Page images
PDF
EPUB

deserves for its intrinsic merit. Beauty is desirable in itself, for its own power to please.

85. Essential Beauty in Composition. There is undoubtedly essential beauty in well-chosen language, well-constructed sentences, well-arranged arguments, a due admixture of plain and figurative expressions, a proper structure of the entire composition. A good taste recognizes genuine beauty, and also is displeased at its absence, and pained at deformity.

86. Is there any Standard of Taste? - The standard of Taste is inflexible, so far as it regards intrinsic beauty alone, but the mind is influenced by education, so that persons in one age may approve what is disapproved in another age. A nation may have a peculiar standard of Taste on some matters, and to a certain extent. French writers, for instance, usually break up their pages into many paragraphs, and write in a sharp, pointed style; German writers, on the average, make longer paragraphs. This is a mere national fashion, to which there are many exceptions, and in both cases it may prove temporary.

There are so many varieties of beauty, esteemed so variously by different persons, and there are so many artificial or cultivated preferences, that it is a recognized truth that disputes on matters of taste can not be absolutely settled.

87. Criticism. Criticism is the subjecting of the writings and speeches of others to examination according to the rules of Rhetoric and Taste, and the assigning of reasons for their approval or disapproval. It is a healthful practice when not indulged in excess

[blocks in formation]

ively, but a man may be so superfluously critical of others as to intimidate himself. As a matter of fact, the severest critics are often feeble performers. It is easier to destroy, or to find fault with, than to build.

88. How Criticism should be practiced. In the criticism of a production, we should first ascertain its object, and approve or disapprove that according to our judgment. We should next consider its general drift of character, its strength or feebleness, and whether or not it has attained its purpose. Then it may be examined with reference to its general appropriateness of style of thought, of language, of illustration, of adaptation-and, in fact, with reference to any actual or desirable quality. Honest criticisms are valuable, and to criticise exhaustively is a rare art.

89. The Cultivation of Taste. - Taste may be cultivated by familiarity with productions that have borne the test of examination, and are generally approved, by reading critical writings, by making criticisms, and by rigid adherence to rules in our own productions.

90. An Example of Criticism. - Would it not encumber this book too largely, some specimens of long productions would here be inserted and criticised, but perhaps space may be saved by selecting some book with which all are familiar. Take, then, the Book of Job in the Bible, and examine it simply as a literary document.

What is its object? Evidently to present the life and character of Job.

But why present his life? Evidently because it was very extraordinary, illustrating most signally the fact that a good man may suffer intensely and for a long time, and yet, if he preserves his integrity, in the end he will be delivered, and his integrity rewarded. The object, then, is good, the theme is sublime. It being in the form of a portraiture of character, and several other personages to be introduced, with conversations, a poetical or dramatic style is rightly chosen.

Observe the simplicity of the introduction, the conciseness and rapidity of the narrative awakening intense interest. When other characters come to be introduced, observe how each preserves his own personal style, and that at the last, previous to the closing up of the narrative, the thoughts and expressions attributed to God are the sublimest ever uttered, and in the most appropriate phrase.

This criticism is indeed entirely eulogistic, and but faintly expresses the opinion of every competent judge of the Book of Job, simply as a rhetorical production.

91. Exaggeration a common Fault. - A common fault in earnest writers is an over-statement of a thought, which should especially be avoided in deliberative, sober productions. We think that Dr. Whately is open to this charge in the second paragraph of Part IV. of his Rhetoric, on Elocution. He says:

"Probably not a single instance could be found of any one who has attained, by the study of any system of instruction that has hitherto appeared, a really good delivery; but there are many-probably nearly as many as have fully tried the experiment-who have by this means been totally spoiled; who have fallen irrecoverably into an affected style of spouting, worse, in all respects, than their original mode of delivery."

ILLIBERAL CRITICISM.

255

Dr. Whately was really too strong a writer to resort to such extravagant and illogical statements as this.

Criticism is often unappreciative and superficial, even when it assumes to be profound and magisterial. A mere mathematician can not properly criticise a poem, nor a mere book-worm an oration. Some speakers will attract large audiences in spite of the violation of many rules of elocution, and some writings will press themselves into extreme popularity in spite of condemnation and ridicule by the critical profession. A truly wise critic will discern the true elements of power in such cases, and make his exposure of the unnecessary defects and blemishes so much the more instructive and efficient.

[ocr errors]

CHAPTER XII.

STYLE MODIFIED BY THE NATURE OF THE PRODUCTION.

92. The Four Objects of Writers and Speakers. - ALL the objects of authors may be reduced to these four: to instruct, convince, persuade, and amuse. Some productions may be designed to accomplish several of these objects, some only one; but nearly all have a leading purpose, belonging to one of these four classes.

93. Didactic Productions. Writings, the prime object of which is to instruct, may be called didactic, such as text-books describing any science or art, lawbooks, scientific treatises, cyclopædias, many books of travels, guide-books, reports of investigating committees, deeds, and many other legal papers. In didactic writings perspicuity is particularly essential, and ornament is generally superfluous. Lord Brougham says on this subject:

" I have been somewhat mortified of late years at perceiving a tendency to fine writing and declamation among our men of science, and I ascribe it, in some degree, to the more general diffusion of scientific. knowledge, which naturally introduces the more popular style of composition. * * * In truth, however, that vile florid style darkens instead of illustrating; and while we can never write too clearly to the people, we never can write too simply, if our design be to write plainly and intelligibly. * * * I have seen a mathematical discussion, by a very able and learned man, in two consecutive pages of which I reckoned

« PreviousContinue »