Style Quotes (15 quotes)
How have people come to be taken in by The Phenomenon of Man? Just as compulsory primary education created a market catered for by cheap dailies and weeklies, so the spread of secondary and latterly of tertiary education has created a large population of people, often with well-developed literary and scholarly tastes who have been educated far beyond their capacity to undertake analytical thought … [The Phenomenon of Man] is written in an all but totally unintelligible style, and this is construed as prima-facie evidence of profundity.
If Watson and I had not discovered the [DNA] structure, instead of being revealed with a flourish it would have trickled out and that its impact would have been far less. For this sort of reason Stent had argued that a scientific discovery is more akin to a work of art than is generally admitted. Style, he argues, is as important as content. I am not completely convinced by this argument, at least in this case.
Natural historians tend to avoid tendentious preaching in this philosophical mode (although I often fall victim to such temptations in these essays). Our favored style of doubting is empirical: if I wish to question your proposed generality, I w ill search for a counterexample in flesh and blood. Such counterexamples exist in abundance, for the form a staple in a standard genre of writing in natural history–the ‘wonderment of oddity’ or ‘strange ways of the beaver’ tradition.
Plants do it with style.
Scientists are not robotic inducing machines that infer structures of explanation only from regularities observed in natural phenomena (assuming, as I doubt, that such a style of reasoning could ever achieve success in principle). Scientists are human beings, immersed in culture, and struggling with all the curious tools of inference that mind permits ... Culture can potentiate as well as constrain–as Darwin’s translation of Adam Smith’s laissez-faire economic models into biology as the theory of natural selection. In any case, objective minds do not exist outside culture, so we must make the best of our ineluctable embedding.
Strategy is a style of thinking, a conscious and deliberate process, an intensive implementation system, the science of insuring future success.
The effects of general change in literature are most tellingly recorded not in alteration of the best products, but in the transformation of the most ordinary workaday books; for when potboilers adopt the new style, then the revolution is complete.
The great masters of modern analysis are Lagrange, Laplace, and Gauss, who were contemporaries. It is interesting to note the marked contrast in their styles. Lagrange is perfect both in form and matter, he is careful to explain his procedure, and though his arguments are general they are easy to follow. Laplace on the other hand explains nothing, is indifferent to style, and, if satisfied that his results are correct, is content to leave them either with no proof or with a faulty one. Gauss is as exact and elegant as Lagrange, but even more difficult to follow than Laplace, for he removes every trace of the analysis by which he reached his results, and studies to give a proof which while rigorous shall be as concise and synthetical as possible.
The sense for style … is an aesthetic sense, based on admiration for the direct attainment of a foreseen end, simply and without waste. Style in art, style in literature, style in science, style in logic, style in practical execution have fundamentally the same aesthetic qualities, namely, attainment and restraint. The love of a subject in itself and for itself, where it is not the sleepy pleasure of pacing a mental quarter-deck, is the love of style as manifested in that study. Here we are brought back to the position from which we started, the utility of education. Style, in its finest sense, is the last acquirement of the educated mind; it is also the most useful. It pervades the whole being. The administrator with a sense for style hates waste; the engineer with a sense for style economises his material; the artisan with a sense for style prefers good work. Style is the ultimate morality of the mind.
There are many different styles of composition. I characterize them always as Mozart versus Beethoven. When Mozart began to write at that time he had the composition ready in his mind. He wrote the manuscript and it was ‘aus einem Guss’ (casted as one). And it was also written very beautiful. Beethoven was an indecisive and a tinkerer and wrote down before he had the composition ready and plastered parts over to change them. There was a certain place where he plastered over nine times and one did remove that carefully to see what happened and it turned out the last version was the same as the first one.
There was, I think, a feeling that the best science was that done in the simplest way. In experimental work, as in mathematics, there was “style” and a result obtained with simple equipment was more elegant than one obtained with complicated apparatus, just as a mathematical proof derived neatly was better than one involving laborious calculations. Rutherford's first disintegration experiment, and Chadwick's discovery of the neutron had a “style” that is different from that of experiments made with giant accelerators.
Until I became a published writer, I remained completely ignorant of books on how to write and courses on the subject ... they would have spoiled my natural style; made me observe caution; would have hedged me with rules.
Very little comes easily to our poor, benighted species (the first creature, after all, to experiment with the novel evolutionary inventions of self-conscious philosophy and art). Even the most ‘obvious,’ ‘accurate,’ and ‘natural’ style of thinking or drawing must be regulated by history and won by struggle. Solutions must therefore arise within a social context and record the complex interactions of mind and environment that define the possibility of human improvement.
We do not inhabit a perfected world where natural selection ruthlessly scrutinizes all organic structures and then molds them for optimal utility. Organisms inherit a body form and a style of embryonic development; these impose constraint s upon future change and adaptation. In many cases, evolutionary pathways reflect inherited patterns more than current environmental demands. These inheritances constrain, but they also provide opportunity. A potentially minor genetic change ... entails a host of complex, nonadaptive consequences ... What ‘play’ would evolution have if each structure were built for a restricted purpose and could be used for nothing else? How could humans learn to write if our brain had not evolved for hunting, social cohesion, or whatever, and could not transcend the adaptive boundaries of its original purpose?
[In the Royal Society, there] has been, a constant Resolution, to reject all the amplifications, digressions, and swellings of style: to return back to the primitive purity, and shortness, when men deliver'd so many things, almost in an equal number of words. They have exacted from all their members, a close, naked, natural way of speaking; positive expressions; clear senses; a native easiness: bringing all things as near the Mathematical plainness, as they can: and preferring the language of Artizans, Countrymen, and Merchants, before that, of Wits, or Scholars.