Sir Arthur Quiller-Couch (1863–1944). On the Art of Writing. 1916.
VII. Some Principles ReaffirmedThursday, May 29
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Now in the course of my remarks I happened—maybe a little incautiously—to call the Authorised Version a ‘miracle’; using that word in a colloquial sense, in which no doubt you accepted it; meaning no more than that the thing passed my understanding. I have allowed that the famous forty-seven owed an immense deal to earlier translators—to the Bishops, to Tyndale, to the Wyclif Version, as themselves allowed it eagerly in their preface:—
Nevertheless the Authorised Version astounds me, as I believe it will astound you when you compare it with earlier translations. Aristotle (it has been said) invented Chance to cover the astonishing fact that there were certain phenomena for which he found himself wholly unable to account. Just so, if one may compare very small things with very great, I spoke of the Authorised Version as a ‘miracle.’ It was, it remains, marvellous to me.
Should these deciduous discourses ever come to be pressed within the leaves of a book, I believe their general meaning will be as clear to readers as I hope it is to you who give me so much pleasure by pursuing them—almost (shall I say?) like Wordsworth’s Kitten with those other falling leaves:—
Believe me, I intended nothing of the sort: for that, in my plain opinion, would be to make a fetish of the book. One of these days I hope to discuss with you what inspiration is: with what accuracy—with what meaning, if any—we can say of a poet that he is inspired; questions which have puzzled many wise men from Plato downwards.
But certainly I never dreamt of claiming plenary inspiration for the forty-seven. Nay, if you will have it, they now and again wrote stark nonsense. Remember that I used this very same word ‘miracle’ of Shakespeare, meaning again that the total Shakespeare quite outpasses my comprehension; yet Shakespeare, too, on occasion talks stark nonsense, or at any rate stark bombast. He never blotted a line—‘I would he had blotted a thousand’ says Ben Jonson: and Ben Jonson was right. Shakespeare could have blotted out two or three thousand lines: he was great enough to afford it. Somewhere Matthew Arnold supposes us as challenging Shakespeare over this and that weak or bombastic passage, and Shakespeare answering with his tolerant smile, that no doubt we were right, but after all, ‘Did it greatly matter?’
So we offer no real derogation to the forty-seven in asserting that here and there they wrote nonsense. They could afford it. But we do stultify criticism if, adoring the grand total of wisdom and beauty, we prostrate ourselves indiscriminately before what is good and what is bad, what is sublime sense and what is nonsense, and forbid any reviser to put forth a hand to the ark.
The most of us Christians go to church on Christmas Day, and there we listen to this from Isaiah, chapter ix, verses 1–7:—
And now Gentlemen (as George Herbert said on a famous occasion), let us tune our instruments.
We have agreed that our writing should be appropriate: that it should fit the occasion; that it should rise and fall with the subject, be grave where that is serious, where it is light not afraid of what Stevenson in The Wrong Box calls ‘a little judicious levity.’ If your writing observe these precepts, it will be well-mannered writing.
To be sure, much in addition will depend on yourself—on what you are or have made yourself, since in writing the style can never be separated from the man. But neither can it in the practice of virtue: yet, though men differ in character, I do not observe that moralists forbear from laying down general rules of excellence. Now if you will recall our further conclusion, that writing to be good must be persuasive (since persuasion is the only true intellectual process), and will test this by a passage of Newman’s I am presently to quote to you, from his famous ‘definition of a gentleman,’ I think you will guess pretty accurately the general law of excellence I would have you, as Cambridge men, tribally and particularly obey.
Newman says of a gentleman that among other things:
To proceed.—We found further that our writing should be accurate: because language expresses thought—is, indeed, the only expression of thought—and if we lack the skill to speak precisely, our thought will remain confused, ill-defined. The editor of a mining paper in Denver, U.S.A., boldly the other day laid down this law, that niceties of language were mere ‘frills’: all a man needed was to ‘get there,’ that is, to say what he wished in his own way. But just here, we found, lies the mischief. You will not get there by hammering away on your own untutored impulse. You must first be your own reader, chiselling out the thought definitely for yourself: and, after that, must carve out the intaglio yet more sharply and neatly, if you would impress its image accurately upon the wax of other men’s minds. We found that even for Men of Science this neat clean carving of words was a very necessary accomplishment. As Sir James Barrie once observed, ‘The Man of Science appears to be the only man who has something to say, just now—and the only man who does not know how to say it.’ But the trouble by no means ends with Science. Our poets—those gifted strangely prehensile men who, as I said in my first lecture, seem to be born with filaments by which they apprehend, and along which they conduct, the half-secrets of life to us ordinary mortals—our poets would appear to be scamping artistic labour, neglecting to reduce the vague impressions to the clearly cut image which is, after all, what helps. It may be a triumph that they have taught modern French poetry to be suggestive. I think it would be more profitable could they learn from France—that nation of fine workmen—to be definite.
But about ‘getting there’—I ask you to remember Wolfe, with the seal of his fate on him, stepping into his bateau on the dark St. Lawrence River and quoting as they tided him over:—
Further, it was against this loose adaptation of words to thought and to things that we protested in our interpolated lecture on Jargon, which is not so much bad writing as the avoidance of writing. The man who employs Jargon does not get ‘there’ at all, even in a raw rough pioneering fashion: he just walks around ‘there’ in the ambient tracks of others. Let me fly as high as I can and quote you two recent achievements by Cabinet Ministers, as reported in the Press:—(1) ‘Mr McKenna’s reasons for releasing from Holloway Prison Miss Lenton while on remand charged in connexion with (sweet phrase!) the firing of the tea pavilion in Kew Gardens are given in a letter which he has caused to be forwarded to a correspondent who inquired as to the circumstances of the release. The letter says “I am desired by the Home Secretary to say that Lilian Lenton was reported by the medical officer at Holloway Prison to be in a state of collapse and in imminent danger of death consequent upon her refusal to take food. Three courses were open—(1) To leave her to die; (2) To attempt to feed her forcibly, which the medical officer advised would probably entail death in her existing condition: (3) To release her. The Home Secretary adopted the last course.”’
‘Would probably entail death in her existing condition’! Will anyone tell me how Mr McKenna or anyone else could kill, or (as he prefers to put it) entail death upon, Miss Lenton in a non-existing condition?
(2) Next take the Chancellor of the Exchequer. As we know, the Chancellor of the Exchequer can use incisive speech when he chooses. On May 8th as reported in next day’s Morning Post, Mr Lloyd George, answering a question, delivered himself of this to an attentive Senate:—
We found that this way of talking, while pretending to be something pontifical, is really not prose at all, nor reputable speech at all, but Jargon; nor is the offence to be excused by pleading, as I have heard it pleaded, that Mr Lloyd George was not using his own phraseology but quoting from a paper supplied him by some permanent official of the Treasury: since we select our civil servants among men of decent education and their salaries warrant our stipulating that they shall be able, at least, to speak and write their mother tongue.
We laid down certain rules to help us in the way of straight Prose:—
(1) Always always prefer the concrete word to the abstract.
(2) Almost always prefer the direct word to the circumlocution.
(3) Generally, use transitive verbs, that strike their object; and use them in the active voice, eschewing the stationary passive, with its little auxiliary its’s and was’s, and its participles getting into the light of your adjectives, which should be few. For, as a rough law, by his use of the straight verb and by his economy of adjectives you can tell a man’s style, if it be masculine or neuter, writing or ‘composition.’
The authors of that capital handbook The King’s English, which I have already recommended to you, add two rules:—
(4) Prefer the short word to the long.
(5) Prefer the Saxon word to the Romance.
But these two precepts you would have to modify by so long a string of exceptions that I do not commend them to you. In fact I think them false in theory and likely to be fatal in practice. For, as my last lecture tried to show, you no sooner begin to philosophise things instead of merely telling a tale of them than you must go to the Mediterranean languages: because in these man first learnt to discuss his ‘why’ and ‘how,’ and these languages yet guard the vocabulary.
Lastly, we saw how, by experimenting with rhythm, our prose ‘broke its birth’s invidious bar’ and learnt to scale forbidden heights.
Now by attending to the few plain rules given above you may train yourselves to write sound, straightforward, work-a-day English. But if you would write melodious English, I fear the gods will require of you what they ought to have given you at birth—something of an ear. Yet the most of us have ears, of sorts; and I believe that, though we can only acquire it by assiduous practice, the most of us can wonderfully improve our talent of the ear.
If you will possess yourselves of a copy of Quintilian or borrow one from any library (Bohn’s translation will do) and turn to his 9th book, you will find a hundred ways indicated, illustrated, classified, in which a writer or speaker can vary his Style, modulate it, lift or depress it, regulate its balance.
All these rules, separately worth studying, if taken together may easily bewilder and dishearten you. Let me choose just two, and try to hearten you by showing that, even with these two only, you can go a long way.
Take the use of right emphasis. What Quintilian says of right emphasis—or the most important thing he says—is this:—
That seems obvious enough, for English use as well as for Latin. ‘The wages of sin is Death’—anyone can see how much more emphatic that is than ‘Death is the wages of sin.’ But let your minds work on this matter of emphasis, and discover how emphasis has always its right point somewhere, though it be not at all necessarily at the end of the sentence. Take a sentence in which the strong words actually repeat themselves for emphasis:—
The forty-seven preserved the ‘falling close’ so exquisite in the Latin; the emphasis, already secured by repetition, they accentuated by lengthening the pause. I would urge on you that in every sentence there is just a right point of emphasis which you must train your ears to detect. So your writing will acquire not only emphasis, but balance, and you will instinctively avoid such an ill-emphasised sentence as this, which, not naming the author, I will quote for your delectation:—
Explore, next, what (though critics have strangely neglected it) to my mind stands the first, or almost the first, secret of beautiful writing in English, whether in prose or in verse; I mean that inter-play of vowel-sounds in which no language can match us. We have so many vowel sounds indeed, and so few vowels to express them, that the foreigner, mistaking our modesty, complains against God’s plenty. We alone, for example, sound by a natural vowel that noble I, which other nations can only compass by diphthongs. Let us consider that vowel for a moment or two and mark how it leads off the dance of the Graces, its sisters:—
Mark how expressively it drops to the solemn vowel ‘O,’ and anon how expressively it reasserts itself to express rearisen delight:—
Take another passage in which the first lift of this I vowel yields to its graver sisters as though the sound sank into the very heart of the sense.
‘And am no more worthy to be called thy son.’ Mark the deep O’s. ‘For this my son was dead and is alive again; he was lost and is found.’ ‘O my son, my son Absalom’—observe the I and O how they interchime, until the O of sorrow tolls the lighter note down:—
Or take this lyric, by admission one of the loveliest written in this present age, and mark here too how the vowels play and ring and chime and toll.
I think if you will but open your ears to this beautiful vowel-play which runs through all the best of our prose and poetry, whether you ever learn to master it or not, you will have acquired a new delight, and one various enough to last you though you live to a very old age.
All this of which I am speaking is Art: and Literature being an Art, do you not see how personal a thing it is—how it cannot escape being personal? No two men (unless they talk Jargon) say the same thing in the same way. As is a man’s imagination, as is his character, as is the harmony in himself, as is his ear, as is his skill, so and not otherwise he will speak, so and not otherwise than they can respond to that imagination, that character, that order of his intellect, that harmony of his soul, his hearers will hear him. Let me conclude with this great passage from Newman which I beg you, having heard it, to ponder:—