A burnt child dreads the fire.
A stitch in time saves nine.
A cat may look at a king.
A barking dog never bites.
If his son ask bread, will he give him a stone?
If two men ride a horse, one must ride behind.
Stone walls do not a prison make.
A merry heart goes all the day.
Thrice is he armed that hath his quarrel just.
As the twig is bent, so the tree is inclined.
10. Describe a town as seen from a particular point of view, or at a
particular time of day, or under particular atmospheric conditions. Make
your description as concrete as possible.
11. Compare your description with this from Stevenson: "The town came down
the hill in a cascade of brown gables, bestridden by smooth white roofs,
and spangled here and there with lighted windows." Stevenson's sentence
contains twenty-five words. How many of them are "color" words? How many
"motion" words? How many of the first twenty-five words in your
description appeal to one or another of the five senses?
12. Narrate as vividly as possible an experience in your own life. Compare
what you have written with the account of Crusoe's escape to the island
(Appendix 5). Which narrative is the more concrete? How much?
<2. Literal vs. Figurative Terms>
Phraseology is literal when it says exactly what it means; is figurative
when it says one thing, but really means another. Thus "He fought bravely"
is literal; "He was a lion in the fight" is figurative. Literal
phraseology as a rule appeals to our scientific or understanding
faculties; figurative to our emotional faculties. Here again, as with
abstraction and concreteness, you should learn to express yourself by
either method.
Both have their advantages and their drawbacks. We all admire the man who
has observed, and can state, accurately. It is upon this belief of ours in
the literal that Defoe shrewdly traffics. (See Appendix 5.) He does not
stir us as some writers do, but he gains our implicit confidence. Dame
Quickly, on the contrary, makes egregious use of the literal. (See
paragraph above EXERCISE - Wordiness III above.) Her facts are accurate,
yes; but how strictly, how unsparingly accurate! And how many of them are
beside the point! She quite convinces us that the devotee of the literal
may be dull.
An advantage of the figurative also is that it may make meanings lucid.
Thus when Burke near the close of his discussion (Appendix 2) wishes to
make it clear that by a law of nature the authority of extensive empires
is slighter in its more remote territories, he has recourse to a figure of
speech: "In large bodies, the circulation of power must be less vigorous
at the extremities. Nature has said it." More often, however, the function
of the figurative is to drive home a thought or a mood of which a mere
statement would leave us unmoved--to make us _feel_ it. Thus Burke
said of the Americans "Their love of liberty, as with you, fixed and
attached on this specific point of taxing." He added: "Here they felt its
pulse, and as they found that beat they thought themselves sick or sound."
Had you been one of his Parliamentary hearers, would not that second
sentence have made more real and more important the colonial attitude to
taxation? The poets of course make frequent and noble use of the
figurative. This is how Coleridge tells us that the descent of a tropical
night is sudden:
"The sun's rim dips; the stars rush out;
At one stride comes the dark."
The words _rush out_ and _at one stride comes_ convert the stars
and the darkness into vast beings or at least vast personal forces; the
comparisons are so natural as to seem inevitable; we are transported to
the very scene and feel the overwhelming abruptness of the nightfall. But
if a figure of speech seems artificial, if it is strained or far-fetched
or merely decorative, it subtracts from the effectiveness of the passage.
Thus when Tennyson says:
"When the breeze of a joyful dawn blew free
In the silken sail of infancy."
we must stop and ponder before we perceive that what he means is "When I
was a happy child." The figure is like an exotic plant rather than a
natural outgrowth of the soil; it appears to us something thought up and
stuck on; it is a parasite rather than a helper.
Of course, as with abstraction and concreteness, you should develop
facility in gliding from literalness to figurativeness and back again. But
you are always to remember that your gymnastics are not to militate
against verbal concord. You must never set words scowling and growling at
each other through injudicious combinations like this: "She was five feet,
four and three-quarter inches high, had a small, round scar between her
nose and her left cheek-bone, and moved with the lissom and radiant grace
of a queen."