a kind of vagrant intruder, but by way of an estimate of its rights, that is, of its achieved powers, there." What is the process of identifying in prose what we call the poetry by way of an estimate of its achieved powers there'? 'To identify by way of an estimate,' has this a meaning? and, if so, is this the best English in which that meaning could be expressed? (e) My next example I classify as the Binary Construction, by which I mean the appearance of virtually the same clause twice over in the same sentence, as though one should say, 'If it had been fine I should have been out if it had not rained.' Such things are common in slipshod conversation, but are usually avoided by professed stylists. p. 20. "As truly to the lack of such architectural design, of a single almost visual image, vigorously informing an entire, perhaps very intricate, composition, which shall be austere, ornate, argumentative, fanciful, yet true from first to last to that vision within, may be attributed those weaknesses of conscious or unconscious repetition of word, phrase, motive, or member of the whole matter, indicating, as Flaubert was aware, an original structure in thought not organically complete." This is of the form-To the lack of drink may be attributed thirst, indicating dearth of refreshment.'. I do not pretend to suggest the meaning of 'member of the whole matter.' But as the sentence is a clear case of conscious or unconscious repetition,' it is interesting to find it passing judgment on itself. (ƒ) Although not a cause of ambiguity, the appearance in prose of a poetical rhythm or of rime is exceedingly disagreeable to the ear, and diverts the reader's attention from the statements of his author. The following sentence combines in a glaring way both faults. p. 135. "He seems to possess some inward Platonic reality of VOL. XVIII. RRR them-Church or monarchy-to hold by in idea, quite beyond the reach of Roundhead or unworthy Cavalier." 'Quite beyond the reach of Roundhead or unworthy Cavalier.' We can imagine his song "Hurrah for Church or monarchy! to hold by in idea, Quite beyond the reach of Roundhead or unworthy Cavalier!" (g) Mr Pater is fond of using words and expressions not in their common acceptation, but in the sense which they bore two or three centuries ago, or which they bear at present in French. No sensible man will be anything but grateful to a judicious writer, who thus adds to the wealth of our language. At the same time every care must be taken to avoid ambiguity caused by the intrusion into the reader's mind of the more ordinary meaning of the words thus used. Mr Pater seems to disregard this precaution: he expects us as though by nature to read English words in French senses. p. 27. "In that perfect justice" The word 'justice' is here used apparently as equivalent not to French 'justice' but French 'justesse,' meaning therefore fitness,' 'exactness'-a sense in which the word is not known, so far as I am aware, in modern English, In the same passage -" omnipresent in good work, in function at every point." Here in function' is en fonction,' acting.' The apparent parallelism between 'in good work' and 'in function' makes a reader unprepared for the sudden introduction of a French sense into the expression. p. 123. "Such form of religion becomes the solemn background on which the nearer and more exciting objects of his immediate experience relieve themselves, borrowing from it an expression of calm." 'Se relèvent,' 'stand in relief.' This not being the natural meaning of the English phrase, a wanton ambiguity is caused. p. 133. "The son inherited an aptitude for a like profound kindling of sentiment in the taking of his life." The phrases 'taking of life,' 'taking of his life,' have a recognised meaning in English, which is always certain to interfere with a reader's immediate understanding of this passage. (h) Mr Pater rightly or wrongly does not scruple to put an adverb between 'to' and the infinitive-being in this respect less of a purist in style than the English Foreign Office. p. 132. "Browne's works are of a kind to directly stimulate curiosity about himself." (j) He will give a substantive a strange verbal regimen, even when ambiguity is inevitable. p. 116. "You catch the sense of veneration with which those great names in literature and art brooded over his intelligence, his undiminished impressibility by the great effects in them." The last words 'by..etc.' do not depend as would be expected on the verb 'catch,' but on the substantive 'impressibility': a construction as foreign to English as to Latin idiom. There is extraordinary awkwardness in the early part of the sentence, which states that the great names felt veneration for his intelligence, but means the converse. (k) One example of laboured prettiness spoilt by a silly euphuistic use of the word 'thing' ends my catalogue. p. 125. "One who, having narrowly escaped earthquake or shipwreck, finds a thing for grateful tears in just sitting quiet at home, under the wall, till the end of days." English of this kind is truly English as she is wrote it is English emasculated. I had collected examples of Mr Pater's strange treatment of the indefinite one, of his habit of connecting by a copula statements with no such logical connexion, of his use of a preposition and its case as equivalent to a participial clause, etc., etc. But I forbear. I will only say in his own graceful words 'he is still a less correct writer than he may seem, still with an imperfect mastery of the relative pronoun.' And to what conclusion does our examination point? Surely to this that Mr Pater, in spite of his delightful gifts, is not to be accepted as a master of English prose. The task he has set himself is indeed one worthy of an artist. It is to write not for the reason merely, but for the whole man, stirring in every line some new sensation, of colour, of fragrance, of harmonious sound. To a certain degree he has succeeded. This is proved by the luxurious pleasure which we have all experienced-for some hours at any rate-in reading his books. But if that rich pleasure is a fact, is it not also a notorious fact that this pleasure cloys? that the book we began with such warm interest grows irksome and laborious, perhaps is never finished? That such should be the case, in spite of the exquisite moments which Mr Pater gives us, demands an explanation, and I claim that the explanation lies in what has already been pointed out. In the search for finer sensations, Mr Pater has too much disregarded the requirements of plain reason, of plain reason, the 'poetic beauty of mere clearness of mind.' He wanders through a garden of roses gathering the rarest as he goes, but his knees faint and his feet stumble. And this is decisive. The victors of literature move with a proud and unfaltering step and Mr Pater is not of them. G. C. M. S. AFTER PAUL VERLAINE. I. "IL PLEURE DANS MON CŒUR." TEARS in my heart, And rain o'er the town! Say, grief, what thou art That creep'st to my heart? Soft sound o' the rain On the earth and the tiles! In a heart's weary pain Reasonless tears In this faint-beating heart; That I cannot say why, 2. UN GRAND SOMMEIL NOIR." ON my life doth fall The sense forgot A cradle buoyed By a feeble will On the brink of a void, Be still! O, be still! G. C. M. S. |