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Edward Herbert

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There [is] no little vigour and force added to words, when they are delivered in a neat and fine way, and somewhat out of the ordinary road, common and dull language relishing more of the clown than the gentleman. But herein also affectation must be avoided; it being better for a man by a native and clear eloquence to express himself, than by those words which may smell either of the lamp or inkhorn.
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Pp. 35-6

 
Edward Herbert

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It is not easy to write a familiar style. Many people mistake a familiar for a vulgar style, and suppose that to write without affectation is to write at random. On the contrary, there is nothing that requires more precision, and, if I may so say, purity of expression, than the style I am speaking of. It utterly rejects not only all unmeaning pomp, but all low, cant phrases, and loose, unconnected, slipshod allusions. It is not to take the first word that offers, but the best word in common use; it is not to throw words together in any combinations we please, but to follow and avail ourselves of the true idiom of the language. To write a genuine familiar or truly English style, is to write as anyone would speak in common conversation who had a thorough command and choice of words, or who could discourse with ease, force, and perspicuity, setting aside all pedantic and oratorical flourishes... It is easy to affect a pompous style, to use a word twice as big as the thing you want to express: it is not so easy to pitch upon the very word that exactly fits it, out of eight or ten words equally common, equally intelligible, with nearly equal pretensions, it is a matter of some nicety and discrimination to pick out the very one the preferableness of which is scarcely perceptible, but decisive.

 
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Give me the clear blue sky over my head, and the green turf beneath my feet, a winding road before me, and a three hours' march to dinner — and then to thinking! ... I begin to feel, think, and be myself again. Instead of an awkward silence, broken by attempts at wit or dull common-places, mine is that undisturbed silence of the heart which alone is perfect eloquence.

 
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Words that do not create images should be discarded. Words that have no intrinsic emotional or visual content ought to be avoided. Words that are directed to the sterile intellectual head-place should be abandoned. Use simple words, words that create pictures and action and that generate feeling.

 
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Tony the Beat Poet says the words alone, lonely and loneliness are three of the most powerful words in the English language. I agree with Tony. Those words say that we are human; they are like the words hunger and thirst. But they are not words about the body, they are words about the soul.

 
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The creationist is a sham religious person who, curiously, has no true sense of religion. In the language of religion, it is the facts we observe in the world around us that must be seen to constitute the words of God. Documents, whether the Bible, Qur'an or those writings that held such force for Velikovsky, are only the words of men. To prefer the words of men to those of God is what one can mean by blasphemy. This, we think, is the instinctive point of view of most scientists who, curiously again, have a deeper understanding of the real nature of religion than have the many who delude themselves into a frenzied belief in the words, often the meaningless words, of men. Indeed, the lesser the meaning, the greater the frenzy, in something like inverse proportion.

 
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