Reading Help How to speak and write correctly Ch.VII-XV
in the dictionary. Sometimes some of our great scholars are puzzled over `
` simple words in regard to meaning, spelling or pronunciation. Whenever `
` you meet a strange word note it down until you discover its meaning and `
` use. Read the best books you can get, books written by men and women who `
` are acknowledged masters of language, and study how they use their words, `
` where they place them in the sentences, and the meanings they convey to `
` the readers. `
` `
` Mix in good society. Listen attentively to good talkers and try to `
` imitate their manner of expression. If a word is used you do not `
` understand, don't be ashamed to ask its meaning. `
` `
` True, a small vocabulary will carry you through, but it is an advantage `
` to have a large one. When you live alone a little pot serves just as well `
` as a large one to cook your victuals and it is handy and convenient, but `
` when your friends or neighbors come to dine with you, you will need a `
` much larger pot and it is better to have it in store, so that you will `
` not be put to shame for your scantiness of furnishings. `
` `
` Get as many words as you possibly can--if you don't need them now, pack `
` them away in the garrets of your brain so that you can call upon them if `
` you require them. `
` `
` Keep a note book, jot down the words you don't understand or clearly `
` understand and consult the dictionary when you get time. `
` `
` `
` PURITY `
` `
` _Purity_ of style consists in using words which are reputable, national `
` and present, which means that the words are in current use by the best `
` authorities, that they are used throughout the nation and not confined to `
` one particular part, and that they are words in constant use at the `
` present time. `
` `
` There are two guiding principles in the choice of words,--_good use_ `
` and _good taste_. _Good use_ tells us whether a word is right or wrong; `
` _good taste_, whether it is adapted to our purpose or not. `
` `
` A word that is obsolete or too new to have gained a place in the `
` language, or that is a provincialism, should not be used. `
` `
` Here are the Ten Commandments of English style: `
` `
` (1) Do not use foreign words. `
` `
` (2) Do not use a long word when a short one will serve your purpose. `
` _Fire_ is much better than _conflagration_. `
` `
` (3) Do not use technical words, or those understood only by specialists `
` in their respective lines, except when you are writing especially for `
` such people. `
` `
` (4) Do not use slang. `
` `
` (5) Do not use provincialisms, as "I guess" for "I think"; "I reckon" for `
` "I know," etc. `
` `
` (6) Do not in writing prose, use poetical or antiquated words: as "lore, `
` e'er, morn, yea, nay, verily, peradventure." `
` `
` (7) Do not use trite and hackneyed words and expressions; as, "on the `
` job," "up and in"; "down and out." `
` `
` (8) Do not use newspaper words which have not established a place in the `
` language as "to bugle"; "to suicide," etc. `
` `
` (9) Do not use ungrammatical words and forms; as, "I ain't;" "he don't." `
` `
` (10) Do not use ambiguous words or phrases; as--"He showed me all about `
` the house." `
` `
` Trite words, similes and metaphors which have become hackneyed and worn `
` out should be allowed to rest in the oblivion of past usage. Such `
` expressions and phrases as "Sweet sixteen" "the Almighty dollar," "Uncle `
` Sam," "On the fence," "The Glorious Fourth," "Young America," "The lords `
` of creation," "The rising generation," "The weaker sex," "The weaker `
` vessel," "Sweetness long drawn out" and "chief cook and bottle washer," `
` should be put on the shelf as they are utterly worn out from too much `
` usage. `
` `
` Some of the old similes which have outlived their usefulness and should `
` be pensioned off, are "Sweet as sugar," "Bold as a lion," "Strong as an `
` ox," "Quick as a flash," "Cold as ice," "Stiff as a poker," "White as `
` snow," "Busy as a bee," "Pale as a ghost," "Rich as Croesus," "Cross as a `
` bear" and a great many more far too numerous to mention. `
` `
` Be as original as possible in the use of expression. Don't follow in the `
` old rut but try and strike out for yourself. This does not mean that you `
` should try to set the style, or do anything outlandish or out of the way, `
` or be an innovator on the prevailing custom. In order to be original `
` there is no necessity for you to introduce something novel or establish a `
` precedent. The probability is you are not fit to do either, by education `
` or talent. While following the style of those who are acknowledged `
` leaders you can be original in your language. Try and clothe an idea `
` different from what it has been clothed and better. If you are speaking `
` or writing of dancing don't talk or write about "tripping the light `
` fantastic toe." It is over two hundred years since Milton expressed it `
` that way in "_L'Allegro_." You're not a Milton and besides over a million `
` have stolen it from Milton until it is now no longer worth stealing. `
` `
` Don't resurrect obsolete words such as _whilom_, _yclept_, _wis_, etc., `
` and be careful in regard to obsolescent words, that is, words that are at `
` the present time gradually passing from use such as _quoth, trow, `
` betwixt, amongst, froward_, etc. `
` `
` And beware of new words. Be original in the construction and arrangement `
` of your language, but don't try to originate words. Leave that to the `
` Masters of language, and don't be the first to try such words, wait until `
` the chemists of speech have tested them and passed upon their merits. `
` `
` Quintilian said--"Prefer the oldest of the new and the newest of the `
` old." Pope put this in rhyme and it still holds good: `
` `
` In words, as fashions, the same rule will hold, Alike fantastic, if too `
` new or old: Be not the first by whom the new are tried, Nor yet the last `
` to lay the old aside. `
` `
` `
` PROPRIETY `
` `
` _Propriety_ of style consists in using words in their proper sense and as `
` in the case of purity, good usage is the principal test. Many words have `
` acquired in actual use a meaning very different from what they once `
` possessed. "Prevent" formerly meant to go before, and that meaning is `
` implied in its Latin derivation. Now it means to put a stop to, to `
` hinder. To attain propriety of style it is necessary to avoid confounding `
` words derived from the same root; as _respectfully_ and _respectively_; `
` it is necessary to use words in their accepted sense or the sense which `
` everyday use sanctions. `
` `
` `
` SIMPLICITY `
` `
` _Simplicity_ of style has reference to the choice of simple words and `
` their unaffected presentation. Simple words should always be used in `
` preference to compound, and complicated ones when they express the same `
` or almost the same meaning. The Anglo-Saxon element in our language `
` comprises the simple words which express the relations of everyday life, `
` strong, terse, vigorous, the language of the fireside, street, market and `
` farm. It is this style which characterizes the Bible and many of the `
` great English classics such as the "Pilgrim's Progress," "Robinson `
` Crusoe," and "Gulliver's Travels." `
` `
` `
` CLEARNESS `
` `
` _Clearness_ of style should be one of the leading considerations with the `
` beginner in composition. He must avoid all obscurity and ambiguous `
` phrases. If he write a sentence or phrase and see that a meaning might be `
` inferred from it otherwise than intended, he should re-write it in such a `
` way that there can be no possible doubt. Words, phrases or clauses that `
` are closely related should be placed as near to each other as possible `
` that their mutual relation may clearly appear, and no word should be `
` omitted that is necessary to the complete expression of thought. `
` `
` `
` UNITY `
` `
` _Unity_ is that property of style which keeps all parts of a sentence in `
` connection with the principal thought and logically subordinate to it. A `
` sentence may be constructed as to suggest the idea of oneness to the `
` mind, or it may be so loosely put together as to produce a confused and `
` indefinite impression. Ideas that have but little connection should be `
` expressed in separate sentences, and not crowded into one. `
` `
` Keep long parentheses out of the middle of your sentences and when you `
` have apparently brought your sentences to a close don't try to continue `
` the thought or idea by adding supplementary clauses. `
` `
` `
` STRENGTH `
` `
` _Strength_ is that property of style which gives animation, energy and `
` vivacity to language and sustains the interest of the reader. It is as `
` necessary to language as good food is to the body. Without it the words `
` are weak and feeble and create little or no impression on the mind. In `
` order to have strength the language must be concise, that is, much `
` expressed in little compass, you must hit the nail fairly on the head and `
` drive it in straight. Go critically over what you write and strike out `
` every word, phrase and clause the omission of which impairs neither the `
` clearness nor force of the sentence and so avoid redundancy, tautology `
` and circumlocution. Give the most important words the most prominent `
` places, which, as has been pointed out elsewhere, are the beginning and `
` end of the sentence. `
` `
` `
` HARMONY `
` `
` _Harmony_ is that property of style which gives a smoothness to the `
` sentence, so that when the words are sounded their connection becomes `
` pleasing to the ear. It adapts sound to sense. Most people construct `
` their sentences without giving thought to the way they will sound and as `
` a consequence we have many jarring and discordant combinations such as `
` "Thou strengthenedst thy position and actedst arbitrarily and `
` derogatorily to my interests." `
` `
` Harsh, disagreeable verbs are liable to occur with the Quaker form _Thou_ `
` of the personal pronoun. This form is now nearly obsolete, the plural `
` _you_ being almost universally used. To obtain harmony in the sentence `
` long words that are hard to pronounce and combinations of letters of one `
`
` simple words in regard to meaning, spelling or pronunciation. Whenever `
` you meet a strange word note it down until you discover its meaning and `
` use. Read the best books you can get, books written by men and women who `
` are acknowledged masters of language, and study how they use their words, `
` where they place them in the sentences, and the meanings they convey to `
` the readers. `
` `
` Mix in good society. Listen attentively to good talkers and try to `
` imitate their manner of expression. If a word is used you do not `
` understand, don't be ashamed to ask its meaning. `
` `
` True, a small vocabulary will carry you through, but it is an advantage `
` to have a large one. When you live alone a little pot serves just as well `
` as a large one to cook your victuals and it is handy and convenient, but `
` when your friends or neighbors come to dine with you, you will need a `
` much larger pot and it is better to have it in store, so that you will `
` not be put to shame for your scantiness of furnishings. `
` `
` Get as many words as you possibly can--if you don't need them now, pack `
` them away in the garrets of your brain so that you can call upon them if `
` you require them. `
` `
` Keep a note book, jot down the words you don't understand or clearly `
` understand and consult the dictionary when you get time. `
` `
` `
` PURITY `
` `
` _Purity_ of style consists in using words which are reputable, national `
` and present, which means that the words are in current use by the best `
` authorities, that they are used throughout the nation and not confined to `
` one particular part, and that they are words in constant use at the `
` present time. `
` `
` There are two guiding principles in the choice of words,--_good use_ `
` and _good taste_. _Good use_ tells us whether a word is right or wrong; `
` _good taste_, whether it is adapted to our purpose or not. `
` `
` A word that is obsolete or too new to have gained a place in the `
` language, or that is a provincialism, should not be used. `
` `
` Here are the Ten Commandments of English style: `
` `
` (1) Do not use foreign words. `
` `
` (2) Do not use a long word when a short one will serve your purpose. `
` _Fire_ is much better than _conflagration_. `
` `
` (3) Do not use technical words, or those understood only by specialists `
` in their respective lines, except when you are writing especially for `
` such people. `
` `
` (4) Do not use slang. `
` `
` (5) Do not use provincialisms, as "I guess" for "I think"; "I reckon" for `
` "I know," etc. `
` `
` (6) Do not in writing prose, use poetical or antiquated words: as "lore, `
` e'er, morn, yea, nay, verily, peradventure." `
` `
` (7) Do not use trite and hackneyed words and expressions; as, "on the `
` job," "up and in"; "down and out." `
` `
` (8) Do not use newspaper words which have not established a place in the `
` language as "to bugle"; "to suicide," etc. `
` `
` (9) Do not use ungrammatical words and forms; as, "I ain't;" "he don't." `
` `
` (10) Do not use ambiguous words or phrases; as--"He showed me all about `
` the house." `
` `
` Trite words, similes and metaphors which have become hackneyed and worn `
` out should be allowed to rest in the oblivion of past usage. Such `
` expressions and phrases as "Sweet sixteen" "the Almighty dollar," "Uncle `
` Sam," "On the fence," "The Glorious Fourth," "Young America," "The lords `
` of creation," "The rising generation," "The weaker sex," "The weaker `
` vessel," "Sweetness long drawn out" and "chief cook and bottle washer," `
` should be put on the shelf as they are utterly worn out from too much `
` usage. `
` `
` Some of the old similes which have outlived their usefulness and should `
` be pensioned off, are "Sweet as sugar," "Bold as a lion," "Strong as an `
` ox," "Quick as a flash," "Cold as ice," "Stiff as a poker," "White as `
` snow," "Busy as a bee," "Pale as a ghost," "Rich as Croesus," "Cross as a `
` bear" and a great many more far too numerous to mention. `
` `
` Be as original as possible in the use of expression. Don't follow in the `
` old rut but try and strike out for yourself. This does not mean that you `
` should try to set the style, or do anything outlandish or out of the way, `
` or be an innovator on the prevailing custom. In order to be original `
` there is no necessity for you to introduce something novel or establish a `
` precedent. The probability is you are not fit to do either, by education `
` or talent. While following the style of those who are acknowledged `
` leaders you can be original in your language. Try and clothe an idea `
` different from what it has been clothed and better. If you are speaking `
` or writing of dancing don't talk or write about "tripping the light `
` fantastic toe." It is over two hundred years since Milton expressed it `
` that way in "_L'Allegro_." You're not a Milton and besides over a million `
` have stolen it from Milton until it is now no longer worth stealing. `
` `
` Don't resurrect obsolete words such as _whilom_, _yclept_, _wis_, etc., `
` and be careful in regard to obsolescent words, that is, words that are at `
` the present time gradually passing from use such as _quoth, trow, `
` betwixt, amongst, froward_, etc. `
` `
` And beware of new words. Be original in the construction and arrangement `
` of your language, but don't try to originate words. Leave that to the `
` Masters of language, and don't be the first to try such words, wait until `
` the chemists of speech have tested them and passed upon their merits. `
` `
` Quintilian said--"Prefer the oldest of the new and the newest of the `
` old." Pope put this in rhyme and it still holds good: `
` `
` In words, as fashions, the same rule will hold, Alike fantastic, if too `
` new or old: Be not the first by whom the new are tried, Nor yet the last `
` to lay the old aside. `
` `
` `
` PROPRIETY `
` `
` _Propriety_ of style consists in using words in their proper sense and as `
` in the case of purity, good usage is the principal test. Many words have `
` acquired in actual use a meaning very different from what they once `
` possessed. "Prevent" formerly meant to go before, and that meaning is `
` implied in its Latin derivation. Now it means to put a stop to, to `
` hinder. To attain propriety of style it is necessary to avoid confounding `
` words derived from the same root; as _respectfully_ and _respectively_; `
` it is necessary to use words in their accepted sense or the sense which `
` everyday use sanctions. `
` `
` `
` SIMPLICITY `
` `
` _Simplicity_ of style has reference to the choice of simple words and `
` their unaffected presentation. Simple words should always be used in `
` preference to compound, and complicated ones when they express the same `
` or almost the same meaning. The Anglo-Saxon element in our language `
` comprises the simple words which express the relations of everyday life, `
` strong, terse, vigorous, the language of the fireside, street, market and `
` farm. It is this style which characterizes the Bible and many of the `
` great English classics such as the "Pilgrim's Progress," "Robinson `
` Crusoe," and "Gulliver's Travels." `
` `
` `
` CLEARNESS `
` `
` _Clearness_ of style should be one of the leading considerations with the `
` beginner in composition. He must avoid all obscurity and ambiguous `
` phrases. If he write a sentence or phrase and see that a meaning might be `
` inferred from it otherwise than intended, he should re-write it in such a `
` way that there can be no possible doubt. Words, phrases or clauses that `
` are closely related should be placed as near to each other as possible `
` that their mutual relation may clearly appear, and no word should be `
` omitted that is necessary to the complete expression of thought. `
` `
` `
` UNITY `
` `
` _Unity_ is that property of style which keeps all parts of a sentence in `
` connection with the principal thought and logically subordinate to it. A `
` sentence may be constructed as to suggest the idea of oneness to the `
` mind, or it may be so loosely put together as to produce a confused and `
` indefinite impression. Ideas that have but little connection should be `
` expressed in separate sentences, and not crowded into one. `
` `
` Keep long parentheses out of the middle of your sentences and when you `
` have apparently brought your sentences to a close don't try to continue `
` the thought or idea by adding supplementary clauses. `
` `
` `
` STRENGTH `
` `
` _Strength_ is that property of style which gives animation, energy and `
` vivacity to language and sustains the interest of the reader. It is as `
` necessary to language as good food is to the body. Without it the words `
` are weak and feeble and create little or no impression on the mind. In `
` order to have strength the language must be concise, that is, much `
` expressed in little compass, you must hit the nail fairly on the head and `
` drive it in straight. Go critically over what you write and strike out `
` every word, phrase and clause the omission of which impairs neither the `
` clearness nor force of the sentence and so avoid redundancy, tautology `
` and circumlocution. Give the most important words the most prominent `
` places, which, as has been pointed out elsewhere, are the beginning and `
` end of the sentence. `
` `
` `
` HARMONY `
` `
` _Harmony_ is that property of style which gives a smoothness to the `
` sentence, so that when the words are sounded their connection becomes `
` pleasing to the ear. It adapts sound to sense. Most people construct `
` their sentences without giving thought to the way they will sound and as `
` a consequence we have many jarring and discordant combinations such as `
` "Thou strengthenedst thy position and actedst arbitrarily and `
` derogatorily to my interests." `
` `
` Harsh, disagreeable verbs are liable to occur with the Quaker form _Thou_ `
` of the personal pronoun. This form is now nearly obsolete, the plural `
` _you_ being almost universally used. To obtain harmony in the sentence `
` long words that are hard to pronounce and combinations of letters of one `
`