Virtuosity begins with self-confidence in speech (and speech in itself) and with attentiveness. Speak and write without fear.
Virtuosity in language – as I understand it at this moment – is inseparable from a certain amount of knowledge about language and from the awareness that you choose yourself precisely these forms of speech, because they are your own and you need them, not because you need them according to the recommendations of VLKK, and not because some of them are currently considered more correct. Over time, you gain the strange power to decide for yourself about your words without fear of condemnation, you begin to know exactly what word should be in one place or another in your text. Decisions have a basis, and the responsibility is yours alone. Those forms of speech may be punk, some may not like them at all, but they must be precisely selected – precisely those that are needed for thought.
It seems to me that some language editors, especially beginners – I was one too – have a lot of distrust of unexpected language forms (they may even be common in everyday life, but become suspicious at work) and prefer a supernormal register for many texts. And after all, every detail left by the author in the text contributes to the whole, even every “and” instead of “and” adds its own character.
Language virtuosity is a personal quality, skill or quality of language use, which is valuable to develop not only for authors of texts, but also for editors, and not only. I am happy when I find manifestations of this virtuosity simply in messages or conversations. One last example is “forgetful” instead of “zlopamietnyj” for everyday conversation.
As for the texts, it is a success if the words in the sentences are arranged in such a way that they maximally correspond to the content of the thought. Of course, there probably isn’t even a perfect match, because every word is multiple of useand through that use, plaques of associations accumulate, like stains on a garment. (As one of my close friends used to say – there has to be a stain on the shirt, otherwise it’s not interesting!)
It is convenient to have as many words and forms of speech ready as possible. They can be labeled “Normal” or “Not for use”, it doesn’t really matter. The most important thing is to apply them virtuosically. Depending on our personality, style, situation. That wardrobe of words accumulates from the literature read, from communication with various people, from folklore, from knowing other languages (they can broaden the ways of thinking). Of course, from the knowledge of your language, with love.
Writing texts or editing others’ texts, reading them several times, reflecting on sentences and concepts, conjunctions and associations, the impression of a single word and the overall text, is a training of maintaining attention, a practice of attentiveness to one’s own or another’s thoughts. It’s like making small moldings in churches or playing for hours until the sounds turn into an idea. That precision is beautiful. Especially in the current attention deficit era. It is a resistance to universal dispersion: a focus on the text, on the work, on the thought.
Sometimes you read a text and feel what the thought is behind the written sentence, but the words seem to stumble over each other, they do not fully respond to exactly that – sensed – thought. No textual memory at all – invisible. But the words are sometimes wrong or put together in the wrong way and do not fully reveal her. Then the mysterious forms of the body of thought can only be guessed at. Words don’t tighten it smoothly like a slingshot, but it would be nice if it did. A thought is a complex thing in itself, it just wasn’t there, and here it is. It is best if it is done precisely, in a globalized manner. A thought is both a mood and nuances of meaning, an overall impression created not only by individual words, but also by how they sound together (preferably without background squeaks, unless they are purposeful). A sentence is more than the sum of words, due to the interrelationships of words, the connections of alliteration. Those connections add meaning.
I doubt that the writer would consciously try to make the words not match the point he wants to make. Well, of course, anything can happen.
It seems to me that this is the essence of editing – to carefully observe whether the words chosen by the author are the most ideal to achieve the goal. I think natural empathy comes in handy for that. (If your child is overly empathetic and is struggling in life because of it, don’t worry, they can make a great content or language editor.)
An editor’s job is not to correct someone else’s words, word order, or word forms because it’s “ugly” or doesn’t seem normative enough. Or because he is used to correcting “so” to “so” and “see” to “see” and quite unnecessarily according to the old fashions of editing – but with the best wishes! – suggests writing “stinging pain” instead of “stinging pain”. No. The editor’s job isn’t even to look for mistakes (and be happy when you find them, because then the goal seems to have been achieved?). An editor’s job is to enjoy the text. Sometimes it seems that you understand the author’s point (of course, you still need to make sure if it really is!), but the words only describe it crudely, and it is difficult to enjoy. Therefore, there is still a lack of virtuosity – and you still need to work on it before you can enjoy it.
Understandably, not everyone likes or finds everything the same. But even if the text is not for your soul, you can say that it is virtuoso or whatever.
The best order of words in a sentence is when the reader perceives it without unnecessary associations and inappropriate ambiguities. These can occur even in the best text, nothing like that here, that’s what an editor (or a friend) is for.
And now an exercise: let’s carefully read this piece of the sentence: “she made the sign of the cross with her bloody hand in front of her and sprinkled a little red grit on her face.” Or: “she made the sign of the cross with her bloody hand in front of her and sprinkled a little red grit on her face.” How does the word “a little” work in one place and another? In the first case, the grains are slightly red. In the second case, it got a little wet. The correct option? I think the second one. Yes, I am of the opinion that in this situation it can be the right option. There is a thought – an image that is stretched by a sentence, and only when it is stretched do we see that image. If we see it right away, then this is the right option.
Words connect to each other, lead to a thought. If collateral ballast associations arise, then micro-changes in attention occur during reading, which slow down reading. The goal is a thought that goes like lightning, without micro-pauses, without going back. It is best if associations or additional word connections appear not as external disturbances of attention, which, unfortunately, no one paid attention to during the preparation of the text, but as added meaning. (For example, “stretch” and “pace” in the same sentence.)
Of course, maybe words will never fully fulfill the thought, because we find words, language forms and structures. That’s how LOST AND FOUND. They were created before us by a large collective mind and continue to be created with our micro-contributions. The thoughts that arise seem more ours than the words we choose to express them. They are verbalized according to the best equivalent, what we find in our head at that time – like at a word rental point. And here, no one will be angry if we return the word with a new collar sewn on. Because even the one without the collar remains healthy.
The effort to express thoughts as precisely as possible in words and other forms of speech can also be considered a kind of spiritual practice. Helps to ground. Virtuosity in speech as an aspiration is also a daily work in training attention, which is valuable in itself in these scattered times, even if you do not have the ambition to write something serious.
It was first published in the magazine “Literature and Art” (3800 / 18, 2024-10-18). The text is published as a conference REDA. Forum for Language Democracy | Part 2024.
The event “REDA. Forum for Language Democracy | 2024“ curated by writer Gabija Grušaitė, editor Aira Niauronytė, publisher and editor Ła Ambrasaitė. Friends of the forum are the publishing house LAPAS and the festival “Open Books“. REDA is part of the Open Books festival“ first day event. REDA is partially financed by the Lithuanian Council of Culture. More information about REDE can be found here here.
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