+130. Effectiveness in Description.+--Every part of a description should aid in rendering it effective, and this effectiveness is as much the purpose of the principles previously discussed as it is of those which follow. This paragraph is inserted here to separate more or less definitely those things which can be done under direction from those which cannot be determined by rule. Up to this point emphasis has been laid upon the clear presentation of a mental image as the object of description.

But the clear presentation of mental images is not all there is to description. A point of view, a fundamental image, a judicious selection of essential and minor details and the relating of them with reference to their natural position in s.p.a.ce, may set forth an image clearly and yet fail to be satisfactory as a description.

For the practical affairs of life it may be sufficient to limit ourselves to clear images set forth barely and sparely, but there is a pleasure and a profit in using the subtler arts of language, in placing a word here or a phrase there that shall give a touch of beauty or a flash of suggestiveness and so save our descriptions from the commonplace. It is to these less easily demonstrated methods of giving strength and beauty that we wish now to turn our attention.

+131. Word Selection.+--The effectiveness of our description will depend largely upon our right choice of words. If our range of vocabulary is limited, the possibility of effective description is correspondingly limited. Only when our working vocabulary contains many words may we hope to choose with ease the one most suitable for the effective expression of the idea we wish to convey. To prepare a list of words that may apply and then attempt to write a theme that shall make use of them is a mechanical process of little value. The idea we wish to express should call up the word that exactly expresses it. If our ideas are not clear or our vocabulary is limited, we may be satisfied with the trite and commonplace; but if our experience has been broad or our reading extended, we may have at command the word which, because it is just the right one, gives individuality and force to our phrasing. Every one is familiar with dogs, and has in his vocabulary many words which he applies to them, but a reading of one or two good dog stories, such as _Bob, Son of Battle_, or _The Call of the Wild_, will show how wide is the range of such words and how much the description is enhanced by their careful use.

EXERCISE

Consider the following selections with reference to the choice of words which add to the effectiveness of the descriptions:--

1. She was a little, brown, thin, almost skinny woman with big, rolling, violet-blue eyes and the sweetest manners in the world.

2. The sounds and the straits and the sea with its plump, sleepy islands lay north and east and south.

3. The mists of the Cuchullins are not fat, dull, and still, like lowland and inland mists, but haggard, and streaming from the black peaks, and full of gusty lines. We saw them first from the top of Beimna-Caillach, a red, round-headed mountain hard by Bradford, in the isle of Skye.

Shortly after noon the rain came up from the sea and drew long delicate gray lines against the cliffs. It came up licking and lisping over the surface of Cornisk, and drove us to the lee of rocks and the shelter of our ponchos, to watch the mists drifting, to listen to the swell and lull of the wind and the patter of the cold rain. There were glimpses now and then of the inner Cuchullins, a fragment of ragged sky line, the sudden jab of a black pinnacle through the mist, the open mouth of a gorge steaming with mist.

We climbed the great ridge, at length, of rock and wet heath that separates Cornisk from Glen Sligachan, slowly through the fitful rain and driving cloud, and saw Sgurr-nan-Gillian, sharp, black, and pitiless, the northernmost peak and sentinel of the Cuchullins. The yellow trail could be seen twisting along the flat, empty glen. Seven miles away was a white spot, the Sligachan Hotel.

I think it must be the dreariest glen in Scotland. The trail twists in a futile manner, and, after all, is mainly bog holes and rolling rocks. The Red Hills are on the right, rusty, reddish, of the color of dried blood, and gashed with sliding bowlders. Their heads seem beaten down, a Helot population, and the Cuchullins stand back like an army of iron conquerors.

The Red Hills will be a vanished race one day, and the Cuchullins remain.

Arthur Colton: _The Mists o' Skye_ ("Harper's").

+132. Additional Aids to Effectiveness.+--Comparison and figures of speech not only aid in making our picture clear and vivid, but they may add a spice and flavor to our language, which counts for much in the effectiveness and beauty of our description. Notice the following descriptions:--

He was a mongoose, rather like a little cat in his fur and his tail, but quite like a weasel in his head and his habits. His eyes and the end of his restless nose were pink; he could scratch himself anywhere he pleased, with any leg, front or back, that he chose to use; he could fluff up his tail till it looked like a bottle brush, and his war cry as he scuttled through the long gra.s.s was Rikk-tikk-tikki-tikki-tikk.

--Kipling: _Jungle Book_.

Ichabod was a suitable figure for such a steed. He rode with short stirrups, which brought his knees nearly up to the pommel of his saddle; his sharp elbows stuck out like gra.s.shoppers' legs; he carried his whip perpendicularly in his hand, like a scepter, and, as his horse jogged on, the motion of his arms was not unlike the flapping of a pair of wings. A small wool hat rested on the top of his nose, for so his scanty strip of forehead might be called; and the skirts of his black coat fluttered out almost to the horse's tail. Such was the appearance of Ichabod and his steed, as they shambled out of the gate of Hans Van Ripper, and it was altogether such an apparition as is seldom to be met with in broad daylight.

--Irving: _Legend of Sleepy Hollow_.

+Theme LVIII.+--_Write a description of one of the following:_--

1. My cat.

2. The pony at the farm.

3. The glen.

4. The prairie.

5. The milldam.

6. The motorman.

7. The picture on this page.

[Ill.u.s.tration]

(Consider the effectiveness of your description. Can you improve your choice of words? Have you used comparisons or figures, and if so, do they improve your description? Consider your theme with reference to euphony.

Section 16.)

+133. Cla.s.ses of Objects Frequently Described.+--There is no limit to the things that we may wish to describe, but there are certain general cla.s.ses of objects that are described more frequently than others. We have greater occasion to describe men or places than we have to describe pictures or trees. A person may be an accurate observer having a large vocabulary applicable to one cla.s.s of objects, and thus be able to describe objects of that cla.s.s clearly and effectively; though at the same time, on account of limited experience and small vocabulary, he cannot well describe objects belonging to some other cla.s.s. The ability to observe accurately the cla.s.ses of objects named below, and to appreciate descriptions of such objects when made by others, is a desirable acquisition. Every effort should be made to master as many as possible of the words applicable to each cla.s.s of objects. A slight investigation will show how great is the number of such words with which we are unfamiliar.

1. _Descriptions of buildings or portions of buildings._

In most buildings the bas.e.m.e.nt story is heaviest, and each succeeding story increases in lightness; in the Ducal palace this is reversed, making it unique amongst buildings. The outer walls rest upon the pillars of open colonnades, which have a more stumpy appearance than was intended, owing to the raising of the pavement in the piazza. They had, however, no base, but were supported by a continuous stylobate. The chief decorations of the palace were employed upon the capitals of these thirty-six pillars, and it was felt that the peculiar prominence and importance given to its angles rendered it necessary that they should be enriched and softened by sculpture, which is interesting and often most beautiful. The throned figure of Venice above bears a scroll inscribed: _Fortis, justa, trono furias, mare sub pede, pono_. (Strong and just, I put the furies beneath my throne, and the sea beneath my foot.) One of the corners of the palace joined the irregular buildings connected with St. Mark's, and is not generally seen. There remained, therefore, only three angles to be decorated. The first main sculpture may be called the "Fig-tree angle,"

and its subject is the "Fall of Man." The second is "the Vine angle," and represents the "Drunkenness of Noah." The third sculpture is "the Judgment angle," and portrays the "Judgment of Solomon."

--Hare: _Venice_.

+Theme LIX.+--_Write a description of the exterior of some building._

+Theme LX.+--_Write a description of some room._

+Theme LXI.+--_Write a description of some portion of a building, such as an entrance, spire, window, or stairway._

(Consider each description with reference to-- _a._ Point of view.

_b._ Fundamental image.

_c._ Selection of essential details.

_d._ Selection and subordination of minor details.

_e._ Arrangement of details with reference to their natural positions in s.p.a.ce.

_f._ Effective choice of words and comparisons.)

2. _Natural features: valleys, rivers, mountains, etc._

Beyond the great prairies and in the shadow of the Rockies lie the Foothills. For nine hundred miles the prairies spread themselves out in vast level reaches, and then begin to climb over softly rounded mounds that ever grow higher and sharper, till here and there, they break into jagged points and at last rest upon the great bases of the mighty mountains. These rounded hills that join the prairies to the mountains form the Foothill Country. They extend for about a hundred miles only, but no other hundred miles of the great West are so full of interest and romance. The natural features of the country combine the beauties of prairie and of mountain scenery. There are valleys so wide that the farther side melts into the horizon, and uplands so vast as to suggest the unbroken prairie.

Nearer the mountains the valleys dip deep and ever deeper till they narrow into canyons through which mountain torrents pour their blue-gray waters from glaciers that lie glistening between the white peaks far away.

--Connor: _The Sky Pilot_.

Long lines of cliff breaking have left a chasm; And in the chasm are foam and yellow sands; Beyond, red roofs about a narrow wharf In cl.u.s.ter; then a molder'd church; and higher A long street climbs to one tall tower'd mill; And high in heaven behind it a gray down With Danish barrows, and a hazelwood, By autumn nutters haunted, flourishes Green in a cuplike hollow of the down.