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Updated: June 20, 2025
And for this reason, when we are aweary of the style of the stylist, where the living breathing body becomes of less consequence than its beautiful clothing, it is a relief, and refreshment, to turn from the precious and delicate expression, the implicit word, sought for high and low and at last found, the balance of every sentence and perfect harmony of the whole work to go from it to the simple vigorous unadorned talk of Rural Rides.
And while to be a noted stylist, and even to be reasonably sure of annotated reissuement for the plaguing of unborn schoolchildren, was all well enough, in an unimportant, high-minded way, Patricia was far more vividly impressed by the blunt figures which told how many of John Charteris's books had been bought and paid for.
Lafcadio Hearn was a poetic temperament, a stylist, but an incomplete artist. His biographer, Miss Bisland, speaks of him as a "stylist." Unfortunately this is not far from the truth; he was a "stylist," though not always with an individual style. The real Hearn had superimposed upon him the débris of many writers, usually Frenchmen.
THE appearance of the definitive edition of Joseph Conrad, with his interesting critical prefaces included, was a provocation to read and reread his remarkable series of books, the most remarkable contribution to English literature by an alien since the language began. But is it a reason for writing more of an author already more discussed than any English stylist of our time?
The novelist who shovels undistinguished humanity, just because it is human, into his book is another. The versifier who twists and breaks his rhythm solely in order to get new sounds is a third. A fourth is the stylist who writes in disjointed phrases and expletives, intended to represent the actual processes of the mind. The realist poet, so the Greeks would have said, lacks measure.
These fourteen stories are selected from about four times that number, and a complete Lemaître would be as valuable in English as the new translation of Anatole France. The present version is faultlessly rendered by an English stylist who has sought to set down the exact shade of the critic's meaning. Mr. Irving's introduction rather overstates M. Level's case.
Among the present-day authors of fiction, the foremost place belongs to Louis Conperus, an idealist and mystic, who as a stylist is unapproached by any of his contemporaries. No account of modern Holland would be complete without a notice of the great revival of Dutch painting, which has taken place in the past half century.
They were highly realistic, of course, as became a modern German, but unmistakably dramatic. She attended the lectures, practising on short stories meanwhile, devoting most of her effort to becoming a stylist, that she might attain immediate recognition whatever her matter.
There is little doubt that his quality as a stylist was better adapted to the studies of modern London life, on its seamier side, which he had observed at first hand, than to stories of the conventional dramatic structure which he too often felt himself bound to adopt. In these his failure to grapple with a big objective, or to rise to some prosperous situation, is often painfully marked.
This is rank heresy, I know, and I should not have ventured on it a few years ago; but now, I say, give me a style that is the natural outcome of your subject, your mind, your character, not an artificial but a natural product; and even though it be as full of faults as human nature is, faults of every kind, so long as there is no fault of the heart in it, that being the one unpardonable fault in an author if you have put your own individuality into your work I'll answer for it that you will arrive sooner and be read longer than the most admired stylist of the day.
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