English: Composition and Literature. William Franklin Webster

carry them all, and, much worse, it cannot arrange them. Nor is there any need for a detailed enumeration. A room has walls, floor, and ceiling; a man naturally has ears, arms, and feet. These things may be taken for granted. It is not what is common to a class that describes; it is what is individual, what takes one object out of a class.

      Value of Observation. This leads to the suggestion that good description depends largely on accurate observation. A selection frequently quoted, but none the less valuable because often seen, is in point here. It is the last word on the value of observation.

      “Talent is long patience. It is a question of regarding whatever one desires to express long enough and with attention close enough to discover a side which no one has seen and which has been expressed by nobody. In everything there is something of the unexplored, because we are accustomed to use our eyes only with the thought of what has already been said concerning the thing we see. The smallest thing has in it a grain of the unknown. Discover it. In order to describe a fire that flames or a tree in the plain, we must remain face to face with that fire or that tree until for us they no longer resemble any other tree or any other fire. This is the way to become original.

      “Having, moreover, impressed upon me the fact that there are not in the whole world two grains of sand, two insects, two hands, or two noses absolutely alike, he forced me to describe a being or an object in such a manner as to individualize it clearly, to distinguish it from all other objects of the same kind. ‘When you pass,’ he said to me, ‘a grocer seated in his doorway, a concierge smoking his pipe, a row of cabs, show me this grocer and this concierge, their attitude, all their physical appearance; suggest by the skill of your image all their moral nature, so that I shall not confound them with any other grocer or any other concierge; make me see, by a single word, wherein a cab-horse differs from the fifty others that follow or precede him.’… Whatever may be the thing which one wishes to say, there is but one word for expressing it; only one verb to animate it, but one adjective to qualify it. It is essential to search for this verb, for this adjective, until they are discovered, and never to be satisfied with anything else.”7

      The Point of View. With the closest observation, an author gets into his own mind what he wishes to present to another; but with this essential step taken, he is only ready to begin the work of communication. For the successful communication of a picture there are some considerations of value. And first is the point of view. It has much the same relation to description as the main incident has to narration. In large measure it determines what to exclude and what to include. When a writer has assumed his point of view, he must stay there, and tell not a thing more than he can see from there. It would hardly be possible for a man, telling only so much as he saw while gazing from Eiffel Tower into the streets below, to say that the people looked like Lilliputians and that their hands were dirty. To one lying on the bank of a stream, it does not look like “a silver thread running through the landscape.” Things do not look the same when they are near as when at a distance. This fact has been acted upon more by the modern school of painting than ever before in art. Verboeckhoven painted sheep in a marvelous way. The drawing is perfect, giving the animal to the life. Still, no matter how far away the artist was standing, there are the same marvelously painted tufts of wool, showing almost the individual fibres. Tufts of wool were on the sheep, and made of fibres; but no artist at twenty rods could see them. The new school gives only what actually can be seen. Its first law is that each “shall draw the thing as he sees it for the God of Things as They Are.” Make no additions to what you can actually see because, as a result of experience, you know that there are some things not yet mentioned in your description; the hands may be dirty, but the man on the tower cannot see the dirt. Neither make an addition simply because it sounds well; the “silver thread through the landscape” is beautiful, but, unfortunately, it is not always true.

      Not only does distance cut out details from a picture; the fact that man sees in a straight line and not around a corner eliminates some features. In describing a house, remember that as you stand across the street from it, the back porch cannot be seen, neither can the shrubbery in the back yard. A writer would not be justified in speaking of a man’s necktie, if the man he was describing were walking in front of him. In enumerative description the inside of a box may be told of; a man may be turned around, as it were; but to present a picture, only one side can be described, just as it would be shown in a photograph. Any addition to what can actually be known from the point of view assumed by the author is a fault and a source of confusion. Choose your point of view; stay there; and tell only what is seen from that point.

      Moving Point of View. It has been said that the point of view should not be changed. This requires one modification. It may be changed, if the reader is kept informed of the changes. If a person wished to describe an interior, he would be unable to see the whole from any one point of view. As he passed from room to room he should inform his reader of his change of position. Then the description, though a unit, is a combination of several descriptions; just as the house is one, though made of dining-room, sitting-rooms, bedrooms, and attic. This kind of description is very common in books of travel, in which the author tells what he sees in passing. The thing to be remembered in writing this kind of description is to inform the reader where the author is when he writes the different parts of the description,—to give the points of view.

      The Point of View should be stated. The point of view, whether fixed or moving, should be made clear. Either it should be definitely stated, or it should be suggested by some phrase in the description. In the many examples which are quoted in this chapter, it would be well to see what it is that gives the point of view. The picture gains in distinctness when the point of view is known. The following sentences are from “The Old Manse;” there is no mistake here. The reader knows every move the author makes. It opens with:—

      “Between two tall gateposts of rough-hewn stone (the gate itself having fallen from its hinges at some unknown epoch) we beheld the gray front of the old parsonage terminating the vista of an avenue of black ash-trees.”

      From the street the reader is taken to “the rear of the house,” where there was “the most delightful little nook of a study that ever offered its snug seclusion to a scholar.” Through its window the clergyman saw the opening of the “deadly struggle between two nations.” He heard the rattle of musketry, and

      “there needed but a gentle wind to sweep the battle smoke around this quiet house. Perhaps the reader, whom I cannot help considering as my guest in the Old Manse and entitled to all courtesy in the way of sight-showing,—perhaps he will choose to take a nearer view of the memorable spot. We stand now on the river’s brink.”… “Here we are, at the point where the river was crossed by the old bridge.”… “The Old Manse! We had almost forgotten it, but will return thither through the orchard.”… “What with the river, the battle-field, the orchard, and the garden, the reader begins to despair of finding his way back into the Old Manse. But in agreeable weather it is the truest hospitality to keep him out-of-doors. I never grew quite acquainted with my habitation till a long spell of sulky rain had confined me beneath its roof. There could not be a more sombre aspect of external nature than as then seen from the windows of my study.”

      And so Hawthorne continues through this long and beautiful description of “The Old Manse;” every change in the point of view is noted.

       Mental Point of View. Closely connected with the physical point of view is the mood or purpose of the writer; this might be called the mental point of view. Not everything should be told which the author could know from his position, but only those things which at the time serve his purpose. In the description already quoted from Newman, the mercantile gentleman notes a large number of features which are the commercial advantages of Attica; of these but three are worthy of mention by “yon pilgrim student” in giving his impression of Athens as “a shrine where he might take his fill of gazing on those emblems and coruscations of invisible unoriginate perfection.” The others—the soil, the streams, the climate, the limestone, the fisheries, and the silver mines—do not serve his purpose. Hawthorne in the long description already mentioned has retained those features which suggest quiet and peace. Such a profusion of “quiet,” “half asleep,” “peaceful,”

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Pierre et Jean, by Maupassant. Quoted from Bates’s Talks on Writing English.