Talks on Writing English. Bates Arlo

telling how matters were settled there. The book is so badly massed that the very force of its beginning injures instead of aiding the effect of the whole.

      In another and better tale by the same author, “A Gentleman of France,” the first emphasis is given to the poverty and undeserved ill fortune of the hero; so that when in time fate leads him to better things the later joy is heightened by contrast with the earlier gloom. I take these two books because they have been widely read of late, but any novel that comes to hand is an illustration of one sort or another.

      The danger to be avoided in endeavoring to secure effective massing of compositions is that of artificiality. This is especially obvious in the construction of sentences. In an uninflected language, like English, wherein the relative places of words are necessarily fixed more or less absolutely, it is not easy to re-order the arrangement without giving to the style an appearance of artifice. Dexterously to overcome this difficulty is one of the things which the student has to learn, and perhaps more upon the success with which he is able to do so than upon any other single thing will depend the effectiveness of what he writes.

      The third principle of structure, Coherence, is one of which the lack is easily perceptible, but the securing of which is often difficult. The rule is that words closely related by their share in the thought to be conveyed shall be kept together, – and so stated is simple enough. No one, however, is likely to have written even a page upon any subject at all intricate without having to pause to rearrange the clauses of some involved sentence or of some confused paragraph. A great hindrance in the struggle for Coherence, it should be added, is a want of clear perception of what one wishes to say. The position of words is often determined by the choice of shades of expression which are extremely delicate, and unless the writer has an accurate and acute perception of these he cannot be sure of the order of his words and clauses.

      It is easy enough to see how the phrases are misplaced in the stock examples of incoherence which are given in the books of rhetoric. Any novice could improve a sentence of this sort: —

      He left off his old coat to marry a lady with a large Roman nose which had been worn continuously for ten years.

      It takes only a little thought to see the error in the phrase: —

      The crowd turns, departs, disintegrates;

      where it is evident that the connection is between “turns” and “disintegrates,” and that the crowd departs after it has broken up. Not less obvious, when attention is called to it, is the fault here: —

      Lothair was unaffectedly gratified at not only receiving his friends at his own castle, but under these circumstances of intimacy.2

      It is not hard to see the difference of meaning between these two sentences: —

      So long as men had slender means, whether of keeping out cold or checkmating it with artificial heat, Winter was an unwelcome guest, especially in the country.

      So long as men had slender means, especially in the country, of keeping out cold or checkmating it with artificial heat, Winter was an unwelcome guest.

      It requires a more trained perception to feel the variations which result from altering in the following example the position of “only.”

      The theory that the poet is a being above the world and apart from it is true of him as an observer only who applies to the phenomena about him the test of a finer and more spiritual sense. – Lowell: Life and Letters of James Gates Percival.

      If we say “is true only of him who as an observer,” we shall mean one thing, – and I confess to a suspicion that this is the thing which Lowell intended! – whereas the passage as it stands asserts that the theory is true considering the poet as merely an observer.

      It is not necessary to multiply examples. Every student who attempts careful expression will come upon illustrations enough in his own work. The important thing is to be clearly aware of what is to be said, and then to be sure that it is said, and said unmistakably.

      In the construction of sentences the coherent arrangement of words is frequently hindered by the grammatical relations; no such limitation prevents the proper placing of sentences in the formation of paragraphs. In the construction of paragraphs, however, even more than in the construction of sentences, is necessary the utmost clearness of ideas. It is here essential to know not only what one has to say, but the relative strength which should be given to each link in the chain of thought. The question of proportion must here have the fullest answer. The relative stress which is to be given by position and the relative stress which is to be imparted by proportion are alike of the greatest importance in the making of the paragraph.

      Something of this may be shown by an example. The following is a paragraph from the essay by Jeffrey on “The Characters in Shakespeare’s Plays:” —

      Everything in him [Shakespeare] is in unmeasured abundance and unequaled perfection, – but everything so balanced and kept in subordination, as not to jostle or disturb or take the place of another. The most exquisite poetical conceptions, images, and descriptions, are given with such brevity, and introduced with such skill as merely to adorn without loading the sense they accompany… All his excellences, like those of nature herself, are thrown out together; and instead of interfering with, support and recommend each other.

      Let this now be read with a transposition of sentences: —

      Although in Shakespeare everything is so balanced and kept in subordination as not to jostle or disturb or take the place of another, and is in unequaled perfection, yet everything is in an unmeasured abundance. He gives with such brevity and introduces with such skill as to adorn without loading the sense they accompany, the most exquisite poetical conceptions, images, and descriptions. All his excellences, although they support and recommend instead of interfering with each other, are thrown out together like those of nature herself.

      The words and phrases are identical in these two paragraphs, save for the slight alterations and changes of connectives made necessary by transposition; and yet the effect is distinctly different. The first, as Jeffrey intended, remarks that in spite of the great luxuriance of Shakespeare’s work it is always well ordered; the second declares that although well ordered the poet’s work is as luxurious as nature herself.

      If the proportion were changed, the effect would be varied again. Cutting out a few clauses from the original, we have: —

      Everything in Shakespeare is so balanced and kept in subordination as not to jostle or disturb or take the place of another. The most poetical conceptions are given with such brevity and introduced with such skill as merely to adorn without loading the sense they accompany. All his excellences are thrown out together, and instead of interfering with, support and recommend each other.

      Here Shakespeare’s fine ordering of his style is made more emphatic than in the original, and a glance will show how, by the suppression of other phrases, the luxuriance of his work could have been given the more prominence. A writer must know which of many possible shades of meaning is the one which he desires to convey, and he is likely to be successful in his work or the reverse according to the sharpness of his own apprehension of what he is aiming at. The gunner who shuts his eyes when he fires is more likely to hit the mark than is the writer who vaguely endeavors to say something likely to succeed in accurately saying anything.

      IV

      DETAILS OF DICTION

      The student who endeavors to apply to words the tests of Good Use finds himself confronted with some questions which are very easily answered and with others so difficult that even the experts of language may disagree concerning them. It is of course to be supposed that we have all mastered the canons which forbid the use of Barbarisms, Improprieties, and Solecisms, – however much we allow ourselves to be influenced by the newspapers into the habit of violating them. We have not got through our early school years without having our attention called to the difference of effect produced by long and short words. Most of us have had more or less confusing instruction on the subject of the use of Latin words and words which are somewhat inexactly termed

2

Disraeli: Lothair. Quoted by Professor Hill.