Essays from the Chap-Book. VariousЧитать онлайн книгу.
came to study history, and I was sent to the Satisfaction Clerk, and I found satisfaction, though not in the wonted legal form.” “But ye haven’t told me yer name,” said he. “I have not,” said I; “good day.”
The Bureau of Literary Revision
By
Alice Morse Earle
OUR beloved friend Charles Lamb once wrote of his Essays of Elia: —
“One of these professors, on my complaining that these little sketches of mine were anything but methodical, and that I was unable to make them otherwise, kindly offered to instruct me on the method by which the young gentlemen in his seminary were taught to compose English themes.”
When, with the solemn thoughts brought to each soul at the “turn of the year,” we recount to ourselves our many mercies, let us never fail to remember with gratitude that the magnanimous offer of that seminary professor was never accepted.
We do not have to wait to-day for chance offers from solemn professors of instruction and revision in literary composition; “the method by which young gentlemen in the seminary are taught to compose” is thrust upon us at every hand. “Bureaus of revision” and “Offices of literary criticism” abound and thrive and become opulent through examining, correcting, and revising the work of confiding authors. We are told with pride that in one bureau alone three thousand manuscripts a year were thus revised. Among those three thousand young fledglings of authors there may not have been a Charles Lamb, but the lamentable thought also will arise that there may have been a Charles Lamb, and that his unmethodical little “sketches” may have been pruned or amplified, or arranged and revised till they proved true “English themes.”
There is a wearying monotony in the make-up of many of our periodicals, some of those even of large circulation. There is a lack of literary color, a precise and proper formation of each sentence, and a regularity of ensemble which is certainly grammatical but is fully as uninteresting as grammar. A surfeit of these exactly formal “English themes” has made the gasping public turn to some of our literary freaks and comets with a sensation as if seeking an inspiration of fresh air after mental smothering.
I attribute this too frequent monotony, and even stultification of composition, to the “literary reviser” – the trail of the serpent is over all our press.
And what does this literary revision offer for the large fees paid? One alleged benefit is the correction of punctuation. It certainly performs this service; but the editor and proofreader in any responsible publishing-house will, as a duty, correct with precision the punctuation of any paper or book printed by the house. A benefit alleged by one circular is “a pruning of too riotous imagination.” I groaned aloud as I read this threat. Too riotous imagination to-day! when we long for imagination and long in vain; when a wooden realism thrusts its angular outlines in our faces from every printed page. “To curb the use of adjectives” is another of the reviser’s duties. The meagre style too often seen of late may arise from this curbing.
The most astonishing aspect of this bureau of revision is shown in the patience with which authors endure its devastations. They confidingly send into this machine the tenderly nourished children of their brains, dressed with natural affection in all the frills and ruffles of rhetoric, and receive them home again with ornaments torn away, laid in a strait-jacket which has been cut with rigid uniformity, and made with mathematical precision – and yet they kiss the rod that turned the natural children of their brains into wretched little automatons.
I would not judge all revision bureaus by one; but I must give my experience at the hands of a very reputable one. I had written four books of more than average sale, and had been ever commended by the press for my grammatical construction, when I sent to a bureau for criticism a short magazine-paper. It was returned to me full of very large and legible corrections – or rather alterations such as these: Where I wrote of my heroine being dressed in, etc., my reviser placed gowned in; where I wrote the little child, the reviser altered to the young babe; where I said nothing happened after this, to my horror, in heroic blue-pencilled letters, I read my pet aversion, nothing transpired. Where a compound sentence contained several clauses with verbs in the past tense, all dependent clauses were made participial in form; not always to the advantage in elegance, never of moment or indeed of real difference in grammatical construction.
I must confess that I did not send to this bureau my real name, as palpably too well known to men of literary ilk. My three dollars’ worth of advice was contained in a single sentence: “Your style is fair, but commonplace; if you practise literary composition you may succeed; but this article is, in our judgment, not salable.”
I had the pleasure of sending the paper immediately to a well-known magazine and receiving therefrom in payment a check for fifty dollars.
Mr. Meredith and his Aminta
By
Lewis E. Gates
IN his latest book the choppiness of Mr. Meredith’s style and the restless tacking of his method are as great as ever, and those worthy people who delight in the smooth seas and the steady zephyrs of ordinary English fiction will find their experience of “Lord Ormont and his Aminta” very much of a stormy channel-passage. But to people with sound nerves and adventurous spirits the experience is sure to be bracing and exhilarating. Perhaps the most surprising single effect that you get from “Lord Ormont” is that of the tingling vitality of the author. You can hardly realize while reading the book that you have to do with a writer who has been for forty years a tireless worker in literature, and who published his first venture in fiction two years before George Eliot’s first story. The style in “Lord Ormont” has all the audacity of a first rebellion against tradition and convention; the sentences rush forward in all possible rhythms except the languorous ones of the dilettante or the “faultily faultless” ones of the precisian or pedant; the imagination is restlessly self-assertive in its embodiment of every abstract idea in an image for eye or for ear; the tone is almost boisterous in its hilarity or brusqueness; and finally the book sounds everywhere the note of the future, and prophesies change and new social conditions without a touch of misgiving or regret. Perhaps in no earlier work has Mr. Meredith been so aggressive and, at the same time, so confident and buoyant.
As for Mr. Meredith’s technique, it remains in the new book substantially what it has always been, and many of the general effects he produces are familiar to his admirers and delightful in their recurrence. Where save in Mr. Meredith’s fiction can there be found such brilliance of surface? such vividness of dramatic portrayal? Or at any rate where is vividness so reconciled with suggestiveness of interpretation? concrete beauty with abstract truth? In all his novels he sends our imaginations flashing over the surface of some portion of life; he calls up before us this portion of life in all its fine contrasts of color and form, of storm and sunshine, of mid-day and moonlight; and yet at the same time he constrains us to pierce below the surface and to understand intuitively why the drama moves this way or that, what forces are in conflict, what passions are flushing or blanching the cheek, what fancies or ideals are making the eyes dream on a distant goal.
More nearly than any other living novelist, Mr. Meredith succeeds in overcoming the difficulties forced on the writer of fiction by the double appeal of life. Life is a pageant and life is a problem; it smites on the senses and allures the imagination, but it also challenges the intellect; it has power and beauty, but it has also significance. Now most writers of fiction who reveal to us the inner meaning of life allow its beauty and power to fade into shadowy vagueness; and those who give us the dramatic value of life too often lack penetration and philosophic insight. One of Mr. Meredith’s greatest claims to distinction lies in the fact that he, better than any other English novelist, has reconciled this conflict between vividness of portrayal and depth of interpretation. He has grasped English life in all its enormous range and mass and complexity; he has flashed it before us in all its splendid vividness for eye and ear and imagination; and at the same time he has made it suggestive to thought, has comprehended it through and through in its subtlest relations, and in portraying it has breathed into it the breath of a