Little Rays of Sunshine

Really first-rate smiles are rare. For the most part our smiles add little to our self-expression. If we are dull, they are dull. If we are sinister, they are only a little more sinister. If we are smug, they only emphasise our smugness. If, like the Lord High Everything Else, we were born sneering,* our smile is apt to be a sneer, too.

The most memorable smiles are those which have the quality of the unexpected. A smile that is habitual rarely pleases, for it suggests policy, and the essence of a smile is its spontaneity and lack of deliberation.

But it is no use for those of us who have only humdrum smiles to attempt to set up a smile that is an incantation. Smiles, like poets, are born, not made. If they are made, they are not smiles, but grimaces, and convict us on the spot. They are simply an attempt to circulate false news. There is no remedy for us of the negligible smile, but to be born again and to be born different, not outside but within, for the smile is only the publication of the inward spirit.

Abridged

Abridged from ‘Many Furrows’ (1924), a selection of essays by Alfred George Gardiner (1865-1946).

* A reference to Pooh-Bah in The Mikado (1885) by Sir W. S. Gilbert and Sir Arthur Sullivan. “My family pride is something inconceivable” he told Nanky-Poo. “I can’t help it. I was born sneering.” He became Lord High Everything Else when all the other ministers resigned rather than serve under Ko-Ko, the Lord High Executioner, and Pooh-Bah accepted their posts himself. “And the salaries attached to them?” Pish-Tush clarified. “You did.”

Précis
Gardiner conceded that smiles of this bewitching kind are uncommon. Spontaneous smiles inevitably advertise or betray our own natural character, and a contrived or conventional smile is seen through quickly. The only way to acquire a more winning smile, he said, is to acquire a more winning personality — to undergo an inner rebirth.
Questions for Critics

1. What is the author aiming to achieve in writing this?

2. Note any words, devices or turns of phrase that strike you. How do they help the author communicate his ideas more effectively?

3. What impression does this passage make on you? How might you put that impression into words?

Based on The English Critic (1939) by NL Clay, drawing on The New Criticism: A Lecture Delivered at Columbia University, March 9, 1910, by J. E. Spingarn, Professor of Comparative Literature in Columbia University, USA.

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