Sherwin Cody

“ Though he was the editor, he recognized that the success of the magazine would be made by Holmes. Said he, "You see, the doctor is like a bright mountain stream that has been dammed up among the hills and is waiting for an outlet into the Atlantic. You will find that he has a wonderful store of thought—serious, comic, pathetic, and poetic,—of comparisons, figures, and illustrations. I have seen nothing of his preparation, but I imagine he is ready. It will be something wholly new, and his reputation as a prose writer will date from this magazine." ”

“ Language is merely a medium for thoughts, emotions, the intelligence of a finely wrought brain, and a good mind will make far more out of a bad medium than a poor mind will make out of the best. A great violinist will draw such music from the cheapest violin that the world is astonished. However is that any reason why the great violinist should choose to play on a poor violin; or should one say nothing of the smoke nuisance in Chicago because more light and heat penetrate its murky atmosphere than are to be found in cities only a few miles farther north? ”

“ Bayard Taylor was not a great genius, and he did not succeed in winning quite all of that high fame for which he struggled throughout his life. He never expected to have earth's blessings showered upon him without working for them; and the fact that he failed somewhat in his highest ambition—to be a far-famed poet—makes his life seem nearer to our own. We call him a great man because he did well what came to him to do, working hard all his life. ”

“ Every writer should strive for the greatest possible breadth, for the greater his breadth the more people there are who will be interested in his work. Narrow minds interest a few people, and broad minds interest correspondingly many. The best way to cultivate breadth is to cultivate the use of contrast in your writing.
But to assume a breadth which one does not have, to pass from one extreme to another without perfect mastery of all that lies between, results in being ridiculous. It is like trying to extend the range of the voice too far. One desires a voice with the greatest possible range ”

“ The old ambition and aspiration to be and to do something really worth doing was still uppermost with him. In a letter to Mary Agnew he says: "Sometimes I feel as if there were a Providence watching over me, and as if an unseen and uncontrollable hand guided my actions. I have often dim, vague forebodings that an eventful destiny is in store for me; that I have vast duties yet to accomplish, and a wider sphere of action than that which I now occupy. These thoughts may be vain; they spring only from the ceaseless impulses of an upward-aspiring spirit ”

“ CHAPTER XV. CONTRAST. In all effective writing contrast is far more than a figure of speech: it is an essential element in making strength. A work of literary art without contrast may have all the elements of construction, style, and originality of idea, but it will be weak, narrow, limp. The truth is, contrast is the measure of the breadth of one's observation. We often think of it as a figure of speech, a method of language which we use for effect. A better view of it is as a measure of breadth. You have a dark, wicked man on one side, and a fair, sunny, sweet woman on the other. ”

“ Lowell was so reserved in after life, and so very correct and elegant both in his writing and in his deportment, that when we come across two letters written at about nine years of age, badly punctuated and badly spelled, but displaying all the natural spirits of a boy, we begin at once to feel at home with him and to have a genuine affection for the man we had before only admired as a very great and learned author. ”

“ It would seem at first that language could go no higher; but it does mount a little higher simply by trying to do less, and we have loftiness in its plain simplicity, as when man stands bareheaded and humble in the presence of God alone.
Macaulay's style is highly artificial, but its rotundity, its movement, its impressive sweep have made it popular. Almost any one can acquire some of its features; but the ease with which it is acquired makes it dangerous in a high degree, for the writer becomes fascinated with it and uses it far too often. ”

“ All true poetry is about beauty. It doesn't teach anything useful, or analyze anything, but it simply makes the reader feel a certain effect. When you read "The Raven" you hardly know what the poet is saying; but you feel the ghostly scene, and it makes you shudder; and there is a strange fascination about it that makes you like it, even if it is horrible.
He goes on to say that he decided to have a refrain at the end of each stanza, the single word "Nevermore." At first he thought he would have a parrot utter it; but a raven can talk as well as a parrot, and is more picturesque. ”

“ A man with a reflective turn of mind, walking through an exhibition of this sort, will not be oppressed, I take it, by his own or other people's hilarity. An episode of humor or kindness touches and amuses him here and there,―a pretty child looking at a gingerbread stall; a pretty girl blushing whilst her lover talks to her and chooses her fairing; poor Tom Fool, yonder behind the wagon mumbling his bone with the honest family which lives by his tumbling; but the general impression is one more melancholy than mirthful. ”

“ Ordinary story-tellers and ordinary poets write poems or stories that are pretty and amusing; but it is only a master like Poe who writes to illustrate and explain some great principle. His stories teach us how we may go about producing similar effects in the affairs of life. We wish success in business, in society, in politics. To gain it we must make people think and feel as we think and feel. To do that we must understand the principles on which men's minds work, and no poet or writer analyzed and illustrated those principles so clearly as Poe. ”

“ So common words carry with them a world of suggested thought. The word drunk calls up a picture horrid and disgusting; violet suggests blueness, sweetness, and innocence; oak suggests sturdy courage and strength; love suggests all that is dear in the histories of our own lives. Just what will be suggested depends largely on the person who hears the word, and in thinking of suggestion we must reflect also on the minds of the persons to whom we speak. ”

“ On the first writing verbal perfection should be sacrificed without a moment's hesitation. But when a story or essay has once been written, the writer will turn his attention to those small details of style. He must harmonize his language. He must polish. It is one of the most tedious processes in literature, and to the novice the most difficult on which to make a beginning. Yet there is nothing more surely a matter of labor and not of genius. It is for this that one masters grammar and rhetoric, and studies the individual uses of words. Carried to an extreme it is fatal to vitality of style. ”

“ When in the course of the publication of the second series of "Biglow Papers," twenty years after the first, it was announced that Parson Wilbur was dead, people who had read the first series felt very much as though they had lost a personal friend. The public had learned to love the pedantic, vain old man as if he were a real human being. Lowell had created in him a great character of fiction, almost as if he were a novelist instead of a poet. ”

“ To know human life, to know what people really need, is work for a genius. It resembles the building up of a daily paper, with its patronage and its study of the public pulse. But the reporter has little or nothing to do with that. Likewise the ordinary writer should not trouble himself about so large a problem, at least until he has mastered the simpler ones. Writing for an audience if one wants to get printed in a certain magazine is writing those things which one finds by experience the readers of that magazine, as represented in the editor, want to read. ”

“ You can't find much fault with a man who is so well liked that even the dogs will not bark at him. You are reminded of Irving himself, who for so many years was so idle; and yet who, out of his very idleness, produced such charming stories.
"Rip Van Winkle," continues the narrative, "was one of those happy mortals, of foolish, well-oiled dispositions, who take the world easy, eat white bread or brown, whichever can be got with least thought or trouble, and would rather starve on a penny than work for a pound. If left to himself, he would have whistled life away in perfect contentment ”

“ It is quite usual that the whole setting of a story must come from another source. One has observed life in a thousand different phases, just as a carver has accumulated about him scores of different pieces of wood varying in shape and size to suit almost any possible need. When a carver makes a vase he takes one block for the main portion, the starting point in his work, and builds up the rest from that. The writer takes one real incident as the chief one, and perfects it artistically by adding dozens of other incidents that he has observed. ”

“ I believe all poets are possessed in a greater or less degree of ambition; it is inseparable from the nature of poetry. And though I may be mistaken, I think this ambition is never given without a mind of sufficient power to sustain it, and to achieve its lofty object. Although I am desirous of the world's honors, yet with all the sincerity I possess I declare that my highest hope is to do good ”

“ There is no thought that we shall become geniuses, or anything of the kind. For us, why should there be any difference between plumbing and writing? If all men were born plumbers, still some would be much better than others, and no doubt the poor ones could improve their work in a great measure, simply by getting hints and trying. However, we all know that the trying will not do very much good without the hints. Now, where are the master-plumber's hints―or rather, the master-writer's hints, for the apprentice writer? ”

“ CHAPTER VI TWO YEARS IN EUROPE FOR FIVE HUNDRED DOLLARS A journey to Europe was not the common thing in those days that it has since become, and no American had then thought of tramping over historic scenes with little or no money. So this journey, projected and carried out by Bayard Taylor, was really an original and daring undertaking. It was all the more remarkable from the fact that the people of the community where he had been born and brought up had scarcely ever gone farther from their homesteads than Philadelphia. ”

“ The writer creates only in the sense that the wood carver creates his vase. He does not create ideas cut of nothing, any more than the carver creates the separate blocks of wood. The writer may coin his own soul into substance for his stories, but creating out of one's mind and creating out of nothing are two very different things. The writer observes himself, notices how his mind works, how it behaves under given circumstances, and that gives him material exactly the same in kind as that which he gains from observing the working of other people's mind. ”

“ A clouded diamond is no more ruined by its cloudiness than a clouded metaphor.
As in Ruskin's description of the mountain, we see in this the value of the sounds of words, and how they seem to make music in themselves. A Word lacking in dignity in the very least would have ruined the whole picture, and so would a word whose rotund sound did not correspond to the loftiness of the passage. Perhaps the only word that jars is “English three-decker”―but the language apparently afforded De Quincey no substitute which would make his meaning clear. ”

“ The culture which is supposed to plume itself on a smattering of Greek and Latin is a culture which is begotten by nothing so intellectual as curiosity; it is valued either out of sheer vanity and ignorance, or else as an engine of social and class distinction, separating its holder, like a badge or title, from other people who have not got it. No serious man would call this culture, or attach any value to it, as culture, at all. ”

“ Language which expresses the thought with strict logical accuracy is correct language, and language which is sufficiently rich in its resources to express thought fully, in all its lights and bearings, is effective language. If the writer or speaker has a sufficient stock of words and forms at his disposal, he has only to use them in a strictly logical way and with sufficient fulness to be both correct and effective. If his mind can always be trusted to work accurately, he need not know a word of grammar except what he has imbibed unconsciously in getting his stock of words and expressions. ”

“ Newspaper articles are more descriptive than any other sort of writing. You have a description of a new invention, of a great fire, of a prisoner at the bar of justice. It is not quite so spontaneous as narrative. Children seldom describe, and the newspaper man finds difficulty in making what seems a very brief tale into a column article until he can weave description as readily as he breathes.
Dialogue in a story is by no means the same as the dialogue of a play: it ought rather to be a description of a conversation, and very seldom is it a full report of what is said on each side. ”

“ It is true that in many of these books we may find prefaces which say, “All other books err in clinging too closely to mere system, to names; but we will break away and give you the real thing.” But they don't do it; they can't afford to be too radical, and so they merely modify in a few details the same old system, the system of names. Yet it is a great point gained when the necessity for a change is realized.
How, then, shall we go about our mastery of the English language?
Modern science has provided us a universal method by which we may study and master any subject. ”

“ Force is the appeal which words make to the feeling, as clearness is the appeal they make to the understanding.
Elegance is required only in writing which purports to be good literature. It is useful but not required in business letters, or in newspaper writing; but it is absolutely essential to higher literary art. It is the appeal which the words chosen and the arrangement selected make to our sense of beauty. That which is not beautiful has no right to be called “literature,” and a style which does not possess the subtle elements of beauty is not a strictly “literary” style. ”