Read Delphi Complete Works of H. P. Lovecraft (Illustrated) Online
Authors: H. P. Lovecraft
Delphi Complete Works of H. P. Lovecraft (Illustrated) (256 page)
Written in July 1918 and first published in
The Conservative
, Vol. 4, No. 1, July 1918
Among the many and complex tendencies observable in modern poetry, or what answers for poetry in this age, is a decided but unjust scorn of the honest old pastoral, immortalised by Theocritus and Virgil, and revived in our own literature by Spencer.
Nor is this unfavorable attitude confined alone to the formal eclogue whose classical elements are so well described and exemplified by Mr. Pope. Whenever a versifier adorns his song with the pleasing and innocent imagery of this type of composition, or borrows its mild and sweet atmosphere, he is forthwith condemned as an irresponsible pedant and fossil by every little-wit critic in Grub-street.
Modern bards, in their endeavour to display with seriousness and minute verisimilitude the inward operations of the human mind and emotions, have come to look down upon the simple description of ideal beauty, or the straightforward presentation of pleasing images for no other purpose than to delight the fancy. Such themes they deem trivial and artificial, and altogether unworthy of an art whose design they take to be the analysis and reproduction of Nature in all her moods and aspects.
But in this belief, the writer cannot but hold that our contemporaries are misjudging the true province and functions of poesy. It was no starched classicist, but the exceedingly unconventional Edgar Allen Poe, who roundly denounced the melancholy metaphysicians and maintained that true poetry has for its first object “pleasure, not truth”, and “indefinite pleasure instead of definite pleasure,” intimating that its concern for the dull or ugly aspects of life is slight indeed. That the American bard and critic was fundamentally just in his deductions, seems well proved by a comparative survey of those poems of all ages which have lived, and those which have fallen into deserved obscurity.
The English pastoral, based upon the best models of antiquity, depicts engaging scenes of Arcadian simplicity, which not only transport the imagination through their intrinsic beauty, but recall to the scholarly mind the choicest remembrances of classical Greece and Rome. Though the combination of rural pursuits with polished sentiments and diction is patently artificial, the beauty is not a whit less; nor do the conventional names, phrases, and images detract in the least from the quaint agreeableness of the whole. The magic of this sort of verse is to any unprejudiced mind irresistible, and capable of evoking a more deliciously placid and refreshing train of pictures in the imagination than may be obtained from any more realistic species of composition. Every untainted fancy begets ideal visions of which the pastoral forms a legitimate and artistically necessary reflection.
It is not impossible that the intellectual upheaval attendant upon the present conflict will bring about a general simplification and rectification of taste, and an appreciation of the value of pure imaginary beauty in a world so full of actual misery, which may combine to restore the despised pastoral to its proper station.
Written in July 1918 and first published in
The United Amateur
, July 1918
To those who look beneath the surface, the present universal war drives home more than one anthropological truth in striking fashion; and of the verities none is more profound than that relating to the essential immutability of mankind and its instincts.
Four years ago a large part of the civilised world laboured under certain biological fallacies which may, in a sense, be held responsible for the extent and duration of the present conflict. These fallacies, which were the foundation of pacifism and other pernicious forms of social and political radicalism, dealt with the capacity of man to evolve mentally beyond his former state of subservience to primate instinct and pugnacity, and to conduct his affairs and international or interracial relations on a basis of reason and good-will. That belief in such capability is unscientific and childishly naive, is beside the question. The fact remains, that the most civilised part of the world, including our own Anglo-Saxondom, did entertain enough of these notions to relax military vigilance, lay stress on points of honour, place trust in treaties, and permit a powerful and unscrupulous nation to indulge unchecked and unsuspected in nearly fifty years of preparation for world-wide robbery and slaughter. We are reaping the result of our simplicity.
The past is over. Our former follies we can but regret, and expiate as best we may by a crusade to the death against the Trans-Rhenane monster which we allowed to grow and flourish beneath our very eyes. But the future holds more of responsibility, and we must prepare to guard against any renascence of the benevolent delusions that four years of blood have barely been able to discard forever the sentimental standpoint, and to view our species through the cold eyes of science alone. We must recognise the essential underlaying savagery in the animal called man, and return to older and sounder principles of national life and defense. We must realise that man’s nature will remain the same so long as he remains man; that civilisation is but a slight coverlet beneath which the dominant beast sleeps lightly and ever ready to awake. To preserve civilisation, we must deal scientifically with the brute element, using only genuine biological principles. In considering ourselves, we think too much of ethics and sociology — too little of plain natural history. We should perceive that man’s period of historical existence, a period so short that his physical constitution has not been altered in the slightest degree, is insufficient to allow of any considerable mental change. The instincts that governed the Egyptians and the Assyrians of old, govern us as well; and as the ancients thought, grasped, struggled, and deceived, so shall we moderns continue to think, grasp, struggle, and deceive in our inmost hearts. Change is only superficial and apparent.
Man’s respect for the imponderables varies according to his mental constitution and environment. Through certain modes of thought and training it can be elevated tremendously, get there is always a limit. The man or nation of high culture may acknowledge to great lengths the restraints imposed by conventions and honour, but beyond a certain point primitive will or desire cannot be curbed. Denied anything ardently desired, the individual or state will argue and parley just so long — then, if the impelling motive be sufficiently great, will cast aside every rule and break down every acquired inhibition, plunging viciously after the object wished; all the more fantastically savage because of previous repression. The sole ultimate factor in human decisions is physical force. This we must learn, however repugnant the idea may seem, if we are to protect ourselves and our institutions. Reliance on anything else is fallacious and ruinous. Dangerous beyond description are the voices sometimes heard today, decrying the continuance of armament after the close of the present hostilities.
The specific application of the scientific truth regarding man’s native instincts will be found in the adoption of a post-bellum international programme. Obviously, we must take into account the primordial substructure and arrange for the upholding of culture by methods which will stand the acid test of stress and conflicting ambitions. In disillusioned diplomacy, ample armament, and universal military training alone will be found the solution of the world’s difficulties. It will not be a perfect solution, because humanity is not perfect. It will not abolish war, because war is the expression of a natural human tendency. But it will at least produce an approximate stability of social and political conditions, and prevent the menace of the entire world by the greed of any one of its constituent parts.
First published in The United Amateur, 19, No. 3, January 1920
In a former article our readers have been shewn the fundamental sources of literary inspiration, and the leading prerequisites to expression. It remains to furnish hints concerning expression itself — its forms, customs, and technicalities — in order that the young writer may lose nothing of force or charm in presenting his ideas to the public.
Grammar
A review of the elements of English grammar would be foreign to the purpose of this department. The subject is one taught in all common schools, and may be presumed to be understood by every aspirant to authorship. It is necessary, however, to caution the beginner to keep a reliable grammar and dictionary always beside him, that he may avoid in his compositions the frequent errors which imperceptibly corrupt even the purest ordinary speech. As a general rule, it is well to give close critical scrutiny to all colloquial phrases and expressions of doubtful parsing, as well as to all words and usages which have a strained or unfamiliar sound. The human memory is not to be trusted too far, and most minds harbour a considerable number of slight linguistic faults and inelegancies picked up from random discourse or from the pages of newspapers, magazines, and popular modern books.
Types of Mistakes
Most of the mistakes of young authors, aside from those gross violations of syntax which ordinary education corrects, may perhaps be enumerated as follows.
(1) Erroneous plurals of nouns, as
vallies
or
echos
.
(2)Barbarous compound nouns, as
viewpoint
or
upkeep
.
(3)Want of correspondence in number between noun and verb where the two are widely separated or the construction involved.
(4)Ambiguous use of pronouns.
(5)Erroneous case of pronouns, as
whom
for
who
, and vice versa, or phrases like “between you and
I
”, or “Let
we
who are loyal, act promptly.”
(6)Erroneous use of
shall
and
will
, and of other auxiliary verbs.
(7)Use of intransitive for transitive verbs, as “he
was graduated
from college”, or vice versa, as “he
ingratiated
with the tyrant”.
(8)Use of nouns for verbs, as “he
motored
to Boston”, or “he
voiced
a protest”.
(9)Errors in moods and tenses of verbs, as “If I
was
he, I should do otherwise”, or “He said the earth
was
round.”
(10)The split infinitive, as “
to
calmly
glide
”.
(11)The erroneous perfect infinitive, as “Last week I expected
to have met
you.”
(12)False verb-forms, as “I
pled
with him.”
(13)Use of
like
for
as
, as “I strive to write
like
Pope wrote.”
(14)Misuse of prepositions, as “The gift was bestowed
to
an unworthy object”, or “The gold was divided
between
the five men.”
(15)The superfluous conjunction, as “I wish
for
you to do this.”
(16)Use of words in wrong senses, as “The book greatly
intrigued
me”, “
Leave
me take this”, “He was
obsessed
with the idea”, or “He is a
meticulous
writer.”
(17)Erroneous use of non-Anglicised foreign forms, as “a strange
phenomena
”, or “two
stratas
of clouds”.
(18)Use of false or unauthorised words, as
burglarise
or
supremest
.
(19)Errors of taste, including vulgarisms, pompousness, repetition, vagueness, ambiguousness, colloquialism, bathos, bombast, pleonasm, tautology, harshness, mixed metaphor, and every sort of rhetorical awkwardness.
(20)Errors of spelling and punctuation, and confusion of forms such as that which leads many to place an apostrophe in the possessive pronoun
its
.
Of all blunders, there is hardly one which might not be avoided through diligent study of simple textbooks on grammar and rhetoric, intelligent perusal of the best authors, and care and forethought in composition. Almost no excuse exists for their persistent occurrence, since the sources of correction are so numerous and so available. Many of the popular manuals of good English are extremely useful, especially to persons whose reading is not as yet extensive; but such works sometimes err in being too pedantically precise and formal. For correct writing, the cultivation of patience and mental accuracy is essential. Throughout the young author’s period of apprenticeship, he must keep reliable dictionaries and textbooks at his elbow; eschewing as far as possible that hasty extemporaneous manner of writing which is the privilege of more advanced students. He must take no popular usage for granted, nor must he ever hesitate, in case of doubt, to fall back on the authority of his books.
Reading
No aspiring author should content himself with a mere acquisition of technical rules. As Mrs. Renshaw remarked in the preceding article, “Impression should ever precede and be stronger than expression.” All attempts at gaining literary polish must begin with judicious
reading
, and the learner must never cease to hold this phase uppermost. In many cases, the usage of good authors will be found a more effective guide than any amount of precept. A page of Addison or of Irving will teach more of style than a whole manual of rules, whilst a story of Poe’s will impress upon the mind a more vivid notion of powerful and correct description and narration than will ten dry chapters of a bulky text-book. Let every student read unceasingly the best writers, guided by the admirable Reading Table which has adorned the
United Amateur
during the past two years.
It is also important that cheaper types of reading, if hitherto followed, be dropped. Popular magazines inculcate a careless and deplorable style which is hard to unlearn, and which impedes the acquisition of a purer style. If such things must be read, let them be skimmed over as lightly as possible. An excellent habit to cultivate is the analytical study of the King James Bible. For simple yet rich and forceful English, this masterly production is hard to equal; and even though its Saxon vocabulary and poetic rhythm be unsuited to general composition, it is an invaluable model for writers on quaint or imaginative themes. Lord Dunsany, perhaps the greatest living prose artist, derived nearly all of his stylistic tendencies from the Scriptures; and the contemporary critic Boyd points out very acutely the loss sustained by most Catholic Irish writers through their unfamiliarity with the historic volume and its traditions.
Vocabulary
One superlatively important effect of wide reading is the enlargement of vocabulary which always accompanies it. The average student is gravely impeded by the narrow range of words from which he must choose, and he soon discovers that in long compositions he cannot avoid monotony. In reading, the novice should note the varied mode of expression practiced by good authors, and should keep in his mind for future use the many appropriate synonyms he encounters. Never should an unfamiliar word be passed over without elucidation; for with a little conscientious research we may each day add to our conquests in the realm of philology, and become more and more ready for graceful independent expression.
But in enlarging the vocabulary, we must beware lest we misuse our new possessions. We must remember that there are fine distinctions betwixt apparently similar words, and that language must ever be selected with intelligent care. As the learned Dr. Blair points out in his Lectures, “Hardly in any language are there two words that convey precisely the same idea; a person thoroughly conversant in the propriety of language will always be able to observe something that distinguishes them.”
Elemental Phases
Before considering the various formal classes of composition, it is well to note certain elements common to them all. Upon analysis, every piece of writing will be found to contain one or more of the following basic principles:
Description
, or an account of the appearance of things;
Narration
, or an account of the actions of things;
Exposition
, which defines and explains with precision and lucidity;
Argument
, which discovers truth and rejects error; and
Persuasion
, which urges to certain thoughts or acts. The first two are the bases of fiction; the third didactic, scientific, historical, and editorial writings. The fourth and fifth are mostly employed in conjunction with the third, in scientific, philosophical, and partisan literature. All these principles, however, are usually mingled with one another. The work of fiction may have its scientific, historical, or argumentative side; whilst the text-book or treatise may be embellished with descriptions and anecdotes.
Description
Description, in order to be effective, calls upon two mental qualities: observation and discrimination. Many descriptions depend for their vividness upon the accurate reproduction of details; others upon the judicious selection of salient, typical, or significant points.
One cannot be too careful in the selection of adjectives for descriptions. Words or compounds which describe precisely, and which convey exactly the right suggestions to the mind of the reader, are essential. As an example, let us consider the following list of epithets applicable to a
fountain
, taken from Richard Green Parker’s admirable work on composition.
Crystal, gushing, rustling, silver, gently-gliding, parting, pearly, weeping, bubbling, gurgling, chiding, clear, grass-fringed, moss-fringed, pebble-paved, verdant, sacred, grass-margined, moss-margined, trickling, soft, dew-sprinkled, fast-flowing, delicate, delicious, clean, straggling, dancing, vaulting, deep-embosomed, leaping, murmuring, muttering, whispering, prattling, twaddling, swelling, sweet-rolling, gently-flowing, rising, sparkling, flowing, frothy, dew-distilling, dew-born, exhaustless, inexhaustible, never-decreasing, never-falling, heaven-born, earth-born, deep-divulging, drought-dispelling, thirst-allaying, refreshing, soul-refreshing, earth-refreshing, laving, lavish, plant-nourishing.
For the purpose of securing epithets at once accurate and felicitous, the young author should familiarise himself thoroughly with the general aspect and phenomena of Nature, as well as with the ideas and associations which these things produce in the human mind.
Descriptions may be of objects, of places, of animals, and of persons. The complete description of an object may be said to consist of the following elements:
1.When, where, and how seen; when made or found; how affected by time.
2.History and traditional associations.
3.Substance and manner of origin.
4.Size, shape, and appearance.
5.Analogies with similar objects.
6.Sensations produced by contemplating it.