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STYLE AND STYLIZATION 269
traditions of his people and the taste of his time is not to some extent reflected, there is no work of art without style, even if the style is unconscious or insignificant.
It is important, however, that the work of art expresses the synthesis of all these influences in a unified style, in other words that the personal style of the artist, the style of his time and the style of his class and nation will all be manifested in the forms of a single style. In addition to this, every work of art worthy of the name has an ad hoc style of its own, in which its own content and tendency finds expression. It must also be remembered that the great historical styles came into being unconsciously and without theoretical intentions; they were born out of practice, almost imperceptibly, as mere fashions at first and only later, when they had already faded out, was it possible to recognize them as comprehensive, epoch-making 'styles'. Sometimes styles were born out of a false consciousness, based on false theories, such as the early Renaissance style which was intended only as a modest imitation of the ancient Greek style and regarded itself as such. Or a style could be born under the influence of some moral trend devoid of any aesthetic ideas, as for instance the severe simplicity of the directoire style which was an expression of the puritan spirit of the revolutionary bourgoisie as opposed to the aristocratic rococo. If we regard style as the general character of artistic forms, then even completely unstylized naturalism is a style; even an eclectic mixture of styles can be a style. The word style does not in itself imply any sort of value judgment.
So much for style. Stylization is quite another thing. The difference between style and stylization might best be illustrated by the example of literature. Every literary work — it need not even be a work of art — has some sort of style in the sense that it formulates what it has to say in some characteristic manner. But not every work of literature is stylized. For instance, plays written in natural colloquial dialogue are not stylized, but all poetry and rhythmic prose is.
There is thus a mutually exclusive contrast between naturalist, or near-naturalist, 'natural' works and works which intentionally deviate from the natural, are deliberately formed