Take another example. Written up opposite us in the railway carriage are the words: “Do not lean out of the window.” At the first reading the useful meaning, the surface meaning, is conveyed; but soon, as we sit looking at the words, they shuffle, they change; and we begin saying, “Windows, yes windows — casements7 opening on the foam8 of perilous9 seas in faery lands forlorn.” And before we know what we are doing, we have leant out of the window; we are looking for Ruth in tears amid the alien corn. The penalty for that is twenty pounds or a broken neck.
This proves, if it needs proving, how very little natural gift words have for being useful. If we insist on forcing them against their nature to be useful, we see to our cost how they mislead us, how they fool us, how they land us a crack on the head. We have been so often fooled in this way by words, they have so often proved that they hate being useful, that it is their nature not to express one simple statement but a thousand possibilities — they have done this so often that at last, happily, we are beginning to face the fact. We are beginning to invent another language — a language perfectly10 and beautifully adapted to express useful statements, a language of signs. There is one great living master of this language to whom we are all indebted, that anonymous11 writer — whether man, woman or disembodied spirit nobody knows — who describes hotels in the Michelin Guide. He wants to tell us that one hotel is moderate, another good, and a third the best in the place. How does he do it? Not with words; words would at once bring into being shrubberies and billiard tables, men and women, the moon rising and the long splash of the summer sea — all good things, but all here beside the point. He sticks to signs; one gable; two gables; three gables. That is all he says and all he needs to say. Baedeker carries the sign language still further into the sublime12 realms of art. When he wishes to say that a picture is good, he uses one star; if very good, two stars; when, in his opinion, it is a work of transcendent genius, three black stars shine on the page, and that is all. So with a handful of stars and daggers13 the whole of art criticism, the whole of literary criticism could be reduced to the size of a sixpenny bit — there are moments when one could wish it. But this suggests that in time to come writers will have two languages at their service; one for fact, one for fiction. When the biographer has to convey a useful and necessary fact, as, for example, that Oliver Smith went to college and took a third in the year 1892, he will say so with a hollow 0 on top of the figure five. When the novelist is forced to inform us that John rang the bell after a pause the door was opened by a parlourmaid who said, “Mrs. Jones is not at home,” he will to our great gain and his own comfort convey that repulsive14 statement not in words, but in signs — say, a capital H on top of the figure three. Thus we may look forward to the day when our biographies and novels will be slim and muscular; and a railway company that says: “Do not lean out of the window” in words will be fined a penalty not exceeding five pounds for the improper15 use of language.
Words, then, are not useful. Let us now enquire16 into their other quality, their positive quality, that is, their power to tell the truth. According once more to the dictionary there are at least three kinds of truth God’s or gospel truth; literary truth; and home truth (generally. unflattering). But to consider each separately would take too long. Let us then simplify and assert that since the only test of truth is length of life, and since words survive the chops and changes of time longer than any other substance, therefore they are the truest. Buildings fall; even the earth perishes. What was yesterday a cornfield is to-day a bungalow17. But words, if properly used, seem able to live for ever. What, then, we may ask next, is the proper use of words? Not, so we have said, to make a useful statement; for a useful statement is a statement that can mean only one thing. And it is the nature of words to mean many things. Take the simple sentence “Passing Russell Square.” That proved useless because besides the surface meaning it contained so many sunken meanings. The word “passing” suggested the transiency of things, the passing of time and the changes of human life. Then the word “Russell” suggested the rustling18 of leaves and the skirt on a polished floor also the ducal house of Bedford and half the history of England. Finally the word “Square” brings in the sight, the shape of an actual square combined with some visual suggestion of the stark19 angularity of stucco. Thus one sentence of the simplest kind rouses the imagination, the memory, the eye and the ear — all combine in reading it.
But they combine — they combine unconsciously together. The moment we single out and emphasize the suggestions as we have done here they become unreal; and we, too, become unreal — specialists, word mongers, phrase finders, not readers. In reading we have to allow the sunken meanings to remain sunken, suggested, not stated; lapsing20 and flowing into each other like reeds on the bed of a river. But the words in that sentence Passing Russell Square-are of course very rudimentary words. They show no trace of the strange, of the diabolical21 power which words possess when they are not tapped out by a typewriter but come fresh from a human brain — the power that is to suggest the writer; his character, his appearance, his wife, his family, his house — even the cat on the hearthrug. Why words do this, how they do it, how to prevent them from doing it nobody knows. They do it without the writer’s will; often against his will. No writer presumably wishes to impose his own miserable22 character, his own private secrets and vices23 upon the reader. But has any writer, who is not a typewriter, succeeded in being wholly impersonal24? Always, inevitably25, we know them as well as their books. Such is the suggestive power of words that they will often make a bad book into a very lovable human being, and a good book into a man whom we can hardly tolerate in the room. Even words that are hundreds of years old have this power; when they are new they have it so strongly that they deafen26 us to the writer’s meaning — it is them we see, them we hear. That is one reason why our judgments27 of living writers are so wildly erratic28. Only after the writer is dead do his words to some extent become disinfected, purified of the accidents of the living body.
Now, this power of suggestion is one of the most mysterious properties of words. Everyone who has ever written a sentence must be conscious or half-conscious of it. Words, English words, are full of echoes, of memories, of associations — naturally. They have been out and about, on people’s lips, in their houses, in the streets, in the fields, for so many centuries. And that is one of the chief difficulties in writing them today — that they are so stored with meanings, with memories, that they have contracted so many famous marriages. The splendid word “incarnadine,” for example — who can use it without remembering also “multitudinous seas”? In the old days, of course, when English was a new language, writers could invent new words and use them. Nowadays it is easy enough to invent new words — they spring to the lips whenever we see a new sight or feel a new sensation — but we cannot use them because the language is old. You cannot use a brand new word in an old language because of the very obvious yet mysterious fact that a word is not a single and separate entity29, but part of other words. It is not a word indeed until it is part of a sentence. Words belong to each other, although, of course, only a great writer knows that the word “incarnadine” belongs to “multitudinous seas.” To combine new words with old words is fatal to the constitution of the sentence. In order to use new words properly you would have to invent a new language; and that, though no doubt we shall come to it, is not at the moment our business. Our business is to see what we can do with the English language as it is. How can we combine the old words in new orders so that they survive, so that they create beauty, so that they tell the truth? That is the question.
And the person who could answer that question would deserve whatever crown of glory the world has to offer. Think what it would mean if you could teach, if you could learn, the art of writing. Why, every book, every newspaper would tell the truth, would create beauty. But there is, it would appear, some obstacle in the way, some hindrance30 to the teaching of words. For though at this moment at least a hundred professors are lecturing upon the literature of the past, at least a thousand critics are reviewing the literature of the present, and hundreds upon hundreds of young men and women are passing examinations in English literature with the utmost credit, still — do we write better, do we read better than we read and wrote four hundred years ago when we were unlectured, uncriticized, untaught? Is our Georgian literature a patch on the Elizabethan? Where then are we to lay the blame? Not on our professors; not on our reviewers; not on our writers; but on words. It is words that are to blame. They are the wildest, freest, most irresponsible, most unteachable of all things. Of course, you can catch them and sort them and place them in alphabetical31 order in dictionaries. But words do not live in dictionaries; they live in the mind. If you want proof of this, consider how often in moments of emotion when we most need words we find none. Yet there is the dictionary; there at our disposal are some half-a-million words all in alphabetical order. But can we use them? No, because words do not live in dictionaries, they live in the mind. Look again at the dictionary. There beyond a doubt lie plays more splendid than ANTONY AND CLEOPATRA; poems more lovely than the ODE TO A NIGHTINGALE; novels beside which PRIDE AND PREJUDICE or DAVID COPPERFIELD are the crude bunglings of amateurs. It is only a question of finding the right words and putting them in the right order. But we cannot do it because they do not live in dictionaries; they live in the mind. And how do they live in the mind? Variously and strangely, much as human beings live, by ranging hither and thither32, by falling in love, and mating together. It is true that they are much less bound by ceremony and convention than we are. Royal words mate with commoners. English words marry French words, German words, Indian words, Negro words, if they have a fancy. Indeed, the less we enquire into the past of our dear Mother English the better it will be for that lady’s reputation. For she has gone a-roving, a-roving fair maid.
Thus to lay down any laws for such irreclaimable vagabonds is worse than useless. A few trifling33 rules of grammar and spelling are all the constraint34 we can put on them. All we can say about them, as we peer at them over the edge of that deep, dark and only fitfully illuminated cavern35 in which they live — the mind — all we can say about them is that they seem to like people to think and to feel before they use them, but to think and to feel not about them, but about something different. They are highly sensitive, easily made self-conscious. They do not like to have their purity or their impurity36 discussed. If you start a Society for Pure English, they will show their resentment37 by starting another for impure38 English — hence the unnatural39 violence of much modern speech; it is a protest against the puritans. They are highly democratic, too; they believe that one word is as good as another; uneducated words are as good as educated words, uncultivated words as cultivated words, there are no ranks or titles in their society. Nor do they like being lifted out on the point of a pen and examined separately. They hang together, in sentences, in paragraphs, sometimes for whole pages at a time. They hate being useful; they hate making money; they hate being lectured about in public. In short, they hate anything that stamps them with one meaning or confines them to one attitude, for it is their nature to change.
Perhaps that is their most striking peculiarity40 — their need of change. It is because the truth they try to catch is many-sided, and they convey it by being themselves many-sided, flashing this way, then that. Thus they mean one thing to one person, another thing to another person; they are unintelligible41 to one generation, plain as a pikestaff to the next. And it is because of this complexity42 that they survive. Perhaps then one reason why we have no great poet, novelist or critic writing to-day is that we refuse words their liberty. We pin them down to one meaning, their useful meaning, the meaning which makes us catch the train, the meaning which makes us pass the examination. And when words are pinned down they fold their wings and die. Finally, and most emphatically, words, like ourselves, in order to live at their ease, need privacy. Undoubtedly43 they like us to think, and they like us to feel, before we use them; but they also like us to pause; to become unconscious. Our unconsciousness is their privacy; our darkness is their light. . . . That pause was made, that veil of darkness was dropped, to tempt44 words to come together in one of those swift marriages which are perfect images and create everlasting45 beauty. But no — nothing of that sort is going to happen to-night. The little wretches46 are out of temper; disobliging; disobedient; dumb. What is it that they are muttering? “Time’s up! Silence!”
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1
craftsmanship
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| n.手艺 | |
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applied
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| adj.应用的；v.应用，适用 | |
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dilemma
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| n.困境，进退两难的局面 | |
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ramble
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| v.漫步，漫谈，漫游；n.漫步，闲谈，蔓延 | |
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illuminated
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| adj.被照明的；受启迪的 | |
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shuffle
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| n.拖著脚走，洗纸牌；v.拖曳，慢吞吞地走 | |
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casements
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| n.窗扉( casement的名词复数 ) | |
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foam
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| v./n.泡沫，起泡沫 | |
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perilous
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| adj.危险的，冒险的 | |
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perfectly
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| adv.完美地，无可非议地，彻底地 | |
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anonymous
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| adj.无名的；匿名的；无特色的 | |
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sublime
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| adj.崇高的，伟大的；极度的，不顾后果的 | |
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daggers
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| 匕首，短剑( dagger的名词复数 ) | |
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repulsive
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| adj.排斥的，使人反感的 | |
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improper
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| adj.不适当的，不合适的，不正确的，不合礼仪的 | |
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enquire
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| v.打听，询问；调查，查问 | |
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bungalow
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| n.平房，周围有阳台的木造小平房 | |
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rustling
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| n. 瑟瑟声，沙沙声 adj. 发沙沙声的 | |
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stark
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| adj.荒凉的；严酷的；完全的；adv.完全地 | |
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lapsing
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| v.退步( lapse的现在分词 )；陷入；倒退；丧失 | |
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diabolical
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| adj.恶魔似的，凶暴的 | |
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miserable
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| adj.悲惨的，痛苦的；可怜的，糟糕的 | |
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vices
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| 缺陷( vice的名词复数 )； 恶习； 不道德行为； 台钳 | |
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impersonal
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| adj.无个人感情的，与个人无关的，非人称的 | |
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inevitably
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| adv.不可避免地；必然发生地 | |
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deafen
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| vt.震耳欲聋；使听不清楚 | |
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judgments
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| 判断( judgment的名词复数 )； 鉴定； 评价； 审判 | |
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erratic
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| adj.古怪的，反复无常的，不稳定的 | |
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entity
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| n.实体，独立存在体，实际存在物 | |
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hindrance
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| n.妨碍，障碍 | |
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alphabetical
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| adj.字母（表）的，依字母顺序的 | |
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thither
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| adv.向那里；adj.在那边的，对岸的 | |
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trifling
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| adj.微不足道的；没什么价值的 | |
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constraint
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| n.(on)约束，限制；限制(或约束)性的事物 | |
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cavern
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| n.洞穴，大山洞 | |
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impurity
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| n.不洁，不纯，杂质 | |
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resentment
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| n.怨愤，忿恨 | |
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impure
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| adj.不纯净的，不洁的；不道德的，下流的 | |
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unnatural
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| adj.不自然的；反常的 | |
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peculiarity
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| n.独特性，特色；特殊的东西；怪癖 | |
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unintelligible
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| adj.无法了解的，难解的，莫明其妙的 | |
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42
complexity
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| n.复杂(性)，复杂的事物 | |
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undoubtedly
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| adv.确实地，无疑地 | |
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tempt
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| vt.引诱，勾引，吸引，引起…的兴趣 | |
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everlasting
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| adj.永恒的，持久的，无止境的 | |
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46
wretches
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| n.不幸的人( wretch的名词复数 )；可怜的人；恶棍；坏蛋 | |
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