The Opinion as Essay, The Judge as Essayist:

Some Observations on Legal Writing

By William Domnarski*
One currently popular theory about lawyers is that rather than
killing them as Shakespeare once suggested, we should be enrolling
them in composition classes. The problem of awkward, impenetra-
ble legal prose has been with us in America, if we are to believe
Jefferson, since the first days of the republic. Despite this, it has
not been until the last decade that the problem has been addressed
with vigor, with academics and practitioners alike responding to
the increasing criticism of legal writing with books and articles of-
fering solutions in the form of model prose and basic instruction in
grammar, usage, and diction to help the legal writer transform his
legalese into readable English.
The critical discussion of defective legal writing and what to
do about it has taken a new turn with a recent article in the
Harvard Law Review in which Steven Stark argues that the prob-
lem with poor legal writing is not with the lawyer's training in the
mechanics of composition but with the lawyer himself and the na-
ture of the prose he writes.' The lawyer is encouraged to obfuscate,
for example, Stark explains, to hide his feet of clay from the client,
and he is encouraged as well to manipulate language in an Orwel-
lian way to reach his goals as an advocate, a role that defines and
necessarily limits the legal writer's allegiance to truth.
The judge, as well as the lawyer, is subject to Stark's analysis.
Indeed, Stark discusses lawyers and judges interchangeably. He ar-
gues that both are hamstrung in their attempt to break free of
legalese because of their obligation to use precedent, their inability
to use humor or stylistic devices to brighten their prose, and their
directive to focus only on the facts, in a sort of "nothing but the
facts, mam" Dragnet-style approach, a t the expense, he contends,
of developing, as a novelist would and as the reader desires, the
characters of the principals in the litigation under examination.

* Lecturer in Law, University of Connecticut School of Law. M. A., Univer-

sity of Chicago; M.A., J.D., University of Connecticut.
1. Stark, Why Lawyers Can't Write, 97 HARV. L. REV.1389 (1984).
140 The Journal of the Legal Profession

But while Stark offers some insight into the problems of legal
writing, it would be a mistake to lump, as he does, lawyers and
judges together for an analysis of the current problems with legal
writing because to do so would ignore the fundamental differences
between judges and lawyers as legal writers and between the legal
prose each group writes. The failure to distinguish between judges
and lawyers and their respective prose would not only have the
effect of subjecting judges to undeserved criticism more appropri-
ately leveled at lawyers, but it would also fail to recognize and
praise the high quality prose of judges, for whatever complaints
might be filed against lawyers for their prose, the same cannot be
said of judges, who clarify and illuminate the law to the society
they serve.
Any analysis of legal writing as that art is practiced by lawyers
and judges must begin with our recognition that the lawyer is not a
professional writer. This is not to suggest that the lawyer is not
paid to write, for surely the lawyer is paid to draft documents, cor-
respondence, motions, memoranda, and briefs. These writing
chores are, however, incidental to the lives of most lawyers. They
spend far more of their time dealing with clients, negotiating with
other lawyers, and appearing in court, where they display their
oral, not written, skills. Moreover, of the writing that lawyers do
undertake, much of it is ministerial in nature, with the lawyers fil-
ing documents they have drafted in their capacity as the middle-
men in business and real estate transactions.
More important, when the lawyer's writing is not defined by
the ministerial nature of the task, it is defined by his role as an
advocate. The lawyer's more substantive legal work-the briefs
and memoranda he files in support of motions, for exam-
ple-necessarily asserts principles of law aimed at carrying the
day. The lawyer is concerned with the law's relationship to only
one person or entity-his client. Moreover, added to this limited
scope of concern are the tone and approach that must complement
it. His becomes an approach to justice in the most limited sense,
that is, the lawyer advocates justice for his client at the expense, if
necessary, of all others. He is concerned only with his client's
claim. As a result, his prose assumes a hard edge, a dogmatic, as-
sertive tone. This dogmatism, in turn, highlights the lawyer's
greatest liability as a writer-his suspect credibility. Almost by
definition, the lawyer writes not what he believes to be true but
what will best advance his client's interests. This does not mean, of
 Judicial Legal Writing 141

course, that the lawyer deceives or misrepresents to advance his

client's interests. It means only that the lawyer does not write for
himself, that his interest is not in the relationship of the law to
society, of which the individual case forms but one part, but in the
relationship between the legal principles he is asserting and his cli-
ent's chances of prevailing.
In contrast to the lawyer, the appellate judge must be consid-
ered a professional writer. The writing of the opinion, after all, is
his principal task. True, he must also see to oral argument and
perhaps some administrative matters, but it is the opinion that he
is paid to write. And write he does. The number of opinions he
writes might alone establish the appellate judge as a professional
writer. Justice Brennan of the United States Supreme Court, for
example, has in his nearly thirty years on the high court written
more than fifteen hundred opinions. Holmes, to cite another exam-
ple, had written more than a thousand opinions before being ap-
pointed to the United States Supreme Court. Nor are these jus-
tices alone in the size of their oeuvres, as both judges Traynor and
Friendly, to cite only two examples, have written approximately a
thousand opinions in their careers.
More important, the appellate judge perceives himself as a
professional writer, often displaying a possessiveness about his
work that marks him as having a professional's knowledge and
concern that he and he alone will be judged by what appears on
the page. He knows further that the standard to be meet is that of
a professional writer. In this regard Judge Medina, Learned
Hand's colleague on the Second Circuit of the United States Court
of Appeals, reports that Hand, like many other accomplished judi-
cial writers, "wouldn't even let a law clerk write a sentence, not
one sentence. He would let the law clerk criticize. He would hand
what he had written to the law clerk and let him make all the sug-
gestions he wanted to make. But not one word of that opinion was
anybody else's but Learned hand'^."^
Words-the right words-matter to the appellate judge and
underscore his status as a professional writer. Holmes, for example,
summed up the key goals of his career in the law in a letter to a
long-time correspondent, writing that "the thing I have wanted to
do and want to do is to put as many new ideas into the law as I
can, to show how particular solutions involve general theory, and

2. Quoted in SCHICK,
LEARNED
HAND'SCOURT107 (1970).
142 The Journal of the Legal Profession

to do it with ~ t y l e . "It~ was this desire to "do it with style," in fact,

that prompted some of Holmes' greatest frustrations on the United
States Supreme Court. His letters are replete with complaints
about his brethren's irritating habit of tinkering with his prose,
sometimes taking the humor, sometimes the sting, out of it.
Holmes was so troubled by the impositions of his brethren that,
even more than considering slipping something by them a chal-
lenge, he more than once in his letters associates their editing to
castration. The implications of such comments are obvious. For
Holmes style truly mattered. In a revealing passage in a letter to
his great and good friend Harold Laski, Holmes, the professional
writer and judge, writes that "in most cases the difficulty is rather
with the writing than with the thinking. To put the case well and
from time to time hint at a vista is the job. I am amused (between
ourselves) a t some of the rhetorical changes suggested, when I pur-
posely used short and brutal words for an antithesis. . . .I am
pretty accommodating in the cutting out of even thought that I
think important, but a man must be allowed his own style."'
The judges who have cared passionately about their writing
are legion. Many are known, for example, for the number of revi-
sions they felt compelled to go through to get exactly what they
wanted. Brandeis, who once observed that there was no such thing
as good writing, only good rewriting, often revised his opinions six
or seven times, a task made even more notable when one considers
that during his years on the United States Supreme Court, accord-
ing to one of his law clerks, Brandeis did not employ a secretary or
typist, preferring instead to send successive longhand drafts to the
~ r i n t e rAccording
.~ to his son, Hugo Black shared Brandeis' obses-
sion with revision. In his remembrance of his father, Hugo Black,
Jr. writes that "he could not rest until he had finished an opinion,
and I have seen him do as many as six drafts before he had one
ready to circulate. He searched his mind for the precise word, often
using a thesaurus or his old Webster's Second unabridged to find
it, and he would always select a one-syllable word over a two-sylla-
ble word."6 Just how much can words mean to a judge? Consider,
as the quintessential example, Holmes' lament to Frederick Pol-

3. BURTON,ed., HOLMES - SHEHAN CORRESPONDENCE 56 (1977).

4. HOWE,ed., HOLMES-LASKI LETTERS939 (1953).
5. See MCGRAW, Louis D. Brandeis Reappraised, 54 AM.SCH.525 (1985).
6. JR.,MY FATHER:
BLACK, A REMEMBRANCE 135 (1975).
 Judicial Legal Writing 143

lock that "after I sent back the proofs the other day [of a recently
written case] I was depressed to think that one little phrase 'for
the joy of it' was an echo of Ruskin. I hate to drop into something
ready made that is not the immediate expression of one's thought,
organizing every word."?
To the extent that Stark identifies the lawyer's role as an ad-
vocate as an inhibiting force in the prose he writes, he is surely
correct. But it is of course obvious, as a corollary to this proposi-
tion, that a judge's freedom to develop an idea in a search for truth
an for a result consistent with an imperative to serve broader social
goals, distinguishes his legal prose from a lawyer's. Equally impor-
tant in this regard is the nature of the judicial opinion, which is
intended to be a public document in which the court fulfills its
obligation of shaping law for the whole of society. As Judge LeFlar
has observed, "opinions are the public voice of appellate courts,
and so represent the judiciary to the public, but they are not voices
merely. They are what courts do, not just what they say. They are
the substance of judicial action, not just news releases about what
the courts have done, though they have that function too."8
In developing an idea in the opinion that effects on the whole
of society, as opposed to asserting a principle to advance a client's
cause, the appellate judge can, and indeed should, draw upon a
wide range of cultural resources. Not surprisingly, judges have
often turned to sociology, history, literature, and philosophy in
fashioning new rules of law. Moreover, because the law develops in
a gradual, continuous movement-as Holmes put it, judges legis-
late "only interstitially; they are confined from molar to molecular
motion~"~-the use of precedent is consistent with the judge's obli-
gation. To complain, as Stark does, of the reliance of courts on
precedent at the expense of matters of interest that should be in-
cluded in the opinion is to misunderstand the function of prece-
dent in shaping an idea. Judges do not, nor should they, write on a
clean slate, even when addressing issues of first impression. The
law is an organic whole, making it imperative that judges plug
themselves into the broader cultural context. As Holmes once
noted, the law is an abstraction "wherein, as in a magic mirror, we

7. HOWE,ed., HOLMES-POLLOCK LET~ERS 271 (1941).

8. LeFlar, Some Observations Concerning Judicial Opinions, 61 COLUM. L.
REV.810 (1961).
9. Southern Pacific Co. v. Jensen, 244 U.S. 205, 221 (1921) (Holmes, J.).
144 The Journal of the Legal Profession

see reflected not only our own lives, but the lives of all men that
have been."1° Moreover, it follows that if the life of the law is expe-
rience, not logic, as Holmes also observed, the judge must graft
that experience onto his analysis of the issues before him, espe-
cially if those issues are ones of first impression.
Distinct from every other form of legal writing, the judicial
opinion is perhaps most akin to the essay, with the judge, as a pro-
fessional writer, assuming the role of the essayist. Indeed, the essay
has traditionally been the genre in which ideas are explicitly devel-
oped. Poetry and fiction also develop ideas, of course, but in each
genre the ideas are developed more subtly, more implicitly, than is
true in the essay. The essayist plucks an idea out of the universe,
gives it a palatable, recognizable context, and then develops it, re-
lying greatly upon the web of human experience to deepen the con-
text so that the idea finds an analogue in the reader's experience,
which in turn yields the explosion of insight. Consider, in this re-
gard, the vast array of resources Dr. Martin Luther King relies
upon in his famous "Letter from Birmingham Jail" essay to make
the idea of justice come alive in the reader. Like the essay, the
opinion gives an idea a context and develops it, with the critical
distinction between the essay and the opinion being that the judge
aims not so much to connect with the individual experience but
with the broader experience of a society, as that experience is re-
flected in our concept of the individual's relationship to society.
In failing to recognize that the judge works in a genre distinc-
tively different from the various genres that the lawyer works in,
Stark fails as well to recognize that the judge has a t his disposal
the various stylistic and rhetorical devices that the essayist has
available to him." As a general matter, it is the freedom of the
genre, in conjunction with the talents and vision of the judges, that
has spawned an impressive body of judicial writing that qualifies
as great literature. Few would deny, for example, that such great
essays as "Shooting an Elephant" or "Once More to the Lake," to
choose but two great essays from two great essayists, qualify as
great literature, making it clear that the threshold qualification for
great literature is a prose vehicle that allows for the development

10. LERNER, ed., THEMINDAND FAITHOF JUSTICE HOLMES 29 (1943).

11. See generally, Domnarski, The Tale of the Text: The Figurative Prose
Style of Connecticut Supreme Court Justice Leo Parskey, 18 CONN.L. REV.-
(1986).
 Judicial Legal Writing 145

of an idea. The judicial opinion is such a vehicle, and the antholo-

gies of "law as literature" attest to the compatability of judicial
form and content and the form and content of great prose
literature.12
Stark, in short, fails to appreciate the expansiveness of the ju-
dicial opinion as a genre when he implicitly argues that the judge,
to use the negative of Holmes' phrase, cannot live greatly in the
law.13 Surely judges have been able to live greatly in the law. The
hundreds of judicial masterpieces attest to this. To assert the con-
trary is either to ignore or belittle the contributions that judges
have made to our culture through their prose.

12. See, e.g. BLOM-COOPER,THE LANGUAGE OF THE LAW(1965).

13. LERNER, ed., THEMINDAND FAITHOF JUSTICEHOLMES,at 31.