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Essays of Schopenhauer

Essays of Schopenhauer

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دار النشر: Project Gutenberg
الصفحة رقم: 9

Erigena, Petrarch, Bacon, Descartes, Spinoza, etc.

Affectation in style is like making grimaces. The language in which a man writes is the physiognomy of his nation; it establishes a great many differences, beginning from the language of the Greeks down to that of the Caribbean islanders.

We should seek for the faults in the style of another author's works, so that we may avoid committing the same in our own.

In order to get a provisional estimate of the value of an author's productions it is not exactly necessary to know the matter on which he has thought or what it is he has thought about it,—this would compel one to read the whole of his works,—but it will be sufficient to know how he has thought. His style is an exact expression of how he has thought, of the essential state and general quality of his thoughts. It shows the formal nature—which must always remain the same—of all the thoughts of a man, whatever the subject on which he has thought or what it is he has said about it. It is the dough out of which all his ideas are kneaded, however various they may be. When Eulenspiegel was asked by a man how long he would have to walk before reaching the next place, and gave the apparently absurd answer Walk, his intention was to judge from the man's walking how far he would go in a given time. And so it is when I have read a few pages of an author, I know about how far he can help me.

In the secret consciousness that this is the condition of things, every mediocre writer tries to mask his own natural style. This instantly necessitates his giving up all idea of being naïve, a privilege which belongs to superior minds sensible of their superiority, and therefore sure of themselves. For instance, it is absolutely impossible for men of ordinary intelligence to make up their minds to write as they think; they resent the idea of their work looking too simple. It would always be of some value, however. If they would only go honestly to work and in a simple way express the few and ordinary ideas they have really thought, they would be readable and even instructive in their own sphere. But instead of that they try to appear to have thought much more deeply than is the case. The result is, they put what they have to say into forced and involved language, create new words and prolix periods which go round the thought and cover it up. They hesitate between the two attempts of communicating the thought and of concealing it. They want to make it look grand so that it has the appearance of being learned and profound, thereby giving one the idea that there is much more in it than one perceives at the moment. Accordingly, they sometimes put down their thoughts in bits, in short, equivocal, and paradoxical sentences which appear to mean much more than they say (a splendid example of this kind of writing is furnished by Schelling's treatises on Natural Philosophy); sometimes they express their thoughts in a crowd of words and the most intolerable diffuseness, as if it were necessary to make a sensation in order to make the profound meaning of their phrases intelligible—while it is quite a simple idea if not a trivial one (examples without number are supplied in Fichte's popular works and in the philosophical pamphlets of a hundred other miserable blockheads that are not worth mentioning), or else they endeavour to use a certain style in writing which it has pleased them to adopt—for example, a style that is so thoroughly Kat' e'xochae'u profound and scientific, where one is tortured to death by the narcotic effect of long-spun periods that are void of all thought (examples of this are specially supplied by those most impertinent of all mortals, the Hegelians in their Hegel newspaper commonly known as Jahrbücher der wissenschaftlichen Literatur); or again, they aim at an intellectual style where it seems then as if they wish to go crazy, and so on. All such efforts whereby they try to postpone the nascetur ridiculus mus make it frequently difficult to understand what they really mean. Moreover, they write down words, nay, whole periods, which mean nothing in themselves, in the hope, however, that some one else will understand something from them. Nothing else is at the bottom of all such endeavours but the inexhaustible attempt which is always venturing on new paths, to sell words for thoughts, and by means of new expressions, or expressions used in a new sense, turns of phrases and combinations of all kinds, to produce the appearance of intellect in order to compensate for the want of it which is so painfully felt. It is amusing to see how, with this aim in view, first this mannerism and then that is tried; these they intend to represent the mask of intellect: this mask may possibly deceive the inexperienced for a while, until it is recognised as being nothing but a dead mask, when it is laughed at and exchanged for another.

We find a writer of this kind sometimes writing in a dithyrambic style, as if he were intoxicated; at other times, nay, on the very next page, he will be high-sounding, severe, and deeply learned, prolix to the last degree of dulness, and cutting everything very small, like the late Christian Wolf, only in a modern garment. The mask of unintelligibility holds out the longest; this is only in Germany, however, where it was introduced by Fichte, perfected by Schelling, and attained its highest climax finally in Hegel, always with the happiest results. And yet nothing is easier than to write so that no one can understand; on the other hand, nothing is more difficult than to express learned ideas so that every one must understand them. All the arts I have cited above are superfluous if the writer really possesses any intellect, for it allows a man to show himself as he is and verifies for all time what Horace said: Scribendi recte sapere est et principium et fons.

But this class of authors is like certain workers in metal, who try a hundred different compositions to take the place of gold, which is the only metal that can never have a substitute. On the contrary, there is nothing an author should guard against more than the apparent endeavour to show more intellect than he has; because this rouses the suspicion in the reader that he has very little, since a man always affects something, be its nature what it may, that he does not really possess. And this is why it is praise to an author to call him naïve, for it signifies that he may show himself as he is. In general, naïveté attracts, while anything that is unnatural everywhere repels. We also find that every true thinker endeavours to express his thoughts as purely, clearly, definitely, and concisely as ever possible. This is why simplicity has always been looked upon as a token, not only of truth, but also of genius. Style receives its beauty from the thought expressed, while with those writers who only pretend to think it is their thoughts that are said to be fine because of their style. Style is merely the silhouette of thought; and to write in a vague or bad style means a stupid or confused mind.

Hence, the first rule—nay, this in itself is almost sufficient for a good style—is this, that the author should have something to say. Ah! this implies a great deal. The neglect of this rule is a fundamental characteristic of the philosophical, and generally speaking of all the reflective authors in Germany, especially since the time of Fichte. It is obvious that all these writers wish to appear to have something to say, while they have nothing to say. This mannerism was introduced by the pseudo-philosophers of the Universities and may be discerned everywhere, even among the first literary notabilities of the age. It is the mother of that forced and vague style which seems to have two, nay, many meanings, as well as of that prolix and ponderous style, le stile empesé; and of that no less useless bombastic style, and finally of

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