Essays in the Art of Writing. Роберт Стивенсон

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СКАЧАТЬ and cloistered virtue, unexercised and unbreathed, that never sallies out and sees her adversary, but slinks out of the race where that immortal garland is to be run for, not without dust and heat.’ 4 Down to ‘virtue,’ the current S and R are both announced and repeated unobtrusively, and by way of a grace-note that almost inseparable group PVF is given entire. 5 The next phrase is a period of repose, almost ugly in itself, both S and R still audible, and B given as the last fulfilment of PVF. In the next four phrases, from ‘that never’ down to ‘run for,’ the mask is thrown off, and, but for a slight repetition of the F and V, the whole matter turns, almost too obtrusively, on S and R; first S coming to the front, and then R. In the concluding phrase all these favourite letters, and even the flat A, a timid preference for which is just perceptible, are discarded at a blow and in a bundle; and to make the break more obvious, every word ends with a dental, and all but one with T, for which we have been cautiously prepared since the beginning. The singular dignity of the first clause, and this hammer-stroke of the last, go far to make the charm of this exquisite sentence. But it is fair to own that S and R are used a little coarsely.

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      1

      First published in the Contemporary Review, April 1885

      2

      Milton.

      3

      Milton.

      4

      Milton.

      5

      As PVF w

1

First published in the Contemporary Review, April 1885

2

Milton.

3

Milton.

4

Milton.

5

As PVF will continue to haunt us through our English examples, take, by way of comparison, this Latin verse, of which it forms a chief adornment, and do not hold me answerable for the all too Roman freedom of the sense: ‘Hanc volo, quæ facilis, quæ palliolata vagatur.’

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