Loyola University Maryland - Evergreen / Green and Gray Yearbook (Baltimore, MD)

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28 THE LOYOLA ANNUAL them in the latest novels, in the magazines and journals, but nowhere are they so sure to be found as in the columns of a newspaper. The writers who are hired to amuse the populace by handing out line after line of commonplaces, think it neces- sary to bait their articles with some of these same “ purple patches.” The modern novelist as well feels at times a sort of moral obligation to suspend his “ thrilling interest,” as the advertise- ments call it, in order to indulge in an elaborate description, which he fancies would be envied by Sir Walter Scott. Truly do these aspirants bring in “ the grove and altar of Diana, the river Rhine and the rainbow,” when “ it is not the place for these things.” This is by no means the only example in Horace that can be directly applied to present literature. In fact we can hardly glance over a few lines of the “ Ars Poetica ” without finding some striking truth applicable to the modern profession of letters. In Horace’s words, “ Public material will become peculiarly your own, if you do not delay in the cheap and beaten path, or scrupulously render word for word as a faith- ful translator.” What a legion of modern novels follow the “ cheap and beaten path,” tread and retread upon the well-known road, until it is necessary to reach the public by another way! A good book is merely the progenitor of a long line of imitations, each one possessed of less merit than the one before. If it happens to be a detective story, the press is soon crowded with books of this type. The novel of the social problem repeats itself, and issues anew from the hands of every writer, just as the so-called moral question continually fills the pages of fiction in a slightly different form, and is all the fashion in the world of reading. Horace recognized one of the qualities of a great book, when he said : “ I shall write my song from well-known lore.

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THE LOYOLA ANNUAL 27 Horace and xx egit tellers} ' HE advice of a classical writer may seem little adapted A to modern literature. Indeed there are few authors who would consider Horace a suitable teacher, although his “ Ars Poetica ’ contains principles of writing, nearly all of which are as applicable to the present day, as they were to the time when the masterpiece was written. It has been well said of this little work, that ‘‘ it is good taste reduced to principles.” V e find no rigid treatise upon the forms and art of poetry, no text-book on the intricacies of metre, but we peruse the careful, shrewd observations and opinions of a genius, the pre- cepts, taught by experience, of one of the greatest poets of the world. The poem is supposed to be a letter of advice to a father and his sons, about to enter the field of literature; com- mentators say it should be called the art of criticism, rather than the art of poetry. Pope has properly named his own treatis‘e, which is similar to it, an Essay on Criticism. The principles which Horace puts into verse, although handed down from Rome’s Augustan age, are not, like the crumbling pillars found in the ruins of the Eternal City, mere memorials of an empire, over the downfall of which many cen- turies have rolled. His sound advice reminds us of his own words, for it certainly “ wishes to be viewed in the light, and does not fear the sharp judgment of the critic.” It would be well if many writers of the present day model- led their w orks on his- teaching. To give an effect of color, “ often one or two purple patches,” says Horace, “ are tacked upon writings begun with a serious purpose and which prom- ised fine material.” The votaries of the purple patch system are very numerous at the present time — we catch glimpses of

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THE LOYOLA ANNUAL 29 so that everyone may hope to do as well, but shall strive much and labor in vain, should he attempt the work.” George Eliot’s “ Mill on the Floss ” is a story of common- place life in England, yet it would be hard to find its equal. What author appears more simple than genial Irving? No one, however, seems able to produce a second “ Sketch Book.” The imitators of Scott in the historical novel have met equal disappointment; they are represented today by a legion of sickly romances, not worth a moment’s notice. This is only one of the poet’s observations that holds true at the present time. Much could be said of many other pre- cepts given by the old Augustan poet. The lines in which he comments on the necessity of speaking or writing with con- victions, have an added meaning in connection with some of the present literature. “ If you wish me to weep,” says the “ Ars Poetica,” “ you must first be sad yourself.” This advice at first appears superfluous, but it is really needed in this age of artificial and extravagant novels. There is one line of the “ Ars Poetica,” that ought to be carefully studied by many writers of the day. When our fiction contains heroes and heroines, who resolve the great issues of life into Japanese puzzles, and take a distorted view of humanity, it is time to consider these words of Horace: “ Good sense is the principle and fountain-head of correct writing.” Allied to good sense is the “ multa lectio ” which the poet advises. Nothing is of so much value in developing an author’s taste and broadening his mind, as extensive reading of the best literature. Horace advocates the standard works of his time, for he says, “ Pore over the pages of the Greek writers by night and day.” His reproach to the earlier Roman authors for the little care and time which they devoted to their work, brings up another fundamental principle of good writing. The poet never