| (Manchester Evening News for Tribune) |
For several centuries in the Middle Ages the professional scribes wrote an exquisite script, or rather a series of scripts, which no one now living could equal. Then handwriting declined, reviving in the nineteenth century after the invention of the steel pen. The style then favoured was ‘copperplate.’ It was neat and legible, but it was full of unnecessary lines and did not fit in with the modern tendency to get rid of ornament wherever possible. Then it became the fashion to teach children script, usually with disastrous results. To write script with real neatness one practically has to learn to draw, and it is impossible to write it as rapidly as a cursive hand. Many young or youngish people now make use of an uneasy compromise between script and copperplate, and indeed there are many adult and fully literate people whose handwriting has never properly ‘formed.’
It would be interesting to know whether there is any connection between neat handwriting and literary ability. I must say that the modern examples I am able to think of do not seem to prove much. Miss Rebecca West has an exquisite handwriting, and so has Mr. Middleton Murry. Sir Osbert Sitwell, Mr. Stephen Spender, and Mr. Evelyn Waugh all have handwritings which, to put it as politely as possible, are not good. Professor Laski writes a hand which is attractive to look at but difficult to read. Arnold Bennett wrote a beautiful tiny hand over which he took immense pains. H. G. Wells had an attractive but untidy writing. Carlyle’s writing was so bad that one compositor is said to have left Edinburgh in order to get away from the job of setting it up. Mr. Bernard Shaw writes a small, clear but not very elegant hand. And as for the most famous and respected of living English novelists, his writing is such that when I was at the B.B.C. and had the honour of putting him on the air once a month there was only one secretary in the whole department who could decipher his manuscripts.