Delphi Complete Works of Walter Pater

by Walter Pater

  The literary artist is of necessity a scholar, and in what he . proposes to do will have in mind, first of all, the scholar and the scholarly conscience — the male conscience in this matter, as we must think it, under a system of education which still to so large an extent limits real scholarship to men. In his self-criticism, he supposes always that sort of reader who will go (full of eyes) warily, considerately, though without consideration for him, over the ground which the female conscience traverses so lightly, so amiably. For the material in which he works is no more a creation of his own than the sculptor’s marble. Product of a myriad various minds and contending tongues, compact of obscure and minute association, a language has its own abundant and often recondite laws, in the habitual and summary recognition of which scholarship consists. A writer, full of a matter he is before all things anxious to express, may think of those laws, the limitations of vocabulary, structure, and the like, as a restriction, but if a real artist will find in them an opportunity. His punctilious observance of the proprieties of his medium will diffuse through all he writes a general air of sensibility, of refined usage. Exclusiones debitae — the exclusions, or rejections, which nature demands — we know how large a part these play, according to Bacon, in the science of nature. In a somewhat changed sense, we might say that the art of the scholar is summed up in the observance of those rejections demanded by the nature of his medium, the material he must use. Alive to the value of an atmosphere in which every term finds its utmost degree of expression, and with all the jealousy of a lover of words, he will resist a constant tendency on the part of the majority of those who use them to efface the distinctions of language, the facility of writers often reinforcing in this respect the work of the vulgar. He will feel the obligation not of the laws only, but of those affinities, avoidances, those mere preferences, of his language, which through the associations of literary history have become a part of its nature, prescribing the rejection of many a neology, many a license, many a gipsy phrase which might present itself as actually expressive. His appeal, again, is to the scholar, who has great experience in literature, and will show no favour to short-cuts, or hackneyed illustration, or an affectation of learning designed for the unlearned. Hence a contention, a sense of self-restraint and renunciation, having for the susceptible reader the effect of a challenge for minute consideration; the attention of the writer, in every minutest detail, being a pledge that it is worth the reader’s while to be attentive too, that the writer is dealing scrupulously with his instrument, and therefore, indirectly, with the reader himself also, that he has the science of the instrument he plays on, perhaps, after all, with a freedom which in such case will be the freedom of a master.

  For meanwhile, braced only by those restraints, he is really vindicating his liberty in the making of a vocabulary, an entire system of composition, for himself, his own true manner; and when we speak of the manner of a true master we mean what is essential in his art. Pedantry being only the scholarship of le cuistre (we have no English equivalent) he is no pedant, and does but show his intelligence of the rules of language in his freedoms with it, addition or expansion, which like the spontaneities of manner in a well-bred person will still further illustrate good taste. — The right vocabulary! Translators have not invariably seen how all-important that is in the work of translation, driving for the most part at idiom or construction; whereas, if the original be first-rate, one’s first care should be with its elementary particles, Plato, for instance, being often reproducible by an exact following, with no variation in structure, of word after word, as the pencil follows a drawing under tracing-paper, so only each word or syllable be not of false colour, to change my illustration a little.

  Well! that is because any writer worth translating at all has winnowed and searched through his vocabulary, is conscious of the words he would select in systematic reading of a dictionary, and still more of the words he would reject were the dictionary other than Johnson’s; and doing this with his peculiar sense of the world ever in view, in search of an instrument for the adequate expression of that, he begets a vocabulary faithful to the colouring of his own spirit, and in the strictest sense original. That living authority which language needs lies, in truth, in its scholars, who recognising always that every language possesses a genius, a very fastidious genius, of its own, expand at once and purify its very elements, which must needs change along with the changing thoughts of living people. Ninety years ago, for instance, great mental force, certainly, was needed by Wordsworth, to break through the consecrated poetic associations of a century, and speak the language that was his, that was to become in a measure the language of the next generation. But he did it with the tact of a scholar also. English, for a quarter of a century past, has been assimilating the phraseology of pictorial art; for half a century, the phraseology of the great German metaphysical movement of eighty years ago; in part also the language of mystical theology: and none but pedants will regret a great consequent increase of its resources. For many years to come its enterprise may well lie in the naturalisation of the vocabulary of science, so only it be under the eye of a sensitive scholarship — in a liberal naturalisation of the ideas of science too, for after all the chief stimulus of good style is to possess a full, rich, complex matter to grapple with. The literary artist, therefore, will be well aware of physical science; science also attaining, in its turn, its true literary ideal. And then, as the scholar is nothing without the historic sense, he will be apt to restore not really obsolete or really worn-out words, but the finer edge of words still in use: ascertain, communicate, discover — words like these it has been part of our “business” to misuse. And still, as language was made for man, he will be no authority for correctnesses which, limiting freedom of utterance, were yet but accidents in their origin; as if one vowed not to say “its,” which ought to have been in Shakespeare; “his” “hers,” for inanimate objects, being but a barbarous and really inexpressive survival. Yet we have known many things like this. Racy Saxon monosyllables, close to us as touch and sight, he will intermix readily with those long, savoursome, Latin words, rich in “second intention.” In this late day certainly, no critical process can be conducted reasonably without eclecticism. Of such eclecticism we have a justifying example in one of the first poets of our time. How illustrative of monosyllabic effect, of sonorous Latin, of the phraseology of science, of metaphysic, of colloquialism even, are the writings of Tennyson; yet with what a fine, fastidious scholarship throughout!

  A scholar writing for the scholarly, he will of course leave something to the willing intelligence of his reader. “To go preach to the first passer-by,” says Montaigne, “to become tutor to the ignorance of the first I meet, is a thing I abhor;” a thing, in fact, naturally distressing to the scholar, who will therefore ever be shy of offering uncomplimentary assistance to the reader’s wit. To really strenuous minds there is a pleasurable stimulus in the challenge for a continuous effort on their part, to be rewarded by securer and more intimate grasp of the author’s sense. Self-restraint, a skilful economy of means, ascêsis, that too has a beauty of its own; and for the reader supposed there will be an aesthetic satisfaction in that frugal closeness of style which makes the most of a word, in the exaction from every sentence of a precise relief, in the just spacing out of word to thought, in the logically filled space connected always with the delightful sense of difficulty overcome.

  Different classes of persons, at different times, make, of course, very various demands upon literature. Still, scholars, I suppose, and not only scholars, but all disinterested lovers of books, will always look to it, as to all other fine art, for a refuge, a sort of cloistral refuge, from a certain vulgarity in the actual world. A perfect poem like Lycidas, a perfect fiction like Esmond, the perfect handling of a theory like Newman’s Idea of a University, has for them something of the uses of a religious “retreat.” Here, then, with a view to the central need of a select few, those “men of a finer thread” who have formed a
nd maintain the literary ideal, everything, every component element, will have undergone exact trial, and, above all, there will be no uncharacteristic or tarnished or vulgar decoration, permissible ornament being for the most part structural, or necessary. As the painter in his picture, so the artist in his book, aims at the production by honourable artifice of a peculiar atmosphere. “The artist,” says Schiller, “may be known rather by what he omits”; and in literature, too, the true artist may be best recognised by his tact of omission. For to the grave reader words too are grave; and the ornamental word, the figure, the accessory form or colour or reference, is rarely content to die to thought precisely at the right moment, but will inevitably linger awhile, stirring a long “brain-wave” behind it of perhaps quite alien associations.

  Just there, it may be, is the detrimental tendency of the sort of scholarly attentiveness of mind I am recommending. But the true artist allows for it. He will remember that, as the very word ornament indicates what is in itself non-essential, so the “one beauty” of all literary style is of its very essence, and independent, in prose and verse alike, of all removable decoration; that it may exist in its fullest lustre, as in Flaubert’s Madame Bovary, for instance, or in Stendhal’s Le Rouge et Le Noir, in a composition utterly unadorned, with hardly a single suggestion of visibly beautiful things. Parallel, allusion, the allusive way generally, the flowers in the garden: — he knows the narcotic force of these upon the negligent intelligence to which any diversion, literally, is welcome, any vagrant intruder, because one can go wandering away with it from the immediate subject. Jealous, if he have a really quickening motive within, of all that does not hold directly to that, of the facile, the otiose, he will never depart from the strictly pedestrian process, unless he gains a ponderable something thereby. Even assured of its congruity, he will still question its serviceableness. Is it worth while, can we afford, to attend to just that, to just that figure or literary reference, just then? — Surplusage! he will dread that, as the runner on his muscles. For in truth all art does but consist in the removal of surplusage, from the last finish of the gem-engraver blowing away the last particle of invisible dust, back to the earliest divination of the finished work to be, lying somewhere, according to Michelangelo’s fancy, in the rough-hewn block of stone.

  And what applies to figure or flower must be understood of all other accidental or removable ornaments of writing whatever; and not of specific ornament only, but of all that latent colour and imagery which language as such carries in it. A lover of words for their own sake, to whom nothing about them is unimportant, a minute and constant observer of their physiognomy, he will be on the alert not only for obviously mixed metaphors of course, but for the metaphor that is mixed in all our speech, though a rapid use may involve no cognition of it. Currently recognising the incident, the colour, the physical elements or particles in words like absorb, consider, extract, to take the first that occur, he will avail himself of them, as further adding to the resources of expression. The elementary particles of language will be realised as colour and light and shade through his scholarly living in the full sense of them. Still opposing the constant degradation of language by those who use it carelessly, he will not treat coloured glass as if it were clear; and while half the world is using figure unconsciously, will be fully aware not only of all that latent figurative texture in speech, but of the vague, lazy, half-formed personification — a rhetoric, depressing, and worse than nothing, because it has no really rhetorical motive — which plays so large a part there, and, as in the case of more ostentatious ornament, scrupulously exact of it, from syllable to syllable, its precise value.

  So far I have been speaking of certain conditions of the literary art arising out of the medium or material in or upon which it works, the essential qualities of language and its aptitudes for contingent ornamentation, matters which define scholarship as science and good taste respectively. They are both subservient to a more intimate quality of good style: more intimate, as coming nearer to the artist himself. The otiose, the facile, surplusage: why are these abhorrent to the true literary artist, except because, in literary as in all other art, structure is all-important, felt, or painfully missed, everywhere? — that architectural conception of work, which foresees the end in the beginning and never loses sight of it, and in every part is conscious of all the rest, till the last sentence does but, with undiminished vigour, unfold and justify the first — a condition of literary art, which, in contradistinction to another quality of the artist himself, to be spoken of later, I shall call the necessity of mind in style.

  An acute philosophical writer, the late Dean Mansel (a writer whose works illustrate the literary beauty there may be in closeness, and with obvious repression or economy of a fine rhetorical gift) wrote a book, of fascinating precision in a very obscure subject, to show that all the technical laws of logic are but means of securing, in each and all of its apprehensions, the unity, the strict identity with itself, of the apprehending mind. All the laws of good writing aim at a similar unity or identity of the mind in all the processes by which the word is associated to its import. The term is right, and has its essential beauty, when it becomes, in a manner, what it signifies, as with the names of simple sensations. To give the phrase, the sentence, the structural member, the entire composition, song, or essay, a similar unity with its subject and with itself: — style is in the right way when it tends towards that. All depends upon the original unity, the vital wholeness and identity, of the initiatory apprehension or view. So much is true of all art, which therefore requires always its logic, its comprehensive reason — insight, foresight, retrospect, in simultaneous action — true, most of all, of the literary art, as being of all the arts most closely cognate to the abstract intelligence. Such logical coherency may be evidenced not merely in the lines of composition as a whole, but in the choice of a single word, while it by no means interferes with, but may even prescribe, much variety, in the building of the sentence for instance, or in the manner, argumentative, descriptive, discursive, of this or that part or member of the entire design. The blithe, crisp sentence, decisive as a child’s expression of its needs, may alternate with the long-contending, victoriously intricate sentence; the sentence, born with the integrity of a single word, relieving the sort of sentence in which, if you look closely, you can see much contrivance, much adjustment, to bring a highly qualified matter into compass at one view. For the literary architecture, if it is to be rich and expressive, involves not only foresight of the end in the beginning, but also development or growth of design, in the process of execution, with many irregularities, surprises, and afterthoughts; the contingent as well as the necessary being subsumed under the unity of the whole. As truly, to the lack of such architectural design, of a single, almost visual, image, vigorously informing an entire, perhaps very intricate, composition, which shall be austere, ornate, argumentative, fanciful, yet true from first to last to that vision within, may be attributed those weaknesses of conscious or unconscious repetition of word, phrase, motive, or member of the whole matter, indicating, as Flaubert was aware, an original structure in thought not organically complete. With such foresight, the actual conclusion will most often get itself written out of hand, before, in the more obvious sense, the work is finished. With some strong and leading sense of the world, the tight hold of which secures true composition and not mere loose accretion, the literary artist, I suppose, goes on considerately, setting joint to joint, sustained by yet restraining the productive ardour, retracing the negligences of his first sketch, repeating his steps only that he may give the reader a sense of secure and restful progress, readjusting mere assonances even, that they may soothe the reader, or at least not interrupt him on his way; and then, somewhere before the end comes, is burdened, inspired, with his conclusion, and betimes delivered of it, leaving off, not in weariness and because he finds himself at an end, but in all the freshness of volition. His work now structurally complete, with all the accumulating effect o
f secondary shades of meaning, he finishes the whole up to the just proportion of that ante-penultimate conclusion, and all becomes expressive. The house he has built is rather a body he has informed. And so it happens, to its greater credit, that the better interest even of a narrative to be recounted, a story to be told, will often be in its second reading. And though there are instances of great writers who have been no artists, an unconscious tact sometimes directing work in which we may detect, very pleasurably, many of the effects of conscious art, yet one of the greatest pleasures of really good prose literature is in the critical tracing out of that conscious artistic structure, and the pervading sense of it as we read. Yet of poetic literature too; for, in truth, the kind of constructive intelligence here supposed is one of the forms of the imagination.