influence. You interview a potential investor; does he accept your proposition or not? A prospective customer walks into your store; does he buy the goods you show him? You enter the drawing room of one of the elite; are you invited again and again? Your words will largely decide—your words, or your verbal abstinence. For be it remembered that words no more than dollars are to be scattered broadcast for the sole reason that you have them. The right word should be used at the right time—and at that time only. Silence is oftentimes golden. Nevertheless there are occasions for us to speak. Frequent occasions. To be inarticulate then may mean only embarrassment. It may—some day it will—mean suffering and failure. That we may make the most of the important occasions sure to come, we must have our instruments ready. Those instruments are words. He who commands words commands events—commands men.

II

WORDS IN COMBINATION: SOME PITFALLS

You wish, then, to increase your vocabulary. Of course you must become observant of words and inquisitive about them. For words are like people: they have their own particular characteristics, they do their work well or ill, they are in good odor or bad, and they yield best service to him who loves them and tries to understand them. Your curiosity about them must be burning and insatiable. You must study them when they have withdrawn from the throng of their fellows into the quiescence of their natural selves. You must also see them and study them in action, not only as they are employed in good books and by careful speakers, but likewise as they fall from the lips of unconventional speakers who through them secure vivid and telling effects. In brief, you must learn word nature, as you learn human nature, from a variety of sources.

Now in ordinary speech most of us use words, not as individual things, but as parts of a whole—as cogs in the machine of utterance by which we convey our thoughts and feelings. We do not think of them separately at all. And this instinct is sound. In our expression we are like large-scale manufacturing plants rather than one-man establishments. We have at our disposal, not one worker, but a multitude. Hence we are concerned with our employees collectively and with the total production of which they are capable. To be sure, our understanding of them as individuals will increase the worth and magnitude of our output. But clearly we must have large dealings with them in the aggregate.

This chapter and the following, therefore, are given over to the study of words in combination. As in all matters, there is a negative as well as a positive side to be reckoned with. Let us consider the negative side first.

<Tameness>

Correct diction is too often insipid. There is nothing wrong with it, but it does not interest us—it lacks character, lacks color, lacks power. It too closely resembles what we conceive of the angels as having— impeccability without the warmth of camaraderie. Speech, like a man, should be alive. It need not, of course, be boisterous. It may be intense in a quiet, modest way. But if it too sedulously observes all the Thou shalt not's of the rhetoricians, it will refine the vitality out of itself and leave its hearers unmoved.

That is why you should become a disciple of the pithy, everyday conversationalist and of the rough-and-ready master of harangue as well as of the practitioner of precise and scrupulous discourse. Many a speaker or writer has thwarted himself by trying to be "literary." Even Burns when he wrote classic English was somewhat conscious of himself and made, in most instances, no extraordinary impression. But the pieces he impetuously dashed off in his native Scotch dialect can never be forgotten. The man who begins by writing naturally, but as his importance in the publishing world grows, pays more and more attention to felicities—to "style"—and so spoils himself, is known to the editor of every magazine. Any editorial office force can insert missing commas and semicolons, and iron out blunders in the English; but it has not the time, if indeed the ability, to instil life into a lifeless manuscript. A living style is rarer than an inoffensive one, and the road of literary ambition is strewn with failures due to "correctness."

Cultivate readiness, even daring, of utterance. A single turn of expression may be so audacious that it plucks an idea from its shroud or places within us an emotion still quivering and warm. Sustained discourse may unflaggingly clarify or animate. But such triumphs are beyond the reach of those, whether speakers or writers, who are constantly pausing to grope for words. This does not mean that scrutiny of individual words is wasted effort. Such scrutiny becomes the basis indeed of the more venturesome and inspired achievement. We must serve our apprenticeship to language. We must know words as a general knows the men under him—all their ranks, their capabilities, their shortcomings, the details and routine of their daily existence. But the end for which we gain our understanding must be to hurl these words upon the enemy, not as disconnected units, but as battalions, as brigades, as corps, as armies. Dr. Johnson, one of the most effective talkers in all history, resolved early in life that, always, and whatever topic might be broached, he would on the moment express his thoughts and feelings with as much vigor and felicity as if he had unlimited leisure to draw on. And Patrick Henry, one of the few really irresistible orators, was wont to plunge headlong into a sentence and trust to God Almighty to get him out.

EXERCISE - Tameness

1. Study Appendix I (The Drift of Our Rural Population Cityward). Do you regard it as written simply, with force and natural feeling? Or does it show lack of spontaneity?—suffer from an unnatural and self- conscious manner of writing? Is the style one you would like to cultivate for your own use?

2. Express, if you can, in more vigorous language of your own, the thought of the editorial.

3. Think of some one you have known who has the gift of racy colloquial utterance. Make a list of offhand, homely, or picturesque expressions you have heard him employ, and ask yourself what it is in these expressions that has made them linger in your memory. With them in mind, and with your knowledge of the man's methods of imparting his ideas vividly, try to make your version of the editorial more forceful still.

4. Study Appendix 2 (Causes for the American Spirit of Liberty) as an example of stately and elaborate, yet energetic, discourse. The speech from which this extract is taken was delivered in Parliament in a vain effort to stay England from driving her colonies to revolt. Some of Burke's turns of phrase are extremely bold and original, as "The religion most prevalent in our northern colonies is a refinement on the principle of resistance; it is the dissidence of dissent and the Protestantism of the Protestant religion." Moreover, with all his fulness of diction, Burke could cleave to the heart of an idea in a few words, as "Freedom is to them [the southern slave-holders] not only an enjoyment, but a kind of rank and privilege." Find other examples of bold or concise and illuminating utterance.

5. Read Appendix 3 (Parable of the Sower). It has no special audacities of phrase, but escapes tameness in various ways—largely through its simple earnestness.

6. Make a list of the descriptive phrases in Appendix 4 (The Seven Ages of Man) through which Shakespeare gives life and distinctness to his pictures.

7. Study Appendix 5 (The Castaway) as a piece of homely, effective narrative. (Defoe wrote for the man in the street. He was a