It is thus seen that the Anglo-Saxon element is full of force in its presentation of definite concrete objects; and it is a noteworthy fact that our best writers use a large proportion of native words. In ordinary discourse none of our best writers, perhaps, fall below seventy per cent of Anglo-Saxon. But in philosophy, which deals largely with abstract ideas, the Anglo-Saxon element, as in passages from Herbert Spencer, may fall as low as sixty per cent. It is interesting to estimate the percentage of Anglo-Saxon or Latin in an author. This may easily be done by counting the number of words in a given passage for the denominator, and the number of Anglo-Saxon or Latin words for the numerator of a common fraction, which may then be reduced to a decimal.
30. What Element to Choose. A writer's style should be determined by higher considerations than the deliberate purpose to use as far as possible any single element of our language. Such a purpose degenerates into affectation, and becomes a mannerism. The following extract from a sonnet by Addison Alexander shows what may be done by short Anglo-Saxon words; but, because of its lack of musical rhythm and fine poetic quality, it is not to be commended as a model:
"Think not that strength lies in the big round word,
Or that the brief and plain must needs be weak.
To whom can this be true who once has heard
The cry for help, the tongue that all men speak
When want, or woe, or fear, is in the throat,
So that each word gasped out is like a shriek
Pressed from the sore heart, or a strange wild note
Sung by some fay or fiend."
With this may be compared the following lines from a sonnet by Longfellow, in which the musical effect of the Latin element will be clearly recognized:
"I saw the long line of the vacant shore,
And the sea-weed and the shells upon the sand,
And the brown rocks left bare on every hand,
As if the ebbing tide would flow no more.
Then heard I, more distinctly than before,
The ocean breathe and its great breast expand,
And hurrying came on the defenceless land
The insurgent waters with tumultuous roar."
The use of Latin words often gives clearness and melody to style; and instead of a violent effort to Saxonize his writing, an author should clothe his thoughts in the diction that is most fitting and expressive.
31. Diction. Aristotle truly said that "the beginning of style is correctness of diction." By diction is meant the choice and use of words. Good diction lies at the basis of good writing. Words are used to express ideas; and in view of this fundamental principle, it follows that they should be intelligible and correct. They should belong to our language; and hence the use of foreign words and phrases, except to supply a real want in English, is generally in bad taste. The use of provincial expressions, such as tote for carry, is to be avoided, except in the portrayal of provincial character. Archaic words, as well as those that have not yet established themselves, should not be employed. For these two classes of words Pope has laid down an excellent rule in his "Essay on Criticism":
"In words, as fashions, the same rule will hold,
Alike fantastic, if too new or old;
Be not the first by whom the new are tried,
Nor yet the last to lay the old aside."
There is sometimes an obvious effort among young or half-cultured writers to seek after unusual words.
Unless the purpose of discourse is to be defeated, it is evident that the words used by a writer should have their accepted and exact meaning. The study of etymology, though sometimes misleading, is very helpful in learning the exact force of words. There are very few words in our language that are exactly synonymous; and while synonyms are often loosely used, the skillful writer is careful to distinguish their different shades of meaning. This nice use of words, impossible to the uncultivated mind, adds an exquisite charm to writing.