Chapter 4

Hence, the first rule--nay, this in itself is almost sufficient for a good style--is this, _that the author should have something to say_. Ah! this implies a great deal. The neglect of this rule is a fundamental characteristic of the philosophical, and generally speaking of all the reflective authors in Germany, especially since the time of Fichte. It is obvious that all these writers wish _to appear_ to have something to say, while they have nothing to say. This mannerism was introduced by the pseudo-philosophers of the Universities and may be discerned everywhere, even among the first literary notabilities of the age. It is the mother of that forced and vague style which seems to have two, nay, many meanings, as well as of that prolix and ponderous style, _le stile empesé_; and of that no less useless bombastic style, and finally of that mode of concealing the most awful poverty of thought under a babble of inexhaustible chatter that resembles a clacking mill and is just as stupefying: one may read for hours together without getting hold of a single clearly defined and definite idea. The _Halleschen_, afterwards called the _Deutschen Jahrbücher_, furnishes almost throughout excellent examples of this style of writing. The Germans, by the way, from force of habit read page after page of all kinds of such verbiage without getting any definite idea of what the author really means: they think it all very proper and do not discover that he is writing merely for the sake of writing. On the other hand, a good author who is rich in ideas soon gains the reader's credit of having really and truly _something to say_; and this gives the intelligent reader patience to follow him attentively. An author of this kind will always express himself in the simplest and most direct manner, for the very reason that he really has something to say; because he wishes to awaken in the reader the same idea he has in his own mind and no other. Accordingly he will be able to say with Boileau--

"Ma pensée au grand jour partout s'offre et s'expose, Et mon vers, bien ou mal, dit toujours quelque chose;"

while of those previously described writers it may be said, in the words of the same poet, _et qui parlant beaucoup ne disent jamais rien_. It is also a characteristic of such writers to avoid, if it is possible, expressing themselves _definitely_, so that they may be always able in case of need to get out of a difficulty; this is why they always choose the more _abstract_ expressions: while people of intellect choose the more _concrete_; because the latter bring the matter closer to view, which is the source of all evidence. This preference for abstract expressions may be confirmed by numerous examples: a specially ridiculous example is the following. Throughout German literature of the last ten years we find "to condition" almost everywhere used in place of "to cause" or "to effect." Since it is more abstract and indefinite it says less than it implies, and consequently leaves a little back door open to please those whose secret consciousness of their own incapacity inspires them with a continual fear of all _definite_ expressions. While with other people it is merely the effect of that national tendency to immediately imitate everything that is stupid in literature and wicked in life; this is shown in either case by the quick way in which it spreads. The Englishman depends on his own judgment both in what he writes and what he does, but this applies less to the German than to any other nation. In consequence of the state of things referred to, the words "to cause" and "to effect" have almost entirely disappeared from the literature of the last ten years, and people everywhere talk of "to condition." The fact is worth mentioning because it is characteristically ridiculous. Everyday authors are only half conscious when they write, a fact which accounts for their want of intellect and the tediousness of their writings; they do not really themselves understand the meaning of their own words, because they take ready-made words and learn them. Hence they combine whole phrases more than words--_phrases banales_. This accounts for that obviously characteristic want of clearly defined thought; in fact, they lack the die that stamps their thoughts, they have no clear thought of their own; in place of it we find an indefinite, obscure interweaving of words, current phrases, worn-out terms of speech, and fashionable expressions. The result is that their foggy kind of writing is like print that has been done with old type. On the other hand, intelligent people _really_ speak to us in their writings, and this is why they are able to both move and entertain us. It is only intelligent writers who place individual words together with a full consciousness of their use and select them with deliberation. Hence their style of writing bears the same relation to that of those authors described above, as a picture that is really painted does to one that has been executed with stencil. In the first instance every word, just as every stroke of the brush, has some special significance, while in the other everything is done mechanically. The same distinction may be observed in music. For it is the omnipresence of intellect that always and everywhere characterises the works of the genius; and analogous to this is Lichtenberg's observation, namely, that Garrick's soul was omnipresent in all the muscles of his body. With regard to the tediousness of the writings referred to above, it is to be observed in general that there are two kinds of tediousness--an objective and a subjective. The _objective_ form of tediousness springs from the deficiency of which we have been speaking--that is to say, where the author has no perfectly clear thought or knowledge to communicate. For if a writer possesses any clear thought or knowledge it will be his aim to communicate it, and he will work with this end in view; consequently the ideas he furnishes are everywhere clearly defined, so that he is neither diffuse, unmeaning, nor confused, and consequently not tedious. Even if his fundamental idea is wrong, yet in such a case it will be clearly thought out and well pondered; in other words, it is at least formally correct, and the writing is always of some value. While, for the same reason, a work that is objectively _tedious_ is at all times without value. Again, _subjective_ tediousness is merely relative: this is because the reader is not interested in the subject of the work, and that what he takes an interest in is of a very limited nature. The most excellent work may therefore be tedious subjectively to this or that person, just as, _vice vers�_, the worst work may be subjectively diverting to this or that person: because he is interested in either the subject or the writer of the book.

It would be of general service to German authors if they discerned that while a man should, if possible, think like a great mind, he should speak the same language as every other person. Men should use common words to say uncommon things, but they do the reverse. We find them trying to envelop trivial ideas in grand words and to dress their very ordinary thoughts in the most extraordinary expressions and the most outlandish, artificial, and rarest phrases. Their sentences perpetually stalk about on stilts. With regard to their delight in bombast, and to their writing generally in a grand, puffed-up, unreal, hyperbolical, and acrobatic style, their prototype is Pistol, who was once impatiently requested by Falstaff, his friend, to "say what you have to say, _like a man of this world_!"[5]

There is no expression in the German language exactly corresponding to _stile empesé_; but the thing itself is all the more prevalent. When combined with unnaturalness it is in works what affected gravity, grandness, and unnaturalness are in social intercourse; and it is just as intolerable. Poverty of intellect is fond of wearing this dress; just as stupid people in everyday life are fond of assuming gravity and formality.

A man who writes in this _preziös_ style is like a person who dresses himself up to avoid being mistaken for or confounded with the mob; a danger which a _gentleman_, even in his worst clothes, does not run. Hence just as a plebeian is recognised by a certain display in his dress and his _tiré à quatre épingles_, so is an ordinary writer recognised by his style.

If a man has something to say that is worth saying, he need not envelop it in affected expressions, involved phrases, and enigmatical innuendoes; but he may rest assured that by expressing himself in a simple, clear, and naïve manner he will not fail to produce the right effect. A man who makes use of such artifices as have been alluded to betrays his poverty of ideas, mind, and knowledge.

Nevertheless, it is a mistake to attempt to write exactly as one speaks. Every style of writing should bear a certain trace of relationship with the monumental style, which is, indeed, the ancestor of all styles; so that to write as one speaks is just as faulty as to do the reverse, that is to say, to try and speak as one writes. This makes the author pedantic, and at the same time difficult to understand.

Obscurity and vagueness of expression are at all times and everywhere a very bad sign. In ninety-nine cases out of a hundred they arise from vagueness of thought, which, in its turn, is almost always fundamentally discordant, inconsistent, and therefore wrong. When a right thought springs up in the mind it strives after clearness of expression, and it soon attains it, for clear thought easily finds its appropriate expression. A man who is capable of thinking can express himself at all times in clear, comprehensible, and unambiguous words. Those writers who construct difficult, obscure, involved, and ambiguous phrases most certainly do not rightly know what it is they wish to say: they have only a dull consciousness of it, which is still struggling to put itself into thought; they also often wish to conceal from themselves and other people that in reality they have nothing to say. Like Fichte, Schelling, and Hegel, they wish to appear to know what they do not know, to think what they do not think, and to say what they do not say.

Will a man, then, who has something real to impart endeavour to say it in a clear or an indistinct way? Quintilian has already said, _plerumque accidit ut faciliora sint ad intelligendum et lucidiora multo, quae a doctissimo quoque dicuntur.... Erit ergo etiam obscurior, quo quisque deterior_.

A man's way of expressing himself should not be _enigmatical_, but he should know whether he has something to say or whether he has not. It is an uncertainty of expression which makes German writers so dull. The only exceptional cases are those where a man wishes to express something that is in some respect of an illicit nature. As anything that is far-fetched generally produces the reverse of what the writer has aimed at, so do words serve to make thought comprehensible; but only up to a certain point. If words are piled up beyond this point they make the thought that is being communicated more and more obscure. To hit that point is the problem of style and a matter of discernment; for every superfluous word prevents its purpose being carried out. Voltaire means this when he says: _l'adjectif est l'ennemi du substantif_. (But, truly, many authors try to hide their poverty of thought under a superfluity of words.)

Accordingly, all prolixity and all binding together of unmeaning observations that are not worth reading should be avoided. A writer must be sparing with the reader's time, concentration, and patience; in this way he makes him believe that what he has before him is worth his careful reading, and will repay the trouble he has spent upon it. It is always better to leave out something that is good than to write down something that is not worth saying. Hesiod's πλέον ἡμισυ πάντος[6] finds its right application. In fact, not to say everything! _Le secret pour être ennuyeux, c'est de tout dire_. Therefore, if possible, the quintessence only! the chief matter only! nothing that the reader would think for himself. The use of many words in order to express little thought is everywhere the infallible sign of mediocrity; while to clothe much thought in a few words is the infallible sign of distinguished minds.

Truth that is naked is the most beautiful, and the simpler its expression the deeper is the impression it makes; this is partly because it gets unobstructed hold of the hearer's mind without his being distracted by secondary thoughts, and partly because he feels that here he is not being corrupted or deceived by the arts of rhetoric, but that the whole effect is got from the thing itself. For instance, what declamation on the emptiness of human existence could be more impressive than Job's: _Homo, natus de muliere, brevi vivit tempore, repletus multis miseriis, qui, tanquam flos, egreditur et conteritur, et fugit velut umbra_. It is for this very reason that the naïve poetry of Goethe is so incomparably greater than the rhetorical of Schiller. This is also why many folk-songs have so great an effect upon us. An author should guard against using all unnecessary rhetorical adornment, all useless amplification, and in general, just as in architecture he should guard against an excess of decoration, all superfluity of expression--in other words, he must aim at _chastity_ of style. Everything that is redundant has a harmful effect. The law of simplicity and naïveté applies to all fine art, for it is compatible with what is most sublime.

True brevity of expression consists in a man only saying what is worth saying, while avoiding all diffuse explanations of things which every one can think out for himself; that is, it consists in his correctly distinguishing between what is necessary and what is superfluous. On the other hand, one should never sacrifice clearness, to say nothing of grammar, for the sake of being brief. To impoverish the expression of a thought, or to obscure or spoil the meaning of a period for the sake of using fewer words shows a lamentable want of judgment. And this is precisely what that false brevity nowadays in vogue is trying to do, for writers not only leave out words that are to the purpose, but even grammatical and logical essentials.[7]

_Subjectivity_, which is an error of style in German literature, is, through the deteriorated condition of literature and neglect of old languages, becoming more common. By _subjectivity_ I mean when a writer thinks it sufficient for himself to know what he means and wants to say, and it is left to the reader to discover what is meant. Without troubling himself about his reader, he writes as if he were holding a monologue; whereas it should be a dialogue, and, moreover, a dialogue in which he must express himself all the more clearly as the questions of the reader cannot be heard. And it is for this very reason that style should not be subjective but objective, and for it to be objective the words must be written in such a way as to directly compel the reader to think precisely the same as the author thought. This will only be the case when the author has borne in mind that thoughts, inasmuch as they follow the law of gravity, pass more easily from head to paper than from paper to head. Therefore the journey from paper to head must be helped by every means at his command. When he does this his words have a purely objective effect, like that of a completed oil painting; while the subjective style is not much more certain in its effect than spots on the wall, and it is only the man whose fantasy is accidentally aroused by them that sees figures; other people only see blurs. The difference referred to applies to every style of writing as a whole, and it is also often met with in particular instances; for example, I read in a book that has just been published: _I have not written to increase the number of existing books_. This means exactly the opposite of what the writer had in view, and is nonsense into the bargain.

A man who writes carelessly at once proves that he himself puts no great value on his own thoughts. For it is only by being convinced of the truth and importance of our thoughts that there arises in us the inspiration necessary for the inexhaustible patience to discover the clearest, finest, and most powerful expression for them; just as one puts holy relics or priceless works of art in silvern or golden receptacles. It was for this reason that the old writers--whose thoughts, expressed in their own words, have lasted for thousands of years and hence bear the honoured title of classics--wrote with universal care. Plato, indeed, is said to have written the introduction to his _Republic_ seven times with different modifications. On the other hand, the Germans are conspicuous above all other nations for neglect of style in writing, as they are for neglect of dress, both kinds of slovenliness which have their source in the German national character. Just as neglect of dress betrays contempt for the society in which a man moves, so does a hasty, careless, and bad style show shocking disrespect for the reader, who then rightly punishes it by not reading the book.

FOOTNOTES:

[5] Schopenhauer here gives an example of this bombastic style which would be of little interest to English readers.--TRANSLATOR.

[6] _Opera et dies_, v. 40.

[7] Schopenhauer here at length points out various common errors in the writing and speaking of German which would lose significance in a translation.--TR.

ON NOISE.

Kant has written a treatise on _The Vital Powers_; but I should like to write a dirge on them, since their lavish use in the form of knocking, hammering, and tumbling things about has made the whole of my life a daily torment. Certainly there are people, nay, very many, who will smile at this, because they are not sensitive to noise; it is precisely these people, however, who are not sensitive to argument, thought, poetry or art, in short, to any kind of intellectual impression: a fact to be assigned to the coarse quality and strong texture of their brain tissues. On the other hand, in the biographies or in other records of the personal utterances of almost all great writers, I find complaints of the pain that noise has occasioned to intellectual men. For example, in the case of Kant, Goethe, Lichtenberg, Jean Paul; and indeed when no mention is made of the matter it is merely because the context did not lead up to it. I should explain the subject we are treating in this way: If a big diamond is cut up into pieces, it immediately loses its value as a whole; or if an army is scattered or divided into small bodies, it loses all its power; and in the same way a great intellect has no more power than an ordinary one as soon as it is interrupted, disturbed, distracted, or diverted; for its superiority entails that it concentrates all its strength on one point and object, just as a concave mirror concentrates all the rays of light thrown upon it. Noisy interruption prevents this concentration. This is why the most eminent intellects have always been strongly averse to any kind of disturbance, interruption and distraction, and above everything to that violent interruption which is caused by noise; other people do not take any particular notice of this sort of thing. The most intelligent of all the European nations has called "Never interrupt" the eleventh commandment. But noise is the most impertinent of all interruptions, for it not only interrupts our own thoughts but disperses them. Where, however, there is nothing to interrupt, noise naturally will not be felt particularly. Sometimes a trifling but incessant noise torments and disturbs me for a time, and before I become distinctly conscious of it I feel it merely as the effort of thinking becomes more difficult, just as I should feel a weight on my foot; then I realise what it is.

But to pass from _genus_ to _species_, the truly infernal cracking of whips in the narrow resounding streets of a town must be denounced as the most unwarrantable and disgraceful of all noises. It deprives life of all peace and sensibility. Nothing gives me so clear a grasp of the stupidity and thoughtlessness of mankind as the tolerance of the cracking of whips. This sudden, sharp crack which paralyses the brain, destroys all meditation, and murders thought, must cause pain to any one who has anything like an idea in his head. Hence every crack must disturb a hundred people applying their minds to some activity, however trivial it may be; while it disjoints and renders painful the meditations of the thinker; just like the executioner's axe when it severs the head from the body. No sound cuts so sharply into the brain as this cursed cracking of whips; one feels the prick of the whip-cord in one's brain, which is affected in the same way as the _mimosa pudica_ is by touch, and which lasts the same length of time. With all respect for the most holy doctrine of utility, I do not see why a fellow who is removing a load of sand or manure should obtain the privilege of killing in the bud the thoughts that are springing up in the heads of about ten thousand people successively. (He is only half-an-hour on the road.)

Hammering, the barking of dogs, and the screaming of children are abominable; but it is _only_ the cracking of a whip that is the true murderer of thought. Its object is to destroy every favourable moment that one now and then may have for reflection. If there were no other means of urging on an animal than by making this most disgraceful of all noises, one would forgive its existence. But it is quite the contrary: this cursed cracking of whips is not only unnecessary but even useless. The effect that it is intended to have on the horse mentally becomes quite blunted and ineffective; since the constant abuse of it has accustomed the horse to the crack, he does not quicken his pace for it. This is especially noticeable in the unceasing crack of the whip which comes from an empty vehicle as it is being driven at its slowest rate to pick up a fare. The slightest touch with the whip would be more effective. Allowing, however, that it were absolutely necessary to remind the horse of the presence of the whip by continually cracking it, a crack that made one hundredth part of the noise would be sufficient. It is well known that animals in regard to hearing and seeing notice the slightest indications, even indications that are scarcely perceptible to ourselves. Trained dogs and canary birds furnish astonishing examples of this. Accordingly, this cracking of whips must be regarded as something purely wanton; nay, as an impudent defiance, on the part of those who work with their hands, offered to those who work with their heads. That such infamy is endured in a town is a piece of barbarity and injustice, the more so as it could be easily removed by a police notice requiring every whip cord to have a knot at the end of it. It would do no harm to draw the proletariat's attention to the classes above him who work with their heads; for he has unbounded fear of any kind of head work. A fellow who rides through the narrow streets of a populous town with unemployed post-horses or cart-horses, unceasingly cracking with all his strength a whip several yards long, instantly deserves to dismount and receive five really good blows with a stick. If all the philanthropists in the world, together with all the legislators, met in order to bring forward their reasons for the total abolition of corporal punishment, I would not be persuaded to the contrary.