Really, it was just an excuse to spend some time in the first line of Sarah Caudwell’s Thus Was Adonis Murdered:
Scholarship asks, thank God, no recompense but Truth.
I love this first sentence. There’s no reference to persons, places, or events. There is, however, a very clear narrator: portentous, comically formal with fits of frank informality, weighty and oblique but perhaps (perhaps) not as complex as they perceive themselves to be.
And there’s already, here, a note of the relief and resignation on which the narrator (though not the plot) will end the book — ultimately, the narrator (Hilary Tamar) is more concerned about their own overlooked brilliance than the guilt or innocence of the accused Julia.
It’s punchy and funny and a little startling, and a definite Mood. There’s no action, but there is a tension — between the latinate and English words; elevated diction vs brevity; lofty principles vs grumpy relief; that very brevity vs the irony and doubled negatives. Why “thank God”? What has happened, what due was not given, who would express themselves this way? (If you’ve read the books, you’ll know this is a question that is immediately, constantly, yet also never answered.)
I then did a couple of replacement exercises (from Stanley Fish, see also previously: bodysnatching). I switched out each element (without particular attention to elegance of phrasing) to get, e.g. “Breakfast seeks, thank the cook, no pinnacle save omelette” and “The star requests, thank agents, no special treatment save a sedan chair.”
What this brought out (for me) was the personification, the irony, the echoes of Pride & Prejudice in the dubious veracity of a broad statement, and how difficult it is not to be sarcastic when using this particular sentence structure.
It’s also just a great book.
A previous take on Caudwell: The Caudwell Manoeuvre.
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