On the Art of Writing · Chapters
Chapters explained
Chapter companions for On the Art of Writing by Arthur Quiller-Couch.
Chapter 1
Dedication
The chapter is a brief dedication to John Hay Lobban.
Chapter 2
On the Art of Writing
The inaugural lecture explores the art of writing as a living discipline, arguing that literature must be practiced and studied with precision and clarity. The speaker critiques jargon as sham prose, distinguishes between verse and prose, and celebrates the lineage of English literature from its Roman and medieval heritage through the Cambridge wits. The lecture proposes that writing be practiced at Cambridge and defends the Authorised Version of the Bible as a miracle of prose.
Chapter 3
Lecture I: Inaugural
The inaugural lecture establishes the foundational principles for studying literature as a living art and the English language as a living tongue. The speaker argues that literature is an art to be practised, not merely pondered, and emphasizes the importance of cultivating sensibility and critical judgment over rote memorization. He warns against confusing the pedagogic mind with the scholarly, criticizes critics who misplace works of art into inappropriate categories, and lays down the first principle of approaching a work of genius absolutely, with openness to the author's intent. The lecture concludes by deferring a fourth principle to a later session, while addressing potential suspicions about aesthetic chatter and the difficulty of the task.
Chapter 4
Lecture II: The Practice of Writing
In this lecture, the speaker proposes that English literature, as a living art with an improvable language, requires active practice in writing. He argues that studying great writers should guide one's own practice, not merely serve as historical study. Drawing parallels to painting and Sir Joshua Reynolds' Discourses, he emphasizes that studying masters fosters invention and originality. He criticizes the neglect of practicing English prose, contrasting it with the emphasis on Latin and Greek composition in schools. The lecture advocates for perspicuity, accuracy, and appropriateness in writing, quoting Cardinal Newman to assert that style is intrinsic to thought, not mere ornamentation.
Chapter 5
Lecture III: On the Difference Between Verse and Prose
This lecture distinguishes verse from prose, defining verse as memorable speech set down in metre with strict rhythms, and prose as memorable speech without metre and with freer rhythm. The speaker warns against confusing the two, advises beginners to stay on one side of the frontier, and illustrates the difference through examples from Milton and Burke. He also discusses the evolution of literature from oral to written forms, the role of print, and the importance of propriety in style.
Chapter 6
Lecture IV: On the Capital Difficulty of Verse
The lecture explores the fundamental difference between verse and prose, arguing that verse originates from musical accompaniment and is inherently more emotional. The capital difficulty of verse is saying ordinary things at a high emotional pitch, while for prose it is managing extraordinary moments. The lecturer uses examples from Dekker, Walton, Milton, Taylor, Johnson, and others to illustrate how verse maintains a higher key than prose, and warns against importing emotion into inappropriate subjects.
Chapter 7
Lecture V: Interlude: On Jargon
The lecturer breaks the order of his argument to denounce 'Jargon'—a kind of writing that passes for prose but is not prose at all. He distinguishes Jargon from Journalese, tracing its origins to caution and indolence rather than artistic zeal. Through numerous examples, he illustrates how Jargon uses abstract words, circumlocutions, and clichés to evade direct statement, and contrasts it with vivid, concrete writing from authors like Dr. John Donne and Robert South. He concludes that the choice between abstract and concrete words goes deeper than language, affecting reason and character, and exhorts his audience to prefer the concrete and direct.
Chapter 8
Lecture VI: On the Capital Difficulty of Prose
The lecturer argues that the capital difficulty of prose lies in handling high emotional moments, which are more naturally the province of verse. He warns against classifying literature as a science, emphasizing that art resists precise categorization. He traces the development of English prose from Malory through the Authorised Version of the Bible, showing how the Bible's rhythms permeate English style. He criticizes Elizabethan prose as clotted and immature, contrasting it with the simplicity of Malory and the miracle of the Authorised Version. He also discusses the influence of Latin and Italian on English poetry and prose, and warns against pedantic classifications.
Chapter 9
Lecture VII: Some Principles Reaffirmed
The lecturer begins with a footnote defending his characterization of the Authorised Version as a 'miracle,' clarifying he meant no claim of plenary inspiration and acknowledging its occasional nonsense. He reaffirms principles of appropriate, persuasive, and accurate writing, emphasizing that style cannot be separated from the man. He explores the interplay of vowel sounds in English prose and poetry as a key to beautiful writing, citing examples from the Bible and W.B. Yeats. He concludes with a passage from Newman on the power of speech and the personal nature of literature.
Chapter 10
Lecture VIII: On the Lineage of English Literature (I)
In this lecture, the speaker argues that understanding English literary lineage is essential for writers, as it provides a spur to noble conduct and a guard against national defects. He critiques the academic trend of focusing on linguistic continuity over literary essence, citing Cardinal Newman's view of a single, enduring civilisation. The speaker also examines the overpraising of Beowulf, contrasting it with Homer's superior art, and calls for a return to the study of literature as a living art.
Chapter 11
Lecture IX: On the Lineage of English Literature (II)
The lecturer argues for the essential role of classical Greek and Latin authors in shaping English literature, emphasizing that they correct insularity, broaden literary enjoyment beyond the written word, and conserve the norm of literature. He traces the lineage of English poetry and prose from the Provençal Troubadours through Chaucer, Wyat, the Elizabethans, Milton, Dryden, Pope, and the Romantics, asserting that English writers have repeatedly refreshed themselves at Mediterranean wells. He defends the Latin Vulgate and classical heritage against nativist views, while clarifying he does not despise English linguistic descent or northern influences.
Chapter 12
Lecture X: English Literature in Our Universities (I)
The lecturer begins by revisiting the idea of the 'all-round man' from the previous lecture, emphasizing that for the Greeks and Romans, literature and life were deeply intertwined with religion and the worship of their gods. He contrasts this with the modern tendency to mock or belittle ancient theology, warning against confusing Aristophanes' humor with modern satire. The discussion then shifts to the decline of literature after the classical era, noting that while the Church both suppressed and preserved literary works, literature itself had 'gone down disastrously' and did not revive during the twelfth-century intellectual revival, which prioritized science and philosophy over form. The lecturer then explores the obscure origins of universities, particularly Oxford and Cambridge, suggesting they grew fortuitously like trees from seeds. He paints a vivid picture of medieval university life—narrow, dirty streets, frequent fires and floods, and violent conflicts between 'nations' and townspeople—to argue that the primary pursuit of early students was not literature but rather discipline, organization, and basic learning.
Chapter 13
Lecture XI: English Literature in Our Universities (II)
The lecture continues the argument that universities were not founded for the study of literature, using the late establishment of Greek, Latin, and English chairs at Cambridge as evidence. It discusses the Renaissance's role in bringing Greek and thus literary study to the universities, and highlights how early Cambridge scholars like Gabriel Harvey and the anonymous author of the Parnassus plays were deeply engaged with English literature. The lecture criticizes the overemphasis on philological preliminaries at the expense of literature itself, arguing that the true study of literature must treat it as a living art. It concludes with a plea for a childlike openness to knowledge, symbolized by a visit to the Castle mound and the gaoler's remark about keeping children out.
Chapter 14
Lecture XII: On Style
The lecturer addresses the elusive nature of style, arguing that it cannot be reduced to rules or extraneous ornament. He reiterates that literature is a living, personal art, and that style is the expression of the individual. He defends linguistic liberty and the use of neologisms when appropriate, and criticizes jargon as dead language. The chapter emphasizes that great literature is alive because it deals with human experience, not cold certainties.
Chapter 15
Endnotes
The endnotes provide references, translations, and contextual annotations for the main lecture, including a poignant note on the date of the lecture coinciding with news of Captain Scott's Antarctic expedition and Captain Oates's heroic death. They also include textual comparisons of biblical translations and citations of classical and literary sources.
