Further Reading and Thinking: Montaigne’s Style
poetics-> rhetoric-> philosophy of essaying.
[opening paragraph “Of Repentance”]
Others form man; I only report him: and represent a particular one, ill fashioned enough, and whom, if I had to model him anew, I should certainly make something else than what he is: but that’s past recalling. Now, though the features of my picture alter and change, ’tis not, however, unlike: the world eternally turns round; all things therein are incessantly moving, the earth, the rocks of Caucasus, and the pyramids of Egypt, both by the public motion and their own. Even constancy itself is no other but a slower and more languishing motion. I cannot fix my object; ’tis always tottering and reeling by a natural giddiness: I take it as it is at the instant I consider it; I do not paint its being, I paint its passage; not a passing from one age to another, or, as the people say, from seven to seven years, but from day to day, from minute to minute. I must accommodate my history to the hour: I may presently change, not only by fortune, but also by intention. ’Tis a counterpart of various and changeable accidents, and of irresolute imaginations, and, as it falls out, sometimes contrary: whether it be that I am then another self, or that I take subjects by other circumstances and considerations: so it is, that I may peradventure contradict myself, but, as Demades said, I never contradict the truth. Could my soul once take footing, I would not essay but resolve: but it is always learning and making trial.
[Emerson on Montaigne’s style: “Motaigne; or, The Skeptic”]
The sincerity and marrow of the man reaches to his sentences. I know not anywhere the book that seems less written. It is the language of conversation transferred to a book. Cut these words, and they would bleed; they are vascular and alive. One has the same pleasure in it that he feels in listening to the necessary speech of men about their work, when any unusual circumstance gives momentary importance to the dialogue. For blacksmiths and teamsters do not trip in their speech; it is a shower of bullets. It is Cambridge men who correct themselves and begin again at every half sentence, and, moreover, will pun, and refine too much, and swerve from the matter to the expression. Montaigne talks with shrewdness, knows the world and books and himself, and uses the positive degree; never shrieks, or protests, or prays: no weakness, no convulsion, no superlative: does not wish to jump out of his skin, or play any antics, or annihilate space or time, but is stout and solid; tastes every moment of the day; likes pain because it makes him feel himself and realize things; as we pinch ourselves to know that we are awake. He keeps the plain; he rarely mounts or sinks; likes to feel solid ground and the stones underneath. His writing has no enthusiasms, no aspiration; contented, self-respecting and keeping the middle of the road. There is but one exception,- in his love for Socrates. In speaking of him, for once his cheek flushes and his style rises to passion.
Theater of the Brain 