of imparting them accurately. In any case, he would not have
set up in you that vibration which we call pleasure, and which is
supereminently caused by vitalising participation in high emotion.
As Lamb sat in his bachelor arm-chair, with his brother in the grave,
and the faithful homicidal maniac by his side, he really did
think to himself, "This is beautiful. Sorrow is beautiful.
Disappointment is beautiful. Life is beautiful. *I must tell them.*
I must make them understand." Because he still makes you understand
he is a classic. And now I seem to hear you say, "But what about
Lamb's famous literary style? Where does that come in?"



Chapter VI

THE QUESTION OF STYLE

In discussing the value of particular books, I have heard people say--
people who were timid about expressing their views of literature
in the presence of literary men: "It may be bad from a literary
point of view, but there are very good things in it."
Or: "I dare say the style is very bad, but really the book is
very interesting and suggestive." Or: "I'm not an expert,
and so I never bother my head about good style. All I ask for
is good matter. And when I have got it, critics may say what they like
about the book." And many other similar remarks, all showing
that in the minds of the speakers there existed a notion
that style is something supplementary to, and distinguishable from, matter;
a sort of notion that a writer who wanted to be classical had first
to find and arrange his matter, and then dress it up elegantly