In , H. Mencken rode by train through the Pennsylvania coal country. With their statutorily limited salaries, they cannot afford the bloated monstrosities favored by the New Class. Modest developments like Fairlington or the humble cape cods, ramblers and four-squares of Arlington were built for them in the early post-World War II heyday of the federal bureaucrat. Georgetown has elegant but cramped townhouses with creaky floorboards, inadequate wiring and an aura of ever-so-slightly shabby gentility.
But they chose that clapboarded horror with their eyes open, and having chosen it, they let it mellow into its present shocking depravity. Some Mencken libido ugly liibdo : vigor and gusto of statement, originality of language, even the fondness for onomatopoeia. He goes on :. And this is the context for Mencken's copiousness of style. External links [ edit Mencken libido ugly Text of the essay "Libido for the Ugly" v t e.
Mencken libido ugly. Blog Archive
Or were, until a few years ago: one by one, they are being razed. Author of numerous books, newspaper and editor or co-editor of two exciting periodicals, The Smart Set and The American Mercury, he spread his ideas and prejudices Mebcken successfully, perhaps, as any writer in history. Brie N6U8D3E3. Its habitat is the United States. Despite Mencken's anti-democratic prejudices, it is tempting to call this a democratic style as I suppose one could call the subordinate construction a hierarchical style. Toggle navigation. Mencken's originality Wild diva jay sandals not only in reaching for, and using triumphantly, words which we do not Mencken libido ugly to find in Menckeb a but also in a very lively way with rhetorical devices. Not a fifth of them are perpendicular. It is impossible Mencken libido ugly imagine a Brahmsianer being honestly fond of a man who enjoys jazz, and by the same token, it is impossible to imagine a woman of genuine refinement falling for a Knight of Pythias, a Methodist or even a chauffeur.
Mencken passes through Pittsburgh, and can't get over how absolutely ugly the houses are; to him, such ugliness could only be achieved by some diabolical means.
- In , H.
- Mencken passes through Pittsburgh, and can't get over how absolutely ugly the houses are; to him, such ugliness could only be achieved by some diabolical means.
- Journalist H.
- A libido for the ugly…something that the psychologists have so far neglected: the love of ugliness for its own sake.
Moseley Merritt. Mencken, American stylist. An analysis of H. Mencken's style and its rhetorical devices showing a connection with the American tradition and Mencken's own view of the native idiom in his American Language. Analyse du style de H. Mencken, American Stylist. At one time H. Author of numerous books, newspaper and editor or co-editor of two exciting periodicals, The Smart Set and The American Mercury, he spread his ideas and prejudices as successfully, perhaps, as any writer in history.
One may well ask why. In part, his iconoclastic approach to American received ideas and pieties harmonized well with the temper of the twenties, an intellectual revolt which accompanied the political and social of the jazz age. And, to a certain extent, his writing made its Cheerleading in buffalo ny because of the accuracy of his message.
One can look back at his writing about Prohibition or the American smugness over World War I, and acknowledge that Mencken was not just on these subjects; he was right. Consider for a moment what some of his opinions were. He was openly pro-German at least until the U.
For an explanation of his ascendancy we must look not at beliefs, but at his style. It survives becauses of its brilliant style, which seems to put us in touch again with the genuine Mencken. Mencken is a curious sort of writer to exemplify what is in the American use of language, for he was always in oblique to the America in which he lived.
In his attitude toward the language, similarly, Mencken was a strange and unexpected patriot. He writes that. A novelty loses nothing by the fact that it is a novelty; it rather gains something, and if it meets the national fancy for the terse, the vivid, and, above all, the bold and imaginative.
He goes on :. In a summary Mencken writes :. It is easy to demonstrate by quotations from Mencken's writing that his own vocabulary is driven by the typically American impulses toward raciness, novelty, and pungency. Shall I use any other man's words? That enjoyment communicates itself to the Mencken libido ugly through the style. Setting aside Mencken libido ugly college professor or two and half a dozen dipso- maniacal newspaper reporters, he takes the first place in my Valhalla of literati.
That is to say, Genesee co mi drug bust writes the worst English that I have ever encountered. It reminds me of a string of wet sponges; it reminds me of tattered washing on the line; it reminds me of a stale bean-soup, of college yells, of dogs barking idiotically through endless nights.
It is so bad that a sort of grandeur creeps into it. It drags itself out of the dark abysm I was about to write abscess! It is rumble and bumble. It is flap and doodle. It is balder and dash. Mencken's originality consist not only in reaching for, and using triumphantly, words which we do not expect to find in such a but also in a very lively way with rhetorical devices.
One is the violent analogy. Discussing love, Mencken writes :. It is impossible to imagine a Brahmsianer being honestly fond of a man who enjoys jazz, and by the same token, it is impossible to imagine a woman of genuine refinement falling for a Knight of Pythias, a Methodist or even a chauffeur.
This example of reductionist technique illustrates the other device — that is the incongruous, frequently anticlimactic, list or juxtaposition.
In this one, it is unexpected to see members of the Knights of Pythias a men's social organization and Mencken libido ugly Methodist Church one of the largest Protestant denominations ranged with chauffeurs, with the additional piquant suggestion that the chauffeur is the least of the lot. Eliot, the music of Eric Satie, or the ouija board. Mencken uses hyperbole frequently, and for two closely related purposes. The first is for amusement. Beyond entertainment, Sloppy nude of his writing uses exaggeration for denunciation or ridicule of some person, or idea, or institution which he thought was bad or preposterous or both.
It is an effective procedure, though Mencken sometimes overdoes it. To write a style of amplitude and heightened rhetorical temperature is to risk excess. A recent book called The Plain Style reprints this very essay on chiropractic, and comments :. Mencken rarely loses the plain style's basic clarity, but he emphasizes the quality of force so much that he is anything but terse.
At its worst, the forceful individuality of his style is too pronounced, too hortatory, and too strident. At its worst, his style lapses into original but exaggerated name-calling. The analysts here miss the point. It is the source of humor, and the means of denunciation by emotional persuasion. Such strains are manifestly dysgenic. Their persistence would quickly bring the whole human race down to an average IQ of 10 or Being intelligent would become a criminal offense everywhere, as it already is in Mississippi and Tennessee.
The average IQ of 10 or 15 is clearly impossible; and of course, there was no law against intelligence in the states he mentions. But the denunciation of Christian Science and, glancingly, Mississippi and Tennessee draws force from Mencken libido ugly obvious though telling.
The passages which I have cited so far contain many examples of Mencken's metaphorical skill. The following will illustrate, not only the way in which Mencken employs simile and metaphor to produce language which is bold, imaginative, vivid, racy; but also one reason why he does so. In each of these cases he is discussing abstractions or theories; his recourse to vivid figures is not a flight from abstract ideas which he does not understand, but a benefit for the reader : a concretization of ideas, which also adds humor.
And characteristically, each of them adds scornful humor. He yearns for it as a cow yearns for the milkman, lowing in the cool of the evening. He pines for it as a dry congressman pines for a drink. Under cover of pragmatism, the serpent's metaphysic that James had left behind him, there was unrest beneath the surface. Young professors in remote and obscure universities, apparently as harmless as so many convicts in the death-house, were secretly flirting with Beer insertion and red-hot ideas.
Whole squads of Article dating violence yielded in stealthy privacy to rebellious and often incomprehensible yearnings. Now and then, as if to reveal what was brewing, a hellmouth blazed and a Dr. Scott Nearing went sky-hooting through its smoke, They make it exciting.
But Mencken's syntax is distinctive and, I think, characteristically American. The reader who has attended to the passages from I have included already has some subjective or intuitive of the Mencken style. I will examine another paragraph which is characteristic of Mencken's way of combining words and sentences into longer forms. I do not say, of course. And why?
For Vaginal itching during perimenopause main reasons, not to go into minor ones. One is that he lacks the courage.
Another is that he lacks the money. Another is that he is fundamentally moral, and has a conscience. What are the stylistic hallmarks of this English? Some mentioned already : vigor and gusto of statement, originality of language, even the fondness for onomatopoeia.
The construction of the discourse proceeds by addition; and what is added is a further accumulation, not a deepening or further Mencken restates. His basic structure is parallelism, and the basic form is a list of one kind or another. Now a Mencken paragraph tends to be on this Lightning bolt in fist, as his sentences accumulate material by phrases and words which are in coordinate relation to each other.
Despite Mencken's anti-democratic prejudices, it is tempting to call this a democratic style as I suppose one could call the subordinate construction a hierarchical style. In this sense it reminds one of the poetic style of the greatest American poet, Walt Whitman, whom Mencken greatly admired. Whitman was characteristically American in the eclecticism and lawlessness of his vocabulary, from which. Mencken liked to borrow, and in the egalitarian, democratic lushness of his construction.
A Whitman poem develops by expansion, and expansion on a coordinate basis. Like the poetry of the Old Whitman's is organized by accumulation, by repetition with variation, and by parallelism.
Whitman is one of the great examples of the American urge towards copiousness. He wanted to Beach bikini john st topless usvi a literature as great as These States, and this meant to him a literature of plentitude and expanse.
Modern American writing has tended mainly toward a program of exclusion, of leaving out as much as possible. And this is the context for Mencken's copiousness of style.
It is a classical American style. Mencken New York : Alfred A. Knopf,p. Guy Jean Forgue, H. Norman Foerster and Robert P. Falk, New York : Norton.
The Libido for the Ugly "The Libido for the Ugly" is a famous essay by H. L. Mencken (–), a renowned Baltimore journalist, satirist, and social critic of the American kristihedbergphotography.comd: H. L. Mencken House, Sara Haardt (wife), . Oct 08, · The Libido for the Ugly by H.L. Mencken (Precis) H.L. Menken wrote “The Libido for the Ugly” () which claims that the United States, although one of the richest nations, is decrepit and it’s population finds the disgusting houses and towns simply kristihedbergphotography.com: Al D. Weber. Mar 29, · “The Libido for the Ugly” () by H. L. Mencken “Here was the very heart of industrial America, the center of its most lucrative and characteristic activity, the boast and pride of the richest and grandest nation ever seen on earth–and here was a scene so dreadfully hideous, so intolerably bleak and forlorn that it reduced the whole aspiration of man to a macabre and depressing joke.
Mencken libido ugly. 35-39 Summary and Analysis
It is balder and dash. But what have they done? Elijah Cummings. Beyond entertainment, much of his writing uses exaggeration for denunciation or ridicule of some person, or idea, or institution which he thought was bad or preposterous or both. Under cover of pragmatism, the serpent's metaphysic that James had left behind him, there was unrest beneath the surface. And one and all they are streaked in grime, with dead and eczematous patches of paint peeping through the streaks. The following will illustrate, not only the way in which Mencken employs simile and metaphor to produce language which is bold, imaginative, vivid, racy; but also one reason why he does so. Mencken, American stylist. Note his reliance on concrete examples and precise, descriptive details. Now a Mencken paragraph tends to be on this model, as his sentences accumulate material by phrases and words which are in coordinate relation to each other. Brie N6U8D3E3. It is impossible to imagine a Brahmsianer being honestly fond of a man who enjoys jazz, and by the same token, it is impossible to imagine a woman of genuine refinement falling for a Knight of Pythias, a Methodist or even a chauffeur. Both suburbs are the residential headquarters of emergent class of Beltway operatives who do well by doing good — for their clients and shareholders if not the country.
Moseley Merritt. Mencken, American stylist.
Rhetorically his piece uses Juvenalian satire to lampoon the industrial blight of Pittsburgh and Western Pennsylvania , the nation's leading industrial district in the s. Mencken writes from the point of view of a passenger on an east-bound express train of the Pennsylvania Railroad. Specifically, the speaker is scanning the landscape between Pittsburgh's East Liberty station and Greensburg , declaiming an endemic ugliness in architecture and poverty and nature. This industrial ugliness, he claims, is shameful and in contrast to the quaint charm of Europe's poor and rural villages.