What words we use, and in what order we put them, is the whole matter of style; and a man desiring to influence his fellow men has therefore not one, but two co-related instruments at his disposal. He cannot use one without the other. The weakness of the one will ruin the other. These two instruments are his idea and his style.
However powerful, native, sympathetic to his hearers’ mood or cogently provable by reference to new things may be a man’s idea, he cannot persuade his fellow men to it if he have not words that express it. And he will persuade them more and more in proportion as his words are well chosen and in the right order, such order being determined by the genius of the language whence they are drawn.
Whether the idea of which Rousseau made himself the exponent in his famous tract be true or false, need not further concern us in this little book. We all know that the difficult attempt to realise political freedom has attracted various communities of men at various times and repelled others. What English readers rarely hear is that the triumph of Rousseau depended not only on the first element in persuasion, which is vision, but also upon the second of the two co-related instruments by which a man may influence his fellows—to wit, style. It was his choice of French words and the order in which he arranged them, that gave him his enormous ascendancy over the generation which was young when he was old.
