Find this Story

Print, a form you can hold

Wireless download to your Amazon Kindle

Look for a summary or analysis of this Story.

Enjoy this? Share it!

Idler 063 [No. 63: Progress of arts and language]
by [?]

Idler No. 63. Saturday, June 30, 1759.

The natural progress of the works of men is from rudeness to convenience, from convenience to elegance, and from elegance to nicety.

The first labour is enforced by necessity. The savage finds himself incommoded by heat and cold, by rain and wind; he shelters himself in the hollow of a rock, and learns to dig a cave where there was none before. He finds the sun and the wind excluded by the thicket; and when the accidents of the chase, or the convenience of pasturage, leads him into more open places, he forms a thicket for himself, by planting stakes at proper distances, and laying branches from one to another.

The next gradation of skill and industry produces a house closed with doors, and divided by partitions; and apartments are multiplied and disposed according to the various degrees of power or invention; improvement succeeds improvement, as he that is freed from a greater evil grows impatient of a less, till ease in time is advanced to pleasure.

The mind, set free from the importunities of natural want, gains leisure to go in search of superfluous gratifications, and adds to the uses of habitation the delights of prospect. Then begins the reign of symmetry; orders of architecture are invented, and one part of the edifice is conformed to another, without any other reason, than that the eye may not be offended.

The passage is very short from elegance to luxury, Ionick and Corinthian columns are soon succeeded by gilt cornices, inlaid floors and petty ornaments, which show rather the wealth than the taste of the possessour.

Language proceeds, like every thing else, through improvement to degeneracy. The rovers who first took possession of a country, having not many ideas, and those not nicely modified or discriminated, were contented, if by general terms and abrupt sentences they could make their thoughts known to one another: as life begins to be more regulated, and property to become limited, disputes must be decided, and claims adjusted; the differences of things are noted, and distinctness and propriety of expression become necessary. In time, happiness and plenty give rise to curiosity, and the sciences are cultivated for ease and pleasure; to the arts, which are now to be taught, emulation soon adds the art of teaching; and the studious and ambitious contend not only who shall think best, but who shall tell their thoughts in the most pleasing manner.

Then begin the arts of rhetorick and poetry, the regulation of figures, the selection of words, the modulation of periods, the graces of transition, the complication of clauses, and all the delicacies of style and subtilties of composition, useful while they advance perspicuity, and laudable while they increase pleasure, but easy to be refined by needless scrupulosity till they shall more embarrass the writer than assist the reader or delight him.

The first state is commonly antecedent to the practice of writing; the ignorant essays of imperfect diction pass away with the savage generation that uttered them. No nation can trace their language beyond the second period, and even of that it does not often happen that many monuments remain.

The fate of the English tongue is like that of others. We know nothing of the scanty jargon of our barbarous ancestors; but we have specimens of our language when it began to be adapted to civil and religious purposes, and find it such as might naturally be expected, artless and simple, unconnected and concise. The writers seem to have desired little more than to be understood, and, perhaps, seldom aspired to the praise of pleasing. Their verses were considered chiefly as memorial, and, therefore, did not differ from prose but by the measure or the rhyme.

In this state, varied a little according to the different purposes or abilities of writers, our language may be said to have continued to the time of Gower, whom Chaucer calls his master, and who, however obscured by his scholar’s popularity, seems justly to claim the honour which has been hitherto denied him, of showing his countrymen that something more was to be desired, and that English verse might be exalted into poetry.

From the time of Gower and Chaucer, the English writers have studied elegance, and advanced their language, by successive improvements, to as much harmony as it can easily receive, and as much copiousness as human knowledge has hitherto required. These advances have not been made at all times with the same diligence or the same success. Negligence has suspended the course of improvement, or affectation turned it aside; time has elapsed with little change, or change has been made without amendment. But elegance has been long kept in view with attention as near to constancy as life permits, till every man now endeavours to excel others in accuracy, or outshine them in splendour of style, and the danger is, lest care should too soon pass to affectation.