Part 5

Yet while I hold that the systematic study of ethics had on the whole better be left to the colleges, I confess that the line which I have attempted to draw between consciousness and unconsciousness, between the age which is best directed by instinct and the age when the questioning faculties put forward their inexorable demands, is a wavering one and cannot be sharply drawn. By one child it is crossed at one period, by another at another. Seldom is the crossing noticed. Before we are aware we find ourselves in sorrow on the farther side. Happy the youth who during the transition time has a wise friend at hand to answer a question, to speak a steadying word, to open up the vista which at the moment needs to be cleared. Only one in close personal touch is serviceable here. But in defect of home guidance, to us teachers falls much of the charge of developing the youthful consciousness of moral matters naturally, smoothly, and without jar. This has always been a part of the teacher's office. So far as I can ascertain schools of the olden time had in them a large amount of wholesome ethical training. Schools were unsystematic then; there lay no examination paper ahead of them; there was time for pause and talk. If a subject arose which the teacher deemed important for his pupils' personal lives, he could lead them on to question about it, so far as he believed discussion useful. This sort of ethical training the hurry of our time has largely exterminated; and now that wholesome incidental instruction is gone, we demand in the modern way that a clear-cut department of ethics be introduced into the curriculum. But such things do not let themselves be treated in departmental fashion. The teacher must still work as a friend. He cannot be discharged from knowing when and how to stimulate a question, from discerning which boy or girl would be helped by consciousness and which would be harmed. In these high regions our pupils cannot be approached in classes. They require individual attention. And not because we are teachers merely, but because we and they are human beings, we must be ready with spiritual aid.

IV

SELF-CULTIVATION IN ENGLISH

English study has four aims: the mastery of our language as a science, as a history, as a joy, and as a tool. I am concerned with but one, the mastery of it as a tool. Philology and grammar present it as a science; the one attempting to follow its words, the other its sentences, through all the intricacies of their growth, and so to manifest laws which lie hidden in these airy products no less than in the moving stars or the myriad flowers of spring. Fascinating and important as all this is, I do not recommend it here. For I want to call attention only to that sort of English study which can be carried on without any large apparatus of books. For a reason similar, though less cogent, I do not urge historical study. Probably the current of English literature is more attractive through its continuity than that of any other nation. Notable works in verse and prose have appeared in long succession, and without gaps intervening, in a way that would be hard to parallel in any other language known to man. A bounteous endowment this for every English speaker, and one which should stimulate us to trace the marvellous and close-linked progress from the times of the Saxons to those of Tennyson and Kipling. Literature too has this advantage over every other species of art study, that everybody can examine the original masterpieces and not depend on reproductions, as in the cases of painting, sculpture, and architecture; or on intermediate interpretation, as in the case of music. To-day most of these masterpieces can be bought for a trifle, and even a poor man can follow through centuries the thoughts of his ancestors. But even so, ready of access as it is, English can be studied as a history only at the cost of solid time and continuous attention, much more time than the majority of those for whom I am writing can afford. By most of us our mighty literature cannot be taken in its continuous current, the later stretches proving interesting through relation with the earlier. It must be taken fragmentarily, if at all, the attention delaying on those parts only which offer the greatest beauty or promise the best exhilaration. In other words, English may be possible as a joy where it is not possible as a history. In the endless wealth which our poetry, story, essay, and drama afford, every disposition may find its appropriate nutriment, correction, or solace. He is unwise, however busy, who does not have his loved authors, veritable friends with whom he takes refuge in the intervals of work and by whose intimacy he enlarges, refines, sweetens, and emboldens his own limited existence. Yet the fact that English as a joy must largely be conditioned by individual taste prevents me from offering general rules for its pursuit. The road which leads one man straight to this joy leads another to tedium. In all literary enjoyment there is something incalculable, something wayward, eluding the precision of rule, and rendering inexact the precepts of him who would point out the path to it. While I believe that many suggestions may be made, useful to the young enjoyer and promotive of his wise vagrancy, I shall not undertake here the complicated task of offering them. Let enjoyment go, let history go, let science go, and still English remains--English as a tool. Every hour our language is an engine for communicating with others, every instant for fashioning the thoughts of our own minds. I want to call attention to the means of mastering this curious and essential tool, and to lead every one who reads me to become discontented with his employment of it.

The importance of literary power needs no long argument. Everybody acknowledges it, and sees that without it all other human faculties are maimed. Shakespeare says that death-bringing time "insults o'er dull and speechless tribes." It and all who live in it insult over the speechless person. So mutually dependent are we that on our swift and full communication with one another is staked the success of almost every scheme we form. He who can explain himself may command what he wants. He who cannot is left to the poverty of individual resource; for men do what we desire only when persuaded. The persuasive and explanatory tongue is, therefore, one of the chief levers of life. Its leverage is felt within us as well as without, for expression and thought are integrally bound together. We do not first possess completed thoughts and then express them. The very formation of the outward product extends, sharpens, enriches the mind which produces, so that he who gives forth little after a time is likely enough to discover that he has little to give forth. By expression too we may carry our benefits and our names to a far generation. This durable character of fragile language puts a wide difference of worth between it and some of the other great objects of desire,--health, wealth, and beauty, for example. These are notoriously liable to accident. We tremble while we have them. But literary power, once ours, is more likely than any other possession to be ours always. It perpetuates and enlarges itself by the very fact of its existence and perishes only with the decay of the man himself. For this reason, because more than health, wealth, and beauty, literary style may be called the man, good judges have found in it the final test of culture and have said that he, and he alone, is a well-educated person who uses his language with power and beauty. The supreme and ultimate product of civilization, it has well been said, is two or three persons talking together in a room. Between ourselves and our language there accordingly springs up an association peculiarly close. We are as sensitive to criticism of our speech as of our manners. The young man looks up with awe to him who has written a book, as already half divine; and the graceful speaker is a universal object of envy.

But the very fact that literary endowment is immediately recognized and eagerly envied has induced a strange illusion in regard to it. It is supposed to be something mysterious, innate in him who possesses it and quite out of the reach of him who has it not. The very contrary is the fact. No human employment is more free and calculable than the winning of language. Undoubtedly there are natural aptitudes for it, as there are for farming, seamanship, or being a good husband. But nowhere is straight work more effective. Persistence, care, discriminating observation, ingenuity, refusal to lose heart,--traits which in every other occupation tend toward excellence,--tend toward it here with special security. Whoever goes to his grave with bad English in his mouth has no one to blame but himself for the disagreeable taste; for if faulty speech can be inherited, it can be exterminated too. I hope to point out some of the methods of substituting good English for bad. And since my space is brief, and I wish to be remembered, I throw what I have to say into the form of four simple precepts which, if pertinaciously obeyed, will, I believe, give anybody effective mastery of English as a tool.

First then, "Look well to your speech." It is commonly supposed that when a man seeks literary power he goes to his room and plans an article for the press. But this is to begin literary culture at the wrong end. We speak a hundred times for every once we write. The busiest writer produces little more than a volume a year, not so much as his talk would amount to in a week. Consequently through speech it is usually decided whether a man is to have command of his language or not. If he is slovenly in his ninety-nine cases of talking, he can seldom pull himself up to strength and exactitude in the hundredth case of writing. A person is made in one piece, and the same being runs through a multitude of performances. Whether words are uttered on paper or to the air, the effect on the utterer is the same. Vigor or feebleness results according as energy or slackness has been in command. I know that certain adaptations to a new field are often necessary. A good speaker may find awkwardnesses in himself when he comes to write, a good writer when he speaks. And certainly cases occur where a man exhibits distinct strength in one of the two, speaking or writing, and not in the other. But such cases are rare. As a rule, language once within our control can be employed for oral or for written purposes. And since the opportunities for oral practice enormously outbalance those for written, it is the oral which are chiefly significant in the development of literary power. We rightly say of the accomplished writer that he shows a mastery of his own tongue.

This predominant influence of speech marks nearly all great epochs of literature. The Homeric poems are addressed to the ear, not to the eye. It is doubtful if Homer knew writing, certain that he knew profoundly every quality of the tongue,--veracity, vividness, shortness of sentence, simplicity of thought, obligation to insure swift apprehension. Writing and rigidity are apt to go together. In Homer's smooth-slipping verses one catches everywhere the voice. So too the aphorisms of Hesiod might naturally pass from mouth to mouth, and the stories of Herodotus be told by an old man at the fireside. Early Greek literature is plastic and garrulous. Its distinctive glory is that it contains no literary note; that it gives forth human feeling not in conventional arrangement, but with apparent spontaneity--in short, that it is speech literature, not book literature. And the same tendency continued long among the Greeks. At the culmination of their power the drama was their chief literary form,--the drama, which is but speech ennobled, connected, clarified. Plato too, following the dramatic precedent and the precedent of his talking master, accepted conversation as his medium for philosophy and imparted to it the vivacity, ease, waywardness even, which the best conversation exhibits. Nor was the experience of the Greeks peculiar. Our literature shows a similar tendency. Its bookish times are its decadent times, its talking times its glory. Chaucer, like Herodotus, is a story-teller, and follows the lead of those who on the Continent entertained courtly circles with pleasant tales. Shakespeare and his fellows in the spacious times of great Elizabeth did not concern themselves with publication. Marston in one of his prefaces thinks it necessary to apologize for putting his piece in print, and says he would not have done such a thing if unscrupulous persons, hearing the play at the theatre, had not already printed corrupt versions of it. Even the Queen Anne's men, far removed though they are from anything dramatic, still shape their ideals of literature by demands of speech. The essays of the Spectator, the poems of Pope, are the remarks of a cultivated gentleman at an evening party. Here is the brevity, the good taste, the light touch, the neat epigram, the avoidance of whatever might stir passion, controversy, or laborious thought, which characterize the conversation of a well-bred man. Indeed it is hard to see how any literature can be long vital which is based on the thought of a book and not on that of living utterance. Unless the speech notion is uppermost, words will not run swiftly to their mark. They delay in delicate phrasings while naturalness and a sense of reality disappear. Women are the best talkers. I sometimes please myself with noticing that three of the greatest periods of English literature coincide with the reigns of the three English queens.

Fortunate it is, then, that self-cultivation in the use of English must chiefly come through speech; because we are always speaking, whatever else we do. In opportunities for acquiring a mastery of language the poorest and busiest are at no large disadvantage as compared with the leisured rich. It is true the strong impulse which comes from the suggestion and approval of society may in some cases be absent, but this can be compensated by the sturdy purpose of the learner. A recognition of the beauty of well-ordered words, a strong desire, patience under discouragements, and promptness in counting every occasion as of consequence,--these are the simple agencies which sweep one on to power. Watch your speech then. That is all which is needed. Only it is desirable to know what qualities of speech to watch for. I find three,--accuracy, audacity, and range,--and I will say a few words about each.

Obviously, good English is exact English. Our words should fit our thoughts like a glove and be neither too wide nor too tight. If too wide, they will include much vacuity beside the intended matter. If too tight, they will check the strong grasp. Of the two dangers, looseness is by far the greater. There are people who say what they mean with such a naked precision that nobody not familiar with the subject can quickly catch the sense. George Herbert and Emerson strain the attention of many. But niggardly and angular speakers are rare. Too frequently words signify nothing in particular. They are merely thrown out in a certain direction to report a vague and undetermined meaning or even a general emotion. The first business of every one who would train himself in language is to articulate his thought, to know definitely what he wishes to say, and then to pick those words which compel the hearer to think of this and only this. For such a purpose two words are often better than three. The fewer the words, the more pungent the impression. Brevity is the soul, not simply of a jest, but of wit in its finer sense where it is identical with wisdom. He who can put a great deal into a little is the master. Since firm texture is what is wanted, not embroidery or superposed ornament, beauty has been well defined as the purgation of superfluities. And certainly many a paragraph might have its beauty brightened by letting quiet words take the place of its loud words, omitting its "verys," and striking out its purple patches of fine writing. Here is Ben Jonson's description of Bacon's language: "There happened in my time one noble speaker who was full of gravity in his speech. No man ever spoke more neatly, more pressly, more weightily, or suffered less emptiness, less idleness, in what he uttered. No member of his speech but consisted of his own graces. His hearers could not cough or look aside without loss. He commanded when he spoke, and had his judges angry or pleased at his discretion." Such are the men who command, men who speak "neatly and pressly." But to gain such precision is toilsome business. While we are in training for it, no word must unpermittedly pass the portal of the teeth. Something like what we mean must never be counted equivalent to what we mean. And if we are not sure of our meaning or of our word, we must pause until we are sure. Accuracy does not come of itself. For persons who can use several languages, capital practice in acquiring it can be had by translating from one language to another and seeing that the entire sense is carried over. Those who have only their native speech will find it profitable often to attempt definitions of the common words they use. Inaccuracy will not stand up against the habit of definition. Dante boasted that no rhythmic exigency had ever made him say what he did not mean. We heedless and unintending speakers, under no exigency of rhyme or reason, say what we mean but seldom, and still more seldom mean what we say. To hold our thoughts and words in significant adjustment requires unceasing consciousness, a perpetual determination not to tell lies; for of course every inaccuracy is a bit of untruthfulness. We have something in mind, yet convey something else to our hearer. And no moral purpose will save us from this untruthfulness unless that purpose is sufficient to inspire the daily drill which brings the power to be true. Again and again we are shut up to evil because we have not acquired the ability of goodness.

But after all, I hope that nobody who hears me will quite agree. There is something enervating in conscious care. Necessary as it is in shaping our purposes, if allowed too direct and exclusive control consciousness breeds hesitation and feebleness. Action is not excellent, at least, until spontaneous. In piano-playing we begin by picking out each separate note; but we do not call the result music until we play our notes by the handful, heedless how each is formed. And so it is everywhere. Consciously selective conduct is elementary and inferior. People distrust it, or rather they distrust him who exhibits it. If anybody talking to us visibly studies his words, we turn away. What he says may be well enough as school exercise, but it is not conversation. Accordingly, if we would have our speech forcible, we shall need to put into it quite as much of audacity as we do of precision, terseness, or simplicity. Accuracy alone is not a thing to be sought, but accuracy and dash. It was said of Fox, the English orator and statesman, that he was accustomed to throw himself headlong into the middle of a sentence, trusting to God Almighty to get him out. So must we speak. We must not before beginning a sentence decide what the end shall be; for if we do, nobody will care to hear that end. At the beginning, it is the beginning which claims the attention of both speaker and listener, and trepidation about going on will mar all. We must give our thought its head, and not drive it with too tight a rein, nor grow timid when it begins to prance a bit. Of course we must retain coolness in courage, applying the results of our previous discipline in accuracy; but we need not move so slowly as to become formal. Pedantry is worse than blundering. If we care for grace and flexible beauty of language, we must learn to let our thought run. Would it, then, be too much of an Irish bull to say that in acquiring English we need to cultivate spontaneity? The uncultivated kind is not worth much; it is wild and haphazard stuff, unadjusted to its uses. On the other hand no speech is of much account, however just, which lacks the element of courage. Accuracy and dash, then, the combination of the two, must be our difficult aim; and we must not rest satisfied so long as either dwells with us alone.

But are the two so hostile as they at first appear? Or can, indeed, the first be obtained without the aid of the second? Supposing we are convinced that words possess no value in themselves, and are correct or incorrect only as they truly report experience, we shall feel ourselves impelled in the mere interest of accuracy to choose them freshly and to put them together in ways in which they never cooperated before, so as to set forth with distinctness that which just we, not other people, have seen or felt. The reason why we do not naturally have this daring exactitude is probably twofold. We let our experiences be blurred, not observing sharply, nor knowing with any minuteness what we are thinking about; and so there is no individuality in our language. And then, besides, we are terrorized by custom and inclined to adjust what we would say to what others have said before. The cure for the first of these troubles is to keep our eye on our object, instead of on our listener or ourselves; and for the second, to learn to rate the expressiveness of language more highly than its correctness. The opposite of this, the disposition to set correctness above expressiveness, produces that peculiarly vulgar diction known as "school-ma'am English," in which for the sake of a dull accord with usage all the picturesque, imaginative and forceful employment of words is sacrificed. Of course we must use words so that people can understand them, and understand them too with ease; but this once granted, let our language be our own, obedient to our special needs. "Whenever," says Thomas Jefferson, "by small grammatical negligences the energy of an idea can be condensed, or a word be made to stand for a sentence, I hold grammatical rigor in contempt." "Young man," said Henry Ward Beecher to one who was pointing out grammatical errors in a sermon of his, "when the English language gets in my way, it doesn't stand a chance." No man can be convincing, writer or speaker, who is afraid to send his words wherever they may best follow his meaning, and this with but little regard to whether any other person's words have ever been there before. In assessing merit let us not stupefy ourselves with using negative standards. What stamps a man as great is not freedom from faults, but abundance of powers.