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A. S. Hardy (search for this): chapter 25
waddle. He does not, like William Black, catch the same salmon over again so many times in a single story, and with such ever-increasing fulness of detail, that Izaak Walton himself would at last be bored into an impulse of forbearance; he does not, like Clark Russell, keep his heroine for nearly a year running about half-clothed over scorching rocks upon a tropical island, and then go into raptures over the dazzling whiteness of her bosom. So in the use of language, Howells does not, like Hardy, write tactical observation where he means tactful; or, like Haggard, say those sort of reflections. It is a curious thing that on the very points where America formerly went to school to England, we should now have to praise our own authors for setting a decent example. Can it be that, as time goes on, the habit of careful writing is one day to be set aside carelessly, as a mere American whim? In Professor Bain's essay On Teaching English, with Detailed Examples one finds such phrases
J. R. Lowell (search for this): chapter 25
erate in keeping up the common standard. It is too much to ask of any single nation that it should do this alone. Can it be that the real source of the change, if it is actually in progress, may be social rather than literary? It is conceivable that the higher status of the dime novel in England may be simply a part of that reversion toward a lower standard which grows naturally out of an essentially artificial social structure. Is it possible that some strange and abnormal results should not follow where one man is raised to the peerage because he is a successful brewer, and another because he is Alfred Tennyson? No dozen poets or statesmen, it is said, would have been so mourned in England as was Archer the jockey; nor did Holmes or Lowell have a London success so overpowering as that of Buffalo Bill. In a community which thus selects its heroes, why should not the highest of all wreaths of triumph be given to Mr. Haggard's Umslopagaas, that dreadful-looking, splendid savage?
Alfred Tennyson (search for this): chapter 25
professional teachers in England, what is to become of the followers? It is encouraging, perhaps, to see that the prolonged American resistance to the Anglicism different to may be having a little reflex influence, when the Spectator describes Tennyson's second Locksley Hall as being different from his first. The influence is less favorable when we find one of the most local and illiterate of American colloquialisms reappearing in the Pall Mall Gazette, where it says: Even Mr. Sala is better grows naturally out of an essentially artificial social structure. Is it possible that some strange and abnormal results should not follow where one man is raised to the peerage because he is a successful brewer, and another because he is Alfred Tennyson? No dozen poets or statesmen, it is said, would have been so mourned in England as was Archer the jockey; nor did Holmes or Lowell have a London success so overpowering as that of Buffalo Bill. In a community which thus selects its heroes,
W. D. Howells (search for this): chapter 25
as if his offences had been seventy times seven. Now, whatever may be said of current tendencies it American literature, it may at least be claimed that our leading novelists do not tilt back their chairs or put their feet upon the table. Mr. Howells, for instance, has his defects, and may be proceeding, just now, upon a theory too narrow; but it is impossible to deny that he recognizes the minor morals of literary art. His sentences hold well together; he does not gush, does not straggle,bearance; he does not, like Clark Russell, keep his heroine for nearly a year running about half-clothed over scorching rocks upon a tropical island, and then go into raptures over the dazzling whiteness of her bosom. So in the use of language, Howells does not, like Hardy, write tactical observation where he means tactful; or, like Haggard, say those sort of reflections. It is a curious thing that on the very points where America formerly went to school to England, we should now have to prai
George Eliot (search for this): chapter 25
one opens an American daily paper to see what is said about the latest Haggard publication, one is likely to happen upon something like this: We grudge it the few necessary lines . . . The illustrations are worthy of what they illustrate, and a second-rate imagination runs riot in pictures and text. Even this, perhaps, is giving too much space to the matter; but even if a London critic wished to say just this, he would say it on such a scale as if he were discussing a posthumous work by George Eliot. This difference is the more to be noticed because there was surely a time when the externals of good writing, at least, were held in high esteem at London; and the critics of that metropolis were wont to give but short shrift to any book which disregarded those conditions. But that which practically excludes Mr. Haggard from the ranks of serious and accredited writers is not that his sentiment is melodramatic, his fancy vulgar, and his situations absurd; the more elementary ground of e
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