Abstract
T HE truly sensitive and creative writer shapes his language. In a way which is characteristically his, he manipulates the words and syntactic structures common to us all so that his resulting language does more than simply express his intended meaning-it deliberately intensifies or reinforces the essence of that meaning. The writer is therefore concerned not only with what he says, but to an even greater extent with how he says it. To be successful in this manipulation of language, he is always alert to the consequences of word choice and word order, the various effects of sentence structure and paragraph division, and the rhythm and sound of what he writes. If successful, he has forced language to work for him rather than allowed it to work against him, and his newly-created language has enhanced rather than dissipated the significance of his intended meaning. If we as English teachers are actually what we claim to be-the connoisseurs
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