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LEWES 315
by Style that writers gain distinction, by Style they secure their
immortality. 2 In a lower sphere many are remarked as
writers although they may lay no claim to distinction as
thinkers, if they have the faculty of felicitously expressing
the ideas of others; and many who are really remarkable
as thinkers gain but slight recognition from the public, simply
because in them the faculty of expression is feeble. In proportion
as the work passes from the sphere of passionless
intelligence to that of impassioned intelligence, from the
region of demonstration to the region of emotion, the art of
Style becomes more complex, its necessity more imperious.
But even in Philosophy and Science the art is both subtle
and necessary; the choice and arrangement of the fitting
symbols, though less difficult than in Art, is quite indispensable
to success. If the distinction which I formerly
drew between the Scientific and the Artistic tendencies be
accepted, it will disclose a corresponding difference in the
Style which suits a ratiocinative exposition fixing attention on
abstract relations, and an emotive exposition fixing attention
on objects as related to the feelings. We do not expect the
M-ientific writer to stir our emotions, otherwise than by the
secondary
at the unveiling
influences which ari-e from
our awe and delight
of new truths In his own researches he
should extricate himself from the perturbing influences of
emotion, and consequently he should protect us from such
suggestions in his exposition. Feeling
too often smites intellect
with blindne, and intellect too often paralyzes the
'lay of emotion, not to call for a de<
>aration of the
Hut thi- separation is no ground for the disregard of
Style in works of pure demonstration as we shall see by
and by.
The Principle of Beauty is only another name for Style,
which i- U -minicab' all other arts, but like