The Works of Edgar Allan Poe — Volume 4 by Edgar Allan Poe (books to read to improve english .txt) 📕

“Having determined upon your subject, you must next consider the tone, or manner, of your narration. There is the tone didactic, the tone enthusiastic, the tone natural—all commonplace enough. But then there is the tone laconic, or curt, which has lately come much into use. It consists in short sentences. Somehow thus: Can’t be too brief. Can’t be too snappish. Always a full stop. And never a paragraph.

“Then there is the tone elevated, diffusive, and interjectional. Some of our best novelists patronize this tone. The words must be all in a whirl, like a humming-top, and make a noise very similar, which answers remarkably well instead of meaning. This is the best of all possible styles where the writer is in too great a hurry to think.

“The tone metaphysical is also a good one. If you know any big words this is your chance for them. Talk of the Ionic and Eleatic schools—of Archytas, Gorgias, and Alcmaeon. Say something about objectivity and subjectivity. Be sure and abuse a man named Locke. Turn up your nose at things in general, and when you let slip any thing a little too absurd, you need not be at the trouble of scratching it out, but just add a footnote and say that you are indebted for the above profound observation to the ‘Kritik der reinem Vernunft,’ or to the ‘Metaphysithe Anfongsgrunde der Noturwissenchaft.’ This would look erudite and—and—and frank.

“There are various other tones of equal celebrity, but I shall mention only two more—the tone transcendental and the tone heterogeneous. In the former the merit consists in seeing into the nature of affairs a very great deal farther than anybody else. This second sight is very efficient when properly managed. A little reading of the ‘Dial’ will carry you a great way. Eschew, in this case, big words; get them as small as possible, and write them upside down. Look over Channing’s poems and quote what he says about a ‘fat little man with a delusive show of Can.’ Put in something about the Supernal Oneness. Don’t say a syllable about the Infernal Twoness. Above all, study innuendo. Hint everything—assert nothing. If you feel inclined to say ‘bread and butter,’ do not by any means say it outright. You may say any thing and every thing approaching to ‘bread and butter.’ You may hint at buck-wheat cake, or you may even go so far as to insinuate oat-meal porridge, but if bread and butter be your real meaning, be cautious, my dear Miss Psyche, not on any account to say ‘bread and butter!’”

I assured him that I should never say it again as long as I lived. He kissed me and continued:

“As for the tone heterogeneous, it is merely a judicious mixture, in equal proportions, of all the other tones in the world, and is consequently made up of every thing deep, great, odd, piquant, pertinent, and pretty.

“Let us suppose now you have determined upon your incidents and tone. The most important portion—in fact, the soul of the whole business, is yet to be attended to—I allude to the filling up. It is not to be supposed that a lady, or gentleman either, has been leading the life of a book worm. And yet above all things it is necessary that your article have an air of erudition, or at least afford evidence of extensive general reading. Now I’ll put you in the way of accomplishing this point. See here!” (pulling down some three or four ordinary-looking volumes, and opening them at random). “By casting your eye down almost any page of any book in the world, you will be able to perceive at once a host of little scraps of either learning or bel-esprit-ism, which are the very thing for the spicing of a Blackwood article. You might as well note down a few while I read them to you. I shall make two divisions: first, Piquant Facts for the Manufacture of Similes, and, second, Piquant Expressions to be introduced as occasion may require. Write now!”—and I wrote as he dictated.

“PIQUANT FACTS FOR SIMILES. ‘There were originally but three Muses—Melete, Mneme, Aœde—meditation, memory, and singing.’ You may make a good deal of that little fact if properly worked. You see it is not generally known, and looks recherché. You must be careful and give the thing with a downright improviso air.

“Again. ‘The river Alpheus passed beneath the sea, and emerged without injury to the purity of its waters.’ Rather stale that, to be sure, but, if properly dressed and dished up, will look quite as fresh as ever.

“Here is something better. ‘The Persian Iris appears to some persons to possess a sweet and very powerful perfume, while to others it is perfectly scentless.’ Fine that, and very delicate! Turn it about a little, and it will do wonders. We’ll have some thing else in the botanical line. There’s nothing goes down so well, especially with the help of a little Latin. Write!

“‘The Epidendrum Flos Aeris, of Java, bears a very beautiful flower, and will live when pulled up by the roots. The natives suspend it by a cord from the ceiling, and enjoy its fragrance for years.’ That’s capital! That will do for the similes. Now for the Piquant Expressions.

“PIQUANT EXPRESSIONS. ‘The Venerable Chinese novel Ju-Kiao-Li.’ Good! By introducing these few words with dexterity you will evince your intimate acquaintance with the language and literature of the Chinese. With the aid of this you may either get along without either Arabic, or Sanscrit, or Chickasaw. There is no passing muster, however, without Spanish, Italian, German, Latin, and Greek. I must look you out a little specimen of each. Any scrap will answer, because you must depend upon your own ingenuity to make it fit into your article. Now write!

“‘Aussi tendre que Zaire’—as tender as Zaire-French. Alludes to the frequent repetition of the phrase, la tendre Zaire, in the French tragedy of that name. Properly introduced, will show not only your knowledge of the language, but your general reading and wit. You can say, for instance, that the chicken you were eating (write an article about being choked to death by a chicken-bone) was not altogether aussi tendre que Zaire. Write!

‘Van muerte tan escondida,
    Que no te sienta venir,
Porque el plazer del morir,
    No mestorne a dar la vida.’

“That’s Spanish—from Miguel de Cervantes. ‘Come quickly, O death! but be sure and don’t let me see you coming, lest the pleasure I shall feel at your appearance should unfortunately bring me back again to life.’ This you may slip in quite a propos when you are struggling in the last agonies with the chicken-bone. Write!

‘Il pover ‘huomo che non se’n era accorto,
Andava combattendo, e era morto.‘

“That’s Italian, you perceive—from Ariosto. It means that a great hero, in the heat of combat, not perceiving that he had been fairly killed, continued to fight valiantly, dead as he was. The application of this to your own case is obvious—for I trust, Miss Psyche, that you will not neglect to kick for at least an hour and a half after you have been choked to death by that chicken-bone. Please to write!

‘Und sterb’ich doch, no sterb’ich denn
Durch sie—durch sie!’’

“That’s German—from Schiller. ‘And if I die, at least I die—for thee—for thee!’ Here it is clear that you are apostrophizing the cause of your disaster, the chicken. Indeed what gentleman (or lady either) of sense, wouldn’t die, I should like to know, for a well fattened capon of the