Delphi collected works o.., p.1027
Delphi Collected Works of Grant Allen, page 1027
We have forgotten the easy style of Walpole; we do not any longer care much for Johnson, though his letters are indeed models; we have no time for lovely whimsical elaborations like those of Cowper or Charles Lamb; but still some of us — persons of inferior mind perhaps — do attempt to write letters. To these I have a word to say. So far as I can judge, after passing many, many hundreds and thousands of letters through my hands, the best correspondents nowadays are either those who have been educated to the finest point, and who therefore dare not be affected, or those who have no education at all. A little while ago I went through a terrific letter from a young man, who took up seventeen enormous double sheets of paper in trying to tell me something about himself. The handwriting was good, the air of educated assurance breathed from the style was quite impassive, and the total amount of six thousand eight hundred words was sufficient to say anything in reason. Yet this voluminous writer managed to say nothing in particular excepting that he thought himself very like Lord Byron, that he was fond of courting, and that his own talents were supreme. Now a simple honest narrative of youthful struggles would have held me attentive, but I found much difficulty in keeping a judicial mind on this enormous effusion. Why? Because the writer was a bad correspondent; he was so wrapped up in himself that he could not help fancying that every one else must be in the same humour, and thus he produced a dull, windy letter in spite of his tolerable smattering of education. On the other hand, I often study simple letters which err in the matter of spelling and grammar, but which are enthralling in interest. A domestic servant modestly tells her troubles and gives the truth about her life; every word burns with significance — and Shakespeare himself could do no more than give music of style and grave coherence to the narrative. The servant writes well because she keeps clear of high-sounding phrases, and writes with entire sincerity. It is the sincerity that attracts the judicious reader, and it is only by sincerity that any letter-writer can please other human creatures. Beauty of style counts for a great deal; I would not sacrifice the exquisite daintiness of epistolary style in Lamb or Coleridge or Thackeray or Macaulay for gold. But style is not everything, and the very best letter I ever read — the letter which stands first in my opinion as a model of what written communications should be — is without grammar or form or elegance. It is simply a document in which the writer suppresses himself, and conveys all the intelligence possible in a limited space. To all letter-writers I would say, “Let your written words come direct from your own mind. The moment you try to reproduce any thought or any cadence of language which you have learned from books you become a bore, and no sane man can put up with you. But, if you resolve that the thought set down shall be yours and yours alone, that the turns of phrase shall be such as you would use in talking with your intimates, that each word shall be prompted by your own knowledge or your belief, then it does not matter a pin if you are ignorant of spelling, grammar, and all the graces; you will be a pleasing correspondent.” Look at the letters of Lady Sarah Lennox, who afterwards became the mother of the brilliant Napiers. This lady did not know how to put in a single stop, and her spelling is more wildly eccentric than words can describe, yet her letters are enthralling, and natural fire and fun actually seem to derive piquancy from the schoolgirlish errors. If you sit down to write with the intention of being impressive, you may not make a fool of yourself, but the chances are all in that direction; whereas, if you resolve with rigid determination to say something essential about some fact and to say it in your own way, you will produce a piece of valuable literature. Of course there are times when dignity and gravity are necessary in correspondence, but even dignity cannot be divorced from simplicity. Supposing that, by an evil chance, a person finds himself bound to inflict an epistolary rebuff on another, the rebuff entirely fails if a single affected word is inserted. The most perfect example of a courteous snub with which I am acquainted was sent by a master of measured and ornamental prose. Gibbon, the historian, received a very lengthy and sarcastic letter from the famous Doctor Priestley, of Birmingham. Priestley blamed Gibbon for his covert mode of attacking Christianity, and observed that Servetus was more to be admired for his courage as a martyr than for his services as a scientific discoverer. Now Gibbon knew by instinct that the historic style would at once become ludicrous if used to answer such a letter; so he deserted his ordinary majestic manner, and wrote thus —
“SIR — As I do not pretend to judge of the sentiments or intentions of another, I shall not inquire how far you are inclined to suffer or inflict martyrdom. It only becomes me to say that the style and temper of your last letter have satisfied me of the propriety of declining all further correspondence, whether public or private, with such an adversary.”
A perfect sneer, a perfectly guarded and telling rebuff. But I do not care to speak about the literature of quarrels; my concern is mainly with those readers who have relatives scattered here and there, and who try to keep up communications with the said relatives. Judging from the countless letters which I see, only a small percentage of people understand that the duty of a correspondent is to say something. As a general rule, it may be taken for granted that abstract reflections are a bore; and I am certain that an exiled Englishman would be far more delighted with the letter of a child who told him about the farm or the cows, or the people in the street, or the marriages and christenings and engagements, than he would be with miles of sentiment from an adult, no matter how noble might be the language in which the sentiment was couched. Partly, then, as a hint to the good folk who load the foreign-bound mails, partly as a hint to my own army of correspondents, I have given a fragment of the fruits of wide experience. Remember that stately Sir William Temple is all but forgotten; chatty Pepys is immortal. Windy Philip de Commines is unread; Montaigne is the delight of leisurely men all the world over. The mighty Doctor Robertson is crowned chief of bores; the despised Boswell is likely to be the delight of ages to come. The lesson is — be simple, be natural, be truthful; and let style, grace, grammar, and everything else take care of themselves. I spoke just now of the best letter I have ever read, and I venture to give a piece of it —
“DEAR MADAM, — No doubt you and Frank’s friends have heard the sad fact of his death here, through his uncle or the lady who took his things. I will write you a few lines, as a casual friend that sat by his death-bed. Your son, Corporal Frank H. —— , was wounded near Fort Fisher. The wound was in the left knee, pretty bad. On the 4th of April the leg was amputated a little above the knee; the operation was performed by Dr. Bliss, one of the best surgeons in the Army — he did the whole operation himself. The bullet was found in the knee. I visited and sat by him frequently, as he was fond of having me. The last ten or twelve days of April I saw that his case was critical. The last week in April he was much of the time flighty, but always mild and gentle. He died 1st of May. Frank, as far as I saw, had everything requisite in surgical treatment, nursing, &c. He had watchers most of the time — he was so good and well-behaved and affectionate. I myself liked him very much. I was in the habit of coming in afternoons and sitting by him and soothing him; and he liked to have me — liked to put his arm out and lay his hand on my knee — would keep it so a long while. Towards the last he was more restless and flighty at night — often fancied himself with his regiment, by his talk sometimes seemed as if his feelings were hurt by being blamed by his officers for something he was entirely innocent of — said, ‘I never in my life was thought capable of such a thing, and never was.’ At other times he would fancy himself talking, as it seemed, to children and such like — his relatives, I suppose — and giving them good advice — would talk to them a long while. All the time he was out of his head not one single bad word or idea escaped him. It was remarked that many a man’s conversation in his senses was not half so good as Frank’s delirium. He seemed quite willing to die — he had become weak and had suffered a good deal, and was quite resigned, poor boy! I do not know his past life, but I feel as if it must have been good; at any rate, what I saw of him here under the most trying circumstances, with a painful wound, and among strangers, I can say that he behaved so brave, so composed, and so sweet and affectionate, it could not be surpassed.... I thought perhaps a few words, though from a stranger, about your son, from one who was with him at the last, might be worth while, for I loved the young man, though I but saw him immediately to lose him.”
The grammar here is all wrong, but observe the profound goodness of the writer; he hides nothing he knows that bereaved mother wants to know about her Frank, her boy; and he tells her everything essential with rude and noble tenderness, just as though the woman’s sorrowing eyes were on his face. It is a beautiful letter, bald as it is, and I commend the style to writers on all subjects, even though a schoolmaster could pick the syntax to pieces.
II. ON WRITING ONESELF OUT.
Lord Beaconsfield once compared his opponents on the Treasury Bench to a line of exhausted volcanoes. They had taken office when they were full of mighty aspirations; they had poured forth measures of all sorts with prodigal vigour; and at last they were reduced to wait, supine and helpless, for the inevitable swing of the political pendulum. A similar process of exhaustion goes on among literary men; and there are certain symptoms which cause expert persons to say, “Ah, poor Blank seems to have written himself out!” I have occasionally alluded to this most distressing topic, but I have never discussed it fully.
The subject of brain-exhaustion has a very peculiar interest for the public as well as for the professional penman; half the slovenly prose which ordinary men use in their correspondence is due to the bad models set by written-out men, and the agonising exhibitions made by some thousands of public speakers in this devoted and long-suffering land are also due to the purblind weakness of the exhausted man. The wrought-out writer is not permitted to cease from work; he goes on droning out his fixed quantity of mortal dreariness day by day and week by week until his mind spins along a particular groove, and he probably repeats himself every day of his life without being aware that he is anything but brilliantly original. I am obliged to study many novels, and I know many most successful workers who at this present time are turning out the same fiction under varied names with monotonous regularity. They are not quite like an old hand whom I knew long ago, who used to promote the characters in novelettes of his own and turn them on to the market again and again; the effusions of this genius were not of sufficient importance to attract attention from folk with clear memories, and I believe that he escaped detection in a miraculous way. His untitled country gentleman became a baronet, the injured heroine was similarly moved up on the social scale, and the noble effort came forth with a fresh name, while the knowing old impostor chuckled in his garret and pouched his pittance. I believe the funny soul has passed away; but really there are many very pretentious persons who do little more than vary his methods unconsciously. Poor James Grant delighted many a schoolboy, and perhaps his best work was never quite so much appreciated as it ought to have been. “The Black Dragoons,” “The Queen’s Own,” and “The Romance of War” all contained good work, and many gallant lads delighted their hearts with them; I know that one youth at least learned “The Black Dragoons” by heart, and amused the people in a lonely farm-house by reciting whole chapters on winter nights, and I have some reason to believe that the book gave the boy a taste for literature which ended in his becoming a novelist. But, as Grant went on with machine-like regularity, how curiously similar to each other his books became! Narvaez Cifuentes, in “The Romance of War,” is the type of all the villains; the young dragoons were all alike; the wooden heroines might have been chopped out by a literary carpenter from one model; the charges, the escapes, the perils of the hero never varied very much from volume to volume; and the fact was obvious that the brain had ceased to develop any strikingly original ideas and only the busy hand worked on. A very sarcastic personage once observed that “it is better for literary men to read a little occasionally.” To outsiders the advice may seem like a piece of grotesque fun; but those who know much of literary work are well aware that a writer may very easily become possessed by a sick disgust of books which never leaves him. He will look at volumes of extracts, he will skim poetry, he will read eagerly for a few days or weeks in order to get up a subject; but the pure delight in literature for its own sake has left him, and he is as decidedly prosaic a tradesman as his own hosier. Such a man soon joins the written-out division, and, unless he travels much or has a keenly humorous eye for the things about him, he runs a very good chance of becoming an intolerable bore. He forgets that the substance of his brain is constantly fading, and that he needs not only to replenish the physical substance of the organ by constant care, but to replenish all his dwindling stores of knowledge, ideas, and even of verbal resources. Among the older authors there were some who offered melancholy spectacles of mental exhaustion; and the practised reader knows how to look for particular features in their work, just as he looks for Wouvermans’ white horse and Beaumont’s brown tree. These literary spinners forget the example of Macaulay, who was quite contented if he turned out two foolscap pages as his actual completed task in mere writing for one day. He was never tired of laying in new stores, and he persistently refreshed his memory by running over books which he had read oftentimes before. The books and manuscripts which Gibbon read in twenty years reached such an enormous number that, when he attempted to form a catalogue of them, he was compelled to give up the task in despair; he was constantly adding to the enormous reservoir of knowledge which he had at command, and thus his work never grew stale, and he was ready instantly with a hundred illustrative lights on any point which chanced to crop up either in conversation or in the course of his reading. The cheap and flashy writer is inclined to disdain the men who are thorough in their studies; but, while his work grows thin and poor, the judicious reader’s becomes marked by more and more of richness and fulness.
