Part 4 (1/2)

To tell a customer abruptly, ”We do not carry such-and-such a brand in stock” has the effect of leading her immediately to turn to go. This is not cordial, nor gracious, nor diplomatic; hence it is unbusiness-like.

Furthermore, to tell a customer that the brand she mentions is seldom asked for is immediately to question her judgment. The dealer, in this case, lost a chance to get attention on the part of his customer by failing to infer, the moment he mentioned her shoes, that she wore a good quality, had good taste, or common sense, or some such thing. His reply could have been vastly improved by an exercise of the social instinct. To answer her with some non-committal, tactful response would open up cordial relations at once and afford the chance easily and gracefully to lead the talk to another brand of polish.

_Dealer_--”Do you prefer 'Cobra' polish, madam? For high-grade shoes such as you wear we find this brand more generally serviceable and liked.”

Telling expression, whether in business or in the drawing-room, depends as much upon how one says a thing as upon what one says; as much upon what one refrains from saying as upon what one does say.

What is the secret of the ability to put thought into tactful as well as vivid words? Or is there a secret? There are those who invariably say the right word in the right way. The question is: how have they found it possible to do this; how have they learned; how have they brought the faculty of expression to a perfected art? Or was this ability born in them? Or, if there is a secret of proficiency, do the adroit managers of words guard their secret carefully? And if so, why?

Piano artists, and violin artists, and canvas artists, and singing artists, are uniformly proud of the persevering practise by which they win success. Why should not ready writers and ready talkers be just as proud of honest endeavor? Are they so vain of the praise of ”natural facility for expression” that they seldom acknowledge the steps of progression by which they falteringly but tenaciously climb the ladder of their attainment? A few great souls and masters of words have been very honest about the ways and means by which they became skilful phrase-builders. Robert Louis Stevenson, as perfect in his talk as in his written expression, said of himself: ”Tho considered an idler at school, I was always busy on my own private ends, which was to learn to use words. I kept two books in my pocket, one to read, one to write in.

As I walked my mind was busy fitting what I saw with appropriate words.

As I sat by the roadside a penny version book would be in my hand, to note down the features of the scene. Thus I lived with words. And what I thus wrote was written consciously for practise. I had vowed that I would learn to write; it was a proficiency that tempted me, and I practised to acquire it. I worked in other ways also; often accompanied my walks with dialogs and often exercised myself in writing down conversations from memory. This was excellent, no doubt; but there was perhaps more profit, as there was certainly more effort, in my secret labors at home.[B] That is the way to learn expression. It was so Keats learned, and there was never a finer temperament for literature than Keats's; it was so, if we could trace it out, that all men have learned.”

What, then, is the essential training necessary to the nice handling of words? The idea is quite general that an extensive vocabulary alone makes thought flow exactly off the tip of one's tongue or pen. But is this true? One should have a command of words, to be sure; one should know more descriptive words than ”awful, fierce, fine, charming”--terms used in an unthinking way by people who do not concern themselves with specific adjectives. But to know how to use a vocabulary is of even more importance than to possess one. Indeed, merely to possess a vocabulary without the ability to weave the words into accurate, characterized designs on an effective background is ruinous to the success of any talker or writer. To employ an extensive vocabulary riotously is worse than to own none.

When the poet Keats wrote those well-known lines,

”A thing of beauty is a joy forever Its loveliness increases,”

the first line stood originally:

”A thing of beauty is a constant joy.”

The poet knew that this was the thought he wanted, but he felt that it had not the simple, virile swing he coveted. And so the line remained for many months, ”A thing of beauty is a constant joy,” in spite of the author's many attempted phrasings to improve it. Finally the simple word ”forever” came to him, ”A thing of beauty is a joy forever.” Then he had it, and he knew he had it--the essential note, the exact word. Certainly the word ”forever” was a part of Keats's vocabulary; he undoubtedly knew this simple word. It was not the word, but adroitness in using it, which made Keats's lines complete in their polished and natural perfection.

One of the world's wors.h.i.+ped piano virtuosi, who has quite as intellectual a comprehension of words as of music, was asked by the editor of a magazine to contribute biographical data and photographs for an article on musical composers. The pianiste had published no compositions, and the gracious answer swung readily into line: ”If your article is to deal exclusively with musical composers, I cannot be included. I have never published any of my compositions because I feel that they cannot add anything to my reputation as a pianiste, of which I am----” Just here, as with Keats's line, vocabulary could not serve the purpose. The pianiste could have said ”of which I am proud.” No, a modest phrase must express honest pride--”my reputation as a pianiste which I guard sedulously,” or ”defend zealously.” No, this the exactness and simplicity of true art rejected. Then came the simple, perfect phrasing--”my reputation as a pianiste, of which I am somewhat jealous.”

Unquestionably, as with Keats's word ”forever,” the word ”jealous” was perfectly familiar. It was not any one exceptional word which was necessary, but a weaving of simple words--if I may be permitted the expression. Here, in order to get the effect desired this master-mind refrained from using a vocabulary. Words came readily enough; but the tongue was in command of silence because pretentious words failed the end. This perfection of expression is not a matter of vocabulary alone.

It is more than vocabulary; it is a grappling after the really subtle and intellectual elements of the art of expression and persuasion.

Of what use all the delicately tinted tapestry threads in the world, spread out before a tapestry-worker, if he does not possess the ability to weave them into faultless designs, employing his colors sparingly here, and lavishly there?

”One's tongue and pen should be in absolute command, whether for silence or attack,” says Stevenson again; and, more than on any quality of force, business success depends upon that same nicety in the use of words which selects the tactful expression, the modest and simple phrase, in the drawing-room; the sort of nicety which is un.o.btrusive exactness and delicacy; an artistry which in no way labels itself skilful. But underneath all, the woof of the process is social skill--that skill which is the ability to go back to unadorned first principles with the dexterity of one who has acquired the power to do the simple thing perfectly by having mastered the entire gamut of the complex.

FOOTNOTE:

[Footnote B: Even Stevenson acknowledged secrecy in his earlier climbings.]

CHAPTER VIII