Copy Book Archive

No Offence The people who oil the wheels of society are not the people who never give offence, they are the people who never take any.

In two parts

1875
Queen Victoria 1837-1901
Music: John Marsh

By Pierre-Auguste Renoir (1841-1919), Wikimedia Commons. Public domain. Source

About this picture …

‘Confidences,’ by Pierre-Auguste Renoir (1841-1919), painted in 1878.

No Offence

Part 1 of 2

There are those, said American essayist Ralph Waldo Emerson, who feel they can never really open up, even among their friends, for fear of offending someone. Better, he advised, to choose more robust and sympathetic listeners for your little circle. The hero of an open and accepting society is not the man who never gives offence; it is the man who never takes any.

A FEW times in my life it has happened to me to meet persons of so good a nature and so good breeding, that every topic was open and discussed without possibility of offence, — persons who could not be shocked. One of my friends said in speaking of certain associates, “There is not one of them but I can offend at any moment.” But to the company I am now considering, were no terrors, no vulgarity. All topics were broached, — life, love, marriage, sex, hatred, suicide, magic, theism, art, poetry, religion, myself, thyself, all selves, and whatever else, with a security and vivacity which belonged to the nobility of the parties and to their brave truth. The life of these persons was conducted in the same calm and affirmative manner as their discourse.

Jump to Part 2

Précis

In ‘Social Aims,’ American essayist Ralph Waldo Emerson spoke up in defence of freedom of association. He recalled a friend saying that he went in constant fear of offending his acquaintances, whereas Emerson enjoyed the security of knowing that his circle, whatever the subject of conversation, had shown that they could not be offended. (55 / 60 words)

Part Two

By Pierre-August Renoir (1841-1919), Wikimedia Commons. Public domain. Source

About this picture …

‘Luncheon of the Boating Party,’ by Pierre-Auguste Renoir (1841-1919), painted in 1880-81. The woman on the left sharing baby-talk with her terrier is Aline Charigot, whom Renoir subsequently married.

LIFE with them was an experiment continually varied, full of results, full of grandeur, and by no means the hot and hurried business which passes in the world. The delight in good company, in pure, brilliant, social atmosphere; the incomparable satisfaction of a society in which everything can be safely said, in which every member returns a true echo, in which a wise freedom, an ideal republic of sense, simplicity, knowledge, and thorough good-meaning abide, — doubles the value of life.

It is this that justifies to each the jealousy with which the doors are kept. Do not look sourly at the set or the club which does not choose you. Every highly organized person knows the value of the social barriers, since the best society has often been spoiled to him by the intrusion of bad companions. He of all men would keep the right of choice sacred, and feel that the exclusions are in the interest of the admissions, though they happen at this moment to thwart his wishes.

Copy Book

Précis

Emerson went on to say that it is quite proper to be selective about your friends, because knowing one can speak freely is the essence of good company. It may be disappointing when others do not choose you for their circle, but we have all experienced occasions when one unsympathetic intruder has inhibited candid speech. (55 / 60 words)

Source

From ‘Letters, and Social Aims’ (1875) by Ralph Waldo Emerson (1803-1882).

Suggested Music

1 2

Conversation Symphony in E flat for Two Orchestras (1778)

2: Andante

John Marsh (1752-1828)

London Mozart Players, directed by Matthias Bamert.

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Conversation Symphony in E flat for Two Orchestras (1778)

3: Allegretto

John Marsh (1752-1828)

London Mozart Players, directed by Matthias Bamert.

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How To Use This Passage

You can use this passage to help improve your command of English.

IRead it aloud, twice or more. IISummarise it in one sentence of up to 30 words. IIISummarise it in one paragraph of 40-80 words. IVMake notes on the passage, and reconstruct the original from them later on. VJot down any unfamiliar words, and make your own sentences with them later. VIMake a note of any words that surprise or impress you, and ask yourself what meaning they add to the words you would have expected to see. VIITurn any old-fashioned English into modern English. VIIITurn prose into verse, and verse into prose. IXAsk yourself what the author is trying to get you to feel or think. XHow would an artist or a photographer capture the scene? XIHow would a movie director shoot it, or a composer write incidental music for it?

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