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Updated: June 20, 2025
By means of these examples I may succeed in showing what it is that inspires, in the hearts of modern Germans, such faith in this great and seductive stylist Strauss: I refer to his eccentricities of expression, which, in the barren waste and dryness of his whole book, jump out at one, not perhaps as pleasant but as painfully stimulating, surprises.
If you ask readers why they like Conrad, two out of three will answer, because he is a great stylist, or because he writes of the sea. I doubt the worth of such answers. Many buy books because they are written by great stylists, but few read for just that reason.
If we turn, then, to his essays, collected from here and there, on this and that, on everything and on nothing, we may see Mr. Belloc reflected in the clear stream of his own writing: and in proportion as the reflection is vivid or blurred we may rank him as a stylist and writer of English prose. Style in prose or verse has never existed and cannot exist of itself alone.
Definition and division are the watchwords of science, where art is all for composition and creation. Not that the exact definable sense of a word is of no value to the stylist; he profits by it as a painter profits by a study of anatomy, or an architect by a knowledge of the strains and stresses that may be put on his material.
A disciple of Isaac Bar Levinsohn, and visibly affected by the influence of Wessely and Abraham Bar Lebensohn, he devoted himself to poetry. The first volume of his poems appeared at Wilna in 1851. His earliest productions go back to the middle of the last century. He is a remarkable stylist, and, in some of his works, his language is both simple and polished.
Well, let us see! Perhaps we may now be allowed to discuss Strauss the stylist and master of language; but in the first place let us inquire whether, as a literary man, he is equal to the task of building his house, and whether he really understands the architecture of a book.
In fact Varro was no stylist. He was a master of facts, as Cicero of words. Studiosum rerum, says Augustine, tantum docet, quantum studiosum verborum Cicero delectat. Hence Cicero, with all his proneness to exaggerate the excellences of his friends, never speaks of him as eloquent. He calls him omnium facile acutissimus, et sine ulla dubitatione doctissimus.
Burke's American Orations present him at his best as a statesman, an orator, and a stylist. When the edition of those speeches was prepared, a selection from Webster's great speeches was contemplated as a companion volume. The present edition represents Webster in the various and distinct fields in which his genius manifested itself so powerfully and so nobly.
America, indeed, has not produced a round dozen authors who equal him as a brilliant stylist with a great deal to say. And yet this man, who wrote some of his best books in the Eighties and who is still alive, has been allowed to drift into comparative oblivion.
But Gorky, and that excellent though minor writer, Kuprin, are the only belated representatives of the fine nineteenth century tradition. For even Bunin is a poet and a stylist rather than a story teller: his most characteristic "stories" are works of pure atmosphere, as diffuse and as skeletonless as a picture by Claude Monet.
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