1pFFjZK

:
-ak,
INTRODUCTION: WACKERNAGEL II
i. On Style in General
As is well known, the word style has its origin in Greek,
passing thence into Latin, and through the latter coming at
length to us. The Greek original signifies a uniform rectilinear
body of greater length than thickness: crrOXo? means a
wooden pile,
a stone pillar, finally, a metallic graver for writing
and drawing. In meaning, as well as by derivation, it
corresponds to our [German] word StieL The Latins adopted
it chiefly in the latter signification of graver; their language
wanting the sound of upsilon, they spelled the word stilus.
With them, not with the Greeks, the literal meaning was developed
figuratively, and by style was signified, first, what we
also express metaphorically by the word hand, and the Latins
at times by manus that a is, characteristic way of making
a characteristic manner
letters;
second, still more figuratively,
of dressing thought in words; one finds the usage as early
as Terence, 1 - Cicero, 13 and others. We have a similar way of
ing to " a clever pen," or in the art of painting to " a
ite brush" or "the brush of Apelles." It is in the
latter, metaphorical sense that we are in the habit of using
vord style, or, since we have borrowed it from the Romans,
si He. However, we have made its application wider
than the literal signification warrants.
Throughout
the entire
e of art painting, sculpture, musir, etc. -we speak
of style,
wherever an inner peculiarity shows itself in the
outward representation through characteristic marks. Thus
for example, of tin- Romance style
in architecture,
or of the Myl hael 01 SebuMian Bach. And the ar
al and without further qualification say, for
of an ordinary vessel,
" It has style,"
H if the tiling
ts
purpose, and be beautiful, and at the same time
rtain di-tim live peculiarity of form. In particular,