English Prose: A Series of Related Essays for the Discussion and Practice of the Art of Writing
General
English Prose: A Series of Related Essays for the Discussion and Practice of the Art of Writing
English language -- Rhetoric; English language -- Style; English prose literature; Readers; Report writing -- Problems, exercises, etc.
manners, a neglect of others, and you are thinking all the time that you
ought to rejoin your party. "Out upon such half-faced fellowship," say
I. I like to be either entirely to myself, or entirely at the disposal
of others; to talk or be silent, to walk or sit still, to be sociable
or solitary. I was pleased with an observation of Mr. Cobbett's that "he
thought it a bad French custom to drink our wine with our meals, and
that an Englishman ought to do only one thing at a time." So I cannot
talk and think, or indulge in melancholy musing and lively conversation
by fits and starts. "Let me have a companion of my way," says Sterne,
"were it but to remark how the shadows lengthen as the sun declines." It
is beautifully said: but in my opinion, this continual comparing of
notes interferes with the involuntary impression of things upon the
mind, and hurts the sentiment. If you only hint what you feel in a kind
of dumb show, it is insipid: if you have to explain it, it is making a
toil of a pleasure. You cannot read the book of nature, without being
perpetually put to the trouble of translating it for the benefit of
others. I am for the synthetical method on a journey, in preference to
the analytical. I am content to lay in a stock of ideas then, and to
examine and anatomise them afterwards. I want to see my vague notions
float like the down of the thistle before the breeze, and not to have
them entangled in the briars and thorns of controversy. For once, I like
to have it all my own way; and this is impossible unless you are alone,
or in such company as I do not covet. I have no objection to argue a
point with any one for twenty miles of measured road, but not for
pleasure. If you remark the scent of a beanfield crossing the road,
perhaps your fellow-traveller has no smell. If you point to a distant
object, perhaps he is short-sighted, and has to take out his glass to
look at it. There is a feeling in the air, a tone in the colour of a
cloud which hits your fancy, but the effect of which you are unable to
account for. There is then no sympathy, but an uneasy craving after it,
and a dissatisfaction which pursues you on the way, and in the end
probably produces ill humour. Now I never quarrel with myself, and take
all my own conclusions for granted till I find it necessary to defend
them against objections. It is not merely that you may not be of accord
on the objects and circumstances that present themselves before
you--these may recall a number of objects, and lead to associations too
delicate and refined to be possibly communicated to others. Yet these I
love to cherish, and sometimes still fondly clutch them, when I can
escape from the throng to do so. To give way to our feelings before
company, seems extravagance or affectation; and on the other hand, to
have to unravel this mystery of our being at every turn, and to make
others take an equal interest in it (otherwise the end is not answered)
is a task to which few are competent.
Public-domain text, read in full here on John Shaqi.
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