The Century Vocabulary Builder.

by Creever & Bachelor.

PREFACE

You should know at the outset what this book does _not_ attempt to do. It does not, save to the extent that its own special purpose requires, concern itself with the many and intricate problems of grammar, rhetoric, spelling, punctuation, and the like; or clarify the thousands of individual difficulties regarding correct usage. All these matters are important. Concise treatment of them may be found in THE CENTURY HANDBOOK OF WRITING and THE CENTURY DESK BOOK OF GOOD ENGLISH, both of which manuals are issued by the present publishers. But this volume confines itself to the one task of placing at your disposal the means of adding to your stock of words, of increasing your vocabulary.

It does not a.s.sume that you are a scholar, or try to make you one. To be sure, it recognizes the ends of scholarship as worthy. It levies at every turn upon the facts which scholarship has acc.u.mulated. But it demands of you no technical equipment, nor leads you into any of those bypaths of knowledge, alluring indeed, of which the benefits are not immediate. For example, in Chapter V it forms into groups words etymologically akin to each other. It does this for an end entirely practical--namely, that the words you know may help you to understand the words you do not know. Did it go farther--did it account for minor differences in these words by showing that they sprang from related rather than identical originals, did it explain how and how variously their forms have been modified in the long process of their descent--it would pa.s.s beyond its strict utilitarian bounds. This it refrains from doing. And thus everything it contains it rigorously subjects to the test of serviceability. It helps you to bring more and more words into workaday harness--to gain such mastery over them that you can speak and write them with fluency, flexibility, precision, and power. It enables you, in your use of words, to attain the readiness and efficiency expected of a capable and cultivated man.

There are many ways of building a vocabulary, as there are many ways of attaining and preserving health. Fanatics may insist that one should be cultivated to the exclusion of the others, just as health-cranks may declare that diet should be watched in complete disregard of recreation, sanitation, exercise, the need for medicines, and one's mental att.i.tude to life. But the sum of human experience, rather than fanaticism, must determine our procedure. Moreover experience has shown that the various successful methods of bringing words under man's sway are not mutually antagonistic but may be practiced simultaneously, just as health is promoted, not by attending to diet one year, to exercise the next, and to mental att.i.tude the third, but by bestowing wise and fairly constant attention on all. Yet it would be absurd to state that all methods of increasing one's vocabulary, or of attaining vigor of physique, are equally valuable. This volume offers everything that helps, and it yields s.p.a.ce in proportion to helpfulness.

Aside from a brief introductory chapter, a chapter (number X) given over to a list of words, and a brief concluding chapter, the subject matter of the volume falls into three main divisions. Chapters II and III are based on the fact that we must all use words in combination--must fling the words out by the handfuls, even as the accomplished pianist must strike his notes. Chapters IV and V are based on the fact that we must become thoroughly acquainted with individual words--that no one who scorns to study the separate elements of speech can command powerful and discriminating utterance. Chapters VI, VII, VIII, and IX are based on the fact that we need synonyms as our constant lackeys--that we should be able to summon, not a word that will do, but a word that will express the idea with precision. Exercises scattered throughout the book, together with five of the six appendices, provide well-nigh inexhaustible materials for practice.

For be it understood, once for all, that this volume is not a machine which you can set going and then sit idly beside, the while your vocabulary broadens. Mastery over words, like worthy mastery of any kind whatsoever, involves effort for yourself. You can of course contemplate the nature and activities of the mechanism, and learn something thereby; but also you must work--work hard, work intelligently. As you cannot acquire health by watching a gymnast take exercise or a doctor swallow medicine or a dietician select food, so you cannot become an overlord of words without first fighting battles to subjugate them. Hence this volume is for you less a labor-saving machine than a collection and arrangement of materials which you must put together by hand. It a.s.sembles everything you need. It tags everything plainly. It tells you just what you must do.

In these ways it makes your task far easier. _But the task is yours_.

Industry, persistence, a fair amount of common sense--these three you must have. Without them you will accomplish nothing.

Even with them--let the forewarning be candid--you will not accomplish everything. You cannot learn all there is to be learned about words, any more than about human nature. And what you do achieve will be, not a sudden attainment, but a growth. This is not the dark side of the picture.

It is an honest avowal that the picture is not composed altogether of light. But as the result of your efforts an adequate vocabulary will some day be yours. Nor will you have to wait long for an earnest of ultimate success. Just as system will speedily transform a haphazard business into one which seizes opportunities and stops the leakage of profits, so will sincere and well-directed effort bring you promptly and surely into an ever-growing mastery of words.

CENTURY VOCABULARY BUILDER

I

REASONS FOR INCREASING YOUR VOCABULARY

Sometimes a dexterous use of words appears to us to be only a kind of parlor trick. And sometimes it _is_ just that. The command of a wide vocabulary is in truth an accomplishment, and like any other accomplishment it may be used for show. But not necessarily. Just as a man may have money without "flashing" it, or an extensive wardrobe without sporting gaudy neckties or wearing a dress suit in the morning, so may he possess linguistic resources without making a caddish exhibition of them.

Indeed the more distant he stands from verbal bankruptcy, the less likely he is to indulge in needless display.

Again, glibness of speech sometimes awakens our distrust. We like actions rather than words; we prefer that character, personality, and kindly feelings should be their own mouthpiece. So be it. But there are thoughts and emotions properly to be shared with other people, yet incapable of being revealed except through language. It is only when language is insincere--when it expresses lofty sentiments or generous sympathies, yet springs from designing selfishness--that it justly arouses misgivings.

Power over words, like power of any other sort, is for use, not abuse.

That it sometimes is abused must not mislead us into thinking that it should in itself be scorned or neglected.

Our contempt and distrust do not mean that our fundamental ideas about language are unsound. Beneath our wholesome dislike for shallow facility and insincerity of speech, we have a conviction that the mastery of words is a good thing, not a bad. We are therefore unwilling to take the vow of linguistic poverty. If we lack the ability to bend words to our use, it is from laziness, not from scruple. We desire to speak competently, but without affectation. We know that if our diction rises to this dual standard, it silently distinguishes us from the sluggard, the weakling, and the upstart. For such diction is not to be had on sudden notice, like a tailor-made suit. Nor can it, like such a suit, deceive anybody as to our true status. A man's utterance reveals what he is. It is the measure of his inward attainment. The a.s.sertion has been made that for a man to express himself freely and well in his native language is the surest proof of his culture. Meditate the saying. Can you think of a proof that is surer?

But a man's speech does more than lend him distinction. It does more than reveal to others what manner of man he is. It is an instrument as well as an index. It is an agent--oftentimes indeed it is _the_ agent--of his influence upon others. How silly are those persons who oppose words to things, as if words were not things at all but air-born unrealities! Words are among the most powerful realities in the world. You vote the Republican ticket. Why? Because you have studied the issues of the campaign and reached a well-reasoned conclusion how the general interests may be served? Possibly. But nine times in ten it will be because of that _word_ Republican. You may believe that in a given instance the Republican cause or candidate is inferior; you may have nothing personally to lose through Republican defeat; yet you squirm and twist and seek excuses for casting a Republican ballot. Such is the power--aye, sometimes the tyranny--of a word. The word _Republican_ has not been selected invidiously. _Democrat_ would have served as well. Or take religious words--_Catholic, Methodist, Presbyterian, Episcopalian, Baptist, Lutheran,_ or what not. A man who belongs, in person or by proxy, to one of the sects designated may be more indifferent to the inst.i.tution itself than to the word that represents it. Thus you may attack in his presence the tenets of Presbyterianism, for example, but you must be wary about calling the Presbyterian name. _Mother, the flag_--what sooner than an insult coupled with these terms will rouse a man to fight? But does that man kiss his mother, or salute the flag, or pay much heed to either? Probably not. Words not realities? With what realities must we more carefully reckon? Words are as dangerous as dynamite, as beneficent as brotherhood. An unfortunate word may mean a plea rejected, an enterprise baffled, half the world plunged into war. A fortunate word may open a triple-barred door, avert a disaster, bring thousands of people from jealousy and hatred into cooperation and goodwill.

Nor is it solely on their emotional side that men may be affected by words. Their thinking and their esthetic nature also--their hard sense and their personal likes and dislikes--are subject to the same influence. You interview a potential investor; does he accept your proposition or not? A prospective customer walks into your store; does he buy the goods you show him? You enter the drawing room of one of the elite; are you invited again and again? Your words will largely decide--your words, or your verbal abstinence. For be it remembered that words no more than dollars are to be scattered broadcast for the sole reason that you have them. The right word should be used at the right time--and at that time only. Silence is oftentimes golden. Nevertheless there are occasions for us to speak.

Frequent occasions. To be inarticulate _then_ may mean only embarra.s.sment. It may--some day it will--mean suffering and failure. That we may make the most of the important occasions sure to come, we must have our instruments ready. Those instruments are words. He who commands words commands events--commands men.

II

WORDS IN COMBINATION: SOME PITFALLS

You wish, then, to increase your vocabulary. Of course you must become observant of words and inquisitive about them. For words are like people: they have their own particular characteristics, they do their work well or ill, they are in good odor or bad, and they yield best service to him who loves them and tries to understand them. Your curiosity about them must be burning and insatiable. You must study them when they have withdrawn from the throng of their fellows into the quiescence of their natural selves.

You must also see them and study them in action, not only as they are employed in good books and by careful speakers, but likewise as they fall from the lips of unconventional speakers who through them secure vivid and telling effects. In brief, you must learn word nature, as you learn human nature, from a variety of sources.

Now in ordinary speech most of us use words, not as individual things, but as parts of a whole--as cogs in the machine of utterance by which we convey our thoughts and feelings. We do not think of them separately at all. And this instinct is sound. In our expression we are like large-scale manufacturing plants rather than one-man establishments. We have at our disposal, not one worker, but a mult.i.tude. Hence we are concerned with our employees collectively and with the total production of which they are capable. To be sure, our understanding of them as individuals will increase the worth and magnitude of our output. But clearly we must have large dealings with them in the aggregate.

This chapter and the following, therefore, are given over to the study of words in combination. As in all matters, there is a negative as well as a positive side to be reckoned with. Let us consider the negative side first.

Correct diction is too often insipid. There is nothing wrong with it, but it does not interest us--it lacks character, lacks color, lacks power. It too closely resembles what we conceive of the angels as having-- impeccability without the warmth of camaraderie. Speech, like a man, should be alive. It need not, of course, be boisterous. It may be intense in a quiet, modest way. But if it too sedulously observes all the _Thou shalt not's_ of the rhetoricians, it will refine the vitality out of itself and leave its hearers unmoved.That is why you should become a disciple of the pithy, everyday conversationalist and of the rough-and-ready master of harangue as well as of the pract.i.tioner of precise and scrupulous discourse. Many a speaker or writer has thwarted himself by trying to be "literary." Even Burns when he wrote cla.s.sic English was somewhat conscious of himself and made, in most instances, no extraordinary impression. But the pieces he impetuously dashed off in his native Scotch dialect can never be forgotten. The man who begins by writing naturally, but as his importance in the publishing world grows, pays more and more attention to felicities--to "style"--and so spoils himself, is known to the editor of every magazine. Any editorial office force can insert missing commas and semicolons, and iron out blunders in the English; but it has not the time, if indeed the ability, to instil life into a lifeless ma.n.u.script. A living style is rarer than an inoffensive one, and the road of literary ambition is strewn with failures due to "correctness."Cultivate readiness, even daring, of utterance. A single turn of expression may be so audacious that it plucks an idea from its shroud or places within us an emotion still quivering and warm. Sustained discourse may unflaggingly clarify or animate. But such triumphs are beyond the reach of those, whether speakers or writers, who are constantly pausing to grope for words. This does not mean that scrutiny of individual words is wasted effort. Such scrutiny becomes the basis indeed of the more venturesome and inspired achievement. We must serve our apprenticeship to language. We must know words as a general knows the men under him--all their ranks, their capabilities, their shortcomings, the details and routine of their daily existence. But the end for which we gain our understanding must be to hurl these words upon the enemy, not as disconnected units, but as battalions, as brigades, as corps, as armies.Dr. Johnson, one of the most effective talkers in all history, resolved early in life that, always, and whatever topic might be broached, he would on the moment express his thoughts and feelings with as much vigor and felicity as if he had unlimited leisure to draw on. And Patrick Henry, one of the few really irresistible orators, was wont to plunge headlong into a sentence and trust to G.o.d Almighty to get him out.EXERCISE - Tameness 1. Study Appendix I (The Drift of Our Rural Population Cityward).Do you regard it as written simply, with force and natural feeling? Or does it show lack of spontaneity?--suffer from an unnatural and self- conscious manner of writing? Is the style one you would like to cultivate for your own use?2. Express, if you can, in more vigorous language of your own, the thought of the editorial.3. Think of some one you have known who has the gift of racy colloquial utterance. Make a list of offhand, homely, or picturesque expressions you have heard him employ, and ask yourself what it is in these expressions that has made them linger in your memory. With them in mind, and with your knowledge of the man's methods of imparting his ideas vividly, try to make your version of the editorial more forceful still.4. Study Appendix 2 (Causes for the American Spirit of Liberty) as an example of stately and elaborate, yet energetic, discourse. The speech from which this extract is taken was delivered in Parliament in a vain effort to stay England from driving her colonies to revolt. Some of Burke's turns of phrase are extremely bold and original, as "The religion most prevalent in our northern colonies is a refinement on the principle of resistance; it is the dissidence of dissent and the Protestantism of the Protestant religion." Moreover, with all his fulness of diction, Burke could cleave to the heart of an idea in a few words, as "Freedom is to them [the southern slave-holders] not only an enjoyment, but a kind of rank and privilege." Find other examples of bold or concise and illuminating utterance.5. Read Appendix 3 (Parable of the Sower). It has no special audacities of phrase, but escapes tameness in various ways--largely through its simple earnestness.6. Make a list of the descriptive phrases in Appendix 4 (The Seven Ages of Man) through which Shakespeare gives life and distinctness to his pictures.7. Study Appendix 5 (The Castaway) as a piece of homely, effective narrative. (Defoe wrote for the man in the street. He was a literary jack-of-all-trades whom dignified authors of his day would not countenance, but who possessed genius.) It relies upon directness and plausibility of substance and style rather than temerity of phrase. Yet it never sags into tameness. Notice how everyday expressions ("My business was to hold my breath," "I took to my heels") add subtly to our belief that what Defoe is telling us is true. Notice also that such expressions ("the least capful of wind," "half dead with the water I took in," "ready to burst with holding my breath") without being pretentious may yet be forceful. Notice finally the naturalness and lift of the sinewy idioms ("I fetched another run," "I had no clothes to shift me," "I had like to have suffered a second shipwreck," "It wanted but a little that all my cargo had slipped off").8. Once or twice at least, make a mental note of halting or listless expressions in a sermon, a public address, or a conversation. Find more emphatic wording for the ideas thus marred.9. To train yourself in readiness and daring of utterance, practice impromptu discussion of any of the topics in Activity 1 for EXERCISE - Discourse. Though we are to recognize the advantage of working in the undress of speech rather than in stiffly-laundered literary linens, though we are not to despise the accessions of strength and of charm which we may obtain from the homely and familiar, we must never be careless. The man whose speech is slovenly is like the man who chews gum--unblushingly commonplace.We must struggle to maintain our individuality. We must not be a mere copy of everybody else. We must put into our words the cordiality we put into our daily demeanor. If we greeted friend or stranger carelessly, conventionally, we should soon be regarded as persons of no force or distinction. So of our speech and our writing. Nothing, to be sure, is more difficult than to give them freshness without robbing them of naturalness and ease. Yet that is what we must learn to do. We shall not acquire the power in a day. We shall acquire it as a chess or a baseball player acquires his skill--by long effort, hard practice.One thing to avoid is the use of words in loose, or fast-and-loose, senses. Do not say that owning a watch is a fine proposition if you mean that it is advantageous. Do not say that you trembled on the brink of disaster if you were threatened with no more than inconvenience or comparatively slight injury. Do not say you were literally scared to death if you are yet alive to tell the story.