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4$2 THEORIES OF STYLE IN LITERATURE Indeed, it would be ridiculous to write anything at all in the language of the Bible. But if you care to know the best that our literature can give in simple noble prose mark, learn, and inwardly digest the Holy Scriptures in the English tongue. Compare above, pp. 160, 161. 1 2 Strictly speaking, you cannot call Horace's. A rs Poetica an "essay on Style " ; though of course an epistle on the art of poetry would have to consider style, that is, poetical style, as an important side of the craft. Compare Wackernagel, above, p. 3. 3 See above, p. 181. 4 Yet observe what Mr. Harrison says of style among the French (p. 442), and compare Brunetiere's opinion of the way in which that style has been attained (above, pp. 417*!.). 6 Mr. Harrison is in accord with Mr. John Morley on this point. See the latter's Studies in Literature, p. 222 : "I will even venture, with all respect to those who are teachers of literature, to doubt the excellence and utility of the practice of over-much essay-writing and composition. I have very little faith in rules of style, though I have an unbounded faith in the virtue of cultivating direct and precise expression. But you must carry on the operation inside the mind, and not merely by practising literary deportment on paper." 6 '' To thine own self be true." This is said by Polonius in Hamlet. Is the rest of Polonius's speech sound wisdom ? How do these six words agree with the third Beatitude, or with Mark viii. 34 ? 7 Compare Schopenhauer, above, p. 256. Is Schopenhauer addicted to exaggeration ? 8 Compare Longinus, above, pp. 103, 137, 142. 9 Compare Wackernagel, above, pp. 6-7. 10 Compare Coleridge, above, pp. 205-207. 11 Chapter II of Mr. Harrison's volume is a fine appreciation of Ruskin as Master of Prose, the last " paragraph beginning : If, then, John Ruskin be not in actual achievement the greatest master who ever wrote in English prose, it is only because he refused to chasten his passion and his imagination until the prime of life was past." 12 Yet Mr. Harrison attempts an explanation of "the quality of musical assonance" in Ruskin (Chap. II, pp. 57 ff.). His remarks there offer an interesting parallel to Stevenson's essay (above, pp. 379 ff.); compare also Coventry Patmore as quoted in his Life, by Basil Champneys, Vol. i, p. 106. 13 See Professor Albert S. Cook's The Bible and English Prose Style. Boston, Heath, 1892, and Professor C. S. Baldwin's How to Write: A Handbook Based on the English Bible, New York, Macmillan, 1905.
. 108, ' ' INDEX OF PROPER NAMES Achilles, 65, 103, in, 122. Acomat, 182. Acumenus, 36, 37. Adam (As You Like It), 373. Addison, 205, 324, 367, 436, 444, 446. Arimaspeia (the poet of the), 113, 114. AristOReiton, 135, 136. Aristophanes, 15, 63, 152, 213, 239, 241, 269 n. Aristotle, x, xii, xiii, 2, 3, 21, 51, 52-96, 122 n., 140, 159 n., 179, 190, 210, 211, Aricia, 183, 184, 184 n. pAdonis, 47. Adrastus, 38. jEschines, 126. jtschylus, 12, 15, 100 n., lai, 121 n., 122, 122 n., 213, 218. /Esion, 84. Agamemnon, 92, 103. Atfathocles, 103. no, in, 359. Albalat, xiii. Alceste, 441 Alridamas, 63, 64, 65. Alden, H. M., xxii. Babbitt, Irving, 414. Alexander, 102, 108, 139, 210, 217, 237, Bacchylides, 144. 240, 241. Aloeus, 107. Ammon, 45, 46. 393. 445. Ammonius, 118. Bain, xiii. Amphicrates, 101, 103. Bainton, xiii, xx. Anacreon, 138. Baldwin, C. S., xiii, 452. Anaxagoras, 39. Anaxandrides, 83, 89, 94. Andromache, 183. Androtion, 66. iico, 361. (>uecn, 205. Antimachus, 70, 70 n. Becker, W. A., 68 n. Antiochus, 182. Hcll.iy. Joachim du, 418. Antisthenes, 67. Berenice, 182. Bergerac, Cyrano dc, 438. Aphrodite, 33, ga. 146. 354- Apollonius, 143. 26. ' 14 n. An hidamas, 66, 66 n. Blair, xiv, 270, 273. 143. Blake, 402, 406. Boccaccio, 202, 443, 444. is, 87. 453 212, 213, 215, 218 n., 237, 311, 322. Armstrong, W. H., xxi. Arnold, Matthew, xiii, xv, 97, 450. Athenaeus, 61 n. Athenagoras, 145. Athene, 92. Augustus Caesar, 236. Aurungzebe, 354, 355. Autolycus, 362. Bach, ii, 411. Bacon, 202, 252, 308, 326, 327, 388, Balfour, Graham, 364. Balzac, Guez dc, 180, 190. Balzac, Honor* de, 306, 307, 420. Barrow, 205. Baudelaire, 422.
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THEORIES OF STYLE IN LITERATURE
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piV COPYRIGHT, 1907, BY THE MACMILL
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viii PREFACE prise all literature.
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X PREFACE cicnt free play of opinio
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xii PREFACE and Aristotle respectiv
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xiv BIBLIOGRAPHY 1 6. * BECKER, K.
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xvi BIBLIOGRAPHY 51. ELLWANGER, W.
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Xviii BIBLIOGRAPHY 88. LANSON, G. C
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XX BIBLIOGRAPHY 124. RALEIGH, W. St
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Xxii BIBLIOGRAPHY 157. WISEMAN, N.
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. Switzerland, THEORIES OF STYLE IN
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; that INTRODUCTION: WACKERNAGEL 3
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INTRODUCTION: WACKERNAGEL 5 that in
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INTRODUCTION: WACKERNAGEL / conscio
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INTRODUCTION: WACKERNAGEL 9 making
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: -ak, INTRODUCTION: WACKERNAGEL II
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i ,,f INTRODUCTION: WACKERNAGEL 13
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INTRODUCTION: WACKERNAGEL 15 betwee
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INTRODUCTION: WACKERNAGEL I/ and di
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The INTRODUCTION: WACKERNAGEL 19 th
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,-d. INTRODUCTION: WACKERNAGEL 21 e
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PLATO 23 n PLATO (B.C. 428-347) Fro
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PLATO 25 sweetest utterance. to tal
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PLATO 27 Soc. Is not rhetoric, take
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PLA TO 29 into the opposite of trut
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* PLATO 31 of Achelous and Soc. The
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PLATO 33 Phcrdr. True. Soc. The div
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PLATO 35 Soc. Yes; thank you for re
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i IM- PLATO 37 Soc. And suppose tha
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. was PLA TO 39 Soc. I conceive Per
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* him, PLATO 41 soul is persuaded b
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PLATO 43 concerned who are just and
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1 take PLATO 45 Soc. Enough appears
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PLATO 47 Phcedr. That is most true.
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. Show PLATO 49 Soc. And now, Phacd
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PLATO 51 or not ; and to Solon and
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. and rive ARISTOTLE 53 scientific
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ARISTOTLE 55 larly considered, and
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ARISTOTLE . 57 perform its proper f
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ARISTOTLE 59 rhetorical speech. Amo
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ARISTOTLE 6 1 pous for the subject,
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ARISTOTLE 63 result may be attained
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ARISTOTLE 65 want to express is des
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ARISTOTLE 67 comparison of the comm
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ARISTOTLE 69 should be properly ass
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ARISTOTLE J\ mode of treatment by n
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1 ARISTOTLE 73 carry the harshness
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M ARISTOTLE 75 definition of it. *
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ARISTOTLE JJ indefinite style and b
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ARISTOTLE 79 are connected together
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; i ARISTOTLE 8 1 the present treat
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,m ARISTOTLE 83 nians told them the
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i . ARISTOTLE 85 * Lycolcon in beha
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think, ARISTOTLE 8/ for in all thes
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ARISTOTLE 89 e.g. the remark that A
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ARISTOTLE 9 1 water dripping upon i
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. d orepideit ARISTOTLE 93 the nece
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ARISTOTLE 95 be mentioned several t
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LONGINUS 97 IV LONGIXUS On the Subl
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1 appearance LONGINUS 99 not is usu
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e LONGINUS IOI iy, where the natura
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LONGINUS IO3 their destruction was
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: LONGINUS 105 VII It is proper to
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at LONGINUS IO7 fecting, as we may
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: >tion LONGINUS 109 " A trumpet so
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: ]' n LONGINUS 1 1 1 which comes w
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LONGINUS 113 has observed to be act
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. between LONGJNUS 115 larly Demost
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: but he burns and sweeps away all
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LONGINUS 119 Homer, like a young ch
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LONGINUS 121 " With tail he lashes
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LONGINUS 123 " Off, off, I say I kn
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LONGINUS 125 above their misfortune
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. LONGINUS 127 their grandeur and b
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LONGINUS 129 XX But nothing is so c
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LONGINUS 131 Phocaea in Herodotus:
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' \'GfNUS 133 " There came forth He
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LONGINUS 135 xxvn Sometimes, again,
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LONGINUS 137 " burial is to be publ
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i one LONGINUS 139 Caecilius censur
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LONGINUS 14! the source of the rapi
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i . ritus LONGINUS 143 proper to an
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LONGINUS 145 passion; his mythical
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LONGINUS 147 masses of rock, and to
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LONGINUS 149 is recent so that it s
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. and LONGINUS 151 who stand by the
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LONGINUS 153 his arrangement than o
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LONGINUS 155 gold and silver plate
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Consider, LONGINUS 157 the tlame of
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LONGINUS 1 59 when the whole life o
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SWIFT l6l struct us in the business
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SWIFT 163 beatific vision, with a t
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SWIFT 165 And truly, as they say a
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SWIFT 167 one part of their congreg
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BUFFON 169 VI BUFFON (1707-1788) "D
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enter. BUFFON I/I and display their
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BUFFON 173 terruptions, pauses, sec
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BUFFON 175 Again, nothing is more o
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: but BUFFON 177 have trained and b
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BUFFON 179 1 For example, Voltaire,
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VOLTAIRE . l8l taught. They presupp
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VOLTAIRE 183 " I'm going to leave y
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VOLTAIRE 185 tints which even- writ
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VOLTAIRE IS/ It ought to read: will
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, VOLTAIRE 189 " Hercules was a phy
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VOLTAIRE IQI * This much of the art
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GOETHE 193 impartial study, thought
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: until, OOETHE 195 of the a b c's
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GOETHE 197 playing over the brillia
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COLERIDGE 199 IX SAMUEL TAYLOR COLE
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' COLERIDGE 2OI Ful looth were hym
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COLERIDGE 203 " Concerning Faith, t
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COLERIDGE 205 party; you may detect
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COLERIDGE 2O? verbal than Johnson's
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. ed ' D ' DE QUINCE Y 2OQ THOMAS D
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DE QUINCEY 211 Pagan Literature has
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DE QUINCEY 21$ Sophocles, it is not
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DE QUINCEY 21$ of space, that is in
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DE QUINCEY 21? Three great agencies
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DE QUINCEY 2ig what we arc now wish
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1 he DE QULVCEY 221 so grand, and b
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DE QUINCEY 223 and their own peculi
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Me DE QUINCEY 22$ effect a transiti
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, DE QUINCE Y 22J (" Let no one ent
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DE QUINCE Y 22$ and previous prepar
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DE QUINCE Y 231 dcncd by one word i
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DE QULVCEY 233 how composed, and ho
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DE QUINCEY 235 stage or hustings pu
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DE QUINCEY 237 Well might the poor
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DE QUINCE Y 239 sccnical poetry or
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ed DE QUINCE Y 241 of Radicalism, t
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) with DE QUINCE Y 243 wit, that th
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THOREAU 245 XI HENRY DAVID THOREAU
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: THOREAU 247 A perfectly healthy s
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TIIOREAU 249 record his day's exper
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1 < & SCIIOPENHA UER 2 5 I xn ARTHU
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long SCHOPENHA UER 2 5 3 they to do
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; truth; but SCHOPENHA UER 255 perf
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- ^ ' SCHOPEXIIA I 'ER c \press him
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SCHOPENHA UER 259 The same distinct
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SCHOPENHA L /.A 1 26 1 An obscure a
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' SCHOFEXHA UER 263 instance, what
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SCHOPENHAUER 265 holding a monologu
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SCHOPENHAUER 267 order, an
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SCHOPENHAUER 269 rupt oneself. But
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SPENCER 271 The doctrine of economy
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SPENCER 273 as they would be were t
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rm SPENCER 275 right choice and col
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' SPENCER 277 of ideas aids the eff
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SPENCER 279 backwards and forwards
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SPENCER 28l even though the mind sh
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SPENCER 283 And as these qualificat
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SPENCER 285 The general principle o
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SPENCER 287 style, as contrasted wi
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instructions SPENCER 289 \Ye came t
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SPENCER 291 special attitude intend
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SPENCER 293 Mutter'd to wretch by n
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SPENCER 295 to be understood from a
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SPENCER 297 image, the adjectives b
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SPENCER 299 " Richter says, in the
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SPENCER 301 hyperboles, and personi
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SPENCER 303 placed accent or a supe
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SPENCER 305 regain their full power
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SPENCER 307 a dents, que mes moycns
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SPENCER 309 to a desired conclusion
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SPENCER 311 same faculties, it will
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LEWES 313 The first editor of the F
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LEWES 315 by Style that writers gai
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LEWES 317 been the result of their
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'. n LEWES 319 to express himself i
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LEWES 321 No Style can be good that
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LEWES 323 (which unhappily was not
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LEWES 325 but in virtue of their co
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LEWES 327 sending forth his thought
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ecause LEWES 329 represented so as
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>mbincd LEWES 331 happy talent will
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LEWES 333 the machine, and to use i
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LEWES 335 by its retarding influenc
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LEWES 337 in one indivisible moment
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LEWES 339 the artist tells him when
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1 should LEWES 341 dramatist must h
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LEWES 343 my thought. Whereas, if i
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. But < rved LEWES 345 of that also
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LEWES 347 cause weak, there is no a
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LEWES 349 sistence, that the propos
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and without an echo of other voices
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LEWES 353 him in darkness, and when
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LEWES 355 richest jewels of Golcond
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: but, LEWES 357 disorder of nature
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LEWES 359 instead of several I have
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; can LEWES 361 even- phrase was a
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LEWES 363 'From DeQuinccy's essay o
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STEVENSON 365 It is path-breaking a
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STEVENSON 367 and ity, vigor: no hi
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STEVENSON 369 and then deftly evade
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STEVENSON 371 texture? I am tempted
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STEVENSON 373 and still persist in
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STEVENSON 375 the two patterns woul
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STEVENSON 377 fresh variety of move
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STEVENSON 379 upon assonance. The v
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STEVENSON 381 the current s is most
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STEVENSON 383 visable to taKe. But
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STEVENSON 385 1 In th Contemporary
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or, PATER 387 Pater's strenuous ins
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PA TER 389 somewhat diminished effe
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PATER 391 else than a transcriber;
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juin\. L*\**-V~~ . His is PATER 393
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not PATER 395 dictionary, and still
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'hat PATER 397 Different classes of
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PA TER 399 The elementary particles
Page 429 and 430: PATER 4OI surprises^ and afterthoug
Page 431 and 432: PATER 403 fire," people say, "has t
Page 433 and 434: PATER 405 " I am reading over again
Page 435 and 436: independent PA TER 407 to the reade
Page 437 and 438: PATER 409 Flaubert there was, below
Page 439 and 440: PATER 411 to the subjectivity, the
Page 441 and 442: PATER 413 'The distinction passes g
Page 443 and 444: BR UNE TIERE 4 1 5 ing for success
Page 445 and 446: BR UNE TIERE 4 1 7 them to account,
Page 447 and 448: the BRUNETIERE 4*9 deliberately, a
Page 449 and 450: BRUNET1ERE 4 21 Walloons or to litt
Page 451 and 452: I mind- BRUNETIERE 423 as George Sa
Page 453 and 454: BRL\\ 7 ETIERE 425 ***** De nobles
Page 455 and 456: BRUNETIERE 427 a body of hearers; a
Page 457 and 458: 'un- BRUNETI&RE 429 calls for too c
Page 459 and 460: BR UNETIERE 4 3 1 which should be a
Page 461 and 462: BRUXETIERE 433 nothing is more dang
Page 463 and 464: : that HARRISON 435 XVIII FREDERIC
Page 465 and 466: . says HARRISON 437 cricket can be
Page 467 and 468: HARRISON 439 " articles and smart r
Page 469 and 470: , an - 1/AKXISON 441 Mater is conce
Page 471 and 472: HARRISON 443 of this kind language,
Page 473 and 474: HARRISON 445 wrote correct Latin co
Page 475 and 476: 1 HARRISON 447 dimmed our respect f
Page 477 and 478: . it HARRISON 449 It is a good rule
Page 479: in 1 of . HARRISON 45 1 Read Voltai
Page 483 and 484: , George, IXDKX 455 Dante, xxi, 4,
Page 485 and 486: . 283, . C. , E., ' . INDEX 457 Jou
Page 487 and 488: . 112, . Rhys, ' INDEX 459 Racine,
Page 489 and 490: Studies in Structure and Style Base
Page 491 and 492: ->urces i .c An Introduction to the
Page 495: PLEASE DO NOT REMOVE CARDS OR SLIPS
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