Part I introduction 6 I. General notes on style and stylistics 6

Epigrams

An epigram is a stylistic device akin to a proverb, the only difference being that epigrams are coined by individuals whose names we know, while proverbs are the coinage of the people. In other words, we are always aware of the parentage of an epigram and therefore, when using one, we usually make a reference to its author.
Epigrams are terse, witty, pointed statements, showing the ingenious turn of mind of the originator. They always have a literary-bookish air about them that distinguishes them from proverbs. Epigrams possess a great degree of independence and therefore, if taken out of the context, will retain the wholeness of the idea they express. They have a generaliz­ing function and are self-sufficient. The most characteristic feature of an epigram is that the sentence gets accepted as a word-combination and often becomes part of the language as a whole. Like proverbs, epigrams can be expanded to apply to abstract notions (thus embodying different spheres of application). Brevity is the essential quality of the epigram. A. Chekhov once said that brevity is the sister of talent; 'Brevity is the soul of the wit' holds true of any epigram.
Epigrams are often confused with aphorisms and paradoxes. It is dif­ficult to draw a demarcation line between them, the distinction being very subtle. Real epigrams are true to fact and that is why they win general recognition and acceptance.
Let us turn to examples. Somerset Maugham in "The Razor's Edge" says:
"Art is triumphant when it can use convention as an instru­ment of its own;;purpose."
This statement is interesting from more than one point of view. It shows the ingenious turn of mind of the writer, it gives an indirect de­finition of art as Maugham understands it, it is complete in itself even if taken out of the context. But still this sentence is not a model epigram because it lacks one essential quality, viz. brevity. It is too long and therefore cannot function in speech as a ready-made language unit. Be­sides, it lacks other features which are inherent in epigrams and make them similar to proverbs, i.e. rhythm, alliteration and often rhyme. It cannot be expanded to other spheres of life, it does Hot generalize.
Compare this sentence with the following used by the same author in the same novel.
"A God that can be understood is no God."
This sentence seems to meet all the necessary requirements of the epigram: it is brief, generalizing, witty and can be expanded in its appli­cation. The same applies to Byron's
"...in the days of old men made manners; Manners now ftiake men" ("Don Juan")
or Keats's
"A thing of beauty is a joy forever."
Writers who seek aesthetic precision use the epigram abundantly; others use it to characterize the hero of their work. Somerset Maugham is particularly fond of it and many of his novels and stories abound in epigrams. Here are some from "The Painted Veil."
"He that bends shall be made straight."
"Failure is the foundation of success and success is the lurking
place of failure..."
"Mighty is he who conquers himself."
There are utterances which in form are epigrammatic—these are verses and in particular definite kinds of verses. The last two lines of a sonnet are called epigrammatic because, according to the semantic structure of this form of verse, they sum up and synthesize what has been said before. The heroic couplet, a special compositional form of verse, is also a suitable medium for epigrams, for instance:
"To observations which ourselves, we make, We grow more partial for th' observer's sake."
(Alexander Pope)
There are special dictionaries which are called "Dictionaries of Quota­tions." These, in fact, are mostly dictionaries of epigrams. What is worth quoting must always contain some degree of the generalizing quality and if it comes from a work of poetry will have metre (and sometimes rhyme). That is why the works of Shakespeare, Pope, Byron and many other great English poets are said to be full of epigrammatic statements.
The epigram is, in fact, a supra-phrasal unit in sense, though not in structure (see p. 194). " "
Poetry is epigrammatic in essence. It always strives for brevity of expression, leaving to the mind of the reader the pleasure of amplifying the idea. Byron's
"The drying up a single tear has more
Of honest fame, than shedding seas of gore,"
is a strongly worded epigram, which impresses the* reader with its gener­alizing truth. It may be regarded as a supra-phrasal unit inasmuch as it is semantically connected with the preceding lines and at the same time enjoys a considerable degree of independence. The inner quality of any sentence to which the rank of epigram, in the generic sense of the term, can be attributed, is that the particularity of the event is replaced by a timeless non-particularity.1
Take care of the pence and the pounds will take care oi themselves,
Quotations
Next to the originator of a good sentence is the first quoter of it. Emerson
A quotation is a repetition of a phrase or statement from a book, speech and the like used by way of authority, illustration, proof or as a basis for further speculation on the matter in hand.
By repeating a passage in a new environment, we attach to the ut­terance an importance it might not have had in the context whence it was taken. Moreover, we give it the status, temporary though it may be, of a stable language unit. What is quoted must be worth quoting, since a quotation will inevitably acquire some degree of generalization. If repeated frequently, it may be recognized as an epigram, if, of course, it has at least some of the linguistic properties of the latter.
Quotations are usually marked off in the text by inverted commas (" "), dashes (—), italics or other graphical means.
They are mostly used accompanied by a reference to the author of the quotation, unless he is well known to the reader or audience. The reference is made either in the text or in a foot-note and assumes va­rious forms, as, for instance:
"as (so and so) has it"; "(So and so) once said that"...; "Here we quote (so and so)" or in the manner the reference to Emerson has been made in the epigraph to this chapter.
A quotation is the exact reproduction of an actual utterance made by a certain author. The work containing the utterance quoted must have been published or at least spoken in public; for quotations are echoes of somebody else's words.
Utterances, when quoted, undergo a peculiar and subtle change. They are rank-and-file members of the text they belong to, merging with other sentences in this text in the most natural and organic wayf bearing some part of the general sense the text as a whole embodies; yet, when they are quoted,, their significance is heightened and they become different from other parts of the text. Once quoted, they are no longer rank-and-file units. If they are used to back up the idea ex­pressed in the new text, they become "parent sentences" with the cor­responding authority and respect and acquire a symbolizing function; in short, they not infrequently become epigrams, for example, Hamlet's "To be or not to be!" X
A quotation is always4 set against the other sentences in the text by its greater volume of sense and significance. This singles it out, par­ticularly if it is frequently repeated", as any utterance worth committing to memory generally is. The use of quotationsTpresupposes a good know­ledge of the past experience of the nation, its literature and culture.1 The stylistic value of a quotation lies mainly in the fact that it com­prises two meanings: the primary meaning, the one which it has in its original surroundings, and the applicative meaning, i.e. the one which it acquires in the new context.
1 A quotation from Byron's "English Bards and Scotch Reviewers" will be apt as a comment here: "With just enough of learning to misquote."
Quotations, unlike epigrams, need not necessarily be short. A whole paragraph or a long passage may be quoted if it suits the purpose. It is to be noted, however, that sometimes in spite of the fact that the exact wording is used, a quotation in a new environment may assume a new shade of meaning, a shade necessary or sought by the quoter, but not intended by the writer of the original work.
Here we give a few examples of the use of quotations.
"Socrates said, our only knowledge was
"To know that nothing could be known" a pleasant
Science enough, which levels to an ass
Each man of Wisdom, future, past or present.
Newton (that proverb of the mind) alas!
Declared with all his grand discoveries recent
That he himself felt only "like a youth
Picking up shells by the great ocean—Truth." (Byron)
"Ecclesiastes said, "that all is vanity"—* Most modern preachers say the same, or show it
By their examples of the Christianity..," (Byron)
Quotations are used as a stylistic device, as is seen from these exam-j pies, with the aim of expanding the meaning of the sentence quoted and setting two meanings one against the other, thus modifying the original meaning. In this quality they are used mostly in the belles-lettres style. Quotations used in other styles of speech allow no modifications of mean­ing, unless actual distortion of form and meaning is the aim of the quoter.
Quotations are also used in epigraphs. The quotation in this case possesses great associative power and calls forth much connotative mean­ing,