10. My mother! when I learned that thou wast dead, IDIOMS. 1. In every language, certain expressions are found peculiar to the language in which they are used; these are called Idioms, from a Greek word signifying peculiar. Thus, we have English Idioms, French Idioms, Latin Idioms, Greek Idioms, &c. The English salutation is, "How do you do?" The French, "How do you carry yourself?" The Spanish and Italian, "How do you stand?" So, if an American should say to his friend, How do you carry yourself? he would use a French Idiom; &c. The student of Latin is usually required to transpose, or construe the Latin words so that they shall be in the order required for translation. This is wrong; since, by this means, he fails entirely to perceive the idiom of the Latin. A better method is to require him to produce a sentence in English with words, as nearly as possible, in the same order as the Latin; then let him give the corresponding English. This will make the study of Latin a valuable auxiliary to the study of the English Idioms. 2. It very often happens, that the inhabitants of dif ferent portions of the same country have peculiar expressions, and modes of pronouncing certain words, so marked as to betray their locality. This peculiarity is called Dialect, from a Greek word meaning different speech. Thus, we can determine very well in what part of the United States a person resides by his speech. In ancient times, when men travelled less, this subdivision of a language into Dialects was carried to such an extreme, that in the Grecian peninsula, several distinct Dialects existed; as, the Attic, the Ionic, the Doric, &c.; each as distinct as the different orders of Grecian architecture. 3. The peculiar mode, in which individuals express themselves, is called Style, from a Latin word signifying a pointed instrument with which the ancients. wrote. (See extract Style.) In the first place, this name evidently meant the difference, perceptible in the characters made in writing; and from the penmanship it has been transferred, by a species of metonymy, to the individual's mode of expressing his thoughts. 4. Style is always modified by the narrator's mode of thinking. We may always assume, that there will be a close likeness between his use of language and his manner of thinking. Hence, we speak of his style, as simple or florid, weak or strong, concise or diffuse. I. A Simple style is without ornament, or only ornamented in a moderate degree. II. A Florid style abounds in figures, which are sometimes called the Flowers of Rhetoric. III. A Weak, or Feeble style narrates in an uncertain and loose manner. It is understood by an extra exertion only on the part of the reader, or hearer. IV. A Strong, or Nervous style compels the attention. The thought is sure to be made known by it. V. A Concise style seeks to convey the thought in the fewest words possible. It is always in danger of becoming obscure. VI. A Diffuse style spreads out the thought, multiplies words, and is liable to become tedious. A great many other distinctions may be made in style, according to the differences in the characters of the narrators. 5. Style is also classified, according to the relative amount of ornamentation used, into the Dry, Plain, Neat, and Elegant. I. The Dry style rejects all ornament, and is not attentive even to the harmony of the language. It seeks only to convey the meaning without regard to the pleasure of the receiver. 1. To the Defendant.-You are hereby summoned, and required to answer the complaint in this action, which will be filed in the office of the Clerk of the county of Sullivan, at Monticello, New York, on the 12th day of July, 1859, and to serve a copy of your answer to the said complaint on the subscribers, at their office, in Monticello, Sullivan Co., N. Y., within twenty days after the service of this summons on you, exclusive of the day of such service; and if you fail to answer the said complaint within the time aforesaid, the plaintiff in this action will apply to the court for the relief demanded in the complaint. Dated, July 10th, 1859. II. The Plain style uses figurative words, and some of the simpler figures. In it, attention is given to the choice of words, and to the melody of sentences, or the succession of sounds. 2. "He is a fool that grumbles at every little mischance. Put the best foot forward, is an old and good maxim. Don't run about and tell acquaintances, that you have been unfortunate; people do not like to have unfortunate men for acquaintances. Add to a vigorous determination a cheerful spirit; if reverses come, bear them like a philosopher, and get rid of them as soon as you can. Poverty is like a panther; look it steadily in the face, and it will turn from you." III. The Neat style uses the common kinds of figures. In it, minute attention is given to the melody and to the harmony of the language. It may be used in almost all kinds of narration. 3. "You heap a million tons of hewn rocks on a square mile, or two of earth, which was green once. The trees look down from the hill-sides and ask each other as they stand on tiptoe; What are these people about?' And the small herbs at their feet look up and whisper back; 'We will go and see.' So the small herbs pack themselves up in the least possible bundles, and wait until the wind steals to them at night and whispers; Come with me.' Then they go softly with it into the great city-one to a cleft in the pavement, one to a spout in the roof, one to a seam in the marbles over a rich gentleman's bones, and one to the grave without a stone, where nothing but a man is buried-and there they grow, looking down on the generations of men from mouldy roofs, looking up from between the less trodden pavements, looking out through iron cemetery railings. Listen to them, when there is only a light breath stirring, and you will hear them saying to each other; Wait awhile!' The words run along the telegraph of those narrow, green lines, that border the roads, leading from the city, until they reach the slope of the hills, and the trees repeat in low murmurs to each other; 'Wait awhile!' By-and-by the flow of life in the streets ebbs, and the old leafy inhabitants—the smaller tribes always in front -saunter in, one by one very careless seemingly, but very tenacious, until they swarm so, that the great stones gape from each other with the crowding of their roots, and the feldspar begins to be picked out of the granite to find them food. At last the trees take up their solemn line of march, and never rest until they have encamped in the market place. Wait long enough and you will find an old doting oak hugging a huge worn block in its yellow underground arm; that was the corner-stone of the statehouse. Oh, so patient she is, this imperturbable nature."-O. W. Holmes. IV. The Elegant style uses figures to any extent within the bounds of propriety. It is, in short, the highest and most finished style, in which thought is expressed. The adaptation of the Bible to every variety of human life, a proof of its Divine Origin. 4." Coeval with the infancy of time it still remains, and widens in the circle of its intelligence. Simple as the language of a child. it charms the most fastidious taste. Mournful as the voice of grief-it reaches to the highest pitch of exultation. Intelligible to the unlearned peasantit supplies the critic and the sage with food for earnest thought. Silent and secret as the reproofs of conscience — it echoes beneath the vaulted dome of the cathedral, and shakes the trembling multitude. The last companion of the dying and destitute - it seals the bridal vow, and crowns the majesty of kings. Closed in the heedless grasp of the luxurious and the slothful it unfolds its awful record over the yawning grave. Bright and joyous as the morning star to the benighted traveller - it rolls like the waters of the deluge over the path of him who wilfully mistakes his way." -Mrs. Ellis. Suggestion. The student should commit, or make very familiar those expressions, which attract his attention. If the pupils be required to read excellent passages very many times, and explanatory remarks be made by the teacher, the different varieties of style will be made thoroughly familiar, and in the simplest manner possible. The student must not suppose that every period of a passage is in a certain style. To write such, would be almost impossible; but, that the general style of the piece is that, which is mentioned. The following extract is from Blackwood's Magazine. It illustrates the difference between several of the various kinds of style. "The difference between the Grecian and the Roman styles is very great. When you deal with a Greek subject you must be very devout, and have unbounded reverence for Diana of the Ephesians. You must also believe in the second sight; and be as solemn, calm, and passionless as the ghost of Hamlet's father. Never descend to the slightest familiarity, nor lay off the stilts for a moment; and far from calling a spade a spade, call it— That sharp instrument With which the Theban husbandman lays bare The Roman, on the other hand, may occasionally be jocular-but always warlike; one is like a miracle-play in a church -the other a tableau vivant in a camp. If a Greek has occasion to ask his sweetheart "if her mother knows she's out," and "if she has sold her mangle yet" he says: Men. Your mother—your kind, excellent mother, And felt within her heart the joyous pride Of having such a daughter- does she know Men. And-but I can scarce ask the question — when Stood a strong engine-flat, and broad, and heavy, Lar and old penates has she it still? Or for gold bribes has she disposed of it? I fain would know-pray, tell me is it sold? |