The essence of a sound style is that it cannot be reduced to rules-that it is a living and breathing thing with something of the devilish in it-that it fits its proprietor tightly yet ever so loosely, as his skin fits him. It is, in fact, quite as seriously an integral part of him as that skin is. . . . In brief, a style is always the outward and visible symbol of a man, and cannot be anything else.
It is difficult to believe that even idiots ever succumbed to such transparent contradictions, to such gaudy processions of mere counter-words, to so vast and obvious a nonsensicalitysentence after sentence that has no apparent meaning at all--stuff quite as bad as the worst bosh of Warren Gamaliel Harding.
The Puritan, of course, is not entirely devoid of aesthetic feeling. He has a taste for good form; he responds to style; he is even capable of something approaching a purely aesthetic emotion. But he fears this aesthetic emotion as an insinuating distraction from his chief business in life: the sober consideration of the all-important problem of conduct. Art is a temptation, a seduction, a Lorelei, and the Good Man may safely have traffic with it when it is broken to moral uses--in other words, when its innocence is pumped out of it, and it is purged of gusto.
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