Evening star. [volume] (Washington, D.C.) 1854-1972, 1929-05-31

Those who take the English language
so seriously that it ceases to be a mat
ter of enjoyment to them, and becomes
instead only something in which to
detect errors. ought to read Logan
Pearsall Smith for the good Of their
souls.
In his book. Words and Idioms, -
published by Houghton Miff1in Co. in
1925, Prof. Smith, in the section de-
voted to popular speech. touches so we'll
on this matter one is tempted ire
sistibly to quote it.
ITO many readers the use of local
terms is often tiresome, and they reluct
at works containing dialect, and do
not see why, with the great and copious
vocabulary of standard English at
their command. writers should fill their
books with uncouth words and phrases
Before proceeding further, let it be
noted that "reluCt' is an intransitlve
verb in good standing in both the great
English and American dictionaries, yet
the chances are that 100 readers out
of-well, 100, would be inclined to ques-
ton it.
No one, however, would be at any
loss to understand exactly what Prof.
Smith meant. In other words, the Eng
lish use their own language just a
little bit better than we of America use
it. Their vocabulary in daily use is
larger. more varied but in using more
words they are never pedantic, and this
is we'll illustrated above.
Even an illiterate person would know
exactly what Prof. Smith meant when
he said they reluct at works contain
ing dialect" 1t is sound usage because
it is appropriate, direct and is instantly
explained by its context.
Our author continues: "And yet
the instinct to echo and reproduce
popular and dialect speech is sound
and healthy one; for both the peasant
and the literary artist employ. after all,
much the same kind of language; both
are concerned more with life and idiom
than with the dictionaries and the
rules of grammar.
Both wish to express their feelings
when they speak, and strive to clothe
their thoughts with flesh and blood and
make them visible to their hearers. A
writer cannot create his own language;
he must take what society provides
him, and in his search for sensuous and
pictured speech he naturally has re-
course to the rich and living material
created by generations OF popular and
unconscious artists.
turesque language, rich in images and
irony and full of a zest, a JOY in life,
which are of priceless value to him.
This zest. this eager interest, is en-
bodied in hundreds of terms and
phrases of good-natured contempt and
humorous vituperation; in expressions
of surprise and amazement and wonder;
and it is owing to their irresistible good
spirits and rude energy, the rollicking
way they have with them. that so many
low words find their way into our
drawing rooms"
1t is interesting and wholesome to be
reminded of the fact that both peasant
and the literary artist employ much the
same kind of language. 1t is true.
The purpose for which they employ it
is different, and the way they use it is
different, but the language is much the
same Both are concerned more with
life and idiom than with dictionaries
and the rules of grammar" Here we
have a clean distinction, which all who
worry much about being correct"
might take to heart. Life and idiom
go together and to get the one few
now and then, are easily
tolerated
"A writer cannot create his own Ian
guage." He must take it as he finds it,
and is fortunate man If he early gets
the idea firmly planted in his mind that
life is greater than the dictionary and
idiom than the rules of grammar. The
difference is just that of the real thing
and the mock thing. He who writes
with gusto, though he make mistakes,
is to be preferred to the pedant who
is so careful to get every (which" and