There are, of course, certain elements of
composition which must be mastered as a dancer learns his steps, but
the style of the writer, like the grace of the dancer, is only made
effective by such mastery; it springs from a deeper source. Initiation
into the rules of construction will save us from some gross errors of
composltion, but it will not make a style. Still less will imitation of
another's manner make one. In our day there are many who imitate
Macaulay's short sentences, iterations, antitheses, geographical and
historical illustrations, and eighteenth century diction, but who
accepts them as Macaulays? They cannot seize the secret of his charm,
because that charm lies in the felicity of his talent, not in the
structure of his sentences; in the fulness of his knowledge, not in the
character of his illustrations. Other men aim at ease and vigour by
discarding Latinisms, and admitting colloquialisms; but vigour and ease
are not to be had on recipe. No study of models, no attention to rules,
will give the easy turn, the graceful phrase, the simple word, the
fervid movement, or the large clearness; a picturesque talent will
express itself in concrete images; a genial nature will smile in
pleasant firms and inuendos; a rapid, unhesitating, imperious mind will
deliver its quick incisive phrases; a full deliberating mind will
overflow in ample paragraphs laden with the weight of parentheses and
qualifying suggestions.
Pages:
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
147
148
149
150
151
152
153
154
155
156