230 NOTES ON STYLE 



precepts. There were then few models of written style 

 except the ancients and some masterpieces of Italian. But 

 even in that limited field criticism exercised its judgment, 

 pointing out which authors were to be preferred because of 

 their lucidity. 



The case is altered now. Wehave a rich and varied 

 modern literature to choose from. The first duty of a 

 student should be to make himself acquainted with the 

 classics of his own nation. This forms a copious vocabulary, 

 and fills the ear with native rhythms both in prose and verse. 

 Each language, however, has its specific strength and beauty. 

 Therefore it is desirable to study Greek and Latin for clear- 

 cut form in style, Italian for melodious flow, French for 

 limpidity and finish. By observing what is excellent in each 

 of these literatures, and in what points they differ from our 

 own, by translating passages from their great writers into 

 English, and considering how the genius of our tongue may 

 assimilate their graces, the novice gradually forms a style. 



Although a man's style is the sign of his faculties, yet 

 he possesses the power of moulding it upon that of the 

 writers he prefers as George Sand moulded hers on 

 Rousseau, Mr. Ruskin his on the Bible and Hooker, Mr. 

 R. L. Stevenson his on the multitude of authors whom it was 

 his habit, while a youth, assiduously to imitate. Nothing is 

 more disastrous than to take as model some illustrious artist 

 whose tricks are more easily assimilated than his excellences. 

 Lyly, through the vogue of Euphuism, injured English prose 

 in the seventeenth century, and Marino ruined the poetry of 

 the Italians. Johnson was noxious at the end of the last 

 century. Carlyle debased the standard of narrative and 

 critical diction in the second half of the nineteenth century. 

 Macaulay, in spite of his sterling merit, is accountable for 

 much that is flashy and short-winded in contemporary style. 



The control exercised by famous authors over the forms 

 of national literature through successive centuries is one of 

 the most curious aspects of the present inquiry. We have 

 only to think of the influence of Cicero and Virgil over Latin 

 prose and poetry ; of Boccaccio and Petrarch over Italian. 



