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Some Remarks on Lambkin’s Prose Style

No achievement of my dear friend’s produced a greater effect than the English Essay which he presented at his examination. That so young a man, and a man trained in such an environment as his, should have written an essay at all was sufficiently remarkable, but that his work should have shown such mastery in the handling, such delicate balance of idea, and so much know-ledge (in the truest sense of the word), coupled with such an astounding insight into human character and contemporary psychology, was enough to warrant the remark of the then Warden of Burford: “If these things” (said the aged but eminent divine), “if these things” (it was said in all reverence and with a full sense of the responsibility of his position), “If these things are done in the green wood, what will be done in the dry?”

Truly it may be said that the Green Wood of Lambkin’s early years as an Undergraduate was worthily followed by the Dry Wood of his later life as a fellow and even tutor, nay, as a Bursar of his college.

It is not my purpose to add much to the reader’s own impressions of this tour de force, or to insist too strongly upon the skill and breadth of treatment which will at once make their mark upon any intelligent man, and even upon the great mass of the public. But I may be forgiven if I give some slight personal memories in interpretation of a work which is necessarily presented in the cold medium of type.

Lambkin’s hand-writing was flowing and determined, but was often difficult to read, a quality which led in the later years of his life to the famous retort made by the Rural Dean of Henchthorp to the Chaplain of Bower’s Hall.[16] His manuscript was, like Lord Byron’s (and unlike the famous Codex V in the Vatican), remarkable for its erasures, of which as many as three may be seen in some places super-imposed, ladderwise, en échelle, the one above the other, perpendicularly to the line of writing.

This excessive fastidiousness in the use of words was the cause of his comparatively small production of written work; and thus the essay printed below was the labour of nearly three hours. His ideas in this matter were best represented by his little epigram on the appearance of Liddell and Scott’s larger Greek Lexicon. “Quality not quantity” was the witty phrase which he was heard to mutter when he received his first copy of that work.

The nervous strain of so much anxiety about his literary work wearied both mind and body, but he had his reward. The scholarly aptitude of every particle in the phrase, and the curious symmetry apparent in the great whole of the essay are due to a quality which he pushed indeed to excess, but never beyond the boundary that separates Right and Wrong; we admire in the product what we might criticise in the method, and when we judge as critics we are compelled as Englishmen and connoisseurs to congratulate and to applaud.

He agreed with Aristotle in regarding lucidity as the main virtue of style. And if he sometimes failed to attain his ideal in this matter, the obscurity was due to none of those mannerisms which are so deplorable in a Meredith or a Browning, but rather to the fact that he found great difficulty in ending a sentence as he had begun it. His mind outran his pen; and the sentence from his University sermon, “England must do her duty, or what will the harvest be?” stirring and patriotic as it is, certainly suffers from some such fault, though I cannot quite see where.

The Oxymoron, the Aposiopesis, the Nominativus Pendens, the Anacoluthon and the Zeugma he looked upon with abhorrence and even with dread. He was a friend to all virile enthusiasm in writing but a foe to rhetoric, which (he would say) “Is cloying even in a demagogue, and actually nauseating in the literary man.” He drew a distinction between eloquence and rhetoric, often praising the one and denouncing the other with the most abandoned fervour: indeed, it was his favourite diversion in critical conversation accurately to determine the meaning of words. In early youth he would often split an infinitive or end a sentence with a preposition. But, ever humble and ready to learn, he determined, after reading Mrs. Griffin’s well-known essays in the Daily American, to eschew such conduct for the future; and it was a most touching sight to watch him, even in extreme old age, his reverend white locks sweeping the paper before him and his weak eyes peering close at the MSS. as he carefully went over his phrases with a pen, scratching out and amending, at the end of his day’s work, the errors of this nature.

He commonly used a gilt “J” nib, mounted upon a holder of imitation ivory, but he was not cramped by any petty limitations in such details and would, if necessity arose, make use of a quill, or even of a fountain pen, insisting, however, if he was to use the latter, that it should be of the best.

The paper upon which he wrote the work that remains to us was the ordinary ruled foolscap of commerce; but this again he regarded as quite unimportant. It was the matter of what he wrote that concerned him, not (as is so often the case with lesser men) the mere accidents of pen or paper.

I remember little else of moment with regard to his way of writing, but I make no doubt that these details will not be without their interest; for the personal habits of a great man have a charm of their own. I read once that the sum of fifty pounds was paid for the pen of Charles Dickens. I wonder what would be offered for a similar sacred relic, of a man more obscure, but indirectly of far greater influence; a relic which I keep by me with the greatest reverence, which I do not use myself, however much at a loss I may be for pen or pencil, and with which I never, upon any account, allow the children to play.

But I must draw to a close, or I should merit the reproach of lapsing into a sentimental peroration, and be told that I am myself indulging in that rhetoric which Lambkin so severely condemned.