第13章 "VIRGINIBUS PUERISQUE"(13)

L'ART DE BIEN DIRE is but a drawing-room accomplishment unless it be pressed into the service of the truth.The difficulty of literature is not to write, but to write what you mean; not to affect your reader, but to affect him precisely as you wish.This is commonly understood in the case of books or set orations; even in making your will, or writing an explicit letter, some difficulty is admitted by the world.But one thing you can never make Philistine natures understand; one thing, which yet lies on the surface, remains as unseizable to their wits as a high flight of metaphysics -namely, that the business of life is mainly carried on by means of this difficult art of literature, and according to a man's proficiency in that art shall be the freedom and the fulness of his intercourse with other men.Anybody, it is supposed, can say what he means; and, in spite of their notorious experience to the contrary, people so continue to suppose.Now, I simply open the last book I have been reading - Mr.Leland's captivating ENGLISH GIPSIES."It is said," Ifind on p.7, "that those who can converse with Irish peasants in their own native tongue form far higher opinions of their appreciation of the beautiful, and of THE ELEMENTS OF HUMOURAND PATHOS IN THEIR HEARTS, than do those who know their thoughts only through the medium of English.I know from my own observations that this is quite the case with the Indians of North America, and it is unquestionably so with the gipsy."In short, where a man has not a full possession of the language, the most important, because the most amiable, qualities of his nature have to lie buried and fallow; for the pleasure of comradeship, and the intellectual part of love, rest upon these very "elements of humour and pathos." Here is a man opulent in both, and for lack of a medium he can put none of it out to interest in the market of affection! But what is thus made plain to our apprehensions in the case of a foreign language is partially true even with the tongue we learned in childhood.Indeed, we all speak different dialects; one shall be copious and exact, another loose and meagre; but the speech of the ideal talker shall correspond and fit upon the truth of fact - not clumsily, obscuring lineaments, like a mantle, but cleanly adhering, like an athlete's skin.And what is the result? That the one can open himself more clearly to his friends, and can enjoy more of what makes life truly valuable - intimacy with those he loves.An orator makes a false step; he employs some trivial, some absurd, some vulgar phrase; in the turn of a sentence he insults, by a side wind, those whom he is labouring to charm;in speaking to one sentiment he unconsciously ruffles another in parenthesis; and you are not surprised, for you know his task to be delicate and filled with perils."O frivolous mind of man, light ignorance!" As if yourself, when you seek to explain some misunderstanding or excuse some apparent fault, speaking swiftly and addressing a mind still recently incensed, were not harnessing for a more perilous adventure;as if yourself required less tact and eloquence; as if an angry friend or a suspicious lover were not more easy to offend than a meeting of indifferent politicians! Nay, and the orator treads in a beaten round; the matters he discusses have been discussed a thousand times before; language is ready-shaped to his purpose; he speaks out of a cut and dry vocabulary.But you - may it not be that your defence reposes on some subtlety of feeling, not so much as touched upon in Shakespeare, to express which, like a pioneer, you must venture forth into zones of thought still unsurveyed, and become yourself a literary innovator? For even in love there are unlovely humours; ambiguous acts, unpardonable words, may yet have sprung from a kind sentiment.If the injured one could read your heart, you may be sure that he would understand and pardon; but, alas! the heart cannot be shown -it has to be demonstrated in words.Do you think it is a hard thing to write poetry? Why, that is to write poetry, and of a high, if not the highest, order.

I should even more admire "the lifelong and heroic literary labours" of my fellow-men, patiently clearing up in words their loves and their contentions, and speaking their autobiography daily to their wives, were it not for a circumstance which lessens their difficulty and my admiration by equal parts.For life, though largely, is not entirely carried on by literature.We are subject to physical passions and contortions; the voice breaks and changes, and speaks by unconscious and winning inflections; we have legible countenances, like an open book; things that cannot be said look eloquently through the eyes; and the soul, not locked into the body as a dungeon, dwells ever on the threshold with appealing signals.Groans and tears, looks and gestures, a flush or a paleness, are often the most clear reporters of the heart, and speak more directly to the hearts of others.The message flies by these interpreters in the least space of time, and the misunderstanding is averted in the moment of its birth.To explain in words takes time and a just and patient hearing; and in the critical epochs of a close relation, patience and justice are not qualities on which we can rely.

But the look or the gesture explains things in a breath; they tell their message without ambiguity; unlike speech, they cannot stumble, by the way, on a reproach or an allusion that should steel your friend against the truth; and then they have a higher authority, for they are the direct expression of the heart, not yet transmitted through the unfaithful and sophisticating brain.Not long ago I wrote a letter to a friend which came near involving us in quarrel; but we met, and in personal talk I repeated the worst of what I had written, and added worse to that; and with the commentary of the body it seemed not unfriendly either to hear or say.