An English Garner | Page 2

Richard's Almanack_.
Our first excerpt is the preface to a work which is entitled to the distinction of being the first systematic contribution to literary criticism written in the English language. It appeared in 1553, and was entitled _The Art of Rhetorique, for the use of all suche as are studious of eloquence, sette foorthe in Englishe by Thomas Wilson_, and it was dedicated to John Dudley, Earl of Warwick. Thomas Wilson--erroneously designated Sir Thomas Wilson, presumably because he has been confounded with a knight of that name--was born about 1525, educated at Eton and subsequently at King's College, Cambridge, whence he graduated B.A. in 1549. In life he played many parts, as tutor to distinguished pupils, notably Henry and Charles Brandon, afterwards Dukes of Suffolk, as diplomatist and ambassador to various countries, as a Secretary of State and a Privy Councillor, as one of the Masters of Requests, and as Master of St. Catherine's Hospital at the Tower, at which place and in which capacity he terminated a very full and busy life on June 16th, 1581. The pupil of Sir John Cheke and of Sir Thomas Smith, and the intimate friend of Roger Ascham, Wilson was one of the most accomplished scholars in England, being especially distinguished by his knowledge of Greek. He is the author of a translation, of a singularly vigorous translation, of the Olynthiacs and Philippics of Demosthenes, published in 1570. His most popular work, judging at least from the quickly succeeding editions, appears to have been his first, _The Rule of Reason, conteinynge the Art of Logique set forth in Englishe_, published by Grafton in 1551, and dedicated to Edward VI. The Art of Rhetorique is said to have been published at the same time, but the earliest known copy is dated January 1553. The interest of this Art of Rhetoric is threefold. It is the work of a writer intelligently familiar with the Greek and Roman classics, and it thus stands beside Elyot's Governour, which appeared two years before, as one of the earliest illustrations of the influence of the Renaissance on our vernacular literature. It is one of the earliest examples, not only of the employment of the English language in the treatment of scholastic subjects, but of the vindication of the use of English in the treatment of such subjects; and, lastly, it is remarkable for its sound and weighty good sense. His friend, Ascham, had already said: 'He that wyll wryte well in any tongue muste folowe thys councel of Aristotle, to speake as the common people do, to think as wise men do, and so shoulde every man understande hym. Many English writers have not done so, but usinge straunge words, as Latin, French, and Italian, do make all thinges darke and harde.' And it is indeed by no means improbable that this work, which is written to inculcate all that Ascham upheld, may have been suggested by Ascham. It is in three books, and draws largely on Quintilian, the first two books being substantially little more than a compilation, but a very judicious one, from the Institutes of Oratory. But Wilson is no pedant, and has many excellent remarks on the nature of the influence which the classics should exercise on English composition. One passage is worth transcribing--
'Among all other lessons, this should first be learned, that we never affect any straunge ynkhorne termes, but to speake as is commonly received, neither seeking to be over fine, nor yet being over carelesse, using our speeche as most men doe, and ordering our wittes as the fewest have done. Some seke so far outlandishe English, that thei forget altogether their mothers language. And I dare sweare this, if some of their mothers were alive, thei were not able to tell what thei saie; and yet these fine English clerkes will saie thei speake in their mother tongue--if a man should charge them for counterfeityng the kinges Englishe.... The unlearned or foolish phantasicalle that smelles but of learnyng (suche fellowes as have seen learned men in their daies) will so Latin their tongues that the simple can not but wonder at their talke, and thinke surely thei speake by some revelation. I know them that thinke Rhetorique to stand wholie upon darke woordes; and he that can catche an ynke horne terme by the taile him thei coumpt to bee a fine Englisheman and a good Rhetorician.'
In turning to Wilson's own style, we are reminded of Butler's sarcasm--
'All a rhetorician's rules Teach nothing but to name his tools.'
He is not, indeed, deficient, as the excerpt given shows, in dignity and weightiness, but neither there nor elsewhere has he any of the finer qualities of style, his rhythm being harsh and unmusical, his diction cumbrous and diffuse.
The excerpt which comes next in