For the attainment of this ultimate verbal decorum we should have to possess knowledge almost unbounded, together with unerring artistic instinct. But diction of a kind only measurably inferior to this is possible to us if we are in earnest. To attain it we must study the difference between abstract and concrete terms, and let neither intrude unadvisedly upon the presence or functions of the other; do the same by literal and figurative terms and instruct ourselves in the nature and significance of connotation.
Before considering these more detailed matters, however, we may pause for a general exercise on verbal harmony.
EXERCISE - Discords
1. Study the editorial in Appendix 1 for unforewarned changes in mood and assemblages of mutually uncongenial words. Rewrite the worst two paragraphs to remove all blemishes of these kinds.
2. Compare Burke's speech (Appendix 2) with Defoe's narrative (Appendix 5) for the difference in tone between them. Does each keep the tone it adopts (that is, except for desirable changes)?
3. Note the changes in tone in the Seven Ages of Man (Appendix 4). Do the changes in substance make these changes in tone desirable?
4. In the following passages, make such changes and omissions as are necessary to unify the tone:
How I loved to stroll, on those long Indian summer afternoons, into the quiet meadows where the mild-breathed kine were grazing! An old cow that switches her tail at flies and puts her foot in the bucket when you milk her, I absolutely loathe. How I loved to hear the birds sing, to listen to the fall of ripe autumnal apples!
It wasn't the girl yclept Sally. This girl was not so vivacious as Sally, but she had a mug on her that was a lot less ugly to look at. Gee, when she stood there in front of me with those mute, ineffable, sympathetic eyes of hers, I was ready to throw a duck-fit.
Old Grimes is dead, that dear old soul;
We'll never see him more;
He wore a great long overcoat,
All buttoned down before.