Miss Groby taught me English composition thirty years ago. It wasn't what prose said that interested Miss Groby; it was the way prose said it. The shape of a sentence crucified on a blackboard (parsed, she called it) brought a light to her eye. She hunted for Topic Sentences and Transitional Sentences the way little girls hunt for white violets in springtime. What she loved most of all were Figures of Speech. You remember her. You must have had her, too. Her influence will never die out of the land. A small schoolgirl asked me the other day if I could give her an example of metonymy. (There are several kinds of metonymies, you may recall, but the one that will come to mind most easily, I think, is Container for the Thing Contained.) The vision of Miss Groby came clearly before me when the little girl mentioned the old, familiar word. I saw her sitting at her desk, taking the rubber band off the roll-call cards, running it back upon the fingers of her right hand, and surveying us all separately with quick little henlike turns of her head.
Here lies Miss Groby, not dead, I think, but put away on a shelf with the other T squares and rulers whose edges had lost their certainty. The fierce light that Miss Groby brought to English literature was the light of Identification. Perhaps, at the end, she could no longer retain the dates of the birth and death of one of the Lake poets. That would have sent her to the principal of the school with her resignation. Or perhaps she could not remember, finally, exactly how many Cornishmen there were who had sworn that Trelawny should not die, or precisely how many springs were left to Housman's lad in which to go about the woodlands to see the cherry hung with snow.
Verse was one of Miss Groby's delights because there was so much in both its form and content that could be counted. I believe she would have got an enormous thrill out of Wordsworth's famous lines about Lucy if they had been written this way:
A violet by a mossy stone
Half hidden from the eye,
Fair as a star when ninety-eight
Are shining in the sky.
It is hard for me to believe that Miss Groby ever saw any famous work of literature from far enough away to know what it meant. She was forever climbing up the margins of books and crawling between their lines, hunting for the little gold of phrase, making marks with a pencil. As Palamides hunted the Questing Beast, she hunted the Figure of Speech. She hunted it through the clangorous halls of Shakespeare and through the green forests of Scott.
Night after night, for homework, Miss Groby set us to searching in "Ivanhoe" and "Julius Caesar" for metaphors, similes, metonymies, apostrophes, personifications, and all the rest. It got so that figures of speech jumped out of the pages at you, obscuring the sense and pattern of the novel or play you were trying to read. "Friends, Romans, countrymen, lend me your ears." Take that, for instance. There is an unusual but perfect example of Container for the Thing Contained. If you read the funeral oration unwarily--that is to say, for its meaning--you might easily miss the C.F.T.T.C. Antony is, of course, not asking for their ears in the sense that he wants them cut off and handed over; he is asking for the function of those ears, for their power to hear, for, in a word, the thing they contain.
At first I began to fear that all the characters in Shakespeare and Scott were crazy. They confused cause with effect, the sign for the thing signified, the thing held for the thing holding it. But after a while I began to suspect that it was I myself who was crazy. I would find myself lying awake at night saying over and over, "The thinger for the thing contained." In a great but probably misguided attempt to keep my mind on its hinges, I would stare at the ceiling and try to think of an example of the Thing Contained for the Container. It struck me as odd that Miss Groby had never thought of that inversion. I finally hit on one, which I still remember. If a woman were to grab up a bottle of Grade A and say to her husband, "Get away from me or I'll hit you with the milk," that would be a Thing Contained for the Container. The next day in class I raised my hand and brought my curious discovery straight out before Miss Groby and my astonished schoolmates. I was eager and serious about it and it never occurred to me that the other children would laugh. They laughed loudly and long. When Miss Groby had quieted them she said to me rather coldly, "That was not really amusing, James." That's the mixed-up kind of thing that happened to me in my teens.
In later years I came across another excellent example of this figure of speech in a joke long since familiar to people who know vaudeville or burlesque (or radio, for that matter). It goes something like this:
A: What's your head all bandaged up for?
B: I got hit with some tomatoes.
A: How could that bruise you up so bad?
B: These tomatoes were in a can.
I wonder what Miss Groby would have thought of that one.
I dream of my old English teacher occasionally. It seems that we are always in Sherwood Forest and that from far away I can hear Robin Hood winding his silver horn.
"Drat that man for making such a racket on his cornet!" cries Miss Groby. "He scared away a perfectly darling Container for the Thing Contained, a great, big, beautiful one. It leaped right back into its context when that man blew that cornet. It was the most wonderful Container for the Thing Contained I ever saw here in the Forest of Arden."
"This is Sherwood Forest," I say to her.
"That doesn't make any difference at all that I can see," she says to me.
Then I wake up, tossing and moaning.