Preface

“ The most profound analogies are called up to prove the simplest fact, not only in the realm of poetry, or description, but in scientific or business matters at times, and whether he is writing upon some deep social problem or reporting upon the condition of the parish pump he will preface his account with an essay! ”

“ Now, when we say that argument must move its reader, we begin to pass from the realm of pure thought, in which exposition takes rise, to that of feeling, for feeling is a necessary preliminary to action. ”

“ These principles pertain to diction, structure, matter, and spirit or purpose. No one will deny [4] that the diction should be well chosen; that the structure of the sentences should be correct and clear; and that, in the case of poetry, the laws of versification should be observed. These elements contribute to excellence of form. In addition to these external elements there should be unity of thought, symmetry of presentation, truth of statement, and sincerity and self-restraint in sentiment. These elements give substantial worth to the matter or content of literature. ”

“ If, then, you feel like confidential writing, what may your subjects be? Essayists have written about three main classes of subjects: first always, people, their glory, their pathos, their sadness, and their whims; second, nature as it appeals to the writers in a personal way, reflecting their joys and sorrows, or contributing to their sense of pleasure, beauty, and companionship in the world; and third, matters of science, industry, art, literature, as the essayists think these affect the emotions of humanity. ”

“ We have now writings in several departments of literature, and in both prose and verse, which are characterized by a breadth and largeness of suggestion, by a spirituality and a prophetic adherence to the moral sentiment, which justify all that has here been affirmed or reasoned. And our deepest thought finds a popular reception which proves it not foreign or exceptional. ”

“ All literature, then, may be separated into five classes,—narration, description, exposition, argument, and persuasion.
Narration tells what things do; description tells how things look. Narration deals with occurrences; description deals with appearances. Exposition defines a term, or explains a proposition; argument proves the truth or falsity of a proposition; persuasion urges to action upon a proposition. Exposition explains; argument 4 convinces; persuasion arouses. These are the broad lines of distinction which separate the five forms of discourse. ”

“ In contrast with the orderly phenomena of speech and writing, which are amenable to scientific processes of examination and classification, and which take rank with the orderly successions of change in nature, we have what, for want of a more exact term, we call “mere literature,”—the literature6 which is not an expression of form, but an expression of spirit. ”

“ We go on to the third Appendix in two sections, being the fifth and sixth 'wings,' and forming what is called 'The Great Treatise.' It will appear singular to the reader, as it has always done to myself, that neither in the Text, nor in the first two Appendixes, does the character called Yî, which gives its name to the classic, once appear. ”

“ To a mind naturally strong and capacious, enriched by much reading and the experience of many years, he added a manner of communicating his thoughts peculiarly his own—in which simplicity, beauty, and strength were equally conspicuous. ”

“ His phraseology rolls ever in solemn and majestic periods, in which every substantive marches ceremoniously accompanied by its epithet; grand pompous words peal like an organ; every proposition is set forth balanced by a proposition of equal length; thought is developed with the compressed regularity and official splendour of a procession. ”

“ So in all work in composition, select a subject that readily lends itself to the form of discourse demanded; or, conversely, select the form of discourse suitable for presenting most effectively your material.
Author’s Individuality. If an author is writing for other purposes than for conscious practice, he should choose the form of discourse in which he can best work, and to which he can best shape his material. Some men tell stories well; others are debaters; while yet others are wonderfully gifted with eloquence. ”

“ Spread on a canvas, with other paints around it, it represents, on the contrary, a feature in a picture and performs a spiritual function. Just so, I maintain, does a given undivided portion of experience, taken in one context of associates, play the part of a knower, of a state of mind, of ‘consciousness’; while in a different context the same undivided bit of experience plays the part of a thing known, of [Pg 10] an objective ‘content.’ In a word, in one group it figures as a thought, in another group as a thing. ”

“ This dialectic process which consciousness executes on itself—on its knowledge as well as on its object—in the sense that out of it the new and true object arises, is precisely what is termed Experience. ”

“ The principle that the proper place for what is to be made most prominent is the end applies equally to the words of a sentence, to the sentences of a paragraph, and to the paragraphs of a composition. ”

“ Description Defined.+—By means of our senses we gain a knowledge of the world. We see, hear, taste, smell, and feel; and the ideas so acquired are the fundamental elements of our knowledge, without which thinking would be impossible. It, therefore, happens that much of the language that we use has for its purpose the transmission to others of such ideas. Such writing is called description. We may, therefore, define description as that form of discourse which has for its purpose the formation of an image. ”

“ In some of those tracts the Author’s object was to improve the taste and understanding of his reader; in others, to mend his heart; in others, to point out to him the proper use of philosophy, by showing its application to the duties of common life. ”

“ Evidently, writing of this sort is in many respects the most difficult, since the writer must have regard for unity and the related principles, as well as for the qualities which peculiarly distinguish it. Experience, beauty, and truth are all available as subject-matter, and all the principles governing literary composition are concerned. ”

“ General Principles.—There is perhaps no other form of composition which is so generally in use as exposition or explanation. If you observe your own conversation and that of the people about you, you will find that a great deal of it is explanation. Every time you say in answer to some question about a remark you have just made, "Why, I mean that—," you are explaining the first remark. In almost all the recitations you make in school you are explaining something—a principle in arithmetic, or in physics, the construction of something in manual training, the meaning of a word, etc. ”

“ Summary.+—To summarize the preceding paragraphs, the authority we quote, the maxims we state, the facts we adduce become valuable because they appeal to general theories already believed by the reader. Success in argument demands, therefore, that we consider carefully what theories may probably be in the mind of our audience, and that we present our argument in such a way as to appeal to those theories. ”

“ In exposition and argument, and sometimes in the other forms of discourse, the topic-sentence may be at the end of the paragraph. This is for emphasis in narration and description. In exposition and argument it is better to lead up to an unwelcome truth than to announce it at once. ”

“ But it is absolutely necessary, for right progress in knowledge, that you begin by observing and tracing decisive lines; and that you consider dignity and simplicity of expression more than beauty of feature. ”

“ Response to impressions, correlation of those impressions into a connected body of phenomena, and final interpretation of them as a whole are, have been, and always will be the marks of the enduring in all literature, whether poetry or prose. ”

“ On the part of the narrator. What shall she do about it? In each case, the outcome arrives with celerity, and love is the ruling motive in each struggle. The decision, as affected by love, testifies to the character of each person.
Characterization. Is each character so described, and does he show such action and interaction as to make logical the behavior in the particular struggle? Must the reader accept any one of the decisions on faith alone?
Setting. What is it? Has it particular contributory value, or might the locale have been, say, New York? ”

“ Indeed, we may say, or, rather, must confess, that even in the most able, pure, and perfect expositions of well-established truths—whatever may be the form they take, whether scientific, historical, artistic, or rhetorical, or perhaps be designed for the practical illustration and guidance of life—a certain subjective bone and coloring is more or less perceptible. ”

“ The kind of prose life from which poetry is separate postulates a different kind of conception and speech. The finite categories of the understanding applicable to the former. The ideal rationale of fact is aimed at by poetry. ”

“ Let me, for the purposes of this discussion, make a triple division of knowledge into physical, ethical, and æsthetical, according as our thought is concerned with the world of matter, the world of mind, and the world of art or beauty. ”

“ But this volume is concerned with the exposition rather than the criticism of the authors discussed, so I will conclude the chapter with a quotation which sums up his philosophy and sets forth his ideals:
In progress toward the goal, nature will have to be consulted continuously. ”

“ As applied to books, it is a general term for a treatise which includes maxims, pithy sayings, and didactic stories, intended as a guide to such matters of everyday life as form the character of an individual and influence him in his relations to his fellow-men. ”

“ All beauties of language, all flights of poetry, all particular scenes and speeches, powerful and impressive as they may be, are merely subordinate. No character, how exquisitely or elaborately soever conceived and finished, is drawn for itself ”

“ For these four discourses subjects have to be found; materials for exposition and illustration have to be collected; the mind has first to make each subject its own and then to shape it into a form suitable for popular effect. ”

“ An idea comes to me, or I to it', she says, airily, 'a scene—a situation—a young man, a young woman, and on that mental hint I begin to build', but the question naturally arises, she must make a beginning? ”

“ In circles highly civilised the great things, the real things, the hard, the cruel and even the tender things, the true elements of any tension and true facts of any crisis, have ever, for the outsider’s, for the critic’s use, to be translated into terms—terms in the distinguished name of which, terms for the right employment of which, more than one situation of the type I glance at had struck me as all irresistibly appealing. ”

“ Studies serve for delight, for ornament, and for ability. Their chief use for delight, is in privateness and retiring; for ornament, is in discourse; and for ability, is in the judgment and disposition of business. ”

“ There is perhaps no subject more universally or more deeply interesting than that which is the chief subject of the present work. Yet no book, even pretending to science or accuracy, has hitherto appeared upon it. ”

“ A true perspective demands, on the part of the reader, the nicest sense of the relative values of successive and involved groups or sections of thought—those belonging to the main current of thought being brought to the front with a fulness of expression, and the subordinate groups or sections according to their several degrees of subordination, being thrown back with a corresponding reduction of expression. ”

“ Our preference, however, for the objects of sense, for the pen, and the sun, as typical instances of objects of ideas, arises from the fact that in case of just these objects, it is especially easy, by observing, from without, the acts of the person who has these ideas, to form confident and, for common-sense purposes, relatively exact notions of the selection to which the internal meaning of the ideas has bound the maker of any given judgment about objects. ”

“ To the three spheres of sentiment, of science, and of practice, conform three classes of character, in whom each respectively predominates. We feel the spirit of the first; we admire the intellect of the second; we deal only with the actions of the third. We turn to the first for inspiration and for influence ”

“ In short, the sensory or formal effect of words has very little play in the literature of analysis and exposition. But as’ soon as prose becomes more emotive than scientific, the formal side becomes prominent. ”

“ Put two men before a scene, one an ordinary person and the other a great poet, and ask them to describe what they see. Assuming them both to be possessed of a reasonable power honestly to express themselves, what a difference would there be in the value of their descriptions. ”

“ Whilst common sense looks at things or visible nature as real and final facts, poetry, or the imagination which dictates it, is a second sight, looking through these, and using them as types or words for thoughts which they signify. ”

“ Use Words that suggest most. As a principle in composition, it may be said that the more a word or phrase can be made to imply or suggest, while at the same time expressing all that the writer wishes to say, the more valuable does that word or phrase become. ”

“ The fixed disposition and modes of action, or in a word, the character, of the true Scholar, when contemplated from the highest point of view, can, properly speaking, only be described, not by any means enacted or imposed. ”