J. Middleton Murry
Notable Points from his fourth lecture — The Central Problem of Style
From — The Problem of Style, Fourth Impression, 1935, OUP
We would think that all writers would give their best efforts in whatever medium they choose to write. We would also note that some writers tend to overreach themselves in their attempts. Typically, this is something that will occur, especially when the writer is first starting out. In this stage there is always the some imitation which is understandable.
I was reading Murry’s lecture and on two pages of his book (86 & 87), there were some interesting and profound statements which struck me as being very important to any writer of prose or poetry.
For every writer, there is the attempt to construct sentences or verses with a rhythm that will participate in and intensify the feeling they are trying to produce. We may say replicate their feeling in the reader.
This type of device is always used by the masters, but for others they may not work the way they expect, and as a result can work against the writer in what they are attempting to express. He makes a very astute observation:
How many ambitious writers of prose and poetry do we see drowning their effect under the waves of a monotonous and deliberate rhythm?
This can come as a very negative criticism, but it is also very real. Attempts to impress are not always successful, and neither should they necessarily be. However, it is not only the beginner that can fail in this aspect.
The adjectives monotonous and deliberate would likely point more to poetry than prose, because this is what we would more likely find in structured poetry. Monotonous would be referring to the consistent use of a specific metrical foot, and deliberate to the enforced meter. One may give an example as iambic pentameter. Irrespective of what we may think of this type of verse, pure iambic pentameter for a lengthier work can become monotonous due to the purposeful act of keeping the meter. To rectify this aspect of a poem, variations are generally introduced to avoid the monotony. These variations are easily identified because, to a point they break with the rigidity of the meter which is organized rhythm. His other telling point:
Continually replacing a less with a more sonorous word, but now the musical suggestion is at odds with the meaning.
Many poets will write to a melody of sorts, we can call this the musical aspect, and yes it gives a pleasant feel to the poem. However, the search for another word that means the same may well cause a problem. Sometimes, if I can be so daring, every time a simple word is far better to use because its meaning is understandable. As Murry suggests, the musical, or more musical aspect of a piece can be in conflict with the message or feeling the writer wishes to impart to the reader rendering the piece confusing to say the least. In other words, the reader is getting mixed messages, what they are reading about does not correspond to the way it is being expressed. He further states:
When the musical suggestion is allowed to predominate, decadence of style has begun.
What this means is that the writers indulgence to opt for the more musical aspect brings about a downfall in the meaning of the piece. Yes, it is wonderful to have something that may be pleasing to the ear in respect to sound, but it is more important that the feeling and meaning of the piece becomes known to the reader — this is precision. The following quote gives a clear understanding of the result of this fault:
The essential quality of good writing is precision; that must be kept at its maximum, and the writer who sacrifices one per cent. of precision for a gain of one hundred per cent. in music is on the downward path.
You may beg to differ, but the reality is that it makes perfect sense. Not everything can be expressed in a musical manner, nor do we what it to be. The writer must write for precision, because this is how the intentions are made clear. To disguise it in some other manner is to the detriment of the poem and the writer.