Words are the invention of thought and, once spoken, they become the reality of the mind; when they come together they give life to thought as essay, humor, criticism and the hundred other conditions.

Napoleon said that there are only two powers in the world, the sword and the pen, and concluded that the pen will ultimately triumph. This, then, lends a kind of credibility to the observation that the word it is perhaps the most serious, solemn, and somber instrument for the salvation of society that has yet been devised, alliteration notwithstanding.

In fact, kingdoms have crumbled due to a careless word said in jest, and it is this consideration that brings us to the gist of this essay. Too often the word it has been granted an unexpected weight. Too often, the spoken word has been portrayed as a villain when closer examination would reveal it to be a bon mot at best, a mere joke at worst. This exploration into the lighter side of word usage will divulge the gist of the phrase, the clause, the fodder in jokes, and more essentially the usage of the words, even when coupled with seemingly inappropriate syntax, they will create or add new thoughts to those with which they are expressed.

Realizing this is the subject of this essay. While the reader can find a dozen more word groups such as jouterie, dido, and badinage, fatuous expressions that have long been consigned to the out-of-date wastebasket, most lend themselves almost exclusively to scrutiny. spoken word; joke and related expressions of comic intent are based on intonation and as such have little impact when printed. Etymological wisdom has determined that the four word groupings noted in the title of this article embody the prevalence of word sayings and offerings that present, through their use, the lighter side of civilization’s history.

It is recognized that normal linguistic usage easily mixes and confuses the meaning and uses of these various thought transmissions; therefore, this article aims to outline the individual definitions of each type of word-phrase and demonstrate how they retain their individuality and at the same time, indeed perhaps in the same sentence, can be combined to create a new thought.

The four themes are presented in a ranking order that the author deems appropriate. The first word assemblage, if we may, is the most inscrutable, while at the same time lending itself to scrutiny and thus the most easily positioned idiom for humor and light exposition. This delightful way of expressing yourself has “come home,” so to speak, in recent reviews (i.e. this writer’s essays: The definition of non sequiturand The final non-sequence).

Tea Without follow-up it apparently retains a unique if disparate clarity of purpose, but otherwise becomes exposable. It’s the only word grouping of the four presented in this paper that can be used with or without a “launch pad,” so to speak, being Latin for “does not follow.” Thus, one may find the phrase Non Sequitur after a sentence, clause, or phrase, or see it alone to declaim in opposition to a previous paragraph, or simply as a confusing thought in its own right. When a complete clause follows, the “does not follow” and the apparently aberrational phrase will appear to be connected, yet they may both appear to be a disparate element within the context of the material. An example (although not found in my recent post: The book babbles, 365 Non Sequiturs to Live By) in its purest form is:

We walk a very fine line in life; an anthill is a complicated structure.

As may be obvious, a puzzle develops within the second sentence because it has its own independence with a subject and a predicate. This particular idiom becomes a phony because the following Non Sequitur descriptive clause could possibly be supporting the introductory phrase, and yet it struggles as logic. It also allows finding other meanings within the sentence, giving rise to other postulates-ergo, the pure Non Sequitur.

Tea Nice word it occupies the second place, although of the French language. In addition to their viticultural arts and possibly their culinary achievements, the French have provided the world with substantial contributions in delicious phraseology developed in the 17th and 18th centuries. Literally, Good Word means “good word,” but literal translations often miss the gist of meaning found in the original language. In French, these words connote wit, a happily uttered sentence, a clever combination of words that delight, and gratuitous compliments. An example of a complete Bon Mot of the latter style:

Your presence delights the senses and stimulates the emotions of my heart.

As may be obvious to Francophiles, such a sentence evokes an 18th-century “dandy” approaching a lovely woman strolling in the park, doffing her broad-brimmed, feathered hat with a flourish and a sweeping curtsy. He delivers her earlier compliment quietly for her ears only and she blushes at her grace. You can easily see how the Bon Mot allows for a pleasurable incantation while at the same time instantly suggesting an implication beyond flattery.

the common enough what the it ranks third on the list of disparate words with something in common, although lexicographers align it with both the negative “mockery” and the positive “joke”. The joke often stands alone, especially when used humorously. It is often seen strictly as “jokes” and yet when spoken in that context it can often have a dual intent, joking and mocking, which is why linguistic anthropologists assign it both assignments. For our purposes, however, it is the teaser that we will turn to, not wishing to support the negative potential.

His suit is so elegant that he is at the forefront of style.

One can easily see that a “play on words” (another form of wit) is the vehicle by which the above Quip succeeds, and yet has a treat of its own. It can also be seen that this seemingly casual comment could also be taken as a barb. Indeed, the essence of the joke is that it contains the predominant humorous element but offers veiled potential as a joke.

Finally we come to the ubiquitous and much maligned Cliche. This form of language has been developing for centuries, each culture adding to the pile through endless use, with no end in sight. However, it’s worth realizing that this style of phrasing arises due to common usage, but when a scathing new observation is stated that has the potential to become an enduring cliché, it’s usually taken as witty and even charming expression. . Banality comes with age as well as usage, and most linguists would be caught with their low syntax if heard saying:

A bird in the hand is worth two in the bush.

This cliché, by the way, comes from a 19th century British grouse hunting expression, and in that moment it “said it all” when the hunter returned to his cabin with just one small bird to show off for a day of stalking a across the field and stream. As such, it can easily be aligned with many other situations, such as the seamstress’s “a stitch in time saves nine.” It should also be obvious to the reader that the Cliché lends itself easily to Non Sequitur and is often applied as such by the jester in a group. An example is: “On the other hand, the cream of the crop can go bad.” (It can be “a show stopper” when following someone’s pretentious forecast.)

Noting their dissimilar similarity to the four representations in this exhibition is expected to give the reader pause and provide meaning. We are sure that the reader has already assigned the title of this essay as an oxymoron, itself another form of wit. To the literati we can say: On the one hand, scholarship is its own reward, and on the other, paraphrasing Shakespeare, the above can be considered “full of noise and fury, meaning… something?”

Oh Lord, what intricacies we weave when we first practice to perceive.