Even within such meagre context, the nature of Countess Kausala’s secrets is evident, despite the euphemism. Fiction is a purveyor supreme of such delicate phrasings precisely because they hide the explicit on the page, so that they may reveal a particular (peculiar?) explicitness at the pleasure of the reader’s imagination. In an erotic context, they’re the equivalent of a veil that gets lifted not by the hand but by the mind, and they’re often the difference between seedy and sublime.
In my previous post, I discussed elegant variation—the laboured avoidance of repetition according to Fowler’s—which itself is a useful euphemism employed playfully, but with the more usual, real-world negative connotation.
Euphemising has been around for longer than Photoshop, so it’s also had longer to earn its infamy.
Indeed, as Fowler’s shows us in this entry from 1968, History has clapped along to a rich linguistic variety show: biological states are known to parade powdered, masked, bedecked in feathers, while societal scourges dress up as sophisticated harlequins.
An example of how to edit out repeating words, as guided by Fowler’s advice on “elegant variation”.
By the house grows a poplar. Each spring its branches shoot for the sky, eager to extend the tree’s rocket-shape.
Try writing a third sentence about the poplar.
Did your sentence use poplar or tree? Did you feel clumsy having to repeat a prominent word that was already used? Or perhaps you went for an unambiguous application of the pronoun (Its roots dig further down into the gravely earth …)? What would you do for a fourth or fifth sentence?
If you’re wondering why word-variation matters, consider the example without it:
By the house grows a tree. Each spring the tree’s branches shoot for the sky, eager to extend the tree’s bullet-shape.
Aside from losing the specificity, we’ve lost a solid, well-formed image to the inane hammering of a word.
You usually notice that you’ve referred to something in the same way across multiple consecutive sentences during a rereading of a draft. Then comes the question of substitutes. My example above is fairly prototypical for common nouns: there is at least one other word which can serve you immediately (poplar) and one pronoun you can seize on (it). If those are not enough, then the problem lies with uniform (and therefore uninteresting) sentence structure, and it’s a matter of reworking from the elements up.
If it does, critics manufacture reasons for praise. If it does not, the object under scrutiny is shaded with degrees of doom.
This applies to writing, too. In fact, it’s the reason why self-editing is so difficult: of course this essay-poem-post-book comes off beautifully—I conceived it! No one writing for public consumption believes they’re creating a priori substandard or flawed works.
This is also true on a micro level, when it comes to defining what a (good) sentence is. Must it have a subject and a predicate? Or must it just be a unit of coherent thought?
Fowler’s Dictionary offers ten definitions to illustrate the range of approaches. Number 1 takes the ‘popular approach’.
sentence. What is a sentence?
1. A word or set of words followed by a pause and revealing an intelligible purpose.
It almost sounds like the beginning of a modified Turing test. Note how context sneaks in: purposes are largely intelligible when set off against a particular background.
Number 8 takes the ‘grammarian approach’.
sentence. What is a sentence?
8. A number of words making a complete grammatical structure.
Here the onus is shifted to those willing to define such structures and then grapple with potential exceptions.
Fowler’s 1968 Dictionary on synonymia, tautology, circumlocution, pleonasm, meaningless words, and pairs of commonly confused words—all delicately sautéed and prepared for modern connoisseurs.
Synonyms are like spices: used in moderation, they enhance the taste; used without moderation, they obscure every flavour. Linguistic gustation differentiates between them under the titles synonymia and tautology. Though, of course, pleasurable variety for one reader is overabundance for another.
Let’s have a saucy example.
“She’s an Encyclopaedia, that woman.”
“Of all the vices, ancient and modern, and very interesting to riffle through.” He started stoking up the fire. “There’s everything in that woman, of the ghoul, the lamia, the Greek courtesan, the Barbarian queen, the low prostitute, the great lady of Rome, with something very partial, very gripping, very corruption of the fin-de-siècle, very Baudlerian, if I might put it like that: a slightly funereal seasoning of lust and quasi-Christian resignation; she’s as subject, a case-study. …”
“For the Salpêtrière, eh—let’s say the word. Another neurotic.”
Lorrain specialises in psychological studies of moral decadence—and there is a separate post on his prose—but for now it suffices to note that to some people the quote may appear overdone. And that’s despite me having spared you the accompanying references to Pasiphae and the bull, Messalina’s promiscuity, and Cleopatra in general.
(Writing tip: Observe that Lorrain prepares the reader for the word-train by having his characters be aware of the upcoming speech figure: they call the woman an encyclopaedia. Clever. It helps believability.)
Some of the different ways things can go wrong for a writer, courtesy of Fowler’s “Dictionary of Modern English Usage” (1968 edition).
For Christmas I received from my grandfather-in-law a special present: his lovingly kept second edition of Fowler’s Dictionary of Modern English Usage (revised by Sir Ernest Gowers). Even though I’d heard of Fowler’s, seen it referenced, and perused extracts from its modern entries, I’d never actually held it my hands—until now!
Despite this copy’s notable sixty years of age, its pages are in impeccable condition. Fowler’s advice, his examples, and inherent relevance show some wear, but nothing that the author’s sense of humour doesn’t amply recompense. I speak of this 1968 edition. The few more flavourful entries that I was able to search for in a 1996 edition were either non-existent or effectively bowdlerised. What’s left nowadays is the bland and spartan, but most pragmatic, dictionary-speak.
I understand why—political correctness and modernisation march rightly on—though I think the earlier editions can still be enjoyed, if not as go-to guides, then as historical documents. Quirky and witty ones at that. Although, I warn you: quirk and wit have this charismatic presence that often wins out over straight-laced teachings.