Chapter III: The Writer

Prescott gave unusual measure of time and thought to the problem of expression. With a view to grounding himself in the technical part of literature, he invoked the aid of those now forgotten worthies, Lindley Murray and Hugh Blair--how greatly to his advantage would be difficult to say. Books of this sort are so often disfigured by a vicious or, what is worse, a commonplace style that it is a question whether one does not lose by example all that he gains by precept.

Escaping these influences, Prescott took up the chief English authors, beginning with Ascham, Sidney, Bacon, Browne, Raleigh, and Milton. His mind was constantly on the alert to discover by what means these masters produced their effects. His journals show how painstaking he was in these studies, with what intense interest he turned the problem of the art of expression over and over in his mind.

When he came to print, it was observed first of all that he had a ‘style.’ The self-conscious literary workman was plainly visible. Prescott had evidently aimed to produce certain effects through the balance of his periods, the choice of his words, the length and structure of his sentences. Every one said: ‘He is an artist.’ Praise could not have been more aptly bestowed. Among many eminent artists in words Prescott was one of the most conscientious.

But the literary style of the _Ferdinand and Isabella_ had the defect of being too apparent. One often found himself taking note of the manner of expression before he took note of the thought. The panoply of words glittered from afar. It was brilliant but metallic, magnificent but artificial.

The criticism of his first book taught Prescott the futility of worrying about style--after one has worried sufficiently. He was no less anxious to improve; he noted the mannerisms into which he had fallen, resolved to correct them, and that was the conclusion of the whole matter. He stopped dwelling overmuch on the fashion of his writing, and at once gained in ease and naturalness. After ten years of labor he had mastered the materials of his art. His workmanship improved to the last. The volumes of the _History of Philip the Second_ have literary characteristics so gracious as to add sharpness to the regret that this noble work had to be left unfinished.