. . . I should like to ask some questions about a particular obviousness: that lie in English means both to say something false while knowing it to be so, and to rest or to be in a prostrate or recumbent position. A pun, after all, is likely to be a compacting or constellating of language and literature, of social and cultural circumstance. There is potency in the pun or the suggestive homophone. "Miscegenation" must be a bad thing. Does it (...) not confess that it is a mis-something? Similarly, "What's good for General Motors is good for America" presses us to concede the claim made by general ; a quite other route would have to be taken if the language were to press us to concede that "What's good for A.B. Dick is good for America." Again, the political energy of a strike profits from the crisp energy of the word, a word—strike—which accords to an enterprise which is one of withdrawal, passivity, and attrition the associations of something which is on the offensive, active, and speedy. Christopher Ricks, professor of English literature at the University of Cambridge, is the author of Milton's Grand Style, Tennyson, Poems and Critics, and Keats and Embarrassment. He is also editor of the journal Essays in Criticism. (shrink)