Walter Nash

It appears sometimes that the Classical education is dead, and with it the attendant mysteries of the grammar school. Gone, gone, the long parsing in the languid afternoon; gone the Cognate Accusative and the Ablative Absolute; gone for ever those musty-gowned, atrabilious instructors who denounced the folly of the dangling participle, demonstrated the proper location of however, and enforced with random ferule the doctrine that the verb to be is followed by the Nominative Case. Gone, and good riddance, possibly: but something has been lost, as well I know when I try to tell university tutorial groups about prepositions, predicates and other preliminaries to the study of discourse. We have become stumbling foreigners in the primary language of criticism.

The narrator and protagonist of Answered Prayers is one P.B. Jones, failed writer and competent sexual athlete, a scurrilous charmer who – to lift a pithy phrase from the poet Martial – tantos et tantas amat. Latin allusions are appropriate to the style of a book which oddly suggests the libertine rhetoric of some later Roman text: in the sly elegance of the syntax, the jaunty terseness of phrase, the not infrequent obscenity of the lexicon (there are words like ‘muffdiver’, which you will not find in your Funk and Wagnall’s); most of all, in the calculated scabrousness of some episodes. Truman Capote’s title, which is also the title of a book his hero has written, is taken from St Teresa: ‘More tears are shed over answered prayers than unanswered ones.’ What this may foretell – other than, perhaps, that couplings will end in comeuppances – we cannot readily judge, because what Capote has left us is only a sample, in three chapters, of a novel begun more than two decades ago, published in piecemeal extracts, and never finished.’

Patrick McGinley’s pastoral parable, The Red Men, begins with Gulban Heron, rural overlord of a hotel, a shop and four sons. There is dark-haired Jack, capable, ruthless, dissolute, his father’s favourite, and there are three carrot-polled losers, the red men of the title: Cookie, a jaded man of letters, typically apt to give life a literary form and content; cynical Joey, with his fire-scarred face, who mistrusts the emotions and gives his mind to geology and shopkeeping; and Father Bosco, with his fire-damped soul, reminiscently plagued by lust and distressed by the loneliness of his calling. There is also Pauline, the brothers’ companion since childhood, who keeps the hotel books and is about to marry Jack.

Thomas Hardy once told Robert Graves how he had gone to the Oxford English Dictionary to confirm the existence of a dialect word he proposed to use in a poem, and came to a standstill because the only authority quoted for it was his own Under the Greenwood Tree. This is an acute case of our dependence on dictionaries, and illustrates the commonest reason for resorting to them. What do you look for in a dictionary, after all? Lucid definitions? The citations that examplify usage? Etymologies? Spellings? Or do you, like Hardy, simply seek assurance that the word exists? I strongly suspect that the warrant of the lexicon is one of the writer’s deep securities; no one feels really confident about using an unattested word.

In the third book of Gulliver’s Travels there is a gobbledygook machine. Designed by the ingenious academicians of Lagado, it consists of a frame filled with vocables that can be shuffled at the turn of a crank, and its brave technological purpose is to generate a universe of discourse. What it manufactures, of course, is scrambled poppycock: for language is the product neither of cranks nor yet of chips, but of the human mind as it projects one ruling competence onto a diversity of actual tongues. How great a diversity, Swift can hardly have imagined; it needed the researches of a William Jones or a Wilhelm von Humboldt to begin to persuade literary Europeans that they were not quite the masters of the speaking world.