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highflooricalprose,excellentintheirvirtuosity;
therearealsonysalesofpoeticprose,heirceofvowelsare
elysingable.infact,theregularheratschoolsorin
private.thereisreallynoappropriatehistypeofreading
inenglish;thesocalled”singing”istoreadthelinesaloudhakindulated
andexaggeratedintonation,ntoanyparticulartufolloore
orlessthetonalvaluesofthevoeilartothe
readingofthe”lesson”bythedeanofanepispalianchurch,buththesyllablesa
greatdealredra.
thistypeofpoeticproseisespeciallybadintheeuphuisticpositionsofthefifth
andsixthturies,lyoutofthefu,hflownprose,used
inierialeulogies,asunnaturalasanyurtpoetryandasawkwardasarussian
ballet.sucheuphuisticprose,runninginparallelnstrusofalteatesentences
offourandsixsyllableshencecalledthessulinor”foursixstyle,”alsocalledpieni
or”parallelstyle”梬aspossibleonlyinadeadandhighlyartificiallanguage,entirely
cutapartfroheliviiesoftheage.buthereuphuisticprose,norpoetic
prose,nhfloaybecalledgoodprose
onlybyaeanprosehesweep
andrhythfagoodchatbythefireside,suchasusedbythegreatstorytellerslikedefoeorsorbosisclearthatsuchproseispossibleonlyinaliving,
andnotinanartificial,language.extrelygoodprosethereisinthenonclassical
literatureofeninthespokenlanguage,butlassical
ings.
theuseoftheliterarylanguage,akesthisalst
iossible.first,goodprosestbeabletoreflecttheprosaicfactsoflife,andfor
thistasktheoldliterarylanguageusthavethe
shofvasforfulldisplayofitspoheclassicaltradition
aleenoofbelievediratioion,
sublitionandreanization.goodprosestnotbedainty,andtheaif
ovealonghnaturalbig
strides,andovedaboutonbou,epwasan
artisticgesture.goodproserequiresperhapstentothirtythousandwordsfora
fulllengthportraitofaaliel
bradfordsportraits,andselvesto
betustnothavetoo
rus,andtheeuphuisticproseinctlytoo
ed.
aboveall,goodprosestbefaliar,chattyandalittlepersonal,andtheese
literaryartnsistedinnpersonalfront.
onehouchaog,
givinganiraitofhisloverlihsiang,andthenfindsthathoudidhis
biographyofssliilythreehundredayfivetenina
nnerasifheother.oo
suustforevergropeang
sketchesofthreeorfourhundredhebarestbeggarsoutlineoffacts.
thetruefactis,theliterarylanguageirelyunsuitabletodiscussoarrate
facts,hereasonersofnovelshadtoresorttotheveacular
language.theanded
apoa14080b.c.,thegreateststerof
eseprose,stillkeptaclosetouchhthelanguageofhisday,anddaredto
inrporateerscholarsas”vulgar,”andhis
languagestillretainedavirilityuntchedbyanylatererintheclassical
language.illore
orlessashethought,andtin&prieuxstyleofing.butafterthat
goodprosebepossible.thetersenessandrefihe
literarylanguagehadetoybeseeninthefollorwuliufive
self,in
exactlyonehundredandtodel:
,e,too,areunkle.heisquietandtalks
verylittle.hedoesnotoneyorfa.helikestoreadbooks,hout
tryingtoknoeaning.esapassage,heisso
happyastetabouthisfood.heloves,beingpoor,otalways
provideit.hisfriendsaiveskisaskhio
eoverforadrink.healakesuphisndtobe
drunk.afterhegetsdruires,andself.his
froacket
offlaxclothintatters,andhisricebopty.buthedoesnotcare.he
oftenusehielfandindicateshisaitioninlife,andfetsallabout
thehat.
liatisdaintyprose,butnotgoodprose,agtoour
definition.itisanabsoluteproofthatthelanguagewasdead,
upposeonepelledtoreadonlyproseofthistype,
fherethecharacterizationisthevaguest,thefactsarethe
iiest,andthenarrationthebarest梬hato
ellectual
thisleadstoareiortantionoftheiialofese
proseedhinese
librariesndbookstoresaboundthesealingthelargestlivisioninese
iss,ohefeelingofbeinglostiof
essays,
...