice, a nd its
oppos ite, h o ld a ve ry hi g h place in li terature of this c la ss.
Tli e s p ec ial li tera ry for n1 for ridicu le, it will be seen, is
sath·eJ· t li e ea rli est poetical specim e n of which is, in Engli s h, La11gb11d's JTision Conr-ernin,r; _Piers t lie Plow11111u:
anfl t l1 e g r e at est, Butler's ll1rdibras, a im ed at th e hy poc ri sy in t h e Pur ita. 11 party. Not unlike this, a n d writt<'ri
on the Homan model of h eroic m etre (of w hi c h Ho rn <'<'
a. nrl Juv e n al are w ell-kn ow n exam p les ), are Dryd e n's IIinrl
and Panther, a d efe n ce of: t h e Ho rni sh C hurch agai nst tlic!
]i;11g li s h; Pope's Rrt7>e (~/' tli e Lock, whic h HHtR:11 ifi 0 .<: i /,, .

2() 1

t riYi a l, a n fl nw1.cfru l, w hi c h lw li ttles th e great; Byron's
vigorous ] i)11p t£sh. IJ w·ds a.n d 1.'lcote/1,
.
Uev?'.ewe1·s. 'l'h a c ke ra y, in all his n ove ls, lash es t h e l1 o ll ow n ess arnl insincerity
0 ( rnocl e ru society.
S lrn111 s (in t h e U nit ell States) a.re t l1 e
ee11tral t h e lll e of Dicke us' J1Iartin Clmzzleioit. 'J'h e cl1 a rac t e r of Pecks niff, for i11 s tance , who r egards pie ty as
n eedful co in, a nd 11 a n1 es lii s Llaughtern .M ercy and C ha r ity,
1s t.hns drawn:
l'()rliaps i.l1 ere neve r w:i.s a 111orc 111ora.I n1an !.hall 1\ lr. l'ec kslliff.
espce ial ly i11 Ii is coll vcr·sa t.ion and c '. olT1 ~s 1 H> !Hi n t1 1·c;. Lt was on,cP ;.;a1cl
o f /Jilll IJy ;L hOlll Cly Hd tnirer, l,J1;i.(, lie had a Ji1 0rl.Ull:J.t ltS . jlltl"SC'
of gornl s~11tim e 1tts in hi s i11siul'. Tn t.lti ,.; pa r tic lllar he \\Wi Iii\!'
tlH~ g·irl in th e f'air y ta lc, l'XC<' JlL that ii' l hey were not nc l.ua.I
diatn: md s wl1i c lt fo ll frot11 his lips, t hey wen' Lite ve ry IJ righit'sl.
paste, a nu sho ne pr()( [i g io11s ly. J le \\';LS a 111 osl, cxc 111pl a ry lllUtl ;
l'nller of virtL1ous p rece pt t ha n a co py-bnok. So 1ne 1wopl c Iike11ell
hin1 to a direci.ion-post, which is always tcll i11 g tl1 c war lo ;J.
place, a 11<l never goes there, bttt t hese were his Cll emi es, Lhr
shadows east by h is bri g htn ess ; t lin.t was all. Hi::; very t hroat wa,.;
'' moral. Yo tt s;Lw a gnrnl d eal of it. Yo tt lookl'd OVL' r a ve ry lo ll"
[e11ee of whi te cntvat (w hereof: no 111a.11 htLtl ever beheld Lite t ic, fur
he fo.st c11 ccl it hehi111l ), :til l"! th em it lay, a vail ey l..Jct.wec 11 two jll tti ng
he ig hts of eo l lar, scn' 11 e nllll whi :-;kerless hcfo re yo n. ii·. ser tiiecl t.o
sa.v, on Ute part of ~ Ir. Pecks niff, ' Th ere is 11 0 cl cr:q1Lio n, la.d it;,.;
at;d ge11ile111 en. all i:-; peace; a holy callll pcrvn.cl cs in c.' Sn did Iii ,;
hai l', just. grizz led wit.Ii an iron-g ray, which wa.,.; all l11·11;.;l1L~< l nlf hi s
[orehe:ul, a.ml stood bolt upri g ht, 01· s lig htl y drooped in kindrecl actio11 with hi s heavy eye lid s. So did. hi s pe rson, whi ch was slee k
though Cree Imm corp ulency. So <li ll his n1 an 11 er, whi c h was so (L
aml oih. In a word , even hi s plai n bl a.c k suit, a 1ul ~tatc of wido wer,
a nd da;1gling double eye-glass, a.ll te1uled to the sn111e purpose, nml
c t'i ed alornl , 'Beh old the moral Pecksn i.IT ! '

Irony is di sguised ridicule, and in controve rsy, as it
gives a n oppo n e nt no handle, b eco m es a n e mbarrassing
instrum e nt of vituperation. Among E ng li shm en, Swift
was the great maste r of t h e art. See his Tale of Cl Tub,
wh ic h ridic ul es t h e Hom:u 1i sts and Presb yter ia n s w ith a
, .j, -."' t-1 ,

P, . •1

l fi1 1 rr ~- 1 ,,-. 0 111 11 •,, J,

( 11'

l 1~1 1 n· l ·1nd· ·1 11r l l 1i •:

f~' 11 lli1~ 1 1 1 •

262

COJ\I P L l~ T E H. l r ETOHIC .

w hi c h, nn d0 r t lw r.loa k o f a \'oyag-P r 's j o urn a l, tf~ach es t he
in sig nifi can cn, vanity a. 11 d Ca lse nei;s of lrn111 a 11 pnrsuits,
a. 111Liti o ns, a nd ho p es. A m ocking gob lin sil s at hi R e lbow
to c hill e 11 t llll sias 111 , to g ive i111 ag i11 atio 11 t li <~ li e, a 11cl to
cx plrnlP t-l1 e liuhhl Ps of t he idea l.
l1' or k0<> ping in c lH'c k t h e f'o lli c~s :wd viC<'\S of t hose wh o
;1m go ,·c rn c< l by no hi g he r prin c ipl e t ha n 't. l1 e wo rld 's
dr0ad l:lll g l1 ,' for co rrect ing t he li g hte r foibles a nd i11 co n·
sist< ~ 11< : i c~s of 0ve 11 goocl m e n, fo r r e m ovi ng a lrnses in philosop hy, re li g io n, a nd politi cs, r idic 11l e ha,s ofte n proved
Lit t' most e ffect iv e w0apo 11.
M0 11 a nd inst ituti o ns ca n
1 : ncl11 n~ od ium rn or e e asily t l1 a n laug h ter.
Jn a rg 1111 10 n t, ridi c 11l e p u ts a n arlversary lw1·s de combat.
A grave r e ply ca n neve r wo und it. Savs t he e lder D isnw li .: ' \V i tty calunrn y a ncl li ce n tious·' ra ill e ry are airy
no t l11n gs t hat float ahout us, in vu ln e rable fron1 t he ir ,·erv
nat11rc, lik <' t hose <:hin1 e rn;:; o f' l1 e ll w hi c h t l1 e sword ~·f
/ J•; 11 <:as co n Id. not pi e rce - yet t l1 t:sc s ha dows of t ru t h ,
th ese falr-; c 1111 nge s, t l1 ese fi ct itio u s reali t ies. h ave m ade
l1 mo is111 tre 111bl e, tu ri1 e cl t l1 e eloq ue nce of .wi sdo m in to
fo ll y, a nd bowc<l d ow n t l1 e sp iri t of ho no r itse l f.' V{h e 11
it. is dirnderl aga in st good ness and puritv, wh e n it witl1<~ rs
ge 11i11 s, :i. 11cl g ibbets w hat o ught to be f'~n slirin ed, ridicnl<·
l1 Pco n1 cs t l1<• gTeatt>st of ev ils . Th e s nee r a n<l t.11e rna li g· na11 t sa reas rn an' t.l1 e appropriate la.11g-11age of d ev ils,
lilrn Uoet he's Mep lri stop he les a11d Byro11's Lu~ i fe r.

err l~_ P T ER XVI.
~ol. liin ~ g i \'P~ ~o .i11 ~ t

:ttt

id (~n of :111 :1 ,u;<~ ns g1..• n11i11 e l l'lte r ~;

11 :1y, hl ~t.o r y

w: lil$ l'o r ii., Jn;d. "<'a l f rn111 111( ,111. -- ll ot:A<:E WA1.1•01.~;.

N

l~X'I' to t.h c ci;say'. wl1i <:l1 we are to co 11 s i<: c r pre.s-.
c 11 t l y, t he le tter 1s t li c n1 ost. ag reeab le its well dS
t he 111 ost i;1 struct ivc (or111 of t li e 111i11 or li t e rnlu rc. On t li f'
o ne ha nd, it is t li e most fa mili ar species of writing, a nd

approac hes t li e n earest to o rdin a ry co n versa ti o n; 011 t h ~
oth e r i ts writte n d isclosu res h e lp ns to a know ledge of
'
.
i11clivi<lnal c haractm· a nd of tl 1e 111 0 ,·c 111 e n ts oC 111 a 11k111 cl ,
a fford in g; i11terest in g p ictu res of t he t im es, a iHl Jll ater ials
for li tera ry a n d p oli t ical history . Of 11 0 s li g h t hi storical
valu e, for instance, are t he ea rli est E ng li s h spec im e n s, t he
corresponde nce of t h e Past.011 fa mil y duri ng t h e era of t h e
wa.rs of Yor k all<l Lancaster. Treatin g, in plain and artl ess la nguage, of private affa irs, t h ey e xp lain and illumin ate in c ide n tall y 11lllc h of t h e 1HJ.t.io na l) domest ic, and
social conditio n a 11 1l t he course o f pnbli c eYe u ls.
As the Eno·li
s l1 became a lite rary peop le , fa 1niliar letters
E>
served as a ve hi cle fo r t li e fee lin gs, opi 11i o 11 s, a nd r efl ections of o u r aut ho rs. Bi s h op Hall, in a declicatio u to th e
son of J ames I, cla. i 111 s t h e h o nor of introduc in g 'this n e w
fas hi o n of d isconrse by epistl es, n e w to 0 11r language,
usual to ot he rs; a ntl as novelty is n e ve r w it ho u t p lea of
Jam es How e ll gave us hi s
11 se , m ore free, lll Ore falllili ar.'
own times, as \vell as hi s ow n hi story, in 'Fa111ili a r let t er :;,
domestic a nd foreig 11 , hi sto rical, politi cal, a n<l p hil osop l1 icn. l, lljlf)Jl P.merg·cnt
oc<'nsio ns.' P<'rhn;ps o ur m oRt fa.mous
'

2G4

COMl'Llng KHETOJtlC.
DEPARTJIJENTS OF E :X:PltESSION -

co 11 t rib11 t io 11 of lette rs is 1lr at of Po p e, w lr o, t ho ug lr enfr
111i 11ilful of t ir e pul ili c rng: IJ'Cl , re veals to 11 s Iris p e rso 11 a l
qu a li t iPs- his re fi11 e 111 011 t, Iris dc li cncy of ju dg n1 e u t, lii s
c ri t ica l taste, Iris w it , hi s ge n ero us sc 11 s il >ili ty, hi s co 11 eeit,
l1i s affec tat io n, Iri s pass io n fo r i11 t rig 11 e a 11d st ral age 111 .
v\' l1 <~ 11 t ir e lette r-w ri te r casts Iri s ey<~ to ward t ir e pu b li c,
wl ril c a p p ea rin g to wr ite o nly fo r Iri s fri e nd s, t h e prod u c t,
acco rdin g to tir e w e ll -k 11 ow u p ltL tsc, is apt to s 111 e ll too
111 tw l1 of t ir e la 111 p. Tli e ce ns u re of a r t ifi c ia li ty fa ll s ' less
li <)a \·i ly 0 11 Sw ift; ve ry li g li t ly, o r 11 ot at a ll , 0 11 G r ay,
Cowpe r, a 11 d B urn s. '1. o n ce t li o ug lr t S w ift's le tte rs,' sa id
Cowpe r, ' tir e b est t li at co uld li e wri ttc 11 , hu t I lilrn Urn.y's
li<'ltN. llis lru111 o r, or Iri s wi t, o r w lr ate w~ r it is to be
ca ll e d , is n ever ill-n atu re d o r offe 11s i 1«~, a n d yet, J t lri11k,
<'ljll a lly p o ig 11 a 11 t w it li t ir e D on n 's. ' P e rl1 a ps 11 0 lo ng co llec t io n of le tte rs ca n he ccmt. i11 uo 11 s ly read wi t h t h e s: w 1e
s11 stain ed in t e r est as Cowper's ow 11. 'l'l1<\y are so 111 a.11ifes t.ly s i11 uerc a nd un stud ie d t.lt at t l1 er e co ul d b e 11 0 ll e<~d
o f hi s assura n ce : 'No w upo 11 t ir e fo itf1 of a poo r creat ure,
1 li a.v e sa id a ll t hat .T li an~ sai d w it lr o n t t he least i11 t e 11 tio 11
Lo say 0 11 e w o rcl of it w he 11 l b ega 11 ; b u t it is t lrus w i t. Ir
111 y t ho ug h ts : w lt e n yo u s li a. k e a c rab-t ree, t l1 e frui t fa ll s:
good fo r 11 ot lii11g ind eed w h e n yo u li ave got i t, but st ill
t ir e b est t lt nt, is to be expected or :t crab-t ree. ' 'rli e s lac k
corresp o11cle 11 t wh o co m p l a in s t. lr at li e l1 as 11 ot /1i11g tu \Vrit e
abo u t, s li o ul rl lea rn fro 111 Cowp e r l1 ow mu c h 1u ay b e m a d e
o u t o f h o w li ttle. No o n e h as told mor e co mpl etely, i11
tlr ese 'fragn1 e n ts of t h e h u 111 a 11 m i n d,' t he story of Iri s
lif<', in cludin g its d e pl o rable fra il ti es, t l1 a n Rob e rt Bu rn ::;,
wl1 os<~ lette rs p ossess a n im p e r is lr abl e c h a rm. 'l'l1 e fo llo wi11g, to a11 o ld Ir vin e fr iend, may n ot h e ou t of p lace h e re :
En1Ni:m:n 11 , :JOI.J i n ee .. 1787.

:J\lr Dinn ~111 , - J l1 avc 111cl wit.Ii f'< !w I.I r ing.~ in life 1r l1i d1 Ji nn•
g- ive 11 111 e n1<> J'l' pk:rs11 rc f.11 a 11 W11rL11 111~'s ki nd1 1css to yo 11 sin ce tl 1n;;p
1l:r.ys i 11 wli i1· l1 11 ·p 1111 ·1 i 11 1111· 1·:1 lr· ,, f 111 ; ., ,. ,., .. " " I , .. , " 1... " . ·• 1, .

~
. .
EPISTLE

2G5

. ·c t rn l ilcser vc<l iL, or Lo wit om my
t hat I ne ver k new a rn n. 11 who 111 01 , I y
t'· i1 in dcl>tell sin ce tl 1at
. . , . ·I , l ·1, I lrnvc Jce n lilt ,_,
.
.
l1 ca rt n w 1:e L1ul} w1s ict I . . . I ' J' . sleclir w rn y 111i111l nga.111;-;t
t. 11 c t o yo11r st.or.v n. 11d sc 11 L11 11cn .:-;, n1 ·- . . ~.
~j vV ill-o'-wi>'[l
.
.
I - I , ]>n·tty dece nt ,.;h,Lr e.
y
.11
(\Vi ls, ol' wli ic.: lr l have
1a1 .t 11.. L . " 111 11l ·L \' we S[Je 11 l Logl'Ll rer i II
. 1I 0 ' 01 1 reco ec ,1. • J
• <.
f aLe you J, now ·
~
.
. , ,. i rw so e ve r;-;cs Lo
..
l ··~ i' o11 Lo ld Jii l'., o11 111 y i cpe.1..1 ,. .,
.
111 .
l1: ,_,..·J1n lu 11 \.Voo1 s.
·1
.
I
L
I
le111 [>'"'·1,,11·011 oi se11 d 111g
l
I
I
re~r~
ie
Yo11 , t.11:1.t yo 11 wo 11derc1
c.:0 1.1 t . . . , It \ V" S fro m t his rer 11 n.rk T
.· 1 t . 111ag·nz111c.
...
ve r;-;es o[ s111..: li 111 011 . o .t
I. ·I e11co11ragc1l r11 e Lo e11dcavI t .I
f 111 ,· ow 11 pi eces w 11<.: '
.
"LI I
deri veLl Lia ; ILca o
·'
. ,
l ,
lo hl•a r Llr at yo 11 wr >c
I
t· 'l' of ·1 poet J .1.111 r,qip v
.t
o11r at t ir e e mrae .e . '
.. .
. i.J ·11i ·ed Ji11tli will pen111 ,
ti . ·1.t 11 0111 0 A" soon as n I "'
Lwo ur L1 1rce rn on
"''
.·
. ·I ·dl lll cet·' 'and faith I hop<'
ll ll), ·1 s·J1.·1. 11 l ·ct·11
. . r11 to J\ .yrslnrc, :Lill1 ,11, e s ,,
't l 11 I 11 or )' et· t"1sL n11 t.
,
w 1" 11 11 n L s 1 1 111 "
· ' ' ·.
· . n e I'" n 1l t It e ir w :i. )' s ;
I t t ·II Vll ll ' of llWll, 1'11r 11 II 1' 1111 ._, . 11
l
I have 11111 <: 1 ° L .
·
.
. I · I' ti
>l l11T ;-;r· \
1\p1
opn:-;,. 1 1Jt,,,
,,, to l>e rc111e111 1.J cn·l
j>l' rl 1:1.1>s a I1LL e o . 11• t
. ..
I
. I " Ir f ri e11d Lu t vo11 li aw
.
Tl ' l'I' l do11l >1, no , Ill ) t t. .
'
:
f'
tu J\l rs. Brow 11.
ll
.,_
I . ·t· t.o fi11 d vu u so metlu11 g o an
.
l L· t"· I lt ·1t>J>lll rc;s.
ex.pee ,
•
.
l.0 1111d !' IL JS .t11 .1,L ' .
·J
·' 11 Lolrl ge 11erou s yo 11 11g
.
t. ]' fl'l'l"f' IJ I. lll :Lll: I. IC \ \I l ,
'
•
]
:Ll tl' red, b11 t ll O ,,, { I
. . , ·1 11· ' ·L · l'Ll<' h usba nd 1Llld t il e l.0 11 1.,
l · I LIH' st t" lt \ n c e IOI ' •
'
.
I
i'l' ll ow1:0111 posel 111
,o
. . , " " .
t i , .. • \."V il l-o·-wi;
-; p l>e111g
[
.
t· F r !I ll' I :11J1 ] ll " L . I L :-;,L111e
r·:tre.l. 111 pa1 c11 '· . o
·.
.l i' ·tl1 IJll' ll'ters of t. lw 1110011 ,
\1 . t t li e l!r·«L :111< .0111 ,
"
, JI
11::;ed lo i.Je. J· >0[ 11 , LJw. tr-11. ·1(' W ll. lll 0 I \\'l. .,"llo111 ·' b1tl. alJt>11 t. l.lrl' [11
g·e11 ern. lly set rn o.r
· · '· , . .
f l"tl lori t:ill oes wlii elt bl ow
,
II ' I ·l· le'-'" Yrc.: 1.1 111 o n ..
.
'
a11 t1 clm11ge, r :1111 ll. Il l : ' ., ···-. 1·11 l"l' ig·11s aml rev el:-; i11 Ill )' UOSOlll ;
1~ 1 ·
.
I . J.\l111 w hl 1r mes ,1
1ue 111 Lo c i: ws.
· "' ·.
. . "'elf fo r a yo 1111g ',< t l l . , 11 10111ent re:1 d y Lo 1i.tng l lt }, ,
.
.
I 111
a 11 Ll J a m. Ia · ll I:s 0 h'LS Wit
. 'I ll< .l ·\\' ISi
. . .1O lli 1l IOl'C nmnlcro
usly faLa l L i:i.11.,
.
IJ11rg l1 WH .ow,t.w l. t .il' ..ctt-o of
,,
.. ··1··
Lhc. c>:i1
c1 1.1.11 l»11
, 1(li t.. or t he poic;n11 e1
I.h e :1.ssac;;-; 111a ~111g s . . "
.!\[ r jfj rltl :tlHl tl irk . th at u sed to h a ng
a r row u( a savage Afl'l en.11.
) -I g .
" 1 int o ·1. ncin- ld>o 11ri11g
.
. I . l I ·1ve <>T ave Y l P. 1110\ Cl
, '
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besid e lll Y er nte ies,
J, ,
b
.
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I in e•tse u [ "[> r111 g-t.1de
I. . [ 11rhich I ca n11 ol. co111111 .t1H. · '
.
f le i. W I.t b)· t he fo llowrn g verses,
clnse L, t he ,cy·y o ·
O
pnr:nxys rn s.
o11 lll :t,}r bo- 11 p.:;s
··.·
, •
,1 .
whi ch slllJ lt as srn 1t 1110 t he oL hc1 .'l.'1.y.
,
i\L1 imr !
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l\l y l•est co111pli111e11 Ls to our J n end A ll.1.11 .
l

. L .

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. ce, e ~ e n b e tte
'l' li e l etters of Lor<l
Byron e vin
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.
.
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v
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d is p hay
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"' T li e fo ll ow rng is uli a rac t e1 i::;tw.
aucl
is co 11dl e 11111atw

2uG

DEPA
N EW R'l' J·:A n

An1rn,-. .-,"' (' pt. 20. 18 14.

H 0rp';; lo lw· ,,·11 U I()JI O'
'I' I I 1:1111 ll"nlm l I li 0 1 11•<~1.'~., "·1· ·II '
in g· il'I wl11 i ga 1· <~ lo s011g·,.., .
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b 11 t r ti. 1.
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t.a lt> 11 b n11rl exl'e ll e 11 L lfli a li l. ' . . _·l . II , . . < o kn ow 1.li at s hL• l1 11s
. g J'(•f11spr[ c; ix " It"[s, .u11 .yo 11 wil -I n() I, (IC' ll .)" IICI' j111 J11·111 <'lil
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. hot I.. 1 Wl" h 1 was a 1Jett0r.
EvP I'. clc.

Co
11 t e 111po r:i q· r w it h- p o p e , tl1e ce 11 t r e of
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t lt n c'. c le b r a.t e <l ;\11' .. JY
m o u t of fo rlll ,' l1Y cd
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ss
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n a 11 rn alld t it le of 1· . l
.11f ' ~ - e r ( ll OW11 u nd e r t ir e
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wo 111 a 11 of c ul t i v"t l . t- .JI
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. ., o0.0 ocl -IHttn r0d w it., li' vP h'· 11 1

l t'l'~1 P,NT R

OF

E\ Pl tERR fO N -

l~ PTSTL P:.

2(i7

desc r ip t i o n , c lever a nd a m us in g· in g-oss ip , abl e wh e n in
f':t rn cst, to t hro w m a.x irn s of c o1111110 11 se 11 se a n d wor ldl y
w isdo m in to pi n.in , fo r c( •f nl w ords; yet, wi Lkd, t oo n ias c u lin e, w ri t in g o u t of t h e

c l 1~arn ess

or t h e h e ac l rat h e r t h a.n

t h e ab u11 fl a 11 ce of t h e h ea r t .
vValp o le 's lette rs -- t l1ree t h o u sa nd O J' m o r e in ll\ll rrl ier
- wo ul d b e w o rth 111 o rc i( two -t h i rds of t lt e 111 !t a d b eP. n
fl e stroyerl.

'vV e c a 11 o nl y m e n ti o n t h e

mil ,

cl e a r, kin d ly

So uf.l1 e y , t h e g e ni :d S ir 'vV ;d t e r Scot t , t ir e grote sq u e ly
l111111 11ro11 s C li a rl 1,s I ,a.111h , I.It !, rI roll S idt wy 8 111i t lr , t h e p1·11
o f I loo d , rlipp < ~ rl alik e' i11 t. li <, s prin gs rd' la.11 g- litn :1.11rl t. l1t ~
so urce s o f t e a rs .' Th e li st of Lh cse 111 ig h t bl' s up pk 111 e 11 te d
by t h e m 1,111 c s of 111 a 11y ot h e rs, latdy p as::;erl a w ay, or
li v i11 g,

wh ose

r ec ipi e n ts ,

co rre s p o ml e 11 ct~,

wo ul!l

find

its

p ri ce less

va,lu e

j u stly

to

its

clire et

e stim ate d

by

poste r i ty .
O f course, a k Lt0 r s h o ul d b e p ro p e rl y clatecl, add r esse d ,
s ig· 11 e cl , a nd s 11pPr se rib e rl; s h o 11l ll b e leg ib le , gra.11nn at ic a.l,
a 11d p e rs pi e u o t1 s;

p ro p e rl y k uycd, a 1Hl co rrec t, o u t. un-

a ff ec ted. L et a c le a r h ead di d .ate t lr c p ro mp t in gs of a
free h eart. W h e n n1 ost uare le ss a nd co nf-i d e n t ia l, re 111 e 111be r t h e se nt im e n ts of L a n do r: ' l t hink it a.s im pro p e r a.nd
irnl ecoro u s to w ri te a stu pi d o r a. s ill y n ot e t o you, as o n e
in a bad lt a n cl o r o n coa r se p ape r.
fl}11nili(l1'it,11 Ollf/ht

to have a 1oorse n a m e, ~f' it rel(( xes in Us attentiveness t o
p leffs e.' Howell's co n ceptio n of t lt e epistola ry sty le is
e xce ll e n t :
It was a rpmint. rliff.e rr ncc t-.l w n.11 cie11 ts <li<l puL l1etw ixL a let.tl' r
a n!l an oration; t hat t he 011e shou hl be atti re1l like a wo 11 mn. t.li e
otlwr l ike n. rn:.m . Th e l alt.c~r of t hr. two is a.ll owctl lnrgc side-rolie;;,
a.s long pcrior] s, pttro nt hcses, sim ilcc: , cx:u 11plcs, an tl other pa r\.,.; 11 (
rh ct.orie;n.l flouri shes: lit1 t n. IPt-.1.cr or e pi stl e ;;h o11ld l1L' ;;ho1t-con.IPd
a nd closely cro nc hed; a hu11 gcr"k i1 lwco mcs a letter more li n11d,.;0111 cl y t lrn n a. gow n. l 111l N'rl we shoul d w ri te as we speak , a nd th at
is n. t.rnc n.llll fo,rn il in.r lr.t.tr r wh ic h ex prrssr.th 011 e's mi11tl. a,.; if l1 P
,,.,. ,.,. ,\j " ' '" " r" i11 e· "· ii.Ii i-111' p;1rl. v 111 w hom lit\ wrif n,.; in s11 e<'i nd . a nd

2GS

COALJ' LETE l t lfl~TO RIC.

" li o l'I. f.t•nn s.
'l'I t o ·
•
. .
IC on,...,u c a nrl the 1x~ 11 an ~ bot!
f tl
. .
rd f.lil' 111111d . l111f I ) 11 ti
l o
1e111 111 teJ T>l'l'tP l'S
'I' lw lrJ110·1rn in
' urlo. J!O~
ioi/r . w .pen to IJe the
in orc
I" 'ti f I [
. ,
· .•ti · I 11 o t he f.\ro.
."'
· · a., 1w ing seatpd in •t nio ·t "l'
,. .
nil a11rl l'alil~ I' i11 h l' I' '< 11 11 '
' .
'
s s tppe ry p 1nee, in;11·
l '
.
.
. L' e n cx 1,e 1npo rnl ex 1Jl'css·
Ii;11•111
g· n "Tc·tle1· ·1dv·11 1t·
[
, . ·.· io ns, Jt11. the l'r'JJ,
•
"
' ·
'
'
.i.gn
/ll'e111edit<ttio ·.
t
. ·
t' IT0 1-, and lt•a1·es t hi11 "'s lie! . l ·1·
. '
n, is no . so s11IJ,1 ect. l u

°·

.

,,,.

.111H I . upon fu·m a1ul authen tic reco nl.

f t i111 p; l1 t not b e strn ini11 u·
.
.
"" a po111t to !>ay that t l1 e l.wst.
let t e r-wri tHrs a r'A ' t i .
.
< •; e 1 101 wo 11 wn
,l
11wn~ o r less l'e 111inin e traits . / 'v~ e l~e m en 1i a ~1 1ng so 111e
d· . ' . ,
J) } .
'·
ou
you d esire at t l1is
. t.~.' s.tys e Quincey, 'to read o ur nob le h .
. . ..
ll'1 t 1
I
·
·
< 11 guaoe Ill it s
, , ve )eanty, p1 ct 11 resq ne fo rm il' . .
. ,_.,
.
.
•
,
c 10 111 at1c propl'l e t\,·
. 1
111 its pltraseoloo·y d e li c ·ite v et s ·
. .
.; ' 11 c I
.. I I
';'· '
"
.;
111 e wy Ill its com p os iti o n
-:- st.e a t re 111 a d-bags, a 11cl brea k ope n a ll tli e let t e rs .
le 111 a le li a 11rlwri t in o·. Three out 0 f f
·11
. 111
.· .
,-,
·
o ur w1 ha ve bPe 11
w11tte 11 by th:tt c lass of wo 111 e 11 who h·tve ti
t I . .
a11rl t li P. ni ost · t .
.
'
· •e m os e 1s 11rc
, .
,
Ill Cl'l~ St. Ill a Correspo11dc11t OJ t ir e
tf. !1 at c l <·'• s·" ·~~ 'vl1(>
co rn b'
'
· 111 e m ore of · t> ll' .
. pos .
. l ti
I .
. 111 (-. ige nce, cu lti vat10 11
.J i1c .
inug 1t.l ul11 ess, tl1a11 a n y ot he r in E .
I
'
f
· I
·
uroµe - t 1e ch ss
o . u1111mn·1 e( wo m e n aLov e tw e nty -Ji ve. '
, , ..

DEPAH.TMENTS OF' EX P HESS ION -ESSAY.
T o w ri te jllst tr c:tt.i "es req llirct h t.im c ill th e wr i ter, a.lid l c h<lll'l' ill th e
re nd e r, ll'hi c h is th e ca 11 "e w hi c h ha t h mad e m e c hn : J~C to w rit e cc rtnin hricf
notes, RCt d n\\' n rat h er sig llifi ca nt.l y th a n Cllri o uHi y , w hi c h 1 h a1·e call ed c~rnys. ­
Lono

BA CON .

Th e !'SHay wrifl' r i s t.h e Jay pr c:1ch er 11pon th at vnglle 111 a~' o f doct. ri11 e w l1i c h
by th e 11 11111 c of knowledge of life or <J f hunm n 1rnt11 rc.- - CO R NU !J, J,

11· c 1lig nify

MA GAZINE.

IT

is t he p rnv in ce of so m e to sp read out a subj ect 111 a ll
its bread t it a nd vari ety; of ot h e rs, to to u uh up o n
ma ny subj ects, bnt to ex h a u st ll o ne . Th e:se g l eaners in
t he fi e ld of t ho ug ht ha ve ,swe ll c cl tlt e volum e of o ur lite rat u re with a class of productions kn ow n as essay 8. Th e
t e rm Ii t c rall y s ig 11i fi es an at te rn pt, a, trial, o r e nd e asor. It
was in t hi s s crn se that Lock e rn ocles t ly style cl hi s g reat
wo rk a. 11 ' E'.~sa.y 011 t he H uma.11 U 1Hl e rsta11di11g.' B efo re
hi111, Baco n had clcclicatecl to t he eld e r broth e r of C harl es I
a. co llectio n of s ho rt fo rnw.l pi eces 0 11 life and m a 1111 c rs,
which h e chose to call l ?ssay s. Co mpact and pithy, inex hau st ible in a lim ent, a n d ri ch in image r y , th ey re m a in
t he or ig in a ls a ud st ill t h e m ode ls of tl1e se Ye r e r a nd stateli e r essay writing. 'Th ese, of a ll my w o rk s,' h e said ,
'have b ee n m ost c urre nt, for that, as it see ms, th ey co m e
h ome to rn e n's busin esse a nd boso111es.' Fifty yea rs later,
Cow ley furth e r r eco m111 e 11d erl th is kind of compositi o n h y
his agreeah lc speculat io ns in m ora l a nJ soc ia l sc ie n ce.
T e mple allll S l1 aftesb ury a rc prin c ipa lly know n by thi s
f;pecie s of effort. Th e n came t lt e cele brat ed essayists,
Steele, Aclc1iso 11, J o hns o n , Go lclsm it li , a ud ot hers. Th e

;?70

COJ\l PLETE RH ETOmc.

DEPA l{'fnIENTS OF

111 a 1111 e r 111 w hi c h t hese essays we re g ive n to t h e wor ld, o n
S< •p nra.te sl1ect.s- J'atlc1·, iSpectrttor, J~am b/er, a 11 J s i111il a r
pa p e rs - at i11 tena ls of fiv e day s, d is t in gu is he d t h e 111 fro 11
1
eve r yt hin g of t he kin d t h at had prece d ed, a nd was a gTcat
ea. 11 s e. oC t h e ir a l111 ust in c re dibl e po pnl a ri t,Y . Th ey \vc n •
pec uli a r, too, in t h e c irc1 1111 sta 11 ce of bei n o· suo·g·es t ed IJ ·
1
o
.
t I1e v ·ices a nd fas hi o 11 ab le fo ll ies of t he day.
T"'·
li e e nd was
111 ora l li e a lt. h ; a 1H] t hu s s e n11 0 11 s, Ye il e d in p lcas:u 1t n ·
li g h t, grac e fu l, a nd fast id io us, wc~re prea ch ed o n 0 1·e ;.)'.
co n ce ivab le t e xt, fro m t h e brevity of li fe to t h e e xtra.Y:;g-a 11 ce of fc lll a le to il e ts. T o t hc-n 11, <'r; pec ia ll y to Add iso 11 ,
rnu st be referred t l1 e i11 tro du c t io 11 of a po li t e tas t e fo r
le tte rs. Th e ir success in d uced a crowd of fo ll ow e rs, w h os 1•
infl u e n ce, in t h e agg regate, d id m uc h to redu ce our la n g uage to gra 1nm at ica l co rrect ness a n d rh eto ri ca l force.
U n ck1: t h e a 11 s pi ces of n co n fed e ra cy of m e n of w it a nd
1c:1~n.1i11 g in t ho e a rl y part o f t h e p rese n t century, ess;1y
w n t 111g ass um e d a n e w p has e. We a llu d e to t he fou nrl a.t, io 11 of t l1 0 H.e 1· ie \\' s a nd Magaz i11 es,-E'd iJibw ·g /1., L m 11/011

Qurwt e1·l,1j, lVorth Am r>1·frrr.n, Blad,;wood's, lVestmin8/('}",
a ll of w lii c h b eca m e t h e e x e rn p la rs of n u lll e ro us s i111 ilar
pu b li cat io 11 s. T li e pr i111 nry obj ect of m ost, was to fur 11i s l1
t li oro ug h c r it ic is 111 s of b oo ks a.n cl careful p a p e rs o 11 t1 ~
f' lllTe 11 t t o pi cs of po li ti cs a. 11 cl refo rm. As t. l1 e ir s co p e 1· 11 l a:·~·erl, co 11 t ril.n1t.io w; w e re r oce i1·ed o n a 11 y subj ec t, t o
w 111 c l1 t h o Wl'l ter had d ev ote d spec ia l a.tt.e 11 t. io 11. T h1 ·ir
lirnits a.11Ll p op ul a r purpose re qu ire d t h a t; t he . art i<dl's
s li o ulcl b e co n d e nsed a n d sp iri t ed .
H e nce a p ct' ul iar
st.y le - hri e f, p it hy, trenc ha n t, ofte n c loq u c11 t, but alw an;
p os it iv e. '!'li e m nste r Sfl iri ts we re .Je ff rev S idn oj' S 111i t,.l1
Lamb, Haz li tt, D e (~u i11 cey, :t ll d Maca u lay.

11

ti

'

'

J\foa 11 w l1il e lrvi 11 g's 81.:etch Boo!,; appeared, for 111i11µ; i11
.A 111 e ri ca a JJ e p oc h in t his k i n d of li te ratu re; of t h o sa 111 p
ge n eri c c: li a.ract e r as Ad di so n's essays, hut wit h i111p o rt a11f
sp ecific pec u li ar it ies. Tli e Corni er h ave a di rcl't n11 1r:il

EXPllESSION-.ES~AY .

271

' J.lll l' pos e ; t h e latte r s eek o nly to deli g h t, a n d a re fo un d e d
o u se n t im e n t .
Wi t h o n e or a n ot h e r 111 o difi u;1t ion , t h e c hi e f of w hi c h
are e dito ri a l s, c ri t ic is 111 s, re vie ws, a n d d isse rtat io ns, t h e
<·ssay h<LS latte rl y abso r b ed a.11 c 11 o rn1 0 11s a m ou n t of t ~i e
p rodu c t i1·e e n e rgy o f m in cl 0 11 bot h s id es o f t h e At la. 1J t 1c.
l11 d ee d , t h e 11 u 11 1be r of essay ist s is a lm os t id e n t ical w it h
t h e 11u111 b e r o f wr iters . A few, lik e l~ 111 e rso 11 a nd ViThip ple h ave Ji11 1ite<l t h e ir wri t. i11 gs t o essays; t h e 111 ost am
a ls<,>, li ke A rn o ld, Frou d<', S t ec1 111 :1n , a 11 cl L 0 w ell , hi stor ia ns, h iog ra pli e rs, p oe l s, a 11 d so for t h. Us u a lly t l1 oy a l'<!
(at least fo r t h e t i111 e) co 11 t ribu tor s to t li o p e ri od ica l p ress,
w h o 11 aturn ll y s e ek t o resc u e t h e ir wo r k fro 1u t li at forg etfuln ess w hi c h i11 e ,·itab ly o \·e r w h e lrns s u c h a fo rn1 of p u b liuat io 11 .
Ge 11 ond ly s p e ak i11 g, t li e 11 , t h e C'ssa.y s ho ul d hav e u ne
l'ap ita l i c.h~ a, o n e pro m i11 e 11 t fa c t. o r t li ouµ: h t to state, e rro r
lo eo 11 tro ,·e rt , or e n d to acco 11 1pli s l1. lt·s sty le may va ry
f' rn 111 t li c s ini p lc aml co ll oy ni a l to t li e 111ost co 1Jd e 11 s ed :wd
p rufou 11 d, ac1 111it,Li11 g w it, hu m o r, o r1 1a.1u e 11 t, a 11 d ill ust ra tio 11 , t o g i,·e p oi1 1t, in terest, a nd lu c id ity.
T11 its li t orn r y-c ri t ical fu n c t io n, let us add, t l1 e ess ay
s l1ou lcl di sp lay c.nl Liva.t e rl taste, fu ll k now le dge, sy 111 pat.hy ,
mrn d o r, fr ecdo 111 fro m prPp osscss io ns , r ea<l i n e ss to recogni ze m e r it, a bse n ce of any p e rso n a l. m otive wh atever.
T hat love fo r v iva.c ity w hi c h a s p ir es t o a n e n t t~ rta inin g
article, a nd b egets in t li e v ict i111 a rn 11kl i11 g s e nse of in sn lt,
a fr ie lHl w i 11 fin d it h ard to d e fe 11 cl. T h e first pu rpose of
uri t ic is m is hy 11 0 m ean s t o a 111use o r e n ter t a in , but to
teac h a u d d isc ip lin e. It s li o ul ll b e st im u latin g a n d co rrec tive; with t h e p u b li c, i ns ist in g· on correctness of op in io n;
w it h t h e author, o n corre et n es s of s e nse a n d exp r ess io n,
by t h e i rn part ia.I applica t io n of t h os e tests whi c h lmve
b oo 11 ge n e ra li ze d fro m 1 . h <~ pra c t ice u( t h e m asters of
l iL t' rHJtt r P~ n n d t~ a\~ or i11 .u· Lo ~(' P t11i11 !.!·~ a s t h0-y rPn 11 .Y a r e,

272

COMP.LE TE JUIETORIC .

a.ml so e xposing pre t ence a,Jl(l in compete nce o nly to disco ve r ai1d foster e xcelle nce; acldu ci11g r easo ns fo r atlrnira t ion, ;ju stify in g ce ns ure hy arg um ent and e xa m p le. Tl1 c
criti c's dut.y li es bet wee 11 indi sc rimiuat e pra ise a nd i11di scri111in ate hla111e. T o go to e ith er extre111 e is p rouab ly to
d ee ide aga in st t li e vo ice o f t he publi c. \/Y o rk s puffe(l
in to un dese rved n oto ri ety li a.ve su nk to o b li vio n, whil e
othe rs strongly co nd e mn ed, d oo med, it rnay be, to a seaso 11
ol' neglect, h ave a c hi eved lasti ng popularity . It was t !t e
ln shinp;, h asty, capricio us, se lf-r e vea ling cltaract or of mu elt
c ri t ic is m t hat lell M r. I ,owes to write, 'Tit o good effected
hy c riti c is1u is small, t li e e vi l in calculable '; a nd Dr. B ol ·
la nd: 'Th ere has no t li ved a g reat Brit is h aut hor wit hin
t l1 e la s t. ce ntu ry whoso works lia.ve 11 ot bee n s ubj ect ed to
t he 111 os t sco rchin g cri t icis111 s a nd t he 111 rn;t s la.s lting a nd
sw C'ep ing co nd e mnat io ns. Y ct t hose c riti c is ms a. n(l co nd P111nat.i o ns li aY e passed fo r n ot hin g . Tlt e cr iti c is ms,
off.o n pro l'o nndl y in g e 11i ous, a nd fu ll of learn in g a nd
po wer, di e, a nd t he hoo ks li ve. Th ey a.re oft,e n exceedin g ly c re cli tab le produ ctio ns-so cred itab le, in de ed, that
t hey fo rlll t he bas is o f g r eat p e rsonal r e put;Ltio ns - but
t hey a cco mpli s h ahso l1tt.e ly not hin g except t he r e velatio n
o ( t he 111 0 11 who produ c 1 ~ t hem.'
vVorL lty oxc111 p lificatio11 s of t he hi g l1 er, wid er, mon·
C'a rn es t eri t ic is m rn ay be fo und i11 Vaug ha n's IIuw·s 11Jith.
tlw jlf,1;stics, S liairp's As11ec ts of P oetry, Arno ld's Ec;sa!Js
in Cri'.tfoism, Froude's 8 /uwt S tudies on Greut Su1dccts,
and Strnln1 a 11's Vido 1'irtn P oets ; but E ng lish lite ratu re,
it. wo11ld seem, lt ns yet to be e nri ched with a true a nd
s11lli c ie 11 t rea li zatio n o f Pop e's id ea l cri tic :
B11f. \Yh rrc's .Jho m nn who coun sel ca n bestow,
SLil l pkn se<l Lo te nc h. :ind yet not proud to know?
l T 11bi :1~;:'d . o r li.' ' f":i.rn r. or by c:pil.e ;
Not tl11lly prcpossesscLl , nor bli tHll y rig-ht;

DEPARTM ENTS OF BX l'l tESSWN -

ESSAY .

273

Th ong h learn '1l , we!l-hrcd ; and, thou g h well-1.Jred, sin cere ;
J\lOllcsUy bo lil :1.11d h11111 :1,11ly seve re :
\Vit o Lo :i. fr iend hi f' f;w lts ca n freely show;
A ntl g ln.clly pra i:;e t he merit of a ft:e;
Hl cst wit.It :L taste exact yet un co nfinecl; .
.A know leLlgL\ both of books a 11 ll hu nmn Jrn.td;
Generou s r o11 i·e rc:P.; a ~0 11 l rxc 111 pt. fr~ 111 ~1r1C.~e ;
And love to praise, with reason o11 }us side .

D.EPARTJ)LENTS OF BXl'ltEBSlON- HI.ST 01..i..
)'\.T

CT:LAPT E TI X VJil.
DEPAll'l'MENTS OF'

l~XPHESSJO N -HI STOHY.

111 hi " f" l'Y a g l'ca t \'Oltt111< ! i~ 1rnrolle<l ror 0 111' i11 st rn ctio11 , dra w in~ ih l' 111al t..
ri a l ~ ror r11 t 11re w i ~d o m rrom t h e c rr o 1·B a 11d i111ir111iti c" o r 111 a 11kind . - B uHi; •;.
lli s rory , at l ea~t in it.~ state of id ea l ]ll'l'fec tio11. i" a co111po1111d o r poe tr y and
phil o"'' Jlh,Y . It imprc,scR gc 11 e r:1l tr11th " 0 11 th e 11li11cl hy a \'idcl 1·e JH'C"c '1it a1 io 11
of part.i c 11l 11r c h aracte 1·" and i11 ci cl e nl s. - MA c A1 11,AT.

rendering of facts t'. nd_e r t h e relation of ph~ce is,
T J~~E
•1s we h ave see n , desc nptw11 ; u11d e r t he r e lat1011 of
tim e, 11 a n ative. Hi story r ests c hi efly 0 11 the la tte r.
Its
m e thod is dev e lope d hy s u ccess iv e stages. At first r e Jl ccti11 g the preval e nt a ppet ite for t li e marvell o u s, it wa s
u11di scrirni11a t i11 g , r e j ected 11 ot lii11 g , mixed fab le wit 11
t. rn t h, r eco unt ed 0111ens, p rod ig ies, legc 11ds, with t li e sallll'
g rave minut e n ess as eve nts of daily li fe, ' vo rs l1ippt•d
antiquity, bega n with the creation of A dam, and reac he d
h o 111 e by filli11 g th e c has n1 s wit l1 tradition a ucl fane\'.
Thus in 1483 tl1e pedigree of th e London bishops
traced back to the alleged rnigrat io u of Brutus from Troy,
and e \' e 11 to Noah. Geoffrey's llisto1·y (~( tlw Jl?-1'.tons,
co mp osed in i1 47, r e lates how llrutus, l1avin g s la in t li e
g iants who p eop led Englanu, built London; h o w, during·
a succee din g governlllent, it ra in ed blood three co 11 sec llti\" C'
d ays; ho w tlte coasts were in l'es t e d by a ho rrid SPa 111 0 11ster, whi uli, having d e vo ure d multitudes, swallowed th ..
reigning king; how a g ian t 111 o re terrible thau the otlH•rs,
c lot hed hi111 se lf iu furs 111a(le e 11 ti r e ly from th e Lcanls of
kin gs h e l1 ad killed, hut (ell him self a victim to t h e prow Pss
•)f A rthur. Th e reputatioJJ of t his work proc ure d l'or its

,,.;is

"7 1

21"!,~

u

auth o r a bishopric, a.Bel for several ce n t uri es but two or
three c ri t ics ventured to question its accuracy.
Oth e rs, less co mpre he n s iv e but e qually c r ed ulous,
would give us a diary o f passing e xp e ri e n ce, }l kind of
hi sto 1wa l al111a.11ac, n ot ing in t h e sa m e li[e less to 11 e t h e
imp o rt a n t a nd t h e triv ia l. Th ese a.re tl1 e a1111:1lists o r
c hroni c le rs. H e r e is t h e ir sty le in t h e tenth ce ntury :
5a8. \Vhen he lm<l reig ned fo11r yea.rs, the ,;1111 \\·a:; l'e lip,.;eil
fro111 I. he fil'st hour of lhe day to t he t lti n l.
540 . .Ag-ain. t.wo vears aCte l', the snn was eelip,.;ecl fol' lt:ill' :1 11
ho11r aJlel'\lie t.hircl l;o11r, so t hat tlH~ stars were eve l'yw linru 1·i,- ild 1·
i11 t lt c s ky.
•
HGI. 1\ ff·pr t.h rec years, K en wa.Jk agai 11 fo 11g ht. a lml.f.l e 111•;1r t.lt e
tow n of P()ntcs i>u ry, a 111l too k pri:,;011 er vVulfltcre, ::;011 of l'c11dn, aL
Af' ht.own , wheu he had defeated his a rn1 y.
67L. After one year !llorc, t here wa.s a great pe:; l.il e1we a 111ong tl1e
birds. rn that thc;·c was an intolerab le ste neh by sea. and land ,
1tl'i si11g from t he cn.rcasses of uinls both srn all n.1111 g rea t.
674. A ft.er O ll C year, vV11 lfh ere, SOll of Pend a. tl.lld J\:en walk
fo ug ht a batt le a 111 01.1g t hemsd vcs i 11 a place ca ller! Bed wi11.

li77. Afte r thrnc years a eo111 et was seen .
729. At t he e11<1 of one year a co met appeare<l, a nd t lt e holy
bishop Egbert cli ecl .
788. · Two yc:LL"s afte r th ese t h in gs, ki 11g Ethcluald r eeei ved u 11de r
his dominion. t he r()~ra] vill whieh i;:; eall etl Somerton. Th e same
year t he sun was ee lipsc<l .
784. J\ IJer t·.he la pse of 011 e ycn.r, t he 111 00 11 ap peared a,.; if stained
with spots of l.Jlood, a nll l.Jr t lt c salllc 0111c11 Ta.twine and Bede
departed t his life.

In t h e sixteenth ce ntury there is a lik e un c ri t ical habit,
with a s imil a r r ead in e ss of beli e f. Tli e narrato r, as usual,
h eg ins with Paradise, a nd co n t inu es to the date of publication. Holinshed, the m ost complete of c hro nic le rs,
vouches for the a rriva l of U lysses in Brita.in, and sp eaks
of 'a b loody rain, th e r e d drops fa lling 0 11 th e sh e ets
whic.h had b ee n han ged to dry.'

2'i'u

COllIPLETE ltliETOHIC.
DEPAltTllfEN'J'S OF 1£X PRESS l ON -

Jll STORY.

277

O f hi sto1:y, that r e prod u ces t li e unity a n d drift of eve nts
hy t lie i11 r)t10 n a.nd c h ain of i d e as, ex hibi t in g tli e o rdcrh ·
p rngr<"'ss o f soc ie ty a nd t l1 c nature of 111 ·111 I"">, I · I ;
·
' , :\.,t (-)] g· I S
(~(
IVu1·ld ( Ui4 l ), t h o ug h full of tlrnt so 1:t of
le arnin g w l11 c h n ow J)l'OYok c s o ul Jv <a· 11 i'11 cre d U IO US S till·1 C'
may li e sa id to s ig na li ze t li e beg inning.
'
_1 .
'I1sf.(:i-y

t!w

s ha pin g· b()'e uiu s of F.1u111 e, G'b
l
U nd e r t he
.
1 )O n , a 11d
J\1acau lay, h1 sto r )r beca m e 11 1o re ex ·tct a ii ·1
.
. ·
.
, '
' c 01ga u1 c, as
W<.'. 11 as lll o r c liu111 a 11 e a 11 cl d e 111 ocratic. 'l'li e for t un es o f
j>l'll1 ces a. 11d t h e iss u es of ca111 pa ig ns b eca lJl e o f less rn o rn e n t
t ha.n a. kno.wl e d g e of h o w t lt e p eo pl e actua lly fi ve rl- t li c
cx t r~ l'llal pi ct ure .of obje<:ts a nd t h e in te rn a l picture o f
s01 .d - t l1 e su111111ing up of f'a. c t s i 11 ge nnral id eas fo r t hl'
g u1d a n cn of t l1 0 leg islato r, t lin p o li t ica l econ orni st, a nd t h e
st 11d ,· 11 t of hunia 11 d est in y.

Tit <: pn ~s<' n t age di s<:lo.scs, with rn ore or less d ist in ct ness
t l11·ep
·
·11rnt 1ve
· o r r o nm11ti c,'
. ·sc· h oo ls o f I 11·s·'·1.o r1·a ns - t I1e 1111ag
\\'l11 c l1 '.na.k 0s t-. li c 111 ost la vis h e ffo r t to resusc itnte t li e
I
past,
1
'.> 'qii ct it ,-i,·irll y, dr:1.1 11 at i(:a ll y; t l1 e r ea list ic, wlii c li,
s 1111 pl <~ r and sen.~ re r, a i111 s t.o e xhibi t m e JJ a nd t 11i 11 g·s
111 <'r<_' I.' · ;1 s t-lt ey w e r e; a11c1 t lt e p liil osophic, w lii c li , u s ii,w
p:irt1 <· 11lars for ge n e r a li zat io n, see k s to s li o w t hat lii sto ri c:J
plH\nrlnJ t·1ia. lia,·c a sys t e n1 a 11rl a seq u e 11 co, d e t0 r11 1in e d 1,,.

l ~:it. nral law s.

T o t li c first be lo ng t he s i11i st0 r a nd furi o u·~

C :i.rl,, -k,' tl1 0 ni o ro p o pular a. 11d pararloxi ca.l 1i' ro 11 d n;" to t li c
·1-,ec ] a 1u J
s r•r:o11rl
. . , t.IH~ ca lm a 11d sc l1 oh rl .y Frce 111 (·1" ,11 , s 1--11,..,
\.• s 111·,. 1
art1sf-.Jt\ G ro0 11 ;1 t.o t li o t hird. tlt e learn ed a11cl a 111biti o 11 s
.
B11')'.l f','' .tlir ~ c:.1re .ful a nd crnnpro li ~ n sive L ec k y ."
l 10 111 .ii I t. li is, 1t :1 pp e ars that l11 story is to be co ns id <'r' •d
'

1
r ·r o11111·f'f .

1
!,

: I S/l(}rf. /!islory '!f Ill e F:1111lisf1 /',op /P.
f'iril.iz(lfion in F:ny'rnu l .

u01 ,1 ,. 11111 r-n 1

The ,lfal.'i11711f' F n ;1
I
· t · •
•
(
(!Hf·

" Ti'a:in 11 rrli.,111. liJ"l'O/}(Yt11 ,lforuls frn 1n ,·I 11u11slus l o Uhar.'onar/ll l' .
1/1. th e F:1gh/efiil/i. Cenlui·ii.
.
l·,'11r1/rr11r/
.

li tera ry, a nd :est lt etic ex iste n ce; observi 11 g t lt e c liron olog- ica l o rJ er su bordinate ly, th e logica l pr in c ipa lly; di spl ay iu g e ve n ts in t h e ir ca usa l co nn ect io n a nd <l e p e 11d e n ce;
sett i11 g fo l' t li b y iteration, e xa111pl e, rt n d ill ust l'a t.io 11, ge 11e rnl vie ws eo n cen1i11 g m e n , 11a t io n s , in sti tut io n s, a nd m ove rn e 11 ts o f par t ies, judge as w e ll as wi t n ess, cli s Lrihuti11 g
prais e a 11rl hla111 c ; a <ldress i11g itself to t he l1i g l1 e r (-)111 otio 11 s
not le ss t h a.11 to t l1 c und e rst:t11di11g. Says Frn1 1d e , alluding
to its vocati o n:
T l1 c l1i sto r.v o r t his, as of all nations (or so mu ch or it as t here is
occasion for a ny ol' i1 s lo know ). i .~ tl1 c hi ,.:(-.o ry o r t he Lattlcs which it
ha.s roug hL a nd wo 11 wit h c1· iJ; 11 01. wiLh poli tica l er il Jll l' rcly, or
·s pirit 11a l el' il ; lJ11t wit h a ll 111a ni fes t.:LL io11s w linl,.:oe,·e1· o f Lli e de1·i.l's
power.

·wP learn in it to sy n1p:iJ.hi zc \ri t h what is great HtH1 gocJL1: we
lea rn Lo li aLe what is Lase. J11 tl 1c n11 on1 a li es of fo rtu11 e we :feel Lhe
mystery of ou1· 111orl.al ex istc 11ec; a nd i11 U1 c co1npa11io11ship of t he
iJlu slri ous 1mL1u·es wh o have sh[l,pe1l t he fo rt 1111 es of t he world , \\' e
escape frOlll t he li t.l'.ll' ll esscs whi ch eli11 g Lo t he l'Ollllll or CO ltllll Olt
li fe, n.1id our rni11 Lls arc t unel1 in a hi g l1cr a 11 d nob ler key.
U u de l' t h e seco nd, it is co n structed wit li a vie w to local co lo r , dra niat i0 si t u at io n s, effect i ve co ntrasts; a 11 d is
mark e d hy a s tirrin g , e levated di ct io n. Tl1u s lt as t lt e
r ead e r ' t he pl eas ure of fores ee in g so111 e wlmt of t h e seq uel
with o ut co nf u sio n ; h e obse rv e s a lways o n e eve11t risin g
out of a n ot h e r, a nd lo ngs to see t h e windin g up of t h e
w h o le , w hi c li is artfu lly co n ceal e d fr o 111 lti111 , to li ast e 1t

J'h r F'r e11cl!. !i'r-1' 0/lllion.

~ :1~11r,lflnrlfro·m //Ip /r'rr !l of Wolsey lo I/I !' [le((fh of h'l-izo /J Pl/i.
. "'7 h P• . \ nri'.1a11 Cn11q"esl. Co11q11 esl of l/1e Soracfn~ . f"e!/ erf!l
()11
1 1\ r-c7 11s!t !/1sln ry_

und er two aspects, the scientific a ll cl t h e p oet ic . U nd e r
t h e fi rst, co 111111 e n c in g wit h t h e e n virn11111 e 11 t, i t d e lin eates
th e industrial, p o li t ical, do111cstic, suu ial, n1 o rnl, ndigiou s,

hi111 O il to it with t he g r e ater i111p a.t ic u ce. vV h e u li e lt as
p e rn sed th e w h o le hi sto ry, b e loo k s back lik e a c uri o u s
trave le r, wh o , ha vi ng got to t lt e top of a rnouutaiu,
obse rv es a ll a.ro und lii111 , a11 ll tak es a d e li g h t iu v ie wi11 g
f rn 111 1.lii f' s it1rn t io11 t. h• \ w;i v li e ca 111 c a 1td all t h e p leasa 11t

278

COM l'L E TE

IUI E TOJU C.

places t hrough which lr e ])assed '' 'l'I I .
. '
. t'
.
. . , ..
.
ie ustonan s qualiflc.r 101.rs rnny be summed up i11 the words of B· I . 'Bis
learn111g s ho uld he gre ate . ti . I .
.
<LY e .
.
'
I
. ra.11 ns gelllus, and hi s J'udo·rn e ut strong·e r tha I · ·
.
.
r.
.
II n s nnag 111n t10 n. In private life !11•
sh ould have tl1e c haracter of be i110' fr ee ·f1·
·t
1 · 1'
. •
o
0111 par y · and
llS.
or111 e r wnt111gs ouo·ht a l\\"L vs to J - I
,· ' .
.
b
' .J ·
la\•e S lOW ll t IC S IJl cer es t a.ttac lnn e 11t to trnth
I
II
.
th e I .
.
.
.
as~ sever a qu est10 11 s : \\'ho
fi'ol' i~,~~~ll'la11 J ~? of what co untry? of what pri11ciplcs '.-'
.
s 111~poss 1bl e but that l1i s private opi11io11s will al111ost
involuntarily work them se l ves into l1is ]Jub li c
·I' .
.
His st ·I
J
per .on11a.11ees.
.
') e, a so, should be c lear e leo··tnt arrd
'
11 e rvous.
E VH· l e u tl v much of wl t J ' 1·. M' ' '
b.
•'
.
ia . ias uee n said is app li ca bl e tu
tl
•at rnnch of histo ry wl 1iclr l I
·
:l .
c ea. s with th e c haract e l's
a 11 c ~mportant e ve 11 ts in tl1e lives of indiviclt1·Lls-b1'u
qru1111 1
'A 13 ·rography )) rofesses to .- t i
<
·
.'I·
· , f . l'f
g i ve ie e xp e n e nce
~ ,t . I. e, a nd m ay th e r e fore bring to vi e w a 11cl illu st ratP
r1npo1 t,rnt trnt. li s resp e cti 11 g 111 a n's pl
.. I
l
''
'.YS ICcL
a nt lll Plltal
11nfnl'
'.' .e. l li e e xamples prese 11ted to us in th e Ji ves of
lllu1111n e nt 111 011 a11tl worn e u r .
I
.
,.l'I
.
"·LY rave vanous beari111rs
t
n ·
ie y 111n v 111 st ru ct L I
i11st."11 ' "·a
C is iow o prese rve healt h (see, for
.
< ice,
eorge
ornbe's Life of A I .
C
tt · I
nc i e w
ombe) to
a. . a111 rnowl e dge a nd cu lture ( t h e Lives. of Pl ·1
1'
11 OSO!l IC l'S
,, I
p
'S<. 10 a.1·s
oet·s et •) t 0 J
.
'
. .
:
''.'
c. '
Pay a part 111 publie affairs to
~)1osp c l' 111 h11s111 ess, to regulate our farnili es or to c·I0 .' I
111 our
·
·
'
go()(
.. . ~e r.1 0 '. ·a t1011. ~Io~t co 111m o11ly, Biography g-ra~ifi<>s
ou1 i11t ei est 111 so m e d1st1ng·ui s he Ll j)e rso 11 fL11d i·s t I
L
.. II
. .·
· '<
1e 111on?
1
a cce pt<l. > c, t ir e lll oro it is invested wit! th
tuu c li es of poetry.'
i
e co Ol's a11d
Oth ollu's r eq11 est be fore hi s s u1· r..1'.de i's I
.
t re JUst rul e of
'·
t I1e hiogl'aplier:
.
l Jll':i..1· yo 11 . in ~·0 111· letters,
'.'' l1 P11 .1·011 s hall f.11 esP i111l11t!ln· d eeds rnlatc,
Sp1 ·:i.k ol' llH ! a.s I :t.111 : uot hi11«..
N . .
,.., cxLe11nate,
l oi :-ct <luw11 aug ht i11 111 nli l'l'.

OILA.PTER XIX.
DF..,PAHTMENTS OF

EXPH~SSION-SCIENCE.

Sci f' nce is , I believe, nothin g bnt trained and orga11 ized common s en se. Hu x r, EY.
~ c i c nc c col'l'cr.t.~ th e old crccdR, Rw cc pR awny with eve ry n e w perce ption,
onr i11fn11til c cnt.c chi sm R, aml 11 c·cc~R it.u t cs a fnith co 111111 c 11 sura tc with t.he
~ramlcr orb its a nd univ e rsal la ws which it di s closes.-- EMEHSON.

F' hi sto ry be d e fin ed, in th e n arrow e r se11 se, as the n arration of a co nsecutive se ri es of ph e n o mena in t irn e,
or the d escription of a coexiste nt seri es of phenom e na in
space, tir e information thus r eceived,-that ce rtain ph e nomena are or have bee n, may be ca ll ed historical or e111pirical - the latter beca use gi ve u by experie nce or obse rvation, aml 11ot obtained as the resu lt of infer e nce or
r easoning. But th e lrnowl eclge of a pl1 e no111 e11 0 11 as a
m e re fa c t, as a m e re isoh1ted e vent, does not conte11t us.
Th e co ns titution of our mind compe ls us to suppose a
cause - to co nn ec t the obj ects of our e xp e rie nce with
otlrers whi c lr afford the reasons oC tlrcir oxistc11 ce, n.11<l
(because we are lost in th e lllulti tude of d e ta il s ) to asso rt
them in classes, to reduce the many to th e o n e, the infinity
of nature to the finitud e of 111i11d, to t end ever upward
from particular facts to g e n era,! laws, from ge ne ral laws to
univ ersal principles. This knowl edge of th e why or how,
this generalized knowledge, is called sc ie ntific, philosoplrical, or rational.
As ge n e raliti es, curre nt maxims have somet hing of the
reality of scie n ce, thou g h too li tt le tested alJ(l too loose ly
word ed to deserv e its nam e. Th ey are reach ed by th e
sam e process, hut less ri goro usly; a 11cl r eceive th e same

I

280

CO MPLHTE RlfETOHIC,

<> x pos itory ha nd lin 0cr as t l1 e n1ost
. .
.
,
p 1ec1se do c t n
r
. or m e ta I ' .· . S
J! I iys 1cs
.
ncs t>
,,
p Jjsics.
ays Professor H u x ley :
L li e vast res11Hs outai 11 cll uy snic11c . .
fn culL ics, liy .n o ni c·nL·tl jJro, .. ". '· ·J .e <1.ie wo11 lJy 110 111 y:<I il':d
.
'
cesse;:;, ol. Lcr ll L'L ll t li o·· 1 . 1
t1ccd liy cvcrv n11 e ol' Li s i1 IJ J
I I. . '
::;c w uc i are pnu·A dotcct il'e 1;oli l'l' lll 'L 11 ·1·. I , ic 111111 ' es t n.11d 1n ca11cs[. a[airs uf lif .
, · · l 1scove rs a lnLrghr f.
.
1 n1arks 111 ade 1>1·
hi s sitnc, lir n 11 11•1 1l-J I 111· 1, -.. ·1
. ' . 101n tie
•
"
< cess Jr 011 tl("Ll witl ti t b
.
·
restored I. he ext in ct 1111 i 111 ·tl s f ]\ [
,,
, ' , t:l. . y wlm·h ( '11 1·i1•r
hones. Nor lll>r•s ' 11 · .t .· . o f :' 11 L1nn.rt rc fro m Jmg111e11 ts of I ht·ir
.. L <L jll OC<'SS O
1 , ·· ,
.
n l:tll.1·, li 11d i11 g a sh1i11 o l' . . ·1· . Jil l ll <:t10 11 .i 11 tl llctl11 clrn 11 li.r wliid1
·L p.1 1 ·lll1il:1r k11 1ll 11 10 11 J1, . I
1
LILat so111 cl.JOd y Jut<; llj) " ,1. 11
.
u l res::;, < · 0 11 cillfl <·~
•
'
, L., • w 111 1
<s f.a nd j ,f ,. ,
l"IJ' .
from 1.lt:i.l l1r which J\ d ·lll . • I I . . ic1.co11 , ' I .er 111 :lil y wu r
•r110 rna 11 of. Rc i c 11 r~c i11 .,f. is·t· ·L il.·< i<·I 101T1cr
<l1 s . . . I .
.
.
. . covc1cl ,L fl ew pla11 t>L.
"
. .l l. " Sl lllJI \" ll ~U s Wll Ji "
j
I It o 111 cl.l1ods whi cl1 we a ll h· I ·1, '. 11 ~ :
. su ·11p11 ow; m:nel I ll' ~~
carclcs:-;Jy.
· L H u.i. ) ·Lil t! nt crc ry 111 0111e11 I 11:<i•

Sci e n t i fi e

r

b

n11d e rsta n d i11 ~· 1~co n1-.s.e . e i'. 1g r~rl d ressecl p r in c ipally tu 1111>
"" ' its fo 1111 ,tl I e <pt1rc 111 011 ts a r e cl earn . . .
p leLc ness, ce r tai11 ty, a 11 d rn etli ucl.
ess, co 111-

O~v iously, t li c p owe r

s hre wdly a u d co111 pete 11 t ly to t· I·
prncos o r to o lJs e r ve par ts a ud t i
. .1 , e
1e powe r tu "TUll J
t oge t i1e r a 11d s ee l1 ow " II t li e . ' ,.
l
. ti
>
"
parLs a r e r
t Jt
w ho le, are 11ossessod b
.
ea ec o o ne g-n·at
· ·
·
Y 0 0 111 pa rn t 1vely· f e
l
ex p e cte d fro m t li e fi . ·t f~?
,
•
w, a 11 ( ca 1111 ot be
. 11 s . e wrts of rn t elli
. 1
i11 d i1.·id u a ls 0 1. of JJ"t.
.
\ J
ge n cc, 01L 1c r of
•• io ns. .fl.s ate a t i , f' J?
a 11 0 f . l C
.
. s ie ' l.e e 11 1~ 1i ce 111 u rr
·
x .Olt
atec li1 s 111 a1>k ed c 'vV J. t · _
·'
.
w hi ch Ada lll t i 1·. '
l et
JS t 1IC s ul1 sta 11 l·1 ~ of
.
'
ie 11 st lll a. 11, was made? ' 'LI l t i
was :
· < l(
ie a 11 s\\'Pr

to

T te ll U1cc of r ig-li t po 111Hls bv wc io·ht
0
·
·
•
111 0 whnL t.lt l',V 111 ·c ca ll ed.
1 I.ell tl inc t he first was n po1111d o f en r th
' ..
.
Ill a.d e ; t ho soco111l w·is "
l f f' .
' of "Ji icl1 l11 s ll t>s li w11~
. , •• po1111< o I l'l' whe
J . II
a11 11 hot · j li e 11 · . I
'
, nee 11., > nod r·: 11111• r1-1J
,
, ll l l wa s n po11 11 ll of wind ' LI 1 t i
.
.
wns girn n l:o him . Li1 <' ·( ·ti
, ' Jc , 1r1H:c 111::; lm·11l li i11 i:
'
, o111 I was a po1111d f . 11 ··
n11 slcad i11 rss of mood g·i1rc1 I .
'I
o \l e i111, l.J1 r 11 ec w11s Iii!<
.
I 11111 ; L IC fift h wa 8
l
whence was gii•r n hilll 1 .
. _· · .'
· · .a po t11 1l of grnei\
,
11s ~ 1 0 11 1. 11, t he sixth
.
,
.
·
scn 11 s, ·wfi c11ec w:i.s g·i\'C i 1 .
was a po1111d of l il n~.
1 11111 L 110 va n cl·.1, of I 118
· .. ,., .. . .
wn s a 11ot1 11ll of <low ,,.1
·
c.1 cs, .i nd s(• 1·.. 11th
.
.
'
1e11 «e 1ie got his 11' " t .
.
po u11 d of sa lt, 1ll H l tl ie ll'·e 11,,,1.l' 111.. ·L . · s cc1 ·, ll ie l'1ghl 11 11'11 ~ 11
s ea rs :::a 1t.
'I 'l' II

0

"

.•

L

.

DEP AHT:'.IIENTS OF EXPllESSION -

SCIENCE.

28 1

It was n ot n11 t il t h e se ve n t ee nth ce nt ury t h at a ne w
epoch was cl et e n11 in ed , fo r us, by t h e ge n iu s of Baco n,
who proclai med t hat, for t he attain m e n t of scie n t ific
kn owledge, it is n ecessary to obse r ve wit lt car e - t hat is,
to a na lyze; to rej ec t e very e le rn e ut as h ypoth e t ical whi ch
t his a na lys is do es n ot spo 11 ta nco us ly affo rd ; to call in
e xpe ri me nt in t he a id of obse rvat io n; a 11 d to att e rn pt 11 0
sy n t h es is o r ge n er a li zat io n un t il t h e r e lative a nalys is has
bee n comp letely a cco111pli s l1 e d .
At p r ese11 t, per ha}JS t he di s t i ng ui s li in g cl ia ra c te ri st i c
of t l1 e age is, t h at it draw s, fa r m o r ~~ la rge ly t l1 a. n he re tofo r e, u p o n expe r i1 11 e n t as a n1 ca 11 s of a rri vin g at t ru t h,
whil e t lt e k 11 ow le clge t h us acq uire d is a p p li ml to art a nd
in vestigat io n wit h a fre e d o m a nd b o ld n ess hit li e r to un kn ow n. The i1111 ov~1t i o 11 s th us m ad e up o n ot h er mod es of
th ought a.r e wit h out p a ra lle l. N e w d irect io n h as been
g ive n to inq u iry a nd asp iratio 11. G i ft e d in tellects liave
bee n cl ive rt ecl fnrn 1 poetry- fr o 111 t he s ea rcl1 fo r t li e id eal,
to t li e searc h for t he rea l. vV e have see n h ow profo un d ly
hi sto ri cal 111 e t l10d has bee n inrl u e 11ec d by t h e co nceptio n or
orde r. ·M eta.p hys ic ia ns stlllly t li e 11 e r vo us sys t e m , a nd
speak of t h e 'dy 11 a 111i cs' of Ill in d. A ll d epar tme n ts h av e
th e · sc ientific col o ri ng,- t h e wid e ne d s nr vey of m a n a nd
of n atu re .
Th ough w e have us eLl t h e word p ldlosoph ical i n its
w id est acc eptat io n, as sy nony lllo ns wit h scient(!ic, t he
lrn owleclge of mind i n wh ateve r a s pect, is d e no n1 i11 ated
philosop hy by prei:-; 1uine n ce. Th e o n e is e sse n t ia lly e x te rna l, t h e oth er esse n t ia lly i nt e r ior. But, as b efore r em a rk ed, th e sc ie nt ific m et h od-th e met ho d first and
spe c ia lly appli cable to t lie st u dy of matte r -powe r fu ll y
affects every departmen t of . tliou g li t . T heo ries of me n tal
processes w hic h d esp ise o r igno re t h e d isclosures of p hys io logy a n d natural history, ca nn ot h ope to recei ve favo r.
T he m istake - if regre t may b e e xpressed - is in ma ki ng

282

DEPAR'DlENTS OF

COMPLETE IUIETORI C.

ph ys iological investigation th e sole or chi ef guide. All
its aclii e ,·e111 e11ts hav e only illumi11 a t ed the old state111c11t
that soul a.11<1 body are h ere iutimately related. ' Tiu ~
proble111 of the co 1111 cctio11 of so ul and body,' says T y 11clall, 'is as insolva,ble in its m odern form as it was in tliP
pre-sc ie ntifi c ages.' No lig ht has been s hed upo n tliP
a r ca na of inte ll ec t and volition; u or ca n there be, b\·
exc lusi,·c approaches from th e o ut s id e. No sage of physical wisclo111 cn 11 bring wo rd ol' so lace or vision of p eace tu
Llie troublctl and weary who ask:
'Canst t·Ji on not 111i11ist·.cr to a m ind di seased,
Plu ck fr o111 tl1 e mernory a rooted so rrow,
lfaze out the writteu t ro11L1l es uf t il e lirai11,
Anl1 hy so1ue sweet obli,·ious a 11 ti clotc
Clca-11:-;e the st uffed bosom of tli c perilous st uff
Whid1 weig hs upon tl1 e heart?'

To prod uce scientific works that shall be classed among
literary produ ct io11 s, there mu st li e added to a m astery of
t he subject a m astery of lang uage tl1at is equally rare.
li'cw writers s nccee<l in so far libe ra.t ing sciellce from the
lm rdc n o( technicality, and, by the various arts that can
impress id eas, i111parti11 g to th e ir material that (jUa.lit.y
whi ch we ca ll 'rcaclahl e 11 ess,' as to m erit and e usurc, for
Lli e prese11tatio11, a high µln. ce i11 literatu re . I11 general,
writi11gs of this spccif's are m or e valued for their conte nt.
1. lia.n for th e ir lite rary cliarn.cter; The following passage
f rom Darwin will se rv e as an illustrati on of th e atte111pt
( which, from the nnture of the matte r, can neve r be 111orP
t han partially successful) to co mbin e poetic interest 'rit.h
' 11struct ion in tlte exposit ions of Rcience:
H i s inte rest ing to cont.P rnplat-.c a tn.ng le(1 hank c lotl1 e<1 wit.It
Jla,11 ,1· plnnf.s o( llHtll)' kinds, with hirlJ s singing Oil the busJirs, \\'i lh
:1 riou s in sPcls fliU.i11 g n.l1011L 111111 wil.h \\·orms crnw li11g t hrong lt t hr
la 111p ra rl Ji , nnd lo re fl ect that Lhesc elabo rate ly co nstrn ctcll fo r111 s,
•• diffrrent [ro111 cae h other, a11ll de pe11d l' 11 t upon ea.ch of-.her i11 ~o
omplex a 11mn11 er. Ji aq1 all l_H~c 11 prod1wed by laws acting a round

RXPJtJ<jSSTON -

SCIENCE.

283

·
oTowth wiLh r e. the largest sense, b rmg "'
_ .
' Th ese l:L\\'S. taken l1l
'
.
r
l by reproc1 uct1011;
ns. - .
.
.
.'
It ich is nJ111ost rn1 p tel
.
-. .
f
rrnlnct-.ion; inh e nl:Lnee, w
- .
t - t'
of t h e co1nlit1011s o
P
. 1' ' t and dircc ' ri.c .1011
1
t . - f i·11 c1·c""<' so lti n· h :is to l eaL
V·., ria,bility from t he Jll l irec ,_,
"
.
·1 l'
·
a
1..1 JO 0
'""
.
'"'
·
arnl [1'0111 u,,:c a11l l ISUSe, • , ,
to ll'ilural selcct1011 ,
11· •e
L ' •
·
. _
ns a. co n seq nenee ·
•'
· .
to lt st rn gglc for h fo, f\.lH 1. ' . '
l t] e cw(·i11cti on of jp.,:S- Jlllpl'OV PLl
'
f l . rnctcr a nt 1 '·' · · ·
tl
entailing" 1\i vcr gcnCC 0 C 1_,t ' ' ·. ' t , frol\\ fainin c n,11<1 t1cn.th , , IC
r
thcw •1r o l 11,i .n1 c, \r
"
• l l
of co 11 cci vi ng - 11 ri111 e. ).
forms. 'l'hus, tl'OITl
· t •I · -·h we are en,p.1 1 c
,,
· -.
111ost. cx:tltet1 oll.icc " '~ ~
. l · - i1i rectl Y follow s. I here t:,
.
[ ti 111g·her a111 mn. s
.
.
I
the proc1uct.1011 o
IC
. .
·11 .L. scvc r·d 11o wcrs, lrnn11 g- Jce 11
. .
( ll fe Wl , \ l S '- , "
..-rand cnr in tlus view o '
. t· . f 'W form s or into o110; arnl
" •·u·i11·1.ll y hrcaJ.l10•1 li .v tl1c· Crea.tor
i11
,o
,1,
(,
·l
f"
.
d
' , eye 111tr
. ,,nc•<il'l
li11"" to L 10 1xe
.
()l 1M
() 11 , 1
_1
that, whilst this p\a.11l't 1ms _gon e . ,I .•~ ' i1w l'ti!llc~" fonn !' 111u,-1.
.
f·
-·o s111q11P n. ith 111 i ,..,,
u
laws o f g ra vity, 10111 " . l, ' 'I n n,11tl :.Lre being e\'olve .
beaut ifnl a1H1 lllOSt wonuerful 1,L\ C JCC
1

•

/"""!

DEl'AJtTME NTo OF EXl'lU!:oolON -

xx-

01-IAPTER

..L

•

DEPAlrl'MENTS Oli' EXPL=?, E SSJON - li'lCTlON.
f ,e:--:so 11 ~ o f wi sdn111 lrnr c n e vt•r ~11c l1
pow<' !' n1·t·r
· n ·s •'l" I v I1c 11 ti 1c•y are llTorwlrt
. . . ·"'
I c l'101111 t1work o f ·r sln. 11 I . I
.
"

. Io ti· ' " I1e :tn tl1rntl"lt ti
111
STEll NI> .

~

'

'Y ·

·

11 c ' e n gage~

th e pa ss io n ". -

! ~ 11ppos e a s lo11 g a ' 11 01·e lB la ~t a n<l a 11 t lro.1 . .
. .
.
!h e re llllL't alwa ys UP in ti , t .
"
~ · L1111 .i t nif <· r e.' llll g th C' ir p 11 1rli<'.
.
I< ~u 1 ya1 1 rt11011 s and" 'l ll ·
t i >·
.
~ t. e r . h1~ oppo~it.e· and ·i f)l' ill ' . ·I
I
.
h'
dll
tero; n w 1c kr•d n1011 '
'
L
J g 11 , II' I O f111d' ' I ·Ir·
'
co 11q11Pr hea11tv· n11d \'ic..:f' ·1f'L' . . ,
.
. .' c (ttnp1n11. IJra,·e ry :i nd ,·ir111t·
.
. ,
'•
LI H " ""'""to tr11111111h ti
.
I
of p:1gP:-:. i~ )'-:!11·e t.o be di:-- c..:0 11llit . I . t.~,
.
. Jl'o11
g I a t:c 1·tai11 11r1111h er
I .
" l 111 . IC l:r ' t i·of11111 t• wl
. L'
11111. a11d hone s t folk ~ cn11 1e b ti ,·.
" . .
,
ie n Jll S icc u1«•rt:rk e'
y It.II uwn. - l f!A C K11:HAY .

you

all hav e o bse rv e d and e xpe ri e n ced a c hild's c a"·t'I°
lov e of story. The stro 11 o·er tJ
I .
,.., f
·
:s
ie co on11~·, tl1e k ec' r1 <·1·
. )
t i1e r e l rs
1'· ·or· c lII·111
·
~
c iood is tli e }Jeri·o -l 0 f
.l
I
hn
f
u
w1c e -awa . : c
' cy, o wonde r and e 11tliusias 1n 1·11 . . -I
. •· .
•
<L I Ul e state of
soc ie ty, wh e re r11 e11 are but c liildre 11 witl1 . . . t
.
c I' · I
I·
, t grna e r vaiwt r
,;, h" e~~' .1~. ir.~ te 111pe ran1 ~ ut. ex is ts in its hig hes t pPd'c\:I io;;,
ra11 is hsc111ate l l
t·I
.
·u11ae I]) e,u toua,1·1ss10·
.
.
l )y , ie 111compre lw11s il1le
f . .
I
·
. .
, .. :s 11 '
o1 a natura ph e no111e11 0 11 a ca. 11sp
w1tl1111 nature, he has recour. ~
1· .
'
.
. .
Se to a
1vmo· JH)rson·t!ir ,.
ens lin11 c ll r11 it. To e ver ' . . .
.
to
•
·'
.
.
, .) g rotto li e 0o·rves a '"e 11i11 .. I
e \•e ry tre e ·
.
·
.. . .
to
s, u
I ·s~
I " .
. ' . 11ve1, spr111g·, a d1v1111t v 0Lit of ti ie <l ar;:111
ie ca11uot t e ll what alar111111g spectre may e m erg·e
I•' ...
wh e1·e I re is
· a beli·e ver Ill
· sorce rv witchcraft ,. • ·I'''..
n m e nt
I
"'
· • , e nc 1.111t , ., • ~II a
more advanced stage of cleve lo p111 c 11t , lit~
conceives a 11111rilJe r of p ersoll'd b . . d" .
.
e111gs rst1n ct I ro1 n tlio
_
.
.
'
''.~ate n a lf crc:ttro n, which pres id e over the differ e nt 11roti
·
•
' 111 ccs o : nature - tli o s
1
i . I . ..
,
. ea, ie arr, tie
w111ds, tl1 e st n•a 111 s,
t, IC 1e ,t.\ P ll S - 'tll <i 'J«<-11 1
ti
j"
.
•
' ., , ,,
ll P . IC o·ua.n l'lll "' l11°1) 1/' . l' .·I
I
u

•

.

""

..

•

"

"

(

I II ( I\ I I

11 :1 ..; .

FlCTJ.ON.

~85

o f refe rrin g eff ec ts to th e ir causes, and his interpretation
o( things acco rding to o utwarll app earances, w e skill
het t e r und e rstand how th e Hours, the Dawn , and th e
Night, with h e r blac k 1uantl e bespa ng lell with sta rs, ca m e
to r ece ive th e ir forms; how th e c lo ud s we re sacr e<l ca t t le
driv e n to th eir milking, o r sh ee p of t he gold e n fl eece; h ow
th e fall of th e dew was the sh e dding of divine tears, an<l
th e fatal sun-shafts the n rTow s of Apollo s hot from lii s
gold e n bow; how the wes t, wh ere th e sun and stars go
down, was th e portal of d esce nt to l1 c ll , and t he morning
tw ili g ht a rdl ect io n from th e Elysian li elrls. Th e n, too, a
similarity of: imagery will ex ist wh ere ,·er th er e e xi s ts a
r escmhlan ce in the ob j ec ts callin g it fort h ; and a multitud e o f th e sy 111b ols thus brou g ht, into c inmlati o n will be
fou nd r ec urrin g , lik e th e primitive roots of a lan g uage, in
almost every c ountry, as co111rnon property inh erit e d by
d esce nt. Eve ry one, of A rya n blood, knows that th e
m oon is inh ab ite d by a man with a bundl e o[ sticks on his
back, e xile d thith e r 111any ce nturi es, and so far away that
he is b eyo nd th e re a c h of tleatl1. Fro 111 th e r e m otest period,
tl1 e rod h as b ee n emp loyed in divination; in Bohemia, in
Scotland, in Switze rland, in ] ce la. nd, in North Ameri ca, is
the story of some Rip Van \ 1Vi11ld e who slumbers while
years or ages glid e by like a w<ttc lt in the ni g ht; ancl of
that gre at my ste ry of humn.n life whi c h is an e nigma
neve r so lv e d, and eve r or ig ina t in g specu la.tion, is bo rn tlie
myth of th e \Vandering J cw. Co nsid e r , agai;1, how in ci d e nts c hange by distan ce, and we by age. How a thing
grows in m e mory wh e n lov e or hate is th e re to idealize it!
Such is the foundation of fiction in ge n eral; orig inating
as a whole from no singl e point as to co untry or to time,
but in part, springing from common c a.u ses, and in part
trav e llin g from r egion to r eg;ion on airy win g, scatte ring
,

,

286

CO ,\IPLETE 11HETOlUC.

de 111a11 ds o f n ew occas ions, transferred from one s ubject to
a no t.he r, n1H.l e mbelli shed acco rdin g to t he t aste, t e 111p cr,
and resources of t h e art ist. Thus, the Macedonian co nqu e ror a nd his co n te 1npurn ri es are acco ut red iu the ga rb
of fe ud a li s111 , n1lll lii s wars t ra nsform ed into chivalro us
adv e ntu res. Th e Na iads of Urecce differ o nly in na 111 c
frolll t he N ix e n of G e nn a uy; aml t he Norwegia n Thor is
brothe r to O ly mpi a n .Jov e. Th e P e rs iau Goulet of t he
Su n r eapp ears as t li e Horn o f t he Ce lt ic Bran, produ cinµ;
\\'l1ate ver li q uo r is called fu r ; o r as t li e Sa in t G raal of the
Hound T able - fo r which is reserv ed t he 'Seat P e ril o us'
- t he miraculous cup, t he give r of suwptuo us ba nq uets,
t.h e hea ler of m a. ladies, to t he pure th e interµret e r of th e
will of Hea Ye n. The m agic s hip of Odin, wl1ic h could be
fo ldell like a lmndk e rd1i ef, bc co 111 es, uud c r t he play of
Homeric fa ncy, se ll:-d irect in g a nd prophet ic :
So s ha.lf. 1111m i11 sf a 11f, rc:wh I.h e n ·a l111 a:-<,.; ig 11 'd .
111 wo11dn111s ship,.;, ::<e lf-lllovcd, i11 sfi11cl wit h 111i11d:
No hcl111 sce urcs I.heir co urse , 11 0 pilot guiues ;
Li kl' 111 P11 i 11 tc II igc 11 I.. t hey ploug h the tides,
C'o 11 :-< <' io11s of e very co11 sf. a nd C\'er,v lJ:J,y
'l'ha.t. li es 1Je11 ea.Lh t he sun 's a llmin g rny.

Tli e sto ry of .Jack a nd .I ill is a ve neral> le o ne i11 J cela ndi c my th o logy, a nd .Ja c k a 11 d th e B eanstalk has fou nd
eager lisl e11 e rs in Afri ca, as iu ev ery quarter of Etll'OJW.
A ll th e mac hin ery of t he Iliad is rnproduced i11 t he lege nd
of C lt a rl e 111ag11 e ; a 1Hl if ill hi s case m yth w ere not co 11t roll ed a nd rec ti fi e d by hi story, li e would be for u s, und e r
hi s adv t'11tifio11s or 11 a111 e11ts, as unrea l as Aga me mn on.
So it co 111 es t.liat t he po pular li t erature of t he Dark a nd
Middle Ages was a tiss ue of v isio ll a 11 d mystery, of br illia,11 cy a nd marvel, of fu ri ous a nd rav ing figur es - ta. Jes of
di1nly re111 0111her<' cl kings, of wo n<le rf ul he roes a 11 rl h e ro i11 1·~.

DEPA l tTMENTS 01r J<~XP I U~RSlON -

.FlCTlON .

287

vVr itten in t he Ha rn an ur Ro mance dial ects-p rin cipally
in Fre nch a nd ltalian - such narratives, d ispla.y in g a
wo rld with little resemblan ce to that in which we dw ell,
rece ived th e n am e of rom ances.
Eve n after Cha ucer (1328-1400), t he ro ma nce o(
c h j valry, with its g ia 11 ts, e nc Ii a n t 111 011 ts, tou ruam_en ts: ;wcl.
t hrillin g adve n tu res of he ro ic knights, loose rnn g. Lts~lt
from t he restra in ts of ve rse, contiuuell popular 111 Lts
p ros e forn i. To t hi s, in t he sixtee nt h ce nt ur!, we re adc~ ~cl
face t ious, stro ng ly seaso ned, li om e- macle sto n es oC real Id e,
and polit ica l a llegori es like More's ~rtopia. 1n ~503 th e
E ng·li s h la nguage r eceived nut o nly 1ts first sus~ain ed a 11:l
schola rl y prose fi ct io n, but a lso on e of ~h ~ ea rl iest ~pec1~
m ens of its capacit y for re f-in ed a nd art1st1c prose of a n _y
kin d, in Sir P hili p S id ney's Arcadia., th e '.11 ost _m e 111ornblc
characteristics of w hi ch are a high to n e of 1dea lity, and t he
rnst ri cLion of in c id e nts wiLhin t he poet ic possibiliti es o f
trnth; a ta le 0 [ two icloal shep he rds wl1 0 l_ov e a 1.1 id ea l
s he ph erdess in t he mi dst of id ea l sce nes ; a p iece of prosepoe t ry, 'fo r, though it obse r vet h 11ot 11u111 bers a nd i:hym e,
y e t t he in\' e ntio n is who lly spu n out of t he p hausie, but
co n fo rm able to th e possib ili t ie of t ru t h in all particul a rs.'
Th e n cam e, to imprint itse lf' bsti11g ly o n th e 11 atio11al
me mor y , Bunyan's Pilgrim's Prog1·ess, a . r~li g i o:1s a ll e~ory, based O il t he old 11ot io11 of t he CJ_1n stm 11 l1f~ as a
warfare an d a journ ey - <t journey, a.s 1t unfolds 111 t l1 c
rapt tink er's m ind, from t he vv ick e t-gat e see n a.far .ov er
t he fields under the Shi nin g Lig ht, on by t he straig ht,
und eviating- road itse lf, w it l1 all its sig hts a nd p eril s, a nd
t hroug h t he Ench a nt ed G rou nd a nd th e pl easant la nd o(
Beulah, to t he black a nd bridgcless riv er, by whose w~.ters
is th e passage to t he g limmering rea lm s, a nd th e bnghtnnss of th e H eav e nl y C ity .

288

C01\I PLETE RUETOJUC.

Frrfr JUt, t h e spi rit of Frnu c h a ncl Italian ga ll ant ry, we
co ni e t o S wift a nd D e fo e, wh o - t li e o ne in (}ultiv er's
Jht
v ds, t ir e ot he r i11 'l'li e Adventu1·es of'
--.
. Robinson
CntSoe - gras pe d co nte mp o rary life, a nd occ upi ed t li c nise l vcs witlr t ir e da ily for ms of lrnni a 11 in teres t . In 17'-IO
J1 i c lran~ so r.r pulilislr ed P({}nela, a lristo l'y o f E ng li s l1
do111 cs t1 c life, a nd t l1 ere fore a st ill n 0~ rc r approad i to t. 1
10
rno<l e rn con c0 p t io n of t l1 e NoV<"~ I. Fri e nd s w l1 n kn e w Iri s
tal e nt for le tte r -w ri ti ng as k ed !rim (th e 11 fifty-o ll e ye ars
of ng<', a nd undi sti11 guis l1 ed e xcep t as a car e f11l lllan of
b us i11 0ss) to write 'a li tt le book of fa rnili a r le tte rs
tl r.
0 11 1
us e fu l co nce rns o f co n1111 011 li fe.' On sett in g· lrirn se lf t.o
co ni p~ y " ·it h t heir requ est, it occ urred to h·i-ru , he says,
t lr at if h e wrote a strwy i11 a ll easy a nd n atu ral mannel',
l1 ~ 'migl1t 1_>oss ib ly in trodu ce a n e w spec ies of writi 11g t ha t
n~1 glr t p oss ibly t11rn you ng 1rno ple in to ;r, co urse of r ead ing
ddTere n t fro lll th e p o111p a11d parad e o f roma nce wr it irio·
a nd, di s mi ssing t ir e i111p robah le a lld m arv e ll o us, w it h whi~:
11 0 \·C'ls ge ne rally a bo und , mig h t te n d to prorn ote th e causi ·
of re li g io n an d virtu e.' 111 t he h ands of Scott, wh o irr
] 814, as tir e autlror of 1Vctverley, bnrst o n t ir e 11 0 ,· !8
reading- p11blic 'lik e a meteor arno 11g t l1 e s 111 a ll c r stars,'
tlris sort of c01 npos if-.io 11 , acqui rin g a hi storical te i1d e ncr
a nd ass uming a J1ig lrnr dignity, is mad e to b le n<l t lr~
interest of ro 111 a 11 t ic adve n t ure with t lra t o f lr orn ely :r.nd
l1u1n oro11 s rc p rc~se ntatio n of 111a11n c rs. Before a nd around
tir e 1Vrwe1·ley we re t ir e Caleb 1Villiams of Godw in , t lr r.
P ersuasion of .Miss Austc rr , t ir e 8 eottish Cl1ir;j:<s of Miss
Port.e r, a 11r1 , in parti c ular, t ir e Irish tal cs of Miss Eclg·cwo r t. lr - a ll of whi c h arc directed in o rr e way or a.not ii e r
to n t ili ty, a ll snc ki11 g t ir e ame li oration of man, all r ea li s ti c
and nr or:i I. T o-(hy, fi ctiorr is t lr at form o f li t e ratur
0
wlii c li , 11 0.x t to t l1 e ne wspape r, h as t he widC'st. pnpiil :ir

1

j 'I f' I , ,, 1I ,.('

' I I'

I

l

; ...

l )'

',. '

pub li s lnn g h ouses, S nnd ay -sc l1 oo l libraries, ma_g-az in es,
wee kl ies, aml da ili es - it nrny be sairl to be t l1 e tl a tl y food,
for good or evil , of t lie c ivili zed wo rl <l.
. .
. .
To stun up, w e lt ns e see n t ir e ge rms o f hct1 0 1t c x 1st nr g
everywh e re i n th e ea rli es t ages, a 11tl e xpa rrclin g into t lt c
ve rse or prose of fo ndali s rn a 11 d c l1i valry as rr atura ll y as
t l1 c grass grows nporr t l1 < ~ s 11rfac c ()J Lli c so i~ .. vV c li :t\'c
SC<)n it pass bcyo 11d t Ir e ro 111 a. 11 t ic i11 t o t he rea l1 st 1c d c ,·clop111 e nt , as a 11 at1'-:u 1e i11 g soc iety clc 1n a rnl e<l lll or c a nd rn o 1~c
t li c rr arrat. io n of what is probable n11<l er tl1 e laws of po e t ic
just ice. vVit lr littl e cuit i \'aL io 11 fro 1n C l'. au c;-r to Qu C(' Jl
A. iui e we h av e see n it 1.11\cle rgo a revoluti o n rn t li e ha nd s
of ob~ervers a ncl morali sts, b eco min g in D e F'oc a n d H ic ltardso n t lt e nove l of ch aracter, holdi11 g t he lllirror up Lo
Natu re, a nd :i.i lllin g to e le vat e w hil e it inform ed t ir e mind.
T o whi cli m ay be added t h e (listin c t io ns hi t h erto cxpres:ccl
o r implied, t hat if t ir e inter est t urn s o n supen~atural, .1111probabl e, or marv e ll o us in c id e nts, t h e ~tory is call e<l n.
romance J. if on pic tu res of: li fe, s how m g t lr ~ we b .a11.cl
t~ of soc iety as it r eall y e xis ts, o r has existed, it is
call ed a novel. If t ir e nov el r e-cr eates t he e ve n ts and
cliaracter s--;-n-1i stor y, pu tt ing us in to living co ntact wit.Ir
a g ive n pli:Lse of: n a.t ion al li Cc, it it; historical J. if it !1ai 11~s
huma n nature a ud fa cts w ith a m or a l effec t or d cs1g11, i t
is ethical.
The Jin;t t liinl.!.· for t h e criti c, as for t h o n ove li st, is to
fi x 011 t h e aim, tlie total m ea nin g, t h e ce n tra l idea-:tli.e
status, or rnot~f l s t his slig lr t a nd t e mp orary, o~· 1s it
n oble, la rge, a nd e ndurin g? Th e ge n e ra l conce ption or
inte ntion is as t h e spine of a h uman bei ng o r t h e tru nk of
a tree. 'Yet as nature u evcr leav es eit lr er bare, but
c lo th es th e m w it h mus cle ancl fl esh, branch es a rnl fo li age,
sn t hi s Jca (lin g· iden, o f l1i s book wi ll b e by t he true aut hor

~ \JO

CU ~Ll.'L E T .E

lt ll KJ'O IW ;.

11 ot o ve n to su spect its e x is t.eu ce. Y c t fr o nt it, tl1i s 0 11 0
princ ipal id ea, p ro ceed a ll aftergro w t l1 s; t lt e k in d of pl ot
which s ha ll h est d eve lop it , t lt e c ha racters w lti c lt must act
it o u t, t he in ciLle n Ls w hi e lt will e x pr ess t lt cse c haracte r::;,
1!vc 11 to t h e c o n ve rsaL io 11 s whi e h in vol ve a nd clescr ibc t lt e::;c
in c id e 11t::;, a ll arc sec1 ue necs, fo ll ow in g u 11 e a 11 ot lt e r i11
n at ura l onl cr ; e ve n :v; frc> 111 t lt e sccd-ge rn1 res ul t s uccl'::;s ively t h e tru11 k , li111b::;, bra 11 c lt es, twigs, a nd lea fage o( a
t ree.'
0 11 t h e in ve n tio n o r 'incidents d ep e nds w hat is ealled
t h e co nst ru c t io n, t he in t eres t, of t he µ lo t. ' Trnc 111 e ri L
in t hi s p art icu la r,' say::; Professor J\fasso 11 , 'w ill be fo un d
to h e a cl e t.a i le d fo rm o f' t it at 11terit wh ic h co ns ists in t lt e
hc so -ca lled in c id e nt ::;
g·e ne ra l e re at io n of t he s torv-t
c
"
iJP i11 g e ve n ts m ore o r less co nsiste n t w it lt t lt e idea of t liat
111 imi c world , wh et he r mea nt as a facs in1iJ e of Lit e real , or
as a n im agin a ry va ri at io 11 [ro ut it, whi c h t ho a ul11 o r had in
,·icw f ro nt t h e first.' ] t sl1 unld l> c ad ded, t h at a ro rn a 11 c:1·,
lik e Keats' ] <.,'!l(l.1J 11 1,io /I, o r Spe nser's .Fi wrie fJuecn e, l1 as
th e li b e rty o ( i111 probable inc ide n t in a 11 i111probab lc wor ld ;
b ut in t h e 11 ovd, w hi e h is a p icture of li fe d es ig ne d to
i 111 press people as li fe- l ik e, t li e fa n tast ic is i ts co 11cl e 11111at io n. l t m ay p r ese n t a 11 y se ri es u£ eve11 ts, i n co nsiste ncy
wi t h its pmpose, bu t may not violate offe ns ive ly tli1 ~
probabi lit ie s fa 111ili ar to t he reader 's expe rie11 c e.
Mu e li uf th e in t e res t of his work depc 11 cls 0 11 t he 11 0 ,· 1 ~ 1i:;t' s po we r of <l esc:ri p t io n - his fa c ul ty in t h e itn ag in at io n of sce n e ry ; b ut it is by hi s c haract e r s t hat li e is c lti e fl y
j u dge d . T lt cse s l1 o uk l l> e naturnl, d istin ct, a nd w e ll s up portcrl, t he min o r sett ing off t h e greater. I n t lt c ir
app ea ran ce, fee lin gs, d ispositio ns, m odes of t h oug- ltt ,
speec h , a.ml act io n, yo u s ha ll see how deeply , h ow ao ,., .... ,, ,, J ,. l ,,, !,., ,, d11 .lj ,, ,J !if',,- l111w tr11 1'·. l 11 i 1111h' l '· 11 0 r 01•r• ·

wilde rness' ; wh et h e r, a ml h ow fa r, h e r e fl ects t lte se ve r:
ex istin g t e 11d e 11 cies o f hi s a r t - a w icle r and mo re p e rsevc
irw
re a li s m (a c lose r r e 1Jde ri1 w~ of lil'e as it is), mo r e '
h
doct ri nal a n d d idac tic ea rn est ness, a n d a nobler idea l i1.
t io n.

Tt is i.dle to speak u [ t lt e nov eli st as o ul y a sp eda l1 •
limi t ing lti.msclf tu t lt c m e re f un ct io n o( r c p resn 11 Li1
wh a t h e sees. Th e re nlllst be a m ea nin g , a n e nd , l I
s ub se r vie n cy of pa rts to a w l1 oln. T he very c ho ice
su ch a1Hl s uc h fa c ts, Lo t. lt e excl us io n of ot hers, inv o l1
prefer e n ce, pu r pose . 'vVh e n we w o ul d pltil osop lti z
says A ri stotle, ' we p hil osop h ize ; wh e n we r e fuse to ] ii
losop hize, t he n a lso in t hat ve ry t hing we p hil osop li i;
a lw ays a nd u ecessarily we do p bilosop li ize.' 'l 'lrnrc
e vi de n t ly r oom, however, fo r la rge g-ra d at io n iu t hi s '
spcct. It i.s u ot mea n t, o f co urse, tl1 at t lt c n ovel s ho1
h e a p o le mi cal t iracl e , a11 <l t ltns se r ve t he purpose o l
p a mphl et. 'A fi ct io u,' says B ui wer , ' whi ch is d esig11
to in cul cate a 11 ob j ect w holl y a li e n to t lt e i111 agin ati •
s in s agai n st t h e Jirst law of a r t; a nd if a wri ter of fi c t i
n arro ws hi s sco pe to particul a rs so pos it i ve as pole n1i
co 1ttrove rsy i n m atte rs e ccles iast ical, p oli tical, o r m o 1
hi s work m ay o r 111 ay 11 ot be a n ab le t reatise, b u t it 111
b e a ve ry poo r n ovel.' D irect ly o r i nd irec t ly, but ,.
co nscio u sly, t he tr im artist does a n d eve r lll USt t eae l
m oral lesso n. Tl1 e 111 ost r ealistic wri t e r, i f h e " "
wo rthily, m ust, wi t h a ll hi s devo tio n t o t h e real, prnl ·
imp licitly o r e xp li c i t l y ~ ag·ainst t h e actu a l ; a u cl of 1
write r s of equ al powe r, h e w ill exert t h e w idest, 11
pe r ma n e nt , most lt e:tl t hfu l influe 11 ce, w h o passes bey ·
t h e pro vin ce of t h e me r e minister to in tellectual p leas '
a nd a im s to deve lop, illustrate, a nd recom m e nd a hi µ
~t:1mlarcl o f tJ1i11 ki np; a n(l li vin g t h a n t l1 a,t w h ic h t he '"'

292

UU Ml'LET E K if ETUIU.U.

possibili t ies, wh e re i11 objects s ha ll be rn orc g lor io us, a 11cl
mod es of act io n m o r e trn 11 sce 11de nt , t ha n a ny we see, a. 11d
yet a ll s ha ll se e m i11 n at u re.'
Nut to d we ll 0 11 t li e m e ri t o r d c me r.i t o f t he li tc ran
style, t h ere r e m a in s a not he r m atte r to be tak e n i11 to
a cco un t . A n e ffect ca nn ot t ra,11 sce1Hl t h e p owe r of its
ca use. No a,rt ist, poe t, o r 11 ovo li st, ca n be g r eate r as
s1 w h t han he is as a t.li,£n!.:a ,· a,11cl t hn fi11al tcs l; o f t lH:
wo rt h of hi s la lJo r , as of S hakesp e a r e's d rn 111as, is t he
wort h o[ t he phil oso ph y t hat has e n te red in to it
t hro ug h t h e 111 e d iu111 a nll in t h e lan g uage of art, it s
weal t h o f w iscl u 111 , a 11<l t he am o un t of va lu ab le m atte r
over a 11d a b ove t h e 111 ere li ctio u or sto ry . 'Th e ve ry
olc n1 e 11 t i11 \\'li io h t he 11 oveli st wo rks is h u 111 a 11 nat ure ; y e t
wh at sort of Psyc ho logy have we in t he o ru in a ry ru n of
11 ov c ls? A Psj'C h olo<qr, if' t he t ru t h m us t be s1Jo ke 11 )
s uc h a s wo ul d JJ ot h o lll goo d in a worl d of i111 ag i11 a r y cats,
not to spe ak o f m e n ; i n1 possible co n fo rm at io ns of c ha racte r ; actio ns cl e te rn 1in e cl by mot ives t hat n e ver co ul d Jrn ,·c
rlete rmi11 c d t he lik e ; s ndd c11 co n ve rs io n s broug h t abo u t
hy log ical m ea ns of suc l1 asto un cl i11 g s i111 p li c ity t ha t
woull e r its e lf is p arnlyze d i11 co n t e 111 p la.t i11 g t h e m ; c ha in s
of e ve 11 ts defy in g a ll laws of co nce ivab le causa,t io n! How
s hak y, a lso, t he Pol itical Eco no m y aml t ho Social Scie nce
n[ a good ma 11 y of: our n ove lists-scie nces in t h e rn attc r
of wh ic h t h ey lllll St wo rk , if n ot a lso in t hat of SO lll e of
t h P. p lt ys ica l scie n ces, i11 fra.llling t he ir fi ct it ious l1i stori es !
Befor e nove ls or p or· 111 s ea. 11 sbw <l t he i 11 s p ec t io 11 of t li a.t
hi g he r cr it ic is m w hi c h e ve ry li t e rary wo rk mu st b e ab le t o
pass e re it ca n ra 11 k i11 t hn first class, t h e ir a u t h ors m ust
b e a.t le ast abreast o f t h e bes t s p ec ul at io n of t he ir t i11 H' .
Neil- f l1 :1f-. ,,· haf·. \\'!' \\·:inf· frn lll 1Hn-0lists and pods is f11rt·IJC' r
M~

DEP .\.ltT1lfEi'rT 8

or

EX l'fU~SS I ON -

17 fCTrON..

2!13

· c I10r a I s t ra ·m of m o ral
a n oth e r. ' 1 I n ad di t io n to t I1e 1r
pi ety, wh e re, fo r in sta n ce, ca n he fou n rl in wo rk s o ~ t lw
sa111 e kin <l so r;1, re a m in e of t houg h t, for t he wo rs h1 pp e 1
to tak e to hi s Lwso m , fo r t h 0 wri te r to e nri ch hi s d isc o urst•.
fo r t he t li i nk e r to poml cr, fo r t h e cl ivi11 e to quote, fo r a ll
· ·1 ate a ncl u se, ;1,s· '111 t l1 os('
to ass1m1
, , of. G e o rge E liot?
.
1
Tli cso re 111 a rks s ugg es t t he a dva n tages of t h0 no \·e l1 s
() l' l'"LI •'' S S ir vVa lLe r f-\ cott, 11 •
I f lll.L'l
as a
na.c I1e r .
,, , . '--'' ,
0

t

11

•

in st ructs u s, w it h 111 orc o r less lid e li ty, in t ho rna11n e r_~
CUStO lll S laws, \Jeli efs, ch a r acters rtlld e ve nts of t il e age I I
w hi c h t l1 e sce nes a re l<ticl . As a c ri t ic o r s pec u lato r, t li
d oct rin e he in te nds to co n vey, unlik e t h at of t h e :t \ ' O \ Y <' '
in st ructo r o r d eclared re fo rm e r, is not c lot he d in abst rn c
co nce p t io ns whi c h , to he fu ll y a n d cl ea rl ~ un de rstoo•
1
r e q uire t houg h tful r e fl ect io n , b u t in co n c re te 1n ~ta n ces 1.h:
2
1
co m e h o m e at o n ce to t lt e feeb lest co n1pre he ns1011.
If 1
b e o n e of hi g h o nl er , he t h rows a b ea u ty over w ha_t w~u l
e lse be vu lu·a r n, 11 (1 m ea n , y e t b rin gs virt ue a nd vice 111 1
strikin o· a 1~tith esis; he lps to g i ve a b e tte r in sig ht in 1
~
1~
.
hum a ll c haracter a. nd a.c t io 11 s, pro m pts o nr a Lect 10 11 s
t h e goocl , sh a rpe ns o u r :wtipa,t hy to t h e bail; acc(~I
plis b es a ll t hi s whil e~ h e p rov icl es a. rn odc of_ p lea s 11
re laxatio n. Not in t he d i rect fo nn at 1o n of t lu s o r tl 1
s p ecial op inio n, but in s ub t le im p ress io n s upo n t he wh <
c b a rncte r is hi s intlu e n ce e xe rc ise d m ost p o we rfu ll y .
Th e in: ao·in at io n a n d fa n cy s hou ld not b e cul t ivated f
e xclusi v ely~ \ V it hout a w ise se lec t io n a nd regu~ ati o1 1
in tell ect ua l food, t h nr e is cla ng e r o f t hat n1 ood 111 w l1
1
actio n is r e n o un ce <l , r eso l ve b eco rn es n er veless, a nd
so ul s in ks in to pass i vit,y. Th e co11<litio n o f. ma ny
hab itua l and excl us ive n ov e l-r eacle r mi g ht. be lt k e 11 ed '
inn.ptl v t.o t.li at o [ t h e c n nrv a t e <l co 1n pani o ns of U ly s:

294

CO MPLE T E RHETO R I C.

wh o, f eedin -g- up on t he lotos, lllur mur,
11 ess :

lll

Iu x111·1'a1·1t, eolee1)').~

How swcc't it W C' I'<\ hear ing t he rl ow 11 wanl st rea m,
'vV it lt hnlf-sh11 t f' _1·cs l' l' f' I' to spc 111
l ~a lli11 g mdco p in a ha lf dren.J11.

It. is ll c ~·e r_ t he nat ure of t l1i s speci<'s o f cnltlpos it ion,
cons id er ed 111 1.tself, bu t t he faul ty 11J a 1111 e r of its in a ke up,
t:i at ex poses it, as a r ul e, Lo re probat io n. Pass by, W <~
s 10 uld say,
m er e love-and -m1nri'to·e
"' t or1'es
p u t f a r ·f rom
•
•
' b
.,
· •
yo u a th oro ug hly ba d book - bad eit her fo r coarseness of
s ty le ~r fo 1.' lax ity of lll ornls. P erh aps such as p u t fo rward l.1cen t 1.o us 11 ess as lice nt iousness a re less ha rrn f ul t ha n
t hose rn wln ch p oiso n is d ist illed so suht ly t hat t he e vil is
'~ro ug ht a lm ost befo r0 susp icion is awa ke ned _ in w hich
n g h t an c~ wr.ong a re mu dd led up toge th e r in to a sort of
11 e u.tral tmt , rn whic h cha ra cte rs ar e m ad e attracti ve by
t~1 e 1r fa ults, a_n d sin is q ui te fo rgotte n in sym pathy fo r th~
s inn er - so piteo us, so in t er estin g-, so beau t ifu l !

C T-IAPT ER XXI.
lJEPA Li 'l'MEN T S OF' EXP LU~ SS l ON l~ l o q 11 c 11 cc i ~

OHATO R \

,·p h c111 c 11 t Rimpli c it.y .-C ECI L.

Il e h a,.; o rat ory \\' ho r:i ,·i ,.; hes hi $ h eare r s w h il e h r

f orge t s h irn s1· l l

LAv A'n :: 1t.
1· a

Su i t. t h e act i o n to th e " ·nril . t h C' \\'Ord to th e 11 c t i o n: n-i t.h t h i s ~ p ec i a l oh
11 cc . t ha t y ou ovc r : t c p 11 ot t h e m o d est y of n uture.- S11 A K ESPEARE.

T

h ~s

been sa. icl t 11 at a n a. ucl ie ncc leav ing· t he t heatn ·
wl11 ch a dralll a o f Soph ocles was p erfor med, fe lt t h1
seh ·es insp i reel wi t h t he t houg hts a nd concep t ions of
poe t, so we re rai sed to t he d ig nifi ed standa rd of hi s naf
a. ncl intell ec t; a nd t hat t his be nefici a l effec t m a ni fe ~
itself, not by issuance in visible acts, but rather by d i
sion over t h e ge neral te nor of t li eir li ves. On t he o t
ha nd, a n a ud ie nce qu ittin g t he t heatre in whic h D e i r
th enes t hund er ed again st P hili p, associate, u ni t e, a.rm ,
marc h again st t he i n vader. In t he one cas e, i11cl iv icl
a re purified, eleva ted; in t he other, t hey are r e nd·
unanim ous ·fo r pur p0ses wh ose e nd is action.
Th e com parison snggests t he preva iling a nd hi ~
a im of t he om.tor - to mak e him self maste r of our
He nce t he curre n t d e fini t ion of orato ry - t he art of
s ua clin g , im pe llin g . B ut acts may be in te rn al, J'<'
m ay be invi s ible. More specifi call y, mo re com pr•
sively, t he re for e, or a t ory is d iscourse d eli vered f
n.sse rn bly w it h t he v iew of in culca ting certa in ide:i ·

I

330

CO ,\l l'LE'J'.E JtllETOl:I('.

to id e alize 1mt ure and liu111a11 li fe, to cx liihit tli0 sn11l in
t h e ri c l111 e ss a nd vari e ty of its sc nti111 c 11t s, i11 t lie nohl1· 11 ess of its aspirations rwd in t he g r eat 11 c:ss of its pos;;ihili ti es. To it belong e leµ:a n cc, beauty, liar111 0 11y , and
g rancl eur,-a ll that ca n e11 11 o bl e the fa11 ey and 1• xalt till'
affect io ns. The e nd of p oet ry 1s rl'f in e d 1·njoynH'nt
thro ugh e m ot io n . ]11 it t.he r e is alwa.'·s 1'~ ult:1ti ll11 . a
subtk, blooming spirituality.
'\\"hat. a trl' at,' <'.Xl'lai 111 s
J)r. Arnold, thinking of the r esult a n t st·lf-illlpro\' Pm e nt, 'it would be to t e ach ::::.liakcspearP to a j.!OOd
c lass of you n g Gree k. · in r c g e n era.tn 1\ tli1 ·w.;; to dw1 •ll
upon hilll lin e by lin e and \\cm\ by word, and sci
to get a ll lii s pi ct ures and t lioup:l1ts l< ~ isun·ly i11 t!J
o n e's mind, till 1 ve rily think 0 11 0 mntld , aftn a tirn<',
a lm ost g iv e out li g h t in th e dark , aft1·r lia,·ing- he·""
steeped, as it \.Y< ~ n\ i11 s 11 l' l1 a11 11t111 o" pl1< ' l"I' of l1rilli 11111·P!'
T o what e n<l is our Iii'<', if 11 0 1. to s111il C' 1dt11r•', l'"rtH'lllnl
asce n s io n in the s< ~ alP of l11·ing'? 111 tl1i s tl1" p()(•t!( l1t>lp llH
by se iziJJ g all(l l1 o ldin p; 11p tu \'i<' W t Ii<' n oh )l'st, 1•l1' 1llH'. t,
a111l b est, t h:i t tliC'l'e is.
' Th e li1wr tho11 .l.! ilf ~ . liiP thrilli11.I.! ~ 1 · 1 1 " f' ,
Th e p)1·<"1 ri 1· hlood wil Ii wl1i('h t lwir 11rtc·riP" rllll,
Th eir l1()(h s H•it'-l 11nH·cl :-;n 11l with Iii <' illt t· 11 ~ 1 ·
F1•P ii11 .:.:- of tli:it. whi1 ·li i,;. 1111d f:i11 c_r nf
Tl1:11. whi<"l1 "lio11lcl lw.'
n11nbl e t h e m , mon · po\n~ rf'1t!ly than ot lic>r 11111 hors , to
0

awaken in t h 0 ir rPadPrs tli e s tat e's nf cm1sl'i :111 s 11 C'ss thnt
ex ist in thn111~Ph1·s. {r>) /\s a corollary, it is th n 111i ss io 11
of p oetry to sw1•ntP11 1•xistC'ncP, tn 11 o uri s h 11111 111111 sy 111pn·
t lii e s; to fill u s with faiLh. s tn•11 g-th, nnd cl11•c>r, wh <> n i11 t ho
d ese rt of li fe we faint and staµ-g-t>r; to t"P\"Pnl t o our clullt•r
eyes and co lcl c> r li "i: rt s th0 h<'a11ty ancl g-ladn<'ss of 11nt11n•:
in s h o r t, to f11rni~l1 tli 0 fi11 •· ~ t :111d d "" l" '.; t -rr·:11·lii11g- di iw i·

,.

I N DEX.
.1\ econ t., '.} l2.

/\cla1ns, ,J. <~ .. qu0Le1l, 1U8, 1G!J.
Acltli so11 . q110Led, Ci!J , 7:), 7!J , !JO.
10:Z, 107, IB7, 2 14, ~::31, 2-1!1,
2:,5.
JEsthctics, relat ion or, tn rh l'I (Iri e, 2.
Akc11sitl c, q 11olc1l , 2::7.
1\lfonl, !Jea n, quot ed, BU, 71, !JD,
114.
.A I ien is1ns, (Vi.
A li o;o n, 1 lG, 11!), 23G.
J\ ll ego ry , B2.
A lli t.cr:i.lio n, t1cunctl, 2G; in pn•~1.ry, :320.
J\ llusio 11. 3G.
A 111 cri ea. r.li arae:tcri sL ics of, I 0.
A Il l pl ific:nl ion, !}8, L(i!l.
A1rnco l11 t.lio 11 , 24.
.Ann.logy, ms,
A n gl o-~axo n Chronicle, quoLcd,
27:3.
A n ti cl i 1nax. '10.
An t.iq ne, lhc pttct ry of, U08 ..
A ntithcsis, dclincd, m;; ph tl osophy ol', U!).
J\ post rophc, 3G.
J\pt, liable, 78.
ArL·.li n,isrn , 23.
A ro·11111 r ll t, llefi11 ed, 1!)4. det111 c1]vc. rnG; i11ll1wtive, l!)Q; :1.ll:1.log- ica. l, 1!)8; by exn :11 pk, 200;
l'ro m f' ig n, 20 l: fro111 test.i1nony, 202 : tliL'eeL :Lm1 irn1ired,
203 · n1Ta. ll g·c111e11 t in , 20G; nml
emdtioll , 208.
J\ ristotlc, q note1l , G. 2!)1.
Arn old. M ., q1 1oted. !i8, 00. !)1.

Art", c lassi ficn.t.inn o(, 2, 228 .
J\ ss0<;i:1.Lion of illcas, 234.
J\;;v 11cl l'tn ll, ~. ;).
/\ 1ith oril.y, ~02.
Ant.1111111,· beauty of, 83.
lbr.nll , J,nn1 , qnot·rt1, 40, 84, 117,
1:; I, J:I:}. 1:w, 2li!).

i::i.il y 8a1 nucl, q110Lctl, 104-.
!hill ,' A lex:u Hl er, q110Lcd. 125,
128, Wl. 1:12, .Ul4 , [!} 1, 32:) .
lb la11 ced s[.n1cl.urc, 13.
li:d lad, t.li e, mm.
l\:J.11 c:rol't, t111 0Lecl, 14 1.
Ba.rh:Lri s111 ,;, UG.
IJ:i!'co111 , Ur. , qnoLcd , 40, G2, 71,
8-~, !)1, nu, 102, 107, 110, 118,
207, 300.
Bc:1.11 ti(ul, t11 c, elinp tr r oil , 23 1.
13en nty, spirit 11 a l t heory of, ~:32;
Jt11; k i11 oil. 23H ; i11 1mLure, 234;
in lit:crat11rl', 2:J:) ; n,lrnm1a.nce
of, 238; value of se nsibility to,
2:rn.
Bede, q uoleL1, 32().
Jk1·tJw r, l.L vV., quoted, 9, 83,

mo.

Bc11 ard , c111nt.ctl. 2·23.
Bent ley, 11uotel1, DO.
Bi n.s. r11101.cd, 2 IU.
Bible, quoted, 1, '11 , :Ill, 17, 20,
22, 2G, 20, HL H2, Bt). 57~ 00,
G7. 8G, \JO, !H, !)Ci, 100, 111, 120,
124, 1:30. 141. 243, 244.
Biograph y, 278.
Hl a.cki c, .J. S. , quoted, 107.
Blair. Dr. , q 11 nlPd, 20G. 303.
Bl a nk 1·erse. UIS.
1' ., J;,, ... 1,,.,.1,. ,.
r11 1•d1 •d. 108. 11fi.

I:-.; !JI·: \ .

C11111 Pdl' , :1:11.
Brl'vity , 111i s pl:t cl! d. !18.
( '11111111 :i . I'll i i'>' fo r II"I' "r. I :I:!.
Brig-li t., ,John, 1111 nl1'1i. 11 1, 1:21"<.
J:ro1Y1ll', 8 ir '1'1111111:1 ;;. q11 1il 1•d. 11. ( '11 111pl 1·t l', " ·'1 11!1'. "111 ir" . -;.-1.
IJr11 wlli11 .g-, Holie r! , ( 'n rl y l1• 1111. ( '11 11q" '" ii io11. J•1':11' 1i1"' ' '''"Ill i:d In
t•x1·(' ll 1·111 ·1· i11 . 1-l !I : Frn11l- li11
tl!I: q11 0LPd, 11 :) .
<l ll, 17H.
Br11y1~ rl', 11110 Ll'd, 'j':), ~ !J. !);). 1:2 1.
2:;n.
l '111wi,.:1•11C'!"" , dl'fi1ll'd. ~ I ; fnult ' "
H:i : n ·ln t j,, 11 ... 11f. 111 1·11•'1').!_I'. 117 ;
l:r.rn 11 1;, q 11 oted . 7. liO, n::J, :) I: :_
1·it> l:11 i.. 11..... r. 11111.
B1ll'kl e, 'l'l11J111:1 ;;, q11 ot1 ·d . 'i ll .
B11lw1:r, qu ot1·d, 7, 2 7, lil. 10. !JI. ( 1o 'l "Tt \ · 1· I ::·)
( .,. ;1~1 .. ·t j,:, .,., (· :.. J, ·riil g•· ""· ~: ,., ..
I O!J. 180. 2!!7.
1·1•,:,.: n f. ltll 1.
B1111.rn.11 , q'11 ot<•d , 7, l ~W.
( '1111 ,.; i,:11·11('.\', f,,,.Ji-li l'rid·· i11. l ·I '! .
B11rk1'. 011 o tt•tl , 3li, !l!I, 1:);2., :2'1·L
B11rl1 ~;; q1w , :2:)0.
< 'n11w:i.1·. ~I. I> .. •11t••t1 ·1l. HI.
( '< 111 ,.: i11. •111 1111•11. :!:\;.
B11rn ;;, q1111l l' d. 2!i4.
lfol.l er, Bi ;; '1 11 f' , q11 n l l'd. l!l!l .
C" 11·!1• y. 1 111t•t•"'· .~;.
Bill l«r, :-;a,11111 e l. q1101t·d. :2:-i: l.
('"w 111 ·r. 1p111l1·1 I. :!'i, ·11. :11111. :11 .1.
Byro11, q11 ot·l!d , :W, no. :: 1, 1;1i. 10.
:: l'i.
LUO, IUO. I:J:l, J :):). :2·1:2. :! Iiii. f 'rn lil ... . 1 11111t1•d. / .i .
314, 322, :12:J : e hnr:1t:It• ri z: it j,.11 ( 'ritil'i •lll . II Ill ', :!71: 1'111>1."• id1•11J
11 1'. '.,!;:.!.
of, 142.
f'1J11ll 1i0', <fll Pit'd , l:!fl.
c•lmr.
( 'p1111w..JI. •111 .. t• ·•I. 7. 1:1
C:l'sar, q 1101 l'd , !::l·L
11i'(t•ri 711ti"11 of, ' ·
C:l'" ll rn, :J 17.
('a.h e r!", 1; ('1)1')-!"(', 1JIH>l1 ·1l. !I'.!. :l:!li. ( '11rrn11, •111111t-•I. :?:,:1.
Ua111pl1l' ll. J,11rd . 11111>1 1·.J. I'! . 111·!. ( '11n1·•. r11 l1·!" f• •r f'lllll'ltanl onlll,
l :;.-,,
"l()ti. 1:21.
( '. a 11q1.lit•ll. '1'11 0 111 11". •11111tl'd. 1:-<.
I >:11'\\ i11. ( 'li11rl. ··. •11101<·11. :?)>.",?,
2:io, :2·!:L
( 'npilnliz:it in11, f'l1il 10-11 11liy of. I >11-li , r11J,.. f,,r 11-·· ..'( , 1:1-1 .
I >11 .r..; "f I 11•• \\'1 ·1·!,, origin 11( llllllh' "
I :2 1.
11f. ;-, I.
( 'apit11b. rnl 1•;; f'ur 11 ,-1• uf. !:.! ;.
I >1· l1at1·r. t Ill'. •1111111.J I••• I r111• 111
( 'n n'_1·. l'IH1 •l11 " 111 1111,.d . ::·! f.
Cnrlyl l', q11 ol1 ·11. H. Ii i. t'! I. HI. !I:-<.
hi ... ""111· i"t io11-. :m:1.
lO:). 11!1. l'.2 fi. 1:2H. t :l:I. l:lli. f>, .. l11l'ti,.11. d1·1l1wd. 111:,; illn ...
l rnlt-d . ui;, .
I :l ~ . I:l!I. 1-t'.!. I:i :I, I /! I, l ~:l,
lH:i ; 2 1!I,
I >di11it i1111 . l11gi1 ·11l. 1111.
111• " ill< ', .1111111·•, •1110t1•tl , 1:111.
C1• I11 l't'. Ill id ii IP. 7..1.
11 .. (~11 i 111 · 1 · y . •1 1101t•tl , fl, 1:1!1, lt>:'1,
( :1t:11111i11 µ; . I Ir., •fii"l1 ·d . 1'2 ti .
:!fi~.
Ch:t.ll<' e r. q11 1il1'l l, :IH. 11 ·1. :1·!:2:
c li:ir:lt'i.<'ri z: it i1111 .. r, ·1!1 .
l>1•-.1·r i1•ti •111. d..fi1ll'd , 17 ~: 11hj1·C'I·
i \'t' 11 11.J -11l•j1·t·t i\1', I ill; 1•11110<'ltildrc11 , i11 ,.;! n1C·I i1111 .. r. 1!11.
Cltonle. H.nfu ,;, q11 ot1·1l. ltl. Hi:!.
rn111 i<', l l'lO : ~· · · · 11i•'. l~l : onlt·r
nf. 1.-.::! : ~t·nt I',; 1111'1 l11 <t l 11( , ) . :1;
f311G.
Uil't'rn, q110l1 •d. 1-t. :l'i. -11 .
11id " t" , IKI: 1111111·1 inl , 1 I:
Cla re11d <1 11. q11 nl t'd . 111::. IOS,
111·r•111111l. I I; 1111\'1•li-1',. l'"'n•r
CJ:t .I', llt'llr.1·. 'fll <>l1 ·d . :!Ii.
"f. :!! 111.
( '. Ji111 nx. d t• li1 ll'd. ·Ill: 1• ri 11"i1if1· ., f. l li1·l;1 •11 .... 'l""'"d. I l."1, :.!•:t .
1

0

(

I fl

..

JNIH: X.

'); ' I i II ' ' '

' " ' ' 'I

'I ,.

f

'I

t ....

"

Di sco urse, l..Joe kc Oil t lt e en nst-.n1c- J:Dssay, ex pos it io11 a11d hi14or y
as a fo r 111 (I r I i Ll' l':l t ll l'l' . .,
Lio 11 of, 127 ; I.li e t it rec pa r Ls o r,
lUG ; t ra 11 " itio11 s i11 , ltiU; a 111l'l' t[11i ,., il e" n [ th P. 271.
plifi catiu11, lli!J ; "c il' 11 l if il! . 2::JO. E ssa.r-w r it i11 g . 111 L'L li 1JLl ol'.
Di ,-c 11 s:; io 11 , r eq ni s i l.c:; fo r t. li e eo 11s pec i1111.' 11 of'. 1:1'1; c;clH•11 1t'"
d 11 d ol'. 2·0-l:.
1Wl; a 111 pl ifi calio 11 in.
I
J>i ~ p osil i o 11 , in di ,-L~ Ol ll'SC . 1U2.
t he111 cs fo r, 174; l~ rnllkli11
J>i :; racli, h:Lac, qn uLed , 118, l:J2,
178.
l •~ upli e 111i s m , :Jl.
rn::. tm.
l>i xo 1;, llepwo rLlt. 11 noled , 02. l ~ 1q 1 '1 0 11,1· , 10!).
J ~ u ph 11 i,.; 111. :mo.
l>ml1lrid gc, q1wtc1l , 2li.
lJ 01111 e, qn otcd, 1·17.
Rn• rct t, E1l 1ranl , 1p1oled. 2:!.. '
l •~v id e1 1 c<', e irc u111 ,;ta11lia l. 2111
I >ra111:1,, iJ8 I.
·
l>r,v d e 11 , 111101.cd , 84, !JU, 12.!J, 1:)2. l 1~x :i.gg1) r: 1. l.i1111, 78.
;31 2.
I•;\('. '" 111:1 I i11 11. 4 1.
J•;xe la 111 :1Lio11 -poi11 l, rn le,.; 1'11r
l>11ll ce, GO.
o r. t:lO.
Earll!, Prol'es,.;o r, q uoLud. !) I.
Exon li1u11 , goo.
1£tfor.:t, CO ll::iC'!l le ll l'.e, 74.
Expus ilio 11 , d eli11 ed , rnn: uf'
t io 11 s, 18!.J ; uI p ro posiLio11 ,-,
.E lcga11 cc, llcfi ncll, 10!1: e uph n1 1r
<Lit clc111 e11 t o [, LO!I; rh.'"lli111.
110 ; ha n11 0 11 y, 11 I ; o lfo 11ec,.; l•'a.Iil l' , H3.
]i'a 11 c.1", 2 18.
a gafo st, 114.
1£1egy, Lhe, 328.
Fa rrar. l t'. \V., q uoted , lG, O!I
!) I .
Eliot, Geo rge, qn nl L•d , 4:1, Ill ,
Fict.i o 11 . l'Xpo,; it io11. 284; Iii ,.:•
mo.
Ellipsis, d cfin ctl, 24 ; i111p ropcr,
c:1I ~ k cte h , 28G; prern.le11 e1 ·
s.1.
i11fl11e11 ce oi, 288; elasse,.:
28!).
E lo(' 11 (io 11 , 2.
E l<•'!ll Cll CC . ge1w ra l p rim.:ipl es or, Fi e ldin g, q 11 utcd , US, !ll, ll!J.
;3.i(i.
2!J7.
J ~ 111 e rSO ll , l[ll Oted , iJ::J. ::J-1. t;:\ l:M.
l.•' ig11 re,:;. g·t' IH' l"<t.I d c fi11il .ion of' .
125, ta7, 142, HH, I U2, 240,
f'llg"!-!'l':-il io11 ,.; for t il e ;;[.11dy 111
27!), 2!J7, :328.
of diet.io n ex plained a i1 d i
J~ n a llage , 27, 309.
t r:Lted, 17 ; associ:1,Lio 11 of i
Emls , a l.iso lul·e and r e lat .i1·c, I l.a111in di d ional, :u1d it::: sn1 11
ilt o 11 O il , 14.
l!J; o [ t lt o11g h t, 21 : el:i,;,.:i
E11 crµ;y, d c li11 ed , !J4: d 1·p e11d e 11 t
Lio11 ol', 2:J; ori g in o f, 42 :
up1111 e ll'a1 · 11 c~;; . !I:) ; 11pt>11 si111iL.v of'. ''"·I·: c li n. rm o l'. ·lli :
plieiLy, !Ii>; prnpri et.y, !I:) ; 1·1111Vn n f.;1..~·1•:; O I', ..j.'j; 0 \":I Ill ',.:1· ·
cisc ness, 97; pro111 ol.cl l l1.v 1u1 ii .1·,
of, :) 0 ; rnJc,.; for use of.
103 ; b.v im agc r.v, LOG ; ill oradircct.i o 11 " fo r n11 cdv,; i;; o f' '
c iscs i11 , !i4.
to ry, B04.
·
E11oug l1 , ,; nfli c ic 11 L, 7:).
l ~11 11 tc 11 r ll c , f111 o'tcd. D, 24 !::!.)
l ~ 11 l h y 111 e 111 c , I.h e, rn:;.
P'osLer , Jo lt11 , <jll O[~·tl,
l•;pa11orLho,.;i;;. 25.
Foot., rn ctri ca I, 3 l4.
11~ pi c, t he, ;J·!D.
F ox, rt11 otc d. !J4. 210.
l •~p i gTarn , 3!J, 2:) I.
l ~ ra11kli11. Dr., qn otcrl, 1:-J:i.
l "i11 11 .f ...: :H llJ
'!.>?.. :?on.

rniJ.

11

340

G il1bo11. ci11ot.ccl, 24, !JO, lGO.
<-1ild cr, 'Jllol r d, B24.
<3 1:1d;;Lo 11<·, q11ot cd, :JOS.
qJa>:;;, (',.:,.::iy 011. 2.1 I.
<-fo ci , C:irl,rle 011 t.l1n :j11 ::-l.i c;1\ of. 8.
Go"f li e, q11ot.ccl, G. 7, l:W, 5!), l:J:J,
2:i1 , ;JO~.
Uold ;;111itlt. r111 oted . en, !JO, 10:J.
um. 2.10.
<:011 g lt , q11 o tcd. :17.
l-lo11lcl. J~. :-:i .. q11ol cd. 7!1.
Gr:1111111:1r, relalio 11 ol', t.n rlt .. 1o ri<' 1 2
<:rn.,\·, q11°olecl. HO! I.
<:rce lry , ll orn1·c., q11nl l'1 l. 12.
<-ireg, W. IL, 1111 01.cd. liH.

Jd rn b. innlll'll Cl' of. 2:!1. :! ~ ():
J'l'O,!.\TC'S,<j \' l'. :!:!·I.
l1n:: gc· ry, IH' l'"l'ic·11ify " '· 1-1~ : p n 111111f i\'I' of l'IH 'l')..!'y , I0.-1: 11 f t'Jf•·
!_!':t nl'C', 11:1_
l11.1:1 .g i11:1fi11n. d1:qi1 .. r 1111. '.!I!);
.J1·finf'1l. :.'Iii: 1·ari• ·I j, ., ••f. :.' I'; :
i1np11rl:111C'<' o f. :.' l!I: 1•rnl'fil'11 )
11 :-'•' " of. :!:!II : 1·1 1'111r1 • 11f. :.':! I :
Jl lll\'f' I' 11f, ill 1·:t l' l.\' 1!!.!C'' , '.,?41.
I 11 l' id1 •1if "'· i11n•111 io n of. in lil'I i1111.
2!Hl.

l11d1wlio11, i11 c·x111 •, ili1111. l!IO:
df'f11u·1l. l!Hi: il111 -1rn11 •d. l!li .
illflll f' l)('I', ;jJ.
l111111t'l)(lt•. :w.
I 11l 1•rr11g11 t i11n, ·I I.
ll:ill. H.ohc• rl. qiJCilc ·cl , lfi. :l2H.
l1it n r1•.g: iti o11 -poinl, r11I" " f11r 11 "4'
I lall('t..: k , 'J 1101 c·cl , rn.
"'" 1:111.
ll:1111il L011 . (i:iil , 1p1 ot c•d. 7.
Ji ifl' ITllJll i11, :.' :i .
ll:1111ill o 11 , :-;jr \\'., 1111< ll1·1l. 11. I 111 1·1·111 i11 11, di -··r i1n i1111 l• •d fr11111
7:1.12!1, t :i !l. IH!J.:!11 .
di """\'<'l'I'. ~ --•: d di1wcl. 1rt1 : o f
ll:1l'i 1i11 (';.;,.:, l'fl lldili1111 ,< , if·. 1.-,,
, 1d1j1•1·l .. l."'d : 11( 1n11 1••1in l, l :'. S ;
l1:1r111011v. :111 Pl1 •1111 ·11t .. ,- ,.J,. _
11 f 11 rd Pr. 111 ·~; of i11t rod11di1111,
!.!·:111<'<'... 11 I.
Jfili: 11( l'lli!f'l11 ~iu 11, IOj'; 11!
1! :'1\·,.11. l>r . I·;. 0 .. 1111111• ·.J . !1:1.
I r:in,il j.,11•<, 1111'1; t' >.<'n ·i... ·~ in.
!l-1.
I ~:I: i11 lit-1 io11, :!00.
ll:1\\'llt or1u'. 11111111•.J, HO, 1-1:1. !II. l11\1 ·1 ..,it1 11, ~7.
!12. 107.
lnt.-rl11d1 •", th•'. :1:1r1.
ll :1zl ill, q11 oll'd, l :! li. 1:1:!. 1:1;, lr11111" :11. '.!."iii. :.' Ill.
]:!H.
fr l'i1.1g . \\' 11,.:Jii11gln 11. fi;, tlJ, 13!,
ll clp,-, ;\rth11r. q1111l 1·· l. 10:~. ] )!;,
:,>.i ii.
ll1•11rr. l':ilri<'k. q11ol1 •1 l. 1:1r1.
ll (' pl111rn. J\. II .. q11nl1 ·d. I !!I.
.l1 ·ffrc'.I". qn .. 11•11. !I:!, :.>:!I. :,>:1 11.
I l1·1Ti e k, q11of ('1l. 12-1. ::o;,,
.l11lt11..;11n, •11111l1 ·d. 1:1 •.i·~ . IJi,
I IH, I ;\.I.
llill. ; \. :-l .. q11olc •1l. :!01.
ll11lil1l';;, r111nt 1'<1. 't:,! ;),
.111111 ·:-:. ~ir \\' .. q11 11 lf'1 l. !"1!1.
ll o ll :111d, l>r .. q11ol<'<I. ti • .l(i, 1: l:i . .1011 ,.:1111, q11ol f'd, :1.
I lol1111':-<, l>r. , q1wfl'cl. fi H. 'i :!. 11!1, .ln11l11•rl. •11111f1 ·d. :.':\ I.
.In 11i11,.:, q1111 t .. .i, n.·,.
1:ni.
llflllll'J', q111d l'd , 11 2. 21:J.
1lo1HI. q11of1•1l. l ·IO. \?ii:!. :lltl.
l\:1111. •111 111 ..,1, II.
ll orn ce, c111of1 •<l. I. l:i - 1. :;o.).
l\:111w". L1•nl. q1111l1•1l. lll!t, :.>:!Cl.
1111 .gn. \ ' il'f nr. q11 11fed. II':!.
J\1 •:11..;, 'lll ll fPd, iill, J:ll, :.'Jli, :,>;Ji,
11111111', Cjlll>t l'd, lifi, !I(), 102, I{)!) ,
•!:~~. :? ·17.
1 lfi. 117.
I\ in!.!" I''.'"< 'l1 :1 rl ""· '1 1111!1·cl. Iii, H~.
Jl11111111-. l'h:trnl'f 1• ri "f i1 '" ol', '.,?r) .) :
!1:1, I'.!·!. I'.!:I, I :1.>. I!I:!.
i\n11·ri1·:1n. :!.)H: :ind 11·if. '! .-1! 1.
11 . " ' I

.

:Hl

INDEX.

INDEX.

J ,:1.11ier. S ic]11 cy, rp1ol ed, 2Hl.
t, ~Lvnt e r. r111ol ccl. ~w r;.
Lcek y, q11olc ·cl. 101.
),cU,c :r-wril i11 g . d1 :1plt.' l' 011, 2fi!l;
cb id rctJu i,.: i t<'s o r, 2fi 7.
r,ewe:-<, q uoLed, G7.
J, ir., h y, 77.
r,ily, qnot ed , 820.
l1i Lcral. 11rc, 22!.J.
J,i to Les. 88.
Locke. q uotcl1, 128. J8 t, PJ:3.
I ,ock hat:!-., q noted, 1.s:J.
I io2; ie, "e r vi ec ol'. t.n rh cl ori c.:, '!.
l 10~11l o n Ti111 cs, (111 ofed. H:L Lil:! .
J,011p;l'cllo w, CJll ()fed. 11. 00, Gu,
in: G!l, 110, 11 4. l:l:l . :H!J.
Lo11 !..d1111:-. 24 1.
I ,011'.,. s811 Lc 11 ('e,.: a nd slwrl. !J.
Loo~ se 11 t c 11 <..:l', 11.
I JOl'e , uencficl' ll Ce o[, 11 (i ,
1,owcll , qnut ccl , 7, 2!3. :Hi, 71. 1rn.
11 7, l:.!U, 12;) .
l1yri e, th e. 828.

MilLnn , q11otl'd , 4, 11. ~1, 2G, 20.
HI, 82. :JH. 4 1, 4fi. fill. '10, 74. DO.
!ll:l . JOU, l LO. 1 l2, ]:! ~, lli!J, l tl:J .
2 10. ~~-1.J, 24G. 247, 24H, :J l4, 8 Iii,
3 17, :JIH .
J\ I i 111 cs is, 2:l.
i\ litl'1lnl. l\li s,.:, li!J, !JI, !12.
i\ [oe k-l1 ern ie, 2G I.
J\lo11 c v. :I l.
J\lonf.g·o 111 c1-.r, q11otcd , ml, 182.
J\ lnods. ;;eq11 e1we o f, ~·o.
J\l y:,;1 eric::;, Lhc, :):}:l.

Na polP011 . q110f.ell. fi, f:J7 .
.N :irmfi\'l' , clc·fi.nil ion nl'. rn:-1:
c11111p:1.rc•d \\'ii Ii cksnipt ion. 18:):
1>li.i1·d i1·c :111cl s11lij1•c·f i\'t'. 18li:
i1nporf:111 c;e or st· lc•et ion in. ft)(i;
orcl<'r or, illu ,-trnt ed l'r11111 Pn·s(·o t t';; Cn 11q1 1e,.:t. o[ J\ ll'xico, 187 :
p,-s1• 11f i:1.ls o[ good, l88.
N1•cilo!_!·i,.:111 ,.:. li-L
.N 1·11·11;;Lll. llr .. I. II.. quol.C'd, Hi7.
Ni e lt nl. l'rn fc,.:,.:or, q1111kcl. li!J, H:l.
M: w:L1il a r , qttoLed. 1:J, 2fl, 4G. ()!), Nnl io11 , cli ,.:e ri111i11:1f.('d l'ro 111 propo,.; if.io11 , 18D : 111cL110ds n[ oxI()!) , I 2!J, Pl.i. I ti4, 27·1. :J27.
pvu11cli11g". 18!).
l\lac kay, C har le:;, q110f .ed, l-1·0.
Non• l, flit'. :ippro:ic,lt L•,.: h> !li e
1\la c ki11tos l1 . quot.r d. 2:;.
lll OdC' l'll ('011 ('.( 'J' f.iOl l of, 288; )11 s-.
Mnn, a grrnt.. E 111 L' r"o 11 ',- ddi11iI
nric.:; tl and l' l ii i1;a l. 2::l!) ; mo{ 1.f
ti o11 of. IU2.
n[ tl11' . WU; pl ot., 2!H); clrnrn rJ\[a1111 c ri s 111. 117.
f1•r:::. 2!!1): Jll ll'J >0''<1 i11. 2!H; L('sf
1\l11.rl o\\·c, qn of Cl\. GU. 1:l4.
or
Lh u \1·o rl.lt or. 2!)·3: rcadi11gM.n.rti11ea.11 ..T:i.n1 C's. 1 tG.
or. 2!J:J ; JI Ol\' (' I' 111'. 2!1..J..
Zll:1 s;.:o n, Da.\·icl , q110Lc<l. I UJ. 2!JO.
No 1'<· li ,-t. 1he, :I" ll': 11:hPr :1.11d
2D2.
:irfi,.:I., 2!11, 2!1:l: f.c•,-t o[ hi:-<
j\faf 11 cws. Ur. W., quot Pd. l:Jn.
\\'! irt.lt . 2!12.
307.
;\[n.\', c;a.11. 72. 74.
i\ld !n.rl .hy . . I 11 st. i11 , q11ot.ed. UH, ( )ii,.:(' l'\':tll! 'l' , oli,.;l'l'\':1.f.inn, 77.
()11,-c ill'l n 1\·orch. fi .I.
1ns.
i\[e l>o 11 a ld , George, q110Ll'll, VJO, Ocl1·. Iii!·, :l28.
Oliplrn.11t.. ,\!rs., q11otPd , 71, 02,
ms.
!J:} .
;'lfota [thor, d e lin ed. 21 ; how concc i vccl in pru:-<P 11t work, 27, OJH \rn .. l he, i.-::12.
note; po i11l.s to lw r egan _led 11.1 Orn.I.or, t.hc. s 1q1r1•1111• n.i1n of. :w;,:
l'l' i:tl.iull!' o r, (t l t Jl\'lll l' :llld Cll':i11 al\·,.:i,.: o[ l it e, 27 ; s pce1c:; nl,
l':t;; i() n, 2!Hi: l•: 1111 \r"011 ',.: ('011 l'l' P2tl; gu 11 e,.: i,- rrf. 42 .
' ' " I J1 1H I

1 11 • 1·1 ••:...: il\~

1'111 · :~·

f ~ 11 rJ · 1 ·

f in 1l n l'

~)~) ; .

w i1 111 i 1•

11 •

1111 :dili P"'

34.2

INDEX.

Progress, Greeley 011, 12.
Pronouns, syntnx of, 00, U7.
Proof, burden of, ~· '
Proper names, 52. . .
Proposition, definetl, U; discrimi ...
natetl from not ion, 180; metb..
ods of expounding u, 101. ·
Propriety, defi necl, 78; off nces
against, 78; nn elcmeut of en·
ergy, 9a.
' '
Pl'ovincinlisms, 65.
Parable, 33.
Pun, 31.
Paragraph, 14.
Punctuation, logic of 121;
Parentheses, objectionable, 86; • riod • .129; que tiou-marlr, 1 . ;
marks of, 135.
exclamntiou·point, 180; colon,
Parker, 'l'heotlore, quotetl, 58, 88,
130; semicolon, 181; .comwa,
129, 133, 193.
. 182; clash, .184; curves, 186;
P arody, 250.
quotes, 186.
.
Purity,·de.fined, 63 i. .violatio
Pa:storal, the, 330.
Pathos, 236.
64 .
Pecksniff, character of, 261.
P eriod, rules for use of, 120.
Periodic sentence, 10; and loot1e,
12.
.
Periphrasis, 30. : •
.
Personific1~tion, defined, &J; degrees of, 38 ; torce of, 34.
Perspicuity, defined; 62; impor,tance of, 62; relative, 62; puri. ty an element of, 68; propriety.
72; simplicity, 80j conciseness,
84; unity, 86; unagery, 88;
summary, 89. , •· .
.
Philosophy, Emerson's definition
of, 6; nature and comprehension of, 189; and sciencc, .discriininated, 281.
, , •;, ~ .
Pict uresq ue, the, 237.
E leouasm, 101.
Plot, in the ilovel, 290.
Poe, quotetl, 110, 113.
Poetry. chapter on, 308; diction
of, 308; rhythm, 311; metre,
312; rhym e, 317; Llank, 818;
what const1tu teR, 324; definitions of, 327; species, 328; use:!
of, 335 ~
qualifications for, 305; no excell ence in without labor, 306.
On]er, sy ntu.ctical, 71: as a co nditi on of energy, 102; in colllpositio n, 162; in orntory, 298;
in volves unity, 29!).
O,rigiuality, Goeth e on, 7; 110 abso lute among men, 161.
Ossian, quotetl, 59, 24G.
Ought, should, must, 73, 74.

..

fl ' 1.

·1

j

..

, , -

343

INDEX.

Robertson, F . W., qnote<l, 7, 135.
lfogers, quoted, 67.
Romance, the, 287.
Rossetti, quoted, 31, 137.
Rousseau, 89.
Rules, value of, 3.
Ru ssell, Lord, quoted, 249.
Ruskin, quoted , 7, 58, o!J, US, 69,
93, 226.

I Sonnet.

3_23, ~28 .
So~1l , de~·1vl~t10n of

.

/!te word, 43:

1mrnorta hty ?f, lU!:J.
Southey, quoted, 74, 131. ,.,
~pectator, th e, quoted, 10, !:JO.
100, 101, 123.
Spe ncer, q uote<l, ~ · 58 ..
Spe nser, quote<l, 08. 123.
Sprague, Charles, quoted, 24.
Spu rgeon, quoted, 106.
Satan, grnncleur of .Milton's co n- Squi nti ng construction, 71.
Stanza, t.he, 321. .
ception of, 244.
Status, t he, 156.
Satire, 260.
Sted ma n, E . C., quoted, 69, 115,
Saxon, force of, 81, 82.
138, 327.
Scenery, :;pring and aut umn, 235.
Steele, quote<l, 75, 79.
Schiller,. quoted, 7.
Stephen, I.JEslie, quoted, 71, 93,
Science, chapter· on, 279.
107, 125, l b3.
Scotsman, t he, quoted, 137.
Scott, quoted, 41, 67, 68, !)8, 316. Sterne, quote<l, 128, 284.
Semicolon, rnles fo r use of, 131. ·stormont, L or<l , quoted, 94.
Sentence, Aristotle's definition Stowe, l\frs. H . B., quote<l, 68, 70 .
of, 6; simple, 6; complex, 7; Strikes, 214.
eo1i1pouncl, 7; fo rms of t he, Studies, how to be estimated, 1.'i.
according to use, 7; colloca- Style, Germ an arnl French, U:
periodic and loose, 12, 86; sim tion of words in , 8; long a ntl
ple, 80; concise, 84; unity in ,
shor t, 8 ; periodic and loose,
86; a popular, 95; economy of,
10, 86; 1.Jala nced, 13.
attention in , 97; elegance in.
Shakespeare, a painstaking writ109; harmon y, l 11 \ variety.
er, 3; qn oted, 13, 26, 27, 31, 36,
113; mechanical aids to, 121:
40, 41, 58, 61, 63, 64, G7, 68, 74,
defin ed, 14L ; derivation of
75, 83, 84, 89, !Jl, !)5, 96, 123,
the word, 142; subj ectively
126, 128, 129, vm, 1s1, 133, 171,,
consid ered, 142 ; objectively.
J82, 187, 215,246,247, 295, 301,
143; di Yers!'ties of, 143 ; desig303, 310, 314, 320.
nations. of, 144 ; leading propS hall, will, 73, 74.
erties of, 14G; philosophy of.
Shelley, q uoted, 18, 46; 47, 57;
147 : importance of a good.
215, 217, 310, 318, 322.
148; cultivation of, 149; Greth<'
Sheridan, quoted, 70, 8!l, 94, 170.
on, 153; economy of attention
Shirley, quoted, 317. .
in, 185.
Short sentences, Coleridge 0 11, !J.
Sn bject, choice of a, 154; ~eterSimile, 35.
111 i nat ion of, 155; analysis of.
Simplicity, relat-. ion of, to perspi1G3.
cuity, 80; to en ergy, 95.
· Siinpsori, Bishop, training of, in Sublim e, t he, chapter on, 241 :
elements of, 243; physical and
oratory, 307.
moral, 24 1; ch ief criterion of.
Sit, set, 77.
24.2; in li t.emtttre, 244; a nd tit•
Smith, Dr. A. , <l11otecl , 33, 127.
,

•

• •

,

1

l

~

I

f 1 f

' \ , "\

1 .

..1 :

r .. 1 .... .... , .. . ., , 1 n f r;"

344

INDEX.

Syll epsis, 26.
Sy llogism, 195.
Syne<:doche, 29.
Synonyms, 72.
Syntax, rules of, 66.
T a in e, quoted, 49.
Talleyrand, quoted, 252.
Talmage, l{ev., quoted, 59.
Tautology, lOU.
T aylor, B. F., quoted, 140.
Taylor, J eremy, quoter!, Vl4.
Taste, chapter on, 222; dcti11ed,
223; a 11d im agination, 223;
growth of, 224; standard of
good, 225; culti vation ' of, 226;
R uskin on, 226 ; prime qualities of, 227; applicati0n of, to
the fin e arts, 228; pleasnres of,
229.
Temple, Si r W. , quoted, 100, 308.
Te1111yson, quoted, 21, 27, 3!), 57,
67, 106, 113, 123, 13(), 294, 315,
321.
Teuses, sequen<:e of, 69.
Testimony, 202.
Thackeray, quoted, 98, 249, 284.
Theme, 156.
Thom son, quoted, 309.
Thoreau. q noted, 115.
Tillotso n, quoted, 101.
Tmesis, 24.
Trngedy, 331.
Trevelyan, quoted, 114.
Trollope, Anthony, q uot.e(l, 115.
Trope. 34. ·
True, Beautiful, and Good, 237.
Twain, Mark, quoted, 119.
Tyndall, Professor, quoted, 13,
129.

Vinet, quoted, 165, 298.
Virgil, quoted. 129.
Visiou, dcfiued, 37.
Vocation, n,rocation, 77.
Volt'airc, <1u oted, 40, 327.
V ulgaris111s, G6.

Waller. quoted, 34, 312.
vValpole, Horace, quoted, 103,
263.
vVard, Artemas, quoted, 103, 258.
vYntts, Isaac, quoted, 321.
Webster, quoted, 60.
Wesley, Charl es, q uoted, 312.
Westminster Hall, descr iption of,
181.
Westminster Review, quoted, 79,
123.
Whate ly. Dr., quoted, 118, 132,
205, 301.
Wh ewell , quoted, 211.
W hipple, quot.eel, 259.
Wh ite, R. G., quoted, 70.
Whittier, quoted, 123, 181, 136.
237.
Wit;, species of, 250; dreariness
of, sustained, 253; inimical to
t lie nobler faculties, 254; Sydnr.,v Smith on, 254; a nd humor,
259.
Wirt, William, quoted, 2!)7.
vVonls, customary order of, in
Eng-li sh. 8; i11 verted a rran gement of, 8; figurati\' e use of,
17, 18; pure, 63; obsolete, 64;
newly-coined, 64; a lien, 65;
provincial, 65; vu lgar, 66; sy nonymous, 72; exaggeration in
th e u se of, 78; simple, 80; specific, 81 ; number of, 84; energetic, 96; poetry in, 219.
Udal, quoted, 52.
vVordsworth, quoted, 70, 73, 82,
Unit.ies, t he three, 332.
209, 327.
Unity, defined, 86 ; essentin,J to Writers, young, cautions to, ~!}.
energy, 103.
Wycliff, quoted, 67.
Use, as a language, 64.
Yonng, quoted, 38, 57, 68, 69,
1HG. 138.

\

