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There is no natural safeguard in the English language against the faults of haste, distraction, timidity, dividedness of mind, modesty. English does not run on its own rails, like French, with a simply managed mechanism of knobs and levers, so that any army officer or provincial mayor can always, at a minute’s notice, glide into a graceful speech in celebration of any local or national event, however unexpected. The fact is that English has altogether too many resources for the ordinary person, and nobody holds it against him if he speaks or writes badly. The only English dictionary with any pretension to completeness as a collection of literary precedents, the Oxford English Dictionary, is of the size and price of an encyclopedia; and pocket-dictionaries do not distinguish sufficiently between shades of meaning in closely associated words: for example, between the adjectives ‘silvery’, ‘silvern’, ‘silver’, ‘silvered’, ‘argent’, ‘argentine’, ‘argentic’, ‘argentous’. Just as all practising lawyers have ready access to a complete legal library, so all professional writers (and every other writer who can afford it) should possess or have ready access to the big Oxford English Dictionary. But how many trouble about the real meanings of words? Most of them are content to rub along with a Thesaurus—which lumps words together in groups of so-called synonyms, without definitions—and an octavo dictionary. One would not expect a barrister to prepare a complicated insurance or testamentary case with only Everyman’s Handy Guide to the Law to help him; and there are very few books which one can write decently without consulting at every few pages a dictionary of at least two quarto volumes—Webster’s, or the shorter Oxford English Dictionary—to make sure of a word’s antecedents and meaning.
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Robert Graves (The Reader Over Your Shoulder: A Handbook for Writers of English Prose)