Imágenes de páginas
PDF
EPUB
[ocr errors]

be taken that each shall be in the highest possible degree pregnant in its meaning; that is, shall yield the utmost range to the activities of the imagination."

What these two classes of words are good for, respectively, is indicated by their relative places in the history of the language. Classical derivatives are just as indispensable in their way as Saxon.1 Coming as they did later into the language, when its framework was already constructed, these words indicate that a want existed which the Saxon could not supply, a want created by advancing and refining thought. Roughly speaking, then, the uses of the two kinds of derivatives may be given as follows:—

1. Saxon derivatives constitute the foundation of the language. Being the earliest words, they stand for the primitive ideas they are the words of the family and the home and the everyday relations of life. They are therefore the natural terms for common intercourse, for simple and direct emotions, for strong and hearty sentiments. Saxon is especially the language of strength; and its short words, and sturdy sounds join well with its homely meanings to give it impress and cogency.

2. Derivatives from the Latin and Greek express the subtler distinctions in the thought; they enable the writer to come more closely to the exact expression of his idea. They constitute the more learned element of the language. Being also in general longer and more sonorous, they are often better adapted to make volume of sound correspond to volume of sense; and thus they frequently serve well the higher requirements of poetry and oratory.

NOTE. That classical derivatives are used in the interests of more learned, particular, precise thought is evident from the above quotation from De Quincey;— consider, for instance, the words “succession,” “phenomena,” “arrest,” "insulated," "aspect,” “phasis," "activities," "imagination." In the following, from Macaulay, consider how much distinction is given to the idea by the sonorous Latin words: "The whole book, and every component part of it, is

1" Especially do not indulge any fantastic preference for either Latin or AngloSaxon, the two great wings on which our magnificent English soars and sings; we can spare neither. The combination gives us an affluence of synonymes and a delicacy of discrimination such as no unmixed idiom can show."- Higginson," Atlan tic Essays," p. 81.

on a gigantic scale.... We cannot sum up the merits of the stupendous mass of paper which lies before us better than by saying that it consists of about two thousand closely printed quarto pages, that it occupies fifteen hundred inches cubic measure, and that it weighs sixty pounds avoirdupois." In "gigantic scale" and "stupendous mass," the volume of the word better expresses the spirit of the sense than would "great scale," "huge mass." For copious examples in illustration of the two great elements of our language, see Bain, Composition Grammar," pp. 205-229.

[ocr errors]

If the requirements of precision and fineness are not especially present, it is better to keep as near as possible to the Saxon basis of the language, because that is the speech of common people, and seems less studied. Besides, if one's style is predominantly Saxon, the more learned derivatives occasionally used for a particular purpose have a greater effect, being more noticeable.

13. Beware of the false garnish of "fine writing."

By "fine writing" is meant the use of pretentious terms for trivial ideas, or the attempt by high-sounding language to dress up something that needs only commonplace expression. Under the same head may be reckoned also the use of scraps of trite quotation, well-worn poetic locutions, and shallow attempts at facetiousness. All such devices are simply a melancholy revelation of the writer's lack of taste; while also they sin against the accuracy and dignity of the language.

ILLUSTRATION.

- The tendency in imperfectly or falsely educated people to say common things in fine language may be exemplified by the following, from Dickens :

[ocr errors]

"Willet,' said Solomon Daisy, who had exhibited some impatience at the intrusion of so unworthy a subject on their more interesting theme, 'when Mr. Chester came this morning, did he order the large room?'

'He signified, sir,' said John, 'that he wanted a large apartment. Yes. Certainly.""

In the following Dickens makes one of his characters say a commonplace thing in a very pretentious way: —

"Under the impression,' said Mr. Micawber, 'that your peregrinations in this metropolis have not as yet been extensive, and that you might have some difficulty in penetrating the arcana of the Modern Babylon in the direction of

the City Road - in short,' said Mr. Micawber, in another burst of confidence, 'that you might lose yourself-I shall be happy to call this evening, and instal you in the knowledge of the nearest way.'”

"Fine writing" is to be distinguished from the intentional use of exaggerated terms for humorous effect. One means of expressing humor is by the use of words a little more pretentious than the occasion demands. Of this kind of writing it may be said that only a cultured taste can master it, as also only a cultured taste can judge of its limits and justification; hence it is precarious for an unpracticed hand.

[merged small][ocr errors]

of language:

The following is from Hawthorne, who excelled in this felicity

"The child, staring with round eyes at this instance of liberality, wholly unprecedented in his large experience of cent-shops, took the man of gingerbread, and quitted the premises. No sooner had he reached the sidewalk (little cannibal that he was!) than Jim Crow's head was in his mouth. As he had not been careful to shut the door, Hepzibah was at the pains of closing it after him, with a pettish ejaculation or two about the troublesomeness of young people, and particularly of small boys. She had just placed another representative of the renowned Jim Crow at the window, when again the shop-bell tinkled clamorously, and again the door being thrust open, with its characteristic jerk and jar, disclosed the same sturdy little urchin who, precisely two minutes ago, had made his exit. The crumbs and discoloration of the cannibal feast, as yet hardly consummated, were exceedingly visible about his mouth."

Was ever such a homely subject so exquisitely described before?

14. Cherish wisely the strong and homely idioms of the language.

In certain stages of culture the young writer is apt to regard everything that presents any ruggedness of diction, or that is not transparently conformed to grammatical rules, as a blemish; and he is tempted to smooth everything down into propriety and primBut in so doing he may easily throw away some of the strongest and most characteristic features of the language. The idioms of English, those turns of expression which have grown up with the people and are untranslatable, are to be valued. Many

ness.

idioms express ideas as nothing else could do; and certainly they are near to the everyday basis of the language, not manufactured expressions, but growths of the soil. Idioms are therefore to be studied and cherished, not indiscriminately but wisely, as preserving the strength and character of the mother-tongue. "Every good writer," says Landor, "has much idiom; it is the life and spirit of language; and none such ever entertained a fear or apprehension that strength and sublimity were to be lowered and weakened by it."

[ocr errors]

EXAMPLES OF IDIOM. Some of the commonest things in our language are idiomatic, and seem homely and rude sometimes to a taste only partly formed. There is apt to be a stage, for instance, when the tendency is to change "get used" to "become accustomed," because the latter parses better. “A man instinctively tries to get rid of his thought in conversation or print so soon as it is matured"; here "get rid of" is much better than "give publicity to." So also such an expression as “long-tried friend of mine,” though a double possessive, and strictly speaking a solecism, is idiomatic and admissible. "A great deal" is as good as very much."

66

An idiomatic expression will not easily bear to be divided; it must move together if it move at all; e.g. “The children point to him as the old miser, out of whose way it is best to keep, since there is no telling how he may show his spite if he is angered." Here "keep” alone is different in meaning from "keep" with "out"; so the idiom should be kept together.

15. Use no expression thoughtlessly, or merely because it is current, but from your own independent recognition of its fit

ness.

This is a general consideration, a plea for self-reliance and independence, which is meant to cover all the preceding rules. Many current expressions there are which, while they may indeed be accurate enough and in good use, are employed largely as mere counters, substitutes for thought, just because they are near at hand, and obviate the need of looking up some expression more fitting. Such thoughtless use in the case of slang has already been spoken of; here it is to be noted further that even a good expression may lose its power by becoming worn; and if it represents no thought on the writer's part, it will not be strong to awaken

thought in the reader. Such unthinking use of trite expressions is called cant. Every department of thought has its cant terms and phraseology. These well-worn locutions may become a veritable tyranny to the writer; for this reason they often need to be broken up and replaced by a fresher, even if not a better expression. The writer should let his words show marks of independent thinking, and tolerate nothing that has not been fused anew in the fire of his own mind. His chosen diction may then be old, or new; but at least it is his own.

[ocr errors]

66

ILLUSTRATION. -It is not always necessary to call the pulpit "the sacred desk"; nor need a man who knows how to do so simple a thing as go, always have to "wend his way." A portrait was once called a counterfeit presentment : good as the expression was, it awakens no more freshness of delight when employed now.

66

We have

Boswell once asked Dr. Johnson, of certain poems just published, "Is there not imagination in them, Sir?" 'Why, Sir," replied the Doctor, "there is in them what was imagination, but it is no more imagination in him, than sound is sound in the echo. And his diction too is not his own. long ago seen white-robed innocence, and flower-bespangled meads.” The following seems to be an intentional breaking-up of the trite locution "without let or hindrance," and the good effect is easily felt: "No one will question that the whole nature of the holiest being tends to what is holy without let, struggle, or strife—it would be impiety to doubt it."

SECTION SECOND.

THE CHARACTERISTICS OF POETIC DICTION.

ALTHOUGH poetry represents ideally one of the main directions that literature takes, in its endeavor to adapt itself to men, the discussion of it falls only partly within the scope of this book. Metre and rhyme, the more mechanical features of poetry, are here left unconsidered, because they are only indirectly related to that problem of practical adaptation which is the central motive of rhetoric.

« AnteriorContinuar »