PART II. THE STYLE. INTRODUCTION. THE term "style" doubtless conveys to the average mind but a vague idea. Many who recognize the difference between a good and a bad literary style, when reading or listening to a production, would be at a loss to state just what constitutes either the one or the other. Textbook definitions of style, like those of poetry, are not wanting; yet grave objections may be found to most of these. We quote a few: "The peculiar manner in which a writer expresses his thoughts by means of words is called style."-Quackenbos. "The secret of good style in writing is, that words be used purely in their representative character, and not at all for their own sake."-Hudson. "Style, in my sense of the word, is a peculiar recasting and heightening, under a certain spiritual excitement, a certain pressure of emotion, of what a man has to say, in such a manner as to add dignity and distinction to it."Matthew Arnold. "The best definitions of style make it consist in the unconscious but unavoidable and indispensable smack of individuality in the writer."-Bardeen. "The right choice and collocation of words; the best arrangement of clauses in a sentence; the proper order of its principal and subordinate propositions, the judicious use of simile, metaphor, and other figures of speech, and the euphonious sequence of syllables."-Herbert Spencer. The definition last quoted, though not stated formally by Mr. Spencer as such, will be found the most definite and practical of the list. Laying aside those finer individual peculiarities that must be acquired outside of the schoolroom, by general reading and otherwise, all rhetoricians admit that a good English style must have certain positive qualities. These qualities have been variously named and classified. Perhaps the most common classification is as follows: Clearness, Force, Precision, Purity, Propriety, Unity, and Euphony. This is not a strictly logical division. One of these qualities often shades into another, and two often cover the same ground. It is doubtful, however, whether the recent attempts to formulate a more logical division are to be regarded as successful. The lack of accuracy in the common classification is not sufficient to be a material hindrance in its practical application. We shall therefore take up these requisites in the order already given, calling attention, in detail, to cases where their demands are identical, and giving practical suggestions and exercises under each. Rhetoric, least of all sciences, admits of dogmatic statement. In view of this fact, the principles found in the ensuing sections are stated merely as suggestions. There are individual cases, perhaps, where each may not be found valid. Commonsense and a due consideration of the circumstances of the individual case are presupposed. For the same reason, the altered forms of the exercises used for illustration are called "improved" rather than corrected forms. There are, doubtless, cases where other methods of treatment would produce equally good results. CHAPTER I. CLEARNESS. THE primary aim, in clearness especially, as well as in the other requisites of good style, is that of economizing the reader's attention. We quote from Spencer's admirable essay: "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 presented requires a farther 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." * To secure clearness, it is not enough that a sentence be so constructed that it shall convey to the reader or hearer but one probable meaning, nor so that its meaning depends upon its punctuation. What is probable to one mind may not be probable to another. By reading and reflection the writer becomes so thoroughly conversant with his theme that he is liable, unconsciously, to base his understanding of a sentence on some underlying and unexpressed idea; forgetting that the casual reader or hearer, being unfamiliar with the underlying idea, may not grasp the meaning. The only safe rule is, as far as possible, so to construct a sentence that it can have but one meaning. *"Philosophy of Style," p. 5. SUGGESTIONS. 121. The most common violation of clearness is found in the ambiguous use of the demonstrative pronoun, in either the nominative or the oblique cases. A sentence should be so constructed that there can be no doubt as to what is the antecedent of each demonstrative or similar word. Original." Her home was near the village church, and this seems to have had great influence over her religious character." Improved.-Her home was near the village church, a circumstance which seems to have had great influence over her religious character. 122. Construct the sentence so that there can be no doubt as to what is the antecedent of each relative. Original." Unlike the Quakers of our day, he recognizes no good in any one that he cannot see. Improved. Unlike the Quakers of our day, he recognizes no good in any one unless it can be seen. 123. Use "that" wherever the relative cannot be divided into a demonstrative and a conjunction (“and he,” “and they," etc.); in the latter case use "who" or "which," as the case may be. This principle may be violated for the sake of euphony, when there is no danger of ambiguity. It is not sufficient to make the distinction merely by punctuation. Original.-"The provisions of the new city charter which require the approval of the legislature await its assembling." Improved. The provisions of the new city charter that require the approval of the legislature await its assembling. 124. Place the adverbs "only" and "alone" immediately before the words that they modify, or as nearly in that position as euphony allows without violating clearness. It is wise, also, to avoid placing "only" between two emphatic words and to avoid using "only" where "alone" can be used instead. Original." A man can only attain to distinction in one line by devoting his whole life to that line." Improved.-A man can attain to distinction in one line only by devoting his whole life to that line. Original." Virtue only gains the reward at last." 125. Always place the correlative conjunctions "not only-but also" before the same parts of speech. Original. "May these words not only be spoken to the living, but to the dead." Improved.-May these words be spoken, not only to the living, but to the dead. 66 126. Be careful to place such expressions as "at least," always," and "at all events," where their relation to the rest of the sentence will be clear. In most cases, they should come immediately before the words they modify. Original. "The street demonstrations of the Salvation Army at least are as lawful as those of the average political organization." Improved.-The street demonstrations of the Salvation Army are at least as lawful as those of the average political organization. 127. Avoid the use of verbal nouns wherever euphony permits. They make, at best, but a clumsy construction, and are in danger of being mistaken for participles. The demands of clearness and of euphony are here often identical. Original. "It seems to me that woman's seeking to vote, and her maintaining her right to vote, place her in too conspicuous a position." Improved. It seems to me that, in seeking to vote, and in maintaining her right to vote, woman places herself in too conspicuous a position. 128. Keep words and clauses that are grammatically connected as close together as possible. Original." We read of the able general teaching classes of boys at his own home whom he had himself rescued from the gutter. Improved.-We read of the able general teaching at his own home classes of boys whom he had rescued from the gutter. 129. Repeat the subject, or a word relating thereto, when the omission would violate clearness. Obscurity is especially liable to occur after a relative standing as a subject, and when there is but one subject for several verbs. Original." He claims to be working for the temperance party, which is really being injured by his action, and is unwilling that any one else should take his place." Improved.-He claims to be working for the temperance |