| Show WHAT IS STTLEt Style the InvWUe i Ind through whose influence the lion on Uiu flag of the ieralan poet moves andmarcheyee ThelJon I I of soul1 may be painted ever so deftly with never so much expression indivi dual feell ng plctu uenenergy charm it will not move and march save through the rhythmic wavlrig InQuccce of etyle Nor is style necessarily the grand style as Arnold scenu to Imply In calling It I peculiar recasting and heighten lug under a certain condition bf spiritual excitement of what a man has to say In such a manner as to add dignity and itiitinctlon to IL 1erhnpa tbe most explicit examples of pure style owe their productlou to spiritual coolnrj I j ORdain any event the word pewuular Inndellnltl n begs the question ButTen at once justerana tuore dlflnite In Kayiug atyle Is nothing other than Jie order and movement which we put Intoourthoughte Itlsslngu lar that this simple and lucid utter anee of ituflbn should have been H > little noticed by those who have written J In English on style Eng llsli wrikrs like Jlr llamcrtou for example who snubs M Charlm lilanc as ridiculous for talking about leityte which he declares to be simply Individuality have apjnreiitly miscoueeixed In very curious fashion liuflons other remark re-mark te ttytecttl Iltomme by which aphorism JiulTou merely meant that a mans Individual manner man-ner depends on his temperament his character and which he oC course was very far from suspecting tfnfJof would ever be taken foradunnitiou Following IJulIbus idea of order and movement we may say perhaps per-haps that style irsult from the preservation in every part of some sense of the form of the whole It implies a sense of relations as well as of statement It in I nut mere toe presslon of a thought In a manner peculiar to the artist in words color marble what not but it Is such expression penetrated with loth rcmlnUcence and anticipation It is indeed on the contrary very nearly the rever of what wo mean by expression which Is mainly a matter of personal energy Style mean correctnet precision that feeling for the enKinUe on which an Inliar moulous ilitail jars Expression risulU from a tent of the talue of the detail If Walt Whitman for example wire what his admirers illtVctivuw use of style Uncles biO he would bs expressive I Freucl plastic cci had as little expression as r WI I its censors assert it would still Illustrate Illus-trate style thequillty which modi fits the native and apposltu form or I the concrete Individual thing with reference to what ha preceded end what I to follow I in a word whose effort la t harmonize tho object ob-ject with its environment Whei this environment Is heightened and universal Instead of logical and articular We have the grad style but we have tho grand stylo generally iupoctrynnd to bcsureo ttylu at all prose would cal b sutplcious of the soul1 and specific spe-cific personality which tend r make I poetlo and individual And really this common confusion of style with personality which latter I a poetic factor In literature lite-rature has not only led to the amount ef jnctic prose we have tba ism bound to fr because It is not the happiest expression of the writers writ-ers thought 1ccauw at bet as Arnold remarked of ono ol Mr Rusklna rhapsodies what ho Is I theru attempting he will altmpUng wi never except ex-cept in poetry be able to accomplish to his own entire satisfaction I h also tended t prevent tho development de-velopment of pure proso prose like I Swifts and Thacfceraya ob scurlng tho merits of such prcse Salience Idiosyncrasy color feelIng feel-Ing have on thu one hand been supposed necessary by every writer desirous of cultivating style quail ties which arc really hostile to style In prose though In verso metrical leslrictions and opportunities supply sup-ply to them just the element that Ill prose they 1c On the oilier ham Bu dims order and movement have liecn quite forgotten Sfcni ncrt Jlagoanc fA April |
