Shakspere, I would let the Shakspere go. I refer to Roget's Thesaurus of English Words and Phrases (Longman, 10s. 6d.). It is in effect a vast collection of synonyms, divided and subdivided minutely and with precision. When you lack the mot juste, turn in the index at the end of the volume to any word which, however distantly, approaches in meaning the one you need but cannot summon; you will find a reference to a laborious and magnificent group of allied words amongst which the desired, the unique word is sure to be discovered. For example, we will suppose you require another word for "difficulty"; consider this list:--
"Nouns. Difficulty, hardness (and nouns formed from similar adjectives); impracticability, &c. (see impossibility); tough-, hard-, uphill- work; hard-, herculean-, Augean-task; task of Sisyphus, Sisyphean labour, tough job, teaser, rasper, dead lift.
"Dilemma, embarrassment; perplexity, &c. (see uncertainty); intricacy; entanglement; cross fire; awkwardness, delicacy, ticklish card to play, knot, Gordian knot, dignus vindice nodus, net, meshes, maze; coil, &c. (see convolution); crooked path.
"Nice-, delicate-, subtle-, knotty point; vexed question, vexata quæstio, poser, puzzle, &c. (see riddle); paradox; hard-, nut to crack; bone to pick, crux, pons asinorum, where the shoe pinches.
"Nonplus, quandary, strait, pass, pinch, pretty pass, stress, brunt; critical situation, crisis; trial, rub, emergency, exigency, scramble.
"Scrape, hobble, slough, quagmire, hot water, hornet's nest; sea-, peck of troubles: pretty kettle of fish; pickle, stew, imbroglio mess, ado; false position; set fast, stand; dead,-lock,-set; fix, horns of a dilemma, cul de sac; hitch; stumbling block, &c. (see hindrance)."
The catalogues of allied adjectives and of allied verbs are even longer than the foregoing.
The Introduction to the Thesaurus, by the way, though deserving of study, is a dull and cumbrous piece of work and not necessary to the usefulness of the book.
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The sin of using trite expressions is equally common among men and women. There are others which chiefly beset women:--
Undue insistence. I have touched upon this in Chapter II. The remedy is to use superlatives only under compulsion, and to eschew italics and such adverbs as "absolutely," "utterly," "positively."
Wordiness. When you have written a paragraph, examine it carefully with the object of eliminating every word which is not necessary to the expression of the meaning. Be sure that you have not said the same thing twice in different words. Keep watch especially against pleonasms. Let this be your motto: Brevity without baldness.
Undue use of metaphor, simile, and figure. This is a sin to which women are wofully prone. They commit it with glee, and I have often found it a most difficult matter to make them realise the absurdities which result from the practice of it. As an illustration of the ludicrous consequences of unbridled indulgence in metaphor and simile, I quote the following extract (not, however, the work of a woman) from a serious and justly respected newspaper.
"I have gasped in wonder to witness one of Her Majesty's judges forsake--on very insufficient provocation--the gossamer of recreative conversation, to upraise a few monumental, I may say memorable, judgments on the subject of lithography. Now, there are many red rags in the various arts with which to encompass the discomfiture of the Philistine's bull, and the raven will always appropriate the feathers of the peacock and look ridiculous in them; but the rapier enwreathed in the red rag of painting is more readily rushed upon, and plumes of appreciation more wantonly borrowed and grotesquely worn in this walk of art than in any other."
Shun especially mixed metaphors.1 See the section on figurative language (p. 76) in Nichols' English Composition. But do not take Nichols himself as a model; I find him writing thus:--"Avoid an accumulation of little words. The luggage of particles is an impediment to strong speech and a jar in the harmony of style," which is nearly as funny as the funny examples which he quotes.
1. The most beautiful instance of mixed metaphor I have ever seen occurred in a solicitor's letter, brought to my notice by the clerk to whom it was dictated. It ran thus:--"We go upon the principle that, in order to pull the matter out of the fire, a fourth of a fifth of a loaf is better than no bread, which the terms proposed are."
Chapter VI
The Outside Contributor
In Mr. J.M. Barrie's When a Man's Single2 the following homily is delivered by a journalist of experience to a naive and innocent beginner:--
"There are only about a dozen papers in London worth writing for, but I can give you a good account of them. Not only do they pay handsomely, but the majority are open to contributions from anyone. Don't you believe what one reads about newspaper rings. Everything sent in is looked at, and if it is suitable any editor is glad to have it. Men fail to get a footing on the press because--well, as a rule because they are stupid."
This is indeed wisdom. I demur to the first sentence alone. There are to-day (whatever the case ten years ago) many more than a dozen papers in London worth writing for; I should put the number nearer a hundred; papers which pay, if not handsomely, at least adequately, seldom lower than fifteen shillings per thousand, and in some noble instances ascending to two guineas--which is princely. A dozen papers worth writing for in the whole of London! Why, it is scarcely uncommon for a single firm to have control of a dozen reputable publications!
The beginner must, for her encouragement and solace under rebuffs, grasp firmly the fact that the immense majority of London editors are not merely willing but in truth anxious to peruse such manuscripts as she cares to submit to their notice, and to accept them if suitable. The supply of really suitable material of average quality does not often exceed the demand, and the supply of suitable material which can be called distinguished is always less than the demand. This is why the editorial eye keeps a sleepless watch for that long-desired new writer, who may be yourself. Also, the beginner should remember with pride that the Press as a whole relies for much of its freshness and attraction upon the outside contributor. If the stream of unsolicited contributions were suddenly to cease flowing into Fleet Street, the monthlies would find themselves in a predicament; all the weeklies (except certain "class" organs), from the esoteric literary sixpenny to the penny popular with a circulation equal to the population of Glasgow, would be compelled to cast aside dignity, and solicit instead of being solicited; even those pompous creatures, the "great dailies," would feel the pinch, despite their regular services and seething staffs. Let it be your glory, therefore, O outside contributors, that the very existence of the Press, as at present organised, depends upon yourselves.
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I have already referred to the necessity of visiting regularly a public news-room. As you progress in the power of composition, so must your knowledge of the "make-up" of all the principal papers increase; for the first is useless without the second. You must, in particular, know intimately the complicated topography of all the daily papers--on what days certain features appear; what length of article is affected by each paper; and the subtle variations of tone which, apart from grosser differences, distinguish one organ from another. You must also be well acquainted with the various editorial notices, and take care, when sending in manuscripts, always to obey the instructions there laid down.
The length
