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7/7/2025, 2:25:46 AM
>>24525267
>After the Revolution, the spirit of the nation became much more commercial, than it had been before; a learned body, or clerisy, as such, gradually disappeared, and literature in general began to be addressed to the common miscellaneous public. That public had become accustomed to, and required, a strong stimulus; and to meet the requisitions of the public taste, a style was produced which by combining triteness of thought with singularity and excess of manner of expression, was calculated at once to soothe ignorance and to flatter vanity. The thought was carefully kept down to the immediate apprehension of the commonest understanding, and the dress was as anxiously arranged for the purpose of making the thought appear something very profound. The essence of this style consisted in a mock antithesis, that is, an opposition of mere sounds, in a rage for personification, the abstract made animate, far-fetched metaphors, strange phrases, metrical scraps, in every thing, in short, but genuine prose. Style is, of course, nothing else but the art of conveying the meaning appropriately and with perspicuity, whatever that meaning may be, and one criterion of style is that it shall not be translateable without injury to the meaning. Johnson’s style has pleased many from the very fault of being perpetually translateable; he creates an impression of cleverness by never saying any thing in a common way. The best specimen of this manner is in Junius, because his antithesis is less merely verbal than Johnson’s. Gibbon’s manner is the worst of all; he has every fault of which this peculiar style is capable. Tacitus is an example of it in Latin; in coming from Cicero you feel the falsetto immediately.
>After the Revolution, the spirit of the nation became much more commercial, than it had been before; a learned body, or clerisy, as such, gradually disappeared, and literature in general began to be addressed to the common miscellaneous public. That public had become accustomed to, and required, a strong stimulus; and to meet the requisitions of the public taste, a style was produced which by combining triteness of thought with singularity and excess of manner of expression, was calculated at once to soothe ignorance and to flatter vanity. The thought was carefully kept down to the immediate apprehension of the commonest understanding, and the dress was as anxiously arranged for the purpose of making the thought appear something very profound. The essence of this style consisted in a mock antithesis, that is, an opposition of mere sounds, in a rage for personification, the abstract made animate, far-fetched metaphors, strange phrases, metrical scraps, in every thing, in short, but genuine prose. Style is, of course, nothing else but the art of conveying the meaning appropriately and with perspicuity, whatever that meaning may be, and one criterion of style is that it shall not be translateable without injury to the meaning. Johnson’s style has pleased many from the very fault of being perpetually translateable; he creates an impression of cleverness by never saying any thing in a common way. The best specimen of this manner is in Junius, because his antithesis is less merely verbal than Johnson’s. Gibbon’s manner is the worst of all; he has every fault of which this peculiar style is capable. Tacitus is an example of it in Latin; in coming from Cicero you feel the falsetto immediately.
6/24/2025, 8:36:47 AM
>Since Dryden the metre of our Poets leads to the Sense: in our elder and more genuine Poets the Sense, including the Passion, leads to the metre.
>To read Dryden, Pope &c, you need only count syllables; but to read Donne you must measure Time, & discover the Time of Each word by the Sense & Passion.
>To read Dryden, Pope &c, you need only count syllables; but to read Donne you must measure Time, & discover the Time of Each word by the Sense & Passion.
6/17/2025, 2:49:44 PM
>Mr. Coleridge placed Jeremy Taylor amongst the four great geniuses of old English literature. I think he used to reckon Shakespeare and Bacon, Milton and Taylor, four-square, each against each.
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