The Art of Writing & Speaking the English Language by Sherwin Cody (ereader for comics .TXT) 📕

We have studied the art of writing words correctly (spelling) and writing sentences correctly (grammar).* Now we wish to learn to write sentences, paragraphs, and entire compositions effectively.

*See the earlier volume$ in this series.

First, we must form the habit of observing the meanings and values of words, the structure of sentences, of paragraphs, and of entire compositions as we read standard literature—just as we have been trying to form the habit of observing the spelling of words, and the logical relationships of words in sentences. In order that we may know what to look for in our observation we must analyse a little, but we will not imagine that we shall learn to do a thing by endless talk about doing it.

Second, we will practise in the imitation of selections from master writers, in every case fixing our attention on the rhetorical element each particular writer best illustrates. This imitation will be continued until we have mastered the subject toward which we are especially directing our attention, and all the subjects which go to the making of an accomplished writer.

Third, we will finally make independent compositions for ourselves with a view to studying and expressing the stock of ideas which we have to express. This will involve a study of the people on whom we wish to impress our ideas, and require that we constantly test the results of our work to see what the actual effect on the mind of our audience is.

Let us now begin our work.

“Diction” is derived from the Latin dictio, a word, and in rhetoric it denotes choice of words. In the study of grammar we have learned that all words have logical relationships in sentences, and in some cases certain forms to agree with particular relationships. We have also taken note of “idioms,” in which words are used with peculiar values.

On the subject of Idiom Arlo Bates in his book “On Writing English” has some very forcible remarks. Says he, “An idiom is the personal—if the word may be allowed—the personal idiosyncrasy of a language. It is a method of speech wherein the genius of the race making the language shows itself as differing from that of all other peoples. What style is to the man, that is idiom to the race. It is the crystalization in verbal forms of peculiarities of race temperament— perhaps even of race eccentricities …… English which is not idiomatic becomes at once formal and lifeless, as if the tongue were already dead and its remains embalmed in those honorable sepulchres, the philological dictionaries. On the other hand, English which goes too far, and fails of a delicate distinction between what is really and essentially idiomatic and what is colloquial, becomes at once vulgar and utterly wanting in that subtle quality of dignity for which there is no better term than distinction.”*

*As examples of idioms Mr. Bates gives the following: A ten-foot (instead of ten-feet) pole; the use of the “flat adverb” or adjective form in such expressions as “speak loud.” “walk fast,” “the sun shines hot,” “drink deep;” and the use of prepositions adverbially at the end of a sentence, as in “Where are you going to?” “The subject which I spoke to you about,” etc.

We therefore see that idiom is not only a thing to justify, but something to strive for with all our might. The use of it gives character to our selection of words, and better than anything else illustrates what we should be looking for in forming our habit of observing the meanings and uses of words as we read.

Another thing we ought to note in our study of words is the suggestion which many words carry with them in addition to their obvious meaning. For instance, consider what a world of ideas the mere name of Lincoln or Washington or Franklin or Napoleon or Christ calls up. On their face they are but names of men, or possibly sometimes of places; but we cannot utter the name of Lincoln without thinking of the whole terrible struggle of our Civil War; the name of Washington, without thinking of nobility, patriotism, and self-sacrifice in a pure and great man; Napoleon, without thinking of ambition and blood; of Christ, without lifting our eyes to the sky in an attitude of worship and thanksgiving to God. So common words carry with them a world of suggested thought. The word drunk calls up a picture horrid and disgusting; violet suggests blueness, sweetness, and innocence; oak suggests sturdy courage and strength; love suggests all that is dear in the histories of our own lives. Just what will be suggested depends largely on the person who hears the word, and in thinking of suggestion we must reflect also on the minds of the persons to whom we speak.

The best practical exercise for the enlargement of one's vocabulary is translating, or writing verses. Franklin commends verse-writing, but it is hardly mechanical enough to be of value in all cases. At the same time, many people are not in a position to translate from a foreign language; and even if they were, the danger of acquiring foreign idioms and strange uses of words is so great as to offset the positive gain. But we can easily exercise ourselves in translating one kind of English into another, as poetry into prose, or an antique style into modern. To do this the constant use of the English dictionary will be necessary, and incidentally we shall learn a great deal about words.

As an example of this method of study, we subjoin a series of notes on the passage quoted from Franklin in the last chapter. In our study we constantly ask ourselves, “Does this use of the word sound perfectly natural?” At every point we appeal to our instinct, and in time come to trust it to a very great extent. We even train it. To train our instinct for words is the first great object of our study.

Notes on Franklin.
(See “How Franklin Learned to Write” in preceding chapter.)

1. “The female sex” includes animals as well as human beings, and in modern times we say simply “women,” though when Franklin wrote “the female sex” was considered an elegant phrase.

2. Note that “their” refers to the collective noun “sex.”

3. If we confine the possessive case to persons we would not say “for dispute's sake,” and indeed “for the sake of dispute” is just as good, if not better, in other respects.

4. “Ready plenty” is antique usage for “ready abundance.” Which is the stronger?

5. “Reasons” in the phrase “strength of his reasons” is a simple and forcible substitute for “arguments.”

6. “Copied fair” shows an idiomatic use of an adjective form which perhaps can be justified, but the combination has given way in these days to “made a fair copy of.”

7. Observe that Franklin uses “pointing” for punctuation, and “printing-house” for printing-office.

8. The old idiom “endeavor at improvement” has been changed to endeavor to improve, or endeavor to make improvement.

9. Note how the use of the word sentiment has changed. We would be more likely to say ideas in a connection like this.

10. For “laid them by,” say laid them away.

11. For “laid me under …… necessity” we might say compelled me, or made it necessary that I should.

12. “Amended” is not so common now as corrected.

13. For “evading” (attendance at public worship) we should now say avoiding. We “evade” more subtle things than attendance at church.

There are many other slight differences in the use of words which the student will observe. It would be an excellent exercise to write out, not only this passage, but a number of others from the Autobiography, in the most perfect of simple modern English.

We may also take a modern writer like Kipling and translate his style into simple, yet attractive and good prose; and the same process may be applied to any of the selections in this book, simply trying to find equivalent and if possible equally good words to express the same ideas, or slight variations of the same ideas. Robinson Crusoe, Bacon's Essays, and Pilgrim's Progress are excellent books to translate into modern prose. The chief thing is to do the work slowly and thoughtfully.

It is not an easy thing to pass from the logical precision of grammar to the vague suggestiveness of words that call up whole troops of ideas not contained in the simple idea for which a word stands. Specific idioms are themselves at variance with grammar and logic, and the grammarians are forever fighting them; but when we go into the vague realm of poetic style, the logical mind is lost at once. And yet it is more important to use words pregnant with meaning than to be strictly grammatical. We must reduce grammar to an instinct that will guard us against being contradictory or crude in our construction of sentences, and then we shall make that instinct harmonize with all the other instincts which a successful writer must have. When grammar is treated (as we have tried to treat it) as “logical instinct,” then there can be no conflict with other instincts.

The suggestiveness of words finds its specific embodiment in the so called “figures of speech.” We must examine them a little, because when we come to such an expression as “The kettle boils” after a few lessons in tracing logical connections, we are likely to say without hesitation that we have found an error, an absurdity. On its face it is an absurdity to say “The kettle boils” when we mean “The water in the kettle boils.” But reflection will show us that we have merely condensed our words a little. Many idioms are curious condensations, and many figures of speech may be explained as natural and easy condensations. We have already seen such a condensation in “more complete” for “more nearly complete.”

The following definitions and illustrations are for reference. We do not need to know the names of any of these figures in order to use them, and it is altogether probable that learning to name and analyse them will to some extent make us too self-conscious to use them at all. At the same time, they will help us to explain things that otherwise might puzzle us in our study.

1. Simile. The simplest figure of speech is the simile. It is nothing more or less than a direct comparison by the use of such words as like and as.

Examples: Unstable as water, thou shalt not excel. How often would I have gathered my children together, as a hen doth gather her broodunder her wings! The Kingdom of God is like a grain of mustard seed, is like leaven hidden in three measures of meal. Their lives glide on like rivers that water the woodland. Mercy droppeth as the gentle rain from heaven upon the place beneath.

2. Metaphor. A metaphor is an implied or assumed comparison. The words like and as are no longer used, but the construction of the sentence is such that the comparison is taken for granted and the thing to which comparison is made is treated as if it were the thing itself.

Examples: The valiant taste of death but once. Stop my house's ears. His strong mind reeled under the blow. The compressed passions of a century exploded in the French Revolution. It was written at a white heat. He can scarcely keep the wolf from the door. Strike while the iron is hot. Murray's eloquence never blazed into sudden flashes, but its clear, placid, and mellow splendor was never overclouded.

The metaphor is the commonest figure of speech. Our language is a sort of burying-ground of faded metaphors. Look up in the dictionary the etymology of such words as obvious, ruminating, insuperable, dainty, ponder, etc., and you will see that they got their present meanings through metaphors which have now so faded that we no longer recognize them.

Sometimes we get into trouble by introducing two comparisons