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