How to Speak and Write Correctly Part 23

The best way to learn to write is to sit down and write, just as the best way how to learn to ride a bicycle is to mount the wheel and pedal away.

Write first about common things, subjects that are familiar to you. Try for instance an essay on a cat. Say something original about her. Don't say "she is very playful when young but becomes grave as she grows old."

That has been said more than fifty thousand times before. Tell what you have seen the family cat doing, how she caught a mouse in the garret and what she did after catching it. Familiar themes are always the best for the beginner. Don't attempt to describe a scene in Australia if you have never been there and know nothing of the country. Never hunt for subjects, there are thousands around you. Describe what you saw yesterday-- a fire, a runaway horse, a dog-fight on the street and be original in your description. Imitate the best writers in their _style_, but not in their exact words. Get out of the beaten path, make a pathway of your own.

Know what you write about, write about what you know; this is a golden rule to which you must adhere. To know you must study. The world is an open book in which all who run may read. Nature is one great volume the pages of which are open to the peasant as well as to the peer. Study Nature's moods and tenses, for they are vastly more important than those of the grammar. Book learning is most desirable, but, after all, it is only theory and not practice. The grandest allegory in the English, in fact, in any language, was written by an ignorant, so-called ignorant, tinker named John Bunyan. Shakespeare was not a scholar in the sense we regard the term to-day, yet no man ever lived or probably ever will live that equalled or will equal him in the expression of thought. He simply read the book of nature and interpreted it from the standpoint of his own magnificent genius.

Don't imagine that a college education is necessary to success as a writer. Far from it. Some of our college men are dead-heads, drones, parasites on the body social, not alone useless to the world but to themselves. A person may be so ornamental that he is valueless from any other standpoint. As a general rule ornamental things serve but little purpose. A man may know so much of everything that he knows little of anything. This may sound paradoxical, but, nevertheless, experience proves its truth.

If you are poor that is not a detriment but an advantage. Poverty is an incentive to endeavor, not a drawback. Better to be born with a good, working brain in your head than with a gold spoon in your mouth. If the world had been depending on the so-called pets of fortune it would have deteriorated long ago.

From the pits of poverty, from the arenas of suffering, from the hovels of neglect, from the backwood cabins of obscurity, from the lanes and by-ways of oppression, from the dingy garrets and bas.e.m.e.nts of unending toil and drudgery have come men and women who have made history, made the world brighter, better, higher, holier for their existence in it, made of it a place good to live in and worthy to die in,--men and women who have hallowed it by their footsteps and sanctified it with their presence and in many cases consecrated it with their blood. Poverty is a blessing, not an evil, a benison from the Father's hand if accepted in the right spirit.

Instead of r.e.t.a.r.ding, it has elevated literature in all ages. Homer was a blind beggarman singing his s.n.a.t.c.hes of song for the dole of charity; grand old Socrates, oracle of wisdom, many a day went without his dinner because he had not the wherewithal to get it, while teaching the youth of Athens. The divine Dante was nothing better than a beggar, houseless, homeless, friendless, wandering through Italy while he composed his immortal cantos. Milton, who in his blindness "looked where angels fear to tread," was steeped in poverty while writing his sublime conception, "Paradise Lost." Shakespeare was glad to hold and water the horses of patrons outside the White Horse Theatre for a few pennies in order to buy bread. Burns burst forth in never-dying song while guiding the ploughshare.

Poor Heinrich Heine, neglected and in poverty, from his "mattress grave"

of suffering in Paris added literary laurels to the wreath of his German Fatherland. In America Elihu Burritt, while attending the anvil, made himself a master of a score of languages and became the literary lion of his age and country.

In other fields of endeavor poverty has been the spur to action. Napoleon was born in obscurity, the son of a hand-to-mouth scrivener in the backward island of Corsica. Abraham Lincoln, the boast and pride of America, the man who made this land too hot for the feet of slaves, came from a log cabin in the Ohio backwoods. So did James A. Garfield. Ulysses Grant came from a tanyard to become the world's greatest general. Thomas A. Edison commenced as a newsboy on a railway train.

The examples of these men are incentives to action. Poverty thrust them forward instead of keeping them back. Therefore, if you are poor make your circ.u.mstances a means to an end. Have ambition, keep a goal in sight and bend every energy to reach that goal. A story is told of Thomas Carlyle the day he attained the highest honor the literary world could confer upon him when he was elected Lord Rector of Edinburgh University.

After his installation speech, in going through the halls, he met a student seemingly deep in study. In his own peculiar, abrupt, crusty way the Sage of Chelsea interrogated the young man: "For what profession are you studying?" "I don't know," returned the youth. "You don't know,"

thundered Carlyle, "young man, you are a fool." Then he went on to qualify his vehement remark, "My boy when I was your age, I was stooped in grinding, gripping poverty in the little village of Ecclefechan, in the wilds of [Transcriber's note: Part of word illegible]-frieshire, where in all the place only the minister and myself could read the Bible, yet poor and obscure as I was, in my mind's eye I saw a chair awaiting for me in the Temple of Fame and day and night and night and day I studied until I sat in that chair to-day as Lord Rector of Edinburgh University."

Another Scotchman, Robert Buchanan, the famous novelist, set out for London from Glasgow with but half-a-crown in his pocket. "Here goes,"

said he, "for a grave in Westminster Abbey." He was not much of a scholar, but his ambition carried him on and he became one of the great literary lions of the world's metropolis.

Henry M. Stanley was a poorhouse waif whose real name was John Rowlands.

He was brought up in a Welsh workhouse, but he had ambition, so he rose to be a great explorer, a great writer, became a member of Parliament and was knighted by the British Sovereign.

Have ambition to succeed and you will succeed. Cut the word "failure" out of your lexicon. Don't acknowledge it. Remember

"In life's earnest battle they only prevail Who daily march onward and never say fail."

Let every obstacle you encounter be but a stepping stone in the path of onward progress to the goal of success.

If untoward circ.u.mstances surround you, resolve to overcome them. Bunyan wrote the "Pilgrim's Progress" in Bedford jail on sc.r.a.ps of wrapping paper while he was half starved on a diet of bread and water. That unfortunate American genius, Edgar Allan Poe, wrote "The Raven," the most wonderful conception as well as the most highly artistic poem in all English literature, in a little cottage in the Fordham section of New York while he was in the direst straits of want. Throughout all his short and wonderfully brilliant career, poor Poe never had a dollar he could call his own. Such, however, was both his fault and his misfortune and he is a bad exemplar.

Don't think that the knowledge of a library of books is essential to success as a writer. Often a multiplicity of books is confusing. Master a few good books and master them well and you will have all that is necessary. A great authority has said: "Beware of the man of one book,"

which means that a man of one book is a master of the craft. It is claimed that a thorough knowledge of the Bible alone will make any person a master of literature. Certain it is that the Bible and Shakespeare const.i.tute an epitome of the essentials of knowledge. Shakespeare gathered the fruitage of all who went before him, he has sown the seeds for all who shall ever come after him. He was the great intellectual ocean whose waves touch the continents of all thought.

Books are cheap now-a-days, the greatest works, thanks to the printing press, are within the reach of all, and the more you read, the better, provided they are worth reading. Sometimes a man takes poison into his system unconscious of the fact that it is poison, as in the case of certain foods, and it is very hard to throw off its effects. Therefore, be careful in your choice of reading matter. If you cannot afford a full library, and as has been said, such is not necessary, select a few of the great works of the master minds, a.s.similate and digest them, so that they will be of advantage to your literary system. Elsewhere in this volume is given a list of some of the world's masterpieces from which you can make a selection.

Your brain is a storehouse, don't put useless furniture into it to crowd it to the exclusion of what is useful. Lay up only the valuable and serviceable kind which you can call into requisition at any moment.

As it is necessary to study the best authors in order to be a writer, so it is necessary to study the best speakers in order to talk with correctness and in good style. To talk rightly you must imitate the masters of oral speech. Listen to the best conversationalists and how they express themselves. Go to hear the leading lectures, speeches and sermons. No need to imitate the gestures of elocution, it is nature, not art, that makes the elocutionist and the orator. It is not _how_ a speaker expresses himself but the language which he uses and the manner of its use which should interest you. Have you heard the present day masters of speech? There have been past time masters but their tongues are stilled in the dust of the grave, and you can only read their eloquence now. You can, however, listen to the charm of the living. To many of us voices still speak from the grave, voices to which we have listened when fired with the divine essence of speech. Perhaps you have hung with rapture on the words of Beecher and Talmage. Both thrilled the souls of men and won countless thousands over to a living gospel. Both were masters of words, they scattered the flowers of rhetoric on the shrine of eloquence and hurled veritable bouquets at their audiences which were eagerly seized by the latter and treasured in the storehouse of memory. Both were scholars and philosophers, yet they were far surpa.s.sed by Spurgeon, a plain man of the people with little or no claim to education in the modern sense of the word. Spurgeon by his speech attracted thousands to his Tabernacle. The Protestant and Catholic, Turk, Jew and Mohammedan rushed to hear him and listened, entranced, to his language. Such another was Dwight L. Moody, the greatest Evangelist the world has ever known. Moody was not a man of learning; he commenced life as a shoe salesman in Chicago, yet no man ever lived who drew such audiences and so fascinated them with the spell of his speech. "Oh, that was personal magnetism," you will say, but it was nothing of the kind. It was the burning words that fell from the lips of these men, and the way, the manner, the force with which they used those words that counted and attracted the crowds to listen unto them. Personal magnetism or personal appearance entered not as factors into their success. Indeed as far as physique were concerned, some of them were handicapped. Spurgeon was a short, podgy, fat little man, Moody was like a country farmer, Talmage in his big cloak was one of the most slovenly of men and only Beecher was pa.s.sable in the way of refinement and gentlemanly bearing. Physical appearance, as so many think, is not the sesame to the interest of an audience. Daniel O'Connell, the Irish tribune, was a homely, ugly, awkward, ungainly man, yet his words attracted millions to his side and gained for him the hostile ear of the British Parliament, he was a master of verbiage and knew just what to say to captivate his audiences.

It is words and their placing that count on almost all occasions. No matter how refined in other respects the person may be, if he use words wrongly and express himself in language not in accordance with a proper construction, he will repel you, whereas the man who places his words correctly and employs language in harmony with the laws of good speech, let him be ever so humble, will attract and have an influence over you.

The good speaker, the correct speaker, is always able to command attention and doors are thrown open to him which remain closed to others not equipped with a like facility of expression. The man who can talk well and to the point need never fear to go idle. He is required in nearly every walk of life and field of human endeavor, the world wants him at every turn. Employers are constantly on the lookout for good talkers, those who are able to attract the public and convince others by the force of their language. A man may be able, educated, refined, of unblemished character, nevertheless if he lack the power to express himself, put forth his views in good and appropriate speech he has to take a back seat, while some one with much less ability gets the opportunity to come to the front because he can clothe his ideas in ready words and talk effectively.

You may again say that nature, not art, makes a man a fluent speaker; to a great degree this is true, but it is _art_ that makes him a _correct_ speaker, and correctness leads to fluency. It is possible for everyone to become a correct speaker if he will but persevere and take a little pains and care.

At the risk of repet.i.tion good advice may be here emphasized: Listen to the best speakers and note carefully the words which impress you most.

Keep a notebook and jot down words, phrases, sentences that are in any way striking or out of the ordinary run. If you do not understand the exact meaning of a word you have heard, look it up in the dictionary.

There are many words, called synonyms, which have almost a like signification, nevertheless, when examined they express different shades of meaning and in some cases, instead of being close related, are widely divergent. Beware of such words, find their exact meaning and learn to use them in their right places.

Be open to criticism, don't resent it but rather invite it and look upon those as friends who point out your defects in order that you may remedy them.

CHAPTER XI

SLANG

Origin--American Slang--Foreign Slang

Slang is more or less common in nearly all ranks of society and in every walk of life at the present day. Slang words and expressions have crept into our everyday language, and so insiduously, that they have not been detected by the great majority of speakers, and so have become part and parcel of their vocabulary on an equal footing with the legitimate words of speech. They are called upon to do similar service as the ordinary words used in everyday conversation--to express thoughts and desires and convey meaning from one to another. In fact, in some cases, slang has become so useful that it has far outstripped cla.s.sic speech and made for itself such a position in the vernacular that it would be very hard in some cases to get along without it. Slang words have usurped the place of regular words of language in very many instances and reign supreme in their own strength and influence.

Cant and slang are often confused in the popular mind, yet they are not synonymous, though very closely allied, and proceeding from a common Gypsy origin. Cant is the language of a certain cla.s.s--the peculiar phraseology or dialect of a certain craft, trade or profession, and is not readily understood save by the initiated of such craft, trade or profession. It may be correct, according to the rules of grammar, but it is not universal; it is confined to certain parts and localities and is only intelligible to those for whom it is intended. In short, it is an esoteric language which only the initiated can understand. The jargon, or patter, of thieves is cant and it is only understood by thieves who have been let into its significance; the initiated language of professional gamblers is cant, and is only intelligible to gamblers.

On the other hand, slang, as it is nowadays, belongs to no particular cla.s.s but is scattered all over and gets _entre_ into every kind of society and is understood by all where it pa.s.ses current in everyday expression. Of course, the nature of the slang, to a great extent, depends upon the locality, as it chiefly is concerned with colloquialisms or words and phrases common to a particular section. For instance, the slang of London is slightly different from that of New York, and some words in the one city may be unintelligible in the other, though well understood in that in which they are current. Nevertheless, slang may be said to be universally understood. "To kick the bucket," "to cross the Jordan," "to hop the twig"

are just as expressive of the departing from life in the backwoods of America or the wilds of Australia as they are in London or Dublin.

Slang simply consists of words and phrases which pa.s.s current but are not refined, nor elegant enough, to be admitted into polite speech or literature whenever they are recognized as such. But, as has been said, a great many use slang without their knowing it as slang and incorporate it into their everyday speech and conversation.

Some authors purposely use slang to give emphasis and spice in familiar and humorous writing, but they should not be imitated by the tyro. A master, such as d.i.c.kens, is forgivable, but in the novice it is unpardonable.

There are several kinds of slang attached to different professions and cla.s.ses of society. For instance, there is college slang, political slang, sporting slang, etc. It is the nature of slang to circulate freely among all cla.s.ses, yet there are several kinds of this current form of language corresponding to the several cla.s.ses of society. The two great divisions of slang are the vulgar of the uneducated and coa.r.s.e-minded, and the high-toned slang of the so-called upper cla.s.ses--the educated and the wealthy. The hoyden of the gutter does not use the same slang as my lady in her boudoir, but both use it, and so expressive is it that the one might readily understand the other if brought in contact. Therefore, there are what may be styled an ignorant slang and an educated slang--the one common to the purlieus and the alleys, the other to the parlor and the drawing-room.

In all cases the object of slang is to express an idea in a more vigorous, piquant and terse manner than standard usage ordinarily admits. A school girl, when she wants to praise a baby, exclaims: "Oh, isn't he awfully cute!" To say that he is very nice would be too weak a way to express her admiration. When a handsome girl appears on the street an enthusiastic masculine admirer, to express his appreciation of her beauty, tells you: "She is a peach, a bird, a cuckoo," any of which accentuates his estimation of the young lady and is much more emphatic than saying: "She is a beautiful girl," "a handsome maiden," or "lovely young woman."

When a politician defeats his rival he will tell you "it was a cinch," he had a "walk-over," to impress you how easy it was to gain the victory.

Some slang expressions are of the nature of metaphors and are highly figurative. Such are "to pa.s.s in your checks," "to hold up," "to pull the wool over your eyes," "to talk through your hat," "to fire out," "to go back on," "to make yourself solid with," "to have a jag on," "to be loaded," "to freeze on to," "to bark up the wrong tree," "don't monkey with the buzz-saw," and "in the soup." Most slang had a bad origin. The greater part originated in the cant of thieves' Latin, but it broke away from this cant of malefactors in time and gradually evolved itself from its unsavory past until it developed into a current form of expressive speech. Some slang, however, can trace its origin back to very respectable sources.

"Stolen fruits are sweet" may be traced to the Bible in sentiment.

Proverbs, ix:17 has it: "Stolen waters are sweet." "What are you giving me," supposed to be a thorough Americanism, is based upon Genesis, x.x.xviii:16. The common slang, "a bad man," in referring to Western desperadoes, in almost the identical sense now used, is found in Spenser's _Faerie Queen_, Ma.s.singer's play _"A New Way to Pay Old Debts,_" and in Shakespeare's _"King Henry VIII_." The expression "to blow on," meaning to inform, is in Shakespeare's _"As You Like it_."

"It's all Greek to me" is traceable to the play of _"Julius Caesar_."

"All cry and no wool" is in Butler's _"Hudibras_." "Pious frauds,"

meaning hypocrites, is from the same source. "Too thin," referring to an excuse, is from Smollett's "_Peregrine Pickle_." Shakespeare also used it.

America has had a large share in contributing to modern slang. "The heathen Chinee," and "Ways that are dark, and tricks that are vain," are from Bret Harte's _Truthful James_. "Not for Joe," arose during the Civil War when one soldier refused to give a drink to another. "Not if I know myself" had its origin in Chicago. "What's the matter with----? He's all right," had its beginning in Chicago also and first was "What's the matter with Hannah." referring to a lazy domestic servant. "There's millions in it," and "By a large majority" come from Mark Twain's _Gilded Age_. "Pull down your vest," "jim-jams," "got 'em bad," "that's what's the matter," "go hire a hall," "take in your sign," "dry up," "hump yourself," "it's the man around the corner," "putting up a job," "put a head on him," "no back talk," "bottom dollar," "went off on his ear,"

"chalk it down," "staving him off," "making it warm," "dropping him gently," "dead gone," "busted," "counter jumper," "put up or shut up,"

"bang up," "smart Aleck," "too much jaw," "chin-music," "top heavy,"

"barefooted on the top of the head," "a little too fresh," "champion liar," "chief cook and bottle washer," "bag and baggage," "as fine as silk," "name your poison," "died with his boots on," "old hoss," "hunkey dorey," "hold your horses," "galoot" and many others in use at present are all Americanisms in slang.

California especially has been most fecund in this cla.s.s of figurative language. To this State we owe "go off and die," "don't you forget it,"

"rough deal," "square deal," "flush times," "pool your issues," "go bury yourself," "go drown yourself," "give your tongue a vacation," "a bad egg," "go climb a tree," "plug hats," "Dolly Vardens," "well fixed,"

"down to bed rock," "hard pan," "pay dirt," "petered out," "it won't wash," "slug of whiskey," "it pans out well," and "I should smile."