English composition : eight lectures given at the Lowell Institute

Front matter

K

1 5 1{ A R Y OF THE

U N I VERS ITY * u Of ILLINOIS From the Library of ^

II. Words

Words are the names by which good use has agreed that we shall describe ideas. In our choice of words we may never stray beyond the limits of good use. In judging whether a given word be admissible, we may best ask ourselves whether it is a Barbarism — a word not in the language — or an Im¬ propriety, — a word used in a sense not sanctioned by good use. If neither, we may accept it. Within the limits of good use we may produce widely various effects by using, for different purposes, different kinds of words and different numbers. In considering these effects, we should keep in mind three facts : first, that the agreement of good use is not precise, but ap¬ proximate ; secondly, that every word we use does not exhaust its power by identifying the single idea to which good use has attached it; but, thirdly, that at the same time it inevitably suggests a number of other ideas. In choosing words, then, we must always consider two things, — their denotation, what they name; and their connotation, what they suggest . . . Page 41.

III. Sentences

A sentence is a series of words so composed as to make complete sense. In judging whether a given sentence be grammatical, — authorized by good use, — we may best inquire, first, whether it makes good sense, and if not, whether idiom sanctions it; if neither, we may best avoid it as a Sole¬ cism. Within the limits of good use we may compose various kinds of sen¬ tences. To all these kinds we may apply the principles of Unity, Mass, and Coherence, — principles to which good use apparently is tending to conform. And by varying our kinds of sentences, and applying to all kinds the broadly simple principles of composition, we may indefinitely vary our effects, in both denotation and connotation . Page 76.

IV. Paragraphs

A paragraph is to a sentence what a sentence is to a word. The prin¬ ciples which govern the arrangement of sentences in paragraphs, then, are identical with those that govern the arrangement of words in sentences.

CONTENTS.

IX

And as paragraphs, essentially elements of written discourse, are almost un¬ trammelled by good use, we may now lay down these principles with more decision. A paragraph should generally group itself about one central idea ; its chief ideas should generally be in its most conspicuous places; and the relation of each sentence to the context should generally be unmistakable. By varying the arrangement of paragraphs, and by constantly applying these principles, we may indefinitely vary our effects in denotation and connotation alike . . Page 114.

y.

WHOLE COMPOSITIONS.

In composing whole compositions, we are, even more than in paragraphs, free from the hampering influence of good use. We may, then, almost un¬ checked, apply to our work the principles of composition. And by so doing, we may almost infinitely vary our effects, in denotation and connotation alike . Page 150.

VI. Clearness

Clearness is the distinguishing quality of a style that cannot be mis¬ understood. It is a relative quality; but a generally clear style is a style addressed to the average man. To write with clearness we must of course make ourselves as certain as possible of what we wish to say. Then, remembering that any quality of style can be conveyed to a reader only by means of our choice and composition of the elements, we may ask ourselves whether the elements of style possess any trait distinctly favor¬ able to clearness. And we discover that the secret of clearness lies in denotation . Page 193.

VII. F O Rc E

Force is the distinguishing quality of a style that holds the attention. It consists in such choice and composition of the elements of style as shall not only denote our meaning, but also connote the emotions we have in mind. Tropes, — figures of speech, — which carry the process of forcible selection

X

CONTENTS.

one step further, and actually name a connotation, leaving the denotation to be inferred, are ‘the most typical devices we can study with force in view. From a study of them we are brought to see that to cultivate force we must cultivate ourselves in three ways: we must cultivate our perception of what we would express, our knowledge of the human beings we would address, and our mastery of the technical methods at our disposal. We must learn, too, the limits of our powers, lest, straying too near them, we plainly reveal them. And all this means at bottom that the secret of force lies in connotation . . Page 234.

VIII. Elegance

Elegance is the distinguishing quality of a style that pleases the taste. As critics of style we must not concern ourselves with substance, but must grant a writer the privilege of choosing what thought and emotion he would ex¬ press, and confine ourselves to considering liuw he has expressed it. So doing, we discover that the secret of elegance lies in the most exquisite possible adaptation of our means to our end. To attain elegance we must strive to develop into mastery both our power of expression and our power of perception in life and in art ; for the greater our mastery the greater our power of adaptation. And the secret of elegance lies in adaptation . Page 272.