That paragraph furnishes a text for a few remarks about one of the most curious and notable features of my subject -- the length of German words. Some German words are so long that they have a perspective. These things are not words, they are alphabetical processions. And they are not rare; one can open a German newspaper at any time and see them marching majestically across the page -- and if he has any imagination he can see the banners and hear the music, too. They impart a martial thrill to the meekest subject.
I take a great interest in these curiosities. Whenever I come across a good one, I stuff it and put it in my museum. In this way I have made quite a valuable collection. When I get duplicates, I exchange with other collectors, and thus increase the variety of my stock.
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Here rare some specimens which I lately bought at an auction sale of the effects of a bankrupt bric-a-brac hunter:. Of course when one of these grand mountain ranges goes stretching across the printed page, it adorns and ennobles that literary landscape -- but at the same time it is a great distress to the new student, for it blocks up his way; he cannot crawl under it, or climb over it, or tunnel through it. So he resorts to the dictionary for help, but there is no help there. The dictionary must draw the line somewhere -- so it leaves this sort of words out. And it is right, because these long things are hardly legitimate words, but are rather combinations of words, and the inventor of them ought to have been killed.
They are compound words with the hyphens left out. The various words used in building them are in the dictionary, but in a very scattered condition; so you can hunt the materials out, one by one, and get at the meaning at last, but it is a tedious and harassing business. I have tried this process upon some of the above examples. We used to have a good deal of this sort of crime in our literature, but it has gone out now. We used to speak of a things as a "never-to-be-forgotten" circumstance, instead of cramping it into the simple and sufficient word "memorable" and then going calmly about our business as if nothing had happened.
In those days we were not content to embalm the thing and bury it decently, we wanted to build a monument over it. But in our newspapers the compounding-disease lingers a little to the present day, but with the hyphens left out, in the German fashion. This is the shape it takes: Simmons, clerk of the county and district courts, was in town yesterday," the new form put it thus: One often sees a remark like this in our papers: Assistant District Attorney Johnson returned to her city residence yesterday for the season.
Johnson which she has no right to. But these little instances are trifles indeed, contrasted with the ponderous and dismal German system of piling jumbled compounds together. I wish to submit the following local item, from a Mannheim journal, by way of illustration:.
Even the cumbersome German construction is not able to take the pathos out of that picture -- indeed, it somehow seems to strengthen it. This item is dated away back yonder months ago.
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I could have used it sooner, but I was waiting to hear from the Father-stork. I am still waiting. I have heard of an American student who was asked how he was getting along with his German, and who answered promptly: He paused for a moment, reflectively; then added with feeling: And if I have not also shown that German is a harassing and infuriating study, my execution has been at fault, and not my intent.
I heard lately of a worn and sorely tried American student who used to fly to a certain German word for relief when he could bear up under his aggravations no longer -- the only word whose sound was sweet and precious to his ear and healing to his lacerated spirit. This was the word Damit. It was only the sound that helped him, not the meaning;  and so, at last, when he learned that the emphasis was not on the first syllable, his only stay and support was gone, and he faded away and died. I think that a description of any loud, stirring, tumultuous episode must be tamer in German than in English.
Our descriptive words of this character have such a deep, strong, resonant sound, while their German equivalents do seem so thin and mild and energyless. Boom, burst, crash, roar, storm, bellow, blow, thunder, explosion; howl, cry, shout, yell, groan; battle, hell.
These are magnificent words; the have a force and magnitude of sound befitting the things which they describe. But their German equivalents would be ever so nice to sing the children to sleep with, or else my awe-inspiring ears were made for display and not for superior usefulness in analyzing sounds.
Would any man want to die in a battle which was called by so tame a term as a Schlacht? Or would not a consumptive feel too much bundled up, who was about to go out, in a shirt-collar and a seal-ring, into a storm which the bird-song word Gewitter was employed to describe?
And observe the strongest of the several German equivalents for explosion -- Ausbruch. Our word Toothbrush is more powerful than that. It seems to me that the Germans could do worse than import it into their language to describe particularly tremendous explosions with.
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If a man were told in German to go there, could he really rise to thee dignity of feeling insulted? Having pointed out, in detail, the several vices of this language, I now come to the brief and pleasant task of pointing out its virtues. The capitalizing of the nouns I have already mentioned.
But far before this virtue stands another -- that of spelling a word according to the sound of it. After one short lesson in the alphabet, the student can tell how any German word is pronounced without having to ask; whereas in our language if a student should inquire of us, "What does B, O, W, spell? There are some German words which are singularly and powerfully effective. For instance, those which describe lowly, peaceful, and affectionate home life; those which deal with love, in any and all forms, from mere kindly feeling and honest good will toward the passing stranger, clear up to courtship; those which deal with outdoor Nature, in its softest and loveliest aspects -- with meadows and forests, and birds and flowers, the fragrance and sunshine of summer, and the moonlight of peaceful winter nights; in a word, those which deal with any and all forms of rest, repose, and peace; those also which deal with the creatures and marvels of fairyland; and lastly and chiefly, in those words which express pathos, is the language surpassingly rich and affective.
There are German songs which can make a stranger to the language cry. That shows that the sound of the words is correct -- it interprets the meanings with truth and with exactness; and so the ear is informed, and through the ear, the heart. The Germans do not seem to be afraid to repeat a word when it is the right one. But in English, when we have used a word a couple of times in a paragraph, we imagine we are growing tautological, and so we are weak enough to exchange it for some other word which only approximates exactness, to escape what we wrongly fancy is a greater blemish.
Repetition may be bad, but surely inexactness is worse. There are people in the world who will take a great deal of trouble to point out the faults in a religion or a language, and then go blandly about their business without suggesting any remedy. I am not that kind of person. I have shown that the German language needs reforming.
Very well, I am ready to reform it. At least I am ready to make the proper suggestions. Such a course as this might be immodest in another; but I have devoted upward of nine full weeks, first and last, to a careful and critical study of this tongue, and thus have acquired a confidence in my ability to reform it which no mere superficial culture could have conferred upon me.
In the first place, I would leave out the Dative case. It confuses the plurals; and, besides, nobody ever knows when he is in the Dative case, except he discover it by accident -- and then he does not know when or where it was that he got into it, or how long he has been in it, or how he is going to get out of it again.
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The Dative case is but an ornamental folly -- it is better to discard it. In the next place, I would move the Verb further up to the front. You may load up with ever so good a Verb, but I notice that you never really bring down a subject with it at the present German range -- you only cripple it.
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So I insist that this important part of speech should be brought forward to a position where it may be easily seen with the naked eye. Thirdly, I would import some strong words from the English tongue -- to swear with, and also to use in describing all sorts of vigorous things in a vigorous ways. Fourthly, I would reorganizes the sexes, and distribute them accordingly to the will of the creator. Splendor in the Grass This Property Is Condemned Sex and the Single Girl Soldier in the Rain The bond of friendship between a worldly-wise Army Master Sergeant and his naive worshiper. The War Lover The Cincinnati Kid An Enemy of the People The Honeymoon Machine Edit Cast Cast overview, first billed only: Angie Rossini Steve McQueen Rocky Papasano Edie Adams Dominick Rossini Anne Hegira Julio Rossini Mario Badolati Elio Papasano Penny Santon Mama Rossini Elena Karam The Woman Virginia Vincent Guido Rossini Marilyn Chris Edit Storyline Angie Rossini is an innocent Italian Catholic Macy's salesgirl, who discovers she's pregnant from a fling with Rocky, a musician.
For every girl who ever fell for the kind of the guy who doesn't want to get married Mono Westrex Recording System. Edit Did You Know? Trivia Unclear whether this is a bizarre coincidence or inside joke, but when the character played by Natalie Wood is taking a taxi home from the abortionist, it passes a large billboard mentioning New York Mayor Robert Wagner. Robert Wagner, of course, was also the name of Wood's former and future husband Robert Wagner. Goofs At the musicians' meeting, Joe the music venue booker wears glasses in the long shot.
Or I have people that I know well that don't know what I'm doing, let alone somebody that doesn't know me telling me what I don't know. That's one of my sentiments on it. Leading up the album's release, "Perfect Stranger" was made exclusively available via iTunes. The German release also featured the same artwork. No music video was created for the single, although the song became part of the band's live set around the time of the album's release and onwards.
Upon release, Billboard said: The rhythm section propels the song from the get-go, while yet another quintessential melody is embellished with a Beatlesesque coda to every verse. Rick Nielsen cranks out a riff to kick the song into high gear and then doubles back to sprinkle his falsetto fairy dust over the top of vocals by Robin Zander, who effortlessly proves yet again why he is one of rock's great voices.
Miraculously still intact after the strife of the past decade, "Perfect Stranger" is a convincing return to form after 's patchy Special One. Nielsen's frenetic guitar drives the song to its infectious, harmony-coated hook anchored by the impeccable rhythm section of Bun E Carlos and Tom Petersson. The Rome News-Tribune said the song "instantly bores its way into your brain and won't let go, with Robin Zander's plaintive vocals supported by Petersson and Carlos' urgent underpinnings".
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