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One class even gave a short play for their teachers. I did not get to watch it as I was busy tidying up the classroom after the party.
To begin with it has nothing to do with archaism, with the salvaging of obsolete words and turns of speech, or with the setting up of a ‘standard English’ which must never be departed from. On the contrary, it is especially concerned with the scrapping of every word or idiom which has outworn its usefulness. It has nothing to do with correct grammar and syntax, which are of no importance so long as one makes one's meaning clear, or with the avoidance of Americanisms, or with having what is called a ‘good prose style’. On the other hand, it is not concerned with fake simplicity and the attempt to make written English colloquial. Nor does it even imply in every case preferring the Saxon word to the Latin one, though it does imply using the fewest and shortest words that will cover one's meaning. What is above all needed is to let the meaning choose the word, and not the other way around. In prose, the worst thing one can do with words is surrender to them. When you think of a concrete object, you think wordlessly, and then, if you want to describe the thing you have been visualising you probably hunt about until you find the exact words that seem to fit it. When you think of something abstract you are more inclined to use words from the start, and unless you make a conscious effort to prevent it, the existing dialect will come rushing in and do the job for you, at the expense of blurring or even changing your meaning. Probably it is better to put off using words as long as possible and get one's meaning as clear as one can through pictures and sensations. Afterward one can choose — not simply accept — the phrases that will best cover the meaning, and then switch round and decide what impressions one's words are likely to make on another person. This last effort of the mind cuts out all stale or mixed images, all prefabricated phrases, needless repetitions, and humbug and vagueness generally. But one can often be in doubt about the effect of a word or a phrase, and one needs rules that one can rely on when instinct fails. I think the following rules will cover most cases:
But the words were just the beginning. They also left their mark on English grammar. Blissfully, it is becoming rare to be taught that it is wrong to say Which town do you come from? , ending with the preposition instead of laboriously squeezing it before the wh -word to make From which town do you come? In English, sentences with ‘dangling prepositions’ are perfectly natural and clear and harm no one. Yet there is a wet-fish issue with them, too: normal languages don’t dangle prepositions in this way. Spanish speakers: note that El hombre quien yo llegué con (‘The man whom I came with’) feels about as natural as wearing your pants inside out. Every now and then a language turns out to allow this: one indigenous one in Mexico, another one in Liberia. But that’s it. Overall, it’s an oddity. Yet, wouldn’t you know, it’s one that Old Norse also happened to permit (and which Danish retains).