Reading Help How to speak and write correctly Ch.VII-XV
long words that are hard to pronounce and combinations of letters of one `
` kind should be avoided. `
` `
` `
` EXPRESSIVE OF WRITER `
` `
` Style is expressive of the writer, as to who he is and what he is. As a `
` matter of structure in composition it is the indication of what a man can `
` do; as a matter of quality it is an indication of what he is. `
` `
` `
` KINDS OF STYLE `
` `
` Style has been classified in different ways, but it admits of so many `
` designations that it is very hard to enumerate a table. In fact there are `
` as many styles as there are writers, for no two authors write _exactly_ `
` after the same form. However, we may classify the styles of the various `
` authors in broad divisions as (1) dry, (2) plain, (3) neat, (4) elegant, `
` (5) florid, (6) bombastic. `
` `
` The _dry_ style excludes all ornament and makes no effort to appeal to `
` any sense of beauty. Its object is simply to express the thoughts in a `
` correct manner. This style is exemplified by Berkeley. `
` `
` The _plain_ style does not seek ornamentation either, but aims to make `
` clear and concise statements without any elaboration or embellishment. `
` Locke and Whately illustrate the plain style. `
` `
` The _neat_ style only aspires after ornament sparingly. Its object is to `
` have correct figures, pure diction and clear and harmonious sentences. `
` Goldsmith and Gray are the acknowledged leaders in this kind of style. `
` `
` The _elegant_ style uses every ornament that can beautify and avoids `
` every excess which would degrade. Macaulay and Addison have been `
` enthroned as the kings of this style. To them all writers bend the knee `
` in homage. `
` `
` The _florid_ style goes to excess in superfluous and superficial `
` ornamentation and strains after a highly colored imagery. The poems of `
` Ossian typify this style. `
` `
` The _bombastic_ is characterized by such an excess of words, figures and `
` ornaments as to be ridiculous and disgusting. It is like a circus clown `
` dressed up in gold tinsel Dickens gives a fine example of it in Sergeant `
` Buzfuz' speech in the "Pickwick Papers." Among other varieties of style `
` may be mentioned the colloquial, the laconic, the concise, the diffuse, `
` the abrupt the flowing, the quaint, the epigrammatic, the flowery, the `
` feeble, the nervous, the vehement, and the affected. The manner of these `
` is sufficiently indicated by the adjective used to describe them. `
` `
` In fact style is as various as character and expresses the individuality `
` of the writer, or in other words, as the French writer Buffon very aptly `
` remarks, "the style is the man himself." `
` `
` `
` `
` `
` CHAPTER X `
` `
` SUGGESTIONS `
` `
` How to Write--What to Write--Correct Speaking and Speakers `
` `
` `
` Rules of grammar and rhetoric are good in their own place; their laws `
` must be observed in order to express thoughts and ideas in the right way `
` so that they shall convey a determinate sense and meaning in a pleasing `
` and acceptable manner. Hard and fast rules, however, can never make a `
` writer or author. That is the business of old Mother Nature and nothing `
` can take her place. If nature has not endowed a man with faculties to put `
` his ideas into proper composition he cannot do so. He may have no ideas `
` worthy the recording. If a person has not a thought to express, it cannot `
` be expressed. Something cannot be manufactured out of nothing. The author `
` must have thoughts and ideas before he can express them on paper. These `
` come to him by nature and environment and are developed and strengthened `
` by study. There is an old Latin quotation in regard to the poet which `
` says "Poeta nascitur non fit" the translation of which is--the poet is `
` born, not made. To a great degree the same applies to the author. Some `
` men are great scholars as far as book learning is concerned, yet they `
` cannot express themselves in passable composition. Their knowledge is `
` like gold locked up in a chest where it is of no value to themselves or `
` the rest of the world. `
` `
` The best way to learn to write is to sit down and write, just as the best `
` way how to learn to ride a bicycle is to mount the wheel and pedal away. `
` Write first about common things, subjects that are familiar to you. Try `
` for instance an essay on a cat. Say something original about her. Don't `
` say "she is very playful when young but becomes grave as she grows old." `
` That has been said more than fifty thousand times before. Tell what you `
` have seen the family cat doing, how she caught a mouse in the garret and `
` what she did after catching it. Familiar themes are always the best for `
` the beginner. Don't attempt to describe a scene in Australia if you have `
` never been there and know nothing of the country. Never hunt for `
` subjects, there are thousands around you. Describe what you saw yesterday-- `
` a fire, a runaway horse, a dog-fight on the street and be original in `
` your description. Imitate the best writers in their _style_, but not in `
` their exact words. Get out of the beaten path, make a pathway of your `
` own. `
` `
` Know what you write about, write about what you know; this is a golden `
` rule to which you must adhere. To know you must study. The world is an `
` open book in which all who run may read. Nature is one great volume the `
` pages of which are open to the peasant as well as to the peer. Study `
` Nature's moods and tenses, for they are vastly more important than those `
` of the grammar. Book learning is most desirable, but, after all, it is `
` only theory and not practice. The grandest allegory in the English, in `
` fact, in any language, was written by an ignorant, so-called ignorant, `
` tinker named John Bunyan. Shakespeare was not a scholar in the sense we `
` regard the term to-day, yet no man ever lived or probably ever will live `
` that equalled or will equal him in the expression of thought. He simply `
` read the book of nature and interpreted it from the standpoint of his own `
` magnificent genius. `
` `
` Don't imagine that a college education is necessary to success as a `
` writer. Far from it. Some of our college men are dead-heads, drones, `
` parasites on the body social, not alone useless to the world but to `
` themselves. A person may be so ornamental that he is valueless from any `
` other standpoint. As a general rule ornamental things serve but little `
` purpose. A man may know so much of everything that he knows little of `
` anything. This may sound paradoxical, but, nevertheless, experience `
` proves its truth. `
` `
` If you are poor that is not a detriment but an advantage. Poverty is an `
` incentive to endeavor, not a drawback. Better to be born with a good, `
` working brain in your head than with a gold spoon in your mouth. If the `
` world had been depending on the so-called pets of fortune it would have `
` deteriorated long ago. `
` `
` From the pits of poverty, from the arenas of suffering, from the hovels `
` of neglect, from the backwood cabins of obscurity, from the lanes and `
` by-ways of oppression, from the dingy garrets and basements of unending `
` toil and drudgery have come men and women who have made history, made the `
` world brighter, better, higher, holier for their existence in it, made of `
` it a place good to live in and worthy to die in,--men and women who have `
` hallowed it by their footsteps and sanctified it with their presence and `
` in many cases consecrated it with their blood. Poverty is a blessing, not `
` an evil, a benison from the Father's hand if accepted in the right spirit. `
` Instead of retarding, it has elevated literature in all ages. Homer was a `
` blind beggarman singing his snatches of song for the dole of charity; `
` grand old Socrates, oracle of wisdom, many a day went without his dinner `
` because he had not the wherewithal to get it, while teaching the youth of `
` Athens. The divine Dante was nothing better than a beggar, houseless, `
` homeless, friendless, wandering through Italy while he composed his `
` immortal cantos. Milton, who in his blindness "looked where angels fear `
` to tread," was steeped in poverty while writing his sublime conception, `
` "Paradise Lost." Shakespeare was glad to hold and water the horses of `
` patrons outside the White Horse Theatre for a few pennies in order to buy `
` bread. Burns burst forth in never-dying song while guiding the ploughshare. `
` Poor Heinrich Heine, neglected and in poverty, from his "mattress grave" `
` of suffering in Paris added literary laurels to the wreath of his German `
` Fatherland. In America Elihu Burritt, while attending the anvil, made `
` himself a master of a score of languages and became the literary lion of `
` his age and country. `
` `
` In other fields of endeavor poverty has been the spur to action. Napoleon `
` was born in obscurity, the son of a hand-to-mouth scrivener in the backward `
` island of Corsica. Abraham Lincoln, the boast and pride of America, the `
` man who made this land too hot for the feet of slaves, came from a log `
` cabin in the Ohio backwoods. So did James A. Garfield. Ulysses Grant came `
` from a tanyard to become the world's greatest general. Thomas A. Edison `
` commenced as a newsboy on a railway tram. `
` `
` The examples of these men are incentives to action. Poverty thrust them `
` forward instead of keeping them back. Therefore, if you are poor make `
` your circumstances a means to an end. Have ambition, keep a goal in sight `
` and bend every energy to reach that goal. A story is told of Thomas `
` Carlyle the day he attained the highest honor the literary world could `
` confer upon him when he was elected Lord Rector of Edinburgh University. `
` After his installation speech, in going through the halls, he met a `
` student seemingly deep in study. In his own peculiar, abrupt, crusty way `
` the Sage of Chelsea interrogated the young man: "For what profession are `
` you studying?" "I don't know," returned the youth. "You don't know," `
` thundered Carlyle, "young man, you are a fool." Then he went on to `
` qualify his vehement remark, "My boy when I was your age, I was stooped `
` in grinding, gripping poverty in the little village of Ecclefechan, in `
` the wilds of [Transcriber's note: Part of word illegible]-frieshire, `
` where in all the place only the minister and myself could read the Bible, `
` yet poor and obscure as I was, in my mind's eye I saw a chair awaiting `
` for me in the Temple of Fame and day and night and night and day I `
` studied until I sat in that chair to-day as Lord Rector of Edinburgh `
` University." `
` `
` Another Scotchman, Robert Buchanan, the famous novelist, set out for `
` London from Glasgow with but half-a-crown in his pocket. "Here goes," `
` said he, "for a grave in Westminster Abbey." He was not much of a `
` scholar, but his ambition carried him on and he became one of the great `
` literary lions of the world's metropolis. `
` `
` Henry M. Stanley was a poorhouse waif whose real name was John Rowlands. `
` He was brought up in a Welsh workhouse, but he had ambition, so he rose `
` to be a great explorer, a great writer, became a member of Parliament and `
` was knighted by the British Sovereign. `
` `
` Have ambition to succeed and you will succeed. Cut the word "failure" out `
` of your lexicon. Don't acknowledge it. Remember `
` `
` "In life's earnest battle they only prevail `
` Who daily march onward and never say fail." `
` `
` Let every obstacle you encounter be but a stepping stone in the path of `
` onward progress to the goal of success. `
`
` kind should be avoided. `
` `
` `
` EXPRESSIVE OF WRITER `
` `
` Style is expressive of the writer, as to who he is and what he is. As a `
` matter of structure in composition it is the indication of what a man can `
` do; as a matter of quality it is an indication of what he is. `
` `
` `
` KINDS OF STYLE `
` `
` Style has been classified in different ways, but it admits of so many `
` designations that it is very hard to enumerate a table. In fact there are `
` as many styles as there are writers, for no two authors write _exactly_ `
` after the same form. However, we may classify the styles of the various `
` authors in broad divisions as (1) dry, (2) plain, (3) neat, (4) elegant, `
` (5) florid, (6) bombastic. `
` `
` The _dry_ style excludes all ornament and makes no effort to appeal to `
` any sense of beauty. Its object is simply to express the thoughts in a `
` correct manner. This style is exemplified by Berkeley. `
` `
` The _plain_ style does not seek ornamentation either, but aims to make `
` clear and concise statements without any elaboration or embellishment. `
` Locke and Whately illustrate the plain style. `
` `
` The _neat_ style only aspires after ornament sparingly. Its object is to `
` have correct figures, pure diction and clear and harmonious sentences. `
` Goldsmith and Gray are the acknowledged leaders in this kind of style. `
` `
` The _elegant_ style uses every ornament that can beautify and avoids `
` every excess which would degrade. Macaulay and Addison have been `
` enthroned as the kings of this style. To them all writers bend the knee `
` in homage. `
` `
` The _florid_ style goes to excess in superfluous and superficial `
` ornamentation and strains after a highly colored imagery. The poems of `
` Ossian typify this style. `
` `
` The _bombastic_ is characterized by such an excess of words, figures and `
` ornaments as to be ridiculous and disgusting. It is like a circus clown `
` dressed up in gold tinsel Dickens gives a fine example of it in Sergeant `
` Buzfuz' speech in the "Pickwick Papers." Among other varieties of style `
` may be mentioned the colloquial, the laconic, the concise, the diffuse, `
` the abrupt the flowing, the quaint, the epigrammatic, the flowery, the `
` feeble, the nervous, the vehement, and the affected. The manner of these `
` is sufficiently indicated by the adjective used to describe them. `
` `
` In fact style is as various as character and expresses the individuality `
` of the writer, or in other words, as the French writer Buffon very aptly `
` remarks, "the style is the man himself." `
` `
` `
` `
` `
` CHAPTER X `
` `
` SUGGESTIONS `
` `
` How to Write--What to Write--Correct Speaking and Speakers `
` `
` `
` Rules of grammar and rhetoric are good in their own place; their laws `
` must be observed in order to express thoughts and ideas in the right way `
` so that they shall convey a determinate sense and meaning in a pleasing `
` and acceptable manner. Hard and fast rules, however, can never make a `
` writer or author. That is the business of old Mother Nature and nothing `
` can take her place. If nature has not endowed a man with faculties to put `
` his ideas into proper composition he cannot do so. He may have no ideas `
` worthy the recording. If a person has not a thought to express, it cannot `
` be expressed. Something cannot be manufactured out of nothing. The author `
` must have thoughts and ideas before he can express them on paper. These `
` come to him by nature and environment and are developed and strengthened `
` by study. There is an old Latin quotation in regard to the poet which `
` says "Poeta nascitur non fit" the translation of which is--the poet is `
` born, not made. To a great degree the same applies to the author. Some `
` men are great scholars as far as book learning is concerned, yet they `
` cannot express themselves in passable composition. Their knowledge is `
` like gold locked up in a chest where it is of no value to themselves or `
` the rest of the world. `
` `
` The best way to learn to write is to sit down and write, just as the best `
` way how to learn to ride a bicycle is to mount the wheel and pedal away. `
` Write first about common things, subjects that are familiar to you. Try `
` for instance an essay on a cat. Say something original about her. Don't `
` say "she is very playful when young but becomes grave as she grows old." `
` That has been said more than fifty thousand times before. Tell what you `
` have seen the family cat doing, how she caught a mouse in the garret and `
` what she did after catching it. Familiar themes are always the best for `
` the beginner. Don't attempt to describe a scene in Australia if you have `
` never been there and know nothing of the country. Never hunt for `
` subjects, there are thousands around you. Describe what you saw yesterday-- `
` a fire, a runaway horse, a dog-fight on the street and be original in `
` your description. Imitate the best writers in their _style_, but not in `
` their exact words. Get out of the beaten path, make a pathway of your `
` own. `
` `
` Know what you write about, write about what you know; this is a golden `
` rule to which you must adhere. To know you must study. The world is an `
` open book in which all who run may read. Nature is one great volume the `
` pages of which are open to the peasant as well as to the peer. Study `
` Nature's moods and tenses, for they are vastly more important than those `
` of the grammar. Book learning is most desirable, but, after all, it is `
` only theory and not practice. The grandest allegory in the English, in `
` fact, in any language, was written by an ignorant, so-called ignorant, `
` tinker named John Bunyan. Shakespeare was not a scholar in the sense we `
` regard the term to-day, yet no man ever lived or probably ever will live `
` that equalled or will equal him in the expression of thought. He simply `
` read the book of nature and interpreted it from the standpoint of his own `
` magnificent genius. `
` `
` Don't imagine that a college education is necessary to success as a `
` writer. Far from it. Some of our college men are dead-heads, drones, `
` parasites on the body social, not alone useless to the world but to `
` themselves. A person may be so ornamental that he is valueless from any `
` other standpoint. As a general rule ornamental things serve but little `
` purpose. A man may know so much of everything that he knows little of `
` anything. This may sound paradoxical, but, nevertheless, experience `
` proves its truth. `
` `
` If you are poor that is not a detriment but an advantage. Poverty is an `
` incentive to endeavor, not a drawback. Better to be born with a good, `
` working brain in your head than with a gold spoon in your mouth. If the `
` world had been depending on the so-called pets of fortune it would have `
` deteriorated long ago. `
` `
` From the pits of poverty, from the arenas of suffering, from the hovels `
` of neglect, from the backwood cabins of obscurity, from the lanes and `
` by-ways of oppression, from the dingy garrets and basements of unending `
` toil and drudgery have come men and women who have made history, made the `
` world brighter, better, higher, holier for their existence in it, made of `
` it a place good to live in and worthy to die in,--men and women who have `
` hallowed it by their footsteps and sanctified it with their presence and `
` in many cases consecrated it with their blood. Poverty is a blessing, not `
` an evil, a benison from the Father's hand if accepted in the right spirit. `
` Instead of retarding, it has elevated literature in all ages. Homer was a `
` blind beggarman singing his snatches of song for the dole of charity; `
` grand old Socrates, oracle of wisdom, many a day went without his dinner `
` because he had not the wherewithal to get it, while teaching the youth of `
` Athens. The divine Dante was nothing better than a beggar, houseless, `
` homeless, friendless, wandering through Italy while he composed his `
` immortal cantos. Milton, who in his blindness "looked where angels fear `
` to tread," was steeped in poverty while writing his sublime conception, `
` "Paradise Lost." Shakespeare was glad to hold and water the horses of `
` patrons outside the White Horse Theatre for a few pennies in order to buy `
` bread. Burns burst forth in never-dying song while guiding the ploughshare. `
` Poor Heinrich Heine, neglected and in poverty, from his "mattress grave" `
` of suffering in Paris added literary laurels to the wreath of his German `
` Fatherland. In America Elihu Burritt, while attending the anvil, made `
` himself a master of a score of languages and became the literary lion of `
` his age and country. `
` `
` In other fields of endeavor poverty has been the spur to action. Napoleon `
` was born in obscurity, the son of a hand-to-mouth scrivener in the backward `
` island of Corsica. Abraham Lincoln, the boast and pride of America, the `
` man who made this land too hot for the feet of slaves, came from a log `
` cabin in the Ohio backwoods. So did James A. Garfield. Ulysses Grant came `
` from a tanyard to become the world's greatest general. Thomas A. Edison `
` commenced as a newsboy on a railway tram. `
` `
` The examples of these men are incentives to action. Poverty thrust them `
` forward instead of keeping them back. Therefore, if you are poor make `
` your circumstances a means to an end. Have ambition, keep a goal in sight `
` and bend every energy to reach that goal. A story is told of Thomas `
` Carlyle the day he attained the highest honor the literary world could `
` confer upon him when he was elected Lord Rector of Edinburgh University. `
` After his installation speech, in going through the halls, he met a `
` student seemingly deep in study. In his own peculiar, abrupt, crusty way `
` the Sage of Chelsea interrogated the young man: "For what profession are `
` you studying?" "I don't know," returned the youth. "You don't know," `
` thundered Carlyle, "young man, you are a fool." Then he went on to `
` qualify his vehement remark, "My boy when I was your age, I was stooped `
` in grinding, gripping poverty in the little village of Ecclefechan, in `
` the wilds of [Transcriber's note: Part of word illegible]-frieshire, `
` where in all the place only the minister and myself could read the Bible, `
` yet poor and obscure as I was, in my mind's eye I saw a chair awaiting `
` for me in the Temple of Fame and day and night and night and day I `
` studied until I sat in that chair to-day as Lord Rector of Edinburgh `
` University." `
` `
` Another Scotchman, Robert Buchanan, the famous novelist, set out for `
` London from Glasgow with but half-a-crown in his pocket. "Here goes," `
` said he, "for a grave in Westminster Abbey." He was not much of a `
` scholar, but his ambition carried him on and he became one of the great `
` literary lions of the world's metropolis. `
` `
` Henry M. Stanley was a poorhouse waif whose real name was John Rowlands. `
` He was brought up in a Welsh workhouse, but he had ambition, so he rose `
` to be a great explorer, a great writer, became a member of Parliament and `
` was knighted by the British Sovereign. `
` `
` Have ambition to succeed and you will succeed. Cut the word "failure" out `
` of your lexicon. Don't acknowledge it. Remember `
` `
` "In life's earnest battle they only prevail `
` Who daily march onward and never say fail." `
` `
` Let every obstacle you encounter be but a stepping stone in the path of `
` onward progress to the goal of success. `
`