"Unless one is a genius, it is best to aim at being intelligible"
About this Quote
A sly shot at literary vanity, Hope's line flatters the reader while needling the writer. "Unless one is a genius" sounds like a concession, but it's really a trapdoor: most of us aren't, and everyone knows it. The sentence turns "intelligible" from a baseline expectation into an artistic choice, making obscurity look less like sophistication and more like a failed bid for importance.
Hope was a popular novelist in an era when English letters were negotiating the prestige economy of difficulty. Late-Victorian and Edwardian culture had room for cleverness and experiment, but it also had a booming middlebrow readership hungry for pace, wit, and plot. Hope's own success with The Prisoner of Zenda sits on that fault line: he wrote with elegance and speed, proving you could be admired without writing like you were auditioning for a seminar.
The subtext is both democratic and defensive. Democratic, because it treats comprehension as a form of respect: language is a public instrument, not a private labyrinth. Defensive, because "genius" is the one alibi that redeems opacity; if you're going to be hard to read, you'd better be Shakespeare-hard, not merely self-indulgent. There's also a quiet professional ethic here: writing isn't just self-expression, it's contract work with the audience. Hope isn't banning ambition or complexity. He's puncturing the pose that confusion equals depth, and reminding writers that clarity is not a compromise. It's the hardest style to fake.
Hope was a popular novelist in an era when English letters were negotiating the prestige economy of difficulty. Late-Victorian and Edwardian culture had room for cleverness and experiment, but it also had a booming middlebrow readership hungry for pace, wit, and plot. Hope's own success with The Prisoner of Zenda sits on that fault line: he wrote with elegance and speed, proving you could be admired without writing like you were auditioning for a seminar.
The subtext is both democratic and defensive. Democratic, because it treats comprehension as a form of respect: language is a public instrument, not a private labyrinth. Defensive, because "genius" is the one alibi that redeems opacity; if you're going to be hard to read, you'd better be Shakespeare-hard, not merely self-indulgent. There's also a quiet professional ethic here: writing isn't just self-expression, it's contract work with the audience. Hope isn't banning ambition or complexity. He's puncturing the pose that confusion equals depth, and reminding writers that clarity is not a compromise. It's the hardest style to fake.
Quote Details
| Topic | Wisdom |
|---|---|
| Source | Help us find the source |
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