THE STYLE IS THE MAN.
Style means manner. A cricketer's
style is the way he bats or bowls. When we speak of a speaker's style as being
eloquent or humdrum, we mean that he speaks in an eloquent or in a humdrum way.
So literary style is simply a manner of writing, and the style of an author is
simply his manner of writing his peculiar way of expressing his thoughts in
words.
"Style is the man"
encapsulates the essence of individuality and character expressed through one's
mannerisms, performance, and choices. It reflects not just what one wears, but
how they wear it, embodying a unique blend of personality, taste, and
confidence. From the tricky merits of posture to the bold statements of
fashion, style is the canvas upon which a person paints their identity,
signalling their values, aspirations, and experiences to the world. It's the
art of self-expression, where every detail, from the curve of a smile to the
cut of a suit, speaks volumes about the individual within. In this way, style
becomes not just a mode of presentation, but a mirror reflecting the depth and
complexity of the human spirit.
Every distinguished writer has a
style of his own; for style is a personal matter. No two people are exactly
alike; so, when a man speaks or writes, he expresses himself, and no one else.
This is what the French writer, Buffon, meant when he said, -" The style
is the man."
"A writer's style
is as distinctive as his walk, his mode of dress or his habits"-and, we
may add, his handwriting. A hundred boys may learn to write from the same
copybook in the same school; yet in the end they will write so diversely that
it will not require a handwriting expert to tell the difference between them.
For example, Thomas Carlyle's style was rugged because Carlyle himself was a
rough character; and the even-tempered and clear-headed Addison naturally wrote
in a smooth, lucid, and equable manner. A firm grasp of this truth will save
young writers from slipping into two fatal errors. One is the mistaken idea
that style is something added. to plain writing by way of ornament. Young
writers too often think that, to give their compositions "style",
they must decorate them with eloquent phrases, ornate metaphors, flowery
language, and other flourishes. This is all wrong. It is like plastering the
natural face with paint and powder. The first rule for the formation of a
writer's style is that he must be himself. The other mistake is mimicry-trying
to imitate the style of some great writers. For two reasons this is a mistake.
First, because it cannot be done. You may learn to imitate the styles of Modi,
Lamb, Carlyle, Macaulay, or Stevenson, but you will capture only their
mannerisms while missing their essential qualities. Secondly, because adopting
another man's style is like wearing another man's clothes. They will neither
fit nor suit you. Your style must be the natural expression of your own, not of
another's, personality. Study the styles of good authors, for you should know
not only what a good writer says, but also how he says it. But study that, not
to mimic his method of self-expression, but to learn how to better express
yourself.
"Style is the man"
encapsulates the notion that an individual's manner of expression, whether
through attire, speech, or behaviours, reflects their character and
personality. It suggests that one's style is not merely superficial adornment
but rather a window into their inner self. Just as a well-tailored suit can
convey confidence and refinement, or a carefully chosen phrase can reveal
intelligence and wit, our choices in presentation speak volumes about who we
are. Thus, cultivating a unique and authentic style becomes not only a matter
of aesthetics but also a means of self-expression and identity. In essence,
"style is the man" implies that how we present ourselves to the world
is inseparable from who we truly are.
