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diff --git a/old/phil10h.htm b/old/phil10h.htm new file mode 100644 index 0000000..fdf3ced --- /dev/null +++ b/old/phil10h.htm @@ -0,0 +1,2052 @@ +<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 3.2 Final//EN"> +<HTML> +<HEAD> +<TITLE>The Project Gutenberg eBook of The Philosophy of Style by Herbert Spencer</TITLE> +<META NAME="Generator" CONTENT="TextPad 4.4"> +<META NAME="Author" CONTENT="P. Peterson"> +<META NAME="Description" CONTENT="The Philosophy of Style by Herberg Spencer"> +<META HTTP-EQUIV="Content-Type" CONTENT="text/html; charset=utf-8"> +</HEAD> + +<BODY> + +<H1>The Project Gutenberg eBook of The Philosophy of Style by Herbert Spencer</H1> + +<PRE> +Copyright laws are changing all over the world. Be sure to check the +copyright laws for your country before downloading or redistributing +this or any other Project Gutenberg eBook. + +This header should be the first thing seen when viewing this Project +Gutenberg file. Please do not remove it. Do not change or edit the +header without written permission. + +Please read the "legal small print," and other information about the +eBook and Project Gutenberg at the bottom of this file. Included is +important information about your specific rights and restrictions in +how the file may be used. You can also find out about how to make a +donation to Project Gutenberg, and how to get involved. + + +**Welcome To The World of Free Plain Vanilla Electronic Texts** + +**eBooks Readable By Both Humans and By Computers, Since 1971** + +*****These eBooks Were Prepared By Thousands of Volunteers!***** + + +Title: The Philosophy of Style + +Author: Herbert Spencer + +Release Date: June, 2004 [EBook #5849] +[Yes, we are more than one year ahead of schedule] +[This file was first posted on September 13, 2002] + +Edition: 10 + +Language: English + +Character set encoding: UTF-8 + +*** START OF THE PROJECT GUTENBERG EBOOK, The Philosophy of Style *** + +<p class=MsoNormal align=center style='text-align:center;tab-stops:right 264.2pt'><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>THE PHILOSOPHY OF +STYLE.<o:p></o:p></span></p> + +<p class=MsoNormal align=center style='text-align:center;tab-stops:right 264.2pt'><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>by Herbert Spencer<br> +1852<o:p></o:p></span></p> + +<p class=MsoNormal style='tab-stops:right 264.2pt'><span style='font-size:12.0pt; +font-family:Verdana;mso-no-proof:no'><o:p> </o:p></span></p> + +<p class=MsoNormal align=center style='text-align:center;tab-stops:right 264.2pt'><i +style='mso-bidi-font-style:normal'><span style='font-size:12.0pt;font-family: +Verdana;mso-no-proof:no'>PART I.<o:p></o:p></span></i></p> + +<p class=MsoNormal align=center style='text-align:center;tab-stops:42.0pt right 264.2pt'><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>CAUSES OF FORCE IN +LANGUAGE WHICH DEPEND UPON<o:p></o:p></span></p> + +<p class=MsoNormal align=center style='text-align:center;tab-stops:42.0pt right 264.2pt'><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'><span +style='mso-tab-count:1'> </span>ECONOMY OF THE MENTAL ENERGIES.<o:p></o:p></span></p> + +<p class=MsoNormal style='tab-stops:42.0pt right 264.2pt'><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'><o:p> </o:p></span></p> + +<p class=MsoNormal align=center style='text-align:center;tab-stops:right 264.2pt'><i +style='mso-bidi-font-style:normal'><span style='font-size:12.0pt;font-family: +Verdana;mso-no-proof:no'>i. The Principle of Economy.<o:p></o:p></span></i></p> + +<p class=MsoNormal align=center style='text-align:center;tab-stops:right 264.2pt'><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'><o:p> </o:p></span></p> + +<p class=MsoBodyText2 style='margin-left:0in;text-indent:0in;mso-list:l0 level1 lfo1; +tab-stops:list .25in'><![if !supportLists]><span style='mso-list:Ignore'>§ 1.<span +style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-family:Verdana'>Commenting on the seeming incongruity between his +father’s argumentative powers and his ignorance of formal logic, Tristram +Shandy says:—“It was a matter of just wonder with my worthy tutor, and two or +three fellows of that learned society, that a man who knew not so much as the +names of his tools, should be able to work after that fashion with them.” +Sterne’s intended implication that a knowledge of the principles of reasoning +neither makes, nor is essential to, a good reasoner, is doubtless true. Thus, +too, is it with grammar. As Dr. Latham, condemning the usual school‑drill +in Lindley Murray, rightly remarks: “Gross vulgarity is a fault to be +prevented; but the proper prevention is to be got from habit—not rules.” +Similarly, there can be little question that good composition is far less +dependent upon acquaintance with its laws, than upon practice and natural +aptitude. A clear head, a quick imagination, and a sensitive ear, will go far +towards making all rhetorical precepts needless. He who daily hears and reads +well-framed sentences, will naturally more or less tend to use similar +ones. And where there exists any mental idiosyncrasy—where there is a deficient +verbal memory, or an inadequate sense of logical dependence, or but little +perception of order, or a lack of constructive ingenuity; no amount of +instruction will remedy the defect. Nevertheless, some practical result may be +expected from a familiarity with the principles of style. The endeavour to +conform to laws may tell, though slowly. And if in no other way, yet, as +facilitating revision, a knowledge of the thing to be achieved—a clear idea of +what constitutes a beauty, and what a blemish—cannot fail to be of service.<o:p></o:p></span></p> + +<p class=MsoBodyText3 style='margin-left:0in;text-indent:0in;mso-list:l0 level1 lfo1; +tab-stops:list .25in'><![if !supportLists]><span style='mso-list:Ignore'>§ 2.<span +style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana'>No general theory of expression +seems yet to have been enunciated. The maxims contained in works on composition +and rhetoric, are presented in an unorganized form. Standing as isolated dogmas</span><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>—</span><span +style='font-size:12.0pt;font-family:Verdana'>as empirical generalizations, they are neither so clearly apprehended, +nor so much respected, as they would be were they deduced from some simple +first principle. We are told that “brevity is the soul of wit.” We hear styles +condemned as verbose or involved. Blair says that every needless part of a +sentence “interrupts the description and clogs the image;” and again, that +“long sentences fatigue the reader’s attention.” It is remarked by Lord +Kaimes, +that “to give the utmost force to a period, it ought, if possible, to be closed +with that word which makes the greatest figure” That parentheses should be +avoided and that Saxon words should be used in preference to those of Latin +origin, are established precepts. But, however influential the truths thus +dogmatically embodied, they would be much more influential if reduced to +something like scientific ordination. In this, as in other cases, conviction +will be greatly strengthened when we understand the why. And we may be sure +that a comprehension of the general principle from which the rules of +composition result, will not only bring them home to us with greater force, but +will discover to us other rules of like origin,<o:p></o:p></span></p> + +<p class=MsoBodyText3 style='margin-left:0in;text-indent:0in;mso-list:l0 level1 lfo1; +tab-stops:list .25in'><![if !supportLists]><span style='mso-list:Ignore'>§ 3.<span +style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana'>On seeking for some clue to the +law underlying these current maxims, we may see shadowed forth in many of them, +the importance of economizing the reader’s or hearer’s attention, To so present +ideas that they may be apprehended with the least possible mental effort, is +the desideratum towards which most of the rules above quoted point. When we +condemn writing that is wordy, or confused, or intricate—when we praise this +style as easy, and blame that as fatiguing, we consciously or unconsciously +assume this desideratum as our standard of judgment. Regarding language as an +apparatus of symbols for the conveyance of thought, we may say that, as in a +mechanical apparatus, the more simple and the better arranged its parts, the +greater will be the effect produced. In either case, whatever force is absorbed +by the machine is deducted from the result. A reader or listener has at each +moment but a limited amount of mental power available. To recognize and +interpret the symbols presented to him, requires part of this power; to arrange +and combine the images suggested requires a further part; and only that part +which remains can be used for realizing the thought conveyed. Hence, the more +time and attention it takes to receive and understand each sentence, the less +time and attention can be given to the contained idea; and the less vividly will +that idea be conceived.<o:p></o:p></span></p> + +<p class=MsoBodyText3 style='margin-left:0in;text-indent:0in;mso-list:l0 level1 lfo1; +tab-stops:list .25in'><![if !supportLists]><span style='mso-list:Ignore'>§ 4.<span +style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana'>How truly language must be +regarded as a hindrance to thought, though the necessary instrument of it, we +shall clearly perceive on remembering the comparative force with which simple +ideas are communicated by signs. To say, “Leave the room,” is less expressive +than to point to the door. Placing a finger on the lips is more forcible than +whispering, “Do not speak.” A beck of the hand is better than, “Come here.” No +phrase can convey the idea of surprise so vividly as opening the eyes and +raising the eyebrows. A shrug of the shoulders would lose much by translation +into words. Again, it may be remarked that when oral language is employed, the +strongest effects are produced by interjections, which condense entire +sentences into syllables. And in other cases, where custom allows us to express +thoughts by single words, as in <i style='mso-bidi-font-style:normal'>Beware, +Heigho, Fudge, </i>much force would be lost by expanding them into specific +propositions. Hence, carrying out the metaphor that language is the vehicle of +thought, there seems reason to think that in all cases the friction and inertia +of the vehicle deduct from its efficiency; and that in composition, the chief, +if not the sole thing to be done, is, to reduce this friction and inertia to +the smallest possible amount. Let us then inquire whether economy of the +recipient’s attention is not the secret of effect, alike in the right choice +and collocation of words, in the best arrangement of clauses in a sentence, in +the proper order of its principal and subordinate propositions, in the +judicious use of simile, metaphor, and other figures of speech, and even in the +rhythmical sequence of syllables.<o:p></o:p></span></p> + +<p class=MsoNormal><span style='font-size:12.0pt;font-family:Verdana; +mso-no-proof:no'><o:p> </o:p></span></p> + +<p class=MsoNormal align=center style='text-align:center'><i style='mso-bidi-font-style: +normal'><span style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>ii. +Economy in the Use of Words.<o:p></o:p></span></i></p> + +<p class=MsoNormal><span style='font-size:12.0pt;font-family:Verdana; +mso-no-proof:no'><o:p> </o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list .25in'><![if !supportLists]><span style='mso-list:Ignore'>§ +5.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>The greater +forcibleness of Saxon English, or rather non‑Latin English, first claims +our attention. The several special reasons assignable for this may all be +reduced to the general reason—economy. The most important of them is early +association. A child’s vocabulary is almost wholly Saxon. He says, <i +style='mso-bidi-font-style:normal'>I have, </i>not <i style='mso-bidi-font-style: +normal'>I possess</i><span style='mso-bidi-font-style:italic'>—</span><i +style='mso-bidi-font-style:normal'>I wish, </i>not I <i style='mso-bidi-font-style: +normal'>desire; </i>he does not <i style='mso-bidi-font-style:normal'>reflect, </i>he +<i style='mso-bidi-font-style:normal'>thinks; </i>he does not beg for <i +style='mso-bidi-font-style:normal'>amusement, </i>but for <i>play</i>; he calls +things <i style='mso-bidi-font-style:normal'>nice </i>or <i style='mso-bidi-font-style: +normal'>nasty, </i>not <i style='mso-bidi-font-style:normal'>pleasant </i>or <i>dis</i><i +style='mso-bidi-font-style:normal'>agreeable. </i>The synonyms which he learns +in after years, never become so closely, so organically connected with the +ideas signified, as do these original words used in childhood; and hence the +association remains less strong. But in what does a strong association between +a word and an idea differ from a weak one? Simply in the greater ease and +rapidity of the suggestive action. It can be in nothing else. Both of two +words, if they be strictly synonymous, eventually call up the same image. The +expression—It is <i style='mso-bidi-font-style:normal'>acid, </i>must in the +end give rise to the same thought as—It is sour; but because the term <i +style='mso-bidi-font-style:normal'>acid </i>was learnt later in life, and has +not been so often followed by the thought symbolized, it does not so readily +arouse that thought as the term sour. If we remember how slowly and with what +labour the appropriate ideas follow unfamiliar words in another language, and +how increasing familiarity with such words brings greater rapidity and ease of +comprehension; and if we consider that the same process must have gone on with +the words of our mother tongue from childhood upwards, we shall clearly see +that the earliest learnt and oftenest used words, will, other things equal, +call up images with less loss of time and energy than their later learnt +synonyms.<i style='mso-bidi-font-style:normal'><o:p></o:p></i></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list .25in'><![if !supportLists]><span style='mso-list:Ignore'>§ +6.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>The further +superiority possessed by Saxon English in its comparative brevity, obviously +comes under the same generalization. If it be an advantage to express an idea +in the smallest number of words, then will it be an advantage to express it in +the smallest number of syllables. If circuitous phrases and needless expletives +distract the attention and diminish the strength of the impression produced, +then do surplus articulations do so. A certain effort, though commonly an +inappreciable one, must be required to recognize every vowel and consonant. If, +as all know, it is tiresome to listen to an indistinct speaker, or read a badly‑written +manuscript; and if, as we cannot doubt, the fatigue is a cumulative result of +the attention needed to catch successive syllables; it follows that attention +is in such cases absorbed by each syllable. And if this be true when the +syllables are difficult of recognition, it will also be true, though in a less +degree, when the recognition of them is easy. Hence, the shortness of Saxon +words becomes a reason for their greater force. One qualification, however, +must not be overlooked. A word which in itself embodies the most important part +of the idea to be conveyed, especially when that idea is an emotional one, may +often with advantage be a polysyllabic word. Thus it seems more forcible to +say, “It is <i style='mso-bidi-font-style:normal'>magnificent,</i><span +style='mso-bidi-font-style:italic'>”</span><i style='mso-bidi-font-style:normal'> +</i>than “It is <i style='mso-bidi-font-style:normal'>grand.</i><span +style='mso-bidi-font-style:italic'>”</span><i style='mso-bidi-font-style:normal'> +</i>The word <i style='mso-bidi-font-style:normal'>vast </i>is not so powerful +a one as <i style='mso-bidi-font-style:normal'>stupendous </i>Calling a thing <i +style='mso-bidi-font-style:normal'>nasty </i>is not so effective as calling it <i +style='mso-bidi-font-style:normal'>disgusting.</i><o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list .25in'><![if !supportLists]><span style='mso-list:Ignore'>§ +7.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>There seem to be +several causes for this exceptional superiority of certain long words. We may +ascribe it partly to the fact that a voluminous, mouth‑filling epithet +is, by its very size, suggestive of largeness or strength; witness the immense +pomposity of sesquipedalian verbiage: and when great power or intensity has to +be suggested, this association of ideas aids the effect. A further cause may be +that a word of several syllables admits of more emphatic articulation; and as +emphatic articulation is a sign of emotion, the unusual impressiveness of the +thing named is implied by it. Yet another cause is that a long word (of which +the latter syllables are generally inferred as soon as the first are spoken) +allows the hearer’s consciousness a longer time to dwell upon the quality +predicated; and where, as in the above cases, it is to this predicated quality +that the entire attention is called, an advantage results from keeping it +before the mind for an appreciable time. The reasons which we have given for +preferring short words evidently do not hold here. So that to make our +generalization quite correct we must say, that while in certain sentences +expressing strong feeling, the word which more especially implies that feeling +may often with advantage be a many-syllabled or Latin one; in the immense +majority of cases, each word serving but as a step to the idea embodied by the +whole sentence, should, if possible, be a one-syllabled or Saxon one.<o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list .25in'><![if !supportLists]><span style='mso-list:Ignore'>§ +8.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>Once more, that +frequent cause of strength in Saxon and other primitive words‑their +imitative character may be similarly resolved into the more general cause. Both +those directly imitative, as <i style='mso-bidi-font-style:normal'>splash, +bang, whiz, roar, </i>&c., and those analogically imitative, as <i +style='mso-bidi-font-style:normal'>rough, smooth, keen, blunt, thin, hard, +crag, </i>&c., have a greater or less likeness to the things symbolized; +and by making on the senses impressions allied to the ideas to be called up, +they save part of the effort needed to call up such ideas, and leave more +attention for the ideas themselves.<o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list .25in'><![if !supportLists]><span style='mso-list:Ignore'>§ +9.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>The economy of the +recipient’s mental energy, into which are thus resolvable the several causes of +the strength of Saxon English, may equally be traced in the superiority of +specific over generic words. That concrete terms produce more vivid impressions +than abstract ones, and should, when possible, be used instead, is a thorough +maxim of composition. As Dr. Campbell says, “The more general the terms are, +the picture is the fainter; the more special they are, ‘tis the brighter.” We +should avoid such a sentence as:—“In proportion as the manners, customs, and +amusements of a nation are cruel and barbarous, the regulations of their penal +code will be severe.” And in place of it we should write:—“In proportion as men +delight in battles, bull-fights, and combats of gladiators, will they +punish by hanging, burning, and the rack.”<o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list .25in left 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +10.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>This superiority +of specific expressions is clearly due to a saving of the effort required to +translate words into thoughts. As we do not think in generals but in +particulars</span><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>—</span><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>as, whenever any class of things is referred to, we +represent it to ourselves by calling to mind individual members of it; it +follows that when an abstract word is used, the bearer or reader has to choose +from his stock of images, one or more, by which he may figure to himself the +genus mentioned. In doing this, some delay must arise some force be +expended; and if, by employing a specific term, an appropriate image can be at +once suggested, an economy is achieved, and a more vivid impression produced.<o:p></o:p></span></p> + +<p class=MsoNormal><span style='font-size:12.0pt;font-family:Verdana; +mso-no-proof:no'><o:p> </o:p></span></p> + +<p class=MsoNormal align=center style='text-align:center'><i style='mso-bidi-font-style: +normal'><span style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>ii +The Principle of Economy applied to Sentences.<o:p></o:p></span></i></p> + +<p class=MsoNormal><i style='mso-bidi-font-style:normal'><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'><o:p> </o:p></span></i></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list blank 0in blank .25in left 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +11.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>Turning now from +the choice of words to their sequence, we shall find the same general principle +hold good. We have <i>a priori</i> reasons for believing that in every sentence +there is some one order of words more effective than any other; and that this +order is the one which presents the elements of the proposition in the +succession in which they may be most readily put together. As in a narrative, +the events should be stated in such sequence that the mind may not have to go +backwards and forwards in order to rightly connect them; as in a group of +sentences, the arrangement should be such, that each of them may be understood +as it comes, without waiting for subsequent ones; so in every sentence, the +sequence of words should be that which suggests the constituents of the thought +in the order most convenient for the building up that thought. Duly to enforce +this truth, and to prepare the way for applications of it, we must briefly +inquire into the mental act by which the meaning of a series of words is +apprehended. <o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list blank 0in blank .25in left 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +12.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>We cannot more +simply do this than by considering the proper collocation of the substantive +and adjective. Is it better to place the adjective before the substantive, or +the substantive before the adjective? Ought we to say with the French—un <i +style='mso-bidi-font-style:normal'>cheval noir; </i>or to say as we do—a black +horse? Probably, most persons of culture would decide that one order is as good +as the other. Alive to the bias produced by habit, they would ascribe to that +the preference they feel for our own form of expression. They would expect +those educated in the use of the opposite form to have an equal preference for +that. And thus they would conclude that neither of these instinctive judgments +is of any worth. There is, however, a philosophical ground for deciding in +favour of the English custom. If “a horse black” be the arrangement, +immediately on the utterance of the word “horse,” there arises, or tends to +arise, in the mind, a picture answering to that word; and as there has, been +nothing to indicate what <i style='mso-bidi-font-style:normal'>kind </i>of +horse, any image of a horse suggests itself. Very likely, however, the image +will be that of a brown horse, brown horses being the most familiar. The result +is that when the word “black” is added, a check is given to the process of +thought. Either the picture of a brown horse already present to the imagination +has to be suppressed, and the picture of a black one summoned in its place; or +else, if the picture of a brown horse be yet unformed, the tendency to form it +has to be stopped. Whichever is the case, a certain amount of hindrance +results. But if, on the other hand, “a black horse” be the expression used, no +such mistake can be made. The word “black,” indicating an abstract quality, +arouses no definite idea. It simply prepares the mind for conceiving some +object of that colour; and the attention is kept suspended until that object is +known. If, then, by the precedence of the adjective, the idea is conveyed +without liability to error. whereas the precedence of the substantive is apt to +produce a misconception, it follows that the one gives the mind less trouble +than the other, and is therefore more forcible.<o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list blank 0in blank .25in left 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +13.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>Possibly it will +be objected that the adjective and substantive come so close together, that +practically they may be considered as uttered at the same moment; and that on +hearing the phrase, "a horse black,” there is not time to imagine a wrongly-coloured +horse before the word “black” follows to prevent it. It must be owned that it +is not easy to decide by introspection whether this is so or not. But there are +facts collaterally implying that it is not. Our ability to anticipate the words +yet unspoken is one of them If the ideas of the hearer kept considerably behind +the, expressions of the speaker, as the objection assumes, he could hardly +foresee the end of a sentence by the time it was half delivered: yet this +constantly happens. Were the supposition true, the mind, instead of +anticipating, would be continually falling more and more in arrear. If the +meanings of words are not realized as fast as the words are uttered, then the +loss of time over each word must entail such an accumulation of delays as to +leave a hearer entirely behind. But whether the force of these replies be or be +not admitted, it will scarcely be denied that the right formation of a picture +will be facilitated by presenting its elements in the order in which they are +wanted; even though the mind should do nothing until it has received them all.<o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list blank 0in blank .25in left 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +14.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>What is here said +respecting the succession of the adjective and substantive is obviously +applicable, by change of terms, to the adverb and verb. And without further +explanation, it will be manifest, that in the use of prepositions and other +particles, most languages spontaneously conform with more or less completeness +to this law.<o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list blank 0in blank .25in left 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +15.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>On applying a like +analysis to the larger divisions of a sentence, we find not only that the same +principle holds good, but that the advantage of respecting it becomes marked. +In the arrangement of predicate and subject, for example, we are at once shown +that as the predicate determines the aspect under which the subject is to be +conceived, it should be placed first; and the striking effect produced by so +placing it becomes comprehensible. Take the often‑quoted contrast between +“Great is Diana of the Ephesians,” and “Diana of the Ephesians is great.” When +the first arrangement is used, the utterance of the word “great” arouses those +vague associations of an impressive nature with which it has been habitually +connected; the imagination is prepared to clothe with high attributes whatever +follows; and when the words, “Diana of the Ephesians,” are heard, all the +appropriate imagery which can, on the instant, be summoned, is used in the +formation of the picture: the mind being thus led directly, and without error, +to the intended impression. When, on the contrary, the reverse order is +followed, the idea, “Diana of the Ephesians” is conceived with no special +reference to greatness; and when the words “is great” are added, the conception +has to be remodeled: whence arises a loss of mental energy and a corresponding +diminution of effect. The following verse from Coleridge’s ‘Ancient Mariner,’ +though somewhat irregular in structure, well illustrates the same truth:<o:p></o:p></span></p> + +<p class=MsoNormal><span style='font-size:12.0pt;font-family:Verdana; +mso-no-proof:no'><o:p> </o:p></span></p> + +<p class=MsoNormal style='margin-left:1.0in'><span style='font-size:12.0pt; +font-family:Verdana;mso-bidi-font-style:italic;mso-no-proof:no'>“</span><i +style='mso-bidi-font-style:normal'><span style='font-size:12.0pt;font-family: +Verdana;mso-no-proof:no'>Alone, alone, all, all alone, <br> +Alone on a wide, wide sea <br> +</span></i><span style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>And +never a saint took pity on <br> +My soul in agony.”<br style='mso-special-character:line-break'> +<![if !supportLineBreakNewLine]><br style='mso-special-character:line-break'> +<![endif]><i><o:p></o:p></i></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list blank 0in blank .25in left 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +16.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>Of course the +principle equally applies when the predicate is a verb or a participle. And as +effect is gained by placing first all words indicating the quality, conduct or +condition of the subject, it follows that the copula also should have +precedence. It is true that the general habit of our language resists this +arrangement of predicate, copula and subject; but we may readily find instances +of the additional force gained by conforming to it. Thus, in the line from +‘Julius Caesar’<br style='mso-special-character:line-break'> +<![if !supportLineBreakNewLine]><br style='mso-special-character:line-break'> +<![endif]><o:p></o:p></span></p> + +<p class=MsoNormal align=center style='text-align:center;tab-stops:right 261.25pt'><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>“Then burst his +mighty heart,”<o:p></o:p></span></p> + +<p class=MsoNormal align=center style='text-align:center;tab-stops:right 261.25pt'><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'><o:p> </o:p></span></p> + +<p class=MsoBodyText2><span style='font-family:Verdana'>priority is given to a +word embodying both predicate and copula. In a passage contained in ‘The Battle +of Flodden Field,’ the like order is systematically employed with great effect:<o:p></o:p></span></p> + +<p class=MsoNormal style='text-align:justify'><span style='font-size:12.0pt; +font-family:Verdana;mso-no-proof:no'><o:p> </o:p></span></p> + +<p class=MsoNormal style='margin-left:1.0in;text-align:justify'><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>“The Border slogan +rent the sky!</span><i +style='mso-bidi-font-style:normal'><span style='font-size:12.0pt;font-family: +Verdana;mso-no-proof:no'><br> +A Home!<span style='mso-spacerun:yes'> </span>a +Gordon!<span style='mso-spacerun:yes'> </span>was </span></i><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>the cry;</span><i style='mso-bidi-font-style: +normal'><span style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'><br> +Loud +were </span></i><span style='font-size:12.0pt;font-family:Verdana;mso-no-proof: +no'>the clanging blows:</span><i style='mso-bidi-font-style: +normal'><span style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'><br> +Advanced—forced +back— now low, now high,<br> +</span></i><span style='font-size:12.0pt; +font-family:Verdana;mso-no-proof:no'>The pennon sunk and rose;</span><i +style='mso-bidi-font-style:normal'><span style='font-size:12.0pt;font-family: +Verdana;mso-no-proof:no'><br> +As bends </span></i><span style='font-size:12.0pt; +font-family:Verdana;mso-no-proof:no'>the bark’s mast in the gale</span><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'><br> +When <i +style='mso-bidi-font-style:normal'>rent are </i>rigging, shrouds and sail,<br> +It wavered ‘mid the foes.”<o:p></o:p></span></p> + +<p class=MsoNormal style='tab-stops:22.5pt 27.0pt right 261.25pt'><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'><o:p> </o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list .25in left 22.5pt 27.0pt right 261.25pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +17.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>Pursuing the +principle yet further, it is obvious that for producing the greatest effect, +not only should the main divisions of a sentence observe this sequence, but the +subdivisions of these should be similarly arranged. In nearly all cases, the +predicate is accompanied by some limit or qualification, called its complement. +Commonly, also, the circumstances of the subject, which form its complement, +have to be specified. And as these qualifications and circumstances must +determine the mode in which the acts and things they belong to are conceived, +precedence should be given to them. Lord Kaimes notices the fact that this +order is preferable; though without giving the reason. He says:—“When a +circumstance is placed at the beginning of the period, or near the beginning, +the transition from it to the principal subject is agreeable: it is like +ascending or going upward.” A sentence arranged in illustration of this will be +desirable. Here is one:—“Whatever it may be in theory, it is clear that in +practice the French idea of liberty is—the right of every man to be master of +the rest.” <o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list blank 0in blank .25in left 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +18.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>In this case, were +the first two clauses, up to the word “I practice “inclusive, which qualify the +subject, to be placed at the end instead of the beginning, much of the force +would be lost; as thus:—“The French idea of liberty is—the right of every man +to be master of the rest; in practice at least, if not in theory.”<o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list blank 0in blank .25in left 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +19.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>Similarly with +respect to the conditions under which any fact is predicated. Observe in the +following example the effect of putting them last:—“How immense would be the +stimulus to progress, were the honour now given to wealth and title given +exclusively to high achievements and intrinsic worth!”<o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list blank 0in blank .25in left 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +20.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>And then observe +the superior effect of putting them first:—“Were the honour now given to wealth +and title given exclusively to high achievements and intrinsic worth, how +immense would be the stimulus to progress!”<o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list blank 0in blank .25in left 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +21.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>The effect of +giving priority to the complement of the predicate, as well as the predicate +itself, is finely displayed in the opening of ‘Hyperion’:<o:p></o:p></span></p> + +<p class=MsoNormal><span style='font-size:12.0pt;font-family:Verdana; +mso-no-proof:no'><o:p> </o:p></span></p> + +<p class=MsoNormal style='margin-left:1.0in'><i style='mso-bidi-font-style: +normal'><span style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>Deep +in the shady sadness of a vale<br> +Far +sunken from the healthy breath of morn,<br> +Far +from the fiery noon and eve’s one star<br> +Sat </span></i><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>gray-haired +Saturn, quiet as a stone.”<o:p></o:p></span></p> + +<p class=MsoNormal><span style='font-size:12.0pt;font-family:Verdana; +mso-no-proof:no'><o:p> </o:p></span></p> + +<p class=MsoNormal style='text-align:justify'><span style='font-size:12.0pt; +font-family:Verdana;mso-no-proof:no'>Here it will be observed, not only that +the predicate “sat” precedes the subject “Saturn,” and that the three lines in +italics, constituting the complement of the predicate, come before it; but that +in the structure of that complement also, the same order is followed: each line +being so arranged that the qualifying words are placed before the words +suggesting concrete images.<o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list .25in left 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +22.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>The right +succession of the principal and subordinate propositions in a sentence +manifestly depends on the same law. Regard for economy of the recipient’s +attention, which, as we find, determines the best order for the subject, +copula, predicate and their complements, dictates that the subordinate +proposition shall precede the principal one when the sentence includes two. +Containing, as the subordinate proposition does, some qualifying or explanatory +idea, its priority prevents misconception of the principal one; and therefore +saves the mental effort needed to correct such misconception. This will be seen +in the annexed example: “The secrecy once maintained in respect to the +parliamentary debates, is still thought needful in diplomacy; and in virtue of +this secret diplomacy, England may any day be unawares betrayed by its +ministers into a war costing a, hundred thousand lives, and hundreds of +millions of treasure: yet the English pique themselves on being a self‑governed +people.” The two subordinate propositions, ending with the semicolon and colon +respectively, almost wholly determine the meaning of the principal proposition +with which it concludes; and the effect would be lost were they placed last +instead of first.<o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list .25in left 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +23.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>The general +principle of right arrangement in sentences, which we have traced in its +application to the leading divisions of them, equally determines the proper +order of their minor divisions. In every sentence of any complexity the +complement to the subject contains several clauses, and that to the predicate +several others; and these may be arranged in greater or less conformity to the +law of easy apprehension. Of course with these, as with the larger members, the +succession should be from the less specific to the more specific—from the +abstract to the concrete.<o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list .25in left 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +24.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>Now, however, we +must notice a further condition to be fulfilled in the proper construction of a +sentence; but still a condition dictated by the same general principle with the +other: the condition, namely, that the words and expressions most nearly +related in thought shall be brought the closest together. Evidently the single +words, the minor clauses, and the leading divisions of every proposition, +severally qualify each other. The longer the time that elapses between the +mention of any qualifying member and the member qualified, the longer must the +mind be exerted in carrying forward the qualifying member ready for use. And +the more numerous the qualifications to be simultaneously remembered and +rightly applied, the greater will be the mental power expended, and the smaller +the effect produced. Hence, other things equal, force will be gained by so +arranging the members of a sentence that these suspensions shall at any moment +be the fewest in number; and shall also be of the shortest duration. The +following is an instance of defective combination:—“A modern newspaper-statement, though probably true, would be laughed at if quoted in a +book as testimony; but the letter of a court gossip is thought good historical +evidence, if written some centuries ago.” A rearrangement of this, in +accordance with the principle indicated above, will be found to increase the effect. +Thus:—“Though probably true, a modern newspaper‑statement quoted in a +book as testimony, would be laughed at; but the letter of a court gossip, if +written some centuries ago, is thought good historical evidence.”<o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list .25in left 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +25.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>By making this +change, some of the suspensions are avoided and others shortened; while there +is less liability to produce premature conceptions. The passage quoted below +from ‘Paradise Lost’ affords a fine instance of a sentence well arranged; alike +in the priority of the subordinate members, in the avoidance of long and +numerous suspensions, and in the correspondence between the order of the +clauses and the sequence of the phenomena described, which, by the way, is a +further prerequisite to easy comprehension, and therefore to effect.<o:p></o:p></span></p> + +<p class=MsoNormal><span style='font-size:12.0pt;font-family:Verdana; +mso-no-proof:no'><o:p> </o:p></span></p> + +<p class=MsoNormal style='margin-left:31.5pt;tab-stops:26.25pt 31.5pt .75in right 261.85pt'><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>“As when a prowling wolf,<br> +Whom hunger drives +to seek new haunt for prey,<br> +Watching where +shepherds pen their flocks at eye,<br> +In hurdled cotes +amid the field secure,<br> +Leaps o’er the +fence with ease into the fold;<br> +Or as a thief, +bent to unhoard the cash<br> +Of some rich +burgher, whose substantial doors,<br> +Cross-barr’d, +and bolted fast, fear no assault,<br> +In at the window +climbs, or o’er the tiles;<br> +So clomb this +first grand thief into God’s fold;<br> +So since into his +church lewd hirelings climb.” <o:p></o:p></span></p> + +<p class=MsoNormal style='tab-stops:26.25pt right 261.85pt'><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'><o:p> </o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list blank .25in left blank 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +26.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>The habitual use +of sentences in which all or most of the descriptive and limiting elements +precede those described and limited, gives rise to what is called the inverted +style: a title which is, however, by no means confined to this structure, but +is often used where the order of the words is simply unusual. A more +appropriate title would be the <i style='mso-bidi-font-style:normal'>direct +style, </i>as contrasted with the other, or <i style='mso-bidi-font-style:normal'>indirect +style</i><span style='mso-bidi-font-style:italic'>:</span><i style='mso-bidi-font-style: +normal'> </i>the peculiarity of the one being, that it conveys each thought +into the mind step by step with little liability to error; and of the other, +that it gets the right thought conceived by a series of approximations.<o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list blank .25in left blank 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +27.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>The superiority of +the direct over the indirect form of sentence, implied by the several +conclusions that have been drawn, must not, however, be affirmed without +reservation. Though, up to a certain point, it is well for the qualifying +clauses of a period to precede those qualified; yet, as carrying forward each +qualifying clause costs some mental effort, it follows that when the number of +them and the time they are carried become great, we reach a limit beyond which +more is lost than is gained. Other things equal, the arrangement should be such +that no concrete image shall be suggested until the materials out of which it +is to be made have been presented. And yet, as lately pointed out, other things +equal, the fewer the materials to be held at once, and the shorter the distance +they have to be borne, the better. Hence in some cases it becomes a question +whether most mental effort will be entailed by the many and long suspensions, +or by the correction of successive misconceptions.<o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list blank .25in left blank 27.0pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +28.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>This question may +sometimes be decided by considering the capacity of the persons addressed. A +greater grasp of mind is required for the ready comprehension of thoughts +expressed in the direct manner, where the sentences are anywise intricate. To +recollect a number of preliminaries stated in elucidation of a coming idea, and +to apply them all to the formation of it when suggested, demands a good memory +and considerable power of concentration. To one possessing these, the direct +method will mostly seem the best; while to one deficient in them it will seem +the worst. Just as it may cost a strong man less effort to carry a hundred‑weight +from place to place at once, than by a stone at a time; so, to an active mind +it may be easier to bear along all the qualifications of an idea and at once +rightly form it when named, than to first imperfectly conceive such idea and +then carry back to it, one by one, the details and limitations afterwards +mentioned. While conversely, as for a boy, the only possible mode of +transferring a hundred‑weight, is that of taking it in portions; so, for +a weak mind, the only possible mode of forming a compound conception may be +that of building it up by carrying separately its several parts.<o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list blank .25in left blank 27.0pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +29.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>That the indirect +method—the method of conveying the meaning by a series of approximations—is +best fitted for the uncultivated, may indeed be inferred from their habitual +use of it. The form of expression adopted by the savage, as in “Water, +give me,” is the simplest type of the approximate arrangement. In pleonasms, +which are comparatively prevalent among the uneducated, the same essential +structure is seen; as, for instance, in—“The men, they were there.” Again, the +old possessive case —“The king, his crown,” conforms to the like order of +thought. Moreover, the fact that the indirect mode is called the natural one, +implies that it is the one spontaneously employed by the common people: that +is—the one easiest for undisciplined minds.<o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list .25in left 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +30.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>There are many cases, +however, in which neither the direct nor the indirect structure is the best; +but where an intermediate structure is preferable to both. When the number of +circumstances and qualifications to be included in the sentence is great, the +most judicious course is neither to enumerate them all before introducing the +idea to which they belong, nor to put this idea first and let it be remodeled +to agree with the particulars afterwards mentioned; but to do a little of each. +Take a case. It is desirable to avoid so extremely indirect an arrangement as +the following:—“We came to our journey’s end, at last, with no small difficulty +after much fatigue, through deep roads, and bad weather.” Yet to transform this +into an entirely direct sentence would not produce a satisfactory effect; as +witness:—“At last, with no small difficulty, after much fatigue, through deep +roads, and bad weather, we came to our journey’s end.”<o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list .25in left 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +31.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>Dr. Whately, from +whom we quote the first of these two arrangements,’ proposes this +construction:—“At last, after much fatigue, through deep roads and bad weather, +we came, with no small difficulty, to our journey’s end.” Here it will be +observed that by introducing the words “we came” a little earlier in the +sentence, the labour of carrying forward so many particulars is diminished, and +the subsequent qualification “with no small difficulty” entails an addition to +the thought that is very easily made. But a further improvement may be produced +by introducing the words “we came” still earlier; especially if at the same +time the qualifications be rearranged in conformity with the principle already +explained, that the more abstract elements of the thought should come before +the more concrete. Observe the better effect obtained by making these two +changes:—“At last, with no small difficulty, and after much fatigue, we came, +through deep roads and bad weather, to our journey’s end.” This reads with +comparative smoothness; that is, with less hindrance from suspensions and +reconstructions of thought—with less mental effort.<o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list .25in left 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +32.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>Before dismissing +this branch of our subject, it should be further remarked, that even when +addressing the most vigorous intellects, the direct style is unfit for +communicating ideas of a complex or abstract character. So long as the mind has +not much to do, it may be well able to grasp all the preparatory clauses of a +sentence, and to use them effectively; but if some subtlety in the argument +absorb the attention—if every faculty be strained in endeavouring to catch the +speaker’s or writer’s drift, it may happen that the mind, unable to carry on +both processes at once, will break down, and allow the elements of the thought +to lapse into confusion.<o:p></o:p></span></p> + +<p class=MsoNormal><span style='font-size:12.0pt;font-family:Verdana; +mso-no-proof:no'><o:p> </o:p></span></p> + +<p class=MsoNormal align=center style='text-align:center'><i style='mso-bidi-font-style: +normal'><span style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>iv. +The Principle of Economy applied to Figures.<o:p></o:p></span></i></p> + +<p class=MsoNormal><span style='font-size:12.0pt;font-family:Verdana; +mso-no-proof:no'><o:p> </o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list blank .25in left blank 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +33.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>Turning now to +consider figures of speech, we may equally discern the same general law of +effect. Underlying all the rules given for the choice and right use of them, we +shall find the same fundamental requirement—economy of attention. It is indeed +chiefly because they so well subserve this requirement, that figures of speech +are employed. To bring the mind more easily to the desired conception, is in +many cases solely, and in all cases mainly, their object.<o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list blank .25in left blank 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +34.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>Let us begin with +the figure called Synecdoche. The advantage sometimes gained by putting a part +for the whole, is due to the more convenient, or more accurate, presentation of +the idea. If, instead of saying “a fleet of ten ships,” we say “a fleet of ten <i +style='mso-bidi-font-style:normal'>sail,” </i>the picture of a group of vessels +at sea is more readily suggested; and is so because the sails constitute the +most conspicuous parts of vessels so circumstanced: whereas the word <i +style='mso-bidi-font-style:normal'>ships </i>would very likely remind us of +vessels in dock. Again, to say, “<i style='mso-bidi-font-style:normal'>All +hands </i>to the pumps,” is better than to say, “All <i style='mso-bidi-font-style: +normal'>men </i>to the pumps,” as it suggests the men in the special attitude +intended, and so saves effort. Bringing “gray <i style='mso-bidi-font-style: +normal'>hairs </i>with sorrow to the grave,” is another expression, the effect +of which has the same cause.<o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list blank .25in left blank 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +35.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>The occasional +increase of force produced by Metonymy may be similarly accounted for. “The low +morality of <i style='mso-bidi-font-style:normal'>the bar,</i><span +style='mso-bidi-font-style:italic'>”</span><i style='mso-bidi-font-style:normal'> +is </i>a phrase both more brief and significant than the literal one it stands +for. A belief in the ultimate supremacy of intelligence over brute force, is +conveyed in a more concrete, and therefore more realizable form, if we substitute +<i style='mso-bidi-font-style:normal'>the pen </i>and <i style='mso-bidi-font-style: +normal'>the sword </i>for the two abstract terms. To say, “Beware of drinking!” +is less effective than to say, “Beware of <i style='mso-bidi-font-style:normal'>the +bottle!</i><span style='mso-bidi-font-style:italic'>” </span>and is so, clearly +because it calls up a less specific image.<o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list blank .25in left blank 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +36.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>The Simile is in +many cases used chiefly with a view to ornament, but whenever it increases the <i +style='mso-bidi-font-style:normal'>force </i>of a passage, it does so by being +an economy. Here in an instance: “The illusion that great men and great events +came oftener in early times than now, is partly due to historical perspective. +As in a range of equidistant columns, the furthest off look the closest; so, +the conspicuous objects of the past seem more thickly clustered the more remote +they are.”<o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list blank .25in left blank 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +37.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>To construct by a +process of literal explanation, the thought thus conveyed would take many +sentences, and the first elements of the picture would become faint while the +imagination was busy in adding the others. But by the help of a comparison all +effort is saved; the picture is instantly realized, and its full effect +produced.<o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list blank .25in left blank 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +38.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>Of the position of +the Simile, it needs only to remark, that what has been said respecting the +order of the adjective and substantive, predicate and subject, principal and +subordinate propositions, &c., is applicable here. As whatever qualifies +should precede whatever is qualified, force will generally be gained by placing +the simile before the object to which it is applied. That this arrangement is +the best, may be seen in the following passage from the ‘Lady of the Lake’;<o:p></o:p></span></p> + +<p class=MsoNormal><span style='font-size:12.0pt;font-family:Verdana; +mso-no-proof:no'><o:p> </o:p></span></p> + +<p class=MsoNormal style='margin-left:1.0in;tab-stops:right 265.15pt'><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>“As wreath of +snow, on mountain breast,<br> +Slides from the +rock that gave it rest,<br> +Poor Ellen glided +from her stay,<br> +And at the +monarch’s feet she lay.”<o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:1.0in;tab-stops:right 265.15pt'><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'><o:p> </o:p></span></p> + +<p class=MsoNormal style='text-align:justify;tab-stops:right 265.15pt'><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>Inverting these +couplets will be found to diminish the effect </span><span style='font-size: +12.0pt;mso-bidi-font-size:10.0pt;font-family:Verdana'>considerably. There are +cases, however, even where the simile is a simple one, in which it may with +advantage be placed last, as in these lines from Alexander Smith’s ‘Life +Drama’:<o:p></o:p></span></p> + +<p class=MsoNormal style='text-align:justify;tab-stops:right 269.2pt'><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'><o:p> </o:p></span></p> + +<p class=MsoNormal style='margin-left:1.0in;tab-stops:right 269.2pt'><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>“I see the future +stretch</span><span style='font-size:12.0pt; +font-family:Verdana;mso-no-proof:no'><br> +All dark and barren as a rainy sea.”<o:p></o:p></span></p> + +<p class=MsoNormal><span style='font-size:12.0pt;font-family:Verdana; +mso-no-proof:no'><o:p> </o:p></span></p> + +<p class=MsoNormal style='text-align:justify'><span style='font-size:12.0pt; +font-family:Verdana;mso-no-proof:no'>The reason for this seems to be, that so +abstract an idea as that attaching to the word “future,” does not present itself +to the mind in any definite form, and hence the subsequent arrival at the +simile entails no reconstruction of the thought.<o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list .25in left 22.5pt 27.0pt 31.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +39.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>Such, however, are +not the only cases in which this order is the most forcible. As the advantage +of putting the simile before the object depends on its being carried forward in +the mind to assist in forming an image of the object, it must happen that if, +from length or complexity, it cannot be so carried forward, the advantage is +not gained. The annexed sonnet, by Coleridge, is defective from this cause: <o:p></o:p></span></p> + +<p class=MsoNormal><span style='font-size:12.0pt;font-family:Verdana; +mso-no-proof:no'><o:p> </o:p></span></p> + +<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt; +font-family:Verdana;mso-no-proof:no'>“As when a child, on some long winter’s +night, <br> +Affrighted, clinging to its grandam’s knees, <br> +With eager wond’ring and perturb’d delight <br> +Listens strange tales of fearful dark decrees, <br> +Mutter’d to wretch by necromantic spell;</span><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'><br> +Or of those hags +who at the witching time<br> +Of murky midnight, +ride the air sublime,<br> +And mingle foul +embrace with fiends of hell;<br> +Cold horror drinks +its blood! Anon the tear<br> +More gentle +starts, to hear the beldame tell<br> +Of pretty babes, +that lov’d each other dear,<br> +Murder’d by cruel +uncle’s mandate fell:<br> +Ev’n such the +shiv’ring joys thy tones impart,<br> +Ev’n so, thou, +Siddons, meltest my sad heart.”<o:p></o:p></span></p> + +<p class=MsoNormal style='tab-stops:right 269.2pt'><span style='font-size:12.0pt; +font-family:Verdana;mso-no-proof:no'><o:p> </o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list .25in left 22.5pt 27.0pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +40.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>Here, from the +lapse of time and accumulation of circumstances, the first part of the +comparison is forgotten before its application is reached, and requires re‑reading. +Had the main idea been first mentioned, less effort would have been required to +retain it, and to modify the conception of it into harmony with the comparison, +than to remember the comparison, and refer back to its successive features for +help in forming the final image.<o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list .25in left 22.5pt 27.0pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +41.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>The superiority of +the Metaphor to the Simile is ascribed by Dr. Whately<span +style='mso-spacerun:yes'> </span>to the fact that “all men are more gratified +at catching the resemblance for themselves, than in having it pointed out to +them.” But after what has been said, the great economy it achieves will seem +the more probable cause. Lear’s exclamation—<o:p></o:p></span></p> + +<p class=MsoNormal><span style='font-size:12.0pt;font-family:Verdana; +mso-no-proof:no'><o:p> </o:p></span></p> + +<p class=MsoNormal align=center style='text-align:center'><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>“Ingratitude! thou +marble-hearted fiend,”<o:p></o:p></span></p> + +<p class=MsoNormal><span style='font-size:12.0pt;font-family:Verdana; +mso-no-proof:no'><o:p> </o:p></span></p> + +<p class=MsoNormal><span style='font-size:12.0pt;font-family:Verdana; +mso-no-proof:no'>would lose part of its effect were it changed into—<o:p></o:p></span></p> + +<p class=MsoNormal><span style='font-size:12.0pt;font-family:Verdana; +mso-no-proof:no'><o:p> </o:p></span></p> + +<p class=MsoNormal align=center style='text-align:center'><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>“Ingratitude! thou +fiend with heart like marble;”<o:p></o:p></span></p> + +<p class=MsoNormal align=center style='text-align:center'><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'><o:p> </o:p></span></p> + +<p class=MsoNormal style='text-align:justify'><span style='font-size:12.0pt; +font-family:Verdana;mso-no-proof:no'>and the loss would result partly from the +position of the simile and partly from the extra number of words required. When +the comparison is an involved one, the greater force of the metaphor, +consequent on its greater brevity, becomes much more conspicuous. If, drawing +an analogy between mental and physical phenomena, we say, “As, in passing +through the crystal, beams of white light are decomposed into the colours of +the rainbow; so, in traversing the soul of the poet, the colourless rays of +truth are transformed into brightly tinted poetry”; it is clear that in +receiving the double set of words expressing the two halves of the comparison, +and in carrying the one half to the other, considerable attention is absorbed. +Most of this is saved, however, by putting the comparison in a metaphorical +form, thus: “The white light of truth, in traversing the many sided transparent +soul of. the poet, is refracted into iris-hued poetry.”<o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list .25in left 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +42.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>How much is +conveyed in a few words by the help of the Metaphor, and how vivid the effect +consequently produced, may be abundantly exemplified. From ‘A Life Drama’ may +be quoted the phrase—<br style='mso-special-character:line-break'> +<![if !supportLineBreakNewLine]><br style='mso-special-character:line-break'> +<![endif]><o:p></o:p></span></p> + +<p class=MsoNormal align=center style='text-align:center;tab-stops:right 269.2pt'><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>“I spear’d him +with a jest,”<o:p></o:p></span></p> + +<p class=MsoNormal align=center style='text-align:center;tab-stops:right 269.2pt'><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'><o:p> </o:p></span></p> + +<p class=MsoBodyText2 style='tab-stops:right 269.2pt'><span style='font-family: +Verdana'>as a fine instance among the many which that poem contains. A passage +in the ‘Prometheus Unbound,’ of Shelley, displays the power of the metaphor to +great advantage:<o:p></o:p></span></p> + +<p class=MsoBodyText2 style='margin-left:.5in;tab-stops:right 269.2pt'><span +style='font-family:Verdana'><br> +“Methought among the lawns together<br> +We wandered, underneath the young gray dawn,<br> +And multitudes of dense white fleecy clouds<br> +Were wandering, in thick flocks along the mountains</span><i +style='mso-bidi-font-style:normal'><span style='font-family:Verdana'><br> +Shepherded +</span></i><span style='font-family:Verdana;mso-bidi-font-style:italic'>by</span><i +style='mso-bidi-font-style:normal'><span style='font-family:Verdana'> </span></i><span +style='font-family:Verdana'>the slow unwilling wind.”<br style='mso-special-character: +line-break'> +<![if !supportLineBreakNewLine]><br style='mso-special-character:line-break'> +<![endif]><o:p></o:p></span></p> + +<p class=MsoNormal style='text-align:justify'><span style='font-size:12.0pt; +font-family:Verdana;mso-no-proof:no'>This last expression is remarkable for the +distinctness with which it realizes the features of the scene: bringing the +mind, as it were, by a bound to the desired conception.<o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list .25in left 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +43.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>But a limit is put +to the advantageous use of the Metaphor, by the condition that it must be +sufficiently simple to be understood from a hint. Evidently, if there be any +obscurity in the meaning or application of it, no economy of attention will be +gained; but rather the reverse. Hence, when the comparison is complex, it is +usual to have recourse to the Simile. There is, however, a species of figure, +sometimes classed under Allegory, but which might, perhaps, be better called +Compound Metaphor, that enables us to retain the brevity of the metaphorical +form even where the analogy is intricate. This is done by indicating the +application of the figure at the outset, and then leaving the mind to continue +the parallel.’ Emerson has employed it with great effect in the first of his I +Lectures on the Times’:—“The main interest which any aspects of the Times can +have for us is the great spirit which gazes through them, the light which they +can shed on the wonderful questions, What are we, and Whither we tend? We do +not wish to be deceived. Here we drift, like white sail across the wild ocean, +now bright on the wave, now darkling in the trough of the sea; but from what +port did we sail? Who knows? Or to what port are we bound? Who knows? There is +no one to tell us but such poor weather‑tossed mariners as ourselves, +whom we speak as we pass, or who have hoisted some signal, or floated to us +some letter in a bottle from far. But what know they more than we ? They also +found themselves on this wondrous sea. No; from the older sailors nothing. Over +all their speaking trumpets the gray sea and the loud winds answer, Not in us; +not in Time.”<o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list .25in left 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +44.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>The division of +the Simile from the Metaphor is by no means a definite one. Between the one +extreme in which the two elements of the comparison are detailed at full length +and the analogy pointed out, and the other extreme in which the comparison is +implied instead of stated, come intermediate forms, in which the comparison is +partly stated and partly implied. For instance:—“Astonished at the performances +of the English plow, the Hindoos paint it, set it up, and worship it; thus +turning a tool into an idol: linguists do the same with language.” There is an +evident advantage in leaving the reader or hearer to complete the figure. And +generally these intermediate forms are good in proportion as they do this; +provided the mode of completing it be obvious.<o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list .25in left 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +45.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>Passing over much +that may be said of like purport upon Hyperbole, Personification, Apostrophe, +&c., let us close our remarks upon construction by a typical example. The +general principle which has been enunciated is, that other things equal, the +force of all verbal forms and arrangements is great, in proportion as the time +and mental effort they demand from the recipient is small. The corollaries from +this general principle have been severally illustrated; and it has been shown +that the relative goodness of any two modes of expressing an idea, may be +determined by observing which requires the shortest process of thought for its +comprehension. But though conformity in particular points has been +exemplified, no cases of complete conformity have yet been quoted. It is indeed +difficult to find them; for the English idiom does not commonly permit the +order which theory dictates. A few, however, occur in Ossian. Here is one:—“As +autumn’s dark storms pour from two echoing hills, so towards each other +approached the heroes. As two dark streams from high rocks meet and mix, and +roar on the plain: loud, rough, and dark in battle meet Lochlin and Inisfail. . +.As the troubled noise of the ocean when roll the waves on high; as the last +peal of the thunder of heaven; such is noise of the battle.”<o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list .25in left 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +46.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>Except in the +position of the verb in the first two similes, the theoretically best +arrangement is fully carried out in each of these sentences. The simile comes +before the qualified image, the adjectives before the substantives, the +predicate and copula before the subject, and their respective complements +before them. That the passage is open to the charge of being bombastic proves +nothing; or rather, proves our case. For what is bombast but a force of +expression too great for the magnitude of the ideas embodied? All that may +rightly be inferred is, that only in very rare cases, and then only to produce +a climax, should all the conditions of effective expression be fulfilled.<o:p></o:p></span></p> + +<p class=MsoNormal><span style='font-size:12.0pt;font-family:Verdana; +mso-no-proof:no'><o:p> </o:p></span></p> + +<p class=MsoNormal align=center style='text-align:center'><i style='mso-bidi-font-style: +normal'><span style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>v. +Suggestion as a Means of Economy.<o:p></o:p></span></i></p> + +<p class=MsoNormal><span style='font-size:12.0pt;font-family:Verdana; +mso-no-proof:no'><o:p> </o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list blank .25in left blank 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +47.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>Passing on to a +more complex application of the doctrine with which we set out, it must now be +remarked, that not only in the structure of sentences, and the use of figures +of speech, may economy of the recipient’s mental energy be assigned as the +cause of force; but that in the choice and arrangement of the minor images, out +of which some large thought is to be built up, we may trace the same condition +to effect. To select from the sentiment, scene, or event described those +typical elements which carry many others along with them; and so, by saying a +few things but suggesting many, to abridge the description; is the secret of +producing a vivid impression. An extract from Tennyson’s ‘Mariana’ will well illustrate +this:<o:p></o:p></span></p> + +<p class=MsoNormal><span style='font-size:12.0pt;font-family:Verdana; +mso-no-proof:no'><o:p> </o:p></span></p> + +<p class=MsoNormal style='margin-left:1.0in'><span style='font-size:12.0pt; +font-family:Verdana;mso-no-proof:no'>“All day within the dreamy house,<br> +The door upon the hinges creaked,<br> +The blue fly sung i’ the pane; the mouse<br> +Behind the mouldering wainscot shrieked,<br> +Or from the crevice peered about.”<o:p></o:p></span></p> + +<p class=MsoNormal><span style='font-size:12.0pt;font-family:Verdana; +mso-no-proof:no'><o:p> </o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list blank .25in left blank 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +48.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>The several +circumstances here specified bring with them many appropriate associations. Our +attention is rarely drawn by the buzzing of a fly in the window, save when +everything is still. While the inmates are moving about the house, mice usually +keep silence; and it is only when extreme quietness reigns that they peep from +their retreats. Hence each of the facts mentioned, presupposing numerous +others, calls up these with more or less distinctness; and revives the feeling +of dull solitude with which they are connected in our experience. Were all +these facts detailed instead of suggested, the attention would be so frittered +away that little impression of dreariness would be produced. Similarly in other +cases. Whatever the nature of the thought to be conveyed, this skilful +selection of a few particulars which imply the rest, is the key to success. In +the choice of component ideas, as in the choice of expressions, the aim must be +to convey the greatest quantity of thoughts with the smallest quantity of +words.<o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list blank .25in left blank 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +49.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>The same principle +may in some cases be advantageously carried yet further, by indirectly +suggesting some entirely distinct thought in addition to the one expressed. +Thus, if we say, “The head of a good classic is as full of ancient myths, as +that of a servant-girl of ghost stories”; it is manifest that besides the +fact asserted, there is an implied opinion respecting the small value of +classical knowledge: and as this implied opinion is recognized much sooner than +it can be put into words, there is gain in omitting it. In other cases, again, +great effect is produced by an overt omission; provided the nature of the idea +left out is obvious. A good instance of this occurs in ‘Heroes and +Heroworship.’ After describing the way in which Burns was sacrificed to the +idle curiosity of Lion‑hunters—people who came not out of sympathy, but +merely to see him—people who sought a little amusement, and who got their +amusement while “the Hero’s life went for it!” Carlyle suggests a parallel +thus: “Richter says, in the Island of Sumatra there is a kind of ‘Light‑chafers,’ +large Fire‑flies, which people stick upon spits, and illuminate the ways +with at night. Persons of condition can thus travel with a pleasant radiance, +which they much admire. Great honour to the Fire-flies! But—!—”<o:p></o:p></span></p> + +<p class=MsoNormal><span style='font-size:12.0pt;font-family:Verdana; +mso-no-proof:no'><o:p> </o:p></span></p> + +<p class=MsoNormal align=center style='text-align:center'><i><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>vi. The Effect of +Poetry explained.<o:p></o:p></span></i></p> + +<p class=MsoNormal><span style='font-size:12.0pt;font-family:Verdana; +mso-no-proof:no'><o:p> </o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list blank .25in left blank 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +50.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>Before inquiring +whether the law of effect, thus far traced, explains the superiority of poetry +to prose, it will be needful to notice some supplementary causes of force in +expression, that have not yet been mentioned. These are not, properly speaking, +additional causes; but rather secondary ones, originating from those already +specified reflex results of them. In the first place, then, we may remark that +mental excitement spontaneously prompts the use of those forms of speech which +have been pointed out as the most effective. “Out with him!” “Away with him!” +are the natural utterances of angry citizens at a disturbed meeting. A voyager, +describing a terrible storm he had witnessed, would rise to some such climax +as—“Crack went the ropes and down came the mast.” Astonishment may be heard +expressed in the phrase —“Never was there such a sight!” All of which sentences +are, it will be observed, constructed after the direct type. Again, every one +knows that excited persons are given to figures of speech. The vituperation of +the vulgar abounds with them: often, indeed, consists of little else. “Beast,” +“brute,” “gallows rogue,” “cut-throat villain,” these, and other like +metaphors and metaphorical epithets, at once call to mind a street quarrel. +Further, it may be noticed that extreme brevity is another characteristic of +passionate language. The sentences are generally incomplete; the particles are +omitted; and frequently important words are left to be gathered from the +context. Great admiration does not vent itself in a precise proposition, as—“It +is beautiful”; but in the simple exclamation—“Beautiful!” He who, when reading +a lawyer’s letter, should say, “Vile rascal!” would be thought angry; while, +“He is a vile rascal!” would imply comparative coolness. Thus we see that alike +in the order of the words, in the frequent use of figures, and in extreme +conciseness, the natural utterances of excitement conform to the theoretical +conditions of forcible expression.<o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list blank .25in left blank 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +51.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>Hence, then, the +higher forms of speech acquire a secondary strength from association. Having, +in actual life, habitually heard them in connection with vivid mental +impressions, and having been accustomed to meet with them in the most powerful +writing, they come to have in themselves a species of force. The emotions that +have from time to time been produced by the strong thoughts wrapped up in these +forms, are partially aroused by the forms themselves. They create a certain +degree of animation; they induce a preparatory sympathy, and when the striking +ideas looked for are reached, they are the more vividly realized.<o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list blank .25in left blank 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +52.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>The continuous use +of these modes of expression that are alike forcible in themselves and forcible +from their associations, produces the peculiarly impressive species of +composition which we call poetry. Poetry, we shall find, habitually adopts +those symbols of thought, and those methods of using them, which instinct and +analysis agree in choosing as most effective, and becomes poetry by virtue of +doing this. On turning back to the various specimens that have been quoted, it +will be seen that the direct or inverted form of sentence predominates in them; +and that to a degree quite inadmissible in prose. And not only in the +frequency, but in what is termed the violence of the inversions, will this +distinction be remarked. In the abundant use of figures, again, we may +recognize the same truth. Metaphors, similes, hyperboles, and personifications, +are the poet’s colours, which he has liberty to employ almost without limit. We +characterize as “poetical“ the prose which uses these appliances of language +with any frequency, and condemn it as “over florid” or “affected” long before +they occur with the profusion allowed in verse. Further, let it be remarked +that in brevity—the other requisite of forcible expression which theory points +out, and emotion spontaneously fulfils—poetical phraseology similarly differs +from ordinary phraseology. Imperfect periods are frequent; elisions are +perpetual; and many of the minor words, which would be deemed essential in +prose, are dispensed with.<o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list blank .25in left blank 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +53.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>Thus poetry, +regarded as a vehicle of thought, is especially impressive partly because it +obeys all the laws of effective speech, and partly because in so doing it +imitates the natural utterances of excitement. While the matter embodied is idealized +emotion, the vehicle is the idealized language of emotion. As the musical +composer catches the cadences in which our feelings of joy and sympathy, grief +and despair, vent themselves, and out of these germs evolves melodies +suggesting higher phases of these feelings; I so, the poet develops from the +typical expressions in which men utter passion and sentiment, those choice +forms of verbal combination in which concentrated passion and sentiment may be +fitly presented.<o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list blank .25in left blank 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +54.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>There is one +peculiarity of poetry conducing much to its effect—the peculiarity which is +indeed usually thought its characteristic one—still remaining to be considered: +we mean its rhythmical structure. This, improbable though it seems, will be +found to come under the same generalization with the others. Like each of them, +it is an idealization of the natural language of strong emotion, which is known +to be more or less metrical if the emotion be not too violent; and like each of +them it is an economy of the reader’s or hearer’s attention. In the peculiar +tone and manner we adopt in uttering versified language, may be discerned its +relationship to the feelings; and the pleasure which its measured movement +gives us, is ascribable to the comparative ease with which words metrically +arranged can be recognized.<o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list blank .25in left blank 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +55.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>This last position +will scarcely be at once admitted; but a little explanation will show its +reasonableness. For if, as we have seen, there is an expenditure of mental +energy in the mere act of listening to verbal articulations, or in that silent +repetition of them which goes on in reading—if the perceptive faculties must be +in active exercise to identify every syllable ‑then, any mode of so +combining words as to present a regular recurrence of certain traits which the +mind can anticipate, will diminish that strain upon the attention required by +the total irregularity of prose. Just as the body, in receiving a series of +varying concussions, must keep the muscles ready to meet the most violent of +them, as not knowing when such may come; so, the mind in receiving unarranged +articulations, must keep its perceptives active enough to recognize the least +easily caught sounds. And as, if the concussions recur in a definite order, the +body may husband its forces by adjusting the resistance needful for each +concussion; so, if the syllables be rhythmically arranged, the mind may +economize its energies by anticipating the attention required for each +syllable.<o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list blank .25in left blank 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +56.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>Far-fetched +though this idea will perhaps be thought, a little introspection will +countenance it. That we do take advantage of metrical language to adjust our +perceptive faculties to the force of the expected articulations, is clear from +the fact that we are balked by halting versification. Much as at the bottom of +a flight of stairs, a step more or less than we counted upon gives us a shock; +so, too, does a misplaced accent or a supernumerary syllable. In the one case, +we <i style='mso-bidi-font-style:normal'>know </i>that there is an erroneous +preadjustment; and we can scarcely doubt that there is one in the other. But if +we habitually preadjust our perceptions to the measured movement of verse, the +physical analogy above given renders it probable that by so doing we economize +attention; and hence that metrical language is more effective than prose, +because it enables us to do this.<o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list blank .25in left blank 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +57.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>Were there space, +it might be worthwhile to inquire whether the pleasure we take in rhyme, and +also that which we take in euphony, axe not partly ascribable to the same +general cause.<o:p></o:p></span></p> + +<p class=MsoNormal><span style='font-size:12.0pt;font-family:Verdana; +mso-no-proof:no'><o:p> </o:p></span></p> + +<p class=MsoNormal><span style='font-size:12.0pt;font-family:Verdana; +mso-no-proof:no'><o:p> </o:p></span></p> + +<p class=MsoNormal align=center style='text-align:center'><i style='mso-bidi-font-style: +normal'><span style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>PART +II.<o:p></o:p></span></i></p> + +<p class=MsoNormal align=center style='text-align:center;tab-stops:right 269.0pt'><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>CAUSES OF FORCE IN +LANGUAGE WHICH DEPEND UPON<o:p></o:p></span></p> + +<p class=MsoNormal align=center style='text-align:center;tab-stops:right 269.0pt'><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>ECONOMY OF THE +MENTAL SENSIBILITIES.<o:p></o:p></span></p> + +<p class=MsoNormal style='tab-stops:right 269.0pt'><span style='font-size:12.0pt; +font-family:Verdana;mso-no-proof:no'><o:p> </o:p></span></p> + +<p class=MsoNormal align=center style='text-align:center;tab-stops:right 269.0pt'><i +style='mso-bidi-font-style:normal'><span style='font-size:12.0pt;font-family: +Verdana;mso-no-proof:no'>i. The Law of Mental Exhaustion and Repair.<o:p></o:p></span></i></p> + +<p class=MsoNormal style='tab-stops:right 269.0pt'><span style='font-size:12.0pt; +font-family:Verdana;mso-no-proof:no'><o:p> </o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list .25in left 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +58.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>A few paragraphs +only, can be devoted to a second division of our subject that here presents +itself. To pursue in detail the laws of effect, as applying to the larger +features of composition, would carry us beyond our limits. But we may briefly +indicate a further aspect of the general principle hitherto traced out, and +hint a few of its wider applications.<o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list .25in left 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +59.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>Thus far, then, we +have considered only those causes of force in language which depend upon economy +of the mental <i style='mso-bidi-font-style:normal'>energies: </i>we have now +to glance at those which depend upon economy of the mental <i style='mso-bidi-font-style: +normal'>sensibilities. </i>Questionable though this division may be as a +psychological one, it will yet serve roughly to indicate the remaining field of +investigation. It will suggest that besides considering the extent to which any +faculty or group of faculties is tasked in receiving a form of words and +realizing its contained idea, we have to consider the state in which this +faculty or group of faculties is left; and how the reception of subsequent +sentences and images will be influenced by that state. Without going at length +into so wide a topic as the exercise of faculties and its reactive effects, it +will be sufficient here to call to mind that every faculty (when in a state of +normal activity) is most capable at the outset; and that the change in its +condition, which ends in what we term exhaustion, begins simultaneously with +its exercise. This generalization, with which we are all familiar in our bodily +experiences, and which our daily language recognizes as true of the mind as a +whole, is equally true of each mental power, from the simplest of the senses to +the most complex of the sentiments. If we hold a flower to the nose for long, +we become insensible to its scent. We say of a very brilliant flash of +lightning that it blinds us; which means that our eyes have for a time lost +their ability to appreciate light. After eating a quantity of honey, we are apt +to think our tea is without sugar. The phrase “a deafening roar,” implies that +men find a very loud sound temporarily incapacitates them for hearing faint +ones. To a hand which has for some time carried a heavy body, small bodies +afterwards lifted seem to have lost their weight. Now, the truth at once +recognized in these, its extreme manifestations, may be traced throughout. It +may be shown that alike in the reflective faculties, in the imagination, in the +perceptions of the beautiful, the ludicrous, the sublime, in the sentiments, +the instincts, in all the mental powers, however we may classify them‑action +exhausts; and that in proportion as the action is violent, the subsequent +prostration is great.<o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list .25in left 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +60.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>Equally, +throughout the whole nature, may be traced the law that exercised faculties are +ever tending to resume their original state. Not only after continued rest, do +they regain their full power not only do brief cessations partially +reinvigorate them; but even while they are in action, the resulting exhaustion +is ever being neutralized. The two processes of waste and repair go on +together. Hence with faculties habitually exercised—as the senses of all +persons, or the muscles of any one who is strong—it happens that, during +moderate activity, the repair is so nearly equal to the waste, that the +diminution of power is scarcely appreciable; and it is only when the activity +has been long continued, or has been very violent, that the repair becomes so +far in arrear of the waste as to produce a perceptible prostration. In all +cases, however, when, by the action of a faculty, waste has been incurred, <i +style='mso-bidi-font-style:normal'>some </i>lapse of time must take place +before full efficiency can be reacquired; and this time must be long in +proportion as the waste has been great.<o:p></o:p></span></p> + +<p class=MsoNormal><span style='font-size:12.0pt;font-family:Verdana; +mso-no-proof:no'><o:p> </o:p></span></p> + +<p class=MsoNormal align=center style='text-align:center'><i style='mso-bidi-font-style: +normal'><span style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>ii +Explanation of Climax, Antithesis, and Anticlimax.<o:p></o:p></span></i></p> + +<p class=MsoNormal style='text-align:justify'><i style='mso-bidi-font-style: +normal'><span style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'><o:p> </o:p></span></i></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list blank .25in left blank 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +61.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>Keeping in mind +these general truths, we shall be in a condition to understand certain causes +of effect in composition now to be considered. Every perception received, and +every conception realized, entailing some amount of waste—or, as Liebig would +say, some change of matter in the brain; and the efficiency of the faculties +subject to this waste being thereby temporarily, though often but momentarily, +diminished; the resulting partial inability must affect the acts of perception +and conception that immediately succeed. And hence we may expect that the +vividness with which images are realized will, in many cases, depend on the +order of their presentation: even when one order is as convenient to the +understanding as the other.<o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list blank .25in left blank 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +62.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>There are sundry +facts which alike illustrate this, and are explained by it. Climax is one of +them. The marked effect obtained by placing last the most striking of any +series of images, and the weakness—often the ludicrous weakness—produced +by reversing this arrangement, depends on the general law indicated. As immediately +after looking at the sun we cannot perceive the light of a fire, while by +looking at the fire first and the sun afterwards we can perceive both; so, +after receiving a brilliant, or weighty, or terrible thought, we cannot +appreciate a less brilliant, less weighty, or less terrible one, while, by +reversing the order, we can appreciate each. In Antithesis, again, we may +recognize the same general truth. The opposition of two thoughts that are the +reverse of each other in some prominent trait, insures an impressive effect; +and does this by giving a momentary relaxation to the faculties addressed. If, +after a series of images of an ordinary character, appealing in a moderate +degree to the sentiment of reverence, or approbation, or beauty, the mind has +presented to it a very insignificant, a very unworthy, or a very ugly image; +the faculty of reverence, or approbation, or beauty, as the case may be, having +for the time nothing to do, tends to resume its full power; and will +immediately afterwards appreciate a vast, admirable, or beautiful image better +than it would otherwise do. Conversely, where the idea of absurdity due to +extreme insignificance is to be produced, it maybe greatly intensified by +placing it after something highly impressive: especially if the form of phrase +implies that something still more impressive is coming. A good illustration of +the effect gained by thus presenting a petty idea to a consciousness that has +not yet recovered from the shock of an exciting one, occurs in a sketch by Balzac. +His hero writes to a mistress who has cooled towards him the following letter:<br +style='mso-special-character:line-break'> +<![if !supportLineBreakNewLine]><br style='mso-special-character:line-break'> +<![endif]><o:p></o:p></span></p> + +<p class=MsoNormal style='text-align:justify'><span style='font-size:12.0pt; +font-family:Verdana;mso-no-proof:no'>“<span style='text-transform:uppercase'>Madame</span>, +Votre conduite m’étonne autant qu’elle m’afflige Non contente de me +déchirer le coeur par vos dédains vous avez l’indélicatesse de me retenir une +brosse à dents, que mes moyens ne me permettent pas de remplacer, mes +propriétés etant grevées d’hypothèques<o:p></o:p></span></p> + +<p class=MsoNormal style='text-align:justify'><span style='font-size:12.0pt; +font-family:Verdana;mso-no-proof:no'>“Adieu, trop, belle et trop ingrate ainie! +Puissions nous nous revoir dans un monde meilleur!<br style='mso-special-character: +line-break'> +<![if !supportLineBreakNewLine]><br style='mso-special-character:line-break'> +<![endif]><o:p></o:p></span></p> + +<p class=MsoNormal align=right style='text-align:right;tab-stops:right 265.2pt'><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>“<span +style='text-transform:uppercase'>Charles Edouard</span>”<br +style='mso-special-character:line-break'> +<![if !supportLineBreakNewLine]><br style='mso-special-character:line-break'> +<![endif]><o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list .25in left 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +63.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>Thus we see that +the phenomena of Climax, Antithesis, and Anticlimax, alike result from this +general principle. Improbable as these momentary variations in susceptibility +may seem, we cannot doubt their occurrence when we contemplate the analogous +variations in the susceptibility of the senses. Referring once more to +phenomena of vision, every one knows that a patch of black on a white ground +looks blacker, and a patch of white on a black ground looks whiter, than +elsewhere. As the blackness and the whiteness must really be the same, the only +assignable cause for this is a difference in their actions upon us, dependent +upon the different states of our faculties. It is simply a visual antithesis.<o:p></o:p></span></p> + +<p class=MsoNormal><span style='font-size:12.0pt;font-family:Verdana; +mso-no-proof:no'><o:p> </o:p></span></p> + +<p class=MsoNormal align=center style='text-align:center'><i style='mso-bidi-font-style: +normal'><span style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>iii. +Need of Variety.<o:p></o:p></span></i></p> + +<p class=MsoNormal><span style='font-size:12.0pt;font-family:Verdana; +mso-no-proof:no'><o:p> </o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list .25in left 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +64.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>But this extension +of the general principle of economy—this further condition to effective +composition, that the sensitiveness of the faculties must be continuously +husbanded—includes much more than has been yet hinted. It implies not only that +certain arrangements and certain juxtapositions of connected ideas are best; +but that some modes of dividing and presenting a subject will be more striking +than others; and that, too, irrespective of its logical cohesion. It shows why +we must progress from the less interesting to the more interesting; and why not +only the composition as a whole, but each of its successive portions, should +tend towards a climax. At the same time, it forbids long continuity of the same +kind of thought, or repeated production of like effects. It warns us against +the error committed both by Pope in his poems and by Bacon in his essays—the +error, namely, of constantly employing forcible forms of expression: and it +points out that as the easiest posture by and by becomes fatiguing, and is with +pleasure exchanged for one less easy, so, the most perfectly‑constructed +sentences will soon weary, and relief will be given by using those of an +inferior kind.<o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list .25in left 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +65.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>Further, we may +infer from it not only that we should avoid generally combining our words in +one manner, however good, or working out our figures and illustrations in one +way, however telling; but that we should avoid anything like uniform adherence, +even to the wider conditions of effect. We should not make every section of our +subject progress in interest; we should not always rise to a climax. As we saw +that, in single sentences, it is but rarely allowable to fulfill all the +conditions to strength; so, in the larger sections of a composition we must not +often conform entirely to the law indicated. We must subordinate the component +effect to the total effect.<o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list .25in left 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +66.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>In deciding how +practically to carry out the principles of artistic composition, we may derive +help by bearing in mind a fact already pointed out—the fitness of certain +verbal arrangements for certain kinds of thought. That constant variety in the +mode of presenting ideas which the theory demands, will in a great degree +result from a skilful adaptation of the form to the matter. We saw how the +direct or inverted sentence is spontaneously used by excited people; and how +their language is also characterized by figures of speech and by extreme +brevity. Hence these may with advantage predominate in emotional passages; and +may increase as the emotion rises. On the other hand, for complex ideas, the +indirect sentence seems the best vehicle. In conversation, the excitement +produced by the near approach to a desired conclusion, will often show itself +in a series of short, sharp sentences; while, in impressing a view already +enunciated, we generally make our periods voluminous by piling thought upon +thought. These natural modes of procedure may serve as guides in writing. Keen +observation and skilful analysis would, in like manner, detect further +peculiarities of expression produced by other attitudes of mind; and by paying +due attention to all such traits, a writer possessed of sufficient versatility +might make some approach to a completely‑organized work.<o:p></o:p></span></p> + +<p class=MsoNormal><span style='font-size:12.0pt;font-family:Verdana; +mso-no-proof:no'><o:p> </o:p></span></p> + +<p class=MsoNormal align=center style='text-align:center'><i style='mso-bidi-font-style: +normal'><span style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>iv. +The Ideal Writer.<o:p></o:p></span></i></p> + +<p class=MsoNormal><span style='font-size:12.0pt;font-family:Verdana; +mso-no-proof:no'><o:p> </o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list .25in left 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +67.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>This species of +composition which the law of effect points out as the perfect one, is the one +which high genius tends naturally to produce. As we found that the kinds of +sentences which are theoretically best, are those generally employed by +superior minds, and by inferior minds when excitement has raised them; so, we +shall find that the ideal form for a poem, essay, or fiction, is that which the +ideal writer would evolve spontaneously. One in whom the powers of expression +fully responded to the state of feeling, would unconsciously use that variety +in the mode of presenting his thoughts, which Art demands. This constant +employment of one species of phraseology, which all have now to strive against, +implies an undeveloped faculty of language. To have a specific style is to be +poor in speech. If we remember that, in the far past, men had only nouns and +verbs to convey their ideas with, and that from then to now the growth has been +towards a greater number of implements of thought, and consequently towards a +greater complexity and variety in their combinations; we may infer that we are +now, in our use of sentences, much what the primitive man was in his use of +words; and that a continuance of the process that has hitherto gone on, must +produce increasing heterogeneity in our modes of expression. As now, in a fine +nature, the play of the features, the tones of the voice and its cadences, vary +in harmony with every thought uttered; so, in one possessed of a fully developed +power of speech, the mould in which each combination of words is cast will +similarly vary with, and be appropriate to the sentiment.<o:p></o:p></span></p> + +<p class=MsoNormal style='margin-left:0in;text-align:justify;text-indent:0in; +mso-list:l0 level1 lfo1;tab-stops:list .25in left 22.5pt'><![if !supportLists]><span style='mso-list:Ignore'>§ +68.<span style='font:7.0pt "Times New Roman"'> </span></span><![endif]><span +style='font-size:12.0pt;font-family:Verdana;mso-no-proof:no'>That a perfectly endowed +man must unconsciously write in all styles, we may infer from considering how +styles originate. Why is Johnson pompous, Goldsmith simple? Why is one author +abrupt, another rhythmical, another concise? Evidently in each case the +habitual mode of utterance must depend upon the habitual balance of the nature. +The predominant feelings have by use trained the intellect to represent them. +But while long, though unconscious, discipline has made it do this efficiently, +it remains from lack of practice, incapable of doing the same for the less +active feelings; and when these are excited, the usual verbal forms undergo but +slight modifications. Let the powers of speech be fully developed, however—let +the ability of the intellect to utter the emotions be complete; and this fixity +of style will disappear. The perfect writer will express himself as Junius, +when in the Junius frame of mind; when he feels as Lamb felt, will use a like +familiar speech; and will fall into the ruggedness of Carlyle when in a +Carlylean mood. Now he will be rhythmical and now irregular; here his language +will be plain and there ornate; sometimes his sentences will be balanced and at +other times unsymmetrical; for a while there will be considerable sameness, and +then again great variety. His mode of expression naturally responding to his state +of feeling, there will flow from his pen a composition changing to the same +degree that the aspects of his subject change. He will thus without effort +conform to what we have seen to be the laws of effect. And while his work +presents to the reader that variety needful to prevent continuous exertion of +the same faculties, it will also answer to the description of all highly +organized products, both of man and of nature: it will be not a series of like +parts simply placed in juxtaposition, but one whole made up of unlike parts +that are mutually dependent.</span></p> + +<PRE> +*** END OF THE PROJECT GUTENBERG EBOOK, THE PHILOSPHY OF STYLE *** + +This file should be named phil10h.htm or phil10h.zip +Corrected EDITIONS of our eBooks get a new NUMBER, phil11h.txt +VERSIONS based on separate sources get new LETTER, phil10a.txt + +Project Gutenberg eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the US +unless a copyright notice is included. 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