Part 2

To attempt an analysis of Huxley's character, unique and bafflingly complex as it is, is beyond the scope of this sketch; but to give only the mere facts of his life is to do an injustice to the vivid personality of the man as it is revealed in his letters. All his human interest in people and things--pets, and flowers, and family--brightens many pages of the two ponderous volumes. Now one reads of his grief over some backward-going plant, or over some garden tragedy, as "A lovely clematis in full flower, which I had spent hours in nailing up, has just died suddenly. I am more inconsolable than Jonah!" Now one is amused with a nonsense letter to one of his children, and again with an account of a pet. "I wish you would write seriously to M----. She is not behaving well to Oliver. I have seen handsomer kittens, but few more lively, and energetically destructive. Just now he scratched away at something M---- says cost 13s. 6d. a yard and reduced more or less of it to combings. M---- therefore excludes him from the dining-room and all those opportunities of higher education which he would have in MY house." Frequently one finds a description of some event, so vividly done that the mere reading of it seems like a real experience. An account of Tennyson's burial in Westminster is a typical bit of description:--

Bright sunshine streamed through the windows of the nave, while the choir was in half gloom, and as each shaft of light illuminated the flower-covered bier as it slowly travelled on, one thought of the bright succession of his works between the darkness before and the darkness after. I am glad to say that the Royal Society was represented by four of its chief officers, and nine of the commonalty, including myself. Tennyson has a right to that, as the first poet since Lucretius who has understood the drift of science.

No parts of the Life and Letters are more enjoyable than those concerning the "Happy Family," as a friend of Huxley's names his household. His family of seven children found their father a most engaging friend and companion. He could tell them wonderful sea stories and animal stories and could draw fascinating pictures. His son writes of how when he was ill with scarlet fever he used to look forward to his father's home-coming. "The solitary days--for I was the first victim in the family--were very long, and I looked forward with intense interest to one half-hour after dinner, when he would come up and draw scenes from the history of a remarkable bull-terrier and his family that went to the seaside in a most human and child-delighting manner. I have seldom suffered a greater disappointment than when, one evening, I fell asleep just before this fairy half-hour, and lost it out of my life."

The account of the comradeship between Huxley and his wife reads like a good old-time romance. He was attracted to her at first by her "simplicity and directness united with an unusual degree of cultivation," Huxley's son writes. On her he depended for advice in his work, and for companionship at home and abroad when wandering in search of health in Italy and Switzerland. When he had been separated from her for some time, he wrote, "Nobody, children or anyone else, can be to me what you are. Ulysses preferred his old woman to immortality, and this absence has led me to see that he was as wise in that as in other things." Again he writes, "Against all trouble (and I have had my share) I weigh a wife-comrade 'trew and fest' in all emergencies."

The letters also give one a clear idea of the breadth of Huxley's interests, particularly of his appreciation of the various forms of art. Huxley believed strongly in the arts as a refining and helpful influence in education. He keenly enjoyed good music. Professor Hewes writes of him that one breaking in upon him in the afternoon at South Kensington would not infrequently be met "with a snatch of some melody of Bach's fugue." He also liked good pictures, and always had among his friends well-known artists, as Alma-Tadema, Sir Frederick Leighton, and Burne-Jones. He read poetry widely, and strongly advocated the teaching of poetry in English schools. As to poetry, his own preferences are interesting. Wordsworth he considered too discursive; Shelley was too diffuse; Keats, he liked for pure beauty, Browning for strength, and Tennyson for his understanding of modern science; but most frequently of all he read Milton and Shakespeare.

As to Huxley's appearance, and as to the impression which his personality made upon others, the description of a friend, Mr. G. W. Smalley, presents him with striking force. "The square forehead, the square jaw, the tense lines of the mouth, the deep flashing dark eyes, the impression of something more than strength he gave you, an impression of sincerity, of solid force, of immovability, yet with the gentleness arising from the serene consciousness of his strength--all this belonged to Huxley and to him alone. The first glance magnetized his audience. The eyes were those of one accustomed to command, of one having authority, and not fearing on occasion to use it. The hair swept carelessly away from the broad forehead and grew rather long behind, yet the length did not suggest, as it often does, effeminacy. He was masculine in everything--look, gesture, speech. Sparing of gesture, sparing of emphasis, careless of mere rhetorical or oratorical art, he had nevertheless the secret of the highest art of all, whether in oratory or whatever else--he had simplicity."

Simplicity, directness, sincerity,--all these qualities describe Huxley; but the one attribute which distinguishes him above all others is love of truth. A love of truth, as the phrase characterizes Huxley, would necessarily produce a scholarly habit of mind. It was the zealous search for truth which determined his method of work. In science, Huxley would "take at second hand nothing for which he vouched in teaching." Some one reproached him for wasting time verifying what another had already done. "If that is his practice," he commented, "his work will never live." The same motive made him a master of languages. To be able to read at first hand the writings of other nations, he learned German, French, Italian, and Greek. One of the chief reasons for learning to read Greek was to see for himself if Aristotle really did say that the heart had only three chambers--an error, he discovered, not of Aristotle, but of the translator. It was, moreover, the scholar in Huxley which made him impatient of narrow, half-formed, foggy conclusions. His own work has all the breadth and freedom and universality of the scholar, but it has, also, a quality equally distinctive of the scholar, namely, an infinite precision in the matter of detail.

If love of truth made Huxley a scholar, it made him, also, a courageous fighter. Man's first duty, as he saw it, was to seek the truth; his second was to teach it to others, and, if necessary, to contend valiantly for it. To fail to teach what you honestly know to be true, because it may harm your reputation, or even because it may give pain to others, is cowardice. "I am not greatly concerned about any reputation," Huxley writes to his wife, "except that of being entirely honest and straightforward." Regardless of warnings that the publication of Man's Place in Nature would ruin his career, Huxley passed on to others what nature had revealed to him. He was regardless, also, of the confusion and pain which his view would necessarily bring to those who had been nourished in old traditions. To stand with a man or two and to do battle with the world on the score of its old beliefs, has never been an easy task since the world began. Certainly it required fearlessness and determination to wrestle with the prejudices against science in the middle of the nineteenth century--how much may be gathered from the reading of Darwin's Life and Letters. The attitude of the times toward science has already been indicated. One may be allowed to give one more example from the reported address of a clergyman. "O ye men of science, ye men of science, leave us our ancestors in paradise, and you may have yours in Zoological gardens." The war was, for the most part, between the clergy and the men of science, but it is necessary to remember that Huxley fought not against Christianity, but against dogma; that he fought not against the past,--he had great reverence for the accomplishment of the past,--but against unwillingness to accept the new truth of the present.

A scholar of the highest type and a fearless defender of true and honest thinking, Huxley certainly was: but the quality which gives meaning to his work, which makes it live, is a certain human quality due to the fact that Huxley was always keenly alive to the relation of science to the problems of life. For this reason, he was not content with the mere acquirement of knowledge; and for this reason, also, he could not quietly wait until the world should come to his way of thinking. Much of the time, therefore, which he would otherwise naturally have spent in research, he spent in contending for and in endeavoring to popularize the facts of science. It was this desire to make his ideas prevail that led Huxley to work for a mastery of the technique of speaking and writing. He hated both, but taught himself to do both well. The end of all his infinite pains about his writing was not because style for its own sake is worth while, but because he saw that the only way to win men to a consideration of his message was to make it perfectly clear and attractive to them. Huxley's message to the people was that happiness, usefulness, and even material prosperity depend upon an understanding of the laws of nature. He also taught that a knowledge of the facts of science is the soundest basis for moral law; that a clear sense of the penalties which Nature inflicts for disobedience of her laws must eventually be the greatest force for the purification of life. If he was to be remembered, therefore, he desired that he should be remembered primarily as one who had helped the people "to think truly and to live rightly." Huxley's writing is, then, something more than a scholarly exposition of abstruse matter; for it has been further devoted to the increasing of man's capacity for usefulness, and to the betterment of his life here on earth.

II -- SUBJECT-MATTER, STRUCTURE, AND STYLE

From the point of view of subject-matter, structure, and style, Huxley's essays are admirably adapted to the uses of the student in English. The themes of the essays are two, education and science. In these two subjects Huxley earnestly sought to arouse interest and to impart knowledge, because he believed that intelligence in these matters is essential for the advancement of the race in strength and morality. Both subjects, therefore, should be valuable to the student. In education, certainly, he should be interested, since it is his main occupation, if not his chief concern. Essays like A Liberal Education and The Principal Subjects of Education may suggest to him the meaning of all his work, and may suggest, also, the things which it would be well for him to know; and, even more, a consideration of these subjects may arouse him to a greater interest and responsibility than he usually assumes toward his own mental equipment. Of greater interest probably will be the subjects which deal with nature; for the ways of nature are more nearly within the range of his real concerns than are the wherefores of study. The story of the formation of a piece of chalk, the substance which lies at the basis of all life, the habits of sea animals, are all subjects the nature of which is akin to his own eager interest in the world.

Undoubtedly the subjects about which Huxley writes will "appeal" to the student; but it is in analysis that the real discipline lies. For analysis Huxley's essays are excellent. They illustrate "the clear power of exposition," and such power is, as Huxley wrote to Tyndall, the one quality the people want,--exposition "so clear that they may think they understand even if they don't." Huxley obtains that perfect clearness in his own work by simple definition, by keeping steadily before his audience his intention, and by making plain throughout his lecture a well-defined organic structure. No X-ray machine is needful to make the skeleton visible; it stands forth with the parts all nicely related and compactly joined. In reference to structure, his son and biographer writes, "He loved to visualize his object clearly. The framework of what he wished to say would always be drawn out first." Professor Ray Lankester also mentions Huxley's love of form. "He deals with form not only as a mechanical engineer IN PARTIBUS (Huxley's own description of himself), but also as an artist, a born lover of form, a character which others recognize in him though he does not himself set it down in his analysis." Huxley's own account of his efforts to shape his work is suggestive. "The fact is that I have a great love and respect for my native tongue, and take great pains to use it properly. Sometimes I write essays half-a-dozen times before I can get them into proper shape; and I believe I become more fastidious as I grow older." And, indeed, there is a marked difference in firmness of structure between the earlier essays, such as On the Educational Value of the Natural History Sciences, written, as Huxley acknowledges, in great haste, and the later essays, such as A Liberal Education and The Method of Scientific Investigation. To trace and to define this difference will be most helpful to the student who is building up a knowledge of structure for his own use.

According to Huxley's biographer in the Life and Letters of Thomas Henry Huxley, the essays which represent him at his best are those published in 1868. They are A Piece of Chalk, A Liberal Education, and On the Physical Basis of Life. In connection with the comment on these essays is the following quotation which gives one interesting information as to Huxley's method of obtaining a clear style:--

This lecture on A Piece of Chalk together with two others delivered this year, seems to me to mark the maturing of his style into that mastery of clear expression for which he deliberately labored, the saying exactly what he meant, neither too much nor too little, without confusion and without obscurity. Have something to say, and say it, was the Duke of Wellington's theory of style; Huxley's was to say that which has to be said in such language that you can stand cross-examination on each word. Be clear, though you may be convicted of error. If you are clearly wrong, you will run up against a fact sometime and get set right. If you shuffle with your subject, and study chiefly to use language which will give a loophole of escape either way, there is no hope for you.

This was the secret of his lucidity. In no one could Buffon's aphorism on style find a better illustration, Le style c'est l'homme meme. In him science and literature, too often divorced, were closely united; and literature owes him a debt for importing into it so much of the highest scientific habit of mind; for showing that truthfulness need not be bald, and that real power lies more in exact accuracy than in luxuriance of diction.

Huxley's own theory as to how clearness is to be obtained gets at the root of the matter. "For my part, I venture to doubt the wisdom of attempting to mould one's style by any other process than that of striving after the clear and forcible expression of definite conceptions; in which process the Glassian precept, first catch your definite conception, is probably the most difficult to obey."

Perfect clearness, above every other quality of style, certainly is characteristic of Huxley; but clearness alone does not make subject-matter literature. In addition to this quality, Huxley's writing wins the reader by the racy diction, the homely illustration, the plain, honest phrasing. All these and other qualities bring one into an intimate relationship with his subject. A man of vast technical learning, he is still so interested in the relation of his facts to the problems of men that he is always able to infuse life into the driest of subjects, in other words, to HUMANIZE his knowledge; and in the estimation of Matthew Arnold, this is the true work of the scholar, the highest mission of style.

III -- SUGGESTED STUDIES IN SUBJECT-MATTER, STRUCTURE, AND STYLE

Although fully realizing that the questions here given are only such as are generally used everywhere by instructors in English, the editor has, nevertheless, included them with the hope that some one may find them helpful.

The studies given include a few general questions and suggestions on subject-matter, structure, and style. The questions on structure are based on an analysis of the whole composition and of the paragraph; those on style are based on a study of sentences and words. Such a division of material may seem unwarranted; for, it may be urged, firmness of structure depends, to a certain extent, upon sentence-form and words; and clearness of style, to a large extent, upon the form of the paragraph and whole composition. The two, certainly, cannot be in justice separated; and especially is it true, more deeply true than the average student can be brought to believe, that structure, "MIND, in style" as Pater phrases it, primarily determines not only clearness, but also such qualities of style as reserve, refinement, and simple Doric beauty. Since, however, structure is more obviously associated with the larger groups, and style with the smaller, the questions have been arranged according to this division.

I. Suggestions for the Study of Subject-Matter.

1. To whom does Huxley address the essay?

2. Can you see any adaptation of his material to his audience?

3. How would A Piece of Chalk be differently presented if given before a science club?

4. Does Huxley make his subject interesting? If so, how does he accomplish this?

5. Is the personality of Huxley suggested by the essays? See Life and Letters, vol. ii, p. 293.

II. Suggestions for the Study of Structure.

A. Analysis of the whole composition.

1. State in one complete sentence the theme of the essay.

2. Analyze the essay for the logical development of the thought.

a. Questions on the Introduction.

In the introduction, how does the author approach his material?

Does he give the main points of the essay?

Does he give his reasons for writing?

Does he narrow his subject to one point of view?

Is the introduction a digression?

b. Questions on the Body.

Can you find large groups of thought?

Are these groups closely related to the theme and to each other?

Do you find any digressions?

Is the method used in developing the groups inductive or deductive?

Is the method different in different groups?

Are the groups arranged for good emphasis in the whole composition?

c. Questions on the Conclusion.

How does the author conclude the essay?

Does the conclusion sum up the points of the essay?

Are any new points suggested?

Is the thought of the whole essay stated?

Do you consider it a strong conclusion?

3. Make out an outline which shall picture the skeleton of the essay studied. In making the outline express the topics in the form of complete statements, phrase the thought for clear sequence, and be careful about such matters as spacing and punctuation.

B. Analysis of paragraph structure.

1. Can a paragraph be analyzed in the same manner as the whole composition?

2. Can you express the thought of each paragraph in a complete sentence?

3. Can you find different points presented in the paragraph developing the paragraph topic, as the large groups of the whole composition develop the theme?

4. Are the paragraphs closely related, and how are they bound together?

5. Can any of the paragraphs be combined to advantage?

6. Read from Barrett Wendell's English Composition the chapter on paragraphs. Are Huxley's paragraphs constructed in accordance with the principles given in this chapter?

7. Is the paragraph type varied? For paragraph types, see Scott and Denny's Paragraph Writing.

C. Comparative study of the structure of the essay.

1. Do you find any difference between Huxley's earlier and later essays as regards the structure of the whole, or the structure of the paragraph?

2. Which essay seems to you to be most successful in structure?

3. Has the character of the audience any influence upon the structure of the essays?

4. Compare the structure of one of Huxley's essays with that of some other essay recently studied.

5. Has the nature of the material any influence upon the structure of the essay?

III. Suggestions for the Study of Style.

A. Exactly what do you mean by style?

B. Questions on sentence structure.

1. From any given essay, group together sentences which are long, short, loose, periodic, balanced, simple, compound; note those peculiar, for any reason, to Huxley.

2. Stevenson says, "The one rule is to be infinitely various; to interest, to disappoint, to surprise and still to gratify; to be ever changing, as it were, the stitch, and yet still to give the effect of ingenious neatness."

Do Huxley's sentences conform to Stevenson's rule? Compare Huxley's sentences with Stevenson's for variety in form. Is there any reason for the difference between the form of the two writers?

3. Does this quotation from Pater's essay on Style describe Huxley's sentences? "The blithe, crisp sentence, decisive as a child's expression of its needs, may alternate with the long-contending, victoriously intricate sentence; the sentence, born with the integrity of a single word, relieving the sort of sentence in which, if you look closely, you can see contrivance, much adjustment, to bring a highly qualified matter into compass at one view."

4. How do Huxley's sentences compare with those of Ruskin, or with those of any author recently studied?

5. Are Huxley's sentences musical? How does an author make his sentences musical?

C. Questions on words.

1. Do you find evidence of exactness, a quality which Huxley said he labored for?

2. Are the words general or specific in character?

3. How does Huxley make his subject-matter attractive?

4. From what sources does Huxley derive his words? Are they every-day words, or more scholarly in character?

5. Do you find any figures? Are these mainly ornamental or do they re-enforce the thought?

8. Are there many allusions and quotations? Can you easily recognize the source?

7. Pater says in his essay on Style that the literary artist "begets a vocabulary faithful to the colouring of his own spirit, and in the strictest sense original." Do you find that Huxley's vocabulary suggests the man?

8. Does Huxley seem to search for "the smooth, or winsome, or forcible word, as such, or quite simply and honestly, for the word's adjustment to its meaning"?

9. Make out a list of the words and proper names in any given essay which are not familiar to you; write out the explanation of these in the form of notes giving any information which is interesting and relevant.

D. General questions on style.

1. How is Huxley's style adapted to the subject-matter?

2. Can you explain the difference in style of the different essays by the difference in purpose?