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ON THE PROSE-STYLE OF POETS.
I have but an indifferent opinion of the prosestyle of poets : not that it is not sometimes good, nay, excellent; but it is never the better, and generally the worse from the habit of writing verse. Poets are winged animals, and can cleave the air, like birds, with ease to themselves and delight to the beholders; but like those “ feathered, two-legged things," when they light upon the ground of prose and matter-of-fact, they seem not to have the same use of their feet. What is a little extraordinary, there is a want
a of rhythmus and cadence in what they write without the help of metrical rules. Like persons who have been accustomed to sing to music, they are at a loss in the absence of the habitual accompaniment and guide to their judgment. Their style halts, totters, is loose, disjointed, and without expressive pauses or rapid movements. The measured cadence and regular
. sing-song of rhyme or blank verse have de
stroyed, as it were, their natural ear for the mere characteristic harmony which ought to subsist between the sound and the sense. I should almost guess the Author of Waverley to be a writer of ambling verses from the desultory vacillation and want of firmness in the march of his style. There is neither momentum nor elasticity in it; I mean as to the score, or effect upon the ear. He has improved since in his other works : to be sure, he has had practice enough*. Poets either get into this incoherent, undetermined, shuffling style, made up of “ unpleasingflats and sharps,” of unaccountable starts and pauses, of doubtful odds and ends, flirted about like straws in a gust of wind; or, to avoid it and steady themselves, mount into a sustained and measured prose (like the translation of Ossian's Poems, or some parts of Shaftesbury's Characteristics) which is more odious still, and as bad as being at sea in a calm. Dr. Johnson's style (particularly in his Rambler,) is not free from the last objection. There is a tune in it, a mechanical recurrence of the same rise and fall in the clauses of his sentences, independent
* Is it not a collateral proof that Sir Walter Scott is the Author of Waverley, that ever since these Novels began to appear, his Muse has been silent, till the publication of Halidon-Hill?
of any reference to the meaning of the text, or progress or inflection of the sense. There is the alternate roll of his cumbrous cargo of words; his periods complete their revolutions at certain stated intervals, let the matter be longer or shorter, rough or smooth, round or square, different or the same. This monotonous and balanced mode of composition may be compared to that species of portrait-painting which prevailed about a century ago, in which each face was cast in a regular and preconceived mould. The eye-brows were arched mathematically as if with a pair of compasses, and the distances between the nose and mouth, the forehead and chin, determined according to a “ foregone conclusion,” and the features of the identical individual were afterwards accommodated to them, how they could!*
Horne Tooke used to maintain that no one could write a good prose style, who was not accustomed to express himself vivá voce, or to talk in company. He argued that this was the fault of Addison's prose, and that its smooth, equable uniformity, and want of sharpness and spirit, arose from his not having familiarised his ear to the sound of his own voice, or at least
* See the Portraits of Kneller, Richardson, and others.
only among friends and admirers, where there was but little collision, dramatic fluctuation, or sudden contrariety of opinion to provoke animated discussion, and give birth to different intonations and lively transitions of speech. His style (in this view of it) was not indented, nor did it project from the surface. There was no stress laid on one word more than another--it did not hurry on or stop short, or sink or swell with the occasion: it was throughout equally insipid, flowing, and harmonious, and had the effect of a studied recitation rather than of a natural discourse. This would not have happened (so the Member for Old Sarum contended) had Addison laid himself out to argue at his club, or to speak in public; for then his ear would have caught the necessary modulations of sound arising out of the feeling of the moment, and he would have transferred them unconsciously to paper. Much might be said on both sides of this question*: but Mr. Tooke was himself an unintentional confirmation of his own argument; for the tone of his written compositions is as flat and unraised as his manner of speaking was hard and dry. Of the poet it is said by some one, that
* Goldsmith was not a talker, though he blurted out his good things now and then: yet his style is gay and voluble enough. Pope was also a silent man; and his prose is timid and constrained, and his verse inclining to the monotonous.
“ He murmurs by the running brooks
A music sweeter than their own."
On the contrary, the celebrated person just alluded to might be said to grind the sentences between his teeth, which he afterwards committed to paper, and threw out crusts to the critics, or bon-mots to the Electors of Westminster (as we throw bones to the dogs,) without altering a muscle, and without the smallest tremulousness of voice or eye*! I certainly so far agree with the above theory as to conceive that no style is worth a farthing that is not calculated to be read out, or that is not allied to spirited conversation : but I at the same time think the process of modulation and inflection may be quite as complete, or more so, without the external enunciation; and that an author had better try the effect of his sentences on his
* As a singular example of steadiness of nerves, Mr. Tooke on one occasion had got upon the table at a public dinner to return thanks for his health having been drank. He held a bumper of wine in his hand, but he was received with considerable opposition by one party, and at the end of the disturbance, which lasted for a quarter of an hour, he found the wine glass still full to the brim.