A FIRST BOOK OF COMPOSITION

BY

THOMAS H. BRIGGS
INSTRU CTOR IN EN<:LlSH IN T E A C HERS COLLEGE
CO L U MBIA UN l VERS JTV

AND

ISABEL McKINNEY
TEA C H ER 011 l! NG l.I SH JN THE EASTERN I LLINO IS
STATE. N O H.MAL S C H OOL

GI N N AND COMPAN Y
BOSTON · NJ,;W YORK· C ll ICAGO ·LONDON

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COPYRIGHT , 1913, Bl' THOMAS H. BfU(;GS
A.ND !SABEL MCKINNEY
ALL RIGHT S RESERVED
8 14 .7

PREFACE

1lbr !lltb rn .~um DrHlt
GINN A NO CO MPANY· l' KOPkl ETO r.:.s · BUS T O N· U .S. A .

This first book in formal English composition is designed
to furnish material for a two-year course ; it may be followed
by a rhetoric of the conventional type, or, better still, by additional work on the collection and organization of material
for expression in long themes and by a study of the more
essential rhetorical principles. The chief difference between
this book and others is its emphasis on the qualities of good
composition rather than on the four conventional types, and
its treatment of these qualities in a natural and teachable
order. By the continuous emphasis on sincerity, definiteness,
and the other essential qualities - since these, wh ile separable in thought, are not mutually exclusive - there is sought
a cumulative effect, which cannot fail to modify the habits of
pupils. Since · these prime qualities are treated in this book
after a plan earefully arranged and graded in difficulty, the
chapters, except, possibly, that on good form, should be taught
in their order. The material in the chapter on good fo rm may
be distributed among other matters as the teacher secs fit.
The assignments are meant to be definite enough to gui de
the bewildered but not to confine the adventurous. They
will be found especially to emphasize practical writing; fo r
example, letters, which are treated with unusual fu llness.
The highly in gen ious teacher who can successfully carry on
work in the production of artistic literature, such as original
stories, poems, and plays, needs no prescribed exercises, but he
will find a sound basis for such composition in the chapters of
iii

iv

FIRST BOOK OF COMPOSITION

this book, particularly in those on definiteness and variety.
Suggestive material for models is chosen from the thernes of
pupils and from literature that is within the range of the
pupils' best reading. Generally some defin ite study of these
mod els is outlined, so that the point of the illustration may
be felt. The class discussion of this illustrative material
thus furnishes add itional opportunity for valuable work in
oral composition.
Grateful acknowledgment is made for helpful suggestions
from Mr. Allan Abbott, of the Horace Mann High School;
Professor Franklin T. Baker, of Teachers College, Cvlu1nb ia
University; Mrs. Fausk1. F . Barr, of the Mattoon, Illinois,
High School; Mr. Samuel M. North, of the Baltimore Polytechnic Insti tute; Mr. Edgar D. J\anclolph, of the Colorad o
State Teachers College; l\Tr. Benj ami n A . I-leydrick, lligh
School of Commerce, N cw York ; and l'rofessor James F .
R oyster, of the Un iversity of North Carolina.
Acknowledgment is also due to the following publishers,
who have very kindly permitted the use of copyright matter:
D . Appleton and Company, the Thomas Y. Crowell Company,
the George I I. Doran Company, Doubleday, Page and Com pany, D. C. IIeath and Cornp;rny. J k my II ult ancl Conqw1y,
the J ohn Lane Company, Little, Brown and Company, J,, C.
Page and Company, the Macmillan Company, and Thomas B.
Mosher. The selections from Burroughs, Emerson, Fiske,
Higginson, Hulmes, Palmer, Robinson, and \Vhitt icr are
used by permission of, and by special arrangement with, the
Houghton Miff-J in Company.

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CONTEi\TS
C HAP.fl:<:}{

I. SINCERITY
10

II. GOOll FO RM
A . PRl'PARAT l ON OF PAPERS.
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H. 111.F"' O F

P l t N!"T l l ATlqN

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AN' J) \ A l·I TALiiATfDN .

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DEFli'i iTE \\'' 1H11S

l.F.TTER." .

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LETTLJ.:. s

a . G ene ral Rules c_)f Fnnn
i1 . l'arts of a Vric:nd ly l .l'ltt'1

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CONTENTS

FlRST BOOK OF COMPO SITI O N

VI

Vil

PA GE
//. D EVI CES

FOR INTr:R E ST

SUGGF.S TI ON

1 29

CoN T R,\ ST

!JO

I I.
lI I.

V.
\TI.

1 3~

R U L ES A ND E :o : Rc i sEs I N Goo n

F n RM

D E V ELOPMEN T

E.

1 34

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.

BY Dt!.TA ILS
l J.L llS TK A TI ON

Ii\'

D EVELOP M ENT C H I EFLY ll Y ExP L Ai' ATl <'N

IV . DEVE LO PM EN T

132

B REV ITY

IN PARA G RAI'H S

I. DE VELO PM 1.·: N T

128

V. VA R IETY

V I.

VAHIETY

i :!J

II. COMPARISON

llI.
1V .

D.

123

CuN \'El~S A T I ON

l.

HY A CO M Ill NATION

1\l1·: AN S

(J F

PROO F

DEVE L O PM E NT BY

DE. V EI.O P~I EN T BY C AU SE AND R ESU L T

VAKIET Y

I N TR O l' ES

0

V.

R t1 L ES A N D E X ERC I SES I N

U N I TY

'40

A.

UNITY OF T'ARACR Al'll S

B.

UN I TY OF NOT ES

I.
II.
III.

q o

l NV•ITATl uN s A ND T 11r:1 R

A :-.:s w1·:Rs

C.

l NT RO O UC:T JO '.'<

I

T Jl<J UG ll T

UN ITY O F

F o rm . .

V A RIETY

Jl.

V AJU ETY TH ROUG H D I R ECT A :-.: 1'

C.

\"11 R 11,·1-y IN

IV. PARALLEL CONST R UCTI ON

V.
B.
C.

I N tJJI<ECT

l>1 ..;c1 1L1 1{S J-'.

Sr.N ·n :NcEs

Sr-::-.: ·n : Nn:s
ANn

Co 11 EREN CE I N TllE \\' H o u £ Co ~IPo s 1 T 1 0N
\VRITIN <:

A

C u NNECTE D

Co M1·os 1T1 uN

H AsEJ•

<> N
'/;

J.
I I.
III.

' 93
197

FINl!I NG

I

MATERIAL

TA KI NG N O TE S .
WRtTI NG FIW M

N o n :: s

l K T EKl'\ t H~ A T l \ ' E, :\ ;-.; 11 I ~ ll ' lo:l<:\ T J\ ' E
.

.

OR11ER O F Sr.;-;n: NCE

E1. i-: ~ 1 r.NTS

a. Adje c tive i\l odifie rs.
b. A d,·erb Mod ifiers .
V . PosITruN uF Mo11 1FIE l<S
f' EH10 n1• :

A PPEND I X

197

PA ss 1v1·: \' u 1n-: .

IV. DIFF E R ENT f , 11o t s u f' M o u1F11·: Rs

VI. Loos r. A N D

ELLIPSES

R E ADI NG

18 4

D EC LAJ<A T I VE,

II. A c Tln:

V i l.

Ill.

172

IN \ Vu lUJ S

L OOSE A N D PEH IO IJI C S~: wn:NC F S

I 58
16o

183

A.

I I I.

G ui d in g W o rd s
. .
c. Co njun cti o ns .

16 5

F uR M

C(JNNr.:cr1 \'ES A NO \\' 0 R1, s o F H . 1·: F 1·: K E '.'-i1 · E

b. Prono uns

I 57

Goon

:z .p

a.

I 57

VI. VA RIET Y .

I.

II .

1 56

n. T he Com ma Bl un de r
h. D isjoin ed Ex press io n' .
r . L ack o f Co-o rdina tio n
d. S hifts in Con st ruc tio n
Ru 1.Es A ND Ex r. RC ISES IN

a . O f Se n Le nces .
b. O f Modifiers .

54

I 56

U :-.I TY I N

ORDE R

1 55

U N I T Y OF S ENT EN CES

I.
II.

I.

t)
•o

IV. MISCE L L ANEOUS N o n -:s

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.A . Co 1-11:: R EN C F: I N PARA G RAf'lls AND St: f"-i TEr•·H :F:s

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NOTES A rco MJ ' A N YI N<' G 1FTs
NuTJ·: s n F

VII. CO HER E N C E

14 7

Goou FOJ<M

SE N TEN C ES .

S1~tl'L E, C •Hll' O I JN ll, A "I> Co ~11 · 1.E x S 1·:N TJ-. N •' l·:s

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2 79

I 99

A.

S Y M BO L S Us r11 I N

~00

B.

W O R DS o F- n : N CON F US ED

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J.

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JI.

C ru T JC I Z l 1'v T11D1 Es

~Y N0 NYM S A N D 0T H1£ K \V nR U S
H O M ONY M S

~0 4

C.

P R I NC IPAi. P A RTS 01.- VERB S 0 VTE N

w7

D.

ON E T 11 0US A 1' D

W O K l!S O FTE N

~'11 Sll S F. 1)

MI SS P E L Ll::D

2 0<.)
:.'.? II

INDEX .

"

A FIRST BOOK OF COl\1POSlTION
Cl I"\ PTER
SINCERITY

All that you have to learn <1bout good spcak in)-'. :ind g<iod
writing mi ght be summed u p in two sayings: "i\ k:t11 11 h:1 t
you say," and "S:ty what yo u mea n." Like most important
command s. these arc c;isin to remember than to nbcv : in deed, complete obnl icnn: to the second - - " S:ty 11 h:tt 1·11u
m ean " -- involves the mastery of the art of cum posit: iill .
Most of the chapters of this book ::ire concerned 11·ith this
difficult ::trt.
lt is of th e first, however, - " l\k::in wh:tt y<)ll :c;;11· ... - t!ut
we must first tl;ink. If 11·e arc in the h:diit of tl'i: in;.: lh'.
truth, obcd 1cncc to this C(11n1n:111d sh(,tilc1 n•)l he di:-J i('i.i;l. If
we do not mean what we sav , whv should we siw:tk "'wr ite
at ::i ll ? The firs t: motive of s peec h, or:d or wnltvn, is .s 1nn-;·i1:: .
T hi s motive docs not, of course , ckm:md al>solutc litn:i11H>''
to b:tre facts. Truth and fact a re synonymous only when we
are clc;iling: IYith Ltct : a novel like·" Rom"b" or :1 iiil ()f 11< •11 scnsc like··· 1\ltce in \\ (Ji1dcrLrnd " is quite as s111n.T <'. ;1s trnc
in a sense, as a psychvlu.~y or a tn:atisc on the white r;tbhiL.
Sincerity is be ing true to ourselves. \Ve must rt'J>•i1l as 11c
ourselves see or feel or th ink; and in o rder tu do this '-"'c must
chnosc ::t ~uhject that\\'<..' h:11\.' rc:d th11ughts n r fcclin.i.::s :Jh,iuL.
and ll'C must use words that ;ue our own.
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FI RST HOO K OF COM l'OS !TlON
EXERCISE 1 - Oral

SINCERE AND INSINCERE

OMPOSITION

Read aloud and compare these two compositions, both written by pupils in school. 'W hich is sincere ? Which uses borrowed thoughts and words not clea rly understood ? vVhich
pupil chose a subject upo n which he conld write sincerely ?
'vVhich subject is defi nite ? What details g ive a n impression
of truth ?·
UN IV ERSA L PF. ACE

Un iversal Peace should re ign throughout th e world. Every thing
sho uld harmo nize and eve ry day it sho uld be carri ed out. All of the
du mb animals are always happy and peaceful, while some people are
always quarrelsome and un happy. God made thi s wo rl d fo r the
people to live happy and contented in . U niversal Peace of any community, organ ization, district, school, or home is that state of affairs
that shows that all parties concerned are not engaged in wa rfa re.
To preserve such an admi rable condi tio n strict co ntrol must be exercised over certain unrul y perso ns wh o can usually be di stin gui shed
by t heir siniste r expression and mali cious tendency.
The once warlike nati on of the Un ited States is now resting
peacefully . Pe;ice is doing its part in th e removi ng of g rievances,
whe n n ot long ;igo our fa ir land was in a turm oil of battl es in whi ch
thousands of men were killed. If the people from all ove r the
U nited States, E urope, and ot her fo reign nat ions should come together at a certai n place and declare th ere should be no more wa r
or trouble betwee n them, then would begin the reig n of U niversa l
Peace, and it wou ld save the different na ti o ns many li ves, and many
large debts to pay, which could be used fo r the uses of their coun try.
A HUS \' ST REET S C ENE

I am standing at the corn er of the Board of Trade buil din g.
T he elevated street cars arc runn ing at a rapid speed. T hey ma ke
a clanging, rumbli ng noise that deafe ns my cars. Then there are
the other street cars that come whi zzing by every minute. T he

SI NCERITY

3

poli ceman on th e corn er is blowin g his whi stle fo r the wagons,
automobiles, and people to stop or cross. He looks as if he would
be run over, but eve rytiling passes wi thout touching him. Now a
wago n is completely on the track, and a car fou r yards behind it.
The motorma n slows down and waits fo r the driver to get off the
track. J-1 e removes himself a t hi s ease, and does n't seem the least
bit excited . It ma kes me feel as if I am hardly anything on these
crowded stree ts.
I n the bui lding l can hear the grai n dealers screamin g and shouting at the top of their voices. lt soun ds as if there are wild animals
or a stampede of some sort inside. T here are so ma ny newsboys
that I get tired of hearin g" Papers, Chicago TribuHe, J-ferald," or
" Latest repo rts of the markets. A rise in hogs." I sec one li ttle
boy with hi s coat worn th roug h at th e elbows, his stockings all
torn , and his feet peeping throug h his shoes, who seems to be
sh un ned by everyo ne, but still he hurries along with th e crowd.
A coach man is drivin g by now. He wears a silk hat, a black
sleek suit, and hig h boots. It seems as if th e best of care is taken
of the ho rse and coach, for they are black and glossy. The lady in
the carri age is d ressed in a beauti ful gown, and I imagine her,
pretty wealthy, going to some receptio n or party.
l can not see all of the sights at once, nor imagine where ail of
thi s thron g of people arc going.

EXERCISE 2 - Oral
C H OOS ING A SU BJECT

If you had to talk or write on fi ve of th e following subjects,
which should you choose ? O n how many of them should
you have somethi ng to say ? About which <lo you know too
little to speak or write sensibly?
1. Pati ence.
2. A L.:.mdslide.
3 . My T rip to the City.

4 . T he Canals on Mars.

5.
6.
7.
8.

An Up set.
Ca noein g in E ngland .
Ascending Pikes Peak.
The Supernatu ral in" Macbeth."

FIRST BOOK ( H' COMPOS ITION

4
9.
10.
11.
12.
13.

14.
15.
16.

Loading an Ocean Steamer.
Maki ng Maple Syrup.
Why I Like" Treasure Island."
Justice and Mcrcy.
A Day in the Field.
Caught in a Shower.
My First Party.
A Visit.

17.
18.
19.
20.
21.
22.
23.
24.

Keepin g House.
A F ire.
A Parade.
A Shopping Trip.
Swimming.
My Favo rite Tree.
lle h in d th e Bars.
Liberty and Eq uality.

SINCERITY

5

"Write as you talk," M iss Lawrence feebly quoted.
"But, dear me, Miss Lawrence, I couldn ' t tall.: abou t P eace on
Earth a nd Napoleon ·- not more th an a sentence, a nyway; because
I never do, you kn ow; not eve n abou t anger, thoug h goodness
knows I ought to !.:1101t1 somethin g abo ut that."
"l suppose yo u don't need practice in thin gs you do talk about,"
hesitated Miss Lawre nce. "And , a nyway," she added more confidently, "those things are too common for compositions."

EXERCISE 3 - Oral or Written

EXERCISE 5 - Oral

SPEAKING ANO WRITIN G ON A FAMILIAR SUBJECT

TWO KINDS OF INSINC ERITY

Speak or write on one or more of the preced in g subjects,
as you r teacher may direct. Tell the things that make your
experience different from that of any one else. \,Vrite as if
you we re talking. l'ut your work in to good fo rm, according
to your teacher's d irections.

Compare the following piece of a composition written by a
real "Nancy" with the news1x1per account of an evening
entertainm ent. \ Vhy could not Nan cy be sincere in writing
about "J luman Barriers "? \ Vhy is the newspaper article
so glarin gly insincere ? That is, whi ch shows insin ce rity of
ignorance, and whi ch insin cerity of purpo e? Point out
specific defects in sincerity.

EXERCISE 4 - Oral
SUl.lJECTS OF CO :\\"ERSATION

Read the follow ing para graphs suggested by a passage in
a well-known story and Lh cn notice before your next lesson
what people talk about, what you yourself talk about. Bri ng
to class several topics that arc interesting to you, no matter
how "common " they may be.
Nancy was st ruggli ng with the difficulti es o f composition writing.
Miss Lawrence gave her all the time-ho nored subjects of her own
youthful essays - J'eJce o n Earth, The J l orrors of \Var, Napoleon,
Justice, True J{iches, Anger; but somehow with one of th ese titles
before her, all N::rn cy"s efforts cou ld produce o nl y a fe w m usty sente nces. After she had inscri bed "Anger" in neat handwriting at
th e top of a page, all he r ,·iv<icious little personali ty seemed to
congeal somewhere above he r fin ger-tips.

] J U~lA:-1

ilA IUUEHS

N early eve ry ex isti ng life is blighted more o r less by some kind
of op position. l n some lives pro1111,ting development, while in
others it is degrading.
Barriers develop from every sou rce. If they are not overcome
but left to take their course they will in turn become mas ters of
their subj ec ts. T hey make thenu;elve& shown in all li nes of occupation and in all shades of life; yet even this is needed fo r some
to make a partial success. No one can escape the trials and temptations of life but should accept them with a de terminati on for the
ri gh t. The birds of the air become the prey of larger birds or the
victim of the hunte r's careful aim; just so we have our obstacles
to overcome.

6

FIRST HOOK OF CO :\fl'OS ITJON
NE ll' SV NOTES FRO~! \VmE-A WAK E

SINCER ITY

\ V11.so:-.1 '

Vv 11.soN , March 3o(Special). - The at home g ive n last C\'en ing in
the superb and pabtial home of our emi nent a nd hi g hly distinguished
townsman, the l-!on. Fred A. \ Voodcock, in honor of the c ultured and
eloquent Mrs. Cross, wife of that able jurist Ju dge Cross, and her
brilliant and beautiful daughter, the fascinating M iss Lois Cross, was
one of the most brilliant :md magnificent entertainme nts ever given
in \ ViIson . As is well kn own , this charm in g and beau ti ful home is the
ge nui ne shri ne of the most exqu isite and princeliest hospitality, but
on this resplendent occasion the gl ittering acme of th e finest soc ial
function was reached , fo r refined tact and exquisite taste and e xcellent judgment and ample mea ns contribu ted th eir richest an<l rarest
gifts to make that lovely scene a rhythmic poem of be:iuty and
enchantment. There were gleams of humor as chee rin g as the
dripping of moonbe:ims upon the q ui et boso m o f a sleeping lake,
not rippling but ensilvcring the dreaming wa ter; there were flashes
of sparkling wit as brilliant as the d:izzling light nin gs wh e n writing
in glittering penci lin gs upon the ·darkest clouds the g randeur and
omnipotence of Jehovah; th e re were peals of laughter as musical
as the wordless songs of rippling brooks journ eyi ng to their home
in the sea; there were faces as S\\'cet and luscious and as tempt in g
as s tr:iwberri es floati ng in stainless saucers of richest cream; there
were eyes as radiant and as sparkling- as those glitteri ng gems tha t
adorn the bosom of the sky, and rob th e nigh t of its gloom by
bri ghtening the sha<luws with the silveriest tintings of richest lustre.
Yea, these arc a few of the m~ny seductive witcheries which wreathed
with ga rlands of r:ipturc the cou ntenances of the g uests.

The t\vo speci mens given in Exercise 5 illustrate another
important aspect of in sincerity, besides showing that it may
proceed e ither from ignorance o f the s ubj ect or from intent
to flatter or dece ive . Th is other important aspect is the µ.trt
.that <.1•ords play in the effect of sincerity. Even if the reporter
had meant all his pr;1isc honestly, \Ye should find it ha rd tn
accept it as sincere ,,·he n it is \\'riuen in such a style. The
high-school student wh o wrote on "H uma n Barriers" was
strugg ling n ot only with a subject about which s he knew littl e.

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but also with the false notion that she must use words rather
impress ive a nd o nl y half understood. If she had stopped to
th ink she would ha ve know n that blig/1ti11x ca n never fm mote the de11elop 111cnt of a nythin g; tlut brrrrirrs Jo not
rle11e/op; that sonrcr, 011err11111 e, t:zl.:r t!tcir nl/lrsc, ba<'lllC
mas ters, all suggest different and incongruous p icture ~ . She
should have asked what a shade of life is ; and how the
devouring of one bird by a nother, or the hunter's careful
aim, could be called an 11/istadc. If we arc to make any true
impression on our readers, what we write must not only be
our own but s1·rm so; and therefore we must make not only
our subject but also our words our own .
Following are two exa mples of sincere and gr..:;1t ll'ritin g·.
Each writer me;:in s \\'h;tt he s;:iys, an<l says it, never stu11ping to
think whether the \\'Orel he uses is brgc or smail, if it fits his
thought. li he wanted to speak of supper, he \1·ou id nut ca ;;
it e-11cni11g 111ra/; nor would he pick up \Ynrn-o\1t phr:1scs
like t!te rommo1t walls of life or f esth1c t!tro11,r; any more
than he would wear clot hes from a secondhand shop. His
words, like his thoughts, are his own.
The first exampl e i!; the clm;i ng paragraph of \\' cbstcr's
reply to l bync, a powerful speech delivered bciorc th e Cniteci
States Sen;ttc at a time of high cxcitcnw11L whl·:1 !1i ;rny pc·.,plt·
thought the Un ion was in cla nger. W ebster l01·cd the l r n inn
and the flag which stands for the Union - that g<11:~··(011s
c11sig1t of lite rrpub!/c. Twenty-two yea rs later zts lw ;,ty
dying, he watched the fla g fioat in g on the fi:tc:·;;wil outsiti e
his window. ft was st iil undi~·dion o red. f<lr he died bdtJre
the C ivil \Va r drench ed the la nd in fralt-r11,i/ M(l(/d. These
are his word s :

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\·Vh e n my eyes sh:1li l•e turn ed to behold fur tiie last time- th e
sun i n hc:avcn, n1ay I ll (Jl sec h in1 shining- on the br11k c:; 1 :ind di s-

honored fragments of a o nce glorious U niun: on States dissc·vned.

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8

FIRST BOOK OF COMPOSITION
discordant, belligerent; on a land rent with civil feuds, or drenched,
it may be, in fraternal blood! Let their last feebl e an d lin ge ring
gla nce rathe r behold the gorgeous ensign of the republic, now
known and honored throug hou t th e earth, still full hi g h advanced,
its arms and troph ies stream ing in the ir original lu stre, not a stripe
erased or polluted, no r a single star obscured, hearing- fur its motto
no such miserable intermgato ry as "\Vhat is all thi s worth?" nor
th ose other words of delusi on and folly, "Liberty first and U ni!{n
afterwards" ; but everywhere, spread all over in characters of living
light, blazing on all its ample folds, as th ey fl oat over the sea and
over the land, and in every wind under the wh ole heavens, that
other sentiment, dear to every true American heart, - "Liberty
and Union, now and forever, one and inseparable!"
\VEBSTE J\,

She went into the room, where Clive was at the bed's foot. The
old man within it talked on rapidly for a whil e; th en again he
woul d sigh and be stil l. Once more I heard him say hurriedly,
"Take c:ire of him when I'm in India"; and then, with a lwartrcnding voice, he c:illed o ut," Leo nore, Leonore 1 " She was \rneeling by his side now. The patient's voice sank into fain t murmurs;
only n moan now a nd th en ;rnnounced that he was not asleep.
AL the usual evening- hour tl1LO chapel bell bcg ~n to toll, and
Thom;1s Ncwcom e ·s hands outside th e lied feebly beat time , And
just as the last bell struck, a pcculi;ir swcel smile shone over his
face, and he lifted up his head a little and quickly s;iirl "i\dsum ! "
and fell back. It was th e word we used at school wh en nam es are
called; a nd lo , he, wh"sc lwctrt was as that o f a little ch ild, had
answered to his nctmc, '"H.l s tood in the presence of the 1\faster.

f

I
i

.I

9

EXERCISE 6 - Oral
SINCERE

\VOl~l>S

FOR SINCERE Tl!OlJGHTS

\Vhat words of vVebster's do you never use? \\.hich
have you never heard spoken ? \Vhich have you never seen
before? Answer the same questions as to the parngnphs
from Th:.ickeray. Show by lists how \Vebster, rising to the
importance of the occasion and of his message, uses brgc
and somewhat unusual words; yet Thackeray , writin g 1Jl the
most solemn and truly awful of subjects, uses the simplest
and most familiar vvorus.

"Reply to Hayne"

The second exampl e is Thackeray's account of the death
of Colonel N cwcornc, Clive's knightl y father:

T11A C KEl\A Y,

SINCERITY

"The Newcomes"

EXERCISE 7 - Oral
USING NEW v\"ORDS SINCERELY

From the two selections just studied, choose five words
seldom or never used by you, yet weil understood. u~c each
in a sensible sentence to show ils meaning. Find five 11urds
that you could hardly at present use sincerely. I low much
can you learn of these five words by carefully noting the sense
that they have in context?
This chaptcr has hc<;n conccrncd chiefly \\llh nw;111111~:
wh:-it we say, and with not sayi ng wh:1t we cln nnt m c;1;1 th:.it is, with sincerity of thought and of 11·orclc:. I n<ncni ~ 1·
of thou g ht comes chiefly from ignorance of the suhjc·cc,:
insincerity of words, from a purpose to fblter or deceive, ur
from laziness. All the rest of this hook is chief]\· conclTnccl
with saying what we do mean; for the ability l~ do this is
not merely a matter of wishing to tell the trulh, nor can it
be gained in a minute o r without persever:.ince.

,,

GOOD FORM

In this chapter the very simplest rules of form f1 1r \\Tittrn
work are gathered, rules that you have learned , or should
have learned, before. The mere memorizing of these rules
a nd the application of them in a few exercises \\"i ll, ho\1·cvcr,
prove useless in fix ing- habits. You must appl y the _rules IT1
every bit of writing that you have an opportunity tu ov.

CHAPTER II
G-OOD FORM

Lon g ago you learn ed so mething of the form in which
or:d ;_rncl \\'ritten speech should he presentl'd . Fr.,rn <11w
point of view the whole expression of vour thought in words
m ay be considered as form; from another point of view, only
the more m echani cal part of th is expression is included,
namely the a rticulation of lette rs, the upward and downward
in Acctions in speech, the correct grammatical rdatiuns of
wurcls, Llw h:u1dwr1Li ng, spci i 1ng. punctuation. placing of
material on the page - aii the outwarci means of m;i king
your th nut;!it qu ickly a nd <·;1si1y unclc rsloud. Sunw ,,f Lile·~ ,·
points especially applying to written work will be considered
in this chapter, and furth er exercises in good form will ii>llow in other chapters . Only the simplest and most important
rules arc mention ed ; you cannot afford to nq; kcl o ne uf
them .
The mechan ical part of cxpn·ssion "f thought i .~ <lcc idnl
by custom, the custom of our times and of our lang uage.
There is not much need for reasoning about it. \ Vc must
simply find out what th e best custom is, :incl then form
h:tbits of following it wiUioul gi\ing iL much tho ught or
attention . But to form th ese habits takes consta nt attent ion in the beginning. You r aim should be to do correctly
without thi11!.:i11g at the end uf this year many uf these mechanical things which mm· use up s1)mC of your thuuglit and
encrg-y. Take pa ins no1v, l•l save J-'<llllS later.

11

I!-XERCISE 8 -

I':
~-·i~''""'

1=-

Oral

Compare the twu Vl'rs1nns <>f tlw com1><•S1t 11Jll "11 1'·1.:..;c· 1 2 .
vVhat m atte rs of fo rm have b<.:en corrcctc<l 111 the scumd ?
Not ice gc-ner;-il :1ppcarancc. handwriting. placin;:;. s;wllinl::.
punctuation. p; 1r;1graphing. \Vhich is ea si er tu u11 dnst:u 1d?

;

;·

./.

J' I' LI',\ " ,\T Jc) N ( 11: I' ,\ I' I ,

~-

l.

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-! ~

].'1 >H. \1 I.'-:

":---

\ ; F'.\ 1·.1-'..:\ I.

,.

I. Place the title, correctly capitalized. 0:1 the first ili1C
nc-ar the rn 1ci •lk .
2 . T,cave a margin of ;1t least :in inch :1t th e left-ha nd side

of the pag~·.
3. Leave no m eaningless spaces at the right-lnnrl side
of the page.
4. Inde nt the first lin e of eve ry parag-raph, nr group of
sentences "n ,,ne t"pic . :tt least half ;rn i11 li1 lw1·11:1 ci t1 1c
n1~t r~ i n of \\Tl ling .

5. Never indi cate a n ew paragraph unless tlwn · 1s :1 1, ·;1 i
d ivision of the thought.
6. \Vrite legibly and neatly; use ink, unless <>lh1:T\1isc
I

'
:--

-~;--

10

J

directed .

.,
1.

_.:

FIRST BOOK OF CO MPOSITION

GOOD FORM

3. S he was not in any hu rry, she just played a long .

EXERCISE 10 - Written and Oral

4. T he captain is s tand ing in the doorway, he loo ks very neat and

clean beside the ot hers.
5. First th e ma p is what pu ts them up to this, if it had no t bee n
fo r t he map th ey would not have kn own anything a bou t the treas ure.
G. Silver, when they la nded nt n port in Spanish Am eri ca, had g ot
some of the money and gon e, he was ne ve r see n after this.
7 . The trees by the pon d were mos tl y maples a nd willows, they
were all bare now, standing out against th e skv.
.
8. \Ve sa w the long, solem n procession " ;inding up the dusty road,..
1t was passin g the cemetery.

L ook over all th e th emes you have wriuen :rnd collect any
e xamples of the com ma hluncler th at you find. l h in g them
to cl ass fo r yo ur cbssrnates lo correct. The best 11·;1y l•> Jinu
these blunders is to read your work aloud .

Rule 3. Use a
1'flation 1nark t o

9. Th e trai n started, we were not more than two rods. from the
sta tio n, but we missed it.

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10. A lo ng the meadow path beside the b rook th e two childre n rambled happily, they chased buttcrllies and p ull ed the heads off daisi es,
n o o ne saw th em slip under th e fence.
11. \ Vhoever ca me to th e doo r .was kindly rece iv ed , mother was the
most trul y hospi t:1ble perso n I e\·cr knew.
12. The cactus bl oomed on Christm:is Day, it was a del i ate pink
thi ng, as frail-loo king ;:is a bub ble.
13. My lamp must be broken , I canno t turn the wi ck up or do wn .
14. \ Ve followed ou r g uide th rough a low sto ne gate way, th e courtyard inside was a scene of confusion .
15 . The win d mill was clacking fu riously, a s trong breeze had sprung
up from the south.

16. No o ne ever ca ugh t a fairy , that is no proo f th at fairi es do not
ex is t, ho weve r.

17. Tommy reached out to se ize th e ca ke, hi s little thin hand trembled so that he could hardly chsp th e shiny, white, swee t morsel.
18. O ur horse used to be a famo us race r, she will g ive us a sample
of her forme r powers now an d th en.
19. I li ke hi ckory nuts bette r th a n an y ot he r kind, th ey are good fo r
cake or ca ndy or in any wcty you choos<.: to ca t th em.
20. A sea serpent is us ua lly supposed to be as impossible as a mermaid , the re is so me truth in th e talcs abo ut the m.
21. The workmen in th e fiel ds were " turning out " fo r th e night,
they all had a wo rd of chaff with McTurg.

q11cstiu11

dose

marl.:

/(I

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tjllf'S/i,111 , tll t 1·x ,I1-

1111 ,·xdamaf1J1)' c.1fn ·ssiot1 .

EXERCISE 11 - Writtm
The~·e

first three rules cnver th e punctmtion :rnd caj'i t:dization of the se ntc lll'C ;is a whole. l'unct u;1tc correctly the
sentences in the fvllvw in g µaugr~l ph
vVh at a cozy littl e rnom thi , is the rn on1e nl I "pcncd lil<' i),,"r i kli
in love with the plan: do v1)u see the g rt>at 01wn fi replal'C ~l 1h , · l'nd ., f
the room it wil l hold a four -foot log u n th e s t.rn e "bnvc it yo u """ ; )ie
m otto of good chee r o n each side is a ni :rn y .. pa ncd window 1hrn1Jgh
which comt:s a gl impse of the g:ude n th e windows arc fr:inwd in bril liant red 1c:-ives of woudbi11e is th e re anything so hunivlike :1 ~ lJ.. ,, }.:...; :1111 1
a fire he re a re a ll kin ds of bouks ran gn l in cases o n ''"ch side uf the
room what treas ures fo r a rain y day who knows wh elt cklightful co111 ·
radcs a re shu t between those cove rs where sha ll 1 lwgin hnc is tlw
eas iest of easy-chairs I will pull it !Jd,,re the fir(' cind Stlll ;~ gk <J ,, " ·n in
luxury wi th the " Arabian Nights" from the top shl'lf in tl•c c" rn n my
letter to yuu must \YJ.it.

Rule 4. Hegin witlt a capital lett<r c111' l)' f>rt>f'r ' r 1!ll11!f' <f
a person or a place, e7 'CIJ' word dt'rived from 0 11(' {If tlffsr,
and initials or abbrn1iatz'ons of //1 cm .
EXAMPLES: John , Eng land, Indi a, Indi a n, En g lish, Ameri can,
French , R . M. Ke ll y, D.D. Frcej>ti1111s : N,1mcs of pbccs arc nN
capitalized whe n join ed to the name o f some art icle of commerce so
co m mo nly associa ted with the place that the two names ;ire taken as
one; as chinaware (or china), indi a ink, persian ribbon.

,,

16

c;oon

FlRST BOOK OF COMPOS ITI ON

EXERCISE 12 - Oral

Nu-rn . \ Vhen quoting poetry always drop the verse to a new
line on the p;11_:,l·; lh'\ 't · r n111 it in ~t s if 11 \\"l·n: pr1 > ~..__._

i\s Browning

says

in " I lcrv0 R iel,"

rif lite

the ful 10111 ng

i
l.

Rule 7. Begin witlt a r11filal lrtlrr a title rif lto11or used
wit!t a proper name or ins/cad

Give the rule gm·crn in g the use of ('ach capital kttn in
~

"Praise is c.leeper than the lips."

tli111ff.

ExA~l l'Lr:s: Colonel l\oosevelt; the President; \\l onclrow \Vilso n,
President of t he Un ited States.

Rule 8. Begin <11iti1 a rap£tal /('ftcr all sj>cci,r/ 11amcs
applied lo dcit;1.

I

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~

sc'illl'lh«.·s :

1. I know nothing in En glish or any otlter iitn;iture 111on· :idr11ir;1 hk
·· Tl 10111as B rvwil e,
' "1:vnv Jllan trulv l1n·s. s11
than that sentiment o f S(r
.
.·
- 1.
u[
long as he acts his nat ure, or some way makes good the LKu Ucs
1

hirnst·IL '

2. The old gcntkm:in 11ppoS::c all

·

'The ~p;u.:i(ius (innan1cnl un liq..:li,

:~

Bcw:lrc of rash
inzi\

l1l· , 111

ti;,- ;i1 j/ " "'''' ,~/

\;1 1ugh

\11

tht· rt•U ~~ h

.t \\11 1! t1 ]K ,ll

in .\ugu~t

1Jl:1y

;uhi :1qn11 ~. t·11t

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wm:~•'-•i ~i
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1111,/ ti11· 111/o;ffli1111

0.

\"Olli

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l1Cf' l1

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it;il l-.:.
4. J)i, ; tl)ink th.it tht· p;ntic11L-i r fnnn (1f lying 1lftt...·n s('t'il ;: ' 11, . .,,.. . ,
11
1
Fr111n our F1lrci.;...::n Currc~ p ·ini i t·rot." lL··· . . , <1 i :'.
p:tpcrs . un <,cr
t 11c t·itl• ·..
h :irrn? -----\.Vhy, no : i dnn't think il <lnc-s . T supp 11sc it d•)•·sn ·l
I "1\ r;.1 b.ia11 ~N'· 1g l·t.s
really cif·ccivc ·people a ny inure than tic
1 · ' u 1 n l;u llin.:r ·s
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fruit

.1ndtl ·ut\,h1ll1 '.

c: !lt·11 \t..·111(

it

Arthur cried out to Bcdivcrc. " \Vh at saw,•st thou?"

<Tlti\ ·i--;nh,

.ni turnn

up hl'nl·:ith thl~ s;iint ·

ti11· f'ru!/01111

t'"-'t·;· r i·:id

Hc ~topped . as if startlec l I)\' our S(·1 e11c-c. anc1 a f ~1int flu s11 1: 1n t•;1 1w1
n eat h the thi 11 white hairs t.hal fe ll upon his check . ,\s I l••"kcd '"''"" '·
I w;-1s H.'!ni1v-l1·d nf a ~hnw l t 111CC S ~ l\V ::1t the i\iusct:tn, - 11~\' s.Jci·pi 1 1~~
lkautv, [think they cdlerl it. . . . Our Celtic Bndgd, ur J;i._idv. ts '.'"L a
foulisl~ fat scullion tv J;urst out c rying fur sc:JJUrnc:\l . . . . ~he cuurd 11 t
set thC' pht(' clown while th <' nlr1 gentle m:rn w:1s S\>e:tkinc: .
~tlJ\(kmn

Rule 12. ( ;1pitali:x

r

\Vith ,,i\ th« l1luc ethereal sky .
And sp.tn g lcd hcavl'.ns. ~'

Rule 10. Ht;r;z·n willt a ,·41i/11! lf'ltrr n1wlf's of tltill!:s
pcrsomfi1'1/.

;( ·it/1 11 1.1/1/,i/ l<!l1F

,

in a clear, loud voice for h is vea rs,
n

Ex1H11· 1.1·: : Thi s ye:1r Chri stmas <-;11ne un Saturday and J:rn11ary
will begin 0 11 Saturday, too.

Rule 11. /,\ ~~i11
dircd quo!a!t.un .

1

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once as c.c«I nw . '· ,
anvthin cr better than Pnpc 's" Essay nn 1\T:1n .'' J le w:1s h>n11 11( p(•l·1ry
~hen h~ WJS a hoy, __ his 111 pLhcr taught hin1 to s;iy 111an:-· l1ttk p1nT-'-' ,
-- he rcn1cn1hcrcd one beautiful hyn1n; an<l the u\J gentle1n;:in l1q~:in,

"Ye :ire the children o f the Great King."

Rule 9. Ht:i.:·i11 witit 11 cr1f'ilal lf'lfrr wmlt's 1if mon/lts,
!to!idaJ1s, and di!J'S 1if tltr· <wd.:.

EXAMl'LIO::

t:.

l E·' lep I1an t ; but as I Jud the ~!easies,
EXAMPLE: l\ly !Jrot hcr saw tic
could not go ou t to see tli c l 'aradc.

hne qf p1h' /1;1.

EXAM l'L E:

'
'.

Rule 13. Ne 11er use capital !rtlcrs mca11i11glessly.

Rule 5. Ht:i;·in wilit a r1rpita! lcttrr lite jh-st allll every important <oord in a ti/le. For ('Xamp lcs, sl'C lite lists of tl!c111e
titles i1t 11ario11s dwf'lcrs of t/1is boo!.:.
Rule 6. B1•g-i1t witit a r11.pital lc!ter ti1 c first word 1'1t c11uy

EXAMl'LE:

FORM

·rra\'cls '' d 1J.

i

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18

FIRST ROOK OF COMPOSITION

5. The Puritan Sabbath, as everybody knows, began at sundown
on Saturday evening.
6. Our brains are seventy-year clocks. The Angel of Life winds
them up once for all, then closes the case, and gives the key into the
hand of the Angel of the Resurrection .
7. The True Knight of Learnin g, - the world holds him dear, Love bless him, Joy crown him, God speed his career!
8. I think myself fortunate in having the Poet and the Professor
for my intimates.
9 . The second of the ravishing voices I h ave heard was, as I have
said, that of a nother Germa n woman. I suppose I shall ruin myself
by saying that such a voice could not come from any Americanized
human being.
'
10. vVhat can be more trivial than that old story of opening the folio
Shakespeare that used to lie in so me ancient English hall and finding
the flakes of Christmas pastry between its leaves, shut up in them perh aps a hundred years ago? And, lo! as o ne looks on these poor rel ics
o f a bygone ge neration, the universe changes in the twinkling of an eye;
old George the Second is back again, and the elder Pitt is coming into
power, and General \Volfe is a fine promising young man , and over the
C hannel th ey arc pulling th e Sicur Oarnicns to pi eces with wild 1... rsc",
and across the A tlanti c the Indians are tomahawking Hirams and Jonathans and jonases at Fort William Henry.

Jlqu1Es, "The Autocrat uf the Breakfast-Table"

EXERCISE 13 - Writtm

Supply capital letters, periods, question marks, and exclamation marks :
1. !1ul what a~e these g-ra\'e thoughts to thee

out, out into the ope n air
thy only dream is liberty,
thou carest little how or where
2. o hnly night from thee- i k:irn to hc:ir
what man has borne before
thou layest thy finger on the lips of care
and they complain no more

GOOD FORM
3. when descends on the atlantic the gigantic
storm-wind uf the equinox,
landward in his wrath he scourges the toiling su rges ,
laden with seaweed from the rocks:
from hermuda's reefs; fro m edges of sunken lc<lges
in some far-off, bright azure;
from haham:i, an d the <lashing silver-lbs hi11,.:
surges of san salvadore
4. Monk. is this the ruad lo Scguvia
Shepherd. it is, you r reverence
l'llonk. what is that yomkr in th e v:iiiey
Shepherd. san ildefonso
Monk. a long way to breakfast
Shepherd. ay, marry
Jl..Ionk. are there any robbers in these mount a ins
Shepherd . yes, and worse than that
Monk. what
Shepherd. wolves
Monlc santa maria

Rule 14. J.::11dosc in q11otatio11 mar!.·s c~1r· 1y din«:! !Jlll'!ali"" ·
Nryn:

1.

Be sure lo place quotation marks at tht: mrl as WL·ll as

at the begin ning of a quol: ttion .

NO'n: 2. If unquoted explanatory words interrup t tl1L' qu.,t:rtion. be sure to enclose the quotation on each side ,,f them with
quotation marks.
EXAM Pt.ES:

g-et their

"There are others in the party." s:ti d lw . "C:m't
., "l am afraid," h..: replied, "that I can not."

\«!ll

ron~ent ?

Rule 15. vV!un t!tc cxfla11atot:J 1 <l 1orrls_follr1;c tiff .;110!11/i(l11 .
close t!te quotation wit!t a comma unless it is a q11t'stio11 or
an exdarnation, - t!tat is, 7.v !ten tlte n•ort!r q11o!cd <<'01t!d

end ·wit/1 a period if 111117110/rd; if tluy <uo11ld n1d «·it/; 1111
exclarn,zli1111 111ark or an i11!t' !7'0ga!iu1t point, r/(I 110! d1<111,i;1 ·
these mad.'s in q11oli11g.

20

FIRST BOOK OF COMPOSITION

GOOD FORM

I am here ," replied a voice.
" vVho arc you? " J asked.
" Hush! " was the only a nswer.

EXAMPLES: "

PUNCTUATION Of <1VOTATJUNS

Sentences containing quoted words in direct discourse arc
of three types according as the explanatory wo rds " IIc s;1id,"
or their equivalent. precede, follow, or interrupt the. qu 11 t ~·rl
words. The first three gro ups represent these types; li H.:
fourth "rGLlj) is equivalent to group II \\·ith other scnk11cTs
added. "'Th is last addition rn ight, uf course, be a \\ lwic ]JJ L.lgraph, and end punctu~1tion might \'ary.

Rule 16. l/Vlten tlte cxplm1ato1J 1 <<•ords frt'cedc tlte q11otat ion, set tltnn o/f .from it !')' a comma . Somctinus a longq11ota tion £s introduced bJ' a colon .
l summoned up courage lo shout," lJo you need help ?"

EXAM Pl.ES:

21

At the punch·howl's brink ,
Let th e thirsty think
\\Th at they say in Jap:rn :

>'

" First the man takes a drink,
Then the drink tak es a drink, .
Th en the drink tako.;s the man."

1. He said, "C ___ -2. He ~aid, " C _ -·--·-·
3. He said," C

!"

EOWAHD ROWLAND SILL

Rule 17. TV/ten t/u: cxflanatmy words intnnrpt tlte q11otation, sl'I t/1cm 1?/f from it 0 1t botlt sides by om1111as, ·if tltey
break into a sentence.

II

Is there a single boy," queried the master, solemnly,
" who will dare to tell the truth? "

c

5.

!f

6.

"c _ _______

EXAM Pl.E: "

"

I'm Jason," he replied defiantly, "and this is the

Argo."
"I can't he lp it," he repli ed. "It's th e best s<irt of A rgo I can
manage, and it's all right if you only pret..:nd enough ."

,.~

(" lie s;t id .

·~
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---· ! " he said.

. i.,

.

Ill

N1rn:. If the explnnato ry words come at the w;/ of a quo ted
sente nce, H. ul c r 5 appl ies, whether anothe r quoted sentence follows
o r not. These wo rd s ;ire. of course, the n ftJllowed hy ;i pcri<x l,
and the next quoted sentence, like every other sen ten ce, begins
with a capital letter. Jf the unquoted words break into the midst
of a sentence, the second part docs not, of course, begin with a
capital letter.
E XAMl'LES:

_ _," liesetid.

4. " C __ _

7. " L ________ __ -· ____ , .. he s:Ji<l ,

0

I.e. __ .__ _____ ______ .

8. "C
." he said. "I.e.
9. "C _ _ _ _ _ _ __ ," li t: s;1id, "I.e .. _

' "

IV
f-

10. "C · - - -- - - - ,"he said. "( _ _ _ _ _ _ __ , ··
11. " C _
( " he said . " C
! " he said. "C. __ .__ _ __ __ !"
12. "C

Non:. C = capital; 1.c.

=~mall

letter.

~-·.

22

boy
girl
Bess
bird
cat
dog
horse
J ack
man
Am erican
preside nt
pope
husband
parliament

EXERCISE 14 - Written

Punctuate and capitalize correctly the following quotations:
fire fire i sc rea med fra ntically
wh ere cried ha!, leapi ng up the stairs
i "ran before him into the nursery , seizing a rug as i ran , and
half sobbed oh be quick
eleanor and robert were standing just where i had left them,
watching th e leapin g flames run along the curtains. mother shouted
rob in an almos t delighted tone i fink we've got a fire
eleanor, run to the telephone i said as calmly as possible and ask
central to call the fire engin e take bob with you
no cried hal hastily it 's all over don 't get a ny eng ine to deluge
us stop, elea nor
i di scovered a heap of blackened curtains smoking under a rug
and hal examining a singed hand

servant
comrade
playmate
friend
Arthur
Boston
Chicago
England
Mr. J ones
Shakespea re
L1nculn

city
wife
Shays
111

contractions.
EXAMPLES:

I'm, can't, it ' s(= it is), we're, doesn 't, don"t, is n' t,

have n't, let's, etc.

ExA ~ll'L ES : J ohn"s, Bess·s, cat"s, men's, g irl 's, Burns's. Burns' is
also correct, though JJ11ms" s is to be preferred. Carefully avoid placing
the apostrnphe before th e s whi ch ends such words as Dirkms, H olm es ,
and A'eals.
·

EXERCISE 16 - Written

Supply ::ipostrop l1es w h ere n eeded ·l n the follow in...L".
give the rul e governi ng- the use of each :

N uTE 1. Use the apostrophe and .r after all n a m es e xcept plurals
ending ins (as g irls) ; after these u se the apostrophe only.
NuTE 2. Never use the apostrophe to show possession with its,
lzcrs, yours, ours, theirs, his, whose. i t's means it is.

~• nd

~-

.

1. I ts a "pity its wing is broken .

z.

Lets play soldiers a nd Ill be captain.
3. Hers is as happy a face as yo ull sec in a days journ ey.
4. The gi ris books were in worse conditi on than the lx •ys.
5. "Tw;us the ni ght he hrc Ch ri stmas ."
6. "Howeer it be, it seems to me
Tis only noble to be good."
7. "And he who follows Loves behest
Far exceileth all the rest 1 "
8. \Vhose book is this with its covt:"r torn?
9. Havent we had a happy day?
10. "I ve said my seven times over and over."
11. "O bumblebee, youre a dusty fellow."

EXERCISE 15 - Written

Use in sentences possessive forms of the following names,
both singula r and plural, if a plural be possible. Use also the
plural, not possessive.
general
colonel
li eu tenant

fortune
lo rd
mayor

farmer
doctor
lawyer
ci tizen
policeman
a unt
uncle
cousin
mother
fathe r
siste r
brother
government
captain

. Rule 19. Use lite apostroplte in place of omit/rd letters

Rule 18. Use lite apos/r{lpitc to indicate tile possessive
.fonn o.f C7 'C1J' name.

·washington
Mary
lady

23

GOOD FORM

Fll\ST BOOK OF COMPOSITION

'.r·

•
\.

s

l'.,.

FI RST BOO K OF COMPOS ITION

25

GOOD FORM

12.
13.
14.
15.
16.
17.

The ch ildrens voi ces sou nded tired .
We fi ll ed the horses mangers with hay.
The cond uctors tone was impatien t.
Ba bys eyes blinked sleep ily.
T he chi ldrens slippers have nt come ye t.
" Leave cm alone
And theyll come home,
\ Vagging their tails beh in d them. "
18. "If shes no t gorw, she lives there still."
19. Hows you r mother? Youre tak in g her some ora nges, are nt you ?
So l suppose shes better.
20. Heres wish ing you a Happy New Y car !

is there going to be a battle pa nted harold, hardly ahlc to keep
u p for excitement
of course there is i replied were just in time come on
w ill they be india ns in q uired my broth er (m ea ning the enemy) or
roundhe;ids t>r what
i rdlected. harold always requ ired direct straighlforw;ird answus
- not faltering s uppositio n they wont be indians, i replied at last;
nor yet rou ndheads. there ha ve nt bee n any roun d hcads 1>eton
abo ut here fo r a long tim e theyll be fr enchm en
Adapted from

1:ENNETll Gl<A H AME,

f'.·,
r·;.
·....:

"The Gol<lcn Age"

C. CO RRE CT USAGE
Rule 20. Use a co111111,i to s(parate th e words yes and no
f ro11t !he rest of the sentence.
EX AMPLES ;

EXERCISE 19 - Written or Oral

U se in a sensible sentence c jch correct form gi\"Cl1 bclo11·.
Be careful not to make the m istakes ind icated in the secon d
column . These expressions are all frequently used, but arc
childi sh or 1·ulg-ar.

Yes, he boug ht them an h our ago. N o,

wait.

EXERCISE 17 - Oral

\ ;\/hat rules for the use of the enm m:i h;wc been g iven in
this chapter? State them. \ Vhat other ru les h:ive you learned
before? J llustratc all the uses of the comma that you know,
a nd fi nd. examples in this chapter.

s ,.\\"

h;ivc\ etc.
4. had

Supply c;ipital letters and m:irks of pun ctuati1,n orni!tnl
m the fo ll owing :

[) _ i !,l\T tu
6. have somebody do something

7 . teach s0m1:body

lets pretend, suggested h;irold, that were cava li ers and roundh eads; and you be a roundhead
well then he began afresh lets pretend were kn ig hts of th e ro und
table; an d (with a rush) ill be la ncelot
what is it in qui red C harlotte, sitt ing up and s haking o ut her
cu rls

i stood spell-bound for ;i momen t lo nger, and then with a cry of
" soldiers" i was off to the hedge, charl•Hte pickin g he rse lf up
and scurrying after

I

lH~
10 . ~he ~ dot.·s

-'1"773

11 ' t

11. ought '

·

iud of, had have
haf w
have so mebody to do somcthinc:;
learn Sf)1nebtH.ly su111ct.l1i11b
.
done ~
\. an vt h1 ng
any on e {
has d id)
,
(se en
I
.
a ny one"\ .
J•anyth111g
.

s he

it
( 10

. . ---+~ ....,.~,

ain't
ain"t got. hain "t got
m ust of, could oi. wnuid n f, etc.

he

j

it

-::~~

~~ -~-t.~~i·:~,~~>;· !'''

~omcthing

did
}
h'
8 . a ny one { has do ne anyt mg
r c;:iw
""l
9. a ny o n e~ ·"
~ anvthing
l h as seen ) '

'"
\%»:ip@l .• J4

NFVER SAY

1. isn ' t, aren't
2. have n "t, has n "t
3. must have, could have, would

EXERCISE 18 - Written

l to l1ave

..,

.\

,,

·:t~"'

Lhas saw

I
~don't

I

J

had ought

.

•)

FIRST BOOK Of COMPOSITION
GOOD FORM

SA\'

NEVER SAY

12. ouo-ht {not to
"'
not to have
13. there are { many, a few, two
or more
14. you were
15. could} hardly
can

l

had
17. have ! no, none, nothing
has
are
}
18. is,
was, were no, none
19. the man
the woman
20. this, that, these, those
21. himself, themselves
22. those boys, those books, etc.
23. the person who or that}
the thing which or that
24, benveen you and {

26.

27.
28.

there is many, a few, two or more
you was
coulcln"t l
can't
) hardly
don 't }
didn't hard ly

16. hardly

25.

/J.

hadn't ought

~~:

her
th em
wantf to go out, in, etc.
l to get up , down, etc.
r studied
went
as far as
read
very good, pretty, etc.
off

I)

l

hadn 't I
haven ·r ~got no, none, not hing
hasn't
isn't, aren't
I
was n "t, we re n 't J no, none
t he man , he
th e woman, she, etc.
this here, that th ere, etc.
hisself, theirselves
them boys, them books, etc.

J

the person which

betwee n you a nd {

l~ e

she
they

w:int in, o ut, up, down, etc.
all the farther I got
real good, pretty, etc.
off of, off from , off 'n

.~

BUSINESS LLTTLJ\S

The form of compos iti on most frequently usni (i\:t~ i dv uC
school is letter-writing. Nearly every one \\Ti tcs fri,-;; dly letters or letters of business, letters inquiring prices, orcJcring
goods, directing \\·orkmcn, :nid the like . Crn1:.cquc11tiy kllc: rwriting is th e form of composition that we most quickly
recogn ize as of prac tical value.
Hut in spite of all thi s, thl'. b et remains th;it: onh· a sm;111
proportion o f 1woplc \Witc a g ood business lette r. ~lt1ch ni
th e criticism that business men pass on th e work of thl'.
schools is caused by the: poor letters that come to them <hy
after clay. A g rt_·:tt (k-:il of time is wasted and 11wncv lust lwcause customers t:x press thc-rnsvl ves poorly or 1nc< >mpkLL·iy
in their letters. Why? ls it that th ey do not think \1· hat
such letters demand ?
What does a good business letter demand ? Fir:.l, a form
that is practically unvaryi ng, a form from which tlic read er
can in a m ome nt tell where the writer lives, wh en he \\Tote,
to whom, and, finally, who he is. A g ood busin ess man \1·:-in ts
to g ive all th e tim e necessary to a p iece of work, but no more.
With him time is money . Consequentiy the \Hi ter w i10 fuil<.ms
the commonest form of letter-writing will get himsdC unde rstood best ancJ most quickly . Some parts of that form may
seem unnecessary, a useless relic of olde n tim es ; but unt il
custom changes th ese parts, we can save time for oursch·es
and our correspondents by doing as others ciu.
No one has a good excuse for makin g any error in the
form of his letter. First, one must memorize the fo rm . a nd
then he must use it again and again until he has ga ined t he
habit of writin g it correctly. Following are model forms,
showing also the way letters arc placed on clifkrcnt sizes
of paper.

}J.f
~I'

28

GOOD FORM

FIRST BOOK OF COMPOS ITION

PLATE IV
l' L 1\ TE Ill

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dle.6on Qrf;.;u ;,e.-tJ,;.tJ,,

i

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,

{J c/c,n/, c:J·Z1 e~/a,
d~,,,7

....,

I

I

,5, -17-1 .1

I

II
I

I

-2
2

3

3
4
4

/ oa-1

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"··

I
I

I

01tr.

'.J.§o /,';,,It

_/,

V / 1?.f'' .

"

r/

.

4

( ' / ; f'I

5

~ .

G

I1=
I

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4

444
7/ ..n
. r.t1~/r.J.
.

..
.<! . /~',
:1·

5
6

j

,. ,

1'

'

~J

,

n/1 1/-

~ ';/ ,.,, /

.

/rl/

30

FIRST BOOK OF CO:\f POS rT! ON
COOJ> FORJ\1

The_ six formal parts of a business letter, which a rc numb~ recl 111 _ the m odels, arc : ( 1) th e head in g , ( 2 ) th e address.
(.))
. .
l . the salu tation, (4) the bod)' of the lette r , (S) tl ie lc<1veta .: 1'.1 g-, or compl imentary close, (6) th e s ignature .
1 he heading ( 1) should be pbced one or two in ches from
the top
th e page and so spa ced ~1s to .leave ;1 sm;tll mar.rin
a t the nght. Th e h ead in g may fol l into one two three "'0 .
f
]'
,
,
' I
even · our m es, depend in g on how mu ch it must contain.
V ery larg:. o r very obscure luw ns de mand more detail than
othe rs . (,1,·e 111 the head in g all the in fo rmati o n that the
mail ser vice needs in finding yo ur home.

?[

-~-he head in g also includes the r/1111 ·. This s hould never be
o m itted, a s ~t 1s often impo rt:mt whe n reference is made to
~'.1e letter. 1 he order g iven in the m odel (Janua ry 5 , 1900)
is that g e nerally used, and though a strong argument may
be m~de fo r a. more lo0ical order (5 January, 19 oo), custom
both m ~~1 ~ nca and tn England, th e home of propriety
m letter-w_11tm g, has ce rtamly approved the fo rm er order.
Many busmess ho uses, but n ot those m ost ca reful of their
custom,
wri.. te 1;. 5/00. Th is shou ld be <1vo1
. ·d c d f o r two
..
1easo ns : hrst, 1t shows un seem lv h as te · scconcl ·t
.
~ .· 1 l
.
;
'
, 1 nuy
c;1s1 y JC con fused with the order used by Q u:ikers and oth e r
sects, 5/ I / oo, in which the clay is indicatccJ first, then th e
m onth, and finally the year. In matters of business one
cann ot be too exact.

~fh e ~ddress (2) of the person or firm 'to whom the lette r is
w_ntte n is placed on e or two spaces below the date and be rrin:.
n mg at . the m arg in o~ the left. This is, of course, partly a
conventio n, but no~ 111 f1~equcntly letters go astray and may
by this address be 1dent1fi ccl ; and in large correspondence
where .letters are placed in en velopes by clerks, this addres~
preccd mg th e body of the letter is an absolute n ecessity .

'
.)

l

' Th e salutation (.) ) is brgdy nwrl~ form, whi1:h \\ e fudn11
because it is the custom. l 11 bus iness letters une sliuuld u:--e
S£r or Sirs or ( ,·n1//n11n1 or Afv rlrar Sir, 1llarla111 or Jfr
dear 11 1ad,rnt. In address in g an inst ituti0n, as, fur ex;:irnpl e,
The A m e ri ca n l'atholog i1·:il Tnstit11tc, il is pnmissi lik t•1 11s1·
these forms of salutation, thoug h it is bettn lo address some
officer, as the president or the secre tary or the 111an;1ger. i\ 11
word s in such salutations should begin with c:1pital letters
except th e word rkc:r. 1\.egarcling that, cu stom varies ; most
p eople write Aly rll'cl r ,)-ir, othe rs J fy ntc1r .\ir. .-\ fter the
salutation use th e colo n or the colon a nd a dash.
The body (4) of th e lcttl' r requires thought. 1 i ;t wri ter
desires prompt a nd accurate se rvice, he has no ri ght to be
careless or ramblin g or unclear in his lette r. l fe must first
decide what h e wish es to say; the n h e must try tn .qy it ~' "
briefly and as clearl y as possible . H e must, at the s:im c t ime,
be sure to include all n ecessary information . It is for bette r,
of course, to tell too much tha n not e nou g h .
If th e writer wishes information, he should make h is questions real questions . For example, h e shou ld \\Tile, ., \\' hat
is th e pri ce of your No. 273 skates, li sted in yo ur cat a log-uc
No. 32, page 67? " n ot, " I am not cert;;in wh;1t the price of
these skates is." In eith er case h e may get an answe r ; but
if he really wishes to know, h e should ask.
In like mann er, if there are several questions or scYe rnl
items in th e ord er or several topics in the le tter, list each one
in a separate paragrap h . It is easy to do, and it saves unnecessary labor, which somebody- the customer, of course, in the
e n cl - must pay for.
In replying to a lclter one should refer to eac h question
separately, p referably repeatin g the substa nce of it; so that
t he recipient of the letter may u nderstand exactly what the

I,
32

GOOD FORM

FIRST BOOK OF COMPOSITION

writer means. ·write, "The skates No. 273, listed in our
catalogue No. 32, page 67, we sell for two dollars a pair."
Then there is no possibility of confusion .
As a rule, avoid contractions. Ult., inst., prox. (meaning
last month, this month, the next month) are commonly used,
however, in business letters. S ome people have a habit of
writing in letters sentences without a subject - for instance
" Have considered your questions," instead ~f " I have con~
sidered your questions." This may save a moment of time,
but it seems hurried an d indifferent. As Emerson has said
life is not so short but there is alw:iys time enough for courtes/
Moreover, there is sure to be occasional confusion or misunderstanding on account of this slovenliness, and more tir:-ie
will be spent in setting matters straight than can be saved
through years of such omissions.
The leave-~king (5) is to-day only formal, a relic and
reminder of days when men took their hats graceful ly and
departed with grandeur. Styles have changed in this matter
quite as much as in clothes. Once it was proper for George
Washington, even though ex-presiden t . to write in a letter to
an inferior, "I am, sir, your most obedient servant, etc."
To-day such a leave-takin g would seem as affected and out
of place as a coloni:il costume . In business letters we write
almost without exception," Yours truly," " Yours very truly,"
"Yours respectfully." It should be noted that only the first
word of the leave-taking begins with a capital Jetter and that
"Yours," like :ill other pronouns, docs 110! form its possessive
by the use of an apostrophe. I !ere, as elsewhere, of course,
abbreviations are unnecessaiy. "Yrs etc." is inexcusable.
T h e ~ignature (6) ordinarily concludes the business letter.
This should in aii cases be legible, neith er care less nor ornate.
. Some people form a bad habit of signing their names with a

33

flourish that is intended to be impressive, but is often ilkgible and absurd . If the letter is signed by another person
than the writer, he should add under the signatu'.-c the word
by or the Latin word pa, which means" b!," and his O\\·n 11.arnc
· ·· l
/' or p -r when so used is not begun \\ 1,h a
or 1111t1a s. >J'
' ,
'
•
capital letter.
.
vVh cn a woman signs her name to a business kttcr it is
not clear to a st ranger \\·lwther she is m:irried or singl ~, :ind
so he does not know how to address her in re ply. Consequently a woman should prefix to her signature fi!iss or
Mrs . in parentheses, -

as,
Yours very truly,
(Mrs.) Mary Jones.

Or she may sign her name
Yours very truly,
;\bry Jones .
and then write bdow, be ginning at the left-hand nnrgin :
Please address
Mrs. George T. Jones.
·tt c1 J\ JY1:1rricd \\· (,:.,.L1:~
The words P!t"11sr rrr11
r ro·s may l)C om1 e .
should <rive her hushrncl"s n:tmc preceded by .1/r.r.: a ,._. :,:.,,,
usually ller own name, as ,1 frs. Jfar)' Junts. l n utl1,·r ''"r1is,
a woman should indicate how she wishes letters t<> Ji,·r
addressed. Convcrsclv, in answering a letter, address th e

l_
\
I

!·
I

'

writer by the name signed .
S ometim es . for convenil:nce, the address of th e 11-;·itLr is
repeated bdow the signature. This is nut necessary, however, as it has already been given in the he;tdin g .
If a lctt -r consists vf more th;tn u1w shed, the s1 «TlS
should he ctrdu lly : 1 rran~c·d in nnkr. prdn:1bly bt.:in;.:_ 11un1bcred at the top. 1f kttcr paper, usually X by 1 o J11chcs

;"''

34

Fl RST Hoo K OF CO:Vll'OS ITION

GOOD FO RM

in s ize, has been used, it should be fo lded once fro m the
bottom, the crease .be ing n ot quite halfway ur the paper, the n
folded from th e ri ght, and fi na lly from the left to fit the
envelope. 1f n ote pa per, approxim a tely 5 by 8 in c hes in s ize
has been used , the firs t fu lcl s ho uld be up fro m the bottom:
the ~econd clown fro m the top. This m:iy seem a tri,·ial m:itte r,
but it saves t he lime and th e pat ience of the recipient.

requ estin g a reply from some one who would not he expectt·d ,
throug h fr iendship or busin ess intnest, lo reply ' '- it h•>u t it.
\ Vhen makin g :111 e nc losure of any kind. mention the Ltct,
either in the body of the ldll'r or by adding ·· Fnclns1 m·"
near th e h: ft-h a nd margin a11d below the si g natme.
The envelope sliould be addrL'S:-A'ci su th:t l lh c· p•1sl ui'li ce
departm e nt can \l'ith the k :ts t p<>ssihl c cil<>rt tkl/\ «r till~
lette r. To l h is en cl th e st;1mp must lw .Jli:-;,·d in tht· pr<> ;'\T
place, the upper ri g ht-h and corn c 1·, t.he wr itin g musl be kgi ble, and the n ecessa ry ite m s of the supersc rip tion a rranged in
the ir proper order, - fi rst the n:mw, tlwn the st rut and
number or post-of'fice ]).;;.,, th e n tiw counry, if it is n ecessary to gi \'e that. and finaliy th e slate. lf th e letter is sent
in care of some one, that fact may be indicated in a li ne im mediately following the na111 c or in lhc lower left-ha n d C() nwr.
I n all of the mode ls notice th e pusi ti o n and spacin .~ of t!w
items. The arrangement o f det :tils on an envelope uftcn
varies; it should, however, be neat and easi ly read.

/•J. .\T l·:.s V

3

I

. - - - - - - - - - - - :.. - ~ - ·' .!

·- -- - - - - - - - - - -- - - -- --------

· -- - --- -- -- -- - - - -

/' I.A T/·: \' /

I
. \ Vhe n e nclosing a stamp, nen:r, as many people do, at tac h
it to the ~ape '. by a part of its mu c ib ge . It too frequently
tc:i.rs and is rurnecl when o ne tr ies to dct:ic h it. \ Vith a sharp
k~ 1 fe cu t two par:ill e l sli ts in the P<lJX'r, <m d through these
slip t~ e ~tamp; or, bette r still, wrap it in o iled paper and enclose it Ill t he folded le tter. Always enclose a stamp whe n

I
I

.

L

(ijJ;f ;;, ,./ :,,J;,.,,
/ r:",, ,,;;~, )I ,..,.

___
......,_

I

_j

FIRST BOOK OF COM.POSITION

GOOD FOKM

37

l'L,\TE VII

It is wise to write out in full the name of the city and the
state. Likewise many titles, when used before a name or
on the envelope, should be written out. \ Vrite "l'rof..::-;s<>r
George J. l3enton," "Colonel Benjamin R . Bacon," "Judge
Lewis C. Jenkins," "H.everend John C. Overs~1TL"t . " J lu11·ever, Doctor and a few other titles are commonly abbreviated. Titles are usually prefixed to the name if they \l'ould
be used in addressing the man in speech ; otherwise, if the
title is to be written at all, it should be pbcecl in a line
immediately following the name . Never write" I Ion. Brown"
or" Rev. Smith" or " Rev . Dr. George U. Smith " or " 1'rof.
J. F. Royster, Ph .D."
PLATE IX

:·~e- omissi on on _envelopes of ;1ll pundu:1t ion ncept th:tt
ab~OIL~tcly necessary 1s often practised . In that c::ise tli e super~cn_ption would_ r~ad as follows, periods being used only to
indicate abbrev1at1ons.
"'
;:, ,:l
c./(/
/'t:_? a~ 1/t.

Pl.1\ TJ·: VITI

I

''?;·"·

( .-, ' /

I
I
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/

. -~, . , ,,fi (',j(.' !!~ ~" ·
i

t>''
.
. ~:.,:~tttte,.

__, . ... rt' /

I

James T. Lewis & Co .
216 Water Street
Winchester
Indiana

'

Punctilious writers use Esq . or Esquire after the nan11.: of
those men for \1·h om they \vi sh to shuw marked respect or
honor; but when this title is appended, no other one shouid be
prefixed to the name. One should never write " Mr. Lewis Y.
Jackson, Esquire." But this use of " Esquire" is a nicety
observed hy but few, even in friendly letters, where one is
much more personal th;rn in bu::;iness.

GOO D F O RM

39

FU?.ST BOOK OJ-' COMPOSIT IO N
A letter to Almer Coe , 7 4 S tate S treet, C hi cago.
A letter to A lexande r S tein metz and Com p:rny, who
have a store at 32 7 N orth Hastin gs S treet, in the capital
I.

D uring one year the C hicago post office hand led more than
lwo and one -ha lf bill ion p ieces of mail matter, weig hin 0c:r over
11 7 5 ,000 to. ns . Of this enormous bulk 99 •9964 pei- c en t was
1andl_ed without error, the reco rds indicating only o ne rnist::i.~e- 111 2 ~ , r 30 pieces. Bu t the publ ic made m ore th an ten
rnill10~ m ista kes in addressin g mail - one wrong out of every
1 46 ?ieces _m~u lcd, or 0 .7 pe r cent. The necessity for using
cai e 111 wn tmg addresses is obvious.
l' l. .\ TE X

2.

city of California .
3. One lette r from J oh n L. Mackl in 's wife, whose nam e
is M ary, to h er dressmake r ; a nothe r fro m h er to a fir m with
which sh e has never before d ealt.
4. A letter to J hn Matthews M an ly, head of the ckp:lltment of E ngl ish in T he U ni vers ity of Chicago.
5. O ne letter fro m the widow of the late \ \'ill iarn H.
Sawye r to h er atto rney ; a nother from h er to l he P ure Food
Company, 87 Battle An~nue. C inci1 111:1ti.
/; . \ Vritc the followi n .~ ktters in ful l.
I. O rder a bill o f groceries fro m a m erchant in your own
town .

_ /1r]

;:1

,,,

p. -

/

,..,

/ft

C.//{fj! . t/.. } ·· nc /i a.0. 11,. u ,. . ,-1; 1 r( (,//-1 /;..,

(. •.
,,

EXERCISE 20 - Written

.Be su re in e\' crY case t I1at t I1e f orm is rig ht. u ntil yo u
wnte
the . form
correctly as a. matter c)[- li •·ilJi
· t , i1ook over you r
.
.• ,
.
wo1k to see that you have mcludcd all s ix of the esse nt ial
pa rts of a_bus iness letter, t hat they arc in th e proper o rde r
t hat. th e 1or_m al punctuation is used, a nd that capital letter~
are 111 the n ght places.
a . \Vr ite forms fur the f(lllowi :1g lette rs . neglecting the
.
body . Also address an Cil\'cl11 pe fllr each letler.

2 . Send $r.50 to tlw publ ishers, lioughton Mifflin Com pany, I3oston, and ask to have a copy of \ \'iiliarn \';1u.~ku1
M oody's " Poems " mailed to a fr iend of yourc;.
3. As applicant for som e pos itio n, yo u need to refer to a
former teacher. \Vri te as ki ng fo r µcrmiss1on.
4. Apply for Lhc posiLi<m. St.ate cn·rything that \"<) \If
p rospective employer ic; like]\· \1) \1·ish t•l knm\· .
5. You ;1n• st:w ing ;1t the 1\ uJi tori u rn 1 f<>kl , lhic;1_~"· f« r
a fo rtn ight. \ Vritc to your postmaster at home . ;1skir,c:; hirn
to forward your m;til to ynn r new address. :-; ("L·ond -' Ltss rn:1 il
m atte r can not be fo rwarded without extra post:tgc . \\ ' kit sh :iil

he do abo ut it ?
6 . W rite to The Perry Mason Co ., 2 0 1 Columbus Avi.:,n uc. Roston. M:issachu sclts, an d ask them to send \"Olff copy
.of the Yout!t's Co111f11 11i1111 to your s1m1m1.:, r iionw , L1 ri 1< ' i:c:
hot sl'ason. He sure that yu u g ive them all the int«irm:1tiun
they

l1t'.l' d .

·~ ' -~ ·

FIRST BOOK OF COMPOSITIO N

7. Imagine yourself in a very small town on Easter
Monday . . Write to John Alexander, 39 5-.Wall Street, New
York, asking him to send you a copy of a book. Have you
a charge account with him?
8 . As manager of your baseball team', order a bi ll of three
or four items fro m A.G. Spaulding & Brothers, 147 Wabash
Avenue, Chicago. How shall the goo<fs be sent ?
9 . A young woman wrote to A : C. Jen kins & Co.,
247 Seventh Street, Chicago, for twenty copies of "Andrew Lang's Fairy Books." The company repl ied that as
there are a Green Fairy Book, a Red Fairy Book, a Pu rple
Fairy Book, etc ., all edited hy }\Jr. Lang, thc:y did not know
which to send. They also stated that the pri ce of each book
is $ r.50 and asked how the books should be sent. To this
the young woman replied. Write the three letters.
IO . Miss Pauline Ship of Elizabeth City, North Carol ina,
wrote to Curtis & Cameron, Pierce Building, Boston, asking
the price of a Copley print of Burne-Jones 's Qicture "Hope,"
and requesti ng a catalogue of their publications. The publishers courteously replied that their catalogues arc sent only
on receipt of twenty-five cents and that the Burne-J ones
picture is published in several sizes, on each of whi ch they
quote a price:. Ow in g to a mistake of Miss Ship herself, the
letter for her is delivered to her cousin, Peter Sh ip. (W hat
was her error?) Upon receiving the letter finally, she sent
twenty-five cents and requested a copy of the catalogue . This
the publishers sent, with a letter hopi ng to be favored with
an order. Miss Sh ip ordered a picture, and the publishers
acknowledged the order. 'vVrite these six letters and an
envelope for each.

CIL.\PTER III
DEFINITENESS
EXERCISE 21- Oral
READ I NG ANll STL IJ\"l i\( ; /\ Ill·:FIJ'\ I TE l>FS C RII'Tl ( l:\

Read carefullv J im Hawkins' s clescript i0n 0f Tre; 1~ur\
Island as the sl~ip approached iL. l'rcparc !" 1r or;il rc;1d1n.:c:
and be ready to answer the questions that follu\\' the ~cln:tion .
a. A belt of fni; had lifted almost simult:rneously with the appearance of the moon. A way to the southwest of us we saw two low
hills abo ut a couple of miles ap:nt, and ri sing behind .. nc of then1
a th\rd and h ighe r hi ll, whose peak was still bu rie<l in fog . ,\ 11

three seemed sharp and con ical in fig11re .
b. The appearance of the isl ;ind wl1t·11 I cam e (>11 <kck .nc'Xt
m orning was altogether ch anged . \\'c were :viw ly1 n~ li<·c: 1 ~.r:·wd
abo ut l~alf a mil e to the southeast of the l"w c<1s:Crn '"'"!. ( , rl'Ycolourcd wouds covc.:red a laq"e part of the surface . Tliis C\'C n t;nt
was indeed broken up liy strc:ik s u f ycll •1 W s;iJtdlir<':i k in the lnw· ·r
lands, and by man y tall trees o f the pin e family, <)llt -t"l'P'ng th r>
others _ some sin gly, some in clun!P': but th e gc Jtl'ral c"lou1 •.n;..:
was uniform and s:id. T h e h ills ran up clea r aliov1· the \Tl'.C tat;on
;,J,;1·1)('d. :i nc\ the ~p1··
.
[
k J 1-t K ·'K . 1\ ll \\"'-'re ·st r·11wcJv
1n spires o na ·e
• :-.. ,,
glass. whi ch was by th ree or fuur hundrt:(l .fcc: l th e: lci'.lcst on the
island was likewi se.: the strangest in eo nf!~uratJ o n , runni'.1g up
sheer 'from almost every side , and then sudde nly cut off al Uie top
• . .
• , , ,,
like a pedestal to put a statue on.
1
1
c. \ Ve brought up just where the anchor was rm
'h.u t. ·'' '' :
1
a thirrl of a mile from eithc-r sh ore , the mainlanJ nn nnc ~idt: .: .:1H•
1
Skeleton J sland on the other. The bottom W<L~ ckan sanrl . . ·"'
plunge of our anchor sent up clouds of birds wheeling and cryrng

l·"'

41

DEFINITENESS

flRST BOOK Of C0 !\1POSIT ION
over the woods ; but in less tlmn a minute they we re dow n agai n,
an d all was once more s il ent.
Th e place was entirely bnd-lockt:d, bu ri ed in woods, the trees
co min g ri ght down to hi g h-water mark, the shores mostly flat, and
th e hill s standing round at a distance in a sort of amphitheatre, one
he re, one there. . . . The foliage around tha t part of the short:
had a kind of poisonous brigh tness.
Th ere was not a breath o f air moving, nor a sound but that of
th e surf booming half a mile away :il ong the beaches and against
t he rocks ou bidc. J\ peculia r stagnant smell hung over the anchora;;e - a smell of sodde n leaves and ro lling tr.:c trunks. I observed
the d octo r s niffing and sn iffing, lik e some one tas ting a bad egg.
" I don ' t kn ow abou t treas ure,'' he said, " but I 'II stake my wig
ti ·; « 's fe \·er here." - STEVE:\SON, "Treasure Island "

f

11
:JI"'
J_l

,.

"· l low fa r away do you imagine the ship here? vVhat
time of d::iy is it? What did Jim notice ?
b. H ow had the appc;1ran ce of the island "altogether
changed" ? ·why ? \ \'hat details gi ,-cn here could not have
been seen before? Desc ribe the island as you sec it from
this point of view .
r. . \ Vhat fu rth er cha nges arc here described ? \ Vhat could
not have been see n before ? \ Vhat d etails nu ke this seem a
disagreeable pl ace ?
In general. \ Vhat words make the scene most real to you ?
Defin e co11ic11!, spires, pcrlrs!rd, ampl1it!tca!re; stag nant.
This descri ption mak es us see th e scene vividly because it
is defi nite. It is important fo r the understanding of the story
that all readers shall sec pretty nc:irly the same thi ng here
- so important, indeed, th:it, bes ides this careful word-pictu re,
the author has g ive n a map of t he island. You have noticed
that the descri ption is definite in fou r ways: first, in subj ect ;
second, in deLails; third, in pvinl of view; anJ fo urth, in
words . Each of thcse kinds of cl cfi nitcness is im portant, and
each will be considered in turn .

ILIJ .

~~

43

.1. DEflNITE SUBJ ECT
EXERCISE 22 - Written
NA lUZOW l NG A SUBJEC T

, From a composition already written see \\'h ether you ca~1
choose a smaller part of your subj ect to write on more deh . nitely. For example, from "A Picnic," you mi 7,ht s.~l ect
"My F irst Boat Ride," or "Games in the l'ark, or J\n
Upset. " vVrite on this defi nite subj ect.
EXERCISE 23 - Written
WRITI NG ON A C l.EAR i.\' I H '. FJNEI> SUBJEC T

Picture a scene that you might ca ll " - - in /\ utumn ."
describing some 1x1rticular spot at some p:1rticular hou r. in cluding no peo pl<.:, no motion, nu sound, except su,·li ~<>u nd
and motion as might be indicated in a painting. J\Iakc only
one paragr;iph.
EXERCISE 24 - Oral
Fl 1' IH !\'G DEF! ;-.;IT le ::>UHJ l·TT::>

;

....

~ :_'.'. .,.I;,~•

In the following brief com pos ition find at le~1sl li\'t' good
subj ects for more interesting narratives. \ Vh ich would you
choose, and why?
A T!Zll' TO TI!E CIT\'

Last fall I took a trip to C hi cago, and had a \'c ry good tinw.
W e left home on the early car , and after a good d";d <>f tr.,uhlc
arrived at the slati un. Th ~ thruugh train had gnn<', ;ind '"'" h:td tu
t~ke th e slo w <Hl<'. On th« wa y we ran into the t: nd uf a frt:ight
car and smashed sumc 0 ( o ur windows, hu t 1wh<1dy " "-' J,ml. In
Chi \agn we vi<itNI I .incnln ]'ark and th e animals th ere. \\'c abo
w rn l to I\i: tr~h;dJ Fi eld's ~i n d l h1 1u g hl sorne Cl1t1~t111.1s pr ~ ·-.:1Tli'-' .

'\\._\
··-~

·-

44

FIRST BOOK OF COM POSITION

DEFINITENESS

One clay w e saw a play. I en joyed the st reet siRhts as much as
anything, fo r l had ne ver been in a bi g city before. \Ve came
lwme after a week 's visit and were so rry to leave. O ur house
seemed very quiet that ni g ht.

45

· In an argument it is necessary in the very beginning for
the disputants to agr.ce as to what they are arguing about, in other words, to select a definite subject for the more or
less informal composition. Not infrequently two person~,
although really in perfect agreement, will ~ispute acnrnon_;ously, simply because neither one takes ?a'.ns to make 1:1s
t~rms absolutely definite. In such a case 1t is_ clear that srncerity and good form, unsupported by defimteness, wdl be
far from effective. In any event, no one can well be convmced
unless he knows exactly what the d ispute is about.
If some one hears, "His conduct is inddcnsihk," it is
perfectly obvious that he must know what the condu ct was
and the circumstances before he ca n agree or d1sag-rcc with
the statement; but it is not always so obvious that there must
be perfect definiteness in the terms where they a_rc not so
baldly stated. Often, without w:iiting for explanation , some
one will interpret, or misinterpret, for himself and thus create
an unnecessary issue . And even in formal debate it sometimes happens- that, because or ;lt1 inexactly statcd topic, c:tch
side will find itself in cssc nti ;d :1grcl'ment with the other.

Y ou have already noticed that the choice of a subject on
which you can write sincerely is ve1·y important; the choice
of a subj ect fitted to your pu rpose is hardly less so. If you
were to write a whole book or even a magazine story, the
life of a poor newsboy mi g ht be appropriate; but if you are·
to write only a one-page th eme, a picture of t he little fellow
shi vering on some particular street-corner at some particuiar
time will probably give your readers a better notion of him
than so condensed an account of his life. It is well to remember, too, that a page of your writing is not nearly equal to a
page of print ; compare, for in stance, your copy of the dictation
exercise from Chapter II with the original in the book.
EXERCISE 25 - Written
MAKING DEl'INITF TITLES TO SllO\\" DEl'iNlTE SUBJECTS

Make ten titles s11 itablc for one-p;ige themes suggested by
the following large topics. Make definite titles whi ch would
suggest exactly the subject-matter of the theme.

EXERCISE 26 - Oral
Mi\KJM; A lll·Yl l' ITI·'. TITLE F OR ARCUMENT

1 . Elec tri city.

2. Living Out-of-doo rs.
3. Baseball in ,\ merica.
4. New York C ity .
5. Th e I I istury o f th..: U nitecl States.
6. The Civil \V;ir.
7. The St o ry of illy Life.

a.

Restate the follm\in.c; topics so that they m:1\· he clcfi-

nitely discussed.
1. Girls should n ot participate in athletics.
2. Idle men s hould n ot be tolerated in tow n.
3. Ex:imin:i ti o n s ::ire usel ess.

8 . Arithmetic.

4. l'11pils should \.e permitted lo study to1.c1lwr.
5 _ l'nionisn1 shf,uld be supp1-,rtcd hy c\·(·ryl1• J1 \:: .
6. E\·<"r\'body ~h"uld ;1t te 11d cl1ur< h cv<:ry Sullday.

9. C a rnes.
10. YVork and l'iay.

.--= -

Fl RST BOOK OF COM POSITION

b. From the fol lowing subjects make good, defi nite topics
for argum ent.
·

t

I

l. Manu:ll training in the sc hools .
2. Elec tive s tudi es.
3. Intersc holast ic cont ests.

4. Student se lf-go ve rnment.

·1

5. Shylock"s ch aracter.
G. Sc hoo l fr:itern iti cs.
7. fre e tcxlbvuks.
8. \\' eddy hvlichys .

EXERCISE 27- Oral
STICK l l'\G TO A DEFINITE SUBJECT

Of course there is no virtue in having a definite title if the
writer docs not stick to it. This matter of sticking to the
point will be studied more carefully later (Chapter V) . For
the present, remembe r that th e subject must be very carefully
defined or limited, not only in your title but in your own
thought and in your express ion of it.
a. \Nhat is wrong with the follo win g composition?
PI CTU!tE O F A B U ILDING

am sta ndin g in fron t of a brgc castle. This castl e is built of
stone blocks, ma kin g it loo k old and g ray. The sky is blue and the
bir is arc singing. The grass is ve ry g reen, and the sun is just
co ming up toward Ihc e:is t. D o wn near the c.loor l sec an old man ,
half lyin g :md half si11in g . Ile is very poo r and see ms to be ill
~r~at agony. I can hear him g roan as if crying for help. His hair

.f

J·.!/
!
-:1

I
i

'
j

.i .
·f

1s

11

ing ~i.n<l gray.

b. Speak briefly on one of the following subjects, being
careful to stick lo it.
1.
2.
3.
4.
5.
6.

\Vhy the da ys g-row short in winter.
I low to attract the birds.
\V h y I did (not ) Ii kc our hold
! l o w the ga rha.c:f' is cnli<'Clr'' I.
l l o w asphalt (or mac;icbmizcd ) roads ;ire laid.
H o w cotton is g inned anc.l bale<l.

l>EFi N ITVNESS

47

7. How a typewriter works.
.
.
8. \Nhat happens at the fire-engine l10use when a11 al;11111" r une'. 111.
9. How
10. How
11. Jiow
12. How

to drag an e arth r11 <.HI.
brooul corn is cut .
to pul in a s lc c H· .
tu pl::J!H~ a buard.

H. IJEF!;-.ilTE LJET,\ILS

One reason why a small, very Jdinitc topic is lJctln th '.in
a large. vague one, is ber'.1use on such a topic we ca n \\T1 tc:
briefly and yet g ive the <leflllite little details that pru\e ou1
sinceritv and interest our rt>;1<kr. All of us l1kc t" rc;1d
stories ,in which the write r gives spec ific, <leflnitc littic :icts
and looks of the characters, and tells exactly how to picture
the scene. All of us like to rece ive letters that Jd1ni lciy
tell the little thin ~·;s in stea d of merely, " I am h;1Yinc; '. '
o·ood time,"· o r "School j-; \'ny mu ch cl1;rngcd th is n·:1r.
S ince the choice of details is very importa nt if we msli tu
make a letter interesting, it will be studied more al kn;.J h
in the next chapter.

'\

.

EXERCISE 28 - Written and Oral
C !l () (lSJN(:

Jll ·Yl:\JTJ-: ltLT .\ 11.S

Mah· lists of details that ynu mif(ht mention in 11nt in.c; on
each of the fi 1-c tupics sug,c;«sll'd bv Exercise 2.\ . l );scuss
these in class, choosing the most definite and appn1p11~<k .

·.:··;!
·'.··.,:,
1.~'

,

EXERCISE 29 - Written or Oral
WRITING OK Sl'FAKJ N L

SINt ~E l..:1-:1.\" :\:\I> l>l : I·T\lTFI.\"

\Vritc or !'peak nn nne of tlw live topics disn:ssl·cl in
Ext"rcisf.' 2~. Choose the onC' nearest to your own C:\ jh.: 11, · ncc .
Give a sincere and definite pICturc.
" ' . ' ...

i~
·~:

1

flRS'l' HOOK OF <'Oi\I POSITION
EXERCISE 30 - Written
lJES C l.:.fll! N G \\'.ITJI 111: 1: 1.'\ITE 1>1-:TAILS

Go out a nd look fo r a littl e scene worth describing; note
on the spot det:Jils that you need in order to make others
see it vividly. Write the description .

".......
lJEFlNlTENESS

49

EXERCISE 32 - Oral
Sl•:t·:l;\'C Tiii ·: J1J : l·l:\l

n:

l'\Jl:\T <>V \ ' II·: \\·

In th ese two descriptions note e ve ry detail and every \\'<>rrl
that indicates the physical point of view of th e wri ter, as nc:tr
or far, looking up, down, or across. Nute also the attitude,
or mental point of view, of the writer.

EXERCISE 31 - Oral or Writtim
EXPLAINING \VJT![ DEF!i\:JTE DETAILS

NEJ\K Al\'D FAR, I.OOKING 1.J P

. S peak or write on one of these topics, choosing your deta ils
wit 11 care to make eve1y point clear.

[We] explored Pompeii's weir<l and haggard ru ins. l am afraid
we we re not very kee n o n the ar c ha:o lo~ )', bUl tl1 c sc·c·11i <: d'..ect s
and the intin'lat<.: hu1nan

1. How a g asolin engine
2. H ow \\'i relcss messages
3. How a sewin g machin e
4. J low a duck is ad ap tc·d

wo rks.
arc sent.
tics a thread.
fo r swimm ing .

C. DEFl.NJTE l' O JNT OF VIEW

Fro.m what point of view is Treasure Island (p::iges I _ 42 )
4
first pictured? II ow has the point o f view ch::inged in the
~econd description? in the third? The term point of 11iew
m cl ud~s more than me re position. In this case, not only does
th e ship approach the isl:mcl, but the day comes to reveal
details. Ste venson nc,·cr loses his point of view· th::it is he
~lway~ picture~ .thin gs as th ey would appc::ir to a ~iven pe;son
111 a g iven position under g iven ci rcumstances.
. In the composition on t he boy r turning home over the
hill (page I 2) the writer keeps the point of vi ew well until
he comes to the clots in th e nec ktie and the buttons on the
coat sleeve-_ He could scarcely have seen these from his sup?osed position. \ Vhcn could he ha1·e seen them? A break
111 th ~ point of vi~11', such as thi ~. shows insincerity. If you
arc smcere, you will not make such mistakes.

suggestiveness were

n 1tbt

in teres ting'.

The re lay the little city, sc:irrc d and deserted , th e :is iws of the
homes of men , with la /.'ls11-;1c, s tern and secret, ri sing up behind
it, overlooking th e havoc it had wrough t wit hout rcknti ng. The
sky was purest blue, the ru ins gray, wi th here and th ere the relief
o f pinks and yellows in the am:icnt frescoes; just beyond rose a
file of sto ne pine-trees, like sentinels overlooking th e d..:solation of
a fought-out fl<.:i<l o f battle. The sikn ce was profound and yet to
me it was strangely soull ess, and the impression left det: pest upon
my mind was of a piercing and sini ste r mockery. I was g lad at last
to get away fr om those gaudy fu ti liti es of domesti c decorat ion fiung
li ke a dead beggar's rags again st the pitiless maj esty of Ves uvius.
NF.AR AND FAR, LOOKING DOWN

The situatio n is beautiful beyond description , a combination of
sternness in the ensemble with luxuri ant so ftness in the detail,
which surpasses even Capri and S orrento. Our case me nt windows
on the cast open upon a great paved te rrace overhanging th e Culf
of Sale rno and full -frontin g th<.: aus te re and jagged peak uf l\fonte
Fenestra. Th e terrace rail is embo we red in a wealt h o f Banksia
roses and the white stone scat lining the parapet conjures an Alma
Tadema pi cture insta ntly be fore th e eyes.
Below us in their narrow valleys cluster th e small hamlets of
Minori and Maiori with th eir tiny strip of beach, th e hi~h road of
Salerno passing around the cliff's edge like a threatl. The bold

-~·

..

so

D EFINIT ENESS

FIRST BOOK OF CO M POSITION
headland of Capo d' O rso bo unds the nea r view, wh e re the turquoise blue water uf th e gulf laps it s fee t, b ut beyond the cliffa a nd
beyo n d t he sea li e s th e far plain of Pa:stum, and, ri si ng beyond
t he s t ill s nowy peaks o f the Apennines, fain tl y o utlin ed lik e a vision
of so me jewelled city celest ial thro ugh the su n-steeped h aze . . . .
Straight befo re m e, cl o wn the ste~ p cl iff side, ri se th e sp ires of
cypress-t rees; two umbrella pines stand up stark aga in s t the sky;
sheer below me is th e intensely b lu e Sa le rnian water; these white,
ivy-grown pilla rs a t my ri gh t hand a nd at my left fram e in th e p a nel.
C AH OLI:>:E ATWATER l\IA so:-.:, "The Spell of Ita ly "

1

EXERCISE 33 - Written
PICTURING WI T H A lJEF Jl"lT I·: l' OINT OF VIEW J N PLA C E

Picture a scene "Look in g DO\rn" or " Looking Up. "
Keep your point of view so well that the class can read ily
guess your pos ition with ou t hearing the titl e. nc sure not
to change the time ; kec:p it past or present throu g hout.
Herc are two good specimens of this kind of writing.
a. J see a lun g wide strip of yell owi sh, brownis h , g ree n so methin g whi ch m us t be grass . Stretch ing across thi s in all d irecti o ns
are tin y black lines th at look like hairs from a b lack cat's back. At
the farthe r end o f th is strip, between t wo twin -siste r hi lls, lies
somethi ng which looks like eithe r a piece of sky dropped dow n o r
a mirror turn ed ri g ht s ide up. fr o m this a narrow ~ il ver r ibbon
winds clown into a brilliantl y colo red bi t of wood. At the left. of
th is I see a b it of woodland whi ch looks li ke the rainbow woun d
in to a b:ill and d ropped .
b. I see the su n shining through the leaves of the tree, and in
places the blue sky w it h dreamy white ci<Juds fl oa ting across it.
T he leaves of t he tree are g reen, b ut up th e t runk and al o ng the
boughs some wood bi11 e runs, the Jc;.1\·,·s vr wh ic h are bea utiful wi t h
the ir red and yell o w s h o win g bri gh tly against the brown h;i rk ;i nd
the m ore sombre green leaves o f the tree. Far up in the furk of a
branch I see a brown bi rd 's-nest built sn ugly th e re.
I Copyrig ht, 1909, by L. C. Plg c & Company, Inc.

EXERCISE 34 - Oral
STUDYIN G WAYS O F SIIO\VLNG DEF!NlTE PO I NT OF V!E\\i

The poin t of view diffe~s not (inly with_position but with
circumstances , as you have already see n. '.'Jtu dy carefully ~he
following paragraphs from Stt.: venson 's " Tr:.ivels with a Don;
~ key." H ow are you kept reminded of the fac t that 1t 1s. 111ght.
Why does Steve nson say at first that he tied M odestrne to a
branclt, and b ter saw her t ied to a /;ccdl .'I How do you know
that the clouds have cleared and a fair day is coming? . I low
do you know, from the paragraph llegi nnin g "Twice 111 the
course of th e dark hours," that the writer is lyrng down?
Define and use in good sentences the following words :
densi!J' , disi-riJJt/ 11 ,7t<, 111m1il1:i;·atcd, lwKi;ard, drsf'o11d111.c
a/;at/11 ,.- i 11 i111it1rhk. Find e\·C' r)' word or expression
l :;vid
•
'
b'
f .
that helps -to show defin ite poi nt of view o ~ pbce, .o urnc,
and of person, notin g especially how the pomt of view may
be suggested by a single word .
S uc!Jen ly, at a s in gle swoop, the night fell. I ha,·e been _:1 h1·oad
in m any a black night, b ut n ever in a blacke r. A ghm1m:r ot r,,,·b,
a g li mmer of the tr:1ck where: it was well bea.te n, a c:rt;'.111 fln·,:y
d e nsity, or night within ni gl1t, for a tree, - this was all th.it I c.m'.ld
discrimin a te . Th<: sky was simply dark n ess ove rhead; eve n t h e 11ying clouds pursued the ir \\'a y in•:isibly t o hnrn;111 eyesight. ! co uld
n ot Ji sti nguish my hand at arm's lengt h from th e track, n u r my
goad, al the same dis tance, frnm the meadows or the skv .
.
i\t List black trees beg an to ~;Jinw upo n my lef t , and , sudllc:nly
t',\ e 1-<)"<I
"<1"
of unmiti"ated
bbckness 11 rJ1t 111
·
crossing
,, , 111 ,_
, ._ "n c·1vc
•
~
t'"'
front. I c"ll it a cave "'i thout cxaggnatiun: to pass lwl1'"' th:it :irch
ri 11 1r
-l d1 in ihrc 1•n · I fdt ;._1bout u nti l !H\' h;1nd
o r 11.. · :-tvcs was. ]i'l '-· l . <'ii t•""'
'~ •
"' ou ' hnnch :tnrl to t his T tied i\1odcst i11c. a h:q~,,;ard,
c n cu un t c--1-c cl".~ :-,
L

•

,

•

drenched, despomii ng du n key .
I tnuchcd the spirit lamp. . . Th e wind r1>;ire d unw «:1n·inglv
a m o n g the tr..:es; I could hea r the bu11gl1s tossin g al\d the: ka\TS

.,.

52

FIRST BOOK OF COMPOS IT1 0N
churning th roug h half a mile of forest. yet th e scene o f
·
·
'
my encampt . .
m e n was not on 1y as black as the pi t, but adm ira bly shelte red At
the second match the wick caught Game Tl r . 1 .
•..
and shiftin r . b ·•
, . ·
'
· . ie ig 1t " as both livid
g ., ut le cut me off from the universe, and doubled the
darkness of th e surround ing night. .. .
Th_e wind among the trees w;is my lullaby. Sometimes it sounded
for mm~te~ together with a steady even rush , n o t rising nor abatin .
and agam it would S \\'<.: ll and bu rs t like a grre·" t .. h'
b
kg,
d
" e ras mg rea e r
a n the trees would patter me a ll over with big drops from the rai~
of the afternoon ....
.Twice_ in the course of the dark hours . . . I was recalled fo r a
bnef whi_le to consciousness, and saw a star o r two o ve rhead and
the lace-hke edge of the fol i:igc a"ains t th e sk)' ' Vl1 e r1 I
k f

·h
·
·
·
"
· v
awo e or
t _e t hird tlme( \ Vec!nesday, Sep tember 25th), th e world was fl ooded
with. a blue li ght, the mother of the dawn. I saw th e leaves la bo ring m t he wind, and the ribbon of the road . a11d
t
.
J • cl
.
.
, • , o n urnin g my
iea , there was M odestme lied to a beech an d st"nd·
h If
h
·.
.
'•
" mg a across
t e p a th 111 an at titud e of inimit able p::itience.

STE \'J'~SO~, "Travels with a J >o nkey"
EXERCISE 35 - Oral
l'OINT OF VJJ-:\\' JN TIME

vVhat is wrong with the po int of view 1•11 the following
co mpos itio n ? \Vhat shows ins incerity here ?
T he night wa s pitchy bbck. J\s we groped o ur \vay · J · .
II
l k
. 1 ong, a ta
tar, man passed us. J\t th at moment he took o ut l11·s ''Va t 'I . d
· d I·
.
· • L l , .1 n
u11 er 11s coat we caught the g-lcam of a revo lver.

DEFJNITENESS

Do not tdl 11 slo1y, but give a picture, th ough it may he a
moving picture . By the way in which you describe c\·cryt h in;.:;
keep your reader constantly reminded of the cl::irknc.:ss . T he
following theme may prove suggestive. Can you impro\·c on it?

Jusl as th e tow n clock strnck midnight I reached the gate in
front of our house. The nwn n was almost hidden behind a dark
cloud. J\ mys terio us still ness filled t he ::i ir and was broken only by
the stamp o f the horst's' hoo fs in a barn nea r hy, and the bark uf
some clog. Across the street and at my feet werc little pools of
sh iny, black-looking water. A neighbor's house directly in fro n t
of me cast d:irk, queer shadows across the road . Farther down the
street was a hi gh squa re some thing, and n ear it a brg-e black oblong
with a cupola at one end. Many things look in g li ke great black
singing-tops turned upside down were scattered about. Aw3y in
the distan ce was a lo ng black wall with a g limm e r of li gh t in one
end of it. Slowly coming toward rne was someth ing white and
g hostl y. By the sud den turning o f a corner I saw it was a whi te
ho rse drawing a sprin g-w agon behind it. Moving around farther
away was a tall objec t lookin g like a fen ce post, and it was carrying
a lantern whi ch gave ou t a pale gleam of light.

EXERCISE 36 - Written

EXERCISE 3 7 - Oral or Written

PICTUJUNG \V!Tlf i\ l>EFINITE l'OTNT OF V IEW AS T O

PI CTU RING TJ!E SAM E SCENE F ROM T \\' O POINTS
OF VIEW

l'T.!\ C E AN!l TTMF.

vVrite on one of the following topics :
1. Down Cellar in the D::trk.
2. Coing- up tn Heel.
3. l n the <;;mie n at Nig-ht.

53

\\'hen th e Street Lamps \\'e nl Out.
Com ing 1l ome al Midnight.
llo\\'n the \\'l'( Street al l"igl1l.
I low Day Comes in Our Stre<.:l.
The City from the .J\.oof a l .\ig hl.
1\1 y l\.oom al 3 A.~1.
10. From a Train at N ight.
4.
5.
6.
7.
8.
9.

Describe a room in dayl ight, and t he same room as darkness gathers or as clay breaks. Choose a room of some distinct character, and do not merely catalogue th e contents, but
g ive a picture. J>c si11i:crc ; tell what you sec. T1y to name
).

FIR~T

54

th e v_arious s/111pcs that you sec in the dusk, and thus avoid
re~e t1t10_n of the :vord s. so111etlti11g- or object. The followina
0
theme IS faul ty 111 this re pcct. vVhat g ood descri1)tive
p h rases has it ?
From t he :~liar door whe re I am, things look very m sterious
and ghostly.
. someth rng
. y sq .
. I o my n g ht ' and b ·ack '·a l.ttl
1 e b.1t, 1s
a. n .d .of an indi stinct "'"ray• color . I ca. I1 see on ly o ne corn er of it ua1e
for

way I 11 /
t
ltfJ o in s the wall on on e s ide :rn<l extends back a Jon•~
0
o r 1t 1s somcthi
. 1w<> .a b o ut l1a If as tall, rather na rrow and •ro un d ronIt
g·r imm e rsd m ·the da rkness. A t the left of me is
. someth ing
:
.tall
s im , an white. On this arc ha n..,.·
.
'
li g ht things that look like )' l ,,mg grea t, _mystc n o us.d ark and
' t th f t
l cope st:rndmg in a lo ng silent row
J\
e a rtne
· somet hing
.
.
. r en d of th'e I.oo m is
that s hin es som -·
times, an d 111 so me places
. . that ext end UJJWard
e
. is black · It h as .arms
an
d
outward
an
d
·
1 t 1t
f
t
I
th at l k rk'
'
s cc
ca n see some thin g red and fi ery
oo _s i e th e eyes of a m onste r. In fr ont of m e is th e mos t
and is
. ra1sc
. d up off th
awful object of all. J t is Io n",., and black
·
c
fl oor. It looks just like a cofli n.

EXERCISE 38 - Oral
TJIE

DEFINITENESS

BOO K O F CO MI'OSITlON

N ARRATO R' ~

POINT O F VIEW

How is the dog's point of view g iven he re ?
M •L5tcr was wal king most uns tcad y, I.
. p1ng
•
115 Jegs tnp
otl The B
eac h
ier.
ut eve n wh ~ n the !\laster's legs twi st and be I b.
mustn 't think h e can 't reac h ,
. nc a it, you
kick
f.
) ou . I ndced, th at is the time he
1
the ~ ~~~: ~~~~~nst~r~~~ :~~'J:thii~d _him in th e sh::tclo w, or ran in
swing ing doors th
d . I . oppc .1t many public ho uses with
t h~ t you ca n l~'ok ~~cuno~.1 s t ia t arc c ut so hi g h from the side w;:ilk

1

At ni g ht, when I peep l~~~c~~~1n:,h~:1d sec if the Maste r is inside.
see me first and say "H erc's the il1'..1:1cJ man at the counter will
G
'
'- 1t " en y, co me to take yo
h
o me.
e t a move o n yo u " .
cl 1
u
.
' an l l t: Maste r will stumhle o ut and
fo ll o w 111c J t' I k f
·
s uc v u r us I • .
I·
the ni gh t he ca . I ,
.
m sow lite, for , no mattc.:r how dark
,
' n .t ways see m e ahl·ad, just o ut o f rcad1 of his foo t
1,1 c 11A1<D l L11u11:-.:1; IJ;11·1 ·s ' "'J"h e I3.lr
. S1n1stcr
.. .
,, .

55

EXERCISE 39 - Written
WRITI NG FROM A NO TilER'S PO I NT OF VIEW

If you can imagine the feelin gs of a horse, write the accou nt
of his first meetin g with an automobile as told by himself ;
or write an account of a fire as given by one of the engine
horses. If you prefer, you may give the canary's descri ption
of the house cat, or your dog's report of an adventure with a
tramp, or some similar narrative. Be sure to keep the poi nt
of view of the an imal, though of course you will make him
more or less human in many ways.
JJ.

DEFINITE W ORDS

Not only must we have a definite subj ect, de finite details,
and a definite point of view; but in order to express these
we mu st command definite words, and use them exactly.
Here again sin cerity enters; for if we real ly care to tell the
truth about what we hear or sec or imagine or think, we shall
not be satisfied with any but precisely the right word to fit
. our need. Then if we are caring about these definite words,
we shall be likely to keep a sharper lookout, and Lo th ink
more clearly too. So ckfinitc words give us more definite
thou ghts, and definite thoughts give us more definite words
- or at least set us to seeking for them.
EXERCISE 40 - Oral and Written
THF. V AL UE 01' A DE F I NITE W ORD

A part of growing-up ought to be growing in ;ibil ity to see
differences and distinctions, and to find words th:it express
these. Some people seem Lo stop growin g in thi s respect
as soon as they have enough words to mak e th emseh·es
understood about everyday matters; they use third or fo urth

''

'
'~',

.~
.'

'

'f1..

I

II

FIRST BOOK Of COMPOSITION

DEFINITENESS

grade vocabulari es all the rest of their lives. (W hat is a
vocabulary?) \ Vhat defin ite terms haYe you learn ed since
the third g rade in arithmetic? in algebra ? in geography? in
grammar? in liter;:iture? in other subjects? vVrite out a definition for glacier, 11111lliflicand,prcdicatc. If you did not know
these terms but had the ideas for which they stand, how many_
words would you have to use in stead of each name ? Show that
the use of a defin ite word like /rt111sith1c in a sentence ought to
carry with it the whole defin ition . L ook up the meanin g of
definition . How is it related to drji11itc?

EXERCISE 43 - Oral

56

EXERCISE 4 1 - Written
U SI NG NE W W Ol-l l> S DEFJNITE L V

From the selections g iven in this chapte r choose te n words
not in your ow n speak ing vocabulary whi ch you would like
to adopt. Use eac h in a sente nce to show its meaning .

57

DJS Tl NClJ ISll IN 1J BETWEEN MOS/" AND AL:l!OST

Almost rnc:ins " nearly " ; most means " in the highest
. :. degree ." U sc these wore.ls correctly in the foll ow in g senten ces,
and be careful of their use as you speak and write.
1. vVe a rc - - h ome.
2 . He wa s - - s uccessful in hi s attempt.
3. I am - - tired out.
4. I am - - happy to have the o pportunity.
5. \ Vhe n we arc - - di sco uraged we crn - -- · al\\'ays gain streng th
by thinking o f oth e rs.
G. He - - :ihvays waits fnr his little brother.
7. ]{cmcmhcr this - · - p:ini cubri y.
8. A rc n 't w e -- -- thc-re'
9. I \·c
- fo rgotte n.
10. l w::ts - as fright ened as he.

EXERCISE 44 - Oral
EXERCISE 42 - Written

liS I i\(~ l'IZO i\O U :\S llE F f NTTJ·:1,y

PT C Tl "Jd N(; \\'ITIJ ])EFI NJT E \\"ORDS

J>icturc a scene, us ing correctly <ind effectively as ma ny
words as you can from one of the foJlo,vi ng group" ·
ll

leade n
tempestuous
murky
dim
ho rri ble
awful
lashin g
sti ng ing
qu ive ring
in evitable

se rene
pbcicl
g-J( >Wing
breathl ess
magical
harmoni ous
fi lmy
clrow_sy
fl oa ted
pervaded

Pronou ns, cspccia ily it, 7c •/;id1, :rnd tl!1y, a rc very trou blesome words lx "<·:iusc in thc rn ~c l ws so indef in ite. Sin ce :i
pronoun n·rrcscnts a su hjcn of thought ,..,;1!1t111! 1w111i11.i;· it,
we mu st he careful to use it al ll":<ys in con nection with some
other word or words that du nam e the same subject of thought.
You will lea rn more about the use of pronouns later; fo r the
present, take specia l p:1ins to be su re th:it ii, 7l'liicl! , and tluy
always refe r to sonwth in g ddl ni tc .1nrl unmistakable. Sec if
you ca n find :iny in definite use of it in your bst fi ve wril len
compos iti ons : if so, brin g your sen ten ce to class as a spec ime n,
and correct it.

58

F JR ST BOOK OF COMPOSITION
EXERCISE 45 - Oral

Fill the blanks with m11 or could to <knole ability;
may or 1111j;l1 t to denote permission .
1. You - - go as far as the corne r.

2. That is as far as I - - go.
3. Mother said we - - pl ay in th e guest-room.
4. H e looks strong, as if he - - do a man's wurk.

5 . The hors<.: - - pull us along al Len miks an hour.
6. We - - not go now. alth ou;.;-h moth (; r sa id W<.: J ohn has taken the wagon and \\'<.: - - not walk S<> L.1r.
7. If we - - only have seen ourselves in the glass, we should have
laughed heartily.
8. No man - - serve t\\'O masters.
9 . They - - study their algebra lesson now, for they have learned
what the assi g nm ent is.
10. - - we go to the park on o ur way home?

I

·t

.
}

r,.

l

One of the reasons why it is difficult to use definiU.: words
is that it is not easy to use ~u r senses well enough to have
definite ideas to cxprcss. \Ve do not sec h:tlf (JI' a quartt'r or
a tenth uf what \l·c might sec. The de irc to tell some u ne else
of our discoveries 11·ill help us to be on the al<.:rt; and the more
we have see n, the more we ca n sec. J\ lr:tincd obscrvc1"will
see twenty variet ies of birds on a w:llk where another, looking
with untrain ed eyes, \\'i ll not ice only a robin and a blue-jay. A
trained observer of people and things - a detective, for instance
- will take account of a hundred details that escape others.
"I sec ten thing-s where o ther people sec only one, " says l\icha rd
Harding Davis's" amateur " detective; "j ust as some men run ten
times as fast as ot her ll1l'l1. \ \' e have all tried it o ut often at t.hc
office; pul all sorts of junk und er a newspaper, lifted the ne wspaper
for five seconds. :rn d then eac h man wrote dow n what he had seen.
Out o f twent y thin;;s I wuuld remember seventeen. The next best

DEFIN ITENESS

59

guess would be about nine. Once I s;iw a man lift hi s coal co li:ir
to hide his Lice. It was in the <;rand Ce ntral '.'it.ation. I st uppcd
him and told him he w :is wanted. Turned out he was wanted. It
was Goldberg-, making his getaway to Canada."
H.H·11,11u' J IA1 t rn:-.:<;

DAVIS,"

Th e ,\matcur Detective"

Of course, as the doctor remarked to the dctcctin~, sucl1
power is "a gift";, but we might all have more of it. Here
again sincerity is necess;i_ry. Lc-t us make our senses report
accurately to us, and th en we ca n report accurately lo others.
• A bit of untruth blurs everything in our own minds.
EXERCISE 46 - Dictation
/I GOOD (JBSERVER

Stu dy the following paragraph . and be able to write it from
dictation. 1\ otice particularly the ends of sentences, the com mas
to mark scn tcncc divisions, the apostrophe to show possl·ssion,
and the spelling of unfamiliar words.
I knew a man blind from his youth who not only went about his
O\\'n neighbo rhood with out a g-uide, turnin g up to his ncig-hbor's
g:11t- or door as unerringly as if he had th e best of cyl's, hut wh"
would go man y miles "n an err:rnd to a ne\\' part of the count ry .
. lie seemed to cnry a ma p of the townsh ip in th<: holl<>111 of his
feet, a most minute and accurate survey. I le n(·vcr took the wron g
road and he km:w the ri g- ht hou se when he had reached it. tic was a
miller :rnd fllller, and ran his mill at ni _i.;ht wh ile his suns r;ln it 1,y
day. 11 c ne ver made a mistake with his customers' b:igs or "·ool .
knowing each man' s by the sense o f touch. . . . Such facts show
one how delicate and sensiti ,·e a man's relation to outward nature
thr11u gh his bodily scnsct-; 1n:1y i >cC1 11nf'.

'·)

I l(·i~hten it ;1 littk n1nrc,

and he co uld forecast the wcat h t: r and the seaso ns and detect hidden
springs and minerals. /\.good observer has something of this del icacy
and quickness of perception.
]011:-; Ilu1rnnur. 11 s, /\.Sh arp Lookout, in
".Signs and Seasons "

'·

60

DEFINITENESS

EXERCISE 4 7 - Oral

',apart, and cut th em in cross_sect ions and le ng th':ise , t~at yo~
.may see . U se th e most dd1nttc worcls possible 111 d cscnllln c

J)l-'.FINITE

\VOl~DS

FOR "l>EFlNITf. onSERVATION

l Icre arc some bits of careful observation by J ohn Burro ug hs himself. Th ey a rc certa inly defin ite a nd unmistakably sinct:re. Prepare to read them aloud in class. If you '
have carefully observed anything in nature that some of your
classmates m ay not have noticed, you may tell them about it.

'·

61

FIRST BOOK OF COMPOSITION

[Nature] is all thin gs to all me n; she has whole truths, halftru ths , and quarter truth s, if not still sm :iller fr;i cti ons. The careful obse rve r finds thi s ou t soone r o r la te r. Old fox -hu nte rs will tell
you, on th e ev ide nce of their ow n eyes, that there is a black fox
a nd a silver-gray fox , l\\"O spcrics, bu t there a re no t ; th e black fox
is black when com in g t o w:ir~ yo u o r runnin g from you, and sil vergray at point blank view, when th(; eye penetrates the fur; each
separate hair is gray the first half and black the last. This is a
sample of Natu re 's half-truths.
A Sharp Lookout, in " Signs and Seaso ns " .
The yellowbirds [goldfinches] are just getting on their yellow
coals. 1 saw some yeste rday that had a sm utty, unwashed look,
because of the new yellow s hining throu g h the old drab-colored
webs o f the feathers. These birds d o not shed their feathers in the
spring, as careless observers ;:ire ;i p t to think they do, but merely
shed the outer webs of th ei r feathers and quills, whi ch peel off like
a glove from the ha nd. - Sprin g Jottings , in "]{iverby"

EXERCISE 48 - Oral and Written
WRITIN G DEFINITELY ABOUT AC ClJ RATE OHSF.RVATIONS

Examine a large leaf bud, preferably horse-chestnut, hickory,
or buckeye, folded up for the winter. Describe accurately
what you see - forms, sizes, colo rs, tcxt u-res, numbe r of Jave rs , numbers of parts_ \ Vherc arc t he lea vcs ? 'vVhy .are th ~y
so wrapped up ? Is tht:re any plan follo wed in the arrangement in buds from the same kind o f tree ? Pull the buds

:\

. "' every part, ;rnd fol low some plan in tc_llin g about th em either from the outside in or from the 111s1d~ out.
EXERCISE 49 - Dictation
llEFINJTE OllSERVATl <J.N OF CO i.O R

Study the foll owing- paragraph and he a?lc to wri te it
from d ictation. N utice the sem icolon s separatmg what. m ight
· n as c\ictinct
se nte nces. N utice the d escnpt1ons
e writte
v

b
of color_

Th ere is o ne redness in th e east in the mornin g th at means
storm another that m..:an s wind. Th e forme r is broad, deep , and
ang ry'; the clo uds look lik e a huge bed of b urn ing coals iust raked
open: the latter is softer, more vapory, and more widely cx tc_nckd .
Ju st at the point wh ere the sun is goi ng to ri se, and _some m1nut(.;s
in adva nce o f his com ing, th e n; somdirnes nses str:ugh t upward a
rosy column ; it is lik e a shaft uf deq,l y dyed vapor, ~lend i ng with
an cl yl"l p:irtl y sepa rat<.:d from the cluuds, and th ..: l 1a~e o f wh 1c h
'k 1
· If Tl day th ·1t folluws
pn·sent ly co mes to glow Ii ,,. t l l' sun 1b<.: . . '" ·
·
_. ·
is prc·tt y n : rt:iin to he V(.;ry windy. 1\t ot her t11nes th e u ndl' r s1dl's
o f thl' ""stc·rn clouds ~re all turnl'd t" pink or rose-color ed wo11l;
!he lransfurni;itiu 11 ex l!'nd s 11111 il 1l<':1rl y 1he whole sky flu ~ lws, even
the wes t glowin g slighLly; the s ign is always tu be interpreted a~
meaning fair weather.

Jo 11 :-.: Bu 1u<U Ll<;ll s, A Sharp Lookout,
in" S igns and Seaso ns"

EXERCISE 50 - Oral
DEFINITE CO LOiz - \\'ORllS

Y ou have probably noticed that ] oh n Burrough s has a keen
eye for culor and de finite words f_o r it tou . Fin_d all the words
ns from his
or expressions showing co Ior 111 t l1e sc I ec t 10

~"···

62

FIRST BO OK OF COMPOSlT TON

writings ; also in those from Stevenson g iven in this chapter.
Notice also the color words in the following :
It was late August. All th e tall g rass and wild oats and barley,
ov e r lift, level, and h ollow, were ripe yellow or warm b rown , -a
golde n mantl e over the g uld en soil. There were but two colors in
the simple broad pic ture. -clear, cleep, scintillat in ~ blu e in th e sky,
meltin g blue in the m ou ntain s, ;in d all th e earth a golden s urging
sea. - T11i-:01Hrnr: \\' JNTll l(( >1' 1 "John Bre nt "
The dew was s p read o v<.:r the g rass like a ve il o f si lver gossamer,
spangled with crystals.
A vine, heavy with g rea t clusters o f yellow g rapes, was festooned
upon the northe rn wall.
On Thursday, as he ;:ipproache<l the cast le , th e last fires o f sunset were burning in t he s ky behind it - the long. irregular mass of
buildings stood out in v a rying s h ades of blue against vary in g , dying
shades of red: th e g rey stone. da rk . vel vety indigo; th e pink s tucco,
pink st ill , but with a transparent blue JH.:numlira '"·e r it ; tl1c w hile
marbl e , palely, scin t illantl y amethystine.

DEFlNITENESS
/\ TIIANKSGIVlNl; L 1\ l\1JSCAPJ·:
..
· ld of corn. Next to m e it is in sh ocks, and
At my !ch l ' a fie .
\\' here it is close, it is a golde n yellow,
. farther a way it is stand111g. d
J· ere oran ge-colored pumpkins.
and scattered over th e groun ;:ire ar,, '
.
-- .
mist , warm-loo king bto\\n.
_ ·
Farth<.:r back the co t n is a
.l)' f t·1ll coarse " rass whi ch has a
.
· l t is a ]o nrr
meac ow o '
· o
' . .
k
0
. .
At my n g 1
·t 1)cyond this is a cbr
· l tl s un s11111ng
1
on 1.
very odd color \\·111 . 1c
(j
l t b c hincl th e first few trees
· . bhc k at 1rs t Ju
· ·
· ·. .. ·I , o f \iuht
Jeaness w oo d · I t 15
'
"
'
. .
1i'<l' ra ve n .blue col or. Above t 111s is .1 s <)
" .
the i c is a n · )
.
cl k rr .1
The g ray stops ab rup tl) ,
.
tint
e:mivs
in
to
a
a
r
,.,r"y.
.
..,
Iavcn c1e r ··
.
_ •l. ·l
vhcre it ming k s with the 1cc•,
and ther e is a hght blue, " lie 1 , \
look s a li g ht g reen.
.d .. · of ..,._ rass t int is c ut sho rt.
h
<
f 11e is a Jong \\'I e Stllp
In f ront o l
. "
I I "CC th e sun a great fiery ball,
\'
CC from th e "10Ul1l
S ome ( 1sla n
,.,
() . \· _ 10 wc r half is vi s ible , am it
. .
" 1Y l ie
· II
] , a chrk c loud .
ha] f-I11t (e n )) • ·
d Th
]· -k cloud grows qu1 cK 1y
· . rr \de n ra)·s d ow nwar .
is c '-' 1
d
•
l
scnc s its • .,o ·
-l f ·o m while intn b1ur. an
.
\ ., f· \'11 1 , from g ray LO W 111 e, l
lwhtcr a >O~ c, .ic b
_
J ]-· I . . 1 I th ere is a r"""
"
.
,
The gree n enc1s suf c "n ) ' "" L
'
from that rnlo gree n..
. . d al last into a dainty , shc·ll pink.
r ed that g ro ws rnto fainter colu1 ' an
J

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111,:-; 1(1· I f,11u .«1:-.:1i, "The C ardinal's Snuff. Bux"

EXERCJ°SE 52 - Written
EXERCISE 51- Oral or Written
DES C l<llt! NG ,\ S C E N E F U LL OF CO L O R

Try again a ch.:scripti on of an outdoor scene, g ivin g special
attention to color. Do not think that the only colo rs worth
mentioning arc the brilliant reds and yellows of early fall.
Before you wri ~c , try to see some actual scene that is worth
describin g ; ei the r city o r cou nl ry has many a one . Do not
e x::igge rate, but nam e all th e nllurs yo u ca n, even if the resu lt
is a rather stiff composition . or course, however, you should
make your sentences :ts c:i sy and n:itur;:d as possible. The
following th e me uses many color words, thoug h in a somewhat awkward way.

1
co 1.oi.:.- woh:1>S I N 1n:s<:1.:. 11 •·1· 1ON

< q:

l ' H ll '1.E

After studyin g the follow in g descriptions, \\'l:ite :t si:sit~:
f .
. ch ild whose colo rin g of pct son .tnd d1 c. . ·one o sornlc .
1) l I1 <J t s~)' merely that she has golckn
". \l p e ' ISlll ' '
l
d'
~::~~~:;~/blue"
instance , b\lt g iYe a dcfinitl' p irturc u l
.
l
. . Notice how the brown h.ur rn these t\\·o
that h:ur anc eyes. 1 ·
. .
.
.
f
Hem)'
hrlanu
's
is
ind1v1dualized.
1
p1ctu res o
"

eye::for

·]. de r in a white fro ck, with a
.
SJ) e' \\''\'.S '' \ )'OU IW,., woman, ta ll ' Se n· . 'f
fl\· 'C and ·11rV TU 'CS.
whit e cln:.1k. an in (k,cribahlc cornplcx1tylo .t sol r .'11 c hair ~r~wn and
lcrs She wore n o 1a .
'
'
.
l . r 'ht in ;) kind of
;:iro11nd l1cr s I10 1.1 l ( . . •
. s ll.l. do11' , s... p·irklcd. where tl caught t 1e ii:; '
wann in

m

L

crinkly iridescence , like threads o: glas~.

flRST HOOK OF COM l'OSlTION
She was dressed in whi te as always - a frock of J kno w not
wha t s upple fabri c, that looked as if you mii;ht have passed it
through your ring, and fell in multitudes of small so ft creases.
Two big red roses dropped from her bodice. She wore a garden
hat of white st raw, with a big daring, rose -red bow, under which
th e dense meshes of her hai r, war mly dark . dimly bright, s himmered
in a blur of browni sh gold. - "The C:irdinal 's Snuff-Box"

EXERCISE 53 - Oral
JlEFll\ITI -: ~Ol ' l\Jl - \\'(l!{llS

Not only o ur eyes but ou r cars ~ilso must be alert Study
this description of an approaching- hurri cane in the \Vest
I ndies, noting th e sound-\\'Ords. Read with your imaginations awake and report all the \\·ords that help you to imagine
sounds.
The din was tcr ri l1c. Ca nnon balls might have been rattling
agains t th e stones of evn y house, and to this w;1s ~ 1 dded a mar from
the reef as were all the sounds of th e Caribbean Sea gat hered there.
. . . The h orse fled a long the magnificent avenue o f royal palms
whi ch conne tcd the cas t and wes t ends o f the Island. They \\'ere
bending and c' reaking horribly, the masses o f fol iage on the summ its
cowerin g away from the storm, wrapping th emselves ahout in a
curi ously pitifu l manner; th e lnng bl;1dc-like leaves see111ed striving
each to p ro tect th e other.
Through th e ever increasin g roar of the storm, abuve the creaking
of the trees, the pounding of the r:tin on th e earth a nd o n the yo ung
cane, Al exande r heard a continuous piercing nOlt', pitch ·J upon one
monotonous key like the r:1l tk of the· girl 's casta ne ts he had heard
on St. T homas. I !is brain, indiffe re nt now to th e d in, wa s :ts aCLive
as ever, and he soo n mad e ou t this part ic11 br noi se to lw th e ratt le
o f milli o ns of seeds in thc dry pods of th e "shaggy-shaggv," or
"giant," a common lsl:tnd tr,·<:. \\'hich had not a lea f a t this s~aso n
nothing but co11ntkss pods as dry as pa rch ment and filled with seed~
as large as peas. Not for a second did this castan et accompanimen t

DEflNlTEN ESS
to th e st upendous bass of the st<Jrm cease, and ,\ lc-x:rndcr, wl10se
im aginatiC;n, like every C>th cr sense of him, w:is <J11iekcni11g prl'lnnat ura lly, could fancy him sel f surrounded by the orchestra of 11l'll.
th e colossal instruments of the infernal rc-gions performed upon liy
infu riate Titans. - CEtffHt ' tlE J\T II EttTu .'> , "The Conqueror ..

Re-read Stc\'cnson's :1ccount of his ni ght rntt -oi-d"<>rs ;1 11J
name the words used to desc ribe the noises of the wind.
EXERCISE 54 - Written
Fll'\ I HNC Jll·: FJ NITE SOliNll- \\'OR])S

Read the foll owing" Spri ng J ottin gs," by )<•)111 Htt mittghs,
abou t the notes oi birds a ncl frogs. Make a list of the· s<iurnl words. J\dd to these a ll the dif'krl· 11L \\·1irds (Jr ,·xprc·,._,._ ,.,11 s
for soun J s that you have fuuml in this chapkr.
A song-sparro\\''s call was "a sih·cr loo p o f sound."
Th e long-drawn c:ill of the higli -h<•lc comes up from th e fieicJ,,
the n the tender, rapid trill of the bush or russet sparrow, thl'll the
piercing note of the meadow -lark, a fl yin g s haft of sound.
Jn th e trees the crow blackbirds cackled and jang led .
The su n is down , the robins pipe and call, and as the dusk
comes on th ey indulge in their loud chiding note Pr scr<·a111 .
wh ether in anger or in fun l never cu n tel l. Lip the roar! in the
di stance lit e m 11ltitudi11ou s vo ice of th e little peepers - a th icket ur
screen of sound.
Th ese days the so ng of the to:td - tr ·r-r-r -r- r-r-r-r-r-n · r r-r r-r
- is heard in the land. . . . 1t is a kind of gossa mer of sou nd
driftin g in the air.

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.l._

.

)"·;,
-~

EXERCISE 55 - W ritten
t :SJ !\ (; llEF I N ITE SUUNU - W CJl{ J)S

,~~,

;'.'.

vVrile on the topic" J\\\'akc in the

Ni~ h t. "

Ynttr scene
may lie c ity or country, out-doors or in. l ksnilie l'spcci ;tlly
the nois<.:s you hear. Or, if you choo~l', yvu may describe ;rnv

·-,; ...

:-':·""' ~

;, ···' .....

... .

f, ..• :

66

1·11,ST HO<JK

(>I''

DEFINITENESS

C O\l J'OSIT ION

noisy scen e . The f()llowi ng th e mes cr:mtai n some good sound\Yorcls and some good details. \\.hat arc they? U nderline
all tht.: \\'Ords in your them e that express sound.

I
-I

a. As I era\\'! into my bed. I hear the wind whistling :md scurrying around th e corner o f the house. Now l hear th e lo ng -d rawn-ou t
bawl of a cow. Everyth in g is quieter at this m orncnt and I think
I can go to s leep: but I ca nn ot. for the shrill \\'hi s t le o f the interurban ca r is blo\\'ing. T h t: \\'ind grad uall y ceases to h o \\'l a nd
wh istle, but sti ll keeps up a rising ;ind sinkini.: nr,isc. Nuw I hea r
the pitter-pallcr of rain drnps. Th l'n tht: pittcr -p:1ttcr turns into
pi ercing n o ise~ , and from th e street-light I sec that th e "'h"lc window pane is co ,·ered with d rops. I watc h one li1tlc drup run a lo ng
till it fall s in line with anothn :iltll th('}' roll du\\'n most ,,f the pane
toget he r. \\.' hl'n they arc m::irly tn the botto m, th C'y run i11 to each
otht:r, and th en J hear a drip, drip. drip: f"r se ,·er;tl of the buhhles
have reac hed the bott o m of th e pane. The \\'incl h;is hl'gun howling- and shrie kin g and I gu ess it keeps on th is way the rest uf th e
night after I finally go lo slcl'p.
b. \\'h ilc I k•ok out on a nuisy city a g e neral rum hie and roarin g
sound pervades th e air , throu gh which may be heard scn· ral murc
dist in ct noises . The large wagons ;rnd truck rattl e along as they
bump over the rough 1x1,·cmcnt. J\ utomobilcs, s lu\\'ing- d1111·n at th e
crossing, make a chug-chug-chug g-r;1d uall y grow in g- faster. The
pol iceman whi st l e~ ~hr il ly on ce ,,,. L\\'icc cn:ry now and Lhcn, and
the street cars rin g- an ech oin g d ing. ding. ding-d in g. Ov"rht:1d the
clcv;iLed trains rumhk and rPar. /\ co11 tin11al buzz and th <.: d;1shi ng
of dishes come from the din in g-room across th e hall.

EXERCISE 56 - Oral
J>EFJl\ITI·: \\·01.:. 11s 1: 01.:. OlJO l.:.S

Describe t he :1ppctizing odors in the kill'hen before
Th:rnksgiving- d inner, th e dis:tgrl'\':dik CHlors in a CTmrclecl
street car on a rainy <.by : 11r dcsnibe. from the point of
view of a ve ry hungry :;trcet urchin , the odors o uts id e a
bake r's shop.

EXERCISE 57 - Written and Oral
i>EFJ N JTI·: \VOJ.:.DS F OR TEXTURE

Make a list of all th e \\'orcls or phrases that occur to
you, describing tht.: texture or feeling- _of_ d i f~crent matn i;tl>
NotiL· · th t.: descriptio n of a dress f:tbnc Ill l·.xcrus<' 5:?. Io
what subst.;inces \1·oulcl you apply each of the following- tnrns:
1
Sllj>j>il', /,ritlir', /11::::,)', rrdl11 ·si-:•1-, Jli111J)', ji/111y, g1'i11/i111 11S,
11111sltj', d11difr, plastic, sli111)', corn1g-11frd '!
EXERCISE 58 - Written
WJZITINC A Jll·TIN ITE l>ES C lZll'TlON

\Vri te the bl'st co mposition pussibk: to yuu, on the tnpic
"Out-of-dllors at Night .. ; but c:hoost.: S<li1lt.: more cldinilL'
p<l in t of ,-iL·1v alld tillll' and pbn· and m:1kL• :1 titk to fit. LlsL·
a ll you r sL·nst·s :tilt! tht.: m<>st de fm ill' words tlut )'<•LI j>•\SsL·ss .

Be sincere.
EXERCISE 59
A CCU JZA'l'I ·: US I·: 0 1; I,'/:/'

Tht.: verb ,i;·ct is ovenrnrknl. J\ vvid using it, \\'ith or \1·itho ul !tll':'" (Jr ltr ul, t<> L'X press mere possessio n. :1s ·· I 'vc g()t an
apple." lt has a notio n of activity o r effort, ;tlways; :L11d is
pruperly used in m;1ny idiomatic expressions, 1 - thaL is, expressions that h;1\'L' grown up ill our Lt11 guage, - suL·h as ,i;·ct
rt'adJ', ,i;·ct af!o,n-d, ,1;·L'f i11, Kt! b1'11i11d, gi-t 011 <uit/1, .'{'1·/ 111tl ,f,
de. It shoul d nt.:vc:r be u:;cc\ in tht.: se nse of" be allo1\'t'd"
o r "have a chance," as " f did n'l gd to J;'O." Fqually in-

correct is the (ll11ission o[ gr! (1·0 111r, K''• etc.) in such cxprcs.
SlOllS
as " I "••''1111! i11," instead of "I want t o ~J!·d in," etc.
1 ~ec list in Cc utu ry I li ..:tiona ry und er (;rt, 11

68

FIRST BOOK OF COMPOSITION

DEFINITENESS

. . ? ' he _fon.owing_ spcc_imcn of the uses of .~·I'/, tr:tnsiLi ve :ind
rn t1,111s 111v e, is g iven rn th e Cent - ])". . . .
,
.
I .. . . . .
my
iction,u y . Substitute
<~l -lL i _11 o 1els Jo r ,i;d or ,i;ol wherever you ca n do .so without
ch,rng111g thc sense.
I ·'""/ on hor"'se· bac k· \I'll
· h.ll1 ten minutes ·1ft er· I
t
l
J
·
'
t;'< 1 yo ur etter
ie n ,1;0! lO Ca nterbury, r ,t;ill a c hai se for town" but r
~hrloulgl• h befbo re I ,t;<•I to Ca nte rbury; and J have J,' O/. s uch a
:s ia n ot e -.bk: lo o cf .· I f ·
11r o rn a h urry. I i;·o t to th e T - .
•
·'
about noon, but first of all I ••o! shaved and
d I reasury
into the secre t of "dli1t ,
'.'
.
'
resse · ·
soon got
,,.. . .
·'
.~ a memori al bC'fore the board, bu t i could
n ot ,,,./ .m .rn swer then. holl'c vcr I ' 0 I 111
. t 11 ·
f
s ·
,.
.
. '
' J.,
c: 1gencc ro1n th e nies;" nge 1 th.u I should likely p ·/ one th e next m ornirw As soon as
\V J

F

•

,l;::ic;::

«i.

b :~"/- ~>ack

to bed. l~·was not Ion
.
.
I
g
I
kf
·'
morning got my
Jre;i . as t, :ind th e n l .~·o/ myself dressed that l mig ht t;d out in
tr me to ,i;d an answe r to my mcmori·1! A . .
J , .
int o th e chaise and ,,0
s soon as ,1;11t ll, I got
' ·
.
' •
·' I to Ca nterbury by three and about I -t'
1cl so
' ac1·1eu.
.e:i rme
l ,t;ol home. 1 h::ive •·~·ol not hin b" fo r yot1 , ,"1
,
•
to my inn , I .::ol su pper

and-~'"'/

e ore J _i;o/ to skcp. \Vh en I "O! up in tl1e·

l'. \\ "rTllEHs, "i\rist;1rcl1us"
EXERCISE 60 - Oral
l>l-:F! N ITJ·: \\' O IU>S UV i\ IOTI<>N

Study this sel ect ion for th e words c tllinrr tr .
.
•
.
'
,..., r
ptCLUr('S of
Not1 C\' tlnL 1· . 1
·
..
,'.
I \ L' y mollons :111d sounds frcquentl
bclong . Logethcr. J· rnd the words of motion in ExL'rcist..:
m 1 it1011
.

At last he w::is in the cane- fi elds o f hi s destination, ;rnd th e horse,
as if in communi cation with th at ard ent brain so cl ose to his 0wn,
suddenl y accelerated his already mercurial p::ice, unti l it sccnwd L<>
/\.lexa ndc r th at he gat he red up hi s legs and darted li ke a n inflated
swallow st rai g ht through crashing avenues and fl ying h ut s to the
stable door. - GE l\ Tl\U UE AnIEHT0.'1, "The Conqueror "

s:.

Sudde nly hi s horse, in s pite o f the w:ill o f wind at hi s back , stood
on his hind legs, the n s we rved s 0 t'1...1 I I
. .
.
•
c ce Y t 1at hrs ndcr was a ll but
unseated. /\. p:ilm h;id liter:J lly !.:aped from the e· ti
- l d
aero th
d
<1r 1, spr a w e
, . ss . e roa not a foot in front o f th e horse. Th e terrifi ed brut
'. 01e ac ross the ca ne-field, ::i nd i\ lcxa ndc r made no attempt to sto e
mm, for, a lth oug h the rain was now fall'
, . I
P
..
·
·
· rn g .is t io ug h the sea had
~-Oll1tJe rnS o n th e back c:f the h ig h wind , he believed himself to be
.
m ie tevens plant·1t 1on Tl1
. d
' •
· · e neg ro vi 11 ;ige was not yet deserted
an 1ie rode to th e west side of th e mill and s houted l .
. '
to th e f) J·,1c k s <.:rouchrng
.
11s w:irnrng
the re. . . .

EXERCISE 61- Written
US ING JJEFI N ITE W O RDS OF MOT ION

Write on th e topi c "The Liveliest Scene I Ever Saw."
Let thi s be a picture rather than :i story, thoug h full of sound
and motion . Choose a definite point of view. The seem:
may be a busy .street corner, th e playground at recess, a
fire, th e circus-grounds, or anything you choose. Read the
following th eme :
About noon the men bega n com in g from the fi eld. The old
horses, with th eir harness swinging and jing ling, cam e trotting and
running down the beaten path. They crowded again st each othe r
a nd after fighting awhile, duck ed th eir h eads in the water ta nk
wh il e the men hurried to ope n th e gates a nd unrein them . f rom
th e pastures other horses came galloping to ge t th ei r feed, th unde ring ove r th e platform o f the scales with a ro:iring noise. All the
me n were in a hurry , bc:cause they were cage r to get to the t:ihlc .
Some put hay in the m a ngers, whil e o th ers rus hed a round with
bask ets, throwing in the corn. Th e horses pawed and s norted and
made a great fuss over the feed . When all was done , o ne man
h oll owed, "I'll beat you all to th e ho use."
Then the race bega n, all shoving, running, and shouting, with
th e clogs scramblin g and le::iping in front of the wh ole crowd.
S ome o f the me n jumped ove r th e low g::ite whil e othe rs pushed
through, ran to th e tub, and d::ished th eir heads in and out, leavin g
mos t of th e dirt on their faces . One ma n wh o seemed to be somewh:Jt absent-mi nded g rabbed a little boy an d h alf d rown ed him in
the dirty so::ip-suds. " Lay h old o' him! " cried the crowd . Soon
an angry mob rushed to him and marched him off out of my sight

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70

JJ EFlN lT ENESS

FlRST HOOK OF CO l\l l'<>SJT IO N
thought thC'y would he silent fo r a moment, hut a s11dden cl ingdong of the bell brought them dash ing toward the duo r, pushing
against it so hard that l th ought it would co me off the hinges.
Th ey slid O\'C r the be nches and finally found suitable places. They
hcg-~111 eating ,·cry g reedi ly . and their loud jabhe r in~ broke the
still n ess of th e h ouse. "Silence ! " roa red the man at the end of
the table. "There is entirely t00 much no ise .' ' The loud talk
dropped to a low murmur.

If you have been really thinking as you have done the
tasks assign ed, you have disco\·en:d lhat people who writP,
good descriptions arc not content " ·ith vague, general, or
worn -out words, like j>rclly, t'o111r·, K" · Vague, indefinite
words arc lik e the In dian 's blanket, fitt ing everything because they really fit noth ing . The \\"Ords of the maste rs, on ·
the co ntrary, fit so perfectly that they seem mo re li ke the
body of th<.: thoug ht than C\'l'n pcrf cct tailor-mad<.: clothes.
vVh e n Tiryant says of th e waterfowl that its ,. wings have
fmm cd at that far height the cold, thin atm osphere," and
Van Dyke speaks of th e k inglet "jTn llrring li g htly on the
wind," wh:i.t do we know of the size of the two birds?
EXERCISE 62 - Written

71

Sumc w<> rds not slang arc almost as d isreputaul c. L ouk
up the meanings of .lhe foll o\\i ng words and use each l'(>rrectly in on e sentence for e:tch of its meanings . :\Ltkc
good sellle11n.: s that \\·jl\ \Jri11g UUt the lllGlllillg o f lhl·
words: a<c:fu!, 11icr, !torrid, griutd, s7c•ccl, jix, 111ri111, ji11c,
sp!e11t!id. Substitute mor<.: definite o r inure apprnpriate
words for these in the following senknccs, which you arc
likely to use or to hear :
1. }l e had an a7!)it! cold.

2.
3.
4.
5.
G.
7.
8.

n.
10.
11.
J:l.
13.
14.
15.

I had a lwrrid time at the party.
Your new hat is sweet .
She is a 11iff g irl.
Let me.ft.1· yo ur hair-ribbon.
Isn't he just gra 11d l
\Ve ·,·c had aji11c time.
I !er singing \\'as splendid.
That is j ust ,:;,-,,11d.
'!'he candy is just .::ra11d; you ' re afi11e c"ok.
That cxa111 in al i<011 wasjion<.
The umpire's dc:« isiun was rotle11 .
T his speech was simply nj>/1i11.i.:.
ls n't thi s a /!11•0111i11.:: nui sa nce!
\ Vh:.it /,,·astly weather!

l>f.FINITE \\" OJZJ)S I NSTE/\ ll 01·· c;1·:1\El.:/\ I. TERMS

F or each of th e fol lowing- g-encral t erms mak e a list of
dcfln it<.: words : co111c or ,E;·o, J>rr l ly, ,i;·o/ld, p ,·rso11, 7UcJrk111a n .
EXERCISE 63 - Written
DEFIN I TE i\IE/\Nl l\CS OF

«O~li\IO N

\VOKl>S

The chief dange r or slang· is its convenience. Slang- words
arc blanket words, very easily put nn. \ Ve use them instead
of tak ing the troubl e to be ddinitc; and so a ckv·cr bit of
slang steals our vocabularies .

EXERCISE 64 - Oral and Written
S\' NON \'MS

1f two \\'ords meant exactly the same thing, we should not
need both. The meanings of synonyms overlap, but they
always differ in son1e way. Distinctions in thought arc more
difficult to g rasp th:i.n those in seeing, hearing, touch ing ,
mov in g, and the like. Look up the following pairs of words
a nd use each word in a se nte nce to bring out its most individual meanin g - the meaning most different from that of the

FTRST BOOK OF CO ~f POSITI ON

DEF I NlTENESS

other one of the g iven pair. Th e Standa rd D ictionary is espec ially h elpful in a study of synonyms. Learn to spell these
words.
cou rage

cou rage

cou rage
bravery
awful
te rri ble

fortitude
brave ry
daring
h ero is m
te rrible
h o rr ible

h eigh t
aban do n
poli te ness
bely
ge ntle man
cnou r'h

"'

73

swivel c h ai r , with his s h o rt , plu mp k gs p ro pped Of1 a table and ,his
pudgy hands loc ked across his st om;ic h , which gent ly rosl' an d "·.II_
with his breathi ng . l li s s tra"· h;1t """'on the table. and "' · 1 ' ' '' " ' 1
lea ned hi s in ev ita bl e travelin g co rnp:11 1i 0 n in summer weather ~- a
v ast and cave rnous umb re lla of a p:1tt<-rn th;it is pmb;i hl y ubsr_>1ct•·
n ow, a n unkem pt old clr;1b slattern " f an um 1,re111a wi·rh .:1 cracl..;t·d
.
w oode n handl e and a c ri ppled ri b tktl dangkd aw ay frorn ll S tel kJ\\·s
as though s ham ed by its alTi ic t«cl s ta te. Th e campaign 1n;.: ~ 1'. 1d h"' '.n
h ard o n the old judg e . T h e M o nday u cfo re , at a rally at l cm pies
M ill s , h e had fainted , a nd this day lie h ad ll 'l felt equa l to gn111g to
S h.a dy (;rl)vc. Instead he had come lo h is office after d1nn l' 1 to
write so me lett e rs a nd had fallen a sleep. l le slept on for an hnur,
a pi c ture of p ink a nd ch e rubic old :igc, w ith little bc:1cli ngs of sw,·;lt
popping out th ickly on h is hi g h lxtlcl h c;id a nd a gciHI~ l1ttlc_sno11 n~
so und , uf firs t a d rone and then a whi s tl e, pouring stc..id dy l1om hi s

sta ture
h.:a ve
courtesy
wo man
man
s uffic ie nt

EXERCISE 65 - Oral
A ST U D\" IN A LL nn:111s 0 1• l>EFI N JTF N FSS

A s a review of ::di th at you h ave learned in th is chapter,
study t his description . Of course this is merely an excerpt from
a long story, but noti ce that each p:1ragrap h has its definite
subject. \ Vhat is the subject of each ? \ Vhat is the poin t of
view for each ? Make lists of th e sou nd words, of the motion
words, of . other phrases particularly suggestive of definite
images. \Vh at deta ils especially give th e impression of
sincerity ?

· l
p ursed lips.
O uts ick a clr,·-fl y rasped the hrocHl ing s ilence up a n d d1>w11 '"' 1
its fret·s:iw rcfr.ain. Jn t he 1>pc n SJX1CCS till: link h cJt wan·s do111~· 1 ·d
like so man y s tress ma rk s, accenting the wa rmth a nd g1v1ng em1,1i.1 , · - to it . and far clow n th e street, whi c h ran past th e C• >urt lwu se
.,1s
'
·1 I I
a nd th e jail and melted int o a co u nt ry road so impe recp t1 ) Y t iat
non e kn e w e xact ly wh e re the stree t left off a nd th e r oad began,
th e re appeared a s traggling, irregubr co mpa ny of men march in g,_tlwir
shapes more than half hi d in a dust co lumn of the ir ow n ra1 s1ng.
Th e Massac men we re com ing.
J bclie\'C th e re is a pop ular con cept io n to th e effect that an on co min g mo b in va riabl y utte rs a ce rtain indescr ibable, s ini s ter . mutte rin n- sound that is pec ulia r to m obs. F or all l kn ow, th at m :1y lie
true ~f snme mobs, but certain it was th at thi s mob g-ave vent_ to
no s uc h sou nds . The m o b ca me on s teadil y, m aking n o mo re noise
than :iny s imi la r group of sc ,-cnty -fi,·c o r e ig h ty men tra mping u\·c r
a dusty rnacl mig-ht he expected to m;ik c . . . .
Th e ir numbe r was obsc ured by t h e dust th e ir ki.'t lift ed. Jt w:1s
as if e ach man at eve ry s tep c ru s h ed with h is toes a p11ffhall th ;i;
cJisc har,,ccl it s p•J\vd c ri ng part ic les upwa rd int o hi s fa ce: Some "
" rned
.
th e m ea
arms ope n Iy - s I10tgun s a1id rifl c·', . ·1 he otli, ns
showed no wc:1pons. 1nit I1J< I ti 1cn
' 1 . . . . Nnt «n c was m :isKc·d
· - f·.1u· ..: ~·1v... . . 1·t,·(I . Nea rl )· ·111
we re grnwn
men and n11l
or car n·e( J J11s
•
.

Legal Eow, the litt le stree t of lawyers ' offices back o f th e sq ua re,
mig ht ha ve bee n a byro:id in old Pompeii fo r a ll th e life th a t s howed
along its s h ort and simmering- lengt h. No idlers lay unde r the wa te r
m aples and the r ed oaks in the sq uare. Tl.1e jail baked in the sunlight, s ile nt as a brick tomb, which ind eed it somew hat resembled;
and o n the wid e portico of the courthouse a loc1fe r dug- of r emote
h ound antecedents alt c rn:itcly napped :-i11d roused to snap at the
buzzing flies . The doo r of the clerk's offi ce stood ag-:1p e and thro ugh
th e opening came mus ty , snuffy s ml'lls of old lcathc.:r a nd cl ry-ro tlc.:d
deeds . T he wide h; 11Jw;1y that r:-in from end to e nd of the ol d building wa s em pty and echoed like a c:i,·c to th e frequent thump of the
loa fe r cl"g"s leg jo ints upon the planking.
l nd eccl, the wh1.Jc place h ad but ;i sing-le occupant. 1n hi s office
back of the circuit-court room Judg-e l'ri cst was til t<.:d back in a

I

74

F lKST HOOK OF COMPOSITION
o n e w as un der t\\'e nty . . . . A certain ddinite purpose showed in
the ir g ait. ft s ho we<l also in the way they d osed up and became
a m ore compact for mati o n as th ey cam e w ithin sig ht of the trees
frin g in g the squ;uc.
Do\\'n thro ug h the dro\\' sing town edg e th ey stepped, giving
al a rm o nly to th e ch ick ens that sc ratc hed bn g u idly wh ere scruboak s cast a sk impy shack arross the road, but as th ey reac hed the
town line th ey passed a clutte r of n cgro cabins cl ustering about a
li ttle d ogge ry . A negro wo man stepped to a d oor and saw th em.
1Jistracted ly, flutt erin g lik e a he n, s he ra n into th e bare, grassless
ya rd, setting up a hysterical outcry. A n egro man came quickly
from the cabin , cl::ippcd his Ju nd over h e r m o uth a nd d ragged her
bac k in s id e, s la mmi ng the door to behind him with a ki ck of his
bare fo ot. U n see n hnnd s s hut t he ot h<.:r cabi n doors and the woman's
h al f-sm ot lwrt·d cries ca me di mly throug h the clapboa rded wall; but
a slim black cbrk y darted sout hw:ird from th e dogge ry, worming
his way unde r a broken , s n::iggkd fe nce a nd k eeping the straggling
li ne of l10ust:s :rn d stables between him and the ma n: hers. This
fl ee in g fi g ure w as J e ff, J uclg c l'ri,·~r '.s negro body-serva nt, who
h:1cl a most amaz in g faculty fo r always be ing wh e rever 1l1iugs
happe ned .
J eff w as lith e and slim and h e could run fast. l re ran fas t now,
snatching off hi s hat and c:r rryin;..: it in h is hand -- the surest of al l
,;gns that a n c;..:ro is tr:ivd ing at his tnp ga it. 1\ g-.1ud eighth o f a
mil e: in ad van ct: of th e m o b, he s ho t in at th <: !:lac k door of the
co11rt hnuse :rnd nung- himself into hi s employer's rourn.
") edge! J {'dg-c ! " he pan ted tensely, "J edge l'ri es t, p lease,
suh, wake up - th e mobbcrs is co rnin '! "
lH VJN S . Co1rn, "Back Il o me"

·,.

EXERCISE 66 - Written
TLST T l I E~l l·:

Try ::ig ain Exe rcise S~ nr LXLTcisc G I . You may 11sc the
sanw scene o r a different n nc. l'u t inLo this compos ition all
tha t you have learned aboul definiteness and sin cerity.

J >EFI N !TEN ESS

75

EXERCISE 67 - Oral
REVJ l·:W OF l>EFlN!TJ.:NESS

Bring to class three good qul's tio ns nn the points disn1 sscd
in this chapter. Ask and be prqx1rcd to ans\\'cr these
quest io ns in class.
J\ s yo u go on with other work, clo not forget to be dciinile
in subj<:ct, in de tails, in po iIll of vit"w, and in \l o rd s. ( ;;1 tl1cr
in n ew wo rds 3S yo u \rnuld put m<>nl'y in th e lw1 k . ,·;1pit;rl
fo r th e future. Do not think th;1t yu u have m;1sk rcd a 1ww
word until you really o wn it 3nd u se it. Try keeping ;1 list
of your newly-acqu ired prupcrty in a cunveniL·nt no!L'-1" >o k ;
cnt<:r any word th;1t comes Lu yuu in yu ur sludy of any ksso;i,
your reacling, ur yo ur li s tening. 1,r_,.,k o ver th l' ii .s t fr.,1 11 tr11ic
to t ime, and use the words from it in speaking and in writin1:::.

EXERCISE 68 - Dictation
A CQUIRING DEFINITE W O RDS

Study th e foll owing p3rag raph a nd p repare to write it from
dictation . Notice th e commas used in a series of like words.
\Vhy then do we h esit:He to S\\' e ll o ur words to meet 0ur nc('d,?
It is a n o nsen se q uestion. There is n o re aso n. \V e :He s imply
lazy, too bzy to b e comfo r table. . . . Like th e bad CO(>k, we sei ze
the fryi ng-pan to fry, broi l, roast, or s tew , ancl then we wr>11de r "' hy
all o ur d ishes tas te alik e while in the n ext h ouse th e foucl is ;1p pc ti zin g . It is a ll unn ecessary. Enlarge th e vocabulary. Le t ;irw nne
wh o wants to sec him self grow resolve to ;1d<> pl t\\'o """' wu rds
e ach week. It will n ot be lo ng before th e en dkss :i nd v1 K h :1r1 1in ;_;
vari ety of the wo rld will bq.!;in l <> re flect itself in hi s spl'<TI:. ;ind in
his min<l as wcli.
l I r·: 1< rwrcr l' .\r.M t·: H, in
"Self-C ultivation in Engli s h.,

GE<>H«E

YI !ZST BOO K OF COM l'OSlTlON
R UL ES /\ ND E .\ERCISES I N COOD FORMI

DEFIN ITENESS

77

ExAM l'Ll': S : T ru th and ho nor and c h:na L t t: r w e r e !"acri fi ccd t o hi s ~e lfi s h

arnbiti on .

Rule 21. U s1· lltC (0111111 1z 111 srf1rralc lite wo rds anH expressiu11s

-1

,y· 1l

scri1·s .

Exercise A
l\kmo rizc for \\'ri ting :

<>ur c hild ren shall beho ld hi s f:in1 c.
Th e

kincl ly - c.1ri 1 ~ :-. t.

hr. in... .

!1 ~ 1 t' ~L·e i ng- m a n.

~ a g :h· iou s . patie n t. tlrc: 1cling p r~ ii sc. 11ol bla me.

New bir th o f our new sni l. the first Am e ri can.

I , 11\\ · 1-: 1.1. 1

11

Con1m c m 1Hati o n Ode"

N1>T 1·: 1. :\ scriL"s -- 111111\: than two - of sho rt st·ntl'nn:s, very
closely cu nn..:ctcd in th o ught, may be separated by com mas on ly.

l
f

"

Exercise B
Stud y th e fo llo wing selection, explai n the use o f th l! co mm as,
and be ready to w rit e from di cta ti o n. N ute tha t in the seco nd half
o f the sta nza, to m:-i rk :-i so mC\Yh at grea ter pause in th e tho ug ht,
the sem ico lo n is ust·d in s tc:-id of the com ma .
She left th e wc h. she left the loom ,
Sh e made three pa ces thrn' the roo m,
She ~ aw th e water-lil y liloom.
Sh e ~aw th e h e lmet ;i nd th e pl um e ,
Sh e lonk'd duwn to Camel o t.
Out Oew the \\' C b . and flnat cd w ide ;
Th e mirror cra ck 'd from s ide t o side ;
H

T he curse is come up on inc ," cr ie<l

Th e Lady <>f S hal o tt.
T1·::>1N Y>O,, "T h e I .ad y of Shalott"

NO'n: 2. \\'h e n each mem be r o f a se ries is joined to th e res t by
o r or, no comma is used unless th e \\' ritc r \1·ishes to emp hasize
each ite m o f th e sc ril!s scpara tt;ly.

11111!

1

Continuc:d from page 2 4 .

l .esl he should swoon and tumble and be found,
j l·: noc h] C rept to th e gate, and ope ned it, a nd close d.
/\ s Ji.:ht ly as a s ick man 's c h :llnhe r-d ou r.
TE '.'INY~o.,, ,. En oc h Ard e n "

Nu n : 3. \Vhcn only th l! b st mem ber of a series is j11 innl t<> the
rest by a!Jt!, /ml, o r ur , a co mma is 11.ffil i>do rc th e 11J1t!, e tc., un kss
the last t wo mem bcrs arc mo re clo,-cly co nn ec tl!d th •tn ti 1c others.
EXAMl't. J·:s: lie d::trt<·d aw ay o ver the fe nc e , across the meoidow . throu g h
the o rc ha rd .:ate, a nd in to th e wo ods.
\ Ve had fo r dinn e r turk ey, cranberry sa uce , ma sh ed ]>•) tatoes, celery.
tea, bread 11 ud /Juttr:r.

Rule 22. Usr tilt' ll)'f'/101 (11) lo dnwlr t/u· di'i 1isio11 of a
<flo nl, r.1fr 1·i11 /ly al tlll' nltl of a lillf', 1111il (/!) l o _j(lill tl11 · f'.rrf.,·
of 1111l ll)' n 1111p1111111i <uo rd.1.
N<JTE 1 . In di vid in g- a word at the t:nd .,f a line, ll C'\'t·r di vi de ;t
syllable, :111d always placl! th e hy phen at the e nd, not at th e J,q_; i1J11 ing
of a li11 e.
N<>T I·: 2 . Usage regardin g the hyphen in compou nd words is no t
a t a ll consistent. \Ve writ \.! ,Kreenl//mse, le.xt-!1t1ok , and d.tJJ rut1m . In
gene ra l, use the hy phen whe n the co m pou nd is unu s ual, like
de1 r11-wi11get!.

Exercise C
No tice besides th e use of th e hy phen 111 this select ion th e apostrophe, th e questi o n m a rks, and the co mm as. Wh y is nut its
written with an apostrophe?
Th e o ld rud e- furni s hed room
Hurst, flowe r-lik e, int o ro sy b loo m;
\\'h il e radiant w ith a mimic flam e
Outsid e t h e spa rklin g drift bec ame,
And t hro ug h th e ba re-bo ug h ed li lac-t ree
Our own warm h eart h seem e d bl az ing free.

78

FIRST J:OOK OF COMPOS ITJON
S huL in from all Lh e wurl<l without,
\V e sa t the c lea n-winged hearth about,
Co ntenl Lo le t th e nort h-wind roar
In barned rage at pane and d oo r,
\Vhil e Lhe reel logs befo re us beat
The frost-line ba ck with tropic heat.
\Vh at matte r how the night behav ed? .
\ Vhat matter how th e north-wind raved?
Blow hig h, blow low, not all its snow
Could <]Licnch o ur hearth -fire 's ruc!Jy g low.
\V1t1TTIER, " Sn ow- Ho und"

Exercise D
Memorize for writing:
T he re , too, our cider s ister pli e d
H e r eve ning task the st:ind bes id e ·
'
A full ri ch na tu re. free to trust
Tru thful and :drnos t sternly j~:t,

I >FFI N ITJO: N E SS
9. What - - those c iti es>
10. In what part o f th e United States - - those rivers?
11. There - -- tw e nt y of us.
12. S ome - - h appy, so me - - sad .
13 . \V e - - wai tin g, yo u - - late, and the we ather ----- cold .
14. Th e wr iting of all th e children in all th e g ra de' · - - improving.

Exercise F
F ill the blank s in the fo ll ow ing sentences with appropriate subjects. No tice that, although th ere th rows the subject after th<..:
ve rb, th e verb must be plural if the subject is plural. Read the
sentences aloud , e mphasizing th e verbs. R ead each scntcncc also
as a qu esti on, in two ways; for <..:xa m ple, "Arc th e re ;111 y -- - here to-day? " and " Are there no - - ht: re to-day?" Somctirnt:s
you will hav<..: to us<..: 110/ instead uf 110.

r mpulsivc, e:-trncst. prompt to act,

And 111:1 ke her ge nerous thought a Li c t,
h: ccp ing with many a li ght disgu ise
Th e sec ret of self·sa crificc.

II. Co1rnr-:cT USAGE

arc - - h e re to-day.
7•'e re - - th ere.
are no - - in town .
,rr,. a few - - o n th e trees.
1ir< - - in Australia .

6. Th ere

7i'<'h' - - -

ne ar Ja mestown.

There ,,,,.,.,. - - in th e co loni es.
There 1rr< - - a t th e pole.
Th e re .11·tm to l1e - - - to-ni gh t.
Th ere ajlfm r to he - - in th e s ky.

11. Th ere U 'crt· -

Exercise E

-

listen ing.

12. Th e re are - - in Am erica .

Use fr and was o nly with a singular no uo as subject, or with the
prono un lie, she, or t/. Fill th<..: bbnks with is or are, was or were.
Read aloud.
- - you there?
What - - yo u doi ng ?
If th ey - - here 1 should be happy.
Thoughts of :1 picn ic in J un e - - · int erruptin g my work t -cl
Th
.
I
I
o ay.
cy - - co rnin g, Jut t 1e lr;tin:-; - - bt c to-day .
6. Where - - yo u last ni ght>
7 . The wo rds of e very c h ild - -- clea rl y aud ible.
8. Who - - you? \Vh(;re --- yo u ? What - - y o u?

1. Th e re
2. Th ere
3. There
4. There
5. Th ere

7.
8.
9.
10.

\V1tnT 1 1~ H, •• Sno\-.•- Bound"

l.
2.
3.
4.
5.

79

Exercise G
Fil: the blanks with is or are,

WtlS

or w ere :

1. No o ne - - lookin g, a nd th e doors - - open.

2. llow many of you - - - th e re?
3.
4.
5.
6.
7.

- - the books on th e sh e lf?
- - th ere ma ny people p rese nt ?
- - th e re an y o n e p rese nt wh o - - al"ent yes terday'
The co mpos itions o f eac h pu pi l - - re turn ed at the end of the te rm.
- - they for us?

. •:

80

1 1 RST J:OOK OF CUM l'OSJT!ON

8 . \\' here - - th e c hildren when I calle d th e m >
9. Th e re - - seve ra l k in ds o f s ugar-be e ts ; and th ey - - all grown
111 this region .
10. - - there two or th ree bb des o n rnur kn ife?
ll. - - there a11y peop le in the ele\'ator?
12. - - there a nybod y in the elevator?
13. - - t here fi\'e mo re wee ks uf sc hool ?
14. 11 ow m:rny - - th e re in th e jar>
15. - - there deer in thi s park'
16. The proficiency of the pupil s - - re ma rk able.

Exercise H

111

J.kad a lo ud , l'"Tllplcting the sentences.
iI.a Iics.

Emphas ize the words

1. l'" lly an d I :ire - - - .

2. //,·:ind , ;,,. ---- .
3.
4.
5.
6.
7.
8.

n.
10.
11.
12 .
13.
14.

llctwc c n yo11 :ind 1111·. I will ad mit th at - \ !:try and , ;,,. ha ,· e oftc 11 - - .
11":1• ha ving forgo tte n, I am disco uraged.
lla\' C yo u h c;ird from;, ,.,. :111d l .ucy si n<:c t'I(' \'
\\' <ln 't yo u kt J irn and 1111· - - ?
;\luthcr nc\' c r allows I l arry and m t to -· - .
11 <l\'C yo u C\'Cl' kn<•\\'11 h im or ;,,.,. lo forg ,· t - - .
IJ id th ey brin g- mo th e r a nd ""' - - >
\ \ ' hy did yo u not remind h i m and u s to - - .
II ;,,,,,, d id vou - - ?
Th e c hild 7u / 1( 1111 you adm ir e is - - .
The man w li 1•111 yo u see ha s - - .

Exercise I
Some p ronouns h ave different fo rms for subjcct and objec t. Of
th ese prQno un s the subj ec t fo rms arc he, slie, th ey , I, we, a nd who.
These form s s ho uld he usl'd al su aftn is , 1rre, a nd a ll fo rms of th e
,·c rb lo /1c, and afte r .l'ffllls lo;,,., de. : t!t;1t is, as prl'di c:itc a tt ribut es,
o r subject co mpl enw n ls. rL·prc scn ti ng the sa m e th ing a s the subject ; fo r example, " lt is hr·.". T!tey s hould a lso be used abso lutely;
as," 1 l e being ill, we postpuned th c par1 y "; " Tiu')' havin g refu sed

I >E FJ N JTE N !-:SS

to vo te, we we re defeat ed "; or in appt>s ili<> n witli an y <>f these --rare use. The chief d iffic ulty is after i.1-, 11n:, ell' .
Fill the b lanks \\'ith s uitable forms fro m the list a bove :

:1

l. Wh o a re - - ' l\ lay a nd - - .

2. - - a nd - - had quarre led .
3. - - b e in ~ tired, - - \\'Cnt h o m e.
4. - - , havin g become t ir"d. la y duwn w hil e - -- we nt on to th e top .
5. - 6. - 7 . J\ n ;
8. Will

and - - have b"e n fri e nd s from c hil d h ood.
and - - vis ited where - - used to live.
H ele n and - - co m i n~?
- - a nd - - co nsent ?

Exercise J
Use /1i111 , /1cr , //1on , 1111', 11.1 , and u •/1<1!11 in all constructi1>ns except
those ind icating possession and ex ce pt th<>:<c nwntiilm·d i11 th1· 1;1- t
exercise. \Vh at a rc those u ses ? These furms given alH>VL' sh1>u ld
a hr11n ·s be used as o bjects of verbs and preposit io ns, cv,·n " ·h(' n
joine-d with a no un . Say " /Vi: gi rl s a re cn rnit,:g," L_~1t : ·\\'iii ,., ,11
le t 11 s girls go?" Say ., J\fary an d l a re h i: re , but 1tL· hrou.~hl
a puppy to Mary and me." If in d o ubt a bo ut the cu rrn:t fur m,
o mit the no un o r analyze the sentence.
Fill the blanks with the fo rm s above:
l. ] .iste n to - - sh o utin g- for th e pres id e nt I
2. l ] c ar - - play th a t n ew tun e.
3 . I .e nd - - - y uur b rains , please ; between you and ---- ,
plcte ly puzzl ed.
4. U nc le brou g-ht presents lo - - and - - .
5. J fo und J .ucy a nd - - u y ing in th<.: street.
6. The man - - I sa w was not th e thi e f.
7 . 1li d yo u find the boy of - - I s poke!
8. - - do yo u mean ?
9 . - - ha ve yo u appointed capta in?
10. Wi Lh - - are yo u go in 1-:'
11. Th " ch ild re n - - h e befriend ed h a ve n ever foq; o tten
12. T hat monk ey caug ht J:i ek an d -- - by th e hair.
13. Th e k n ight s o f - - yo u re ad were very brave .
14. Th e re were o nlv te n - - th ey d iJ not invit e .
15. What will you do for l Ickn and - - ?

'(

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82

flRST HOOK OF COM l'OSITION

SUCCE.S'l-E'l) THEME TOPICS
1. Wa iting fo r th e Train.
25. An Indian C hie f.
2 Grandm o thcr·s Carde n.
26. A Fish from Our .Pond.
3_ The Nursery ;1t Bedtime.
27. How a H orse Lies Down.
4 · \\'h e n Father Co nlC's 11 ome.
28. 1 lowa Haby Learns lo Walk.
5. Indoors on a R a iny Day.
29. l low a Telep hone is Con6. Outdoors in th e Rain.
nec ted.
7 · From M-y \ \ "indow at 1\ight.
3 o. \\"hy Cornstalks Fall.
8. A C ity Street un a Rainy
3 L J\ Co rnstalk ; an Ear of
Night.
\\'h eat (o r si milar sub9. /\ Canal Hoat.
ject).
10. Huying a New ] lat.
32 . A l'etrifiecl Shell.
11. In the Greenhr 1 use.
33.
1\ Relic of th e / 'as t.
12 · 1 folly for Christmas.
3 4 . :\ \\ °;Iinut Tree.
l3. vVhc11 the T rain , Boat, or
35 . The Leaf of a Walnut Tree.
Stage Comes In.
36. l\ Walnut.
14. J\ Cozy Co rn e r.
37. Why Shavings Curl
1 5 . J\ Roomful o f Hooks.
38. The Fur of Our Cat.
16. Afte r the F irs t Snow.
39. l\ Cat's Paw.
17 · The Last Leaf.
40 . l\ Horse's Ear.
18. J\ Candy Store (o utside o r
41 . 1 Tow an E le phant v\'alks.
ins ide).
42. H ow n Robin (or other bird)
HJ. 1\ fte r School.
Moves.
:lO. \V hvn the· Trai11 l'ullvd 1
11
41. ,\ \ \ ';1 ve.
( I I c came o r he did no;
44. A Snowflake.
come.)
45 . \\"ind in the Wheat.
:l l. . I "he I,, •nges t
Day of the
46. ( >ne Kind of Sumac.
Vear.
47 . An .1\irship.
22. J\ I )anclelion.
48. l\ \\-alk ing C ulti vator.
23. Throug h the T e lescope.
4D. Curi ng Tobacco.
24. Thro ug h the Microscope.
50. " Sugaring Off."

CI--! 1\PT ER IV
INTEREST

From the point of view of ourselves, sincerity is the chief
quality of our composition ; from tht.: point of vi ew of the
subj ect, definite ness is probably th e chief quality; from the
point of view of the hearer or reader, interest is probably
most im portant. To be sure, sincerity itself is necessary to
interest, yet since rity alone will not give it. Two other qu~di­
tics helpful to interest have already been considered - good
form and defin iteness; but these arc not enough. In thi s
chapter some other ways of being interesting arc to be
studied. You should write every theme with some possible
reader clearly before your mind, and a good many suggestions you should put into practice with the distin ct purpose of securin g and holdi ng that re::id er's in terest, of making your thought ckar to him, and of producing the desired
effect in his mind.
A. LETTERS

Of al l written words, those in letters seem most directly
addressed to a reader. Nowadays there is scarcely a person
who does not at some time write a lettt.:r or wish to write
one ; yet it is said that the art of letter-writing is dea d. This
is certa.inly too strong a statement, but it points out an undoubted fact - that what all are doing somehow, few are
doing well.

.. , .
_-,

FIRST BOOK Of COM POSfTION
I.

FR IE NDL Y LETT E RS

In busin ess le tte rs o n e t ries to bi; ::is brief and co ncise as
poss ible ; h is aim is m e rely to hm·e him self und e rstood . In
soc ia l letters, on the other hancl, o n e w is h es n ot o n ly to make
himsdf u11dcrstood, but also to m:1kc the r eaclcr fcel as
though t h e r e h ad bccn a pe rsonal talk lictwcen two fri ends.
( )n c fr ie nd wi ll w ri te to an ot he r n e ws in whi ch th ey a re both
i11tc rcstecl , w ill write it in such a w:1y as to s how hi s fee ling
abo u t it . his op ini o n conce rn ing it :tll. H.e m e mbc r t hat he
mu st be defin ite, es pecia lly in deta il s , poin t of vie w, a nd words.
EXERCISE 69 - W ritten

Y our best fri end at school h; 1s been ;1way fo r three weeks
on :1 v isit. \ Vril c ancl tell h im wh:1t i.s goin g o n a t school.
T ry to i111agi11 c w ha t he would li h · to k now. \V ritc pre tty
m uc h :1s yrn 1 would ta lk .

I NT ER EST

~

85

words to express his m ea nin g. S o in this res p ect a soci:tl
letter is likc on l''s most carefu lly c h ose n con vcrsat 1o n. .
H e rc is a task , th e n, fo r a writc r: Lo se nd h is grcct111g,
his best self th rough a letter, to bl'. joll y, t110:1ghtfu l'. sy m pat h e t ic, as t h e case m ~1y n-qu irc, and yd lo \\Tl ~c nut h rng lh:tt
he w ill a flcr\\':ir<l bc a s ham e d of or reg ret luv1ng \\T llle n .
EXERCISE 71 - W ritten and Oral
S El.~:C TI N(;

AN i> /\ 1..:1.:.AN( ;I N( ;

~! 1\Tl':l..: I J\ I.

1:0 1..: A

If o n e o f you r fell ow p u p ils is ill o r h;'ls m oved

l.f':TT l·:K

:t \l':t)' n r is

off o n a vi s it, c h oose hi m to \\' r ite to . J ot clown all thl' _th111:,::s
that he wo uld lik e to h ea r abou t. A rter m ak 11 1g _th is list,
ima rr in c yourself in his p lace ;'I n cl c h oose o nl y th ose items th:1t
., inlnl·sL you lll <>sl.· ~!· 1-Y l 0 ''IJ""t
" tl';-.,T Lhcsl· ·S<1 lktl ·\ <1ll
wou,.ld
can pass naturally frnrn one to the nc xt . I n class compare
yo u r n otes a n d select t he !)l:st ones .
EXERCISE 72 - Written

EXERCISE. 70 - Written
/I

L E TTl•:R FOR l' O l NT OV VIE W

\.V r ile t·o ;'I n u ncle o r to yo ur gT;1nclf:tther o r to som e g rown
perso n w h o h a s vis ited in you r home and te ll wha t is going
on at sc h ool. \ Vril e w hat W< 1ulcl inter 'SL the perso n to wh om
you acl dn..:ss I he le tte r ; your rl'ht ions toward him d e fini te ly
dete r m ine y o ur point of vicw.

A soc ia l l<.:tte r is, in a \\'ay, lik e a t tlk w it h a fri e nu . B ut
in eo n ve rs:1t ion one has to speak quickly, often w ith o ut suffic ie n t thought; in lette r-wri ting, o n th c contrary, o n e has
time to pla n what he \\' ish es to say and to choose just th e ri g ht

l ' U TTJ N C

1·1-: 1..:S< >N :\

I.I T\

I :\T<' :\

i.l'.T T l:I..:

'.

·"·. ·

\ Vrit c the letter pl:111 1wrl in F\lT<.'i.sc 7 I . \\"rite it i1·ith sn
mu c h u f you rself in the cxprcss io n Ll ut yo ur f r ie nd \1 1th 1•t1L
lookin g :1l t hl' si g nat ure can guess wh o th e \vr1tc r is.

a. Ge ner al rules of form . All tha t is sai d .in C Ii;1ptcr I[
, p c t- "" Pel
oe n ,·rn cl i11k is evc 11 mo re im portant.
a 1){) ll t p.1
•
i
I . hen.:
•. " 1
than t he re. It is possible tha t a me rckml _m ay um l rs,.1.. c
a n d correctly fi ll an ord e r if it be w ritte n rn pe nc il on thl:
. .- · Jt 1·s· l)C>ss
htp . ,,m ;1. •y
. •
· · ible ' too ' that .fn c ncls
c heapest o f p.tpe1
e ndure e ven t ho ug h o m· co1T,·s p"n <knt o r hol 1,1 m.iy 111 ,Ju'
social decencics in \1Ti t ing . B u t cou rtcs il's a nd co n \'l:nlt1J11s
a re as e xacting l· n lctte·r -writi nl!.·
~ a s in any othe r phase of
social life .

.

i

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86

FIRST nooK OF COMl'OS ITION

!-ct yo ur statione ry be good, us ually plain white, of m edium
we ig ht, a nd unrul ed . Use black ink. Beware wha t is unusual
a ny way .. l'~pe r fo r soc ial letters is always fo lded, the
~; 1ge m easuring, 111 o ne com mo n fo rm , about
inches by 7 ;
111 . an ot.her, about
by ~} . Cons ide rable freedom is per1111 tt<.:cl 111 the order 111 whic h the pages are written ; but by
far the. most.1x·uple use, and a ll should u se, the natural order,
~eg mnin g. wi th th e fold to the left and filling the four pages
1n s uccess io n from top to botto m .
b. Parts of a friendly letter. The requirements of form
are not so strict in fri e ndly correspondence as in business letters . The fonna l. parts, whi c h arc e xpla ined on pages 30- 33,
may lie changed 111 ma ny w;1ys, but only fo r good reasons.
l 11 ordin~1ry cases th e heading should be of th e same form
as in bus in ess kttvrs ; but wh en written to a person to whom
th e facts a r~ perfectl y well kn ow n (to a s is ter who is away at
sch ool, fo r m stance) th e heading is occasionally c han ged so
tha t fun o r sentiment may creep in. One might write, for
exam ple,
1n

St

s.t

H ome S weet H ome,
Saturday, bei ng the
fourth day si nce
you left us.
B~t th e ordinary heading is always correct

:rnd in good taste.

fhe address, unless one is wri ting th e social letter to a
s tranger, is o mitted. If used, it is ordinarily placed a t the
encl o f the lette r, below the sig nature, beg inning at the lefthanc1 m::l rgi n. For an illu str;1t inn st·c the e nd of the firs t
lette r o n page 96 .
Th e salutation m::ly be m erely form :tl , but it also affords
an ? pportu n ity for endlessly varied l'Xpression of per. onal
fecl 111g , whether of s incere a ffec ti o n or of sentimental gush .

INTEREST
It is well to be ::lt least as rese rved in th e salutatio n as in
speech. JJ !y dc11r J !r. Cojf1111111 a nd its sli ghtly more intimate form Dc<lr J!r. Co_[(111i111 a re always in gnod tastl'.
From th ese forms t he sal utation may be more and more
cordial as far as warranted by g enuine se nti me n t. B eyond
this there com es at o nce a feeling o f insinceri ty . " It is s in cerity," wrote J ames Run ciman, "that attracts , and it is only
by sin cerity that any letter-writer can please oth e r hum:m
c reatures ."
The ton e of the whole kt te r, a kind of point of vic11-,
m ay be set in the sal utatio n, - :1 key stru ck . as it wnt', w i: h
whic h all that follows must he in h ;1rmony . Th e s:dut.:1ti1>ll
in a letter written lo one's chum would certainl y b..: dillc·rc·nt
from that in a letter to o ne's grandfather . Almllst any express io n o f s,·lf is pcrmissihk hLTL'. hut note th:tl it i~ 11 • •t
good form to write Frio11 I ju/111. \\' rill' .l~v ,(,.,,,. Frio1J <>r,
much better stil l, /),.,,,. _J111LJ1.
Eve ry word in the salutat ion e xcept th e first and the Ltst
is begu n with a sm:ill lette r ; ;is . /)/y 7'0)' p ruio11.r .1//lll1«r.
The salutation is usually follo wed by a L·o mnu. s1 rnwtim es by
a com ma and dash, a colo n, o r a colon and dash. Occasionally. in very in fnrm;d kttns, th e s;d ut;1Lio n is 111;1dc ;1 p:ut
of the b1>dy of the kLLn; as.

Dela11J. Florid:t.
]\ larch (,_ 1')00 .

Only yeste rday , m y cl ear Ji m , J w:i s wi shin g th at you were h ere , so
that we mi g ht talk over uur plans for next summer.

And the salutati on on page 9 1 is so evidently a matter " f
form, the real salut.1tion being incorporated in the first line
of the body of the lette r, that it mi ght be omitted no t onl y
without Joss but with a rea l gai n in sincerity .

~..

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88

FIRST nooK OF COMPOS ITION

INTEREST

EXERCISE 73 - Written

EXERCISE 74 - Written

A l' P ROPRf ATE FORMS

J NTEREST ING BEGINNINGS

V\Tri tc the h eading, salu tatio n, and several sentences of
five letters. By th ese fragments try to show your feelings
towa rd the people addressed , and in each case try to begin
inte restin g ly.

\Vrite the heading and salutation for t he fullowing letters:
1. To mother at home.
2. To a s iste r.
3. To one"s c hum .
4. To the superin tende n t of schools.
5 . A first k-t te r tn a fr iend wh om you m t'l last s umm e r cm you r vaca·
tio n tr ip.
6 . T he sc\'l:nth lette r to the same friend.

It is in the body nf the friendly letter, howc\·er, that one
finds the real heart a nd soul, fo r which all the prel iminary
form h:ts prepared us. Let the beg inn ing of the body s how
that you are rea lly wel coming the chance o f s::iying to your
fri end just what you feel. This would, of course, preclude
tedious (and usuall y unco nvincin g) apolog ies and, likewise,
those forma l introdu ctions so often ridiculed and s till so
fn:qucntly used by inexperienced wri ters : " H avin g nothin g
else to do after linncr, I thought I \\'Ou ld write you a lette r. "
\V it h such an introduction, \\' h ich certai nly docs not flatter
th e recip ient, t he writtT st icks List. J lowcvcr s ince re he may
be in the body of hi s letter. a writer spoils the effect - in
fact , n ever really ach ie\·es it - if his introducti on or conclusion is st il ted or long.
If one has an apology for not h:t\·ing written ea rli er, he
might usu:d ly ju,.;L :ts wcii ll1nit it. l .n him mak -. up lur liis
n egli ge nce by writing a good ktte r. J f it must be expressed,
let it be slipped srn 11e11'liL-re in to th e hody of th e letter, not
m ade a prominent fea ture of the beg inning . Th e busiest
people us ualiy repiy to ietters mosl pro m ptly.

EXERCISE 75 - Oral
APOLOGIES

Tell in cbss several apologies that you ha ve received or
expressed in letters fo r d elay in writ ing a fri endly letter.
\ iVh ich seem sin ce re? \ Vhich see m so important th:tt you
wou ld be gl:td to frnd the m in the begin ning o f a letter to
yo u? Ca n you suggest a bette r way of ~ ivin g this n('ccssary
info rmation than through an introductory apology?

, . .-

·-

•fr<:

T

J
I
t~
!-

1

f
I
I
I

r

In the ;wtu:il writing ont: must remember always that aithough a friendl y kltcr m:1y nTounL news, its real purpose
is to say through its whok length that you are thinking of
your fri e nd a nd wish to show it. Consequently, express yourself; tell what yo u think of the n ews you rebtt:, wk1 t you
believe, what you hope, and, indirectly, what you arc . R ead
th e letters of interesting people - Stevenson, Lamb, Lo\1·c!J.
Lan ie r, I ,ouisa M. Alcott, :nnong the famous ones ---- ;in d sec
how they ha ve written th crnscll'es into the lines. Ful lo\\'i n;;
an.: Idlers tlial rn;iy l'ruvc ~uggc".'-\ i \'l'.
a. A lcttl"r from Ali ce l .a ng-don in Hoston, t<J hn sisll'.r.
who is :tw:_ty frum lwmt: traveling.

flRST BOO K OF COMPOSITION
1495 Beaco n Street,
Boston, Massachusetts,
M ay 5, 19 1 :?.
Dearest " G ummidgc,"
\V c a re having real ] une weather to-day
- the first even mildly warm day we have had this spring; and it
h as made th e th oug ht of our quiet little pbrc in Verm o nt a littl e
more possibl e. I sho uld n"t wo nde r if Mr. L va ns is spading up the
garden to-day!
Dorothy a nd I went to Franklin l 'a rk yesterday in a n ope n ca r
:md by on the grou nd u nde r a tree, \\'hence \\'C could uve rl oll k a
sweepin g g reen valk:y dott ed with b:tl>ies :tnd an occ·asin n:tl sc:t rching nursem aid. Th e ai r was pc ricct - a tin y, friendly breeze; the
huds of the trC'es a rc just beg in n ing tu loo k h:1 zy, and 1h c sun made
us m os t "comfy ,. an d drC'am y.
\ Ve got h ome abou t five to find J\!rs. M::irtin a nd lle tty, wh o had
dropped in to tea. I was del ig h ted to find that th ey had brought
"Hags," who evcntu:i lly add ed g reat ly to o ur pa rty. \Ve fed him
o n th e sad reli cs of my birthday cake, o ve r whi c h he became quite
hysterical and d id all hi s tricks as if quite conscio us o f our ad mirati on . \Ve folks had marmalade sandwich es ·- mo ther's ow n ma rmal ade, - nut-bread , and tea . Mrs. Martin especiall y se nt Jove to
yo u. They have heard n oth ing more of th e burglar, th oug h it
p roved he did take so me of thei r th in gs.
This even ing D orothy has gone out to see M a ry Gordon, and
mothe r is read in g . She h:is well ea rned h e r recreati o n, for she has
to bcr credit this day the fin ishing of my pink plaid, her bl:tck silk
waist , and her morning sacquc ! i\Iy plaid I feel is a g ift from the
skies, for it was a rcmn::int o f three yards and a half, whi ch had
been g iven up as use less. \lm: day I found abo ut a yard o f plain
pink and p lan ned the dress, whi ch moth e r a nd D orot hy exec uted.
It is so successful that J an e pl an s one jus t like it! Hut e noug h of
clothes.
Last Thu rsday, th ough it was a n as ty, rainy d;iy, we we nt to th e
muse um to sec an exhibition of J ohn La Farge 's paintin g s. I l e
did decorating and sta in cd-gl:iss windows mainly, but also tried
his hand at eve ry thin g else. I d idn't ca re fo r th e o th e r thin gs so
much - some way th ey didn't appeal to me, - hut the stained-g lass

91

INTEREST

windows and some Samoan water-colors did. Th ere we re other
pi ctures on ex hi bi tion , too: Ale xand e r's " I 'ot of Basil, . -- you
know i t - whi ch was wonderfull y more bcautif ul th:rn the reproductions ; som e \ Vhistlcr's-" The Little R ose of Lym<: 1'.cgis, "
whi ch was very sweet; and lots o f o thers I can' t enumerate.
Then we went to the Japanese Garden, a n adorable place, laid
o ut in walks and pools, wi t h rea l acacias in bloom , and b:imboos
and coon ti e palms in the corner. \V c sat down im puden tly on
some stone steps lead ing up to a most g ruesom e-looking god with
six arms and three eyes! (And wh o is the god who s its enthron ed
on a lotus bl osso m?) T here were Ja pa ncse scree ns and won<krftd
carved pan els linin g th e sides of th e garde n , ;rnd li t tle g1 .J dfi,h
swimming about in the p ools. It seemed quee r to com e: ot1 l from
the re into a raw, mi sty, muddy st reet, where people we re all '"'"·
bing about und e r unpi cturesq ue umbrellas.
I~ 's time I stopped, or pour mother won't have: a thin ;.;- lcfl t<J
write you. I rese rve the ri ght , though, to tell you tha t Y"u still
have the devoted love of
Your
Little S i,; ter.

b. A letter from Alhert B.-ill to J oe Belbmy, wh o is in a hospitq] recovering from an injury received in a footlx1ll gamc. 1
Clint.011, Tow~.
N o vembe r :?j, 19 1:: .
D ea r Joe, \Vcll , old scout , h ow ::ire you doing this week? Be tter.
I h ope; an d th e wh ole sc hool is ho ping you 'II be:it the doctors hy
getting h ome for C hristmas. Even th e g irl s arc t.1lking abo ut you ;
it ·s almost wo rth a crack o n the h ead to have everybody so in te rested in a fell o w. So cheer up, m y son; if concussio n of 1lw i>r:t in
a nd chlorofor m couldn 't fmi sh you, you ' re good to be h:rngcd yet.
nut you rea lly o ug ht to kn ow about t he doin gs in the J li g h
School; and if I d id n "t believe that M o ll y Farnh am was writi11 r:
regularly to you (throug h your siste r) I mi g ht hope you 't i n::td wh a t
my genius ca n concoct in th e way of clear, co 11cise, cor rect. ca111wd
compositi o n . Nevcrth<:kss, there 's just one eve nt in thi s littl e old
I F'or this letter th e authors are indehte<l tu Mr. Samu t· l ;\'1. N o rth ,

,,f

H~)Jt in1 o r e .

·.
,.
~.

. r·
: ('

92 ·

. FIRST HOOK OF COM POSITION
town that has got past Molly dear ; so I am going to throw it right
at you . Brace up now. lay asiclc the latest rn;igazini.;s, an<l give me
the whole re mainder of what was o nce your mind.
\V eil, this story begins with a parrot - to wi t, my pa rrot, which
bird yo u have never seen, since U ncl e Jim brought him up from
Santa Lucia only two weeks ago. \Ve knew he 0111/d say a few
thin.c;s, for th e d ealer Uncle Jim bought him o f sa id th e bird had
b,:en owned by an Engl is h merchant who had taught him to
speak , but he never would talk fur us. So we just -s upposed he
was listening - and karn ing.
\Veil, Y"U know about the Thanksgiving play. This year the
folks wnrked up tkit hoary old "Spanish Brid e," but it sure did
come nea r not being give n in full after ;di. Jn one of th e scenes
thL'y had a lot of canaries in cages, singing; and somebody suggcstcd th at m y parrot woulJ add some class to the tropical l v11t
t'11so111'!1•. I tol•l them he was a dummy - wouldn ' t o r couldn't
talk ; !Jut they said he'd look good, anyhow; so I broug ht him
a long to th e bst t.hree rehe:Jrsals. WcJJ , he d idn 't say any1h ing;
he just sat, and cocked his head, and bit hi s cage, and squawked
now and th en, when he was on the stage. But I put him over on
the women's side of the s ta ge when he was not" on," because the
hoys were always teasing him . Thal 's wh ere he saw old J ordan
and Marjory lllcekins a-sparkin': and yo u know old Jordan's been
spark ing :\large for ten years. \V eil, o ne night I forgot him u nti l
I was in bee!; but i\larjory had carried him with her, old J ordan,
o f course, seeing her home.
\V e JJ . Buh, th ere is a sce ne wh ere Marj ory, :1s the unwilling
betrothed o f a villain ous old Span iard (nld Jordan), is g loom ily
sillini.; in her boudoir with th e cana ri es and my parrot, wh e n in
comes 0lcl Jordan. H e was not made up to any ex te nt. Il e walks
over to l\!aq.(c and begins to make love; she listlessly o r hope lessly
offers no objecti on, and presently the old boy prints a chaste kiss
on he r left c ar. Th:1t ·s where the play broke u p; fo r that parrot
began to beat his wings against the cage and to screa m at th e top
of his voice," !'<ow not anothe r one, i\lr. J orda n! Now not a nother
one, Mr.J orda n! " and so foll owing, unti l th e :Judie nee was screamin g . th e act ors whoop ing , old Jordan cussin g th e parrot, and I\! arjory burs tin g in to tears -- proper hyst<.:rics, I guess, - and the

INTEREST

93

parrot sti ll ;it it. And he kept it up, too, until they got the curtain
down and somebody put a shawl over the cage.
ilut, sonny, that brought old Jordan to th e cm! of a ten -years'
courtship. Hark! they 're going to be married to-morrow m;::ht,
and the old boy has bought m y bird for one o f th e brid:tl presents .
But everybody bug hs when th e thin g is mcnt iom:d; honest, I
screamed until I got down on the floor , and then I lost my lirnth
until Bat :Martin, who was in the same shape, inad vertently pl:intL'<l
a convulsive ki ck right bct"·ecn my shoulders. (;cc ! ca n't you
sec old J ordan, his cross eyes gbring, hi s fa lse t<:dh all hut falli ng
out as he danced in his rage, and the Spanish sash he had on ;ill
betwee n his feet and :Jbout to trip him! - Move up, J oc, and get
home· you ' re missing a heap!
Th~re 's a Jot doing, anyh ow. Gene Hi ggins has got a new red
necktie, and I 'vc got a new sweater, and J ohn Ba bb 's g ot the
chicken-pox, and my father's got the s:Jme old grouch , and your
cousin Amelia's got a new hat.
So hurry h ome, so n, before everything happens, and especially
before it comes m y turn to write to you again .
Yours sincerely,
Bert.

EXERCISE 76 - Written
SECUlZING INTEREST IN LETTERS

Outline a letter to a fr iend, or use the letter written in
Exercise 72 . Then try by revision and rewriting to make it
alive and interestin g as the writers did in the illustrations
above. Don't try to imitate. Your letter will be more interesting if it is ful l of you.
.
Few thin rrs dampen one's interest like a perfunctory series
of comment~ in a reply to what he has written . Every on e
of us has broken the seal of a letter with in terest, only to
have it deadened entirely by such comments as : " I am glad
that you and all the fam ily are well. You must have been disappointed at not goi ng on the picn ic. However, a: y_o,u s:1:::
you had some compensation in the visit from Cousm 1 uny.

94

INTER EST

FIRST BOOK OF COMPOSITION

yours, Sincerely _vou rs, and } '01tr true ji·ioul alwa_rs, can by
no means bc used intt:rchangeably. The kave-taking should,
of course, be in harmony with th e body of the letter. Not
infrequently in friendly letters the leave-ta king is made a
part of th e body ; for instance,

Be careful in writing to answer any questions that may
have been asked you. It is annoyincr to ask in a letter a
direct question and then in the repl/ to fi nd it overlooked.
Common courtesy, if noth ing else, demands an answer.
. vVh cn through with what you have to say, end your letter.
1 he best way to do this is to stop writin g . How often one
m_ars the pleasant impression of a letter by adding silly or
stilted remarks, lingering like an awkward boy after a call
with nothing else to say, yet unable to get out uf tht: room
If o~e th inks of a g raceful ending, it is all rig ht, of course, to
use 1t; but an abrupt close is far bt:ttcr than an insincere one.
Sam \Veller in his famo us valentint: docs not conclude
grace~u lly; but he docs illustrate one important principle in
effective letter-writing.

Even though you have moved away to live, I hope that
you will never forget Tuscola and
Your true friend,
David Lewis.

i

"Except this, Mary, very dear, as your valentine, and think over
what I ' vc saiJ. My dear i\lary, I will now conclude. That 's all "
'
said Sam .
" Tha t 's rather a sudden pull up , ain 't it, Sammy?" inquired
Mr. \Veller.
·
"Not a bit on it," said Sam; "she 'Ii wish there wos more, and
that's the great art o' lette r-wri tin '."

It is not considered good form to write for the leave-taking
merely Yours .
The signature to a friend of any kind is, preferably, the
writer's name, so that, i( tht: kttcr go aslray in thc rn:tils, it
may be return ed. But :is th:1t mishap is a rare possibility, in
letters to intimate fril'n ds one oftt:n signs merely his Christian
name, initials, or nickname, pro71ided he is absolutely sure
the recipient will be in no doubt as to the writer's identity.

f
i

EXERCISE 78 - Written
LEAVE-TAl< lNC; AND src;NJ\TURE

vVrite tht: kave-taking and signature of tlw letters enumerated in Exercise 73.
Hcforc layin g your letter :tsicl c finally, rc::icl it over aloud
to yourself. I Iow should you lik e to receive this ktter if you
wt:rc the person to whom it is addressed ?

EXERCISE 77- Oral
TII E ENIJINGS OF I.ETTERS

Criticize the endi ngs of the letters you .have wri tten
previous exercises. Try to improve them.

111

II.
In friendly letters there arc many acceptable forms of
leave-taking. Cont ra1y lo the custom in business letters,
where the le:ivc-tak in g is merely a fo rm , in social letters
it may be nude to con vey actual feeling. Ver)' respcctfitlly

95

j

l

1
i
~

FORMAL LETTERS

Si milar to the "friendl y letter " is a type used whC'n one
writes to ::i person little known or to a stranger, p:trticularly
to a rcprcsent :1 tive of some or;c;:rniz:ition or institution. :-iuch
a ty pe is always necessary when one dol'S not know (or need

FIRST BOOK OF COMPOSITION

INTEH.EST

to know) the name of the person addressed, unless the contents of the lcttc_r are of commercial nature and therefore
demand the bus mess letter."
This type, which may be callecl the "formal Jetter " d"ff
f.
h "f ·
, 1 ers
· 10111 t e.
nendly letter" in tone, of course. Moreover it
usually
will have for its' salut-1·1
·on 1')fY acar
;
("
.
.
'
'L
,)tr,
t l1c acId rcss
wdl be followed by a colon or a colon and dash, and the name
of the person to whom it is \vrittc n, sometimes with his address, will be ~laced at the end of the letter, beginnng at the
left-hand margm.
11

533 \Vest 124th Street,
New York, New York,1
October 25, 191 2 .

My dear Sir:

--------- ----------------------- ----------------------- - -- ----- ---- ----- ------ -- ----------Yours very truly,

------------ -------- --·

F. S. Lunt, Esquire,
Freeport, 1llinois.

16

My dear Sir:

Eighteenth Street, N .\V.
\Vashington
District of Columbia
October 25, 1911

------ ---- -------------- ------- ----- -- ---- ------------- --------------- -- ----------------··
Very truly yours

-- ------------------- -·
The Librarian of Yale University
I

When a letter is written from the city o f N ' IV V

frequently

0

·u . J
mi C< ·

r

·

·

t.:

k

I

or • tie name of the state is

~~xt.cns1on of the practice :;hould certainly b . d'

ever, as leading to inevitable confusion .

c

cl h .

iscouragc ' ow-

97

III. Ps1rn no-LETI'ERS
Post-cards are said by some to be destroying the lctterwriting habit in America. Surely this is charging too much ;
but just as surely it has some basis in fact. The souvenir
post-card, when not ga udy and vulgar, affords a means of
pl easant greeting to a friend ; but it should not he permitted
to t:ike the place of a rc:tl lcller. One should never, uf course,
wrilc on a post-card anything of a private nature.
EXERCISE 79 - Written
TEST 1.ETTERS
I. If there are any improvements needed at your school,
write to the superintendent and courteously explain what they
arc and why they should be made.
2. Graduates often wonder what is going on in the school
that they attended . Choose some one who was a pupil in your
school and write him of what you think will be interesting.
3. You have no doubt read recently a story or a poem that
you liked very much. \Vritc to the author and tell him wh:tt
you liked particularly in his work. You might encourage him
to write something even more interesting along the same lines.
4. It may be that you are tired of the way that you ;ind
your friends arc spending recess. Schools differ in so many
respects that what you do at recess might be very interesting
to the pupils in another town. \Vrite to a class similar to yours
and tell about your recess. Make it seem interesting, hut at
the same time show your feeling about it. Ask for suggestions.
S. After teachers leave a school they are usually inter·
ested in what their former pupils are doing. \Vrite and tell
a former teacher of your class what he probably would like
to know. Remember, in doing this, that you have no right

FIRST HOOK OF COMI'OSJT!ON

INTEREST

to wound the feel ings of your fellow pupils, even to make
your letter amusing.

fl . CHOICE OF DETAILS

6 . You have organized a literary or social club in the
school. vVrite to the principal, asking certain favors (the use
of a room, to be excused from ce rta in work, etc.), and, that
you may convince him, state clearly ;rnd pleasantly the advantages, that the _scho~l .will derive from the society.
7. You have 3ust _l1111shcd a book which you enjoyed so
thoroughly that you wish some friend to have the pleasure of
re~tdrng 1t, t?o-_ vVrite to him, recommending the book, specify'.ng what m 1t you particularly enjoyed, and telling why you
thmk that he should read it.
8. You have entered the school for the first time. \Vrite
to a frie~d in your old home, telling him of the good and of
the bad m the new school. You must be careful to look at
every_thi'.1g thr~ugh new ?es, a hard thing to do. Be very
defimte m makmg your points : remember that criticism dncs
not mean m:rely fau lt-finding. \ Vhen criticizing adversely,
suggest possible remedies .
. . 9. An~wer the preceding letter, assuming that you have
v1_s1ted or _Deen a member of the school previously. Agree
:v.1th the cnt1c regarding some matters; courteously point out
n1s e_rrors 111 othe_rs. You can convince him best by citing
definite facts and mstances to support your statements.
IO. You are in doubt what occupation to follow after
leaving school. _vVrite_ to some man whose opmwn you respect and ask his advice. Be sure that you tell him all the
facts about yourself that he needs to know.
I I .. The manager of your ball team wrote to the manager
of a nval team and proposed a game. Aitcr the excha n()"e
b
.
l l
o.( severa etters the challenge was accepted and all the
details arranged. Reproduce the correspondence.

<)<)

Not only in letter-writing but in all kinds of corn position
we face the problem of what to include and wk1t tu k:1\T
out. 1n attempting to interest a hean.:r or rL·ader we fimi
the choice of details a very important consideration. It is
impossible to tell everything. \Vhich details shall we choose?
EXERCISE 80 - Oral
SEEING TUE INTEREST OJ< l>ETAILS

You have already discovered the fact that details help to
g ive interest, and you have been taught in some cases tn narrow your subject so that in the same space you could fur the
sake of interest give more details. Compare the two thcm•.:s
following. \.Vh::it details arc given in the second? Of what
sentences in the flrst composition is the second an expansion?
'What definite words are especially appropriate ?
A TRIP TO THE RIVER

t

j

On a hot day in July another boy and f rode to the river on our
wheels. \Ve got a rowboat and started up the river. The Jirst
thing we did was to run into a brush pile at the water's ed ge.
Then we ran into the bank. As we were rounding the bend we
saw another boat loaded with boys who looked too much like
pirates to suit me. They were armed to the teeth with empty cans
which they promptly filled. Th ey tried to board, but failed; and
then we were doused, but we re none the worse for it. \Ve went on
and stuck on a sand bar and had to get out and push for dear life
for about ten minutes in water knee-deep. That was enough for
one afternoon, and we hurried home, stopping only for a bottle of
pop at a country store.

100

INTEREST

flRST BOOK OF COMJ'OSITlON

but make an accurate one, including weight and measurements. (2) Describe the same person in a few sentences as
you would introduce him in a story ; try to make the reade r
interested in him.
b. Describe a place with scie nti t1c accuracy, and the same
pklce by picturing clc.:tails only. Try the sitting-room at honw.
the µoncl, or the attic. Criticize these therm:s fur sincerity as
well as for good choice of details, and for definite words.

AN ADVE NTU RE WITII A PIRATE CR AFT
O n a hot aftern oo n whi le rowing on the river we rsp ied a boatload o[ boys ''.head. It took us about o ne minut e lo sec that they
we re p1rntes. l he weapons of th e pirat es consisted o f emp ty tin
cans an d three squ irt g uns. J\s th ey drew alongside they gave a
cheer and made a bra\"C attempt lo board , hut fail ed. J\ squirt gun
was the n aimed at me, a nd its fi re took me un e xpeeteclly in the
fo cc. The battle now began in earnest. In five minutes we were
both wet and gettin g wetter eve ry minute. 'vVith a n oar we nearly
succeeded in overtu rning the pirate craft in the shallow water, and
would have cl one so had not our boat g iven a lurch and sent me
sprawlin g. Then began a ch;1sc, the e nemy still near enoug h to
continu e the fi g ht with " long-ran ge" squirt guns. \Ve soon left
them far behind, however, th oug h the fierce ye lls of the pirates
purs ued us far up th e river.
;

The choice of cktails is general ly determined by our purpose. Sometimes we need to mak e a description as accurate
as possible, not choosing details so much as including every
one that will distinguish a particular person or thin g from
another of its kind. S uch a descri ption is g iven by the police
authorities when th ey desire a man to be captured and brought
to court. This is a very different kind of description, as the
following exercises will sh ow, from the one intended to produce a certain effect or to make a certain picture.

IOI

'

The description for accuracy docs not leave us much room
for choice, and is not espec ially concerned with in tcn:st. But
oftcm:r our purpose is to giv.c some particular effect, ;mcl
hence our dettils must all contribute to this one end. The
last two exercises must have shown that this end is not easy
to achieve. "The difficulty of literature, " says Stcvcns(ln ,
" is not to write, but to write what you mean ; not to affect
your reader, but to affect him precisely as you wish ." Y()u
have been unconsciously choosing your details fur one effect
in many of the exercises already tried - "Autumn," for mstance, or " The I .ivclicst Scene I Ever Saw." \V hL:n the
effect is presented for you, as in several of thesc exerc ises,
part of your task is already clone; btc r you mu st <kcidc for
yoursdves what is the characteristic atmosphere of the pl:rso 11
or place pictured.

EXERCISE 81 - Written

EXERCISE 82 - Oral

CHOOSING DETAILS ACCO IWING TO A P URPOS E

STUDYING DETAILS T O PRODUCE AN EFFECT

a. 'vVrite two short descri ptions of the same subj ect:
( 1) D escribe a man who is wanted for trial. Remember that
:my peculiariti es \rh ich he ca nnot eas ily disguise are most
important to mention. Do not make an overdrawn portrait,

a. In the theme on a lively scene given in the last chapter
(p. 69), what details are chosen to give the desired effect?
Are any unn ecessary ? :\bke a list of the details tint impre~s
you with liveliness of action or with noise and con fu sion .

. !

''

'

102

FfRST BOOK OF COMl'OSITfON

INTEREST

b. In the following ckscription what details arc chosen to
gwc the effect of heat and drought? Expla in : 1wr/11red,
slt'ri!c, lang11id, lisllesslj•, w!timper, p etulant, precincts,
froge"J', indolent.
The S ep tember sun shone with s ummer-like fervor in the little
valley of T>anvis; n ot an aftern oo n of August had been hotter, or
breathed a droughtier lireath upon wilting forests and seared fields.
Here and there amo ng the dusky green of the woods, a tree nurtured by more ste ri le root1gc than its neighbors was burning out
its untim ely ripcncss in a blaY.e of rt·cl o r yellow, fr o 111 which the
puffs o f warm wind scattcrcd spar ks of color so intense that it
seemed as if th ey mi g ht kindle the dry earth.
J\ll nature was 1"11g uid in th e un s \':iso nabl c h ea t and drou g ht.
Th e unre fr<'shing hn.Tze hlc:w in la zy puffs with o ut evn1 e nergy of
direction, but li stless ly trying this quarter and that , now bea ring,
now dropping th e light burden of a tree's compbining, the rustle
of the rnlkd co rn leaves, the faint whimper of tired brooks, the
pe tulant cl<1mor o f the crows, and th e high, far-away scream of a
hawk that, level with the hr<'ezy m oun tain p ea ks, whee led in slow
circles, a hot brown speck ag ain st the bronze sky.
The same wearied ai r pe rvaded the precincts of J ose ph Hill 's
hom e and th e house itse lf. The hens lay p::rn ting with drooped
w in gs un der th e scant shade of th e currant bushes, whose s hrive led
remnant of fruit ga ve no promis e o f rcf~eshing coolness; their
half-grown p roge ny stalked aimlessly abo ut the yard in indolent
<juest of nothin g, while they gra ted out the disco rdant yelp which
is neithe r p eep nor cluck, a nd exp resses nothing if not continual
disconte nt ; and th e ducks waddled home, thirsty and unhappy,
from the dried -up p udd le.
The holly hock stalks stood nak ed and forlorn among the drooping leaves, with only here and there a blossom too stunted to tempt
a bumble-bee showing among the brown ing buttons of seed-vesse ls.
The morning-glo ry leaves hung limp upon their twisted vines, that
had evidently bl own their last purplc trumpet to call the bees,
clutching their supporting cords on ly with a dying grasp.

ROl\" L\ ~IJ E. l'- <•Btxsu:-i, "Danv is Folks"

,-_ ITere is a composition written hy a pupil. Mak e a list
of th e details used to g ive the effect of the heat. Arc the
details definite ? Do tht:y seem sincere ?
A HOT DAY
The sky is blue, not a cloud is to be seen, and the sun is heat ing down pit ilessly on the already withering grass and dusty road .
Sitting beneath the hickory tree at the left is a small hoy ' .1 blue
ove ralls, fanning h is hot face with his l aq~e s traw hat. l I 1s 11a1r :s
wet and the sweat run s cluwn hi s face in large drops as he· g;17; t's
lr l' ftlll )' ;1t the lawn-mow er and the unrut grass bd1in· l111n. N.•·t.
t .> c
·
Tl
for behind the tree is a house with a wide vnandah in front. . wre
arc ru gs thrown <>ver th e railing, and two little girl~, h;1rel 1 ,c,t f'd,

wit h tl;cir

li; 1i1·

dnll(: up in kn>1ts on the tnps ,,f tht'lr lw.ids ·""I

wcarinff ;iprons with luw

IHTkS ;111d

of the "' rug~, swi nging th eir legs.

.

~

'.

110

sleeves,

;1n·

s 1 lt1n;~

. are ou t
i\ll the c I1airs

11 n l 1;p
\1I1

·1.1'-1e

•' xceot
one , in wh ich a woman is resting. Sh
t: wears an
h
<-'· ~·
I
.
T ;iprnn\
over a blue dress, and a brourn is leaning ag:11nst the ra1 1ng.. ..
Jittlt: boy about two years old is enjoyin g him self play111g 111 a
bu cket of wat er on the steps. The woman is evidently going to
scrub the porch in an atte mpt to cool the air. The !caves of th e
trc<'S a re dust v a nd moti o nkss, and the re is no sound bu t the low
hum of a sum~er's day and the talking of the little girls.
,..1..l"S

EXERCISE 83 - Written
CJIOOSING DETAJ LS TO PROIHJC: l·: AN EFFECT

\ Vrite a description to g ive the effect of hc;it or of cold.
Choose details and words carefully; write sincert:ly, 11ithout
ex~tggcration. Your title may be" The Hottest l>ay,~lf Summer~, or "The Coldest Day (or Night) of the Y car.
A description in which only the most suggestive cktads
·
f o r the ""
~~ k e of producin1r
arc 0·1ven
..., on the reader a certain
effc~, is 'called a literary description ; one in whi ch all the

...

104

FJR ST HOOK OF COM l'OS ITION

. detail s t hat will aiJ clearn ess arc g iven , for th e sake of reproduc in g accurately Lhc object, place, or person descri bed, is
ca lled a scie ntifi c descr iption. The <liffrrcnce betwee n these
two meth ods of description is very mu ch t he ·difference
between ;m artist's portr::iit a nd an untouched pholograph.
The artist, if h e secs into the character of hi s subject, will
suppress many details that the camer::i \\'Oul<l show, su ppress
Lhem fo r the s::tk c o f trul y expressing that ch; traclcr be hind
them . This ca reful cho ice or <ktails IS o ne w;ty of clistin g uishin g betwee n .fi1t1 a nd tmt!t.

INTEREST

·~

-

105

be inter esti ng and truthful to the impression you \\ish to
g ive. ln the literary descr iption ch oose only t.he details \\'h ich
suggest the cl1ar11r tcr of the sccn l~ o r person Jcsc riiJcJ, a ;1d
do not try to give more t h::in u11c effect.
EXERCISE 86 - Written
CHOOSING IJ E TAJ LS FOR <X> NTl,J\ STEJ> Jo:FFFCTC:

Let ha lf the class write on the t itle" / \ Dcst·ru·d i l· ius ,., ..
t he oth<ir h:df on· • / \ Com fo rtable I Jome . " LKh pu;iil .slw uld
choose \\'ith care a few definite ( k~;tils .

EXERCISE 84 - Oral
SF t·: t NG Tl l l·: l·YFH :T () [.' S U l 'l'l '1·:ss 1 NG !>ETA !LS

Find and bring to class reproductions of painLings :md of
photographs shO\v in g somewha t similar scenes o r people
treated in the artist's a nd in the photographer's mann er. He
ready to tell what details the artist has suppressed ~md what
effect h e ga ins. Good cx3 mples would be Turner's" V e ni ce "
an d a ph otograp h of the Grand Can:t!; or his" Rain, Steam ,
and S pcecl " and a photograph of a mo\'ing express tra in ; or
a portrait of \N al t \Vhitm ::in and hi s ph olugra ph at al>out the
same age. Nowadays photogrnphcrs ofLc n get the effect uf
an :'lrlist's portrait by suppn.;ssin g many details . Find some
exampl es of children "s pictures illustralivc of this.

In tellin g a story no kss th:tn in \\'1·it ing ;i (kscripti ,1;1,
constant c·lwicc is ncc'Css;try . lf )" •ll \\'t· r" l•' sl'l do11 11 "' " ;y
least t hin g that you did and saw and hc:ml and tiwu g ht ;tnd
said on eve n the m ost ord inary day, yo ur record ,,·ould fi II a
volum e and wou ld he ve ry uninteresting . Generally we chooscevents that have some bearing on a certa in thrc;1cl uf interest
- things that arc, as \\'e say, irn porLrnt to the stury. \\ !:y.
at the end uf l'art One in .. Silas !\Tarner, " Jnl:s ( ;",,rg" I-:l 1" t
skip sixteen years? \V hy, in almost a ny sl<•ry, docs the auth •ir
dwell at len gth o n certain cbys, or hours, or 1ni1H1 ks, ;<11'1
leave out dozens of others ?

;''I

I

EXERCISE 87 - W ritten
EXERCISE 85 - Oral or Written

CIIOOSJNG DETA IL S IN sTr1Jn' -TLl.U :'\L

\VJUTING SC I ENTIFIC ANll I.lTl·:RAln· nF.SCRlPTTON

vVrite the story of a chv. chnnsin;..:: either a p;1rti,,11i: i;·l\·
happv, or a pa rti cu larl y d isagrct':tLk , ur ;·1 p;1rt icuhrlv u 11 f,"1;;.
nate day, and selecting th e det:1ils to m;tkc the effect tlut .1.,u
wi sh. lJI) not s:iy ti nt ri ncc .1" •ll \\'c·1'<: h.q>jl\' ur 11'< iri 1 <>u l " r
sad, but show by what you te ll, and the w;1y in whi c h you Lcll

(;ive . as in J·: xerc ise ~ 1 above, a sc ientifi c and a lite rary
description o f th e same roo m , of th e sa me field, of the same
huiitii 11 g (exter ior), or of the s;1me perso n. i11 th e scientific
desc ripti on Ix: clear and accurate ; in the l itera ry description

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100

fl RST BOO K OF COJ\f l'OSITION
107

it, h o w you mu st h;t\'L' kit. Jk sure lo c hoose yo ur 11·o rds no
less ca rd ully t h:u1 you c hoose your dct;t il s .
Co mm ent on the details and th e definite (o r ind efinite)
words in this th e m e :

. g went wrnn g u 11t1 I 11i ti lt ' :l 1·1LTll<H J II __\\' l' \\'•·11
t l• 1 l!l.!ll l l.il
Lv<·ryt I1111
...
tr;iinin g . 1 ft.."rc I pr"cc..: cd cd lll sliL·c the end t"il f 111\' li n;;t·r. .- :1~(·1
thi s, sc houl en d ed . :incl l start ed to th e lake tu s kate . I "'"' \\'lth :t
group of girls and as they ch ~ 1ttcrcd I hcarJ ::-.•J!11C u1 h.:_:-..1Y . I i11
so g lad 1 tuv k 1ny 111usic 1c~~tt1l ycslcrc._ld_\·. " · :·lh:ii \\ 1rl1 ;1 ~r ~·;il
pang of disappui11 i 111cnt an d ange r I th , qt;_:l1t uf 1n_ 1' 111 1i:,;1.._: k ~·, ,, ;1 .
whi1·h /it1d to be this :iftcrnno n. Slowly I went t11 th,· rnt1 s1c r" " m,
wh ne r \\'a s in va in reminde d th:tl I \\' :ts k :1 1·i1 1;:, <>rtt 1111· fl:r" .
\\' h r: n I \\' Cnt hom e tha t 1·1·cn in g, I \\· :1s gl.td I lud :1 ltc:u !." ill'
so th:rl [ co ul d go tu IJ<.:d :1t <>Ill'<' . :\ littk Ltkr :1' I l:1v "" tlw J,,.,i.
h c~ud s11111c unc i11 thl' s t reet sinhi 11 g:

A lJA Y 0 1° i\l\" J.JFE

lt beg an ea rl y in th e morning. v: hen l ll'Oke up \\'i lh J y:iw n :ind
s aw my u\\'n breath rising in :i cluud . J frn\\'nc d :i nd turn<:d with a
dre:i m y crossrn·s s to the \\'indo \\'. All I s:i11· h ere 11·:is a forest of
J::ick Fros t's O\\' n m a king su WT\' dense ll'ith frrns an d ll nclerbrush
th a t T COllid n ' t sc r:ttc h m y \y:1y to the outer \\'urld . Just th en I
h ea rd p:ipa 's 1· nicc call ing th:it if I 1c1ntcd :rny 11rc:1U:ist. I ·c1 bett er
h ur ry up. I mu tie red u n der my hrcat h th:it I did n "t 1rnnt :iny;
hu t :ins\\·c rcd w ith :m :t udilil c iillt un g ra cio us." \\ 'l' ll. "
Fin:11ly w ith Jn effor t 1 cra\\'kd Ollt o f bed a nd ran ac ross the
room fo r m y slippe rs. Slip p ing my foot in to :i stockin g . I \\'as goi ng to put o n m y sl ippers when I s:iw in rny stocking a little h ole.
J'ullin::,: it off. I ran tn th e se\\· in g mum fn r a n eed it" :ind 1 hr.· .1d. :ind
th e n proceeded tu pri ck my fin gl'r. \\' hen I k1cl fi ni shed this a nd
clressccl, i wc ntrl.nvll s t:i irs. T o mam ma's chee rful , " C ond -m o rnin g ,''
l ansll'ered s h o rt ly: allrl then . to turn h er :itte nti on from me. l asked
wh:it wa s the matt c r ll'ith the furn:icc . Pap:i an s wered that it was
like m e , all w rong, a nd he ended th is ex planation by as kin g if I
hadn't g() t out o n the \\'ro ng s ide of bed. This didn ' t hc:lp my
temper a nd I turn ed :t\\':l)' to fi nd :i cold breakfast :1\\'a itin g me.
This made m e an g ry . and my fL·cl in gs \\TIT a g rea t ck:il re li e ved by
breaking a g l:i ss p itch e r of Y:tluc. ,\f tc: r try ing tu e: ll, ll'ith lo ts of
grumblin g to was h th e food do\\'n. I 11·c·nt in to ge t ready for schnnl.
/\t last , after t ro u bles too nunll:rn us to ment io n , J go t s tarted;
only to r c:il izc-, a s I St l'pped o uts ide the clon r , that I had my h o usesl ippe rs on . J r:1n h:ick :rnd afte r ;1 fl'\\' m in ut es' sea rc h I found
m y shoes :i n d s t: t1·tcd ag a in. J\ft e r a quiL"k run I go t '" sch ool just
in time l <l SC<' my ,·lass p:tssi n)~· f hurriedly fu JJ O\\'c'< i, a nd when th e
teach er c:1lkd 0 11 1111' for I he 1hrcc tnms <>f pvrcc nt:ig t', I arose :ind
h rl'a t h lcssly :m sll'erc·d, "S11lij1·ct , n1pul:i . and prcdi c:it e ::ittribute."
Of co nrse :1 scolding e ns ued, and I . Cc-cl in g pretty un u .n1f.,rt.1bk,
went clown to c h ape l.

rt

If yu u 'rl...'. Lf(J ~S ~u1J angry,
I )u 11't g·ct i n;1d !
If you 'rt· l T ~• '.'i'-' :111<1 ; 1n :.~ ry,
Tii u1 1dcctoc· ;..:ct ;..:I.id: ·

·r hcn i thought that it w ;is c: l sy ti• s:1y t hings 1 but n 1 •t :--.n Cl'.')' tn
d o t iic1n .

C

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<•I .. I JJ ·:T.\ll .S

In telling a story the order or l' Ve nts in ti1ne t; 1 kc~ , ·;li'l' ,, r
so m e of the orde r of nm dct;iils, bu t in [lictu ri11 g '"'' ::1;<'. :iut
multitudes of impression s strike our eyes and L'Jr,.; :1 t tiw s:111w
time . \Vhich shall we speak ol lirst ! The urckr of the ckttiis
is hardly less important than the selection of them .
EXERCISE 88 - Oral
STUU \'l NL; T l fJ ·: 01'IJ l·: 1..:. !lF ll L'L\11.S

L oo k again at the selectio ns from Stcvcnsrm ;md :'lf:1snn
in th e third c hapter. Notice that th e o rdn f1.Jio\\'S the L')'C
from the forc gTotmcl ou t :ind 1>11t t<J the f;1rtl1l'st ti1 in gs tl::1t
ca n be scL·n. \\' lw ? \\'I nt is th L' \)rdc r ()r tlt ·t.1ils in :i:,·
account (page 68) of 1\kx a ndn l l:11nilton's rj,\,. tlt r"u gh
the storm? Show ho w the time-order comes in t•1 he lp <1ut
the place-order.

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l'JJZST HOOK OF COM l' O SlTlON

INTEREST

EXERCISE 89 - Written

EXERCISE 92 - Oral

IMPROVING T!lE O RDER O F U ETAILS

I f the o rder of deta ils in your last description o f a house can
be improved, rewrite th e theme . Do not s kip from the outside
to the inside a nd back again, but follow some definite plan.
EXERCISE 90 - Oral
C II OOSlNt; 1\ ND AIU.:.AN(;Jl\"(; DETA I LS FOR C LEAR
EX I'L A N1\ TJON

Exp la in cvcl)' move you make in tyi ng some kind of knot.
Test the cl ea rness of yuur cxpbnation by letting your classma lcs actually tic th e knots, follow ing your directions exactly.
EXERCISE 91 - Oral
C J{JTI C l !,ING TIIE ORDER O F DETAILS

Criticize the order of details in the. following description :
The se xton has on a large woolen cap with the flaps pulled down
over his ears. lI is fa ce is very wrinkled a nd he looks about fortyfi vc yea rs o ld. l le has on a black coat that is very sma ll for him,
:rnd has become g-reen from age. l 1c has o n a larg-c pa ir o f g-loves
made of some kin d of lc:athcr lined wi th fu r. His coat comes down
to hi s knees and is ve ry rag-gcd at the bo ttom. In o ne hand he
carri es a large bu nch of keys all bel o ng ing to different parts o f th e
church . His stock in gs a rc heavy woole n ones, and hi s shoes arc
black with two very large buckles on th em. In the other h a nd he
ca rri es a larg e lante rn. The g lo be is so badly smoked that the lig ht
can hardly be seen.

In describing almost anythi ng, but cspeciaily a person or a
place, it is often well to g ive first a sentence that tells the
g-encral effect. S ometi mes the details arc given first and the
general impression last.

STUD\'ING TllE C l!Ol C E ANI> TJIE
O F DETAILS

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AJrn. ,\ N Cl ·: ~lF NT

Study the follo\\' in g description of a place ;i.nd of a pc ;-snn
anc.l note the cho ice an d th e arranL;cmu1t () f d c t:til' . \ \ L,1 t 1s
the general effect? Is th is g iven first or last? \ \' li :tl arc the
most effective details ?
n . It was such a scene of co n fu sio n as you ca n hardly fan cy .
All the lockfast pLtccs had been broken o pen in yu est of th e rh:irt.
The fl oor was t hi ck with mud, wh e re th e r uflia ns h:id s;, t du"'·n l• >
drink o r consult a fte r wad in g in the marshes roun d th<'ir cam p .
Th e bulkheads, all painted in cloar whit e, and bcad .. d r<•und with
g ilt, bore a p attern of dirty hands. l)()zcns (Jf empty l,«ttks clinkc<l
togeth er in corners tu the r o llin g o f th e shi p . < lnc .,r t i"' d ..,· :, ,r ·s
m edical books Jay ope n on th e table, half of the lea ves g ut t<'d <•Ul.
I suppose, fo r pipe lights. l n the m id st of all thi s t he larnp ,,uJI
ca st a smoky glow, obsc ure :m e! brown as umher.
STF\' l·~~SO:\',

n

'l'rr:,1s11rc 1~1 :-1nd ,,

b. Li zzy [ is] the plaything a nd queen of the vilb;::C' , :i chi lei three
years old acco rdin g to th e reg ist e r , hut six in size :tnd sl n ·ngt h :in d
intellect, in powl'r :lll d in ~"If-w i l l. Sh e m:m:1ges " '"· ryb.,tl y in the
place, he r schoolm istress in cluclc(l ; turns t he wl1 cTkr" s l' hilclrl'ri
out of the ir ow n littk ca rt and m:1k cs th e m dr;rn· her, Sl'dU<\' ,; , .1 \-: "
a nd lollypops fro m the ve ry shop windows ; n1:ik cs the la zy "'" ry
h e r, the silen t talk to h e r, the g rave romp "·ith he r; docs c \·crything she pleases; is absolu tely irresis tibl e. I !er ch id :tttr::tct inn
lies in he r exceed in g power of lov ing, and her fi rm rcli:in ce on the
love and indulgence o f ot hers. H ow im poss ibl e it \\'Ot1ld be to d isappoint the dear little girl wh e n s he run s to mee t you , slides he r
pre tty hand into yours, looks up gladly in )'•>U r f;rcc, ;111d s:iys
" Corne!" You mu st go : you cann ot help it. Another p:irt uf her
ch::mn is h er s in gubr bea uty. T ogeth er \\'ith a good ckal uf till:
cha r::wter of Napoleon . she h :is somethin;_>; of his square. sturd\',
u pright form, wi th the ti nest limbs in the \\'<,rid. and c·omplexi,,n
purely English, a round lau gh ing fac e, sunburn t :rnd r<>sy , JJrge

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Fl RST Jl()( >I\. ( H ' CO f\1 l' OS ITl< lN

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me rry blue eyes, cu rling brow n h air , a nd ::i wonde rful pl ay o f counte nance. S he has th e im pe ri al a ttitudes too, a nd loves to s ta nd with
her ha nd s beh in d her, or folded o\·er her bosom; an d sometim es ,
w he n she has a to uch o f shyness, she clasps t he m togethe r o n the
top of her head , press in g down her shining c url s, and luok in g so
exq uisitely p re tty ! Yes, Li zzy is q uee n of the Yi lbge.

M iss

B ILL J U II NS( >.'\, .\

J'(l l . ITl <".'\l.

11riss

Hill j o h nsun lmu g h.t mo re votes th a n an y other politi c:1I l1r•.>s in
tow n . ] le w<1re a s ilk hat \\'hich co \·e n:d a lnass !Jf bl:t ck ' url y h.1ir.
His head \\' :-IS of ::i,·er:igc s ize. 11c kid bkary blue cyL' S, a I• >11g
hoo ked nose, and a fir lll ·Scl mout h , in \l11c corner uf "ltich was
cocke d a cig:1r. l le had o n a g ray sui t, :ind a stiff shin in \\" hi c h
was a d iam"nd stud . J olrn :;on " ·as ha nd ing to a lean, ha ll" k-eycd
o ld man ; 1 tw• >-d o;l lar hi ll.

MITF0 1rn, " O ur Vill age "

EXERCISE 93 - Written or Oral

EXE RCISE 94 - Written

C ll OOSfNG J\ N I> J\ R R J\NG TNC l> ETJ\T L S TO P l.:.O D UCE A N
E F FY C T I N 1>1-:SC IU ITl lJN

C ll UOS l '\ ( ~

,\ :\ I> :\1.:. 1.:.i\;\(; JN C

l >E ' l .\ 11.S F O i{ 1· 1.1-:. \IZ

E :\ 1' 1..-\ N .-\TI C>'i

\V ritc a d escri ptio n of some person , g ivin g atte ntion to
c hoice a nd ::t rran;:;c m e nt of detai ls th:i t produce :i ge ne ral
effec t, to de fi n ite \\'O rds, to ;;in cc r-ity, :ind to poin t of vie w.
You will fin d it best to choose a s ubjec t with :1 w ry d (· fl n ite
pe rso na li ty, e ith e r quee r, or cb inty, or a\l' kw:1rd, fo r e x:im ple .
If you catc h you r po rl r: 1i t as the subject is do in g some c ha rac teris tic th ing , so muc h t he bette r. Read the foll owing
the m es by way of s uggestio n .

[ n a;; cle;ir :t \\ ;11· ;1s poss ible c ;;pbin <mc· ., f tlH· sc· tl1i11.:.'> .
bein g c o.pcc i;tlly c1rdul :1hout t he order vf dct:11b:
1. \ \ 'h y
2 . J low
:l . l l""'
4. I I U \\.
5 . l l uw
6. I I uw
7. l-l uw

1h c 1111><•11 h:is ph<.!scs .
tu s<.:n·e 111 tcn 111 s.
to pill h ;i <'lll\" I' in li:tscl.: tll.
to ;1ppru; ich o r pull in golL
to trai 11 : 1 dog .
to m ake a liuu:-.c -lJ1;uk [vr a Lhild.

to l)l"uil :t steak.

8 . \\ ' h y n·:ist

Tiff.: \\' i\ S IH:J.: W O ill AN 'S HOV

r:lts< "S

do 11 gh .

I lo w In c ut out d re:-;s g1Jnds l)y :1 p;t ! tcrn.
10. I lo w to use: wild fl owe rs in th e l1<1 us<.: .
~.

I [e is a t::ill , pale- faced boy. l l is brown ey s look too large for
hi s slend e r p un y face . I fi s head is poin ted, and cove red wit lo ng
black hair, s tring ing in to h is eyes . I le wc::irs ::i ma n's hat much too
large for hi m, an<l ::i shaggy bro\\' n coat many yea rs !Jld , w ith sleeves
so sho rt th at h is bo ny ha nds stand o ut fro m th e m, \'C ry co nspic uo us.
I--l is tro users :t.re n1c:in t to he l ong nn(·~, hut he has o ulg.1ow11 thern
u n til th ey reac h hi s shoe tc>ps. J le we:1rs a pair o f hi s mo th e r's old
sh oes w hi c h a re long and narrow a nd ha\·e l'c ry hi g h heels. Every
<l ay, co un tin g Su ndays , yo u ca n Sl'e h im go ing along pl::tying train
with th e ba by buggy , whi c h he is p us hing full of cloth es.

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p~1 ~sc.._· - p;1rtnut

pictun..·s .

l:l . ! low tv rn:ikc ;, ilh oucttcs .

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Effect i1·e argume nt . as has :tlrcadv bee n show n (p:1gc 4 :. ) .
d e mands that there be a c k ;ir st:ite m e nt ui the top ic. This
topic al o ne will n ot s u!licl', ho11l·1·L·r; iL mu st be s u p poncd
by fa cts, facts so seln :tccl a1td so ordcrL·d ;is to C< 1n st it ull' pr•1(1 f.
The fi rst point fr. r on e tn not e is th :1t nwn· ;1ssL:rl i1111 is 11• 1t
proo f. T he ::isse rt ion 111:1y be tr ue; liut it 11111,._l i>l' f,, : ;:1·: . -ii
with Ltcts, referred tu sumc a xiom, u r ju:>tiiieil hy :111Ll«irity.

FIRST HOOK C>l" COMPOSITION

J NT EREST

Unless the argume n t is to be c xha usLi,·e, o nly the s trong est
facls at comm a nd will be used . These should be arran ged so
as to suppo rt eac h ot her and the mai n proposition, and presented with since rity and interest . S uccess is likely to follow
if the wri te r possesses the facts, thoroughly believes in them,
and sincerely tries to establish his proposition.

Especially in telling a story we draw out the beginnin g, and
the n, perhaps for lack of time, hurry throug h the end, \vhich
is, or ought to be, th e m ost interestin g part. lf we s:1\\' a
buildin g wi th a stately and immense entrance hall lc:1clin.~
into n othi ng but a cramped little ki tche n, we should s:1y that
it was all o ut of proporti on. Compositions arc S<>lil<'t1111cs
out of proportion in a simi br w:i.y.

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EXERCISE 95 - Oral
C II OO:';!NC A;\f!J ARRANGING JJETAI LS IN ARG U MENT

EXERCISE 96 - W ritten

a. Jot do wn all the arguments that occur to you fo r or
a~ainst one of th e f,>llowin g prnpositiun~; . Select th e s trongest
a nd arrange them so that, whe n ca lled on, you can present
you r side conv incingly.

I Ml'KUV J :'\G l'RU l'UJZTJ( >N

r. The cost a11d style of commenceme nt dresses should be
regula ted by the school au thorities .
2 . Contests between sc hools should be in branches of study
as well as in ath le ti cs.
3. 1'uhli c debates between high schools should be e n couraged.
4. / \ n unpopular teac her, hO\\C\'CT good, should be re moved.
5. J\ reti e explorations should be discouraged.
6 . The honor syste m in exam inati o ns should be ad opted
in our school.
h. Mak<.: n otes of Lhc points made hy each on e reciting.
Select one set that see ms to lead to an untenable concl usion.
J\ft<.:r findi ng wh ere t he faul ts arc, p repare to present a re ply
in a s incere, courteo us, orderly way.

R ead o ve r your theme un " ;\ ]by of i\1 y L i fe ·· ( Exercise S7) . a nd see whether yo u h:1\·c told lh111 gs in the right
propo rtion , giving the largest number o f details about the
most interesting events . If n ot, rew rite the the me .

EXERCISE 97 - Written
T F. ST T JI E ~ l E H ll-: ! . I I< >I < • F !\ '.'\ I >

l'J {Ol'U ln JU N

h;wc ch(\scn the clct;iils ;ind :trrangccl them
in ~' nni..: : i~ttur;d ordLT, \\T n1~1y 111;1 k c ti1c n1i::> t...1!~c vi J \\·cllir:g
too long o n one part and condensing another part too much.
Even w hen

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DETAILS ANU FUI\. l '\\.O J'Ul\.Tl()C/

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T ell in the m ost interesting way poss ible the story ,,f" The
First C hristmas l Remember," paying atlcn tiun t<> choi ce and
arrangement of details, a nd to proportion. Do not be satisfied
with any words but those that cxpr<.:ss your 111caning cxactiy.
Be carefu l about paragraphing. If you p refer, you may use
one of the following topics instead :
1. c;.randn1a·s Christmas.

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2. Helpin g San ta Claus.
3. A C hri strnas Shopping- Trip.
4 . J\ N i.c;h t Ridc- .

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5 . Caug h t in a S to rm.

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6. My First Adv e n ture.

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7. L<•Sl.
8 . An /\ c:ci<lc n t.
9. A New Year ' s Ecsnluti (tll.
10 . < : c1ti11,L:," ;l l'hr,t<>;.'.r:iph ., f

11. 1\ Spoiled JJoi Hi:ty.
12. C<.:tting aro und ;1n ( ll1jccti<1 11.

l

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INTEREST

1: 1RST HtH >K 01" COl\ll'O S lTI ON

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l llL\ l, C lfl.:.IST :.l.'\S

. l,.red :rnd l went up ~ tair ~ an d pl:iyed h orse and train t ill suppe r
tJJ nc· . \\Ink we \\' e re upst:urs I 1hnughl I la::1rc1 some on e h ammering duwnst a irs, and tuld l-'rn l we h ad !Jetter g-o down :rnd sec wh at
t hey were abo ut ; but f..' rcds:i id t ha t they \\'<."re only cr:1 c ki ng- hi cko ry.
nut s fo r a cake o r som <.:t h1 11 g, :111d if \\'c· \\·e nt down \l' C s hould o nl
get t he JOb, whic h h e didn't lik e. Th e ham me ring s topped and
w e n t o n pl:iy 1ng . In a bout ha lf an ho ur .-\u nt Maggie called us
d u \\·n 10 s uppe r.
:\ ft c r suppe r some one s:1id . " :\ II ready fo r the C hristma s tree!"
!: red and I l<>uked :it e:h·h o t lll' r f.,r about a seco nd and tht::n made
a run for th<' p:1rln r. I hc·:1t. \\ "h,·n I "l'<"il l'd tht' door, th e re s tood
a b rgt.: C h rist111:1s t ree , :iho ut ni n,· l" ·c·t hig h. Th e r1H>1ll w:is all
h;.;l1t.:d up \\'ith vand ks \\'hid1 \\'l'rc· • •n thl' tr<:c. ,\ ro und th e tree

w~

\\'i·rc w;1gons, r ock ing-hnrscs . hc;n·y 1r:ii11s o f cars . and large, heavy

scts uf IJiJnks, \\·hi ch were toi1 hc: 1,·y fo r the !Jran('hcs.
were li ~ hl t uy s, :.1ir -1-~ u1 1.-; 1 a sh11t -g un 1 s1 ) !l1c

On th e tn:c

li ght books,

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knife

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5

t wo, and about a number-four sack full o f r:mdy and nu ts fr,r each
one. All of this 1 saw in a mc>111ent. Th e n 1:rL"d and the uthcrs
came in , but U ncle Ned was not with th e m. I as ked \\'here Lnc lc
Ned was, a n d papa sai d h e th1H1g h t he· w:is fee d ing th l' h o rse' . hut
I knew he \1':1S not :rnd liwughl that h e was pl:iying S:i n ta U.1us :

K cacl the follo\l'ing th e me by w;:iy of s uggestion :

lt was th e aft ernoo n bdo re Chris·t111.·1s· ·•11d
u
eve ry body was in a
hurr_,.'.. J'a1x1 \\"as 1·t
i1 c 1·
1111,;.: up t I1e II
J ""k te:1m to th e $k ig h , I was
p u tung on my . U\"c'J'co:it, 111:11nma \\'as \\'rapping up t he baby , while
l· red \\':I S t11gg-1n g- al hi s o \· c rslwes.
" i I <:re ·s the sle igh-bell ,., s aid Fred as h e p11llcd o n hi s second
ove rs h oe.
" And there 's papa calli ng fl•r us ,' ' s aid I as I r::m o ut, jum ped
into t he sleig h , and took the rei ns.
l'ap:t he lped mamma :u1d the baby in. and F re d c limbed in a nd
got under the laprobe, and yo u m:1\' be su re I did th e sa me whe n
papa took the r e in s, -· because it ,;·:is cCJld . J t was four miles to
g ra n d ma's, but Wt.: had a fast pair c,f h cirses a nd an easy -runnin "'
slt- ig h , and maybe \\'e didn't lly' It seem e d as if we: h ad j i is~
starte d when papa sa id "\\ 'hu:1 ! ., :ind j umped o ut. I le h e lpecl
m:unma and the b:1by ou t, \\' hilc l-'red a nd I jumpe d o ut a nd tied
the horses.
( ;randm a ca me ru nn in g out and told us to come into th e house
qu1t"k o r \\' C s l1C1uld fre ez e. 1\un t illagg ic was ge tting s upper, and
\\'hi!c we we re warmin g ours elves . U ncle Ned ran v ut and put
th...: h<JrScs ;ind fed th\.'.!11.
up

I l

hul I ke pt my th <1ug- h ts tn m ysc·lf.
All at once: Sa n ta Claus sl ip ped o ut fr<>rn :1 littk 11"uk ill'hind
th e tree and began g i,·ing o ur th e prc·sc nt s . \ Vh"n he \\':ts thr n11!!h
giv in g o ut t he pr.:scnts he took huld o f my hand :1ncl d:in ccd
a rou nd the tree . \Vhi le we were li:in cing his b..::ird fell uff, and
t hen eve rybod y shou ted" U ncle N ed! " "Uncle i"ecl 1" Jf e ran
out an d pul led o ff his coat and came back in again.
Th e n e xt d ay we go t u p early to look in ou r stock inf.'.S , hut th c>y
we re t'mpty. \V e wenl duwn to breakfast with sad he:irls, lrnt when
we turn ed o\·cr our plates to cat, th e re under eac h <1f our pl:i tcs w as
a r oun d s ilv er clolbr. J\ fte r bre:1kf:1s t A11nl l\ i:ig g ic !t'l"J ' h"ned
ove r to 1\un t l\lary's and ,\unt I kkn' s a nd told t l1e111 t" ,.,nlL· 11\·cr
fu r dinn l' r , an d not lo ftirgcl th e ir children , hcc1u st: f11 ·1l ~111d 1
wnt.: th e re. Abo ut nin e o ' c\ot"k tl H·y C: llll f'. \V e - Frc·cl :11 HI l and
o ur co usins - n1 cHJt.; s now n1 c 11 , h:ul s110\v fighl s, :u1d \\'l' t1inl t ~ )

houses, hu t c111_ild n ·l.
t111 kcv.
At o ne o'cloc k Wl' li:1 d dinnvr, and it w;1s such a din1wr 1
dressin g , pu<lJi11gs, nut tu u1unt t h e l·akcs 1 pi1·~ 1 t1H1l..iv "1;ind ;1:! th e
re st of the gu<Jd things . ,\f1cr d inner some uf the' h ildren \\'t'nl
o ut a n d p layed in the Sil""·· hut I w:is too full to d• J th:ir. I fini,lwil
e at ing <.lbo ul tt.:n minule s :dt,·r 1h<.'. ri ·st o f Lh'-' childrc·1l. \\" h'·" I
h ad fin ished 1 we nt into th e parl o r and by cl o wn unc1cr the Ch ri st·
mas tree on a brgc white b car's s kin and we nt t" sk<:p. 1 don' t
know h ow lo ng l slept, but wh e n I woke up l lw:ird th" kni\TS
a nd forks clattering as the grown-u ps tried to c ut a kg off th e tu:·kn-.

n1 ake sn ow

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and I kn ew it must h e almost s u ppe r time.

F. BLC!NNINCS

I t is import:rn t t.o secure your reade r' s attentio n hy :1 gond
beginni ng . \\" h:1t Li11'1 "r 1J,· ~~i11 11i11.:..:: r111 \ ••t: li b · lJt"~t) ,\s
you have already noticed in kttcr-\1Titing . il i,.; gc·ncr. ti:1· be·:-;\
to hcg in wi th rnt t apologv or e xpbn:t li"n cir the iHTilkss ini'11rrnali1m tktl you :1n· ;.;<>i11 ;~ t•l lw g !1i. Tl1i,.; is t·spn i:ilh t1111 · c,f

116

FIRST HOOK OF COMPOSITION

~ short composition, in which an introduction of any kind is
likely to be out of proportion . If you had 3 whole book to write
you mi g ht_spare a few p;igcs or paragraphs for explanation'.
especially 1f the ti mes or scene of the story were unfamiliar
as in Scott's novels. Hut even a book is likely to attract us a~
more interesting if it introduces us at once to the ch 3 racters
a nd the situation of affairs, and hints at events to come.
EXERCISE 98 - Oral
NOTIC!N(; A Goon HEGINNING

From the follow in g beginning wh;it do we learn of each
cha racter? of the kind of storv cornir, oo· .?
J

" Christmas won"t be Christmas withou t any presents," grumbled
Jo, ly mg on th e rug .
"lt 's so dreadful to be poor! " sighed Meg, looking down at her
ol<l dress .
."I don 't think it _'s fair for some girls to have pl e nty of pretty
thmgs, and other girls nothin g at all," added little Amy with an
miured sniff.
"\Ve 've go t father and mo th e r and eac h ot her," said Be th
contentedly , from her co rn er.
Lo u 1sA M. J\1,coTT, "Little Women" 1

INTEREST

his big iron shovel - none of your te n-ce nt tin scoops for lii m he was filled an ew with pity for Algern on Marmaduke Schu yle r.
Jo s i-:1·11 1:-.-E llASKA ~ ! llACO:\, "The Imp and the !\ng c:J '"
3 . Th e weather door of the s mokin g-roo m had been left open lo
the North Atlantic fog, as the big lin er rolled and lifted, whi sti 1ng
to warn the fishing-fle et.
"That C heyne boy's th e biggest nuisance aboard," said a man
in a frieze overcoat, shutting the door with a ba ng . "l lc isn't
wanted here. He 's tov fresh."
H. UD\'A l{D

](1PLl:"-iC; 1

" Cap tain s

Cf 1u r;1_r~cous ·

EXERCISE 100 - Oral
CRITICIZING BEGINNINGS OF TI!DlES

Discuss in class the beginnings of themes handed m for
Exercise 94. Which seems to you the best?
EXERCISE 101- Written

CRI TI CIZING SOME GOOD BEGINNINGS

WRITI:KG DIFFERENT BEGINNINGS

1. H was sheep-she:tring time in Southern California; but sheeps heanng was late at th e Senor l\l o reno·s . The Fates had seemed
to combine to put it o ff. - !-f 1-: u·::-: I l 11:-:T JA C KSON, "Hamona"

2. Eve1"y m orning aflcr breakfast, when the Imp trotted down
the steps of the broad hot el piazza, with his brown legs bare, and
l Copyright, 1S96, l1y John S. l'. ,\lcott.

1

4. It w as much too fine a ni ght to think of going tn bed at once.
and so, although the witching hour of nine l' . M. had sl meek, E dwa rd
and l were still leaning out of !he open window in our nig ht shirt,, ,
watching th e play of thc u-dar-bran ch s hadows o n the ll1'" 'n liL
lawn, :rnd planning schemes of fresh deviltry fur th e sunshiny
m orrow.
KE.NNETH CHAHA~tE , The Burglars, in" The Colden 1\ ge "'

EXERCISE 99 - Oral

Why are the follow ing first paragraph s good ones?

17

I

Write the introductory sentences of two stories, one to he an
exciting adventure, the other a jolly in cident of school life.
F. ENDINGS

For the conclusion or ending th e most import.ant advice is,
"Stop when you have finished." Do not leave anything
tacked on or dangling. If you are writing a story, round out

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8

INTEREST

fl !\.ST !\( lOK OF C OM POSITION

th e adventure; if you arc writin g a d escription, leave th e most
im portant detail or th e general impression in the reade r's
mind; if yo u a rc expl aining something, perhaps you will
nccd to sum up your points.
EXERCISE 102 - Oral and Written
Cl{lTl C l ~ JNC

EN l>l i\' CS OF Tlll ·: l\H:S

" A Day of My Life" may h:n ·c been m erely a string of 11'tl'1 dents meant to give a gc ncr:tl im prcssi(l n. In thi s rL·spcct it
was, then, more like a d escr ipti()n th:t n a sto ry . 1f you tonk
any one <>f the incidents, howc1·c r, and t<Jld it in <kt:til , y• •Ci
would find tktt it had, or should have, :1 climax. "\'1Ju 111u ~ t
m a ke the m ost of your cl imax by prq1aring fur it ct rdu\ly .
tellin g it well, :ind n o t spo ilin g it aftcnv:trds; in this \\:1 y

I\ few considerations arc of special importance in telling
stories . If yo u wish to hold your hearer's attention, you know
that you must not spoil the po int by tell ing it too soon. J [ave
you C\'er listened to a stnry-tcl lcr who turn ed the joke backwards, or left out some important fo c t and had to go back to
supply it, or after tdl ing the story p retty well added some
unnecessary in format ion or repeated the best part until you
\\'ere tired of it? In \\'riting, \\'h ere we have time to plan,
there is no excuse fo r spoiling the point or cli max in any
of these ways.
By the climax of a story \\·e mean the point at which we
sec pretty ckarl y how eve rything 11·ill encl - th e h e ight of the
story. Sometimes the climax or heig ht of inte rest comes
before th e cl imax of the story, so that althou g h we do not
know how " it turns out," we do not care. Have you ever
read a book of this kind? In such short stories as you must
wri te, it is especially important to h:1 ve th e climax at the very
end , or almost th crl', an d make cvaything lead up to this.
Of course, not all accounts of cn:nts can be ca lled stories
in the sc:msc that they have a real clima x ; your account of

,_
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you arc likely to be interest in g .

L ook ove r the e ndings of your b st three th emes a nd try
to improve them - unless thl'.y rn;cd no improvement.
D. C Lil\ll\X

I J ')

EXERCISE 103 - Oral
STU!l\'TNG A C' l.lM:\X !\NI> Tlll·'. l\ l'l ' l( t> ,\< ' 11 TO JT

Study thi s poem of \Vhi tt ie r's. \ Vlwrc is th« cli ir~: 1 --;)
vVhat dda il s arc g i\·e n tn kad to this? \\'h y s" nuny? ,\re
they \\'ell arran gcd ?

( A ccording- to :rn ol d c 11 .. . 1u m , th e bn·s were t<1ld <•f !lw d1...·:1t h o f :1 1111·111\w r r1f the
1
JHT\'ent th~:m lr •11\
Sl.:l.:k in g- a Tll.: W hvm1..·.)

fami ly and Lla- ir hin.:s \\'1..· re <.hapl.'d in mourning, in orJl· • lo

I !e re is th e pb cc; ri g ht o ver th e hill
J\.uns the p:ith I took;
You can sec the ::.:ar in th e old w•1ll still ,
And the stepp ing sto nes in the sh all ow hr ..•>k .
Th ere is the house, with the gate red-barred,
And th e pupb rs tall ;
And the barn's brown length, and the cattl e- ya rd,
Anu th e white horns tossing above th e wall.
Th ere arc the beehives ran ged in (he sun ;
And down hy the brink
Of the hrou k arc h er poo r flowers , \\'c·cd -o·crrun ,
Pansy and daffodil, ruse and pink.

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120

FIRST JmOK OF COMPOSITION

INTEREST

A year has gon e, as the tortoise goes,
lleavy a nd slow :

I2I

And the same rose ·blows, and the same slln glows,
And the same brook sings of a year ago.

Then I said to myself, "My Mary weeps
For the dead to-day :
Haply her blind old grandsire sleeps
The fret and the pain of his age away."

There's the same sweet clover-smell in the breeze;
And the June su n warm
Tangles his wings of fire in the trees,
Setting, as then, over Fcrnsidc farm.

But her dog whined low; on th e doorway sill,
\Vith his cane to his chin,
The old man sat; aml the chore-girl stiil
Sang to the bees steal in g o ut and in.

mind me how with a lover's care
From my Sunday coat
brushed off the burrs, :ind s moo t hed my hair
And cooled at the brookside my brow and throat.
Sinc-e we parted a month harl passed,
T(> lo ve, a ye:ir;
Down through the beeches I looked at last
On the little red gate and th e well-sweep near.
can sec it all now, - the slantwise rain
Uf light through the lc:ivcs,
Th e sun dow n" s blaze on her window-pane,
Th e bloo m of her roses under the eaves.
. Just the same as a month before, The house and th e trees,
Th e barn's brown ga ble, the vine by the door,Nothing changed but the hive of be«s.
Before them , under the garden wall,
Forward and back ,
vVent drc:irily singing the chore-girl small,
Draping each hive with a shred of hlac:k.
TremlJling, I listened: th e summer sun

Had the chill of snow ;
Yor l knew site was telling the bees of one
C o ne on the j0urncy we all mu~t go.

t
~

And th e song she was singing ever since
In my car sounds on : " Stay al homL", pretty bees. 11 y n(Jt hencc;
l\ilistress Mary is dead a nd gone."

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EXERCISE 104 - Oral
Ch: IT l\'IZINC TllEMFS H>R i\LL l'<>lNTS C:t>i\l\LCTLD

\\' lTJI

I N1T 10: FST

\\I hat is the climax of the following th eme ? Is the composition well planned as to introduction, climax, ending, proportion, choice and ar ran gement of details? Currnncnt un
the choice of words.
WAVES
was about h;t]f way home from the Snow Islands. The day "·as
verv windy :ind rather (<)(J warm. From th e hot deck of a sma:L
side-wheel st.:arner 1 co uld see the whit.e-c;ips dancini.: fnr rniks
around us. Une by o ne th e people crowdeJ on the deck became
sc:1-sick and h;,st il y dcp;1rtc-cl, until only a few "ere kl:. 'ittin;:
tugcthcr 1war the stern . Finally they tuu went "w:iy. l w;is nu\\·
the only one left on deck. As th e wind had become stronger, I
\\' ~ IS

in

c c_11 1St dnt d;in~t.T (>f

hc inp:

~( ·1~\kcd.

In the prow o( the i>o:it the sidl's were high, of
a liltlc rorn cr.

l'l•LH.st.'.

;ind mat.l e

I fcrc I SllllJ!J:'.ic-d down on th e floor. The waves
d:i~dicd O\Tr the prow of the bo;it, but all I gut was a ii11k spray.
l'res(·ntly three g:iy yuung girls and one young man carnc lo the

FIRST BOOK OF COMPOSITION

122

IN'l'I<:REST
3 . Th e peddler had never prclelllkd tv mure cour:1ge th.rn 1-.. ·l i~, a
man nf peaceable occupdtiun, nor cuuld he acco u nt f.,r his \':tlnur
in this awful crnergc:ncy. Ccrt:1i11 il is, hvw(·vcr, tl1<1t he n1'hnl
f<>rw:1rd, proslr:llcd a sturdy lrish1n:111 \\'iLh ihL: lJt1ll end ,,f hi s 11hq"
a11d fuu1H.l --- 11ol indeed li:1ngi11g o n the St. ~liehac:l's pe.11 -t1<T , h11t
trembling beneath it , \\'ith a halter round his neck - the old, iden tical l\[ r. l [ igginJ,.,th:un.

prow c11d of the deck. \Vhile they were standin g near the side, an
immense \\'ave spr:1n g o\·er th e deck and almost swallowed them.
Two c::ips escaped over the side of the boat and had a bumpcty ride
on the waves . The young people were all dripping w e t, :ind as they
had been on o nly a day's trip, they had no stateroom; so th ere
th ey stayed.
l laughed till J almost cried ; but the laugh \\'as soon to turn . 1
thou ght [ was safe, but before I was through laughing a huge wave
rolled me over :rnd un·r do\\'n the deck, and I was fully <1s wet as
th e (1thns. \\'h e n they had finished laughing at me , we made
friend s, and had a jolly time togethe r. \Ve even tri ed to g et rolled
over hy the w::ivcs.

I L\ \\"J'l ltJJ( x 1·:, " i\! r. 11 iggi nbotli.tn1s C;1t;i,;tr• •pile "

EXERCISE 106 - Written and Oral

Bring to cbss a p:tragraph or senlcnn: gi\·i11;~ Llw ( l irn:1x
of a story. Be ready to answer the qlll:stions \\hich it

EXERCISE 105 - Oral
STUIJYING CLJi\lr\XF.S

The following a rc climaxes of stori es. \ Vhat quC'stions do
they suggl'st as lo the C\'Cnts that h.:d lo them? \ Vh:tt will
need to be finished in the conclusivn?
1. I l e was r:11s111g his arm and his \'Oice, and plain ly meant to
lead ::i chaq::e. But just th e n - crack ' crack! crack! - three muske t shuts IL.shed out of the thicket. i\lcrry tumbkd head-foremost
into the: c xcwation: the man with the bandage spun round like a
tcetotum , and fell all his kngth upon his side, where he lay de.ad,
but still tw it ~ hing: :rnJ th e other three turn ed :rnd ran for it with
all their might. - S'!'E\"l·:r-:sox, "Treasure I sland"
2.

And now he feels the bottom;
Now on dry earth he stands;
Now round him th rn11~~ tlw F:ithcrs,
To press his gory hands:
.i\nd now with shouts and d~pping
And noi se of weeping lo ud,
Ile enters throu gh the River-Gate
Horne by th e joyous crmrcl.
MA• : AUL\\""

Horatius at the Bridge"

suggests to your classmates.

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EXERCISE 107 - Writte11
WRTTI?\C ;\ STOF.\'

J\f~OUND

,\ Cl.l\L\X

·write a story including the climax written by yomxlf ()r
;my one of your classmates. He sure to prcp::-u-e f() .- the
climax carefully. Think out the whole story clcf111ilt'ly bcforc beginning to write, and s incerely try tu inlt.'.rcsl the
other members of the class.
JI. DF\'l('l·:S F()I{ I NTE!ffST

Y ou have unclouhtec11y :dn,ady discnvcrecl tlut much interest is often adrlerl to a story by telling· p:ut of it in the form
of conversation. This conversation may either tell some
things that happened, or reveal character, or do both . For
which puqxise have you generally used it?

;.,.;

1 25

FlW:iT HOOK Of COMl'OS !TI ON

INTEREST

EXERCISE 108 - Oral and Written

EXERCISE 110 - Written

WRITIN(; CO NVEh:S 1\TfO N FOR I N TEREST

REVEALING CIIAl\.A CTER IN CONVERSATfON

Read the foll ow in g fragment, tell what the co nversati on
does for it, and then finish the the me in the same spirit.

'vVrite a conversation between the same two people about
the sam e incid ent as in Exerc ise 109, but assuming that they
both know what has happened. This conversation suggests
what the incident was, and shows the character of each boy
or girl in the way in which he talks about it. l'erhaps_one hoy
is a sneak or one girl a scold. Imagine them very d1st111ctly.

124

WH EN W ILLIAM \VF.NT TO TIIE C IR CUS

" Hello, goin ' to the ci rcus?"
A short, freck le-faced boy of ten stood beside a rath er lean , lanky
youth who had reached th e ad van ced a~e of twelve. Th e speak er
was tl1e s hort boy, who some how bore up und e r th e delightful
name Jonathan Nat haniel \ Vc:ntworth. I l is ni,·k name was, as his
size mi g ht suggest, " S horty." Th e ot hc: r yo uth was \ Vi ii j ones,
mo re comm onl y known as Dil l.
" Pe rh a ps," wa s the respo nse.
They we re stand ing in front o f a large poster, which let passersby know tha t
"Barlow's Great Aggreg ation and Cong regat ion of \ Vo rldrenowned A crobats and l'erfo rm ers in ge ne ral will appear in Smithville July the z 5th. Two pe rfo rm an ces, rain or shin e. Big Free
Parade . Greatest Collection of Animals ever seen in any Zoo or
Ci rcus" ; a nd all th is w as to be seen fo r "the paltry su m of fifty
cents; childre n, hal f-pri ce."
Now, sad to rela te, \.\"ill had to go and spend a week with a n
aunt li vi ng in a little tow n about ten miles f rom Smithvill e. Th is
visit ha d been planned so he s h0uld not be all owed tn witn ess the
demorali z i n~ circus. H e did not want any o f th e boys to know thi s
fact, because they wo uld tease him about not being ;ibk: to go; so
he o nly said " P e rhaps. "
EXERCISE 109 - Written
TE LLING A STORY I N CON VERSATrON

\Vri te a natural conversation bet\\'een two boys or two g irls,
which shall reveal some inci dent that has happened on the
playground or in school. Only one of them knows abou t it.

EXERCISE 111 - Written
FINDING !>EFI NI TI·'. WOl.:.l> S FOR I NTRODUC I NG
CONVERSA Tl ON

Make a li st of all th e words possible to use in place of said.
vVhich give you the clearest picture of the manner of saying?
Which mean to say lomlly ? to say softly?
EXERCISE li2 - Written
J{ l(V EJ\Ll NC Cll:'\RA CTl·: K I N CUN VERSJ\TI ON

vVri tc o ne of the foll ow in g conversations to shnw ch::iractc r,
va ryin g the explanatory words, as suggested in Exercise I I I :
1. A hard-workin g but cheery washerwoman with he r grlKo.· r, while:

she makes a small purchase.
.
.
2. A good-natured b uL provokin~ly careless small boy with li 1s ulde r
siste r, whose pet has just bee n injured throug h his care!t.:ssncss. _
3. An inquisitive small boy o n the: train with hi s mot hc:r, wno is a
lady and un derstands hi111 pretty we ll.

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4 . The same srn;dl \i(ly with his mothc: r, wh•> JS a good-na tuJed . .,,·,· r-

i11d Hl•~ ( ·111

pr( •Ud p .ii l·ilt
fi ." A co ncc· itcd bully un the: playgrvund with a

and quick-witted.

.

lie:\\'

buy who JS lir;\\·c:

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1 26

,

FIRST HOOK OF COMPOS !TlON

6. A very st upid :incl flighty, wealthy wom:111 ,,.,·t11 ... pa 1·1ent an d
poli1 e ti cket-ag en t.
7. A shy country g irl \\'ith h er talbti,· c antl e n thusiasti c L·ity cousin ,
wh o has come to s pend a month and is unpacki ng he r trun k .
8. i\ n older broth er with Bobb ie, a rather st upid fift h-grade hoy,
who 1s puzz led o ve r a p roble m in arithm e tic.
U. Mi ss l'ri s ms wi1h he r athl et ic b ro ther at an a rt exh ibi t.
10. i\ sn o b with a q ui ck -witted you ng gentleman wh urn he has mistake n fur a cha uffeur.
0

C o n,·crsati o n 111ay be used Lo rn;1ke an cx pbn:1ti1,11 i; ~ t<.· r­
est ing. l n th e fur111 of :1 cn11\Trs:1tion td l h· ,11· t•, 1n:1i<, · •.r
do or p lay somc.:thinµ; . He sure tl1al in tn 111 µ; t• > ~;u11 111tcrcst yo u dn not introclun:: "'' rnuc h outsak m :ttll'r th :1t ,.,,11
blur th e clc: trn c ss of th e <.:.\ pla11ation. 1-: ,·;1d t I 1e fvl \u\\l n;.::

composition :
EXERCISE 113 - Written
S l! O \Vli\(; C lfi\l,/\ C TER /\J\I> I·: n : NTS THROUG H
CONVE I,S i\Tl <JN

G ive on e s ide o( a tele p hon e co rn·crsation, show in <Y so m e! .
n
t 1111g th::it h:is happened, and also the cha racter of the spe:ik e r_
If poss ible, indi c:ite al so th e character of th e perso n a t th~
oth e r end of th e line . Or write a monologue, that is, a o nesided conwrs:1tion shm,·ing- c\·cnts and c ha racte r . \ Vhat is
s uggested of th e cha racte r ;incl circ umstances by th<.: remark s
of th e perso n q uoted IJdow? hni s h his rema rks after d inn er.
" Oh, m ::i mma , pk :1sc m:iy l lick th:1t c:ike pan? No, I won't
s poil my d inn n . l ' 111 -111 -m , this s tuff 's gnod . Oh , do Jct me ha ve
s<1111 e o.f t hat dressing". \'1:s, I will , t•lo, 1.:at some at dinn er; yo u
JUSl wait and sec 1f I do n't. J\1y. I wish Thanksgiv ing !lay wo uld
come eve ry <lay. \ Vant some \11Jud ? \\'di , g ive me a p iece of cake
to cat o n. the :vay , a nd I .·11 get yo u some . N o, I wo n't either get
dust o n 1L I .II c_r:un 1t 111 my rno11 1h like th is. Sc,· ? \ Vhy , my
mouth 1s big; IL will hold t\\'i ce tha t 1nuch. . . . 11 ere 's your wood!
M y, th ose b:1ked apples Jurik g<>od. Cucss I '11 eat one. JJ a l Ha!
Y o u thi nk th ere isn ' t room kft fo r dinne r, do you ? If you think
I've c;:i tcn lots now, wait till yo u sre what I '11 cat fo r d inn er. I 'm
going to tell papa to carve me a grea t big piece of turkey! "

·.-:~·.,.

JlO\\' TO J\1 1\!'1·: A 11/\ ND KLK C J!li'Y r '1\ S J·:

"Oh, I.:uth, l ' m h a ving the most troul 11c 1 l c 1n '1 fi11d ;i11 y1hi 11g
to give i\lahci C hann ing for C h ristmas . J ' ve g in·11 lwr ,. , .. n tJ. ii: g
] can think nf, it sccins tn n1c, and I ' vc a1111u:-:. l \\· 11 r11 m ysc1f 111!l
trying to think o f so mething else ."
"If yo u h a ,·c g i,· en her ev e rything , l d'111°l sc v ]:<• 11· I c::in h elp
yo u. But did yo u c \· e r g iv e her a handkc rcliid L·:"v i l g.il'C un c
to one of m amma' s friends lasl year , and she w:is 1kli ght<·d
with it. "
"Oh , wh y dicl n' t I think of th ;1t' That 's the vc- ry thi 11,c; I \\'ant ed.
H ow is it ma ck ? Is it hard , and d11es it take lon g? .,
"No, it is \ T ry simple, and ,·c ry qui ckl y made; and ano ther guud
thin g about it - it is ve ry in e xpen siv e .· ·
" I Iurry up . f<>r l c:1n-t wa it anothe r minut e : "
" \ Vcll , fir st c ut t11·,, squares 11f stiff cardho:ird , ;il >< •Ut fl\·e ind1L·s
square , and be sure lu have the m exactl y th e s;i111L· siZl". C• J\Tr th ese
with cotton bat ting. Thi s shuuld he drawn ti g ht ly on·r the cardboard and sewed so that th ere will be no wrink k s in it. Cc, 1·cr on e
s ide of each of thes<: wit h silk, o ve rlappin g it on th e other side and
sew ing it fast. To lin ish th<:SC pi eces, cover the ren1 aini11 g side \\' ith
wide ribl1011, and button-hole st itch the whole arou nd th e edges
with silk floss."
"But I don't see where th e h andkerchief is to go."
"Don't be im pat ien t and yo u '11 soo n know. \' o u ' ve plen ty of
tim e to make a doze n cases be fore C h ristm as. N e xt g<.:t s<,mc
elastic about o ne inch witle and e ig ht inches long, cover thi s \\'ith

....<•'

128

I NTEREST

FIRST HOOK OF COM I'< >SITION
ribbon and fast en the ends togetlu:r. and ti c a buw of the ribbon
o ver th e faste ning . J 'ut the lwo pi cc,·s o f th e· case, ribbon sides
o ut, togethe r, and sli p th e c las li c hands over th e m. and th en it is
ready for th e fo lded handke rchief. Is there anyt hing you don' t
un derstand about it? "
" No, I d on ' t thi nk there is-onl y, is the bow on th e elasti c
made so t hat it can be unti ed wh en the case is to be opened, or is
it sewed o n tight? And wh at color is the case? "
"Jt is sewed on ti ght, and th e band is to be slipped off. The
batting o f the one I made \\·as pink, !he silk white, and the ribbon
was white with pink flowers in it. lt was ve ry pre lly, but I thin k
lig ht bl ue would be just as dainty ·- or la\·ende r, or pale green. Do
you think you can make one now?"
"Yes, and I'm going to hu rry h01m: and begin it. Thank you
very much , Ruth , fo r helping me ou t o f my trouble."

EXERCISE 115- Written

A sin cere, dcfrnitc comp::irison of our own, made not fo r its
own sak e but to illustrate the poi nt, helps even more th an
these rathe r worn-out phrases to interest and enlighten
our readers .
EXERCISE 116 - Oral and Written
l'\OTICING COMP ARlS0 7'i TII 1\T IIELl'S INTEREST

f,

r

I
r

I

Dl'-i\ ~Ii\ T IZI :\'C i\ X .l :\'< . I I >1-:i\ T

1 2<)

;

''· Fi nd ;ill th e compari so ns, both directly expres-.ed and
impli ed, in Cobb's account o f the a ppro::ich of the mob
(pages 72--74). N ote a lso th e foll owing com parisons tak e n
from pupils' compos itions . Arc th ey appropriate? sincere?
The trees arc full of grackles, who are sin ging a sq11('.1ky
song lik e 1he sci und made by a rusty pair o f sc issors king
ope ned and shu t.
Over rny h.-·ad i11 th e ;111ic I heard !he pittcr-pcillcr of liitlc !llic·<··s
fe et, runnin g as if thl'. tn icc were playing J,\ :h~ kn1:\n .
' !'h e sharp whizzi ng w illd whirling and whistlinµ: ;1 n n1n d ; i w

T dl some incident or ad,·cnturc entirely by m c:in s of con ve rsatio n. Y ou may arrange this as plays arc printed. 1 If
n ecessa ry, write a bri ef introd uction givin g the time and place
and persons.

As con versat ion is a device for securing inte rest, rrincipall y in story-telling, so compar isons a rc a device for securin g
inte res t - along with some other things - pr in cipally in d escripti on. \ Ve a ll use comparisons to make our m ean in g
clear : "It is as dark as pitch," " She is as pretty as a picture,"
"His ch ecks were like apples." Sil~ny hair; dog-l ike d evotion, puttin g t!te ca rt bifon' lite ltr>rsr, a mid gla n ce, ;i <l'1rm1
h ea rt, - m any, man y expressions in cYcryd:1y use arc com parisons, somet imes clea rly stated, sumet irncs onl y hinted .
E diLiuns o f mode rn plays will illustrate tlH'

USL'

/J. \\"ri te fl\-c or more comparisons appli cable t<l people
you k n1 Jw .

J f. C<•m'ARTS<•N

1

corner of the house sounded like a saw mill, ""hich gives a ~tin g 111 ~:
deep sound and th en dies away again o nly for a second.

of hl'lpful s t:1 F~c-din :di11ns.

T oo man y d etail s himk·r rather than help interest. The
Jo n o--drawn-out descriptions by Scott, for example, ;tre somc:tim~s rather tl'dious ; ~1 iew suggestive words arc often all that
are n eeded to call u p a vi vid picture . Su ggestion, then, no
less than cornp::irison, is a valuable device for those \\' ho
would writl· intl'resting \ksniptions. 1t consists in choo:"ing
one or two <>f the most si.'-'.n ifi cant <ktails th:tl \\'ill orry \\ith
th e m a n image of man v more .

FIRST BOOK OF COJv11'0SITION

lNTER EST

EXERCISE 117 - Oral

implied whenever you describe anythin g ; for example, "a
gen tlemanly, courteous, truthful little fellow " is by these
very words set opposite to a selfish, boorish little sneak,
only the con trast is not made plain. In a long story too
we might find two kinds of people introduced as "foils·· for
one another, that is, each to show the oth er' s character by
contrast. SfJmetimcs, too, th e contrast is made plain by actual
statement of differences; sometimes the things or people or
feelings or scenes arc merely placed si<le by side, and the
reade r is left to feel the contrast for himself.

STUI>\ ' 11\t~ SCC<:J·:ST!YL J1ES C l-:ll'TlO NS

\Nhat details are here g iven, and what do they suggest?
Tommy appe;ired in ;i hi g h stale of ci<:an c.11lar, a nd escorted
Nat down to hn:akfast.
Ned Barke r was lik e a thousand other buys o f fourteen, all legs,
blund er , a nd bluster.
·
Rob was a n ene rgetic m orsel of a boy, who see med to ha ve
discovered the secre t of perpetual motion, fo r he was ne ve r still.

EXERCISE 118 - Written
WJ-:!TJ NC

s u ;(; J:STI n·:

EXERCISE 119 - Oral

I Jl·:S( : IU l'Tl()NS

SEEING ELEMENTS OF CON TRAS T

Desc ribe ten diffcrl'.nt peopk: by suggestion, g1v111g one
sentence to each.
IV.

Po int out elements of contrast that migh t be used
scribing some of the followin g :

CONTl(AST

One of the surest ways to make a thing clear and interesting ·enough to hold attention is by contrasting it sharply wi th
something else. The word is \H itten in whitl'. chalk on the
black-board ; a bush of wh ite flo11·ers is planted against a
background of dark g reen ; a compound se ntence is. set opposite a simpk one ; a wrong use of a word against a ri ght
use - that it may be seen distinctly with the physical or 1,;ith
the mental eye. In pictures th is principl e of contrast is often
used - in the well-kno11·n pictmT of "Dignity and Impudence," for example, 11·hcrc the qua lity of each dog is made
clearer because the othe r dog is strikingly different.
I n literature the intensity of a feeling or an impress ion 1s
often give n by co ntr;1st. Th is is one of th e surest ways of
holding in terest, and a way th;1t ;rny one by a littl e thoug ht
may use in a composition. I nclccd, in a sense, a contrast is

l
);

I

111

de-

l. A palace, a home, a h ovel, a hotel parlor, a summer ca mp.
2. J\ garde n, a forest nook.
3 . J\ city street, a country lane, a mo untain road .
4. J\ summer noon , a winter ni g ht.
5. Th e church on S unday morning, the ch urch al mid night.
6. T he lake in summer and in winter.
7. J\ pine and an oak.
8 . J\ blue-jay and a wren.
9. J\ N ew E ng land farm and a Dakota wheat fa rm.
10. "Crabbed age and youth" (picture, not expla na ti on).
11. Before a nd afte r dinn e r.
12. A h ouse bui ld ing, and a comple ted home.
13. A coward a hundreLl miles from the firing line, and within sound
of the cannon.
14. A loafer on the s treet corner, a nd a g reat physician or lawyer.
15. Conversation of a cheerf ul person and a cliscunlented o ne auout
s ome even t or condition of affairs.
16. j o hnn y's remarks when Bill had the mumps, and his remarks
when he h ad th em himself.

133

FIRST BOO K OF COMPOSITION

JNTEREST

17. Thoughts of the person in th e automobil e, and of the person
who was nearly run over.
18. A fireplace and a radiator.
19. l ndoors a nd out on a stormy ni g ht.
20. A friend 's and an enemy's description of a political ca ndida te.

be wor11 on t!tc arm and rings to be worn on t!te fi11gcrs," must
have believed his readers very ignorant. Only those th;:it know
little attempt to say all tha t they know, as Mr. Chadband in
Dickens 's " 13leak House" illustrates.1

132

EXERCISE 121- Written

EXERCISE 120 - Written
WRITING TO SllU\V CON TRASTS

\Vrite on one or more of the topics suggested above, as
your teacher may direct. Be sure to picture the dc.:tails whi ch
most clearly mark differences. Use very defi nite words.

REVISJ NG THEM ES FOR BREVITY

Look ove r your last two themes, and strike out all unnecessary words and phrases, or condense whole clause~ and
phrases in to single words wherever you can do so without
sacrificing the meanin g .

V . VAR I ETY

EXERCISE 122-0ral

A succession of se ntences beginning in the same way
(lie was, or fle !tad, or J!un· were, for exa mpl e), or a
series of short cho ppy sente nces, or the repetition of a word
again and again (<'f't]', or said, or prrtly, or th e name of
someth ing, for in stance), - any ancl all of these monotonies
make compositions Jess inte resting. V a riety in anyth ing is
more interesting than m onotony. The securing of variety is
so important that a whol e chapter of this book is devoted to
it ; for the present, watch your work to avoid monotony as
much as you can, cs1wcially in the form of your sente nces
and in the unnecessary repetition of words.
\I

r.

BR I·:\' l'l'Y

If you would be interesting, :t\'o id unn ecessary words.
Never sacrifice clearness fo r tht.: sake of brevity, but, on the
other hand, n ever use six \\'Ords where one would du; and be
sure to give your reader credit for knowi ng a few facts. The
boy who wrote," The jeweler's window was full of bracelets to

REVIEWING THE CHAPTE R

Look over this chapte r and tell in what ways you have
learned to g ive interest to a composition . \;Vhich two ways
do you consider most important ?
EXERCISE 123 - Written
TEST TIH:ME J\ l' l'l.\'lN(~ ALI. PRINCff'LES STUDIED

'vVritc a theme, either narrative or descri ptive, on any subject you choose, embodyi ng as many a.s. poss_ihl e of all the
thin gs you have learned about the quaht1es ot. good ~om po­
sition. vVh e n these themes are read in class, po111t out m each
other's work all the good qualities illustrated.
l

l{ead '' Bl eak ll ouse," Chapte r XXV.
f··.·

. ··~·

I

134

INTEREST

flR ST BOOK OF CO.MPOSLTJON
RULES AND EXEJ{CJSES I N COOl> F O l.:M

J.

vVe meet to-day, unit ed , free,

1

And loya l to our land and Th ee,
To tha nk Th eo.: for the era done,
1\nd trust Thee for the open in g one .
\V11r r r1 E1: , "Ce ntenn ial II ymn"

l'U N CT ll ATIUN

Exercise A
Ex plai n the use of capitals and commas in this st;1nza and be
prepared to write it from dictation :

Rule 24. Use commas tu set ".ff words i11 11f'f't1sitio11 . 1111/css
t!tcsc arc 71c1J' d osclj1 1111itct! in idea wit/; t!t c words to 7eltirlt
tltcy arr added.

Long as th ine Art shall lo\'e tru e love ,
Long as th y Science t ruth s ha ll kn ow,
Long as thine E :q;lc harm s no l> ove ,
Lon g as thy Law by law sh all grow,
I .ong as thy God is C od above,
Thy brother every man bel ow,
:-;o lo ng, dear Land of all my lo\'C,
Th y name sha ll s hin e, thy fame s hall glow I

Ex AJ\1 1'1. ES

:

.f,,,,,Kf;·//,,, ... , th,·

1111f/11}r

o/

1111111_11 .f(/ miliar p11t: m .r,

wrote also

so1nc pl easa nt prose.
Th e/'•'"' / .1•11,,jd/011• w:is mu.c h.interested in lege nds and myth s of many

lands.

Exercise D
~T rite from di ctati on these sentences, and be ready

SJD N l•'. Y l .AN ll•: l{

to

give the

rul e for the use of each comma :

Rule 23. Use a rmw11a tu St f'ill'illc t/1 c 11crlllc 1if 1l f't'l'SUll
addressed fru!ll w!tat is said to /1i111.

1. Fairest o f all th e maids was Evan gelin e , Be nedi ct 's daughter 1
Noblest of all the youth s was Gabriel, so n o f the bbcksm ith:
2. Ho rn e alo ft on his co mrades' arms, came Mi c hael th e fiddler.
3. All the se were me re t e rrors o f the nig ht, phantoms o f the mind th at
walk in cl:lrkness.
4. There we re old farmers, a spare lea th e rn-faced race , in ho me spun
c loth es, blue stockings. hu ge s hoes and magnificent pewter buckles.
5. \" ou wo ul d h a,· c th oug ht that St. Vitu s him se lf, that blessed patron uf
t.he dan ce, was figuring bdurc you in pe rson.

N OTE i . If the name breaks into a sentence, it mu st be sd off
on botli sides by commas.
E XAMPL ES : I wish, John, that you acted o n your be liefs.
Oliver, your father just calle d for you .
You know how to carry a message to Garcia. yo ung ma n.

Exercise B

Exercise E
Explain the capitalizatio n and punctuation o f these st:inzas from
'v\lhillil'r's poems " T he Ete rnal Goodness " and " ( )ur !\fastlT."
The semicolon is used to conn ect two sentences which might have
been written ~;eparat c: l y. M cmorizc these lines for writing.

\Vri te ten sensible sentences, in trod ucing- into each a name used
in di rect address. Jllustrate th e three pos itions of this name.
NoTE 2. The name of a person or thin g addressed is sometimes
foll owed by an exclamation mark instead of by a comma.

1.

1 kn ow not wh e re His isl ands lift
Th eir f ronclecl palms in a ir;
I only know f ca nnnt drift
Beyo nd 11 is love and ca re.

2.

0 Lord and ]\faster o f us a ll!

Exercise C
Explain th e punctuation of the following, and write it from
dictation:
Our fathers ' God I from out wh ose h a nd
The centuries fall like gra ins of sand,
1

135

\\'h atc'er our nan1 e or sig n.

'\V e own Th y sway. we h ea r Th y ca ll ,
\V e test our li ves by Thin e.

Continue d from page 8 1.

l

INTEREST

FIRST BOOK OF CO.Ml'OSITL O N
I I.

13. - - each of you - - pen and ink?
14. Neithe r the riv e r n or the Jake - - cle ar.
15 . Neither the baby n or the mother - - hurt; and e ach - - - - life
to a brave firem a n.
16. - - neither of th e m come?
17 . Each apple - - as nearly perfect as - - ne ighbor; every one of
them - - delicious.

C ORRECT US AG E

Exercise F
Ead1, t:'i'e!J', either (of two), and 11cilher (of two) make us think
of more than one person or thing, but of (111~1' 011e al a time. lf we
say each chair ill the r//om, \1·e think of the chairs singly; each chair,
then, is sing ular, and should be so used. It is ,,·rong to say,·· Each
chair were in th eir places." \\'h y ? C orrect this sentence. If we
speak of several pcoplt: as c,1d1 rhi/,/ in the da ss, r.:oy per.mil in
town , we think o f th em sing ly. l kre the di!Tlcultv is that we refer
to either m en or women, boys o r g irls ; shall w~· say his, lier, or
t/1cir 7 \Ne mu st not use /h,·ir, beca use 1:11d1 chi/ti is sing ular ; the
correct form is his, e\·en tho ug h g irls a re incl ud ed . Say " Each
child lakes /1is place ," " E vet) ' perso n in to wn st'i's that this plan is
to /1is ad va ntage." Hut say, of course, "Eac h g irl has l1rr lunch
bask et."
If eith er and 11eill1t r are added lo plural nouns ( for example,
" N eithe r th e g irls nor the boys Hf the joke on lhemseh •cJ: ") the
nouns are, of co urse , still plural ; if added to sing ular nouns, the
nouns are still singula r (fo r example," Neither th e boy nor the g irl
sees the joke "). T o say on liimsd/ he re would sound awkward , and
should be avoided ; hut it would be allowable. Fill the blanks correctly, and be careful of these expn;ssions in speech and writing.
1. E ac h - - ha ppy in - - wo rk.
2 . Eith e r yo u o r he - - bo und IO lose.
3. Neith e r o ne of us - - very pro mpt in ke eping - - app o intm e nts.
4. - - e ith er of you g-o in g to tuw n ?
5. - - ea ch o f the ch ild re n invit ed?
6. - - e ith e r of yo u see n my sc issors?
7. - - e a ch ready to rec ite - - lesso n?
8. E ve ry man - - do n e - - part.
9 . Eac h ho ur - - more swi ftly tha n - - fe ll ow just past.
10 . E ve rybody - - that -· - ·- - ig-nora nt on so me s ubj ects.
11. Eac h of us - - see n so me o f - - pl ans come l o no thin g- .
12. Ev e ry ge ntle man - - lea rn e d th;,t --- """ fc.:t:lin gs arc not the
mos t impo rtant obj ec ts <Jf int e res t.

137

Exercise G

I

Two negatives applied to the same statement logical ly cancel
each other. No, 11(111e, 110//1ing, etc., mean 110! all)' , or 110-tlii11g. If
you say that you have not 1w thing, you must h ave sflme thing ; bu t
no one ever uses such a form to mean this. Fill the blanks with
as many pronoun subjects as possible, reading aloud distinctly,
first as statements, and then as qu estions :
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.

- - have no bo ok.
- - has no cove r.
- - have no c ha lk .
- - had none yesterday.
- - brought no wraps.
- - saw no guests .
- - find no tim e for that.
- - can g o no farther.
- - said nothing about it.
- - ate no dinner.
- - took none with him.
- - had taken no umbrella.
- - have do n e no work.
- - had discovered no path .

Exercise H
Fill the blanks with saw or seen. Saw always asserts ; it is a
verb. Seen never asserts; it is a verbal, and may be used in
formin g ve rb phrases with ltas, lwvc, lwd, is, are, was, were, or
for modifying.
1. I - - it; you have - - me; we - - h e r; we were - - ; she - you ; th e y - - the proc e ssion; he had - - the fire; the children - the circus.

INTEREST

FIRST BOOK OF COMPOSITION
2. 11 a \' e you ev e r --- -- " Tlie i\lercliant

3. \\'ere: t hey

«"1f

V (•nice" playe<l?

--- as they ent e red th e building'

.:J.. N 11 o n e - - - thc...:111 1hcrc: but fi\·c witne:-:;~es --them co1T1e out.
\\' e --·-- the comet through the telescope; and since th<:n I have

5.
----·
6.
7.
8.

it twic e ~1t sunset.
I - - yo u hid e in th e cellar-way.
We - - the ships unloading.
Ilave you -- - my brother' He -

- you pass the house once.

Exercise I
Fill the blanks with dirt or done. Notice that dune is never a
verb -- always a verbal. Dir/ is always a verb- never a verbal.
1. Ile - it; she - - it; yo u -..- - it; we - - it; they - - it;
- it i no ne - - it; the cat - - it.
2. H a ve you - - the work assigned? 1 [as she - -- it, too?
3 . We - - - th e c:.tsk almost as quickly as he .
4. They have not - - this so often as I.
5. l had - - · my work a s if I expecte d to have the whole day for it.
6 . T he dog --· - the sheph e rd's work.
7. ff you have not - - th e co"'king for a large family. you cannot
imag ine what 7Vlary - - with her n1orning.
8 . I - - it with my little hatchet; but [ would not have - it if my
father had be e n lo ok ing.

-

Exercise

J

]\fake ten se nsible sentences, using -""7"' and did; also ten, using
.\'/'ell and dt111t: with lws, h1n·1', or h111/. R<:ad then1 aloud.
SUCCESTED T l I l~M

I~

TOPICS

1. Plan ting Corn (a Garden, a Flower Bed).
2. A Day in the Hay Field.
3. A Trip on the River.
4. My First Ride in an Automobile.
5. Forty Miles an Hour.
6. An Unhappy New Year.
7. A Visit to a Mine (or Factory).
8. Going for the Doctor.

9. 1-fow a Ship is ~ ,11 ~ 1dc« l.
10. A Glimpse ol New \'urk l Lnbur.
11. Views from the Tower.
12. Along the Lake Front.
13. Waiting for the l>entist.
14. A (Florida) Picnic.
15. From Snow to Roses.
16. A Trip in a Balloon (or 011 a Kite).
17. Flying across the Channel.
18. My Neighbo r's Dog (Cat, e tc.).
19. A Horse That Balked.
20. Distributing Papers.
21. The Right Kind of Chum .
22 . "The Dogs All Hark at iVle."
23. ·waiting for the Seurnd T;,;ble.
24. A Trip to tbc l\foseum.
25. Getting Ready for the blir (or a Trip).
26. /\ Contract.
27 . Tiry.

28. Wet
29. Lonesome.
30 . Awkward.
31. Happy.
32 . A Night in a Skcping ( :ar .
33. The Kind of Home l Should l .ike.
34. At the Ticket Window.
35 . The $treet Beggar.

UNITY

CHAPTER V
UNITY
A . UNITY OF PARAGRAPHS
h is q~eer how th e birds come back to their old homes in the
~~nng: 1 he love of "home. sweet home" is strong in every one.
I hey sometimes fly more than a thousa nd miles from their winter
hom es in foreign countries. More than anything else I hope to
travel when
I. am
g rown. Then , like the 1>1.rds , I can
· see. I1ow other
,.
~
people uve. 1 hese foreigners ofte n kill the birds for th eir fea thers.
I th_rnk It is wrong for women to wear feathers in th eir hats, for it
m~kes the men kill so many birds. And yet the birds keep
going back.
on

What was the writer trying to tell in the preceding para'.P"aph ? Is he definite in the whole paragraph ? Is he definite
m each si::nt~nce ? What sh~uld be done with the paragraph
to mak~ it secr:1 that the wnter was sincere in trying to say
somethmg to his readers ?
It not infrequently happens that a person says so much
about so many d1 ffere~ t things that when he is through we
do not ha~e any cl_ear impressi on of what he has be<.:n talking
~bout. It is all a Jumble of details which center about noth'.n~. We say that the talk lacks unity. If the talk has un it
it. is all ab~ut one thing and is expressed in such a way as {~
give on~ impression. In the paragraph quoted above the
speaker is talking about too many things ; and even if the
sentences that are directly about the migration of birds be
preserved, they do not give a single impression.
1 40

The writer might have said something interesting i11 a few
sente nces about the mystery of migration, :tl.Jout ti"~ app;trcnt
stupidity of the hirds in n:t'urning to dangerous pLlces, or
about man's inhumanity toward mig rating birds. But in non e
of these topics is there room for remarks about man's love
for home or the writer's hope to travel.
EXER<;:ISE 124 - Oral
STUDYING PJ\KAGKA l'H UNITY

What was th e writer trying to tell in each of the following
paragraphs? Js each paragraph about one thing? Arc the
thoughts so expressed that we get one impression from each ?
If so, what? Did the writer tell enough, - in oth er words,
did he stay by a single id ea until he made you thoroughly
understand it ?
1. Going with a box of honey to a fi eld some distance from
domesticated hives, the hunter gathers up from flowers several bees
and im prisons them, and after they have been sufliciently gorged lets
them out to return home. 'Nailing patiently, he scarcely ever fails
to see the bees return accompanied by fellow workers, whi ch are
imprisoned till th ey in turn are filled. Then one at a time the bees
are let out at places distant from one another, and the direction in
which each one fli es is noted. Thus, by a kind of triangulati on. the
position of the bee-tree is approxima tely ascertained. - Adapted

2. The boys of Kansas used to rob the bumblebees' nes t more
from excitement caused by the danger of being stung than to secure
the honey. They would take a one- or two-gallon jug, such as is
common ly used to carry water to haymakers, fill it partly with
water, and place it, with the cork removed, within two or three
feet of the nest. The bees were then thoroughly aroused hy the
breaking of their nest, immediately after which th e venturesome
boys removed themsekes hurriedly to a safe distance. The enraged bees, swann in g out and fly in g in widening circles to discover
the enemy, would be attracted by the jug, and numbers of them

UNlTY

F1RST BOOK OF COM l'OSJT ION
would naturall y fl y over its open mouth , whi ch, hy reason of the
air set 111 ino ti on by Lh eir wjn g-s, wuultl give an an swc.:rincr roar to
th eir an g ry hum minr. Excited beyon d meas ure by Lhis ;uisc, th e
bees would fly at th e mo uth o f the jug and o ne aft er an utlicr would
pop into it, th e twise prod uced by Lhose wiLhin still furth c-r attrac ting those with out until all had e ntc rf'd. A second di sturbance of
the nest woul d serve to draw out or dispose uf an y of th e re main111g '~·o rk e r-bees; and then Lhe robbing o f th e nest w as easy. After
·robbin g th e nest, the boys emptied the jug on th e ground, and the
bees, althoug h apparently drow ned, wou ld soon recover.

EXERCISE 126 - Oral
RECITING I N A WEl.L -U N I F ll ~ U l' AR AGR :\l'li

Be pre pared to talk o n the subj eel di scussed in F xcrcisc I 2 5.
first placing your outline o n th e board . Rl'mcm ber that you
are to m ake one paragTap!t on~J'EXERCISE 127 - Written and Oral
OUTLINJN(; A \Vl ~ l.1.- lil\' IFJLI> PAIUCl\ :\ 1' 11 1\ 1\J)

Adapted from I I O ll' .IH.n, "The Insect Book"

EXERCISE 125 - Oral
FIND IN(; T O l'll'S Tl J :\T ll l·'. 1.0 ;\;C T OG ET! J ER

Sel ect a subject abo ut \\'hi ch you ca n talk for o ne or two
minutes. l' lacc on the board a number of top ics that fall
under your subject, and d iscuss \\'hich should be used to make
a~ inte resting paragraph. Jn this discussi on it may be found
wise, as yo u learn.eel in Chapter I, to m:ike the subject small e r.
It_ is easie r to talk \\'ell fo r two minutes o n " My Experience
with a Snake," for in sta nce, than on "Snakes." l'lacc the
topics in a natural order.
l [ere is an outlin e of the last p:tragraph m Lxt:rc ise 124:
Robbing bumblebees ' nests in K a nsas .

Tl·:STl N(; lT

Select a new subject, as in Exercise 125, :111d :HTJngL· :1n
outline fo r it. l'lacc thi s o n the board and talk ir<>lll it. This
oral development ma y be of one paragraph or of sL·1·cr:tl . l n
mak in g the outline be sure that all the points \\·hiL·h you
number or letter in the same way an: of l'qual i rnpvrtance.
Pl.ATE X I
I. _ _ _ _ _ _

tt. __ _

1. _ _ _ _ _ - - - - -

JI. ___

- -

2• ._. __ _

-

tl. +___ _

or

b._
I ll_

'----·----2, ___ _

l. Purpose of robb ing the nests.

2.
3.
4.
5.
6.
7.

The mea ns used.
Arousing the bees.
Respo nse of th e bc .. s.
Drawi ng out the rcm~i11ing bees.
1-!obbing

the nest.

l>i sp<>sal o f th e hcc·s.

Keep in your notebooks for future use seve ral of these
compl e ted ou tlines.

B.

2. _ -----

If you re m e mber thi s, you \\'ill force yourscl f to sec L·:-.:ictly
the interrelations of what yo u are saying. Also remember
that it is b etter fo rm to wo rd simibr ht:a d in ~s in a sim il:tr
way, u sin g sentences th roug hout, or clau se~, or nou ns. or
verbals, as you find most co nven ient. ] n recit in g on th c~e
outlines take time to prepare yourself and time to say just

.- .._

144

UNITY

FIRST BOOK OF COMPOSITION

c. Still using the outlin es made fo r oral work , ;innounce

what you mean . Beware of cr's and of too many mul's. Let
each member of the class give a title to yo ur oral composition.
Your success in giv in g a unifi ed impression will be tested
largely by the agreement of the titles that the class suggest
for your recitation.

good topic sentences, and then dec ide what sort uf devclupment each seems to require. \ Vrite out the dcvclupment of
one paragraph .
EXERCISE 130 - Written
DEVELO PING A TOPI C FOK DIFFERENT l!EARE1'S

EXERCISE 128 - Oral

Take several of the outlinL"s already made and li~t\'L· liwm
develope<l for two very different liL"arers. For exampk, 1( tile:
paragraph tells of the last innin g of a lxtselxtll 1.:::u1h.: , h;t\'C
the ou tline dcvclvpccl for a boy anJ :11so for his sister, who,
presumably, is not versed in the game.

TEST I NG A IZF C!TAT ION FOK UN IT\' BY OUTLJN l Nc;

l'rcpare as in Exercise 127, but place nothi ng on the board.
Talk from the outline. Try to make your recitatio n interesting, both in the selection and in the arrangement of the
material. It is likely to be so if you arc sincere and definite
in your work. Remember that your success in expression is
tested not by what you mean but by what the class think
you mean. The rest of the class will take notes and place
on the board an outline of what you presenteJ. Contrast
these outlines with each other and with the one that you
originally made.

EXERCISE 131 - Oral
MAKING A TOl'lCAL RECITATION

Organize a recitation that you arc to mak e, or have made,
in history or some other school subject, an<l prcsn1t it for
the criticism of the class.

EXERCIS E 129 - Written
USING Till': TOPIC SENTENCE

a. Using one of the outlines made fo r oral composition in
the preceding exercises, write out what you have to say about
it. If you have followed your outline closely, you will find it
possible to sum up in one good sentence all that you have
written . Th is is called the topic sentencl.'..
b. Write the expans ion of ~m ot her of the outlines used in
o ral composition . Before beginning the paragraph, set down
in a good topic sentence what you intend to say. Using this
for your first sentence, develop the paragrnph . By devices
that you have studied try to secure in terest.

It is a good plan, wh<.:n you h:wc a proposition to supiJOrl
or attack, to call up ;ill the ideas th;it you have on the sul >Jn:t,
whether or not th ey at first seem important. Careful consideration often shows im port;incc and relations that you cl id not

·.

,-

j_

at lir ·t suspect.
Consi<ler also what may be assertl'.<l against your position
·and see if you can meet the objections. a n"t, fr:u1kly acL11it
them . After all, in any arg ument one should have as his aim
not m e re personal success, but truth . Temporary victory is of
trifling importance in compa ri son with the pcnna1w11L desire
to· secure the truth, whatever it m:ty be.

1l

~:;.:

...,... :.

.

'-:'

146

FIRST HOOK OF COM l'OSlTlON

U NITY

T hen, after considering your ow n po ints and the obj ections
that may be made against them, discard what is not imm ed iately rel ative, to secure unity, and what is not effec tive, to
secure results. The remain in g- esse ntial poin ts you should
then arrange in such log ical order th;1t they will lead to proof.

B. UN ITY OF NOTES

A social letter that i,; "hort and ;ill about one thin g is c:tlk d
a note . Hy its very definition a note must have uni ty in its
subj ect-matter; more t han that, it must have unity an d sin ce rity in its tone. This mea ns, for instan ce, that a note to
a d ear friend will be frankly intimate, a n()tc to an acquaintance no less frank but more reserved . The mutual feeling
of friends should be c\·icl ent in notes between th em . And .
fin ally, in all notes there should be a fine spirit of olJfash ioned courtesy.
There is a stilted, conventional th ird-person form of note
that is occasionally used by grown-ups for announcements and
fo r very for mal invitations to di gnifi ed entcrt.1 in mcnts; but
this concerns us little. I Iowever, an illustration of such an
annou ncem ent, together with a currclt answe r, is g iven :

EXERCISE 132 - Oral and Written
SF.LECTING AND /\RR/\NCIN ( ; MAT lc RI/\L FOR AR GU MENT

P repare points in support of or against each of th e followin g propositions. Then decid e which of them you ca n d isca rd
as ad mi tted by both sides, as inconsequential, or as not imm ediately relevant. T he remaining om·s will be in direct clash
with each other, or there will be no argumen t possible.
a . Mun icipal el ecti ons should be divorced from n a li on;:i l politics.
b. Sunday schools should be organ ized a nd cond ucted li k<: publ ic
day sch ools.
c. A boy o r girl ought to be sent away from home for secondaryschool ed ucati o n.
d . The lady came out of the dou r. (See STOCKTON , "The
Lady or the T iger " )

1·1.xn: X II

EXERCISE 133 - Written

/, /

a. On Friday o f next week on e of your friends plans a
picnic, an excursion which you arc very anxious to attend .
You fe el pretty sure, hO\\-Cvc r, that your father, who is away
from home, will object to your missing school that day.
\Vrite to him, statin g the situation and advancing whatever'
reasons you ca n why he shou ld g rant you permi ssion. Anticipa te hi s obvious objections.
b. Write your father's reply, ar!-.ruing that it would not be
wise fo r you to absent yourself from school.

/

/ t ./r:t. aJ t{.te

,, ~

/ an7 a/

Ct

.

/;~,

.

(_,/f,(£yd J

. :' / J- trJJ, ~~v~/
r·J? r'JJ/ ,d

/JJZ!!4t~"a./e ./,,

c! JfJa4-<MM.r· 1c/I d

-tie ?

.aI

t l t-eJt

cu.le.,.u y, c!J?;,/a '/

l

+
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?NtUa.ly /;{,, d e ' l' f"->/..•ld'.
,___

_ __

u/:~

e t.<011 ;:7,

?11110-117 / /r, /;/k
'l ,,n /;{. ,,,/ ,,7./ l
I·

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UNITY

FIRST BOOK Of COMPOSITION
Pl.ATE XIII

PLATE XIV

7

i,- ..../!! Ji I

I I r· I ,

~-

The note that we sh::dl ordinari iy use is, in form, just a short,
friendly letter, with :1 few ch:rn ges. Th e heading uf ll ic letter,
us ually in a modified form, is frequ ently written below the
note, beginning at the left-hand margin. And, as in friendly
letters, the other parts may be variously changed to express
individuality or corcli::i lity. \lvhatever v:tri:tti ons m;ty lx: practiced, however, a note should include everything necessary
to make its purpose clear.
I.

INVITATIONS AND THEIR

A NSWERS

A note of invitation must state definitely what the invitation is for, the clay and the hour, th e place , and, usually, what
guests are to be present.

/

'/

.f ty r: .

._//we !

149

150

FIRST BOO K OF CO MPOSlTION

UN ITY

EXERCISE 134 - Oral

EXERCISE 136 - WriffNI

ST UO Y!NG J\ NO TE OF INVITATION

W 1-: lTI NG AN I NVITATl <,J.'l

"" .
Lester's note

How does
differ fro m a letter? \Vhy were
some parts of the • Jetter head ing- unnecessa ry he re ? Diel
Lester in clude all th e parts that were necessary? \Vhy would
it be better for a writer of a note to g ive too many than nvl
e nough ?
H ow well acquainted arc the boys ? Does L ester secure
and maintain an ap propriate atmosphere in hi s nott:? Justify
your ans>ver.
Test the unity of the note both as to what it says and as
to what it implies.

\Vritc the note to \\'hi ch the following is a reply :
PLATE X. V

The answer to a note of invitation should be similar to it
in form and in tont.: ; a nd. that there may be no possible
misund erstan ding, it should repea t the important details of
occasion and time. The informality and the cordial tone of
the note on page 1 5 r, fo r in stance, would be entirely improper in a reply to such a form al invitation as th e one g iven
on page 147. Illustr:-iti ve of both merit and defect are the
following clever n0tes : 1
Mr. l\ogc rs to I .:idy Duffcrin:
Will yo u dine with in c on \V <:dncsclay?

Lad y D uffcri n to ll! r. l\oi.;c rs:
Won't l ?

{i}fe,uf .t.e:;-//, c//u,,,;;
EXERCISE 135 - Written
WRITIN<; J\N A NS \\'1':1\ T O i\N I NV ITATI ON

Write Sumner's answer to I ,ester McCord's invitation on
pag e 149.
1 Q uoted fro m the del ig htfu l anth ol•>gv of letters and notes," The Gentlest Art "
1
edited by E . V. Lucas .

dj1;/,/,/r,/ ,;/

--1

FIRST BOOK OF COMPOS ITION

UN!TY

EXERCISE 13 7 - Written

!'LA TE XVI

I

53

W RITING INVITATIONS

ne prepared to write in class the following short notes :
an invi tation to lunch; to din ner; to spend the day; to
attend the th eater, a house-party, the circus, a ball game, a
th imble bee, ~ p icnic, a chafing-dish party, an evening party ;
to a hay ride, an automobile drive, a horseback ride, a wa lk
after school , a Saturday tramp . Think of your friend, keep
in m ind what he will need to know, and express yourself so
as to make the invitation seem really cordial.
Address at least one of the above in vitations to each of the
following peopk : you r best friend at school, a good fri end
not in school, a fri end in a neighboring town, your teacher,
a fo rmer teacher, a visiting boy or girl, your pastor, a man
who has been frie ndly to you and to whom you wish to show
some courtesy, a boy or girl who has recen tly moved into
you r neighborhood .
EXERCISE 138 - Written
AN~WFRING INVITATIONS

Taking the part of the person addressed, be prepared to
accept or decline each of the invitations in E xercise 137 . Be
ca.reful to s how your appreciation and to mention any detail
that shoul d be mentioned . In decli ning an invitation it is
not necessary, but customary, to g ive a reason.

II.

NOTES A CCOMPANYING GIFTS

A note accompanyin g a gift aclcls person:1 lity to it and
makes it doubly welcome. Such a note should have, of
course, t he uni ty and sincerity demanded of all notes, and it
should, in addition, be in harmony, as it were, with the gift.

•

~;

< ;·

'
1

I

l.~~~~~~~~~~~~
·i \

)
• ' ··l

· ·;.

J:

154

FIRST HOOK OF c:u11r J'()SJTJ()\,'"

U:\lTV

EXERCISE 139 - Written

your unck, a business man, for a scho11lfcliow \\ h" is looking
for W(•J' k : to :i tc:1ch,·r in a brgc schooi' \\'hich the i>t·:irer of
the note plans to enter: to a student in the same scli onl ; to
a librarian frn· :t friend \\'ho is b•>okish; t•> the cur:1tnr of a
museum or art g:ilkry fur ;1 frit·nd \\' ii(l is inll'n· ,;t1·d in 1hc
exhibits; to a football or bascuall cmch fur a n atlikte \\'JHJ
is going to see a college game an<l who thinks of enteri ng

WIUTIN1; i\OTl·:S TU .'\~'('<l\!J' .\;-,:\· C IFT S

Write notes to various friends to accomp:iny a g ift of a
book, .candy, flowers . an Easter lilv. ;1 potted plant', ;1 som-cnir
brougnl home from a trip, some autumn leaves or wild ll()\l'l'rS
gathered o n a walk, a sketch that you have made, some verses
th~t~ ~ou have written, a 1~agazine contai ning a story that you
l~ke, -t P'.ll t1<ut of yourself or of som e one whom you both admire . l·ed s111cerc, and try to make your note interesting.

r·

·t

college the next year.
IV. M1sCE1.l.AN1-:m rs Non:s

EXERCISE 140 - Written

· EXERCISE 142 - Writte11

NOTES OF GICl\TITUllE

\\'KJTl .t"C \ 'J\l.:. l<> l:S NU Tl·:s
1. You arc contemplating making some chan~e ::it school
(in your debating club, literary sncicty, man:1 gernc11 t "f :1 t hletics nol.lln-hour recess, etc.). \Vrite to :m ;J<'q tu1 111;1nct· at
'
3
'
/
another school and i11qi,,1ire J10w' the matter is m:tn:1g L·d .thcrL-.
2. A frit<rill has rno:ea~away or is travelin g. \Vritc to a

Be prepared to answer in class any of the notes just
written . Be apprec iative, but do not gush.
IT I. NoTEs

OF INTRODUCT ION

. A note of_ int~ocl u ctio n is often written for some one who
.' s about to \'lSi t ma town whe1·e "a f1·1· c·11 cl of tl le wn'ter 1·1ves.
It ~hould tell who the bearer of the note is,. whether a friend
or ~n acyuaintance, why he is in the c ity wllf'rc your f ricnd
re_s1des, and what, if anyth ing cspec i;d, you should like your
friend to do for him. Th e envelope should be. left unsealed
and_ a t the lower left-hand corner should be written "Introducmg Mr. - -." Why?

1

:1
1

EXERCISE 141 - Written
WRITING .'\ l'\OTE OF TNTIWDUCTION

. B~ prc_p:i.rcd lo \\'ritl' a 11(Jl\' ui introduction to your cousin,
is ot •your . O\\"-" •· 1,!...,l,
·
,· ·
·
, . r · •
.<>! .I L'luse ll'll' illi who IS to s pend

wt10

two weeks of his v:i.cation in the home city of your cousin; to

I

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]
·~
i

relative of his for his address.
.~- Some one has a n old schoolbook that w:1s u,;ed il\· \'Olli'
mother when a girl. \N rite a nllte to see if you c:m 1~d il.
4. Some one h:1s \\'ritll'n a book, a story, or a J><>L'Jl1 lh~1 t
pleased you ,~rn c h. \\Trite a note of appn:ci:iti1H1, telling
what you particu~ly lil'ltei,
5. An acqua inta'n c~ l"ias taken exception to sorncthin.c: th;:t
you ha,·e done or said . \ Vritc a note o f explanation. lk
frank, b ut avuiJ further \\·ounding his feelin gs .
G. There is re~1son \\'hy you wish to be rclicn:d of snmc
rcquiremC'nt at sch1>01. \\'rite a note. asking tiw f:t\·or.
7. You \v1sh to secure \\'(>rk Clf SlllllL' kind durin ,:.; tiw summer. \\!rite to some man who knows you, asking if you may
use him as a reference.

fl RST HOOK OF COMl'OS fTION
C. UN ITY OF SENTENCES.
EXERCISE 143 - Oral
SENTENCES WELL

on

ILL UNIFlED

W hich of the follow ing senteiw~ are al) ajJ.,IJt one thing?
Which seems not only to be all abou·t on~ tliing but also to
g ive one impression? In what ways can you change the other
sentences so as to make them g ive one impression ?
1. Herbert Lansing is captain of our baseball team and the north
po le has been discovered .
2. In \Vash ing ton we saw a portrait of the first ]'resident, who after
his retirem ent fr o m ofl1cc went back to his plantation in Virginia.
3. Coloncl Jarvi s's g un weighed fifteen po unds and he killed the
lion with it.
4. /\ftcr several hours of hard work, Colonel Jarvis and his helpers
had taken from the dead lions their skins and had prepared them for
shipment to New York.

He.r e we have illustrations of three common ways of making badly uni fied sentences: first, by combinin g ideas that
are not at all related; second, by adding an idea that is related only to some one part of what precedcs ; third, by combining related ideas in a way that docs not show their relation.
The fourth sentence, though longer than the others, is welt
unified because it combi·nes related ideas in. a way that shows
their relation : it tells the result of the hunter's work.
I.

UN I TY IN

T11 ov<;11T

EXERCISE 144 - Oral

UN ITY

157

third statement may be connected with the thought of a
butcher but not at all with the idca asserted in the second .
'
. l
,
In seeking unity, then, \\·:must omit thc tl1m . scntc'.1c.c .;''.1'.'.
combine the other two m, some stwh ,,·av as this.
· 11,
mother of the butcher is ill," or "The \Y<rn1a n who i .~ ill 1s
the butcher's mother."
1. The woman is ill. She is the mother of th c hu1ch cr.
advanced in price.
.
2. T he clock fell from the tower. lt had been 111 place for twenty
years. The cables that h,.:ld it wcrc weakened hy r.us.t... , .. . .
.
3_ The airsh ip sailed ove r New York. New\ "1k" 1.1<>,c th.tn ttn
miles long. The city was founded hy the Dutch . .
·. . . .
·4. vVashington and Jefferson were 1.>ol l1 nati ves o f \ 1r,.,"" 1n1a· · This
state was nam ed for Queen .Elizabeth. She died in 1 r,03 . . .
5. Silas Marner had lost his faith in God and in man. l·.pp1C' bruught
Silas an interest in life. She afterward marri ed /\aron \\"i nth rnp.
6. Godfrey Cass was Dunstan 's older brother and he. did n"t know
of th e accident at the Stone Pits until years after hi s marnagc . l le married Nancy.
7. Stevenson wrote" Treasure Island." I like the story very much .
_
I read it last winter.
8. The captain plann ed the play. He did this with great. care. fhe
opponents were very clever in break ing through the hne. l hey often
spoiled a new play before it was s_tarted.
'
.
.
9. Bud M ea ns decid ed to whip the master. Bud thought th.it th<
master was in love with Martha. Bud loved Martha himself. Th e m:1s ter was in love with I !annah.
.
.
10. Buck and White Fang were two fine clogs. One was raise d 111
civi li zation and finally went to live with the wolves in Alaska. It is ,·,·ry
cold th ere. T he oth e r dog was half wolf. He was tamed. IJoth clogs
were fine fighters .

· MAKING SENTENCJ·:s VNIJ-'JEU IN T!IO UG IIT

Decide which of the ideas in the fol lowing groups are about
one thing. \ Vhich ca n you combine so as to give one impression - that is, so as to secure unity? In the first group, for
example, the second sentence tells who the woman is. The

II.

UN ITY OF FORM

. a. The comma blunder. One fault that often prevents
uni ty of impression is the so-called comma blunder, the placin g
of a comma where a period ordinarily should come . \ Vhcthcr
this be due to ie,..,1orance or to carelessness, it destroys unity,

UN ITY

FIRST HOOK OF COMPOSITION
causing the read er to thin k that the state ment follow ing the
comma sh ould be read with the one preced in g . F or in stance, in the follo\\'ing sentence the writer, though evide ntly trying to tt:ll two things, joins them as th ough they
;i re one : " l drove in a buggy until we were within a mile of
the river, at that po int one of the front wheels broke." Th is
fault, whi ch is com mon in the \\Titin g of beginners, is due
fo r th e most part to hazy thinking or to ca relessness. You
ha \·e doubtkss had your attention called to this faul t so fretjuently that only a :;hort exercise on it is g iven here. If you
need furthe r work on it, _review Exercise 9 .
EXERCISE 14 5 - Written
CO RRE CTING TUE COMMA BLUNDEI<.

Rewrite the followi ng so as to secure unifi ed sentences :

...

'

1. After it is cool, beat it till it is creamy. then pour o n a butte red platter.
2. ]Jut in a small pan two a n<l o ne-hal f cups of pu lverized sugar and
one-half cup of cold watc:r and place on a hot s tove, let this boil hard
four minutes, th en takt: it from the stove.
3. The resu lt was funny , as is see n, the answers arc ve ry differen t.
4. Go o ut :ibout te n o"clock at nig ht with a la nte rn o n a newly mown
lawn, if yo 11 ste p li ghtly yo u may pick up a good many c rawling about.
5. Then put a sma ll he m in tht: nec k, look a t it cardully, you have
a very p retty effect, have n' t you?
6. After this hold the pbtc before the red ligh t, if it shows a good
picture, put it in the hypo solu ti on, then dip in a pa n of clean water and
set it up to dry.

7 . 13y reading over a theme one can often find errors th at he has
overl ooked, thi s is especially true of the comma fa ult.
·

~

b. Disjoined expressions. Someti mes in trying to avoid the
comma blunde r young write rs swing to the other extreme and
set off by a period a group of words that does not in itself

159

·
A p I1rase- or a clause, espcmake a complete statement.
. ll
hen it contains several modifiers, will thus masqucrc1a y w
It is not hard to correct the followrng
ade as a sentence.
.
._
exercise where you are expectin g this fau lt; but i.t. requ11 cs
'
continuous
care to avoid the fau lt in your own wnllng.
EXERCISE 146 - Written
A TTA C JI TNG ll!SJOTNED EXPRESSIONS

Rewrite the following so as to secure uni fied sentences:
1. Her d ress was made of go11c e n-b rown r aJ·ah silk
.. . \ Vith a panel
down the fro nt and back trimme<l with brat<l of the same color. toward
2. The re was tied by th e door a large dog. vVho )Umped
c.
f Silas Marner wet with the r:.i n. "·as amnn ~
.'
·
3. The ben t nguie 0 · ' ·.
,-.,usncss
them. flis lean white hand s cl utchin g his grey bt:a rd 11 1. 111s ncr
. T.I. :
\.(." The cuffs and sleeves are tri mmed wi th },Jack s;ittn buttons.
ie
ff bein braided with braid like th at on the front pant:! .
.
.
cu s
g
.
f
. - Then water en(lugh to mak e it thin.
5 N owput
mtwocupso sug.u.
.
f·
. Near! every fa rme r feeds so me ca ttl e, eithe r dair y catt k or. ~1 t
cattl:.- Fat c:ttle being the more important of th e two kind s fur hit:h

us fi ercely.

10 f f · ··nc rs
Prices and profits.
(IJ"l'lf.:
7. A large propor t1-01 1 of tlv~· wo rkin "•r force is composec
··d . f ·
•
_
·
'
<l
a
nd
have
onl
y
th
e
mselves
to pro'1
M
of whom a re lt11m,11 n e
.
. " I .<)r.
-1
any
. to the woo d s. w e. wt:n
. t · John carry111g th e bag tn w He 1
s. D eep m
h
pected to catch snipe.
.
h d
e ex
- g that j ohn was badly fn ghtencd, a to
9. Ilut the boys, w h o, seem
1 t him know where they were.
e 10 The n all of us, except our v1· c tim ' after we had run for a q11artcr
{ . ·1 wh ich seemed in the ni g ht even farth e r, and finally c;1mc to
o a Id
mi e,
· d
11 •· htl shut
house with th e doors and wm ows a .ig y , .
an o
' .
I
out J ohn who now beg~1n to catch on
11. Here bemg utter y worn
,
. ,
. d I ·in'
'oke fo r h e no longe r seemed anxwus to keep his hag , .111 ) g
tQ the J h' b
fl oor he dechred th at he would not budge another step.
down on t e arn
'
•
· 1 ' ' aso n
12 F ootball baseball, a nd all othe r sports have a n espec1a , "' k . '
after .which we' take u p so mething else. vVhil e an mteresung bvo is
in season at any time of th e year.

·'

160

i

-1

l

UNITY

fl RST BOOK OF COl\l l'OSlTl<>N

<·. Lack of co-ordination . Sometimes two statements togeth e r go to make one impressio n, as two horses draw one
load; but in that case the two propositions should be joined by
a co-ordinate co njun ction or separated by a semicolon, which
indica tes the omi ss ion of such a conjun ction. If the propositions are lo ng, each should be a se nte nce in itself. \Ve
may write: "This exp lorer twice risked his life to save his
companions and he made d iscoveries that will prov<: of great
worth lo scientists. Therefor<.: we ho nor him." I !ere the
longer senten ce g ives two reason s fur a conclusion an<.! thus
makes one impression. This statement we may also write:
"This expl orer twi ce risked his life to save his compani ons;
he nu de discove ri es tha t will prove of great worth to scientists.
Therefore we honor him." Hut when two statements do not
make fo r one effec t, we should not, of course, link them in
one s ntcnce, however sh ort they may be.
And and b11t arc two very common and very useful words;
but not infrequently they arc confused or overworked. Hvlh
arc c0-ordinate conjun ctions. - that is, they arc used t o connect clements of cgu:il rank . In the first sentence of this
parag r:i ph, fo r instance, the words and and !mt, th e :ldjcctivcs
ro11wum a11<.I useful, ;me! the two propositions arc join ed by
these conjunctions.

EXERCISE 147- Oral
ST Ull\"JNG TlfE USE O F CO- <JJ.:.JJI N ATE CONJUNCT IONS

In the following passaRe cl cciclc \\'h :1t elements ;i re joined
by and and but. Are the clements in nch case of equa l rank ?
The bear was fon d of th e chil d and as careful of he r as a woman
mi gh t have bee n. In the wood but not in the cl rarin g he was her
constant com pa ni on. Besides foll ow ing qui e tl y th e li ttle girl 's footsteps and kee ping her fro m harm, the awkward but sagacio us beast

I (q

wnc .~uu
taug Iit 11cr m.."ny seci·ets of the wood - whic h berries
.
. .. d. tor
eat and which \\"ere: poisonous, ""line she co uld find tl w l. 11' · ~ ..',
1
ants, w Iu·c I1 h,e ]"i'"" e·cl ~" O well • ··1nd where the ban· had her nest. . l 1 cI
·g
friend
also
fri
,·htc
ncd
aw;iy
th11se
animal
s
wh
..
111
th«y
nw.
"
"'
b
' o ini t!,"ht have pla
" nn ed ini sc hicf; hut ~ 1 .s 1\l1r
. ~11 H l a \ \ "11u I''1 i 1ul. ~1 1
wh
far fron; the clea rin g , they never met the bees, who arc nvt '" be
intimidated by anybody.

.,

'vVhcn propcrlv used and and /!/// m::ike for 11nit1· : nthcrwi sc they s urely .destroy it. , /11d 111 d i«;tlcs Lli; tt t i w ~;w;i \-.c·r
. r WlS
. 11CS. t 0 J. U .I Il tl\'O or more clements - - wo r(b, . •uhr;1ses.
or wntc
'
. 1 r··.t nk · A dri1·cr Ill .! ~" il l , .11_T\'
cbuses, o r senten ces -- o f equ.t
. :,
two horses to dr;tw one lu.t(i, i)ul
11
.
· to0·cther
,..,
l . .. .
proper·1y h·1rness
he attempted to yoke together for the sam e purpose a wt -.;c
and a goat, the result would be ludicrously <lisasLrou s.

';..

,:

EXERCISE 148 - Oral or Written
USlNl; Till': CUNJUNCT l UN .1.\'IJ

Give sentences in which the foll owing pa rts of ;t scntc::in·
arc effective ly corn pounded by anti: subject. prcd 11_·;1ll" : ;'tclj l·~·.
. . j)hnsc
clause rnud il 1c·rs : ;1u1·c
t1ve
aci·JCC t ivc
· , · ··rnd '·1<l1.cctivc
.
. . r:i..
adv~rb phrase, and adverb cla use rnuJificrs; and pnlp(>s 1t1 < 111 ~ .

If unity is secured, then, by joining- elem ents of cqu:1i
rank, it is obvious th:it unity is destroyed hy JOtn1n g cknwn ts
of unequal rank . A participle or a cbuse is used :ts ;1 rrnid1 fie r . therefore of course neith e r may be jOJncd l•l ;1 1m>p>1si. 'by an d.. Yet that
tion
• is 1)rerisclv
·· , what careless 'vu1111 g \\" J"J lns
.
d over and over a«ain. Moreover, it tends to <l cstn1y u111 ty
o
"'
l"k . f n
,. '"1
of impression if m11! joins elements un . 1 ·e 111 on ' c u
··ncl '::i cbuse,
thoua h similar .m use, - f or ·ms t:ince, 'a \)llnse
'
~
or a ~erbal noun in -i11g and an infinitive.

.

~ 1 .. -.;

~-~~

'

,.,( ''

~

!

162

FIRST BOOK OF COMPOSIT ION

U ?\ IT\'

EXERCISE 149 - Oral or Written

18. By reacl ini; in my odd minut es :ind when I 1i11i sli 111 y 1c·'''JI"' :1l
night, I have finished fi\"e books in the past month.
19. There was an attractinn about his ""h"lc appe ara nce n<> t easily
csc::iping :1ttc·ntinn. :111d \\"hi ch \\":IS dcrin·d from tht· cn;nli;n"ti• •n "f

CO RREC'T!NG \VJ.:.O:\t; CCH H:.JJINATION

Change the followi ng sentences so as to secure unity :
1. This is a troubleso me error an d which requires ca re to '" ·nicl.
.
2 . Harold wriggled th rough a hulc in the fence and findii1i; him self
m a bcautli ul garde n.
3. "Treasure Island., is as interest in g ::is ::i clime novel but whkh
teachers do not object to your reading.
4. By the s ide of the road sat a small hoy crying hut wh o was soon
comforted by a stick of candy.
·
5. The bigi;cst fish th:ll I s:iw took my bait hut tlnppi 1w0 off int o
the water before I l:rnch.:cl him.
6. He r best d oll , hut whi ch she wo uld give up to go to the picnic,
had come from her un cle in China.
7. The lake in the.: \'al Icy and whi ch exte nds two mi ks or more is a
splendid place for fishing.
8. There are two 1hin:.;s that arc \'l.'I"}' hard - to kn• >w what is right
and doing it.
9. Bassan io glanced :it t.he knife in Shylock"s belt and with which
the pound of flesh was to be cut.
10. The boys saw a puliceman running rapi dly and who seemed to
b~~1.:ly excited..
.
1.. rhe chickens 1n the ynrd nnd eating the ir breakfasts were

startled by a hawk.
12. The little visitor astonished but who was not at all satisfied renewed his questions.
13. To visi t in the co~1ntry. to ha\'e no chores. and eat in g what you
want three t1111cs a day l· red thought :111 i<k:d vaca ti o n.
14. The average farm er puts these c;1ule in a lot whe re th e re is
plenty of wate r and handy to co rn.
15. H e tri ed the work on a r;iilrnad section, to drive a delivery
wago n for a grocer, and hauling sand from th e rive r ; but he was not
strong enough for th ese j"hs.
16. A m:m seeking wurk and who really wish es to find it cannot
always be su ccl.' ssful.
l 7 . " Kidnappl".I ·· is an c .~citin !!, story hy S tevc nsv n a nd which I
enjoyed almos t as llluc h as I did "Trc:1surc Island.''

0...

fearless fran.\.\ness ;lnd g 1)11d -!H 1n11 1r.

20. The hos t opened a door :u1d showed his gu1·,1 1i1c· i11tni< o1· .. r "

'l-c h arnbcr, S!T'l all, 111 ckc<l, but which, bt.·ing clc;u1 and in good u r{h:r,

seemed a little palace.
21. The prohkins th at he inve nted and whi ch, in the.: course ,,f ti1:ic .
we solved, were always dinicul;;._
EXERCISE 150 - Written
Rl•:VISIN(; T!IEMES FOi{ t"lHJR I JIN ,\TJ():--."

Take two early Lhcmes and underscore in reel ink each
and. See if it is correctly useJ.

If one listens to the conversaLion about him or to any
extended recitation in class, or if he reads what inexperienced
people write, he will find and recurring a surprising number
of times. SomeLi mes, of course, it is necessary and useful ;
sometimes it is used in place of a connecti\"C that \\"Ould in dicate a different rebtion of the elements: ;111d s<>nwtirncs it
is simply the sign of a bad hahiL, being used to join a new
sLatement to what precedes, regard less of whether a connccLin:
is needed or not.
EXERCISE 151 - Oral
AVOIDING UNNEC ESS/\RV REl'ETJTl(l N OF A.\"IJ

In the following passage decide wht.:th er each and 1s
n ecessary. Can you i::,ruess why the writer used it? Revise
the passage.
Yesterday mornin!!, at school we had a lecture hy a \' isit0r anrl he
tvl<l us oi 1hc difference hl.'lwecr1 s.-hools n.,\\. :.ml in his hoyl111nrl.

I· I RST HOOK OF C: OMPOSJTJON
Now, he sa id , we have comfo rt,1hle desks and fift y years ago the
children had on ly teachers. And so we ought to be well cont ented
in ~chvol to-clay. And after he went out of th e roo m our teac her
~sked us how we liked the lecture and we told her that we enjoyed
1t very much.
EXERCISE 152 - Written
lrnPORTING AN INTEJ.tVIEW

T~lk to some man - a postman, a fireman, a blacksmith
a dairyman, for instance - about his duties; and then writ~
a summary of what you learn_ Be definite ; sec that each
paragraph is all about one thing ; and rev ise your theme
thoroughly for sentence unity.
EXERCISE 153 - Oral
liSING RUT CO RRECT!.\'

. Give sentences in which the following elements are effect1v_cly .compou~dcd by but: the whole senten ce, the predicate,
ad3ect1ve modifier, adverb modifier_ .
EXERCISE 154 - Oral
C llO OSING AA -D OR BUT

. Sometime~ a writer will overwork b111; usually, however he
'
fails. to use it wh en he ·should · In the follow·mg passage
decide_ carefully the relation of the elements on each side of
the blanks: if there is a contrast, insert 011 1; if the two elements are worked together to sec ure one effect, insert and.
Mowgli, the ~on of a poor woodchopper, the foster-child of the
wolves, is the ce ntral figure in both the "J ungle · Book" and the
"Second J unp;le Book." The wolv<"~ who found him as a little
baby - - wh o saved his life were called the gray brothers. Other

Ul\'ITY
animals that he knew in th e jungle were: Ba loo, the bear. \\'ho
taug ht him the law vf the jungk; Shere J..: han , the ti ;;n, \\'hom
men fear ed - - who, on th e ot he r hand, k'1n:d men; F: ;ia. the
wily - - powe rful snake; - - many others. The life in the cave
of the wvlvcs - - ou t in the jungle was all that :\l o \\' ~:li knew :
- - when he grew up he felt a long ing to ret urn tn his O \\' ll kind.
He would go to the ed~c of the jungle - - - watch the men at
work., - - when he finally got into a house he felt suffocated
- - afraid. The story called "The Spring Running" is to me
pathetic, - - some of the others are very exciting.

d _ Shifts in construction. Any change in form of expression is likely to cause a corresponding change in the im pres' sions on the reader, and consequently tends, unless skilfully
managed, to violate unity. When the shift is accidental , th e
effect is almost surely bad . For instance - and in this case
no writer, however skilful, may violate the rule - if \\'e write
Eacli of the boys, the subject of thought is sin gubr, and 11·e
must use the singular number in any future reference. The
" . sentence will be completed thus: "Each of the boys took
/:is book."
I . Unity z'n gender aud number_ O ne of the commonest
changes of construction that violate the unity of impression
is this shift of the number of the subject. Closely allied to
it is the shift of gender. \Ne must learn otnd keep in mind
that ea'Cft, every, everybody, one, either, and neitlter wh en
used as pronouns are singular, and when used as adjectives
they indicate that their substantives are singular. N o11r, however, is used in either a singular or a plural sense. When two
singular substantives are connected by or or 11or the prcdic;1tc
is singular, because each substantive is thought of separately.
All the pronouns mentioned above take their gender from
antecedent noun, whether it is expressed or implied.

'.,.

,·

Fl RST H< H >K OF CO :\l l'OSIT JON

UN IT\'

\ Vhcn(·1·er :t prnno1in rek rs lo one of these words, th en, it
m ust l)e s ing uhr :111d of the sa me ge nder as th<.: ;mtcccdent.
As there is in Ln ;..;lish n u cornmon .~'l'n(k r persona l pro noun
for the th ird pnsC111 si nguL1r, the ma,.;nil in e form is used.
j\ ll)' prccJil·;1lL' of these \\'vrds will, of CO llrSC, OC in the
singul:1r number.

I
n<1L i11 f rt'( l\ll: nti y tr11til1k cl
vVritc rs liuth yo un g :ind ok :tre . . .
.
. .. . .. II is
by th e nu mbe r of ;1 Cl) iil'l'livl' 11"u11 . l l11 s , ) "LI J'.ld ) '.L.' ·1 .' ~
a n oun singular ·111 f111·111 liut dl'l1•1ti11g ;1 11u111 lll' r <ii 1111!1.' 1.1 11. d . .
"I'
\\' l1l't1 the l'l11Jlh;1SIS ts <•11
11 I /, /11 ·-.
as co 1111111!tu·, Ji, nl, 1 "''
·
.. I. \\·1 ·11 1•11 tl1t·
1'
,
I",
ul
l'<•ursl',
Jl 1u1.1 ,
the ind I,-id u;tls tne nnu 11
.
.
. h )r in st·1 11cc "The C<>lllmitt.1·<' ;1s a
collect iv<.: l1111L, sillguh i ·
· '
'
·
· 1· \ 11 ,
. 1
. . 1111 t" i>llt " TJ1, · 1·0 11 u11 1LLL-e 111< " it 11.1_ :
. 1· ,·t ··ullt'\
body 11111!. <. iii l l \ I
'
·t1\L"
'
s£c.rn tlirir 11;1mes to l H ' p.tpci. .· I f till' 11 ll I l) 1)t" I u

E XERC ISE 155 - Oral

Supply the lJbnks in the follu11·i11g Sl'ntc nces with proper
pronoun s iJr 1Trbs :
l. Ev{'ry pupil

-

doing - - -

<JWll

at your se rvi ce.

:>. l·:ach of th,· s1;1rs in the hca1T ns - - fnll oll'ing - - ow n orbit.
4. J·\·c rybod y s;iti'fi"cl wi th ll'h.ll the· co1 11111 it1ce did fu r - - .
5. Om; sh.,uld be ,·:irdul tu se·i.: that - - own work is free from
carckss nrors.
G. None of the b!Jals - - rt':1th· to sail.
7. The·re - - n"nc in the harbu r thi s m(Jrni ng; th ey have all
s,1 il,·d :1\\·,11-.
8. Nt·i1h n of the 1i...1s - -- ll'il ling to han' - · - fort une told by
th e g ipw.
H. Tl1t· lt':idH"r I• dd "'" h ',f 111" p11pils wh;it tnpic - - slw uld study.
1.. , 1
- pL·nc·il , J will r<'turn it tu 10. If .in y h v <•r 1; i1 I
w lw 11 - ·call.-; :1 1 1h,· <ksk.
0 0

-

l I. J-: vcry girl sh"ulcl keep in mind - - duties :is well as - - ri g hts.
J:G. Any one ca n learn l<J write· CP rn:ct ly if . will only take pains.
t.:3. J-:H·ry pupil in the class ckl'ided to use the same s ubject for
- tht'llll'.

14. l.«i all the bc1y s s<.'kct - what - ·-- - sh;1IJ du.

partners and 1hen each will be told

15 . This is o ne o f th e mos t intncsting hooks that - - eve r been
p u bli s hed.

lG. I lward at the
come tu .'\ 1rn.:ri c<L

C• J1 K1·n

EXERCISE 156 - Oral
SECU RINC LIN IT\' 0 1: N L' ~t tll-:1' \\ ITt I

wnrk.

2 . I h:t\·e tll'O f('nnis r;wkets, either of whi ch - -

•

n "'
o un shifts in a SL'llLL'lllT, u111·l y is L·tHl:t ng<' rnl.

"ne "f th e finest s ingers th at - -

ever

<

·111 .l.Ft 'T l\T !\<>t \S

,\ .
. I(l\\'lllg
·
. t Lt• 1L-cs. ' <l L'C .I(. j L' f'1rs t \l'ilL't]ll'I' . l ht' ;1('<ml
In th e ful
sen
lecti ve noun l ' lll pltasizL·s tlw i ndi,·1du:ils (Ir l ht· lg1 ou J! .
then supply verbs "r pn11wuns ul thL· j)i'<l]'L' t n u111 iL I.

1. The jury han <led ' " --

. n· rdict at 1won ;1111\ -

z.

the judge.
. the afternoon, lx in g
The j ury left tnwn 111
h omes before Ch risuna s ll:1y.
on
3. Th e f;1c11 lt y wnlle · · - - ii;rti ws

lllV

-- cli s,·l1:1rg1·d hy

e;1 ~" r

t" r<':i<"h

pr,.gr:ull nh» ll'hi , Ir I '""

1

keeping 35 a so uvenir.
. . .
4 The cbss lit·c1me eagl'r lo te ll . - op1n 1.. ns ...
· ,
I .. .. , I
_.. w·ry d"se up I<> th e· p rl .
5 . .l h e cruwc JH osc<
'
I . . I l ,,,,rid sc·e
6. Th e sc houl of fis h had t·irded about o ur 1oc1l ,111<
d b cks very plainly
- - spotte
" - .
k.
rc:idin r• so good that hl' could e·ont·
7. Everypupiltncd toma-c - - · . ""
.
.
. I.c - - books. and lt sH· n ent irely to h1111.
pel the class to 1ay as1t
.
l -- ! co mmittee - - f:ukd to agree.
8. T l1e oc.1
-.
ff TC'lht th e cu11111 y f:ur.
9 . This team o f h orses - - won eve ry pn ze" c
,
. .
·r
Tile Class- _ _ chosen _ _ colors .
10
11: That gang of workme n over on th e 111 II std e ( wor l<. works) as 1
0

- - were some g reat m;ic-hine.
down - - Jiv es for i":Jtlwr
12. The tribe would at that time lay
Hennepin.

ll N IT \'

F l IZST HOOK OF COJ\! i'OS IT IO N

U11ilJ' 1·11 .s11l:/r« I, 7'11i rr , and 111ood. J\s th e re s ho ul d be
no c h:111g e i11 the n um lK·r of :t colln:tin: no un in a un it of exp ress io n , n c ithn s ho uld th e re be a n u n necessa ry c h:tn g e of
s ubj ect. \ V c m:1y \\'rite "a ma n ... h e," or " :111y o n e.: .. . . he,"
o r " e ith tT . .. shl" ,. ; but not " on e . . . you " or a " pc rS<>n . . . yo u." S illli brly it is co nfus ing to Jind, "Afte r th e
hoo k had lJl" L' ll re:1d t hrou g h . J o hn noti ced o n t he t.1 hlc th e
lt'lll" r w hich h:1cl iil'L·n 1.:-i n ·n h im to m a il.'" J t is just as easy,
:lll d fa r m o re effec tive to 11Tite , " 1\ ftcr ha ving read th e book
th ro ugh , J ohn not iced 0 11 th e table t he ktte r 1rh ic h he had •
liel' n given to ma il. "

d ~ 1l.h wit h a sp•in;..:,t· :uJtl thc..·n
3 . Take pai n s lo da111pL» l t he

2.

d

I

Connected 11·ith t he ch:1nge o f s ubj ect is often th e unn ecessary s hift of vo ice i11 the pred icate . " \ Ve we nt to the p:1rty
and ha d a g ood time ·· ~·i vcs o ne im p ressi o n, ll'h e reas " \ Ve
we nt to t he p:nty :md a pleasa nt time was had " fa ils o f un ity
becau se it sca tters t he reade r "s at te n tio n, bes ides be ing in<.k finitt'. Si m ila rly if a writc.: r uses o n e mood a nd then, wit ho ut appa n·nt reaso n, sh ifts to an ot he r, t h e reader's atte ntio n
is rli stra l'tc.:d a nd he docs not g-et on e im pn:ss io n. F o r inst.a nee,
" l'n ur o nl' c up of g ran uL1k d suga r i n l.o the w; ttc r, a nd th e n
yo u s ho u ld :tclcl ;i f1 ·11· d r\l ps of van illa " is lia d ; whil e" ]'our
nne c u p o f gra nu btcd s ug;tr int.o the w;1te r a nd add a few
d rops of v;111 illa" h:is u ni ty ;ind co 11seq111.: nt e ffecti ven ess .

iro n m u s l he h n l.
. . .
vs 1><·1·i:dly ., T liv I ;.,Id 1:11:.:.: :
4 . I i an y 11 11 ,, w il l r v:t d I ' 1" . s .t :t ks ,
.
. I ' . ·l .. ct 1 111: i\ lu n k i·s c 1f th e 1..:.11t· ~ 1i1 1 .:~ tll".
u 'f h<..: i\ l ys tt: ry ttl l\ L 1nc
, 1,g~ .
~
. yuu c11 u!d v\ · 1· 1 l i. t\·c Ji\.. ,· d
a n d " The !'.Lick C at ," yo u ' ' ill wu 11 de 1

Ii"" .

d ime

11 0 \°l: IS .
.
.
.
l 'OL'. w r il c.: S of ll1 )'$ l l ' r1 L'S I ll a L' l l ·v t ·1

5.

.

U N TFYING S U BJE CT J\ N ll VERB FORMS

D ec ide wh e re u nity is 1·iflbtc d in t h e fo ll owin g- se n te nces
by unn ecessa ry s hift of s ubject q r 1·L-rb form, a nd the n revi se :
L i\ t ra ve lle r in E ur11pl' rcrt: i vl's man y co u rt es ies from th .., r a ilwa y
e mpl uyees, h u t y ou m11 s t obey all th e ir rcgu la 1i 1111 s .

\

\\'l' :11c

h v\cl rr11111 Llw

.
.
.
. I
. \"ti ·s ·1 l1vr1 1 :--J 1,11iJ,\ l1 d \·1 . ,.1 1v
I l 1q. ~;111 l q1h111k ( l \'l"'. t ll' <J_U. l 1 (., .
l .
l . , . ·v t .. 1u 1 i11 w l11 ,·h I ll\·c.
.
fo un <. i1 1t 1c \ l l .;
1 ·. · 11 .··...;.\)Ill tl1 t·\· :1r1: \\r1 11t·1 1

6.

w as

w ay
- an(

f I . . st ,; ri c·s t u the- t» Hi.

.

bcg1 n n1 n~

o

\\ ' hl' l l

H :o;.

7. (' 11npvr t:tk l' s : 1\ 1 i ll~ 1 '11 11c l 11 ~ L t rt

l\ ;-,

s

Ii ll. '

.

boys like the m .
.
.. I r ·I l t h1·n
SO 13. .
..
11 . ·] . ·t . ,rllud haL·k· rrn u 11d in .l 1n1,• lQ 1 :
8 Firs t , y <>LI sh" u' s1 l l <l ,.,
,.,
. I , iht c
.
., 1 ·f
wi thd r;lll·i 11 g th e shtk u1·c 1 l 1e I . .
f o cu s t h e c a mc1.1 Jc urc
... t·
·uul "·c JL·:1cl i11 th,· p11cn1 th.it
9 . Th e ai r in th e du11 g v1111
t .1111 p,.
.
. ... l· ·1>L hnc m :111 v yc: 1»s .
.
t
the pnsi) nL' t \ \ ds ' L
.
I . . · t · '' wlu...:rl · iL w:1s l 11u n1
I . 1i<.l 1.., c. 11 1 L<>t le s t.1 l 1> ,
10. \\"e h oysgo tupL· :iry.1
tl . t

'VC

" <"

.
I
r
I
tll " L t ll" t1·."·l ll was an h ou r late .
°'
•l
11 . ~O ne
h a d b c·t i<°r b e a lw: 1d ,,f t i1ne, l h 1\ \ 't ·\' t'r , th :1n l 11i1 :Ill' . i1 r y111
•I . t 1, 1 . . h appc 11 I<> d cl.1y I" •l l.
.
n e v e r k n ow II 1.l . ' " )
.
r .. I I ' II ·111· in th·· f1c lcl-< l1.1d
12. 'l 'hc girls s:u 1k intu cha irs, ur t tc u11 j.., . '

e xha ustvd th <:m .

·

] :l . f\ 1rs . I .;l\\ TCl1 Ct.;

g:1\'C

1 s ;111 ,[ , kliu• oth

a ilar l y Lo l h e s v11 1" r ,. :is.

' I ' .
r e frcs h nwn ts Wl'l"e sv rn·d .
' ll. 1dc.: cl , S. 1111 s. 1l d"'' n t" H. ...,, 1 •\ ' . c
4 \ ft ·· t h•• ' ard v nh;idl>.-..: n
1 . '

the

w nul

I

lt

w ;i s

c r-l

f r l11. s

I

.

. · I h11 n t 11 d1 1 th .it \\ P l ~ 1•111 r
lia rd s l udy w ;1s d 1•1 1.._: ;1 h' r

11\ ltl a .· 1 ll quil t. (
.
. .
.
I ·. if and
lll rt ll'd O Vl..' 1 . l l l C\V c.
' .

1.: u '

l f> . '!' he \JtJys

tha t.

EXERCISE 15 7 - Oral

ti11:

'i

~

Ma ny l)rohkms of u 11i 1y in tc n;.:e arc
. 1· .
. f 1L1 it1· in
CO t11l11 J) ll Vlll <1t 1011 s <>. t ,, :
I
· 1 l T hl'. s impk rule is
'- LTP
thl.s' lTS{JCcl ca n h e easily : t V(J t t L'< .
J(
.<
u
Jn1·L·
d
itlintlt\·
"
to past o r presen t tim e th rn ug 1iout.
) > 1. . . . it VL·rlJ
.111 o11cy 1·n,.
tl1"1·s· 1·1 ill· • ·st 11<l)' th e li sts o f 1x1sl ~til t p rLst.: 1
!-,

3. U 11 i(1' in / !" I/ St°.
rat lwr cl i fTi1c u lt , l)ut tll l . m ost

fo rms a nd tcsl yo ur wurk.

2. l{ c vere n cl J u lius l ':lrkcr ma r r ied tlw m a t h ig-h n oo n and imm ecl i:He ly ::i fte rward t hey s tarted o n th e ir wedd ing to ur to C an ::id a.

..:..

170

I / I

1: 11\. ST li U O K O F CO M!'< >SIT ION
EXERCISE 158 - Oral
1n:co t; ;\ i i'. i i'\(; \' I Ul. .\Tl CJ:\S OF UN ITY I N 'lT N SE

.N:irnc t hl· tc·nsv of each vnb in thi s t'o mposition ; th en
n :v1sc, u n ifyi ng the ti me as ]Mst o r as pres e nt.
A

STU1'~ 1

ON 'I' l l E S l·:A

T he cle d < is cwwclcd w ith p<'n pk . In lhC' di s ta nce l sec lh c port.
The sky is murky and the w ine! is l>lowi11 ;..: very h ard . T h e fu rio us
li;..:h tnin ;..: tl·a rs th e s ky :ind t he 1l11111ckr roars . Th e mas ts of t he '
s hip were d ow n . T he ll' illpc·st uo us wa\'eS d as h up u n t he side of
the ship. E verybody \\·as lwrror-stri cke n. T h e s to rm rages o n
furi o us ly fo r :1bout an huu r. The Slllrn i was S•) bad l h;it it is i11 dl'scribai>lc . \,\ 'he n it qui ets d uw n a li ll lc thl' s a il ors loo k to see
if lhl' ship is damaged vi;; ry badly . They find o u t th a t t he prow
uf th.: ship is damagl'cl.

E XE RCISE 159 - Oral and W ritten

IZE\'I"\\'
I n these st:ntcnccs m;ike \\'ha tevc-r cha nges arc n ·cessary
to Sl'cu rc un ity, and l1c read y to e xpla in wh y th ese c h ~111 ges
were n ecessary .
1. Th e gi rl \\'l'n l lo 1he i>nard :i nd she h ad hc1· p rob lem co rrec tly solvi;;d.
2 . ll11li Son .. r l\at tl 1· h:td t•llt' ri,·:il , a do;..: c:dk d IZl'! I \ Vull , whi ch
was t ) \\' 11\'d by :\Jc,\ dam.
3 . \ Ve ho ys usl'cl to pi:ty all 1hc morn in ~ in o ur hack y ard , wh ich
was bi g enough f1 ir us a nd ou r nci_ghh1i rs played th e re , tuo .
4 . \ Ve may prove o ur loyalty lt> lru t h in ot he r pl aces th a n a bau lefie ld; tu stand fu r trut h in e veryday life is one o f the th ing s a n ideal
m an mu s t do.
5. Some of th e Eu ropc:rns can co m r 10 A m e ri ca an d m a k e m o re
money t h:in in th e ir nat ive co un tri ·s, and a g rc:a t m an y la borin g people
in the LI nitecl Stales an: forcignns.
6. Thi s sti r rin g story . w hi c h Scol tis said l•i have w r itte n in s ix weeks
b eca use he needed t h<.: m o ney , interes ted me ;;reall y .

7

I untit·cl lhc s il k str ing an•l 1'11lktl il up. dr.1\\' i•lf'. " " "I i "<· ""11111''.

I

thec~rcl an<l

'.li >"::::,d• •W

then l it e l\\·incand li11:dl y 1hc rop<'- \\'hi1.: h 11•... ! 1...
s ill ancl the n I slid down the rupc ;ind made a ,· ,·i ) J.,1 tu1utc ' ".' . ,
' 8 . 1"' JH ~ gi rb i n th~ closet g1·gb I ct I si· ) l i1 ··1111 lt' r' thc:rs· hid
n" t 1...ulilt
·

in findin g t h clll, ;1ftl' r wl1 i..! 1 lhcy a ll h:1t l a l't> lllp on: r the _,,jd h"u ~' ·,. ~ 9. l\1rs . 'l\1 rk ...:bi1ns th :1 t li1..·r an\·e:-.l< 1r~ ,,·l· r..- in , \ 1111. · 111.. . l \H.. l•o1 1. I ' )
and sh e is unl' o i the n l':tt c st h o usc·ke,·pc·rs Y"u C\·cr s:t\\'
10. The lct·turer shuwccl li u w I·· r:111k. l'in r.i11·st prn\·c• I th·' ickn litv
- .. r
ch:ctrii·ity and lightni n g, and was th al not a g rc:ll k :_1t '
.
.
.
11. "Mast.· r Sk i !:irk ., is ;1n interestin g s tory , 11t·111 g \\T ilt(·n t" sh o 11
li fe in th e ti m e o( l_2ucc n I-:li zahc th.
. .
\.Ve co uld not ,,,) 11· tli c ki11d of r; 11li sh cs th:tl ll' l' h.1d pl.1nn'.d'. ·"
. I d
l l . ·ill c• f the s eed a nut her sc h ,,ol ha\'111g made •1
th e groce i 1a so ' •
•

:iz.

garde n , too.
.
· _ . ·I . . . ·
1 3 . Colonel Car te r is a lnvai>l e m a n , be in g a pro111111 c n.t <. i.1 ra1 I< i i11
seve ral o f 1 lo pk in so n S m ith's stories .
. .
. .i . .
14. \ V e are g lad to hea r of Juhn ' s recove ry fro m ty ph o id 1cvc1 ' "' " ' h
is a d ange ro us d ise ase'.
.
.
d . in ti1m-.
15 . T he exnrisc was hard :incl no one of lh <= class fi111she _il . . .
· f o n<I n f t Iw I icn
' , ·,111d if ) ' O U nurse
a .sick .11i1111 .tl
16. L a u ra g re w quilt:
. .
fo r a w eek yo u w ill clu th e sa me thi ng yourself_.
.
.
. .,
l 7 . 11 arold was wt:l l-t rai n ed in o b ed ie nce , h is h roth crs all bei ng ""!er
th a n h e.
· I I t
lB . Hav in g fin ishcd th e b.H,k , I s uggested to the other g1r s t 1a we
act o u t th <= sto ry; sn we d icl.
.
. . . . . ,. .
19 . W ..: p la yt: cl th a t t h e cnurh was the porch, th .it 1\1< ch.11rs \. er<
passing a u to 111o bi lcs , a n d we 1ho 11gh t. it g ood f u n .
.
20 . f\ s h e r s hare of the pi c ni c d inn e r , l\li cc b ro ug ht a c; 1kl' , wliH Ii
we ate.

EXERC I S E 160 - Written
TEST T ll EME

write on one of the topi cs outli ncd in E xercises 1 2 5 - 1 2 i',
a nd apply all tha t you have learn ed about u nity. If you h:m .:
mate rial e no ug h to e xp.rn d th is topic to t wo o r th r t.T parag raph s, you may do so ; hut be sun~ th.at each pa ragr;1ph has
unity, and that a ll belong u nde r your l1tle .

'(_· ,:;~ .. r-

-·.. ~ -~

/· 11\S'J'

J:()()/(

(I/ .'

NOTE: 2. 1\

1-: u u :s 1\ :'\I> J·:.\ J·: l\ CIS ES I N CUU J) Hrn.M l

nnd "or "
<e/101 1/1 ,)' y /,111,/ /1d;"""' / It ,; f 11r/s o.f a i'IJ111f101111d s1·11frnte,
11 11 /, ·.1·s 1/t,·, ·1· f<1rls c1r< ·: 'c"I)' sh ort o r <'Cl]' duscl.Y cu1111cdcd
x·n t!tt11(~/1 I, or 1nt!1·s.r a l1<11< ·irr 111 a,-I.· is 11rrd cd.
E xerci se A
11 01111 1111!

subj ect o r a n ubj «l'l i::; :tlnwst nc\'l.:r s«para tl'd !J,· :1

co mm a from the.: Yc.: rb .
Nu-n: 3. :\ lim iting, o r 1~ ~~l· c~ !.::_ n~ ~
0J!,_l~co111111~1s ;. a purc.:ly dc.: snipti\'l", ur n o n -rc.:st 1 ict i\ c, ll:tust· is

f. J ' t· :'\\"Tl' ATIU N

Rule 2 5. { '.,·1·

in

1 ' :\IT \ '

COl\1l'OSJT/() N

/!1/o r r "11 11d," "b11 t , "

always set ufl by commas.
l ·'. X 1H t l"'LES: J\

m n. n who w is h es l' o t e ll th e trut h mu ~ t k ~1rn fi r s t tn s 1·L"

th e Lntlh .
lo n g, is h eroic thr v u g h u ut the pb y.
Cy rano , \o,;hu se n1 J='C w a s ab s u r<l ly

\\" rill" fr11111 did:1ti"n ur frn 111 me mory :
1:11 y Ilic.: t ruth,

:tl HI Sl'ii

( ' a:-.l out t ht.• s~

:\ g n11 d

11.111 11.. ·

Exercise C

11 0 1.

:l!l d l'• Hllt·11tiu11 .-. hal l ~" crnt.
111 he cl11;s..: u th .tn g rc.1t ridi t·-.;, and l11v in g- fa vo ur

nf'lit' L

i:-.

it

1nsC' rt comma s \\' h e r e the y ;1n: nn·dl'd , :ind g i' '" y11111· J'l'a scon s .
If two in tcrp rdalit> n s of a sc·nlc.: IH 'c arc· poss ible , give· l1• 1tl1.

1 .nlivr

rather lh.111 !'lik er :111d g1il d.

l..:1..·joicc 11 11t whc11 t hine t' lll'111~· f.tllcth. :in c.I lt.:t l1•1l t hi ne h eart be g lad
he st urnhkth. -- 1' 1.: 11\· 1-: 1 .:.1~-.
I n tt.:g ri ty mdy not be all of ch~1r..L c t c r. hut n o ch a racter is n oble with out
- E ~l E l{S tJ ;'I;

1. I lordl y '"' in an is "''"" ali\T

' ' h 1· 11

\Vho rc m c m\,c rs that fam 11us cla y a n d y i.:Jr.
2 . li e <lc='c ril1cd ll) n1C h is i.:xpl!ricnre ,,h11.: h w :1s

, .L'I')' u 1H1:-:. t1 :11.
3. Tha cke ray w h o is m y favo1itt: au thor wrot1.:: ,. \ ' ani ty J.';1ir."
4 . 1n N 11rth A1ucri i.: a t h t.: l.1 y cr=-- o f the lith osphere ,, \ii 1· h co111:1in lhl"
o ldest l 'a mbrian foss ils ex is t u nl y n c: 1r th e CJStern a n d w1.::-.t l'rll iH·:dc i s .,f

l<ule 26. ( Zrr N111111111.f lo sr / 1~/f •c ·o rdr , f'lt r11.r1 ·s , 1111d da uses
t/1 ro-;,I// i11, o r f1l1 1, ·1·d <111 / of l/11·/r 11a/11r1rl order, or so111o·w lt.at
s1p11ratcd /n 1/w11.i:l11 from !lt1: r es/ of I/If' soilntf"I'.

th e co n tinent.
5. Th L"rc arose in th e l 11.. '. llcni c c i1ic s a ric h ;11Hl 1n ;1ny ·:...idcd culture
which lu.: c; 11n c the precio u s l q~;1cy of <~ rr- ecc t o th e w111ld ;11 l.11 g 1: .
6. Th e o !Tirl'rs w ho arc cn g ;1g-...: d in t hi s wu1k ~111· 111 .1d1 11111i:...l L'I t h 1·

N< •T1·: 1 . :\ p rq>• •si tinnal pilr: 1sL' is n cv c.:r sd off by com mas
un kss f.,r sc imc.: spc·c'i..d rv:isnn 11f ckanK·ss v r cmp li as i ~ .
B

E'tnc ise
\\ ' 1 ill' f11i1ll

d i,

e nti r e ~oy ernnH..: nl.
7 . Th euld l:id y who h :1s lived in lht: h o \\ St! f ,,r \l ,,\l .t c1 ·nt111 y h:t~ 111 •· \·1·d .
8. I 11 tlw J, q~i nn i11 1. ~ t hi '-' .... . 11 I H 1:.. ,·d t'\ T ll hi .., n111 1 l w1 wh11I, 111·\,. 11 im . . , • \\ 1 !\
9. I >urin ~ tlH· \1111g' hi •u rs ,, f 1hc ir t ' 11 11fi1\\ ' ll) l'til \1(' 11 .!d lw. l1w 1i•I 1!11·

l.1li1'il:

s tory o f hi s li fe whi c h was v e r y roma11ti c .
10. Th orea u de c brcs th al it take s t w11 t o spc:1k 11u1h

Th e bi immi 11 g- 1Jr11n k. a s it \\'nund to ward s n1c th ro ug h th e m e nd s,
se('m c d fo lrL' m hk un Lhc \' l'rf!t' <1 f o\·crflo win g- . as t h e c row n of wi11c
i n a glass ri ses )'l'. l duc.: s n r)t s p ill. I .en:! w ith th e J...!"fl.'<:n g ra ss, th e w a 1c r
glc.:anwcl as thou g h poli shed w lwrc: it flo wccJ sm ,,o thl y, c rossc.:cJ wi t h
th e cLirk s h ado w s of w illo ws whi c h k ;11H'd over it. Hy th e bri clf:e , wh e re
the l; 1-.:L'7.C ru s hed th r11u g h th e ar c he s, " ri pple lla s h c cJ ba c k the go lcJcn
r:1y s . The s u1 fac l' hy the s l»m· , JipJ H' d tqwards .1 s ick h atch and passed
ovt·r i n a liquid cur ve . cle ar a n d un \' try in g . a s if ,,f so lid c rys ta l, till
s halterc.: d ttll t he !"h.lfH..: s, wla.:1c tht: .l r c a u gh t up and pl ayed with the
so und ui lit e.: bublilc.:s a' t h ey l""'k " .

a n d a n o th er tu h ea r.
11. 'fh osc wh o purc h:isc

~

1

Continuctl

f10111

l'·'gc 13:S .

" The Brook "

fro m

ahro~Hl

p:1y f1·1

111('111

1,y hu;

1n~~

drafts , or p ostofficc . cx p r c.: ss . or c:1i>k m11 11t.·y nrd c 1s .
12. O n the tw cnty-sec~n1d of Jun e th e n ew s1·l1 <'t1l huil 1linh wl1il' li lu il

n eve r ye t b ee n U:->t·d was st ruck b y 1i g-h111 in ;..::.
13. Yellow s tnn e Pa r\..: " ·hir h is n o 1ed f • H ii " ~t'):... \·rs i-..

n;t1irni ;1\ 111·1.pt· r l\'.

14. () n ee :ts 1hc y s;1l h y th e ir eve n in g- Jir f:, tlicrt' :-, ik11 t h t·nic n ·d
I nto th e litth.: c amp a n Ind ian worn :tn who:"Jt.: fl·: 1111rv :-:.

1

1.:1 , 1111<1 • jt-:FFE« n .s ,

~oo ds

1•1h· t n "l1v.1k

1
1

~

Bn rc deep lr:-.c cs o f so r n> W.
1 fi. Tn th e s 111di 11 the mat er ials whid1 ar c u se d a1 c 11\ lc:-.." L·1m :-:. ...:q11v 11CT
th an is th e wurk m .1nsh ip.

~.\l

;·'l

1\

1' 11\.ST l ~OOK 01 : CO i\l l' OS l 'f' J<JN

l l N l'l' V

16. Th ose thini;s which orr mos f ..
with lea st wond er ·uHI t
• .
~ l am 1liar to us a re apt to he rega rd ed
17 S . . . .
,
u oc casi on l hc least thowr ht.

4. \ 'Ve h ave /,,;.I th e - - " " th e hed .
5. \\'here did yo u la·1• th e - - ?
6 . N11bo<ly h as dist u rbed th e - - th at I /,11.l th c rc yestcnby.

.

·. l C \ 1..: 11 s1111 s a ys

th ~lt it

is

lawfu l

te m pt a t1u11 s, hut nut lawful ' ' ' ·k lk

s

ti

f

111

H ·t · ( ',..,

I •) 111d I ha t Wl· he ll'Jl led in to
rum th ose th;.it cc1mc tu w ,.

E xercise D
Jf •h
· t 1l<.' d.1:; of ach·e rsit\·. I , . .
' . o u f :u· 11 1 Hl
.
;\sin w a ter f:l....:c ·1n , .. . . i
.
.,,
t 1) s t1 c ng th is s mal l.
.
'
:"I '1...:1t~ 111 llJ tar t." :-.o th . 1 .. .
1·
\ \ ho so stu pp<.·1 h hi s c- 1r s ·11 ti
.
l.'.:
H; . 11t t • rn ;111 to man.
IHH s Iia I I n o t he hea rd.· '
·
•c l'r\'
. o f t h e 1>ou r ' Ii t· " I su sh:i ll cry h imse lf

Exercise G
R ead :iloud , fi ll in~ the blan ks wi th forms of the verb /a1 · :

I l..! that lu1·eth purcne 's of hc:i n , fur
he l11s fnend.
the g race o f his lips the k ing s hall

1. I la ve you - - o u t the te nni s cou rt ?
2. \ \" c - - our bouks o n the bench.
3. T h e hens h ave - - well fo r us all th ro ui:: h th<: «>Id weather.
4. Th e o ld nu n - - hi s h and o n th e c h ild 's lw"d.
5. Il e has much ~oocls - - u p for m a n y yea rs .
6. The y h av e - - up trca surt' s fo r th e future .
7 . li e - - the paper on the table.
8. The mo n key s - - ho ld of him.
9. I l e - - hi msel f d"'vn in th e s hade uf a pn pl ar.
10. Sh e - - h e r fi ng er o n h e r lips.

l•: \'e n a ch il d is kn own by his cl .
wheth e r 1L be right.
<li ngs. whet her his wo rk be p ure, a nd
l'ridc
gnet h before dcst.
·
Th
· r •.. I .
. 1uct1(J11,
ancl an haugh ty ~ l' irit hl'f1.. il·e a fal l.
' .e " t i.1t m:ikcth hi mself ri c h. \'l't h-1t h . I . .
:\s \·1111..·ga r t o t h1..· teeth . and :1.:; sm~:kc l~ th~1ot i~1'.1g . .
t h em that !-!CnJ him.
eye~ . ~O I S t h e sluggard l O
.

..

l l edi.1L a ' " " " ·rcth a matte r hdu re
th! f.1thtrs h.l\c set
u nt o h1n1.
he h e<1 ret h ll , it is fol l)· ,111cl s ha me

rf

(q

b ee n ·I

dt1

..

7s

7. \ \'c will la_y the - - ht: rl..!.
8. l l a v1..· you be e n l.~.1 1 i11.i: Lhc - - in th is dre ss?
9. Th ey/,,;,/ uut the - - in the ~a rdc n .
10. Th e c hild ren laiJ the ir - - un th e d esks.

:'l lcm o r ize a nd \\' rite:

l \.c m<J \"e n11l lh(· :rn cicnt l.u1dm .11k. whi c h

l

Wc...'rt ' :I" f" . r , ,

<.: 1u1 d 1l.':-;,

. .1 s: .is to h: n<1w wh:1l were ,.
I
I
;u1d po u r m e n 's c ott ·1• 'c
.·
, g u <h t u ( u , c hape ls had
~
. _ ,.., :-. pr 1n c cs p a la c es.

Exercise H
The ve rb lie - pa r ts, fir, firs, IJ·ing, lit)', la in - m eans" tn rC'st in
·a h o ri zon t.:i l pos it io n. " I t is in transit ive. T he p:ist l"mn /,,_t· is lik1 ·
th l: p n ;scnl for m of a not her Vl' rb , an<l t hi s r" ""mlilancc c;wses
many mi s takl's. R c·memlic r that lit- h:.t s no sud1 1"11111 as /,,_rs. a11d
th at /,1y, m c:an in g " to rest," is in th e past tense. N1\ti ce that no
fo nn of th is verb cn n ta ins t he le tll:r d. !'i ll the bl:tnks with !1>. /i,·.1,

Exerci se E
\\ 'hat spl'ci:tl rules for tlw comrn:t
Rult· 2 (1? J'n·it· \\'
are rc·a ll \' i1w luckd u nde r
;111< 1 n ·1·itl' th t· 111. ill us lr:tti11 g c:tc l1.

E xercise F

lay (past), or lain .

T he fo rm s o f the \'C rb /,11· .· 11·t' ·. ''''.r. /11. 1·.f , 11r ·sc l !. .
1nni ·i I
!. ·;
·
t · n ; ".1''"·''· J>rese nt
' '. p e; dt. ' p:ist; /,11J, p:tst p:trti t·i1i k.
m earn 1 t "
..
..
It is alw:t)'S tra ns itive
1
ti ' I I gI 0 put or " place .. "r rn :t I.;: c li e ." H.l'ad aluucl , tillt'11g'
l C l a n .;:s \\'i th su it:tbk objects.

1. Th e hoo k s h ave - - the re o il n igh t.
2. \ Ve la id o urse lves duw 11 in th e lo ng g rass , a nd th cr<' we -

l111•i11 u· t he
.
....
- .tn ( ru nt of th e ch urc h .
. . c laid the - - <•n thl' n i ~.

3. I h t· y :t lll':t)'S ;,,_,. tht' -

. i1 1 tilt'

fn r

an ho ur.
3. T he meadow - - to th e " '" twarcl.
4. 1 f is cap a hvays - - u 11 the ll \HH; this m. n r n in ~ hi s c .. at al -.;n - · ~

1. \\"
I re. \\';"\S.

2.

-

un de r the table.
5. The c it y - - - " " th e !dt hank ,, f th e river.
6 . T h ere t hey - - s tun ned a nd h e lp less .

parl11 r li r!" t.

I

·1

UN ITY

17()

21. l had neve r - - hnld uf s ur h a :-. lipp t.· ry l11in ~ lil·f un: .
2'.l. ll ave yuu - - - sti ll i v r lif te cn 1ninu tt.:s as th e d11cl •t1

7 . <Jn " :-. 11in 1111.: r d. ty l 1:1vc you cn.: r - - - in a h u l lo w a nd luu kc d up at
lh <' ,ky'

· n1y h o ll11\\' and lllllsl'd
98 . .\ ."estt'rd .I\'
. I _ · - in
· I IJL' Sl11 1\\' _
(,
j
10. l li:1d - - ti . . . l n n~c h· s dl'L'j> O\' cr the g ardl'n .
H .:lc.; IJlOllPllk· ss fl}! ' f
.

ll. \\",.Iii"· ll1<· ;;;11tkn
on It all d:1y lur1 ;...:..
] 2. T l1i· d•H..,'

13. 11..:

:-.. 11

to - - " "

23 - -

-

111

w hL' J C

lie - - a t this

Il l• '1J1Clll.

16. T his I. ind

Exercise

- 111 till· nqrtJiw;1rd .

- whnc it fell.
17. Th <.: l rl'L" " "'
18. T he t ree
·-· where it ft.:11.

Use sd in th e se n se o f " put ,"" place ,"" m:tkv. ·· ,. ,-it. " and r.iirr

1. We - - the hrL"ad a l six o'chic k.
2. I l e alw" ys - - his hat to his 1n <1thcr's fri L"nds.

!-"ill thl' IJl.tnks \\"ith thL· pr"llL'I" f.,nt1s· o 1· ;·,,. 11r /,1_r.
'1

3 . The y - - unu s u a ll y fi ne to m atoes .
4 . \\' c h ;t\'C - - ; 1 spara~ us su ccess fu l\ y.

- w .1t1..: hi11g- th:1L ~ tar <ni
I p <I ii \ \ ' ll :d n ng- th e tree

I ru11 J.: .

~ - If )' "" will

:{. 'l'hl·

4•

I

_-

Sdll l h

of

_

.

1hi ...

.

I

lHl tlil' SU I

·

1 l.1\ k111diic.·-; ." I• •

. . c.· li :n ·l ·

t 1ll'

.

\ ' •lll.

i 11- t lw

Ii rt.·
1111 IIl l'

\\ '

"'"'"'" I)'

I

g

~it·y

Hutv - - his n111 z/. lc Ill

.1l

art: -

-

.

1 ul

..l

1.

·u se sit in th e sc: n sl: o f " re s t ," rise in th e scn ~l: .,f ., sta nd llj >.
"get u p," " m ove upward ," - alw;1ys wi th o ut o bjL·l·ts . hi\ t lrL·

m onth .

n 1y

pill11w

.s lips fu r yea rs.

lia 11d .

th e cn r n c r -sl1 )1ll'.·

14· \ \ ,. \<' Pre - - h ' th . .
15. The l<>sl 1,. II .. '.
c stone w.rll watc hin g a c r ic k e t.
, .

7 . ( 'a n yo u - - - u s ri g ht ?
8. I I<.: - - him se lf up a s th <.: lea d e r.

IH"tr

Exercise K
a

Jo· .i'\u
·
11
, l lth ' ll \ \ '·..i s - - - Ill
I Il L' c·c d.tr \ · JH'...,t
· I he 1ust.· lt- .n·t.·s h.n ·e ____ .
· ·
12. Th e ' f1." I .
- . 1111011~ Ilic
13 . . .

is ·di

g-i ~ 11 l'.

H.. \\
I Ill:
"l'Pk .s
9
'
g 111u11d l11r
tl 1l·m 1,y f,11· till· winlt" r.

, ,. -. - -

.

l l/O.

.
- - ti lll 111 :1 p:1rk .
'
I . I
l ' S I l l' l r tearts .
l 11 c;rks it1 tu I I

t1 1\\' ll

f· '.

5. Th~ y ---- ti><· l:ihk for te n.
6. T hey had ---- til e \a 1np l1 )0 nl ·:1r th •: t.·un ai n.

.

)O U wtll se c JI.

- w .1 :-. trl' .' S u11 Ilic rn :1ll · . I .
. .
( is ' l.tt - -

'.'ll 'Y -

:,. ,. n · rIll ~~ I I 1: 11

6.

wlier l· I li:n·l·

I I.II --

, .

4.

I

('1111111 1 \ '

J

in th e sense o f " 111 a k l: ri s,:," - alm ost alw :1ys \\'itl r , ,li jn"ts . Supply
the propl:r furms Lu fill t 11l' bl anks in th l: foll11\\·ing sc·ntcnccs:

E xercise I

l.

w\1crc iL is.

29. L e t hilll - - s till a s l u n ~ a s h ..: wi s lu.:s.
30. Let th <.: rn - - ti n: c; ;irp cl suo n .

s11·1·r .,,,, 1 c•old.

I I 1osc \'l'f)' pine woo ds

--

28. I l e is - - in an un cu mfu rt~tl lk po~i tiu n .

. a t l Iic f «Pl «f l It(' h.1 h) . I . I II
. ·1 1 t Ii:11 I w :1s l rwht t: nl'd '. '"' .t " ' " h t

.15 . \ 1·" Ir."'"

ch~<tk

2G. N,1w I mc duw n l o sleep.
Z7. - - th e c hil d i11 m y ar rn s.

a Sf1 ut her n sh1p1: w li l·rc the sun - -

u1_1 it;-; h ;11.._k , its h li trll· claws

yqu

down , K ove r.

24. - -·- the t:ibk for s ix.
25. - - n1y dress in the drawer. a nd kt d1l'

:-;t1

14. "1"11 e li i1d

s.li d

mu st?

l\'C m111 u lc s " l1c 11 a han<l was laid

up1 1n my :1rm .

t /7

\\,\S - - - :11 Ill\' fct'L

16. 1111.: k a vc·s wne
.
:.
17. 11 e h .od I : ,
. lll drrll ' ;r ,c;ai n ' t tir e s teps.
, .
h tn - -· the new w:ilk.
18. I h ey - - !Jiii' 111, o r ~ ;d i unc\T ll
~: 11c \\".IS
in 1!11 · lra 111111 <>ck . .
}Jo y ou like t u -~ in Ired in till' m11rn ing?

1

!

blanks wi th th e p ro p e r fo rms o f ,-it, set,

rt J"I',

r. 11.1·<'.

l . Th e b r e a<l - - w..:11 last n i;;h t.
2 . \\'e - - 3l six in su m 1n c r.
3 . Th e s un -- - at seve n.
4 . Th e hr e acl - - s lo wl y.
5 . No 01H' - - - any ~ooll tom atoes in

0 Uf

ncig: hhorlHH1c.l .

6. - - do wn a nd res t.

7. \\ ' u 1\ t y 1•l l - - \\·itl ' 11 s li. 11\ g t· r ?
8 . \V e u sed to - - ab ou t th e fr re .t11J te ll :;t•iries.
0

...

1: 1l\S 'J' II( )CJI-\: OJ.'
( '(>i\f

8. 1 W;i s
9
.

1

_ _ ,,

i 'USJ'/'JUN

porch r -·· r
.
. ( <1/ll e i 1110 !h e - -- .
c. 1( ing whde J ohn wa s
10. '/'li:1t c hild nen:r
r"""'o u1 p lan ts.
11. Tl
··Sir/ /
ie po .., t doc. _·s n1 l
.
fur 1 c; 111 ___ ii
. ' - - firmly in phcc ..
12
I
u111 ''' the hole scvcr·d . . ,"
. rt "'"' 11 0 1 properly
. . - - { IC.: l>iind/e OJJ th e ~I .
~ • 111( H.'S ,
] ,~- 1 hve yo u l•ec r
. . Lp, .i11 d --- lr<' rc i 11 I
14. Tire l - - -:- "' •h e or<"lr;1rcl '
t H.: s ha d e.
. Y
<111 ih e fen ce l 1'k
·
] 5 . No
one h ·id
.
c bl:i c kbi rds
16 \ \ '
·
- - "' l h;rt c h · · - . ·
··
·
L' n ever ·-"' ~in cc- ~r: 1n df l
·.
17 J
- - <>n th e floo r
.
at i c r d ie d.
. l ;i,·c )"' ll . .
l o Phy J;rck -s tor . .
18 . .
t .ll ly l'\ '(.'I".
.
l t~ .
. . 1 he li re;rd has ·t
) 1ll cm 1111g this week'
a l' f11 ./cr pl.ice ?
d 1110st to th e l()p o f 1 ~ ·.
19. T he
I i c p. 111 ; s hall J it in
. yeast -

20. l 'cop/e _

UN ITY

II l l e

. .

Exercise N
Read thi s paragraph on ..-Ital! a nd u •il! and bc read y tu c·;.;pbin.
with illustratio ns uf yu ur ow n , the u se of th csc ! wo words:
In th e ea rli es t form of our lang uage sl11il! dcnnt cd obl igation .
will d e noted int e n tio n o r \\·ish . \\«.: nu\\' use th ese· 1\·u nl s tu dern,!L'
merely future time - .rltal/ \\'ith I o r 7i'1', u•ill \\'ith othl'r subjl'l'!'< .
W e also u se th e m , in the opposite ord e r, \\'ith SC1111 e 1,·hat thl· ir o ri g in al m ea ni ngs - .I or we 'ii•ill, ot he r peo ple sllilll. T he: rL·: 1sons f"r
these distinct io ns seem tu be as fo lluw,; : H we :1ssert " lilig:tt i"n
o f ourselves, a s I slta/I g11, we expec t to ful fil l th e <1l,Ji g:1 1iun, su
that the ve rb has co m e to exp rcss m e re futurit y; b u t, if \\ l' assnt
obligatio n of a not her, we im ply t hat sume furcc will, if ncrcssary,
be exercised to co mpel h im to fulfill the oblig:1tiu 11 , as h e sl1c1/I .i;r1.
Thi s not ion is so strong th at it has nut bee n Sl>ftl'm·d by liml', and
th e verb s!ta /I is h e re the p rin c ipal verb . 1f \H' a ssnt inll'nti"n of
o urselves, a s I will go, we :i sse rt <>u r ow n will ; bu t if\\'(' s:1y th:tl
a nothe r will go, w e: d o not ordinaril y asse rt hi s \\'ill in t he m:1t tn ;
we m e re ly a ssu m e that the going is hi s in te ntio n, and assert tha t
a s a future fa ct. 'l'he verb sltall, th e n, w ith subjects other th:111 I
a nd 1e e, denotes obl igat io n, or a prom ise, o r dl'! e n ni n:1ti"11. 'J'hl'
verb 7Nll occa s io nall y ha s thi s s tru ng rrn.:anin g eVL' ll 1\ it h <>thn
su bjects, as in " None are so d eaf a s th ose who will no t hear... In
u sage th e co mm o nes t mi stak e is th c s ubsti tutio n of 7t"il/ fo r ,,.;,,,;;
to :show m e rely futur e time with I u r we.

,

the hrf> ·1

· d; th e brea d _

CO ! fl, O~lls j) ',~.

..

.

'o!'.i, :tn d o1/icrtlii ngs ,·

but th ey rear c h 1'Id rcn.

Exercise L
T ry lo lll;i kl' fnur . . -·
fur - f
subil>k S('!ll('n .
, m s o " Ill· of !he fulloll'i1w , . . I . . c~s. each con taining- ;ii/ fiv
} <Jt11seJf lo the co rr' "{ [ . "' er Js . ; , , , /,z1" J'tf..rd T . ..
e
lL
o r ms. read ll ., . .
·
<> dLt. ttstom
·
l e s u11t.:n ccs allJud.
Exercise M
T. e:1 rn th e f <>11 ()\\·i11g
·
r ules :
I . lfsl' shrtl/ witli
I . I
<:\ p1·
f
,i nc 7c"<', 1f11I! \\'itl1 11
· l'Ss t1l 11n: ti11ll'.
:i
o th l'r s id >jtTl s
10
.! . lls<· wt!/ with /
l
L '~ l l
· a nc 7t"c sit ti! 1 · I
· rt·ss p11rposc l)I"O ·.
'
'
' 'H l a ll ot her . I ·
. '
m ist·. dctC'rm in ·i ·
s u Jj ccts to
J . 111 qu est io n s u:se sit II
.
'.1 11111 . or co mm a nd.
dl'.°'11\:cl.
ct
<J I 7i"!// ' l (' · . 1·
• Lill< ing to the
--~ · Jn
.
an s wer
tj t!tl lrng indirl'l'll v ll.'<C
;
th e form
qu oted.
employed hy th•·
~ perso n
5· .1\ ;7.,.,. use 1·11// ·
t'
·
'
IV!l 1l I or 7< ·e. ll <>t
ro ns un Jc·"s
y O U Wish
· { .
c vc11 1'11 CJii e st IO
·
''·
pu . '
.
0 cl SSC / t SOlllC
ns or q Uota1Jl< •.sl', pro mise c 1- .
.
. e.\<: rusc of wrl/ f) O•v"r - . .
· ' '
1nt e11 t1on.
' ~ , <1:; rn

1

I

r.. \

Exercise 0
Read aloud th e fo ll ow ing, bei ng ca reful not to e mph asize the
word s s/1c1/I and will. Su pply in place o f g o an y ten ot hcr \'t'rbs
th at will m ake se n se in all se nten ces. }{ cad each a loud, think in g
of th e future time.
I shall i;o to-m o r row.
\' uu wi ll go tu-m orrow.
l l e will go to- mo r row .

We sh all go 10-m o rro w.
\' o u wil l go to- rnorro w.
The y w ill go t o-murrow.

( ~0

Exerci se P
H.l·ad :tln11cl 1he f1>ll1>11·ing. cmph:1,.;i1.i 11g .J1,t!/ and 11•ill.
kll "ther \'erbals i11 pl;:icc of p• and rl'ad :tl .. ud.

also

I ,..,// g•i.
1/trt// gn .
I l e: .. !t .11/ go.

Supply

\\' c -:\•1'/I go.

\"IHI

\'PU

.1/ta// ~o .

Th ey ,/"11/ go.

Exercise Q
\\ 'rite lwL·1 1t_1·- tin· svll ll'llccs. usi11g .d1.,//. with I or 1r1r as s ubj ect,
CO!ll/Ji11nl \\'illi l\\'L'llly-ti1T different 1·crbs. ?\ l akt· sc11k11et·s s uc h
:1s you would lie likel_1· '" use (1f1cn. Rc:1d :tl n ud I•> t1 ·ai11 the c:1 r
lo ilil' vurrc<.:1 for111 : do 11ot cmpli:1s izc ihe s/111/I. He s ur<: tliat s!ittl/
expresses mer<:ly future tilllc.

Exercise R
Ex c hange shall and 1eill in the foll\)w ing- se n te n ces, a11d tell
how the meaning is rl1:1 11ged :
1.
2.
3.
4.
5.

!~ I

UNITY

Fl !{ST /:()( >K OF ( '() ;\[ l'OS !TI O>J"

I s ha ll d rown: n oh•idy will h elp me.
\ ' ou will have a d ozl' n valent incs .
\ 'u u will f:i ll if Y"ll :m· so la:cdl,·ss.
\\' c: sh :ill l>L' glad to se e vou.
\\ ' e xhoi ll r.. rg •· t it all i...r •• rc flll>rning.

G. I l e will slay :d!cr St hn11I.

, l ut h e ,,.;// follow us.
.
l the p upp y h ome, )
10. 1 try to sc n c
. . . . ro ll th.:st..:rve.
You w ill he hon<H cd .is )
11
l II ""•turn a t""·
12.· \\' es1:1
ic
·· xifncccssary.
\\'c will rcturn bdore s1._ .
13. l shall >la)' a wcck longe L
14.
. ·ek J. n1gc r .
.
15 1i e will stay a \\t..:
. will cJr\,· ~ t11 the statH.1n.
·
·
f t h e cold th C)
16. 1n spite o
l ·m in th e gank n .
17 Yt>U w ill l<_nd l H.:
J .. l> /i 11a ti»t1 S t•> yol':
.
I
18. \\' e s hall a w;I)'.s he u n• "' ", '' Y,., him.
\\' c will do :ill we ca n to rqi .
19.
t <li'turb you .
20 . Th ey shal 1 n o
s

Exe~cise T
.
. ·\l 1, hct her sh,,//
.
. ·t1ons an< 1 t'
l f illowing qu cs
·
· · . 1>r dcVo rm ;rnswcrs to ti e < .
- <:~ press purpos<:, prvm1sc.
.
·11
sho
w
tn
e
re
futurity
,
u
t
.
an d 11.' 1

tem1inat io n:
1.
2.
3.
4.

c t o-ni ght'
e'
l
Slnl\
. you be at l i. o. rnnckage to th c. j)OSt -nni cc for m .
\\' ill yo u take t 11s 1 .re than a n h o u r late '
\\' ill the tr:1 111 be mo
. )
Shall h e co m e m. '

5. shall I go wi:h Y"'~ ·, broth er in th e c ity?
G. \\'ill you look u p 11 )
.• ,
~ h·1\l we rnake ten sc n tc.n1,.;.cs.

7. · '
. l . wind ow?
8. S h all l opcn l H:
. '
9. Shall he sh ut the d•>OI;
10. Will 'h e s hut the doo r.

Exercise S
Exercise U

Tell \\'hat .rh1tll and , ,,,;; i11 the fulloll' i11 g se nte nces express:
I. Th ou s halt not stc:il.

2. f, h:1s Ileen ° I will" :md" I \\'n n '1 " with me all my life.
:~. l I c will cumc when y ou :1r(' l'<:;uly for us.
4. I fc s h:i ll he s11it;d>ly rewa rd ed.
fi. Th, ·y !h at S<'<.:k rnc 1·:irl y sh:d l li11d me .
6. Kn ock and it sh:i ll he '' i"'"L·d unt o yo u.
7. \ \' c will lie happy.
8. l will never forsake thre.
9. All the trees u f the field sh;ill cla p th ei r ha nd s.

Tell what is said hy each s pea

!::

k ·r who is quo te <l indirectly here :
<:

·s that you s h ,dl n ot f(O.
.
1.
::;s that yo u '"II not f\11111 not co m e down sta irs un til
2 . The clocto r says th.tt yo u "'"
,
3.
l the will co m e
4. Th e docto t says l 1'1
• sh .ill be g •>n~ a n h our .
. even ing.
Th e doctor 5,1ys th .it h e
l I b . at h umc un :-,un<l.ty
5.
k I if we sl10u l c
ld wa it fvr us .
6 Our fri e nds as cl
7. IT e promised that h e wo u

. .

~:.turd.•)·

1 82

1: 1RST IH >OK OF < '()J\ f l' O S!TJ( >N
S L1c;<:1 ·:S TI::I> TllUI I·: TU l'I CS

1. Twu Hirds ' l\ ests.
2 · T ht: <'hurch C hoir ·

27. T ypes <if Stree t Cars:

3 . U nl o:1di11g tht: Cir~·us.
4. \\' hen th <;" I'1.1111'
.. · / ·< >llll'S ·Ill

5

Kinds uf ( 'u\\'ard ice.

G. TirL'd.

7.
8.
9.
10.
11.
12.
13.
1 4.
15.
16.

l f ot.
Cold .
Scared.
<J11ie1.
" l·'IL11 1ked."
S0 ur.
H ard.
S lippery.
i\li sty.
\ \ ' l:t.

17 · \\'ind y.
18. J\f uddy.
IV.

I l 0n1cs il'k .

20 . " J)r. Fvll"(sce" i\l otht:r

C n"sc .. ).
:'llrs. :'-l a l:1pro p.
22 . ( )11 ihl· J\ l,· 1-ry-go-roun d .
:t :3. In a Nl'lv I 1:11.
24 · Tl'nni s: Sc1Yi 1w · l'I· ,
.
"',
.1c111g; 1' laying tht: :\e t.
Strlikes , ,.t('.
'
25. Hascb:tll:
1
'it('hirw.
I
'
I·
.
,.,, .1y111g a l'usition; Hascrunn ing; Co:u.:hin•r
26 Golf: .r>.led:tl and l\1~; ('h
l'lay ; I >riv i1w. ·\ pproac hin o'
rr · l'L~t.iii•;
o·
21

.

Ad\':t11lagcs and .I >isadvan 1:1gcs.
28 · Why l l'rdcr th e _ _
At1t11111ohik.
~! !)
'J
· "ipping in 1\ mc rica .
:JO. 11 011· tu l'rune :\ pple
Trees .
3 1. The ( >pen -:\ ir S r huu l
32 . .l·:irst ,\ id to the ln j u1:ecl.
33. ,l.lw Fret: l >ispcnsary.
34 . I he LI ses uf th e N e wspape r I fcadline.
35. I lo w \\'L' Raised l\fo ncy
fo r tht: 1\ ssocia tiun.
:16 . C han ges N eeded in our
1.un ch Roo m.
37. " T o Ba rtcr o r E xchan g-(·. '' ·
38.

Ideal ( 'h:tra ctc ri s tics ·of

. . D ai ry (o r Beef) Catt le.
J he Silo and its Va lu e .
4 o. :\ l .1111ar Fdipsc.
4 1. A y<>ung woma n must
make :di a rr:tn gem e nt s
and tak e a rai lroad trip
alone. Ci ve h e r detailed in st ru cti ons rega rd ing the Sl'kct ion
of hl'f' t r:1in, purc hase
of ticke t an d slecpingc::i r rese rvatio n, t ra nsfer of bagg age, e tc.

:rn

C J I 1\ PTER VI
VARIETY
Th e r e is n othin g so un in lL' rcstin;..:; as m o not.()n y - - s;t m ern·ss
in peopk, in mu sic, in sc L·n e ry bun.:,.. us , :111.l uur ;1ttL·nti un
wande rs . J 11 \l'f'iting or in s1)l':tkin ;..:;, thL· pc rs" n \\'ht) s;1ys thl·
un e xpected thin ;..:;, or th e u,;u:tl thin g in ;1n unL·xpcctcd 1uy.
the p erson whu ;1ffords v;1ricty , :1rouses ;u1d ('<im pels ;1tlt'nt i()n
and inte rest. \ Ve say that s uc h a o ne is " <•ri g in :d "; this
m ean s, al k :ist in p; 1rt, tlul h e think s fur hilllselr, su·s ;;1n cerely, a nd re la tes \ 1·hat he sl'L'S to his 0\\'11 n:1H'ril·t K<' : ;rnd
also that he h as at colll ll1 :1!1d dcfrn ik and v;1riL·d \1·;1ys ()f saying thin gs . 1f we think we a rc not c nd1 1\l'c·d \\'ith grl';tl
"originality," all th e more carefull y rnusl \\'e stud y \'a ri cty

in expression that \1·c may lie intcr,·stin ;..:; .
Me re va ri ety is , of course, in ihelf u11in tl'l'l'sti11 g and useless, lik e a g reat junk lwap. Li ch express io n rnu,;t fit the
thought so perfectly that it see ms the o nl y ri g ht l·l1.tl1ing f1;r
it . Th e best st yk is th ;1t whid1 rnakL·s th e reader c1111,;c i"11s
only of th e tlwu;..:;ht. Hut bdorl· \\'t.: c; 111 att ;1i 11 L<1 this hi;..;h
skill in filling wo rd to icka and s(· n ll'ncv f(lrm to thought , 11·c
mu st increase the possibility of choice am on;.; our 1Tsourc-L·s;
w e mu st get a b q~e sLock of wnrds and ,;l·nll'1Kc fo r ms ;u1d
ways of clcvelnpin g ideas so that we m ay h;1 ve th em rc:1dy to
fit any th o u ght that we wish to c:xprc:ss. Notice \\'ktl \'~1ri cty
Mrs. M asnn and S ti:ve n son use in the pass~1 gt.·s q uot('(\ o n
pages 49 an d 51. Th is chapte r is intc:nckJ Lo h elp in fumishing materials a nd LOols, with some practice in Lh e art of fitting .
183
i •

J.'fJ..:S r J)'
,( iOK OF CO J\·I l'O SITION
V :'\ RIFTY
.·/.

\'1\l \ I E TY I N \\' 0 !\/) S

EXERCISE 161 - Oral
1 >l S TJ .\i <; l' IS l fl.\ (; 1: l·:T \\ ' I'. l'. N'

SYNONYMS
. d. .

Some tirn l' :11.;o \ ou tried ·111 c . . .
m c:m in .,· ()f wc;rds, ]' . ' I xe1c1se 1ll ist mg uish ing the
"
'.
\.l'V ll'W t l! S ('l<l"e
1 "' 72 )· 1.oo I< up th e
meani n "S of til .. f ll .· .
"
c
.o
C
l\\
Ill
"
worclc·
.
))"
1d Y t n s t ·1te
·
., ' ~ 1·•"
~,
th d .
.
·
"
t mct1
on hdwn·n them and to ·11 . . ..
.
. ' .
e IS·
I ust utc l':1ch in a sentence. I
1. l-: c vc;Ji , di sclose, uncover, cliscoi·er.
2. A nnoy, exasperat e. irrit;itc, d isplease dis•' ust madd
:3 . I ncrc;isc- . :iggr:l.\·atc.

'

o

'

._

en.

. 4. l_k lightful, ench::inting-, p leas ing-.
5. Seize, g ra sp, take, appreh end.
6. J\ csid c nce, h o use, home dwc llin o·
•

b'

~------......

The Eng li s h lan gu~igc consists of more th
.
. .
an 400 000
words J\ I .
..
:irgc pt oport1on of th l'sc howcvc·1· " 1·e te I ' . . J
0 .
. f I
'
' "'
c m1e·1
I out-n -c ate, and he nce not ord in arily of interest But eve.n
l f'..n•ry OnC' should h-.trn ho w !h e un :1hrid '(·d di ~ ·, - _.
.
:-t rd , present sv 11 o n) ·ms .rnd ·1•11 11 . • 1· II g_
. ct 1un.1 11 l's, p:irt 1c 11l:lrl v th e Stand.
.
·
· ·
11\ ms.
· o nw 1n 1• . . t ·1 J"
f r11/J/,t·, <:,·01:1.,• 1·: l ·~ngli -.;h ~\· n~111nn s 1:.
. h l:i . • t ,1, 1ogr:1phy of the subject:
l/ :1rper, 1:-:1,2 . ~1 .2 5 . [Co nt ·· ·.
·. . x1:l.n11c...·d 111 t\lph:il1l·tit'. d Orde r. Newed
F
.
·111 b quo1:1t 1ons 1llu:-. 1r.it in •' ti .,, . . .
.
.,
.. a/~m.,r, .\,1111111·/: Co111plctc...· l l i1.-· 1i11 n:1rv of ....; ., ry ' I~ use: ''' the wo rd s J1stcd.)
J.S~t .. ~I .~!) .. r c:o nrain s i11 ;11 1 :1ppe11dix: ~ H ri1ic~s~ :J":l ) .l!ls a nd ,i\'.·1 to n.yms. He vell,
lion s d 1s1...T1!111 n :11 t: d , forl'i g n p hrasl· s li st of al, .'. ~.. : •nd A tn t· n1 ·;.1111 s rn s, preposihu111onym s .J

h1t:v1.n1 o ns, C'" ol/nqu1al phrases, and

'

l ·>nr.1./,'.,J.

f'. : J·: ri g- li sh :-::;\' llonyms :lnd Anr011 ' ll

. .·

o f prC" pO.,il 1ons . Fu nk & \\ " -,.~ · 11 ·:
.
~
} 1s, \\1t h notes o n th e correct use
Alar, ·/1 F I .
, .
.i ,... n.1 s . I :-;,,r, . ~ i ..\o .
' . - .. A l h cs.n1r u s J )ic 1i(1n-1rv of ti . E
.
l'u b li s hing Co., i c)o~ .
oo [··1·1 . . .
..,_. .
)C . ng- 11.c;h Lan g uage. H istoricaJ
f
.
.. - · .
llS JS a ( ICIJOnar-y of '
on·17n phr:1ses , an d pro nun ci:11inns .J
•
synonyms, antony ms, idioms,

, ,?

,

/ 10• •,·/
·".. '

/.J

. .

1/ . Tl
,.

H::o; aurus nf F ng-l ish \\ "r;rd -; ·m d Pl

.';"1 .50. [Contain .' CXlf' nd e d
Smitlr , (~ J. . ~ ,
. . . .

I i' j() .

.

.

..

. )nn n _1,ms

f)1 sc nin 111a1nl.

cn .min:itcs m ore clo sely than othe rs ;is t

wn ters .]

r

l i~1 . o f I
.
lrasc s. New ed ., Crowe ll,
'. "-t . inmony m s and :mto nym s.]
1.

New ·d

..c .,

H

~

o lt, 1 ~ 96 .

'f!.2 .00.

[D is-

. o ti c.: use o f words. Q uuta l.1 on s fro m standard

.\",111/t-, R i,·hinJ : f) icii nn;1ry o f Eng lish ~\·non
.
.
prf',;:...io ns. N e w cd Li f . .
,
..
y nis and :::>y1H1nymou.s Parallel Ex·
.,
Jprnl.O!t, ' ~'J2 . ~ 2.oo .

so, th e re yet rema ins a vast store ha rdl y tou ched by most of
us. The va rious estimates of the vocahub ries eif mt·n arc
freq uently misleadin g in t ha t they do not disting ui sh the three
vocabularies that every one has . Th ese are a vocabulary of
words that eve ry one und erstand"; another, within the fir;;t,
of words used in spea king; an d a third, brgl'ly o\·c rbpping
the second, of words used in writin g. \Vh:1t arc fi\·c words th:1t
you use freely in tilking but neve r writc ? \ Vhat arc five· words
t hat you mi g ht use in \\'ri ting but ncve r spc:ik?
T o increase our own po\\'cr, t he n, we must dr) three things:
(1) increase the number of words in our voL·abubrics, (2) use
the words of one vocabulary freely in thl' others, and
(3) unde rstand exa ctly what th e words mean :md suggl'st. I n
a sense, th c fi rst statl: me nt :don e in clu dcs th e ot her t\\'o , for
\~e may in crc;-isc two of our vocabulari es by borrmving frnm
the largest and from each other, as well as by in cl udi ng \\·nrcls
unknown before, and, of cou rse, we arc not really masters
over words until we know exactly wh:1 t th ey mean :mcl
suggest.
Words usually s uggest more than th ey mc·an. O ri g inall y
two words may have mea nt th e sa me thin g; but for some
reason or othe r, c ustom assoc iates one with formal, d ig ni fied ,
or. technical lan g uage, the ot her with homely talk. A ftn a
wh ile, as their suggestions become so di fferent, it is imposs ible
to interchange th e synonyms . Exampl es arc : p,rtcnwl and
f atlierly; domicile and lwmc; ,t..,i1bbatlt , J,urd's D1~J', and
Sunday ; corpus and body. \Vhat a diffe re nt suggestion, even
though the meaning be uncha nged, comes from substi tuting
in a sentence one of th ese words for its synonym ! Note, too,
the gain or loss of suggestion resultin g from a chan ge of
"The An cient Marin er" and "To a \Vaterfowl " to "The
Old Sailor " and " To a Wild Goose ."

,.
~

·,..

'

~~

~~·t

1 ..

l;. t-.

180

fl RST HOOK 01-' CO;\l l'OSlT l ON

VARIETY

la ng u:lgc may mea n any one of a great v;1ri c1y of things,
according to the context. The discon:ry o f this fact and the
struggle to fit the right English \\·ord into tlw se nten ce
illumin e both the foreig n and the natin: nK·:tbubry.
A few illust rati ons may be s ug-gestin· to pupib studying
Latin, (;erman, or Frenc h. Some of the com munest words
have been c hose n. .·lt-n- may me:i.n any of the following:
"slurp," "po inted," "piercing," "d:izzli ng," "stinging,"
"pungent," "sh ril l," "acid," " Se\·crc," " \"i(lknt ," "gnawing, ·· " \·chcment," "passionate,·· "co ns u111i11 g ," "subtle,"
"pl'netLtt ing,"

\ t

sagacious,"

H

shrC\\·d,'' "keen,"

It

e: 1g-tT,"

"a..:tivc," " ardent." "spirited,"" hra\·e," "zca!mts,''" hasty, "
"enraged," "angry"; 1ll7/l may be tran s btcd
po1r,"
"needy," "scanty," " barn.: n," "indigent" ; li1·1w is not fully
understood unless we Jre re:idy to translate it " beautiful,"
"fine," "lovely," "fai r, " "handson1e,'' "sma rt," "spruce, "
"glorious," "lofty," "noble, " ''seem ly," " becomin g." In
learni ng any une of these words, _g-et the 111tda~1·i1(i;· ido1. of sharpness, fo r ex:implc - in m ind, and stud y th e context fo r the shade of me:ining : a sharp so1111d would Ix:, perhaps, s!tnl/; a sh:trp lduw, sli11.~'t11J:. Translation i1wolvcs the
SL:izing of another's thought and the expression of it ;t nL:w in
a different tongue, not a me re fitting togethe r of \\'urds as in
a picture puzzle.
EXERCISE 162 - Oral
J\V O!Dll\G I,: I·: I'ETITION

Sometimes we need synonynltlus c:-;pressions not so much
for definiteness as for variety. In improving the follo wing sentences use freely pronou ns, synonyms, "the former," and
"the latter.··

1

After J had read th<: book, I laid the book on the table in the hall.

And. on the table mother found th et ~o~~:hn from his childh ood. Birds
2 Birds a nd fi sh both rnteres e
d. ,d
know much abou t, but fish J ohn never stu ie '.
.
J ohn came to
. . Ian for cnnfusin "' the op·
3. The coach suggeswd to th e c~p,ta•;'. a ~i,shonorabk. Tl~e captain
ponents. But the captam th o ught t le pan
would not use such a pl;.m.
f h
. <Jn the hrm
. I
1 t ti , work o
er cous111
,
4. Mane t 10ug 1 1 "
.
k fur
had lit.tie to do al home, while her cous111 had wor

hard. Marie
-111 the spare
'

h ours.
.
· d ca me up to say that the
5. \Vhi le the girls were talkmg, th e m ai .
.
h ' ,· ls decided
. \ 1 ews After talkmg it over, t ' i; 1r
· . .
, at hardsh ip, howe\'er, for them
talking ann<>ycd ~ I t. ;. nc r
to talk no more that rn ght. 1 t was a gre,
not to talk after they were in bed.

EXERCISE 163 - Oral
VAEV1NG \\' OKN - OUT W ORDS
·.
. . • (i"
. r 70 \.Vhat would you substitu te
·
1· ft. ·r
R eview l cxerc1sc ) .) , page
·
· j"
I j · there any ( t L for the following expressions rn
tta ics .
s
'
.
or i· t1 suggestion? If so, tell when yuu
ence in mc;tning

would use each.
I dnn"t ca re a s11t1p.
I k w:1s 7•1·rv angry.
l le is n ·1 wort h .d111d:s.
\Ve· had a/i11 r tim e.
Thi s is a /J1·111tlijitl day.
Jlci sa11/, ,-boy.
7. She is a /1>7 •e(v g-ir!.
8. T he hostess se rved a d,1i11(y lunch eo n.
9 _ \ Ve had a ftct1rly dinner.

1.
2.
3.
4.
5.
6.

10.
11.
12.
13 .
14.

The lesson was lt111d.
The man's sr/1011<' wo rked like tl cltarm.
Th e con ce rt w:.ts itw/it!.
T his is a/ 1s1·i11t1li11g no vel.
Th e night was ideal.

.;

FIR •.~"
J ('

l SJO

4 . < : i:i nt , dw :ir f.
f> . F11..·1..·z i 11 g c1,Jd . ~i1.1 l in.~

E XERCISE 164 - Oral
\ '.-\1.:. ll ·:T\' L \

I;

For t'1e
i

i

11 11 1/,i T .ffllrt'r I

1. T hl'. man •;;•e11 t clo1r n th e s trc-c t.
2 . \.\' c sa11· t h e 1111111 in the cro11·cJ .

E XE RCIS E 166 - Written

:",t

3.
the p~rty t he .i:irl had a ck li g-htf ul time .
4 · l_h l'. IJpys ..-.i t abo u t on the piaz za.
5. l· 111 :dly 1•:c all ·z<'<'lt l to /i<d.
(L

,\ ftc r Lu he r calle e! w e .i:ol 0111 of bt·il.
7 . I k b ro ke o ut i nto sltt>tt/J o f l:nio-h tc r
" (
b
.
8.
> h<> tl1n ... I replied tlro7t'Ji/i•.
9 . f.ihl'.rt y w;i s t h,· ,/,1mi11,//I / nc1 t~·~ 1'11 -:111 t I1 <: s p.:cc he s.
10. I l e ,.,,,;,. by on h is h"rs<.:.
1 1.. I cn uld n"t ,r.,rc·/ 1nv J..:ssun.
12 . 1lcnry did h is d ;or 1·s .
l :l. Lc n:i has a jlou i71c \onk .
14 . ·rht· w :1gnn is 11 s111i / /J 1 o n t ime .
) 5. Th <' k ct urc w;1s .111 1i

I
I

I
I

1 6. T h l'. a uc\i,·ncc ll' l'I'<.: n l l r 11/fr 1t.
17. T he w h i,tk /,/,·;<'.
18. Th t: pc rfu11 1e wa s s 7 i ·NI .
rn. Ji rn ! rt.I' 0 11 l h t.: (' <1lll ·h.
20 . Du ns ta n Cass was a p mdi( ·,tf.

3 . Swee t, sour.

,\ 1' I' 1.:.rn ' l.:. l.o\ T 1". I. Y

M ake senten c e:;; usi ng;· th e following w11rcb :1p pr"pri;1lt'h .
n ot bl.'. co11tc11t \1· i~h " l k h<td f:tit h," liut 11-ri tc such ;1 S<'l1 ·
te nce as will sh11w t ha t y<>u rL":.ill y h; t\'L' sorn e nusll'ry of il":
wo rd; for inst.ancc, "En:·n thou g h the rn otlwr could !'111,\
110 trace of her SOT1 , she had fa ith that ht: \\'PUhl l' L' l ll rll . ..
Con su lt th l~ ill ustra ti ve sc nt e ncL"s in a n u n :1 bricl ~L· d cl id io 1J.1ry .

Do

1. 1\l ag na ni 1nous.
2. Equi vak nt.
3 . H c Licc nt.
4. Con scio us .

\! . \ 'ic i<JUS .

5 . J'il<.:OUS.
6 . l )(:ce nt.
7. I k s pica hlt.:.

10. l{t·p<'n 1an t.

8 . J\ffab k.

l ~.

11. \. ':111did

Tr ite.

S up ply in t h e bla nks words t ha t n ot on ly m:1 kc !'cnsc hut
also a re in k eep in g with the spiri t of th e 1x1ss:1 g v . Comp:trc
thl.'. ton e, secured large ly by th e c ho ice of m ircb , in t he lx1r;t-

S ll .\lJl ·:S (lJ-' \1 1·:.\ \J:\( ;

l. B l;,ck ,·s t mi d11igh 1. n u 11 nd:iy ·s g \:irc .
2 . < ;e ntkm a n, r() ugh .

\\' 0 !.:. I >s

EXERC IS E 167 - Oral

E XER CISE 165 - Oral

A rran ge in o nk r :ti! th ··
~ .stL' jJ.''' tl iat y< iu
follo win g ex t re m es:

LI S I N <_; N l·:W

C l !OOS I N<; l'JT \\'OJ{l>S

I

l

~ t.

9. S <>" kin g w et, dry .
10. S ta r ved , s u rfe it<:<\ .
11. Sm ile , g uffaw .
12 . l l ide u u sly u gly, r:i v is hi n g ly beau tiful.

~

uf a new wurJ .

111

G. l 111c'11'c·ly i n • <'l'• ""'i 11 .~.. .J ... ,.11 .1 .J11il.
7. J\ l is,· r, s1w nd 1hrif1.
8 . I .; 1vi:-;h g cnc r1 1 ~ i l)', niggardly p t.·nu r i11u:-; 11 ess.

s \ ' \< J.'\\' .\ IS

\1·ords su bs t it u te ;1 s ma ny \\·o rd s as you
t. 1.11 .tl,1:1.t m ea n cx:td ly t h e same thing : as m:111y th:tt mea n
tH .11I; t he sa m e_ t hm g . i\Ltke a menta l imag e fo r eac h scnll'n ct: a nd sec ii the idea changes at all with th e in s·.-1·11.o n
"

I

I 'JI

\ ':\I.: \ I·'. I' \'

J ;ooK Q I.' C() \l l'OS IT! ON

c:1n

between the

g rap hs q uoted o n pag-es 62 , 7 2- 74 ,

10 2 ,

;ind

11 G .

\\' c h ad a wake ned early that win ter 111;1rn i11g, p 11zzkd :it first by
th e - - li g ht th at - th e· roo m . Tl1<·n, w \w n at l:"t tlw 1ru 1lt
fu ll y - - o n us a n d w e - - th at s n o w-ba ll i n g " ·as no \<111gcr a
- - dre am, b ut a - - ce rtainly w aiting fo r us uutsiclc, il was a

J ; ·r .1 I /;no · ~t ' !l(ll \•111..·
II
Cerva nte s .111 tll"~ o 11 h" 111 ·.d w he n as " 111 t1 t:t <"'J - , '
I
s liab le o [ ~ p.rn 1s h - thi s, rnd et:d , is c.1sy an d to t hc.sam~ _re: rc·c·
Y . .1, ·/ · 1 · 1itself ]i csof t h 1 ssu rt , accurd 1 11~toot <tll1<.' /' "-' '·' •
1t ll l1Jlp01 <ill 11
~
•
~
.
' . ti . r~ ' I Y nr
t b" i111 1Jo rl'111t. in a cc·rt,1111 se n s<.: C\ c-n i cy '".
m ay o r m ay n o '-'
'
'
,1 11 1 1· \lo 11- · 111 d
. !- . Tl . ; 1 1bitu.r ll iar may be a ve ry ' " . ,._.. c
' '
may n ot b e ) ,, ·" ·
i t: ,
·I - , , ·r
li ve trul y with hi s w ife an d fri cnds; wh ile a n othe r man " l•l, i;.c.' c ld ' I jiJ rm a! falsehood in hi s lik m;ry yet h c h1n1self unc •le -.!
to •
· - · · I !· 111d f lie 11 11c 1
h eart a n d face, fro m tup to bo tt o m . I 1" 5 . i s t ic '
~
_ ·I .

m e re - - fi g ht fo r t he n ecessa ry cl oth es, and th e b ein g o f boots
see me d a - - - - , and the b utto ning o f coa ts a - --- te dio us form
o f faste ning, with all tha t sn nw goin g to was te at o ur ve ry doo r.
\Vh e n di n ne r- tim e - - we h ad to be - - in hy th1; - - o f our
n ecks. Th e s ho rt - - over, th e cum bat was - - ; but prese ntly
C harlo tte a nd I , a litt le - - o f co ntests an d of - - t hat ra n - cl o wn in s ide o ne's cloth es, fors oo k the - - h;.1ttlc -l1 c lcl o f th e !J wn
and went e xplorin g th e blank - - spaces u f th e - - wo rld that
lay b eyon d . - K1 ·:NN ET lt ( ;1 u 1 u~ 11 ·:

.

:i

.

/\ Il l·} "' /·, .•, " 't' t ' rll

7 'l'l"il1 ' // J' \ IJ .\1 '1!/ll!/ 1 1!/. t i Li l l Ill

S Y "iO;-.< Y~l S

B e s ure that you g ras p t he mea nin g of each sentence a nd
word as it sta nds in the foll owin g pa ragra p h. Th en substitute sy no nymo us word s or phr; tsl·s for thost.: in it: tl ics, and
d iscuss in class the c h;lll ges in s u g_~l· sti\!n o r meanin g.
A mong say in g s that h ave

.

p oiso n s mtt macy. "
' " ' · '
-. r ' \atio n t ruth to yo ur o wn \wa rt ;ind yuur frie nds . ncn·r tn _1t ·1<11
c.l e .:
'
I1 I . I
I s lu\·c i, )( ~:--~i bk
.I
.. t "
tl1·1t is t h<: trut \\' l! C \ Ill:\ <L
or fia I nJy e mo 10 11 • ·
and v w nkind happy.
_.
STE \' tcN"u:-;, " Th c T ruth of ln tcrco111sc

EXERCISE 168 - Written and Oral
A ST U D\" I N

1fJ3

\ \ !{ !!·:T V

F JlZST HU( l K_ 0 1,. U li\l l'OSITION

EXERCISE 169 - Written
U!-> I N<; \\Ul.:. 11 :-; EFFL l'. Tl \. 1.1.Y
·
- · · \
· « - · ' ' 7 f S«kl°l \>l H '
F ro m the Lhc mt.: top ics suggcs lc: L <.J n \l.l,-,L .- ·'' .
. - .
, 'Tl\lh s l· r. 1111 all p()ss1IJI,
nd
clevelo]J
it
in
one
t>
r
two
\MLt t, ,
. ..
.
a
t
111 ick:1. ch<•''""
f
'.cu ; .
Sy nonyms that occ ur to you o.r a.n y pa.r
th '.'-\l'll~l · 11 11 ~ !~\."
l
t
each tim e Lh t.: unc !11 (1,;L sure to sumu ,t c
c

0 1ru11 i: v in sp it e of hl: in g wl1 oll y

jir!se upo n th e face u f them for th e sake o f a h;ilf-truth upo n a noth er
s ubject w h ich is 11 ff i1fc11 l11/h• 1·omhi11.-d wit h t he <:rro r, o ne o f th e
.t.rrosst:st a nd b roadest. 01117 '<1'.\' th e 111011.rlruu s f1 roposi//011 tha t it is
e a sy to tell th e l r11t!t a n d hard t" ll"ll a l i1-. I wi s h h c'1 rtil y it w i.;ri.;.
But th e truth is o ne ; it ha s fi rst to b e tli.•·1·01 «-r«d. tlw n j 11.rll_v a m!
1·.1:1fftly u ttered . Eve n w ith in.•l r1111101/s s pc«iall y ct111lri71nl fo r
s uc h a p urpose - w ith a fnot rule, a kv<.:I , o r a t hcodulite - it is
n ot easy to b e c.nrd : it is c:isic r, abs 1 to be i n1Tad. 1:ro rn th ose
w ho m ark the di-; 1i.rio11s on a sc;1h:: to those wh o meas ure th e
b/11111d11ri,·s uf 011/1ir.-s o r t he tl ist; rncc o f th e heavl: nl y s ta rs, it is
by ca reful 111d/tt1d a11d m i11111t", 11n ~, 1 ,·11 n • ing :i ttc nti " n th :tt me n ri se
eve n to 111 t1/1·rit1! rxa t' /11, ·s.\· nr tn sure k n nwkd g~ t:\' t'n of 1'. l'l1f11 1t.I
and o m s /a11 / thi11 gs . liut it is c;rs icr t11draw the outlin e of a mn u11 ·
ta in than t h e d11111,!Ci11g appe:r rancc 11f a face; and tru th in h uma n
rela tions is of this n1o r c i11 t irnt.:i/,/,· and d11fl i <1 11s orde r: h ~ 1rd tn Yr' i ::t',
h arde r to t:/11111111111i1·t1ti:. I °;-r11 1 · i~1 · to Licts in a l1111sc, 1-.1//t1q 11 it1!
se n se - n o t to sa y th a t l h ;w c bc«11 i11 ~I alaha r wl w n as a 11/dl /o'
ofjizd I was m ·vcr u ut u f En g L111d , n ot to say that l have read

of your rc-:1d< T " .
B. VAl~ILTV TllI.:.1ll l<:l l 1111.:.1-T T ,\ :..; 11 1:-.: 1111.:.L<_T
Dl SU >U RSl·:

.

If

11

\'·
\

. f - . -uri n" v·1ril'l)· is the ll Sl' of direct ;u1cl in-.
Anotl w r m ca nso Sl l
,.., ·
.
. .1
direct d iscourst.: . Direct di scourse, wl1ich g 1ffs the cx;ttl ' ' "1 ';~
' 11 n-tl · ·s th e su tcmcn t rn 11n· \ "t \ •td :tnd .1d«s
of a spca lzer, usua Y 1 ' , c;.
- "
,
,
.1
;.; :
.
.
l 1·- . ·-1· d iscnursc o n tli « <>t!H_:r 11 .tllu . \\,. .c, i
irn pnrta nct.:tn 1t. 11 ( tl l l . - -- . '
,
, . ,_
. " .- ··,
he s·x--1 \;,-r ill ·1
"li "1n h · 111rnt111< d l .-, ' '
IYi ves t\H'. t lI O U !_'. l1 l u [ t - . l •
' . ,,
' '' .
t:>

sion , is u~, ., 1

t\i t 1_·rnDh;1~.:.1s lS 011 ~()11 h ' i1tht ' l' jl:l rl •11
·
.
'- · in t\w 11; 1s s.t~1· is , k, i u\1 1< · . \\-l1 l·.11 r; 1'1 Jid il _
\

11

wn

scnlence u r
· exam ple, in " wntrn g up

"

,·.i

Sj)Ct.:c h,
-

;1

re Jl" rk r

111:11·

l ·h

, ·r
l
111 " 1 111

94

l

1··1 RST llOO
·
K O F COM l'OSITJON
VARIETY

g ive. his re ac lers a gen eral idea a 11d th e n t
.
particular pa ss·l•"c I Tc
.
.
o emphasize a
· ' o ·
m1g 1it wnte :

7.
8.
9.
10.
"who

He s late d to t h e o ffi cer," I a rn a pupil in the L1wre ncc Srh o(!L..
H e swea rs in his affidav it , " l am of legal age and uf sound min d ."
"This," we s hall e xclaim , " is w ha t yu u have led us to!"
"The fi e ld be lo ngs to Fa rmer Larkin ," I explain ed polite ly ,
li ves just be lo w us .' '
11. " The re a rc somc thin gs,·· he h ad read som ew here ," that n o o ne
can und e rsta nd ."
12. By th a t tim e h e will h ave demanded, " \.Vho are yo u, anyway?"

After apo l.1gizin" fo r his ht
. I
h e \\.i s gL1d t•i "I L'L~ h1" ol .I , • e alrn va , th e s peaker decla red that
"
·'
t
"''n < s 11 e ! . -. I I .
for any bill that was ag ain ·t t·I . .
.
c c ni ct t ic1 t he had voted
·
' ' s
rng, h e s,1id: " J 1 • •,,
.le //1tc1cs· 1s· ul ti ic co unt y. Co nti nu1
.
1 ie,.,a rc to th e Lawrence Dill I
..
'.o it. My reaso ns arc ... ,,
, am still opposed

The direct st:i tcmcnt is in th e fr . . .
as th e object rif s0111e v ·I . . . ·!· JI Ill of a noun cla use used
.
Cl) 01 \ C l xii of S ' l) ' lil '" ti11. k '
m g , an d the li ke • Jf tilJS
·. lc<1c
. 1111
. 0· ve rb · ~ . "'
11 · mg, ask.
1
th e verb for ms in the I· . , .. , '''
s picsc nt or future,
. .
.
.c.i usc .tic un c krn.~·l'cl m tense· 'f ..
p.tst, th e ve rb Jorm s lll ti . . 1.
.
, I It IS
·
le me 1rect cl 1sco ur .
I
I·or instance ti . r.
Sc must Je past
' le< 11 cct s ta tcmrn t "If tJ . . t
·
the old man 's proph ecy I 1. .
i'
iei c Jt' a11y truth in
.,
' · · ' ' an c yo u soon w ill rrc th e
f 1.
0
t 1e ma tter bL'CUlll cs " Ir l l
. ,
e nc.1
th ere b ,
. ' .
.
c c cc arcs (w ill cll'cbrc) th1t t if
e. any trutn 111 the old 111;111 's prophecy he ,, .n a1!cl
s.oon w zl! see th··, , "11cJ
of ti lC lll:ttte r " , " Ir
' . l.
yo u
~
clecb red) th at if there Wt'rc ;:mv truth i ' ti o: Id c c ~c l a red (has
11
he raw and
.
'
ie 0 man s prop hecy
.
•
you soon WON Id sec the c11d of ti le matter. "
'

EXERCISE 171 - Oral
C ITJ\ NG TNG I N IJ.IRF C T T O JllRJo:C:T DJS C OURSE

Change the foll owing indirect stateme nts to di rect. Secure
vari ety by placing the lead ing verb ( 1) before the quotatio n,
(2) after it, and (3) at some suitable point in the quotation.
L H e rapped o ut that I was a y oung ig no ramus and tha t I co uld n ot
read eve n En g li s h.
2. 1-i e asked soli cito usly if T was running away.
3. Mother was get ting rea dy to de mand in he r c h a racte ristic way
wh o was goin g .
4 . H e in q uired w hat we h ad bee n p lay in g.
5 . Eve ry m o rning the teac he r wa nts to kn o w wh a t we h ave done
over ni ght.
6. Sh e p e rsi sts that she ca n m a k e a cake as well as h e r m other.

EXERCISE 170 _ Oral
C ll ANGINC 1111-:.IO:C T T o

Ii\ l) r l·U ·:cr ll l SC() l1 RS r·:
Change th e fo !lowin rr
exampl es' of clire<'t
· c1·1scoursc to
indirect discourse .
,.,

1. " 1 am fr ee," h e s houted .

: • "· ...

2 · 1I e says in the int e r view " I
3 . I-l e told me ,, y
.
,
am n ot. ab le to pay my debts."
"
'.
ou sho uld st udy e ng in eerin g ,,
4.
1 want a li ve drag on
· , " Il e .an noun ced.
" .
"

-

4

5.
Uh , liut rabbits cJ,, t:ilk," d vclarcd 1 hrol
,, ..
h e;icls toget h er and thci.
...
'
d.
1 hey put their
..
I n oses go up and do1
. . . 1·1
. .
th e Vi carag e girls'. "
vn Jll s t 1 <e 0a l1na's and
6 " y
h
.
.
. ou avc n t bee n to l\ onw ha ve y ou I,, I .
·1
'
·
1nquircc.

195

,·

t\

I·
I
\.

I

In direct discourse various effects are secured by the use of
diffe ren t leading verbs, as may have been noticed in the preced ing e xe rcises. These leadin g verbs with the accompanyin g
explanations of actio n and the like a re call ed the " author 's
comment." Passages from seve ral diffe rent noveli sts should
be examined with a view to seeing how much vari ety and defi nite ness th ey secure thro ug h a selecti on of different leadin g
verbs and how much through e ffective placing of the author's
comment.

I:

I

I '>/

\ ' .\ 1\. 1J·:T\'

<_J()

111\.ST H<>Oi( OF Ul \ 11'0Sl'J' l <lN
1. i\lbc rt. alrl::1d y btt· . is st11ppc d u 11 hi s w:l y t11 :--L h1,1 •l !1\' ~u1 11111111
gran t woman who speaks Jiu k En g li s h . ,\ftc:r lindi11 ,.,; <>Li l lic·r " ·;m t s. lie

EXERCISE 172 _ Written

'1"',

VA1n·J(\"(; T ill·: l:\Tl((JJ>L·, ·-ro.k \ . \\I
. J J( I JS <W

<J l .U T .-\ Tl CJNS

11 · :\!ah: as lo ng a 1·ist o f synun)'l11S as )·ou ca 11 f
llf' a sled.
or !tr said;

.
·h.. Add
1·- expbnatorv
.
• comment to c·1cl1
'
'·111cl ti 1CJ1\ITJtea)
pnatc c 11 ect cl1scourse F - · . .
.
l pror 1.
.
.
. .
o1 mst..mcc:, starting with the ve rb
.!>' .rf, \I<.! might adcl frn111i11.r lttrr ·if".1 .0 1 . 11.
write: " \ Veil " . . ,,. . , -~
·.'
· ' .1.: <> .r~i·, ancl lrnally
., f l
1' s 1H.: ".1s ped, f:m11111g herself v i• ,.o ro us·ly "I
ne ver e l sue 1 ,·1 J10 t Ct)
I· ·. be f on .: since
·
'
J was born,... "
EXERCISE 1 73 - Written
WRIT! i\(~

COi\ \ ' J·:J{S ,\TIO\ \\T"

.

,

.

\ V-·
.
Ill \:\ k ll·. D <"O~ !M ENTS
11le one <1f the coll\·ersat ions indicated lJ ·I 011.
author 's comment i·aried
., J .
.
c
· l\1ake the
'
•.dlC suggestl\·c.
l. 1\ n an"r)·
hrm
. . .Ille
. I :t 1l• >\ ' Gllwht in th .,
,..,
,
<I
I
2 A · I
·
·
"
c m e o n patc h
1 .1 s t imauc 1Je«g;11· ·i nd i
.
'
.
·~
,...,
•
. ~( . n :-1 ·1
1 >It.' t. I i.1nt v \\ ''rkt·1
• . /\ llt'n c:voknt g«nll1·n1;in ;ind :t nt·n-slJ<1. ' ."
.. .
) 'hu 11.b Jll sL re 111rnc<l hi s
h;1L from th e mud o f . . .
• 1 tJ(J\Vt 1L'< 1 stn:ct.
4. The captai n of the lxdl team pb11 n i1w with
a game .
"
on e of his men fo r
5 · Two g irls cxcltanging- confidcnci·s.

6. A cle rk in a dn·
. goo ds
. .s11 ' r.
t ..1 1H I a ,-c·ry
w om:tn who does n ·1 know h.
. I .
c r n111H'

c11

a

f:

cx ·1e1 i

w n1n ~1n

. '·

' ·I

ng

..

c11s1
omcr,
.

or a

7. ;\lrs. l '11llln:tirs :incl hC' r n ew cnok J. l
'1l n is e;1sily o ffend ed .
8 A . .. . .
· 11 5 1o m t ie co untry.
.
\\ Om.111 .111d :1 li11•1k-"g1·n1 :tl the d1>ur.
!J . John and his li11h· si st n al th e circ us .

EXERCISE 1 74 - Oral or Written
\1:\ 1{\ " JNC: 1> 11'1 ·'.<' T .\ i\ I > l:\ l 1ll"·TT l >I S(.()l}J.:.SE

. Ctd•
.
S Prcpar('. · tn te ll in cbss one "f. tl1c. fr>ll \ >11' .I ll". 111
t·
, c:curc v11·1dncss o r emph;1sis bl' cli rect ( uot · .'"'
.. ens.
or suliordi11:1ti •>ll hv inclircct.
I .ttJC>n, i.tp1d1ty

g ives h e r th e h e lp she needs .
2. A stu tterin g boy inquires hi s way ,-,f :1 n impati c·nt ;tnd uno.;ym p; 1thetic man. A kindl y stranger sds all tu ri ghts.
3. A fo rgetful boy is sent tu the sl\• r« for Siltn<· pL·p pc r.

EXERCISE 175 - Written

Write a character sketch of an olcl man ur an nl< l 11·o m;rn ,
tak in g you r po rtra it as he o r sh· is chatting wilh you. l' e Yc;tl
as much of his o r h e r personality and li fe as you ..::tn . lntrocluce char;1ctcristic remarks in <lirect quoL;1ti 1>11S. Luuk 11·cll
to your choice of words.
C. \'A Rll·~ TY JN SENTEN C l·:s

1

The fo rm o [ sc nt.l'nccs is not to be \':trie d m1..:n:1y f11r thl'
sake of variety : it should be (kt.e rmin ed a lw:tys by Liic Lh11ught
to be expressed. It will be s1> determined if th .. \l'ritvr has su1·h
a n acquai ntance with the diffe re nt scntc:m:e forms tha t hl' c;1n
at need call up any <>Ile fur use . ( )ne duty, then, of t he young
writer is lo learn whal Lh ese forms arc and t•i pr:1cli 1..'C chan gin g the expressio n of a thou ~ht from o ne to Lh e others until
they arc familiar to him a nd easy to use.

1 n grammar yo u have k::irned the thret: senten ce forms
clecbra ti,·e. in terrogative, an<l i111pcr;1ti1c ·-- \l'hcr1..·by \ IT 111;1y
make a slatement, ask a questiun, u r ut ll'r a command ur
I l 11 all nf th l· \\'Irk on se nlt•n ce f(,nns and modifie rs

f or ,·a ri e ty the pas ~agcs quot ed in the L·arl ier l'. h;,.ipters.

it would be wdl

to

t"x~1 m i nc

l

FIRST BOOK OF COMPOS ITION

entreaty. Th e first is the usual form of our sentences, because
we are ordinarily trying merely to tell our thoughts.
The second form has two uses, one of which is common
to all who wish to find out something. Its other use is interrogative in form· but declarative in meaning. This is called
the rhetorical question. \Ve use it in an idiomatic sense when
we call out, " \Vhat do you take me for? " Shylock uses it
when , he says: "He hath disgraced me. And what's his
reason? I am a J ew. Hath not a Jew eyes? Hath not a
] ew hands, organs, dimensions, senses, affections, passions?"
Neither we nor Shylock arc seeking information; but we
u~e the interrogative form to tell our thoughts because, tending
the hearer and make him think for himself,
. . to surprise
.
it gives vanety and strength to the expression.
The imperative form of sentence we use when we wish
to beg for something or to utter a command. In your experience, so far, imperative sentences have largely been
short : " Stop l " " Let me alone! " " Come here ! " As we
try to express in our writing a great variety of thoughts, the
imperative form will perhaps find a more frequent use. Sometimes this, too, is used for a forcible statement. Instead of
declaring, "I prefer death to slavery," Patrick Henry used
the imperative form and shouted, " Give me liberty or give
me death l"
First we shall practice merely varying the expression of
the same thought in these three forms, so that we may have
some mast~ry over them. Then in our future writing they
~ay of their own accord, as it were, slip into a fitting place.
JV1ore probably, however, we shall introduce the interro!!ative
and imperative forms in revision. Looking over wh=t we
have written, we feel the need of more strength ; perhaps
we can gain it by substituting a rhetorical question or an

VARIETY

199

.,

-1

'

imperative form. Use these freely in writing. Your natural
good taste will, in all probability, prevent your overdoing the
that failing, your teacher will point out the excess.
EXERCISE 1 76 - Oral
INTERROGATIVE AND I MPERATIVE SENTENCES

Change the forms of the following expressions to intcrrogative or imperative. Consider in each case the change
of im pression .
1. The ju<lge of all the worl<l should do right.
2. You had better stop and look a nd listen at the crossi ng.
3. I am no simpleton for you to fool like that.
4. I think America is the best place for me.
5. I am so excited that I don't know what to do.
6. I h o pe every dear fri e nd will throw himself into the breach and

stop the attack.
7. Yo u m embers of the football team mu>t hold your opponents.
8. Alas! I h ardly know what I have done.

JI.

ACTIVE AND PASSIVE VOICE

In English we have another means of variety- the power
of exprcssinl-( the same thought in the active or in th e passive
voice. \Vhen a predicate is in the active voice, it usuall y expresses an action performed by the subject; when in the pas- ·
sive, it usually expresses an action affectin g the subject. Thus
.we may sav " The bovs broke the win<low last night," or
:" Last nigh; the windo~ was broken by the boys."
Use the active voice unless there is some good reason for
using t IH' passive. \ Vc use the passive (I) when we wish to
. ·avoid a change of subj ect, (2) when we wish to emphasize
the person or thing affected by the act, or (3) when we do
know or do not wish to name the actor.

·.·."·

200

FIRST BOO K. OF COMPOSITION
EXERCISE 177 - Oral
USING TIIE PASSI VE COR RECTLY

In the following sentences criticize the usl: of the passive.
If good, justify it; if bad, revise the sentence.
1. A pleasa nt time w:is had at the party.
2. T he first reflecting telescope was made by ~i r Isaac Newton.
3 . The eq uable temperature of the tropi cs minimizes man's needs
a nd leads to un iformity; but the necessari es o f life are multiplied in
the tem perate realm and variety is secured.
4 . Last night the flowers were cove red with dew.
5 . Hydrogen is made by pouring hydrochlori c acid over zinc filings. .
6. We are all hero worshipers. America was discovered by Colum- ·
bus, and we ensh rine him amo ng our heroes.
··
7. Electri city is used to-day to ligh ten work in almost every fi eld. ·
The tons of met:il, for instance, wh ich compose the moving parts of a
great telescope are moved in any direction by it.
8. A good watch must be treated well if it is expected to keep
good . time.
9. Peter was the favorite son, and on his sixteenth birthday he was
given a horse by his mother.
10. Needless to say, th e lesson was mastered be fore I left school.
11. After the address had been delive red, Lincoln sat down, fearing
that it was not liked by the people.
12. When the pigs had been fe d, Jack s till had a half-dozen chores
to do.
13. A deligh tful even in g was passed :it the home of Mrs. Smith by
her S unday School class and a few fri e nds.
14. Your req uest has bee n li ste ned to by me with great interest.
15. He was awarded a prize by the committee for his garden.

III.

ORDER OF SENTENCE ELEMENTS

As you have learned in grammar, there is as a base in
every simple sentence one proposition, consisting of a subject, which represents t hat about which we are making an

VARIETY

201

assertion ; a predicate attribute (variously called subjective
complement, predicate adjective or noun, and predicate), which
represents what we are asserting of the subject of thought;
and the copula (verb), which asserts the rcbtivn of the predicate attribute to the subject ; as, " Boys are restless." F.·cquently the copula and predicate attribute are combined, as,
"Boys run." In many sentences there is also, as a part of
the base, a direct object, as, " Cows eat grass " ; and, occa.~ sionally, there is an objective complement (variously calied
.~ factitive adjective, noun, or object; predicate attribute of the
,' object, etc.), as, "John cuts the grass short."
~ Any or all of these elements may be modified (" The
oun b(]" men are now cuttin g the long grass very short.") and
• Y'
any or all may be compounded (" Even the youngest boys and
the oldest men were yesterday and are sti ll to-day mak ing the
. weak levee much wider and stronger."), and yet we still have
a simple sentence.
.If another complete propos1t1on is added , however, we
have a compound sentence; as, "After being shut up for
some time boys are very restless, but at the end of a day of
hard work they are ready fo r bed by nightfall."
If any mod ifier consists of a subject a nd predicate, -- in
·other words, is a clause, -we have a complex sentence: as,
" Boys who have been shut in for some time are restless if
they do not have plenty of exercise." Moreover, propositions
in compound sentences are frequently complex ; as, " He who
is wise prepares; but he who is foolish repents."
In E nglish the order of the elements in a simple sen.· t.encc is pretty well fix ed, for it is by order rather than by the
for~ of the words that we tell their uses. We s:iy, "Boys
are restless," and in this particular sentence no other order
w\11 give us the same meaning. In some cases, however, we

202

FIRST BOOK OF COMPOSITION

may secure variety and great vigor by the unusual order of
. predicate attribute, copula, and subject; for instance, "Wonderful are the works of God." And in still other cases it is possible to begin the sentence with the word there, which has no
other effect than that it permits us to change the form of the
sentence. Hence it is usually called a form word. " Ice is
in the river " and " There is ice in the river" mean practically the same thing. When a direct object is contained
in the sentence, it usually comes after the predicate verb; but
in rare cases it may stand at the beginning of the sentence.
"He made mistakes of course, but he was honest" may be
written " Mistakes he made, of course, but he was honest."
EXERCISE l 78 - Oral
VARYING THE ORDER OF SUBJECT AND PREDICATE

Which of the following sentences may be changed to any
other of the forms given ? Consider the difference in meaning or in effect, if there be any. Note the value of a knowledge of these forms in securing variety.
1. Before him the spectral figure of his partner stood.
2. Many things arc in this world that we do not dream of.
3. We had fine luck. We killed ten rabbits and six bobwhites
during the morning.
4. There is in the world a vast number of honest men.
5. A wonderful help to man is this discovery.
6. Her eyes are blue.
7. By the door stood a tall poplar.
8. The place was wonderful. Lollipops grew on trees and sugar
plums were everywhere.
.
9. A neat, pretty cottage it was, with clipped yew hedges all around
the garden.
10. And there sat by the em pty fireplace, which was filled with a pot
of sweet herbs, the nicest old woman that ever was seen.

VARIETY
IV.

20 3

DIFFERENT FORMS OF MODIFIERS

In addition to the basal elements of the sentence, there
are many modifiers, - elements added to the bare sentence
~to make the meaning more complete and exact.
a. Adjective modifiers. The su\oiject of a sentence, if a
· noun· or pronoun, may be modified by one or more ( r) a~­
" jectives, (2) adjective phrases, (3) adjective clauses, (4) . ap~os1tives, (S) participles or participial phrases, or by combmatwns
· of these elements. Any noun or pronoun in the se ntence
may be similarly modified. These types of adjective adj~n ~ ts,
or modifiers, may aJI be illustrated in one sentence : 1 he
old (I) man on t!te porch (2) ,reading !tis paper (S ) is the
father of Isaac Matthews, s!teriff of the county (4), wlw last
year protected !tis prisoner from t!te mob (3) ."
.
.
If a person used only one of these kinds of modifiers, his
writing or talk would not only fail to express exactly what. he
meant but also would seem so unvaried as to become tiresome.' Consequently one who wishes to secure variety and interest should have all these forms at his tongue's end. Nearly
every adjective adjunct can be expressed in more than one
form, and occasionally an adjunct will lend itself to all of the
forms; as: (I) The crazy man; (2) The man wit!t a crazed
brain; (3) The man w!to is crazy; (4) The man, a lunatic, or
The man, crazed by drink; and (5) The man being craz;1, etc.

1··

· ~.

"

EXERCISE 179 - Oral
VARYING ADJECTIVE ADJUNCTS

Vary the adjective adjuncts in the following sentences in
as many ways as possible :
1. These barbarous people lived long ago.

2. The hunters soon kill.ed an old moose.

1·

''
l1

'

204

FIRST

nooK.

VARIETY

OF COMPOSITION

3. At th e end of the fir st day .M ary was a tired girl.
4 . Jn a dreadfully big and lo11rly room sat the prince.
5 . That tc:rriblc nig ht finally came to an end.
6. The cu1111i11g mons ter killed several o f the deer.
7 . He was attacked by a dro ve of th ese little wild hogs.
8. A few sl1iftless men wa tched the performa nce.
9. General \Vood, the comflta11der, was until 1898 a physician.
10. f/ao.1ing killed the rabbit, Nelson began to look abo ut for other
game.
11. The new teacher, wlw was Ca nadian by birtlr, was an interesting
man.
12. The man co111i11g 01,cr tl1c /1ill is the doctor.
13. B uck, being relt11sed jro;n tire box, sprang at the man in the red .
sweater.
14. A man wlio f:;lrts and 11111s away may hvc to fight a nother day.
15. A rolli11g stone ga thers no moss.
16. }.·fen of /u>n or do not sell their honor.
17. A 111erim n me n, will you sec your land invaded?
18. A bird l /1<11 1:r i1t tlu /wnd is worth two t/1at are in tile buslz.

..

205

These exercises are framed for the pu rpose of making all the forms familiar. ·w hen writing-, use
for the most part the form that comes to you naturally ; in
revision search carefully for the best form.
EXERCISE 180 - Oral

0

b. Adverb modifiers. The mod ifi er of any part of the sen· ·
tence except the nouns and pronoun s is called adverbial. Ad. _
verbial modifiers arc in form: (r) an ad verb, (2) an adverb
phrase, this including the infinitive, (3) an adverb clause, and,
in effect, (4) a n absolute phrase. T his last is not grammati- .
cally joined to any part of the sentence, but in effect it is
usually an adverbial modifi er of the predicate. These modifiers
may be illustrated as follows : ( 1) He walked ltcsilali11gly;
(2) He walked with !tcsitati11g steps; (3) H e walked as if lie
liesitatctl; and (4) I ! is fret /1€sitaling at every .step, the man '
walked down the street.
With adverbial modifiers as with adj ectival, one should
have command of the several forms in order that he may se~ ·.
cure variety and also that he rn::iy express himself exactly.
In actual composition sometimes one for m will be the bestI

VARYING ADVERB ADJUNCTS

the following adverb adj uncts in as many \1·ays as
1.
2.
3.
4.

Macaulay read •·apidly .
He also read accurately.
The um pire made his decisions impnrtial~v.
Tire g ame lun ,i11g been jin islred e11dy, the boys had time to rest

before eating.
5. Don't hurry 011 my account.
6. That t/ze players 1111:i;1tt 1111derstand d early, the umpi re explained

the new rules.
7. We were eager to begin.
8 . Because lie li11d bee11 jngl1tened as a roll, Boniface was never
safe for women to drive.
9. He would come at 111:i;1tt c11oy rlay for his fo od an d pe ttin g.
10. T!te lecturer lzav i11K do10111t ccd tire book, we were all eager to
read it.
· 11. You will find him al lw me.
' 12. Come to see us ojten .
EXERCISE 181- Oral
SYNONYMO U S A TWElrn ADJ UN CT S

What variati ons in fo rm may the foll owing adverb adjuncts
have? Compose sentences beginni ng with these modifiers
and also with their variants : doubtless, 11rcrssari(v, a rsureiJ', at all t'7'r11ts, ob<1io11s!y, likely, possibly,
anyway.

'-~

'

'l
<•·'

~.

:

.

~

.

· ..

;.

·;

.

... ·,.

'!

206

V !\ !Zl ETY

1:1 RST Jl()()!( OF C'Ol\'fl'OSITION

Mal·e
a lit
· ·1 ar \\'ords ancl use them in r!· ..
' '.
s o f s1m1
J\ckerbnl ide·1. . .
. 11 f .
i ,e manner.
(l'i ,·en
. . .' s'.- ( spcc 1a y u t1 me and c:1 use, ;1re frequent!
c.
( I) by p.11 t1up1;il phr;1scs. :1cl jcctiv;il in fnrm
l ., y
'.1bsolutc phrases . For cx;1mpk, the c::iusa l id ea . 'anc (-) by
111 " adverb chu se " '\..
111 the follow.
.
,.,
.. '. · , ' st 11c 11o rsc was t ired ," ma y be expre . d
·
·
sse
1JY a part1 c1p1al phrase "/' . · . . _ /
re ·t " . b
•. ,
,, "~£; t1rn ' th e h orse stopped to ,
Tl. . /, . . ' .
.
s ' o1 y an absol u te phrase
stopped f .
I
. '
u w 1.1 c ocz11g ltred we
•
OI an 1our by the roadside."
'

207

3. lie died peacdu11y, in J">C:l CC, as a saint s ho uld die.
4. He clii.:d o r pm:umunia , he,::rnsc he had pn eu mon ia.
5. I-le di e d Lo save hi s friend , th:1l hi.: n1igl1t save his fril:m l.

6. I-l e will die ir that is p<1 iso n that he d rank.
7. H e died, altho ugh thi.: ductors made valiant efforts tu sa,·c him .

Try placing each of the above adj uncls first in it s sentence .
,;

·EXERCISE 183 - Oral
VARI OUS EQGlVAl.l': NTS FUIZ AllVlc lZll J\IJ )L'l\ C TS OF

EXERCISE 182 - Oral

VAIZU: ll l\IEAN I NG S

VARTOL'S E Qtr I\' Al.E NTS Hl!Z AI J VJ·: Irn ,\ DJUN CTS

J\dd to each of the following statements adverb adjuncls
in various forms expressing if poss ibl e all the ick;ts nH·1lli11nnl
above. vVhich form of the adjun ct seems best in each case?

JI Fxprcss_ Ith e ideas in the ach·e rb cl "·•LtS"S
· ~ by partici11ial
! irases, e1t lL' i' acljccti,·e o r absolu te.
~- \\'hen' the clock h:id sl ru ck , ihc m e n qui t wo r k .
.
. J\s the hoys h;:id e;iten their lun ch "s hurri , I .
th e qu eer taste.
..
lt I)• th ey did not not ice

1. The soldier g re w wo rse.
2. The o ne whu first finishes th e paragra ph should rai se his hand.

3. The pi c ni c must be postponed.
3. \\'t· tlm: w the fish back into th e
sm a ll 10 clr(".-<s.
wa ter bcc; iu se th ey we re too

4. The work will he d o ne .
5. ·w a iter S cott was 1wl a brilliant pupil

4. Ted rl-11 ex hau s te d whe n he harl crossed tl1 c line
5 · ,\~ i\l:iry h:id llc'\"Cr bdo rc spukcn 111
·
.
ap pl'a r.
publi c, she was reluc tant to

6.
7.
8.
9.

6. \ V he n the b st girl had :irri,·c<I. I · r n -ccl Ira in ih c s itting ro 11 m.
7. BL"ca usc \\' <: h:11I pbnn"d t<> kn·p the whul i.: thing ;1 S<:crct, \\'i.: did
n o t wear th<: pin s to schrn, J.
8 · ,\ s the ruk had been hr k.
I
.· .
two weeks.
o en, I ie p11n c1pal s us pc nd <.:cl eac h boy fo r
9. ,\ fte r I had rcau. 1 l I1C 1iook I felt :1s t hmw h I
o
could run an a uto·
m ob ile: m ysc! L

idns
' ·. m OS t common I)' l" ·Xj)l"'SSC'
l aLJllnCt
l'
[ The
I
'· · CI ])\' .i. cl vcri
t 1l' prcd1 c:11,~ ;ire ( I ) 11l ; 1CL' ( ' ) time (~) .
'
s
-) [HtrJ
(ri
.
. ' .) manner, (..f) c:tuse,
( :i ,
I osc, >) cnnditiun, (7) CO ll Cl'~S i on .

o

I I le died lhL"re. in hi s lll'd . when· he kll.
2. I le died ycst-t:rda ) ·· 111
· l Iie. f··1IJ · "'hen he was o ld.

Lincoln spoke.
The JI il\ School won.
M other w as tired.
1t had been a h;:ippy cla y.

V. l'os1TlON

OF

Mon1FrnRs

As a rule, modifiers should be pbccd as near ;-is possible
to the clement to be modifi ed. Som etimes when this is not
done, ambi guity or absurdity results . This is certainl y the
case in " \ Vh en trotting, we notice that now and th en a horse
has all his feet off the ground." Not infrequentl y the ch ange
of position of a modifier with out question changes the mc:ining of a sentence. vVhat, for instance, does th e n ext senten ce
mean with only inserted at each point indicated by a caret?

,_

/."f l\S'J' nnoK ()f ( "() .\ [ l'OS JTI ON

i

·1

""The old
·
l
" llli SlT " c n t" lh L: 1\kth odi s ts lift v d o llars f . .
i) t1t 11 .h cii 11 0 . 1 . . . .
" .J
01"s1x
m o nths .
"
.!Ill li"lllt)' IS /)0 ·· bl
.
Iow in•' ill t1 s tr:1tio11s
I
I "1
:
ss 1 c, a s in th e fol"'
· '' e s iou
c use lll d 1ff u. .c.nt sente
. nces a
1·a n ctv of
.· · .
.
,
p (Js1t1 0 11s fo r m oddicrs in orde r to ' I \ "( .
of SL'ntcncc form Tl . f ll . . .
.
' !Id m onotony
.
ic o u11 in ~ . i1·l11 c h m n n the ..,
tl.
m;i_v be us L·d i nll'rcha1ir'c:ibl . ~ ... 'I f
,
. s.1111e 1111g,
I· . .
.
"'
;.,
t«( l
orm hc 1111r bt·st
.
i.ips, Ill cc rt;1111 con n ectio n s. " \\' · ·) . .
. ,..,
' pc1many i·ca rs .. . " l 1 , .. f . . ~
,i s rn1g ton l1i·ecl be re for
,
•
CIC
01 111.lll\' )'C'lrS \\' · ·) ·
.
" J l c rc \ V· ·I · ...
.
.
•
'
as 1111gto 11 li ved"·
,ts 1111,..,1 0 11 l1n·cl Jor nnny year . " . " l '
'
\ Vashington lin:d bnc."
'
s '
·or lllJny yea rs

EXERCISE 184 - Oral

V. \R ll·:TV

.!O<)

1. /"11 a 111 a 111c11 t. Th (' d ng 11·:1s a t tlt e lr:1mp' s th roat.
2. / ·i·1:q 11<11lly. J.:ip \';in \\"ink k wottl d l:tke his gu n :llld go 11i"I i11l<1
the woods, where he wo uld 1·11j<>y a day o f huntin g.
3. l ·i"111t!ly . The boys w,·re re 1•::irckd IJ_v see in g a di1n wlti tc fig 111e
rise from b e hind a pil e of st o nes .
4. On lite shfs. j o h n and l\;iy sat cryi ng fu r t he ir ll1 <1ther .
5. J.11zily . The cle rk tnuk t he lios fr<> m lh.: slwl f.
6. / •{1r .\"/lf/'1' r. \\' e h ad fresh fis h :llld li:tr<ll ack .
7. J·iJJ· t/1,-_,.,, 11·;1so11s. The lwvs d1Tided lo st:ty in camp :u1othcr d:t\'.

8. // I lliis foi11!. Tuw scr, wh<> lL1d i>cT ll ha1 k in ;; out in the wu<.•cb,
came tearing int o ca m p lik e mad.
9. /l 'it/1 ,i s1:i:1t. ,\ !adg l'. laid :isiclc th e m agaz in e: and g o t hn hn 1 ,k s .
10. 111 spite of prol<'.,fs. Tlt e commitll' c ckcidcd th a t th e !J,,1s
should sec ure vehicles and th at lite g irls sho uld pro1·id1.: t he lun ch .

V/\ ]{\'Ji';(; Tl! I·: l'O S/'/' Jl l .\' ( ! /:

Al>\'J-:JUl J\fljllNCTS
\V int ch ·tn" , ·
·
.,.
. ,.,t s rn m c:rn 1ng l"L's t!lt from the
m od1f1er at ea c h ca n: L?
in serti on of t he

1. ./lf.1"/.

1\ft

I

" . envarc :\ rthur learn ed cno u" h 10
"
"'
unders ta nd_ th e sailors'

stories.
2. ,\(J111di111"
(' II"
( .
.. . .·
,
' ·' · " ,u i\·cr. " ea nn .~ th :\t he would l
te 111hle pellpfc a round 111.
Je c ru s h ed" by the
.·
.
. "
, .
m "t.l11ec1" to hide lumsl'if.
3 (I/ ·
· .'/ '" · " \\ htl e dn1·1ng :dong the co unt 1.. . . .
tha t he would Kel' th e th .. 1 . .
·J
. .
.\ ro. 11 ls A rlhur" rcso lved
4. 1•,,,;,,,;,;". Tl
L'.' " " II lt'll he 1·1s11ed th e <"it1· .
·' .
Jc Sl11rivs . t h~ni gli f:d sc stir .. l I . ·_"
" lt ave" c1usvcl 1r.,1tl 1k- h ·1d I .
I " . '" ·. It < lilll S<> 1l1at li e, wou ld
~

\"

. •>. •

A

.

l<..:

nnt

Jt'l' ll

res t r: 1111ed

.

;<><>dncss :111 d me re r s h:tll f
;
.. ,
\ fc, .ind" ! will dwell in ti ' I
. ."
" <>lio" m1" .11l th e (bys of my
"
t.
ll muse uf l he I.u rd fo n.: ve r.
11rd1'.

" (

EXERCISE 185 - Oral
C IJ O(JS JN( ; Tiii-:

J;J-: ST f'l)SfTf( t ,\ ' H l f,' .·\ i"
"
1\ f >_/ l . .\ .( "T

ADVERB

\ \ ' liat is the Ji. ·t
· ·
.· . .
ls Jl1J.s1l 1< >11 f,,r t l1" <k t:1d1ed 1·
f 011011111 g sl·ntt·ncL·s) T. ·t
:l< Jtin cts in the
. . . ..
l I.
. . ( s I 1ll .1 11 .111 .!. '.·<'rnl·nts by rt·acl in !! them
a out .in cl comp:trl!l g· t l1 t·1· ,. 111,·;1111. JJ ;.;s.
.,

Jn developing tlic preceding cxe1\· iscs )"'li kt1·<.· d o ub tless
bee n ::;lrnc k by the efkct pr<>clucccl by pbcing the m odi fi ers·
at o r n e :1r the bcginnin~ of the scntencl'. Thi s arr:1ngernl·11t
su s pends th e meanin g u nt il all th e deta ils :ire tak e n ctrL' of,
a nd makes the sentence e ncl wit h sn: 1p ;111 cl Yig(Jr; for cx :t mplc , "Then· nn th L· bridge, hold in g h:1ck t il l· c1h.: 11w , st(l(,d
Jioratius.'' 'J'his fo rm o f sente n ce ll'C c dl f< ri, 11!i1, ;1s co nt rasted 11·i1h the / 00.1·<', or s t r: 1 f~· g· lin g, forni th;1l appvnds dd:til
after <.kt;1il t<i th e prin c ip:d st:1lL'llll'lll ; as, •· I l or:1t iu s s tood
th e re o n th e briclgl:, holdin g b:1c k the enemy."
E :1c h form has its use and d1H:s not exc lud e the othe r. Ho th
togeth e r a!Torcl , ·a rid y. If :1 1Hitcr makl·s his sen knees t(lo
periocli c (:rncl this is l\ tsy to clo), hi.'. see ms s t illed and unn:i tu r:d .
O n thl~ otlwr hand, if h e is too lu(1se in his CXJll"l'Ss io n, Ir e
fails to hold his n ·:1d cr to th t· e n d of hi s statement. J le
sh o uld :1 irn. thl·n, :1t n:1tur: d l':tsc , ll'hi l' h ;1t the s:1m e tin1e
will h ;11·e l'll<lllgh l"l'SL' l"\'l' tn h 11 ld th e l'L':tclcr's ;1tkntion ;111d
interest to the \ 'cry t·11tl. ; \11 innpe ri1:nccd 11ri tl'r is likely

2 10

1: 1izsT l:OO K C!F C 0'.\11 '( >SITI< >N

t<J be loose 1a t her th: m pe n od1 c . Tlindo n.: in p r.tcticc he
s houlcJ frl'qucntly and conscio usly u:-.e t he pc t iocl 1c fo rm.
Then.: arc \'ari ous degrees of pcr i()diL·ity and loose ness
" If :111y one h:icl rush ed sudde nly u po n us, b ra ve though w~
sCCllll~d to he , li ke timicJ slJL·cp \\·e sh<1uld have sc:11.tered " is
stri clly pe riodi c, and beca use it ho lds b:1ck t ht.: m:1in thouofa
too long, clearly try ing- to LTlllH I in all tli t.: 1n inor d etail s, j~ is
s til tccJ. By t ransk rr ing "like timid s heq >" to th e very end
of th: Sl'lltencc y11u g:1_in in effec tive ness. L ve n t ho ug h you
s: 1c n l1 ce tht.: strict periodic for m , y() u kel'p a for m that is
per iudie in effect . \ Vriting " If ;1ny o n t.: had ru s hed s udde nly
upo n us, \\' l ' should han:: fk<l like t imi d shel' p, th oug h we
secrnl·d t1J bl· bran:: , .. you ha1·t.: a sentt.:ncc p:irt ly periud ic it
is true, hut in effect lonsl'. T ra nsferring t he conditiq~al
cb use to the \Try end, you get a sc n tc nct.: \\'ho lly loose . For
that rc:1son it sL·cms indfcct i1·l·, r:1 m bli ng o n afte r t he mi nd
h: ts g rasped thc m:1in statement. Few lo ng sl' nt vnccs are
wholly pni 11d i,; o r 1rh()lly loose; thl' ir st ru cture is judgt.:d , as
a ruk, by th· ge nl'r:tl c fk ct.
EX ER CIS E 18 6 - Oral
~L\Kl:\C

SF:"./Tl ·: :\C l·: s

l .( H JS J·: ()I '

1·1-: 1; 101 >1 c

D t.:c iclc whl'l h(' r eac h of th l'. fo ll owin g st.: ntc nccs is in e ffect
loost.: o r fllTiod ic. C hangt.: t() the othc r for m a n d comment
o n lh c resu lt.
1. Once mo re . d ear fri C'nds. to cc·h·hra te th e d ::iy we come.
2 . I le di e d early th is m o rning , just as t h<.: bugles wc.:re s o und in n- the
re veil le for th e troop s.
"'

ii .
whe n
g-no<l
mour

\ Vlwn lhc g1.Jden summn has ro u n ded bng uidl y to it s c lose
a ut ullln h:1s i>ec::n c:1rri1·cl f11r1li in russet w inding s hee t, the n a ll
f..:ll11ws who lnnk llj) <1 11 h .. lid:1rs a s a <'hid l"l HI pf Ii fc re tu rn fro m
a nd s trc.::un and beg in tu l:1k<.: slu1: k uf g: 1i ns :in d lusscs.

V 1\ RIETV

'.?1

r

4 . \tVh at did ou r fn rda tlw rs d1> in ca ses o f illn ess, li ving :is llH ·v did
in rura l d istricts , even IH.: fu r<.: th <.: c .. un try va 1il'ly s t ~• l'l' c1rricd its su11p!y
of re medi es?
5. D ow n h e f..:11, brushing :1ga in st th t: yie lding Jca,·cs . das hing th rough
th e crackli n g t wi gs, and bnding fi nally o n t he fu rcs t mold .
6 . l lerc was the p itiful <'asc of a man twcnty-ucld years of age. \\i th
n o ca pacity to d o any 1hi ng wort h a m an's wag..:s hcca u s..: h e had k ft
sch ool a n d h ad bee n :it w or k si ne<.: hi s fi ft<.:e nth b irt h d ay.
7. One o f the best t hin gs :i bo u t s ch ool li fe is that th..:n o ne m:.ikcs
hi s cl osest fr ien ds .
8 . One a nd inse p::irab le must t h is n :tlitm rem:iin !

E XE RCISE 187 - Written

'. .'

,,

Select soml' ol d sh o rt the m· and rewr ite it, u sin~ only
period ic scntcnccs. \\ .hat is th e l·fkct? l\ c11-ritc it in loflsc
se nte n cs. \\"hat is t h e cfkcl? F inally, write tht.: p:trag ra p h
in t he most c-ff cct ive sente n ce fo rms.

Rcfc rc·ncnras m:1dc c;1rl iL· r in t hi s ch:1ptc r tn the th 1H· flirm<:
of sc ntcnccs - si m pk, co m pound, :ind complex. Tl11:s1· f,,rrn s,
we h;1vL· seen, arc dcpl·nck n t. n<>t upo1 1 tlt e kngth "f till' S l'l1 ·
te nccs but u po n th eir g r;unmatit": il com pos itio n . I f the sc·ntcntT
conta in s o n e s tate m e n t, it is simple ; if it is composl'.d o f l1,·o
o r m o re of equal ra n k, it is com po un d; a nd if it conta ins a
clause m odifier, it is co mp le x. \ Vritin g t h;1t consists \\' holly,
or c1·c n largdy , o f any o ne of th e e for ms seems to us monoton o us; all three for ms, prope rl y d ist ribu ted , h e lp to dkct tllc
var iety t hat adds ch arm to wri t in g .
Tt mu st n ot he thou g ht, hmvt.:1·e r, t ha t th e t hree forms :1rc
intcrc hangcablc; o n thc co ntra ry , l':tch fits a part in1br 1wt·c1
o f thou g ht. Ju st ;1s we h a1't.: f() un d t ha t the re a re · · blankt·t"

·!

,·.ji
.,I
,;

•'

i

I

212

1:1RST IlOOK OF CO:\ll 'OS !TION
VAR I F:TV

213

words, we find that \Hi tcrs, yo un g ;ind old, le lld to a
form o f cxpressim1, instead of ta k i11g the trn11hl c to mold the
sentence cx:ictly to the idea. Variety ill th<1ught fo rm, then,
must precede v:1riety in sentence furm ; liut in order that it
may be clC\'e/opec! and increased, it mu s t he exp ressed . Thus
e xact exp ressio n will encourage ca reful thought; and varied
thought, o n the oth e r h and, will ckmand a nd e xe rcise the
several senten ce fo rm s .
tl. Simple sentences.
Enough pract ice has already been
gi n·n, perh aps , in the s im ple se n tence . fn the c hapter on
Unity yo u ha\·e h:1d exercises s howing th; 1t what w:is m eant
for a s im ple scntc ll ce is often no rl·:tl sc llten ce because it
co nt1in s tno li tt le or too much (sl'e E xcrcisl·S ' -15, 146), and
in this ch:1p te r a rc se\-cr:d l'Xnc isL's s l11i\\'i11 g h ow m od ifiers
may be variou s ly ackkd to the sing le sta tc ml'nt.

In early talking and 11Titing yoi111g penplc incline to use
th e simple sentence cxc l11sin·ly . r .: 1tn (In th ey le nd to
neg lect it !'o r I he ot her f, inn s, e\·L·n th1111 g lt t li e thou g ht is
single and si mple. O ne should lle\·c-r for,:._:ct th:1t the s imple
sentence is ;i/ll':iys a s:tfc exprl·ss ion, and in the mi dst of
lo nge r :ind more prl'll'nt ious f, 1r m s it is soml' t imcs marvcll<Jllsly cffectin· . it is cfkcti\\', t•">, in cxprcss i11 g th e ide:is
o f rapi dity, bl1111trws.~ . st1·L· 11 gtli . :111<1 si 111plic i1 y. I t is frl'qu e ntly
the best form fur a concl us ion. J\ n exed le nt illu str:1ti11n is the
las t se n tcnce of th c followi ng p;is.~; 1gc from " Sil:is Marne r. "
I l:inl ly mnrc 1h:111 fi1 ·c 111i11111"s h:id passed since he f' nl(Tc.:d the
cottage'. lrnt ii scvrn"d lo l )un'i:i n like a l1>ng \\'hilc.:; and, tho ug h
he"'""' \\'ilhnut ;111y dis1i11l't r1'<"1;~ni1io n of the prJssihility th:it 1\ Lirner
might be ;ili1·e ;ind might rl'i.'1 11 .. r· the cot tage a t ;iny m o nwnt , ht: felt
an un definable dr":id l:1y i11 g hold <• n hi rn as he rose.: t" his fret with
th e b:ig-s in h is hand. I le ll"Hiid Ju sten n ut int o th e d;irkness, and
then cons id('r ll'h:1l he shrnild do wi1 h !h e hags. I le: clos ed the door
behind him i111111 ed iatc:ly t hat he rnig ht s hut in th e s lrea m o f li g ht;

.
···) In car r ' him lx-yond bC'traFil liy the
a few s teps wo uld be cnuu'": 1
.
I } I . J I ·h hole:. Th e ra in and
.
I . ·I ltc.:r chrr1ks ,trH I le .1 L
'
g leam s l rom I le S lll
. . ,, . ] f it. 1ho1wh ii \\'<IS c111· ;<} d . t thi cker and he w.1s g ·11 C>
•
"
darkness 1a
·is much as he
. go. I . I I' . (I - iir ll Cl 1 so ti1..111· 1 11..•1,,c ..
ward wa lkrn g iv1t 1 uot 1 . 1•.1n s
..',·
. vf thl'. ba"s . But 11·hc· n
) · ..

· } 1p ·Iicc!l" 1\1( 1 UIH.:

,..,

could du lo g rasp lls \\ '
'
,.., ·I . ke hi-; tim e . s,, he stepped
he had gone a y;ird or l wo he r:1rg H L1 1: -T " Silas i\larner"
. 10 t I1e J·.1r k11 l'..,.,.
>cc ·- ( ·, F()l((,I·.
..LJU '
•
forward 111
·

ii •

EXERCISE 188 - Oral
S T Li I>\ ' I i\C ·1·111:. l ·.c·' 1:. 01' S l\1 1'1.L SLN TL"it:LS

Ii

):'''''
Exa min e a I_.
. ~ f1·0111 C':1c lt uf SC'\'e Cl l 1) IJ () 1,S, \\' h~ 1 t i,;. the.
.
,..,
. ...
IS
proportion of s imple se 11tc1H
es ., \ \ ' h e 11. :t. si1npl1·
. . .. St'l!Lt:lll'L'
? 1' .. d in
used well, \\·h:1t is th e particubr e ffe c t it l'tJll\L') S . ,L,t
class a nd comment on the hL·sl examples.

/J . Compound Sentence s . Th e i·ornp1H111d form of scnt(·n, ·<,·
, ]·cs to net her L1\·o o r more st:1tcme11 ts of cqu; d i·:lim" cq1::11
yo'
,
"""r:1mm.1t1
. ...
II, I t ·ilsn in helpin g t<J produce so:nc
n ot on!\'
c.1 ) lll ' . ... ·1
- ·1'1
,
,..,
.
l 1111-,
. ·""1
J ll: Ci tl\\
..... ff . t "The .,·:mw \\'as tlllL'J'L'S
· 11 d
,..,
· .. I ..
i.
liul thl·\'
largu e L L ·
'II . I " 'tn' st ·1tc 1rn:nls of L'lJU; tl gra 111rnat1« t 1.1111,,
.
ye lt
,
. . '
I· . · I. t ·111 (·fft:cti vc cnmp•1111HI scnt(·nn"
C'lll hardl y ht' c<1111 i111u Ill <l'
- .
.
. I I' ' . . . ,.
d
'
.
I)O)'S. .
•"ir is shri c 'c<
is ..1 . 1-,ou
"Jn
th e L'XClkllH'lll
)C·ll.
l( l d. ml ,..,
·tl ,.
, . . I , ·v T f,>r th e l\1·1> l'km l'nts tc1gl .. 1<.:1
compound scnt1. nu, im1e L' .
. I
.. · ] In other
. · .
g i i·e one 1. rn press1.0 11 o f lite '·icltons· of t ic u ()\\ < .
.
J'I·.
·di
<1thcrs
mu
s
t
h:1\·c
Ullllj.
words ·1 compoun d sentc· n cc., I ,e ,
.•
I
I I
· The
" ' l'kments
·
x ·, ,\·o. ..:cc
of a compoun c] se n t e·n l.·e nny
, -

;·

.1·

toget h e r in four ways : . .
.
1 ackkd to another,
I . \Vh c n o n e: proposition is m ere y
I th e rchti o n is o'f'1tl11//';'1'.
11 I.
usua v JV rrnr '
'
.
1 with a n othcr,
2 . \vJ;en o n t: propositio11 ts c11nt r:1stcl
·
· ad;1crsati·i1c.
u s ually by b11t, the re Iatton
is

'

'

~ ''

1'1 i<ST JH >U K ( >!-' U >i\11'< JS!'J'ION

_3· \\'.hen a choice is g i1·L·n hct1H.'t' n two propositions, the
bem g J01 n ed liy or or 11or , the n .:b tion is ,lfll"n!ilt/71,·.
y

. 4 . \ \'hen the seconcJ propos iti on shows th e co nsequence
of the iormn, being )OJJ1(·d to it by s uch wo rds as !licrrfore
and /1011 ."<", the rl"btion is illati<•c. Note that ilbtive conj.unctions arc ahrays preceded by a semico lon ur some heavier ·
mark o l punnu:itiun.
\Vh cn no CPllllL'Ct ive Is expn.:ssl"(J, L"SjJl'C i;illy· in sc n·cs, a!liI
Is usua 11 y undl'rstuod .
EXERCISE 189 - Oral
v ,, 1n· 1 ;-.;( ;

.

1. T he old soldier 11':\s 1·ery poor.
:lct ual want.

J laving

;i

pcnsiun, he wa s never

2 . The sw i1 chm :m 11":1s utt crl)' in co mnctc
11t. ·1·11e f n :1·g hl trai n was
1·
ckra1kd bcfure it left th e ya rds .
3. <;e rm :1n \· k1s been bui ldin" htll'<'
\\"·1rshij)"
1:. ng I an ( I Lo rc ta111
·
r-. •
• •
her suprem;Ky (>Jl 1h1.' s,·;1. h:1s bl·vn buildi11;~ 111 nrc clrc•:tdnuug liis.
4. l he I ktnncrat1c k:1dcr i11 lilt' I lousl: of h'.cprcsc n l;itiv,·s did not
:ipprovc uf Mr. I lt>bson·s n:l\·;il plan . I le beg an tu ridi cule it.
. fi. l\! '.-. \Villia11 1s proposed that \\"<.' build a s hip twi ce as l:u·gc as
Lngl:tnd s " D readnough t.., \\'i 1h dru ll hum or he proposed ih at we call
1l "Scared o ' N othi ng . .,
J

5

10. B ein g wo rn out by s ta ndin g so long at the stores . I sank «xhaustcd
upon th e couch. J\s the vision of my alge bra p roblcms rose bdon: me,
l got up and tri ed to work .
11 . As he ope ned t he doo r he saw on the steps a covered b:iskct.
He h eard a fain t wai l from its clcp1hs.
12. Should he ca ll th e poli ce, he wo nde red. Should he take th e
basket into the h ouse?
13. In so me cases, he felt, an hour of mi stak e was worth :111 age l•f
truth. He was n ot. sure of this case.
14. T o make hi s part effec ti ve an actor must not rant in his s t:ige
busin ess. I le mu s t nuke his speeches seem tu the a ud i,-n,·<" 11.11ur:d .
15. These thin gs th e actors l:tst ni ght did not clo. \V e were ;di
disap pointe<l with the p rese nta tio n of 1he play.

("() ." \"\" l·: 1·T11 · i-:s <>I : ("<1:11 1'()[" ."\ J) S l ...'< TI·:Nc r·:s

1k c ick \\·hcthn the n·btion of th e fol loll" in g pairs of statements should lie cnpul:ttin-, :1ch·nsati1·L·, :ilt c rnati vc or i!J .. ti· ,
Tl
. .
,
~ ve.
lL'll JOm th em ~o ;1s tu show th is reL1tio n .
111

2 I

,..,

l.

G. lJ nde r the new pbn the re tirt:d cmnl111·ce cou ld rccciv•· ,
·n .·
Il
·
,- ·
· ~ " pc s1on.
e cou c r<:t1rc tnthe home provided by the co mpany .
7 . After watching the: flil.'.hi
s of 1h"~ av 1·.· 1t o r~~, l'c·
.n wa s sat isfied to
·•
>
l r:tvcl on tra in s . Sam hacl a \\'ilcl rk~ irc to fl v.

Jl

8 .. Sh:ikespea rc is good read ing f< •r the s~ h ola r.
a nd Sco tt .

Cive me Stevenso n

9. Th e boys cleaned th e hall fur the party . Thc ,;iris dcc(iratecl it
with autumn leaves.

c. Complex sentences. l fardl y evn docs an y one exp ress
a sente nce so s im ple that it m·cds n o modifier wh:1tn'l· r. lt
has al ready been shown tha t :i se nte nce sim ple in gra mma tictl
form may contai n a number of mocl ifins . If a ny one uf thl'sc
modifi e rs, howeve r, rises to th e dignity of a cb usc, we L·:ill
th e sente nce co mple x. l lcn cc the difference bctwu·n a simple
sente nce and a comp lex se nte nce is often nwrel y ;1 diffcrL· ncc
of th e form of the modifier. I\ cb use more than oth n mod ifi ers e mphasi zes th e detai l which it expresses ;u1d shuws
exactly its rel:t tirmship to th e rest o f the th ought.
Inasmuch as th e modifil'rs in a complex senten<"e a rc thus
emphas ized and definitely related , th is form o l sentl·nce is
more lik e ly, pe rhaps, than either o f th e other two fo rm s, to
express exact thoug ht and to be wel l uni fied. Th e effecti 1'e
use of ma ny kind s of co mplex sentences manifests a g-ood
mind, wd l dcvclopecJ . In thi s chapter you have already seen
the valu e of co mpl ex sente nces to v:ir icty, :i nd have had some
practi ce in m;1kin g th e m by us in g adjective and adverb clauses.
In th e ne xt chapter you will have oth e r exercises emphasiz in g
the expression of exact rc:latio ns of ideas in complex sentences.

•

216

FIR ST DOOK

or

In p::issing it m:iy he nntccl th:1t there is s till ::inothe r form
of se ntcn n:, :.t compou nd sente nce of \\·hi c h 011 c or more
propos itions a rc complex. Bci ng m e rely a combinatio n of
compound :md co mplex sentences, h o \\'eve r, thi s form presents n u new difl iculty.
EXERCISE 190 - Written
l'RJ\ CT f C I:\(; T JfE L·s r·:

( lF

2 I7

CO '.\Tl'O SI TJO N

Sl\ll'LF, ('()\11'!.FX, AND

U ) \ll' (Jl: ;\I) S ESTE .\'Cl :S

S elect some (/Id short th e me :md re1\Titc it, mak ing each
sentence si m pk . \\' hat is th e l'ffrct ? R c \\Tite it, us ing as
man y co mplex se ntcncL·s ;is possible . \\ 'h:1t is th e effect?
I fo w man y good com pound scntencl's ca n you make in the
p::ir:igra ph? 1: in :dl y, after tk-cicl ing \1·hich i<k:1s arc simple,
whi c h co-orcl in:tte \\'i th some ol her, :i nd \\'h ic h dqiend t nt,
write th e them e, usin g such a 1·:.iriety of se ntence forms as
will scc un: the best effec t.

· g a new divisio n \\'hcrcvcr you
your own corn po s1ll o n~ rn :11zin
felt a d istinc t c han ge in th e th oug ht.
..
.
. rrr'll)h
if
WC o·ivc it a formal dcfintli On, IS :l grou11
A p ara b '
'
,.,
1 .
sec1ucncc (ll\C. l ()l1\ l l1:1
nL
. g·' .111 kwo inl
Iopin
l
of sente n ces ce1·e
'
· ·
.
idea. In other words, each para g r:iph prese nts on e tlk:t \\'h1ch,
if it be a part o f a longer cornposit iu11, is a stl'j) in thl'. dc\· ~101~­
ment of the idea o f the whole. Ofte n th e thou g ht c.rn lie developed in o ne p:u:1g raph; a nd occasionally, paru cularly 111
dialogue, o n e se ntence alone is set off as a paragraph .
. ..
Th e pa rag r:1ph differs from the se ntence, then, in th :1t it .1s
ot t h e m e re statem e nt o f a 11 idl'a but th e dc1·cl1 ip mcnt of it.
~nd this development, acco rd ing tu the clefiniuo n , mus t ha1· c
. .
tl'·tt i's it rnusl lJuild Uj) the central ,
a logiG1l sequence,
•·
·'
·
. . ·' .
gove rnillfi idea by !TlL':111S of Sentelll'L'S arran ged .Jn Sll( 11 ..1
reasonable way that the rc:1de r \\' Ill gl'l o ne Jlll[>l l'"Sl•'il !111111

\' : \l {ILTY JN

~

>

'.

EXERCISE 191- Oral

l ' :\l.:/\CR 1\l ' Jf S

So f:ir in thi,; bnok n1 1 f11 rmal cxpl:t11:1lion has bee n made
of p:1 r:1gr:1phs . f 11 :tlJ of )'<>Ur rc:t cl in g , h<111·e \·c r, you have
tt ken them ll l() rc or k ss as a m:tlkr <1f course, :is thL'Y hdp
you to sn: till' steps the :llltli11 r t:1k cs i11 progress tmv:1rcl a
larger dkct. I1nh:1p;; 1\·it hout J"l':tl izi ng th e c 1usl' , many reaclcrs
shrink from p:igcs of p rint un bro ken liy p:1r:1g r:1phs. Such
n.:aJi11g m:tkl·s ck m:rncls f11 r cl()sc :1ttcntion and const ructive
t ho ught ; f:tiling thc;;c, it \\'i ll nw:m li ttle. ( ln tl w other ha nd,
pages broke n into p:1rag r:1ph s ()f one hun d rl'<l fifty words, or
the rca bouts, g ive the :1 ttent ion occ: 1s iona l restin g places and
help the reader cons ickr:11J ly in his e ffort lo sec the brger
m eanin g of the author . \ 'v u have used p:1rag raphs, too, in

•.

the whole .

Tl·: ST!N ( ; Tlll ·'. \ILS HJ!.: u N IT\' O F J' ,\JUCJ.: ,\l'JIS

/!.

1 ,,-_:

Read se ve ra l uf your uld themes and tes t t hl· p:1r;1gr;1phs .
vV hat, in a fc\\' \\'Ords, docs v:il'i 1 one try to say ?

If ,0 u find amo ng you r old th e mes wcll -tmifiL·d p:1 r:1g r:1phs
I ) 111 Lil) the conten t of eac h in ;1 few \\'11rds, Y' 11 g1.n·
1

am su
-- ·
·11
what is usuall y called th e !ofir, o r lofii" snilnt1'!'. l 1us'\\ t.
. . . .. tlicn - in a br id f1 ir111 wha t t he \\'ho le p:tragr:1p11 ts
exp1 ess,
,
. .
.
. .· , l .
meant to devt lop . Th e toptc is n ot always fo1 mu L1tcu 1J} t IL
wri ter; hut if th e paragraph is well un ified, ih _contcnt m : 1 1:
eas ily be condensed into one good se nte nce. 1 f_ th e topic b~
e xpressed, it is usu:1lly writte n a t (Jr near the bl'ginn111 ~ ~f the
parag raph , though occasionally it h rese rved until t h e end.

. ~. '

2 18

2 l <)

V AlZ lETY

1'I RST HOO K O F C O;\Il'OSJT!ON

EXERCISE 193 - W ritten
EXERCISE 192 - Oral
DEVEl.O I' I Nl; T U I' l CS I\\' 111·'. TJ\ I LS

FINO ING TOPI CS O F P:\ !{:\( ;I{ :\ l ' l l S

\Vhat is t he to pic in cach of t he p:tragr:tph s 0 11 pages 7 2 f.I
A s you find t he topic sc ntC'nccs of wcll -u11ili c d parag r;iphs,
you will notice th:1t each un c ck 111;rn ds its uwn kind o f clcvelopmcnt. One is :t terse, striki11.~- sc11ten n:, nL· cd ing expla nati o n ; an othe r, an ;issc rt i,m . r('qu ir in.~ for its devel opment
proof; ;1 t hird , an :1bstrac tio11 tha t will n o t lie clear without
illustration . Ancl so ot h<:rs d e mand clctails, co11tr:1st, ancl the
like . Us uall y the clen·lnpmcnt is not by o n e o f th ese m eans,
but by a combination of two, o r e ven more, (lf them .

.
t , . . l>)· g iv in .
g .;1. numbe r
Deve10 1> the foliuw in g topi c sen e n Lcs
I
t
t
·11T
tn
•"c
th
e
dct11b
s" th:' 1>rl
.
Of details for eac h o11c , t_ 1c11 ry '' . . ,.,
.
11
'
S
..
tint th ey al l 111 u11 c 11.11·
th e v seem to come natu1 a ) . • Le
.
.
. I . .. to
'' .. -.
. he to >ic se n tc nu.: . R ev ise yo u1 l lL 111D_
anol11c 1 suppoit t
I .... ,. .·. , . th e f" n, 1 :ti id po-.11111 11
·r
t
c·tn
sec
" l c. ttu \,t11lt ) I11
see 1 yot . · ure t->
of your m odif1C'rs.
1.
2.
3.
4.
5.

6.

l. [l1 .:n: 1.0 1' ~1ENT 1:v

l h:Ti\11.S

Notice th; 1t in the fol lowin g JXtr:tg raph the to p iL· is expressed
by a ph r:tse , whi c h is devel oped by ;1 numbe r of detail s .
I said I wouldn ' t wr ite an y1hin g mo re co nce rnin g the J\ rn erica n peupk for two months; but J may as \\'l'il s1Jl·a k o ut tu you.
Th ey are fri e ndly, earn""'· h ospi lahle, kind , frank, very o ften accom pli s h1·d , f:1r k ss prcj udi l'<' cl than ynu "'""Id s up)" '''" warrnhc:trtt"d , ft ·n·t·111, ;ui d t'llthu!"i:1 stic. 'f'hcy an· d1i\·;tlr1111...; in llH'ir uni-

Vl'rsal fH )l1tc11c:ss t<• wunH: n, cnuri cou s, ohli g-ing. Ji sin tc rested; :1n<l,
wh t.: n !hey conL·ci\·e a pl'r fe ct :iffec·1i< •ll fc ·r a man , e ntin·ly devoted
to h im. I ha 1·" :11d th .. usands .,f l'""i'k o f all r:111k s a nd g rades,
and ha ve nevl'r once bcl' n asked :111 ofknsivt.: o r irn puli tc qu estion.
The State is :1 parent lo i1s penplc; has a par,·nta l \\' alc h ove r all
poo r peo p k. sick pnsons. an d c:1p1 ives. TIH; co 1nmn11 me n re nder
you assis tan ce in th e strec ls, and w .. ulcl re v< olt fro m th e offer of a
pi ece of mo ney . The dl'sire to ohli g-e is uni,·.:rsa l ; a nd I have
neve r o nc e trav ell ed in a publi c r• m vcy:rn ce wilh out makin g- some
generous acq uaintance wh om l have bee n s orry to pa rt fro m, a nd
who h as in m:rn y cases co me •Ill miles to sec us again.
D 1c KE:-:s, " Letters fro m America"

7.

8.
9.

10.

on the farm h as m :rny l' horl'S to tl1 >.
.
.
J\ boy
l .
·I' I he li 11ds m a n y d1str:1ct1 n ns.
\\/h e n o ne t n eS to SlUCY ll1 SC l JU
M y g randfath e r is a n ideal g·e ~tkm:in.
Th e mail ca rrin has a h ard )'' >.
I r1 · . to \\':it ch th e s ma ll c hildren :it pla y.
.
' '~ - .. . "l 0 liste n to the primary class recite .
It is 1nte 1cst1n..,
l· _ f ·II'"' at schnul.
·
.
_ .
' j s -·n ·iss h :tS a}I the qualtllcS ul a lll> jlll , II l I
N eC
· c
.
· ·
unendural1k .
1 ler trials at sch ool \\·e r,-, in he r op1n1on,
Th e drive \\' aS an interesti ng o ne ..
. .
Th e pawnsh o p window is always in ll'rc:st111g.

l l. I >1·:1"1·: 1.ul' ;111·: N T

1: \'

I 1.1.l' STl(ATl<JN

_ . , .. , . I . ·c nt r:il th1 1u~ht of t hL· fn1i•> 1\·\Nh:1t sentence l':\ jlH.: sscs t 1c c
.
.·
·.
\\'l llt
t 'is· liiL· il1u s tr;1t1 o n ot tin; l11 j>IL
.1
,
·111 g· p·u"t"1-.·1pl i '' \\' l1 ·1
•
·
' '"' . • .
r I· . 1 l >o th e t"pi c, t lw illu s tr;1lt •>11,
ap1)1icati()ll IS g tV('l1 (I t l \ S .
-·
·1·· . \IJlil)' ;u1d
•and th e appl icalion
.
. . ·ts
to cf lcct 1w1 cc t
so co rn IJll1C
• .

clearness ?
.
.
i r
\\'Cr o f :t st rC':1111 of \\:Ltt ·r ckpl'1tds \ "t·ry 1n ulh ()n
1 hL: cu lt111 " po
. . . . . t l f "" dri''< ' a s1 r... 1111 ,.f
th e ·1mount o f sand o r pchhks it 1ia~ 111 '_ .
·. . - , if \\'C
•
. . .1 -. . of " b ss it will n ot :di<xt ll , " ' 11
p u re water aga111 sl · P:ll\<:
" i f '_ I· , . , l>ut if we " '" ". a littl e
.
.
• t 'l hl' •h spl'eC
Ill (,t)S'
'
kee p it m ov in g .:1 :. wi7l d·;-i,-e t he sa nd again st the g l:tss, and in a
sand in it, 1he \\,llcl
.
I ·I· s fro m th e c ul ting ;ict 1on
f
·
' t ·11 ·11111ear lik e g 1t>1inc g .ts. •
kw rmnut cs I wt •
l
_.
at ·r i•cts a lJ•> WC!" o
e w:w t 1c 11 vcr-w. e ,., ·
I
' :.'
.
·, 1".,
o f the sand. In ti e sam
0
.
. -.
wearin
g tones,
- ·S llAI • Elt • " l· 1rst Book 111 (,co o Y

,

?

1: 1R:-iT HOOK OF< 'Ul\l l'U:-il'l' I O r

220

EXER CISE 194 - Written
I>EYJ ·:I.<H•J.'\ (; 'l'Ol'ICS B\' J U .l ' ST IZAT l ONS

tree's diet.

J)c\·clop th L: foJJu1\·in g t1)pic scntcnl'CS !Jy one (Ir more illus.
trations for l'ach, making thv ll'hok ]Xtr:1g raph g ive one effect.
l\.c\·ise yo ur tlwrnes for the p urpose of sec urin g greater variety
111 sL:ntcncc forms .

l\L'IU< ,\ :-I K ,

. , J ' "N<:w Creations
quoted by 11 .lrl\!lO
in l'lant Li fe"

In butter-making bacte ria arc direct allies of the da'.r:·11.1~n .. c ;·~;1,1~
as it is obtain ed fro m milk, will always contam b.1llct1 ..1 .'n ~1 i ~
.
. l t hese l1actn i;i will g r(Jw as read il y in cr<:a m .1s rn
.
quan tit y, , \11 <
·
.
. . . " Ill\ when it is fre shly nli1l b tr<:.
L'
r
sl'ld1rn1
chu
111s
k
.
.
s
but1<:rn1ak
Tl1e
.
.
·\ pron·ss . 11'''' n .1
taincd from milk, hut r;lllll'r fsuliJ<: <.: ls .1t tot, int o ti~~ churn. In

1. 1\ll is ll"l gold that glistcnf\.

2 . llcttL'r is a link \\'ilh righlL'ousnL'ss tha n g reat n :vcnucs with out
ri ght.

n

·

:-

·

, ,,

or

11

sou rin g ' 1 be ore pu tti ng

1

·ruus ·ind thus cause t

~~~0~1e ~li,ghtly

1c:

(.

c;irdkd , and tu acquire a peculi a rl y pk;/\is.f·" '.~ 1;~i~'
· th , frt: sh cream
ll'.
...
and a n aruma that \\':l S not prl.'SL'llt " ' "
.
.
.
.
the cream is read y for the churn.
Adapted from CusN, " The :-i tury o f ( '" rn
i Lift:"

5. Labo rat o ry exp<:ri111cnts ;1r<: like b:lli il'S: th ey won ' t always behave
well before compa ny.
G. The laziest "' ')' in school ahnys thinks h<: has the most tu do.
7 . .'\ rolling sl< •ll L' do<:s somL'timcs gather moss.
8 . l'rov,·rbs an: some times misunckrstood.
\) , It is marn·llous 1111\\' pL'rfectly anima ls arc adapt ed to the condi·
lio ns under wh ich till')' Ii\'<'.

E XERCISE 195 - Written
l >l·: \' t·'. Ull'f:\(; Tl ll ' t<'~ I I \'

111.

l>1·:n·: l.1 ' l' ,\ IEl\T

1·11 rt-:FI.\'

HY

Fx 1•1. ,1 NATl1)N

Find liil' ((JJ>il' scnl('11CC or l':ll'ii of t ile fl) llmvi11g parag-rap lis. 1 lucs l:H:ry othl: r scntcnc<.: in th <.: p~1r:igraph help
ckvl:io p th1.: Cl:11tr;d id ·:t? l low? In gL:nl:ra l, what is the
m ea ns of ckvclupmcnt ?
The fa ct is tuo often Ins t sight o f, o r not known a t all, tha t the
tops u f th<: trees absolull' ly g.11·crn ihe roo ls. The !<:aves a rc the
lungs and the stom ac h of lh l'. lrcc. Th e food is d iges ted, so to
spc:ik , in th<: k ;ll'cs and 1hcr<.: made access ibl e ior th e lrt·e as a
wh ole. I f a tree be fint· of foliage it 11·iJ I be po \\'t:rful in all its parts,
because it h:is the capaci l}' lo ta ke so n1uc h nourislurn:nt from the
air, - fou r-fifths of it b<.:ing nitroi;en, whic h is the cl.id so urce of

1

n pt:n ini;
.
d . . . " l frt>m t11·clve h"urs to
"ri pening,'' the crc;im simpl y stan s rn ,\ ' ·'
. · I·
l· .. . The
. , 1. . l lurin g this period cc rt ;un cha ng<:s l,, ,e l' .Llc.
.
I
1
t 11ee < .tys.
.
.
.
,. . . ..
i•r11w b cLtJllH '. c:-..tn.:rnt·)
.· ·rin ·1l lJ'\Ctcna, hanng .l <li .in cc to ,....,
'
o 11 g ,,
.
I .. cn ··nn tu b..-co 1ne sornewhat S1JUI, to

3. There is th:it rnakcth hims,·lf ri r h. yL'l hath n ul hini;; th e re is that
maketh him self pnnr. yet hath g rL'at ri, ·hl's.
4. 1\ goud policeman must ha\'\.: kindlin ess and judg men t as well as
phys ica l bran·ry.

I':\ l ' l. :\ NJ\ TiON

j)i'O\'l:rlis and m:ixim s by ('xphn:i\ ·. 1· '' ]\ 0 \\' 1. 11«
Dcvt· l op tit
,..,
·11
. \.<.: c·\c.....
. \ y th l'. 11 s1.: ,,fan 1 . li s\ f th<.: p <H. lll c:111 \J1.: nu<
ll l t >
ion.'
\ I 11" ]~cvis1.: )'o ur th e m e caref ull y to secure ,·~11Wl\'

t'

trat1on, :l< < o '· ·
of all kinds.

·

I t "pay pay" is an ug ly tune.
" l\u y, buy ,. is a pretty song, JU .
• '
J\ carpenter is kn o \\'n by his chips .
lk tte r the fed sli p th :m the to ngue.
Yo u mu st lose a fl y lo ca tch a trouL
5. T he mouse that hath ' one !wk is q ui ckly taken.
6. The exception proves th e ru le.
.
7 . T h <.: bi rd in the bush is wo rth two 111 th e h a t.
8 . A had beginning makes a good t: nd1ng.

1.
2.
3.
4.

ii,.
'

222

1''11\. ST l:OO K OF CO MPOS lTION
JV. ))1::v 1-: 1.1J1' .\ ll.: '.\I T

i:y .·\

( 't l,\//!I NA Tl <>N UF ]\'JEA NS
I n t!w fol!o\\'i ncr p:i ra ccnp h ti , t . . .
Ii rst se ntence . tl1"'· 1· 1"'1 •
ic up 1c is s 11 ggc s t c d in the
'
e n . ow '·1 con t1".is·t an cf <lll CX j)hn aLion ·
;111··), fi · JI
'
111 ,1 \ ' lhl' lOj)iC . I t' . I
'
'
-'
is c L' in itc } s t:1tcd ;1t t he l'ncl
1f «'<! l< io k :ii I he n o 1> n f .
-,
.
.t fl t;.. n> n l1cl"rc ii · .
I
n es t, \\' C s hall d iscu n .' r ·1 fun ·t'
f ,· .
s ) uun g <::tve the
.
.
c Jt 11l o t l1s urir ·111 \\' l11. I
I
w tse ne l'LT he su s pect ·cl \\ ' . I·
·
,_, ,
c i wo u d ot her·
11·
tha
t
Ji
,.ro
ns
.
d
.
d
.
"
·
c
-t1
..
IJ1r s k ed t hl' ir \'O li n •'
.
· '-I ll s o ni e oth er
0 11 1.IS·/) 1) ,.) If ( 1>''l'
•
h
St ·d l
I
p rocess is kn o wn ;is n.: •'" ur11· . .
. r. . t
i>y I. h·n1scl vcs. This
. I
,... .~ n. 1 1.10 11. If we ln 1·. , , .
w1 t1 1hc beak o fits 1·0 11n o- J -lf I - . , e t \L'J se e n a pi geon
'"' "' c o 11 n !l s thn nt 11
·
·
•
into th <.: offs p rin ·, ·s m u ut l
' • P m p 111g s omething
·
.
"' ·
l. we 1iave p ro ln bl
J
h
.
• . y t io ug- t th at a snnilar
h a lJJt 11·as bc· in " s ho 11" 11 -- I - 11· 1·
,.....
1
Lt -c.11rc s tc d <'r r · 1111 ( 3 k'
lw ro n 's lis h. Hu t such · .
"' ·
"' '
ing th e p laee of the
"
IS JJ Ot I1It.: C"J Se
i\t th 11.
I ll" seaso n
ti . f l l · f
'· ·
e t 11e o f th e breed- '"'
'
l<
ocs o me111b r:1n e in th , · - .
. _ e c i o ps o f hut h pa rent
P 16"<'< >ns th iLl<L ll and S"" r .. ,
.
, , c ' c ,, r pee 1 o ff 111 . - I I
"pige<> n 's m ilk " s o me c-tl l 1-t
. I
L U U Ye lL'csy m asscs y ou n " l1 ird s s ·
· '
-- .m e th is fo rms t he food of the
.
,,
.' . . u in pi geo ns the crCJp n fit on! ' 1. . .. · , ..
t11n cs prov ides it. _ ll i-'J-' 1, 1_. " . .
. .
) ecc l\ " food , but at
11ie ll1rcl. '
- · • -,

°

T he
fC!. ll"\\'i n ,...," l<m ,..,•> fY, 1 1·~"-1"
1 I .. l I
.
" i-, . p i is < l' VC np . I I1 '
. ·11 .
comlm1 at1on. F irs tco m· s t l ,
·,
L(
s ti an other
)
' ,
.
c. l e lnp 1c sc n ll' ncc , th e n
t nc n a n cx p bn :1 t1 o n, and lht'n, fin :tlh-, a
a contrast,
;

Sllllllll;try.

.
A 1~:t in s t l11·d r.,ph n bi:i )' ·ist('IJ J" 1 __
1
l io n whi "h c;111 be :ipplied ,;ifll' r 1h1:.' si 11~/\~~;,~~:-'. 1 ;1h111c·;Ji,_ ,<J ,,f i11 ocu lnral11d :i JJ im:d. ; \ pp·irenih· Ii
.
·
"~ >1'1' 11 li i11l' 11 by a
.
!l \\' l'\'CT, I his J>r-..: v ·nt . '-.
I
clepen cknt upn n ;i cliff<Tc·n t Jl _. . - I f
<
II c 1110c u ,Jt 1on JS
.
1 111t1p e
rui n \ !( .
l
t ll':"JX . rt d ocs not "i l"e ri s ' I .
·1 I f
' u n .ttl< Hl .1g .11 n st :t ll ·
.
,...
. ' " ,, 11 11 c o rn1 ' 1 f ti . r
t<:c t111g t he ind ii· id u ·tl h t ..
He c isc:tsl'. thus pro_
1
.
• '
ti 1 .11 ll'J tu :i n ;i,-, -- I
I
c hc n 11 ca l po is r1ns j l roci u~ .. , 1. 1,)_ I/
.
' JUl !Cc lo c ran ce u f the
.
' '·
l l' ( 1l.' L"lSC
It - ' 11 ' 11 k
'· ·
..
log 1c·:t1 fac t th:it t he boc/\· c1,, c1
c · ·n o wn physioJ·
.
.f ·
, .in 1' 'W in e: acc us tomed t
1nu1"<'<i to t he m Ii)· SJJ C . . .. · .
o tu c ra te poiso ns
'
u ~ S I\ l ' 1\ ' 1:1r 0 ·c r et nd h r 1r . - f
I JlOll'l'r, :1ppa rcn 1ly. th :it lhe in o:. I· '.' ' - , ,.., <1 c "ses . t is by thi s
U ,Jl Jn JJ ""' JJn st li)·dr Jl l 1i·
·
ff
!ls c ee l. l\ f: tl"n i:i l cont:i ini n" t i , l - I _,..,. . .
'. J 10 ia p rod uces
.
.~
le l I c 1 o p hohn j ) ( 15
( k
t l ie s p in a l co rd o f ;i r: tlih it I ·- I .-'
. . '. n n ta l' ll fr om
· . .
c '- ·H "llh disn sl'} 1 ·
· ,
.
· '·
s lllJcClc(1 1111 0 th e
rn ch v1 d u:ll :i f1vr hi' li· t . 1 . .
· ' >u 11 11' t lcn /i y :t . 1 · I . ..
ous m 01t t'rial in th e lir, t i11j . ·t·
- . , "' JJ ( .u11ma l. J he p <> isunL <. io n JS i·c ry "'":1 k, h11t in I he fo ll o wing

V ,\ !{ I ETY
it grad uall y g-rows m o re powe rf ul. Th e r('s ult is th:i t af te r a sh nrt
time th e indi v id ual h as ac·quired th e p o wer uf resis tin g th e h ydruphu bia po iso n s . B du rc th e i11cu k 1ti<1n p e ri od uf th <: " ri g in :tl infec ti o us m :t u u· f ro m the b ite of th e r:tl,id ;rnim,tl k ts p:1ss«d. the
in oc u lated ind ividu al h:ts s o th u n>ug hl y acq uire d ;1 tulcra t11·e .,f the
p o is o n th a t he s ucu :s,ft dly n .:s is ts lhe atl:i ck o f the i!l fn ·t i,,n . T J,;,
m e th od uf i11 oc ul:t1i o n thu s nc·utr: tl izl's !he c ffl'cts uf lhc d i.-;c:tse 1,y
a nti cipa ti ng th e m .
Adap ted fro m Co:-;:-;, "The S tory o f ( :er m Life "

Som eti mes, as in the fo ll<>win g pa rag raph , th e con clusi on
comes from co ncrete expe ri e nce, whi ch is uscel as evidence.
Th e d is trac te d o ve n -bird , ki g nin g a brok e n win g as s h e crosses
y o ur p ctth in th e wo ods , in vites pi ty o r pc·rha p s des tru ctio n , if nn ly
y o u w ill s p;1rc th ose speck led t rea s ures whi c h s h e 1hi nks yo u kn ow
mus t be so m ew h ere n ea r , a lth o ug h , b u t fo r h e r franti c pnf.. nn:rn ee,
you m ight n o t h ave d isco vcrcd 1he we ll -co ncea led lll' S l. S ir C hri stuph c r \ Vre n, by th e n·ry exu berance u f hi s b u bblin g, co ntinu o us
song , bctr::iys the prec io us sec re t th at J e nny , hy h er <:>.c it ed s1·v lJ ings , n o bette r concl' ak llu t th e J,,,J,"lin k , s way ing on the st :tlk of
ti111 othy in t ht; n1caduw , an d sin g in g with rolli cki ng ;d l;1ndun , is
qui te as c leve r as t.h e ve n tr il oq uial ye ll o w-throat in luring y u u fr,, m
hi s n e st hi dde n in th e g r:1 ssy j un g le. I l o w cl e ve rl y t h<.: bi rds h:.ve
lea rne d to g ua rd n est s ec re ts.
J\cl aptccl fr o m ll 1..-\ :\C ll A:>:, " !l o w to Att rac t th e l lird s "

l

>

EXERCISE 196 - Written
JH'. VEl.O l'J N C T O l' IC S B\" VARI OU S M E A N S

Devel op th e fo ll owin g to pi c ~e n te n c cs hy a short ex pla nation fo ll owed hy a contrast and illustrati on, or by a ny simi lar
co mbinat ion :
1. T o-day a fa rm e r may li ve lik e a kin g .
2. Th o ug h capa bl e o f g reat idl e ness, h e n e ver fai led to be ready fu r
all so rts o f adve nture s and e xc u rs io ns.
3 . J\ rollin g sto ne gathe rs n o m oss.

.

:;,./

·~

l:<"

-~·

l· 11\ST HUOK <>1 ·· C0 1\I l'< lSlTJ< >N
4.

v ,\ 1.Z 11·:·1·\ ·

lkl;iys have dange rous <'nds.

5. ,\ d1qrf 011 :1 g iant's s hou ld ers SL'es the f:1r1hcr fjf th e two.
6 . ll is bark is 1rorse than hi s liitl'.

Th e t<>p ic Cl[ the parag raph, :1 s has li u : n n oted, 1s usually
statccl nL>;tr thl' beginni ng: hu t not infrl'CJU C' ntly. espec ially if
the ll'ritcr is try in g to con \·ince :tn oppo nent knoll'n tu be prejudiced against the pro pos ition , it is reserved un til the e nd. " Ynu
agree wi th this; yu u cmnot doubt that; therefore you must
admit th e proposition," is th e \\'a y the argument runs .
EXERCISE 197 - Written
IJF\ ' f-:1 .0 J'l.\C T O l'I ( ':-;

H\' l ' l'-OO F

D e v<'i op th e fo ll o\1·i ng top ic se nten ces hy g t\'tng proof.
Pbn: tlw t"pic i11 the more d fl'C' ti\'C pl:tCL', L·ithcr :tt th..:
lwg i1111i11 g or :1t the c11 cl of the p:1ragr:1ph.
l. Th e u mp ire·, ho ll'l'\'er hones t, s lw uld ll<>t IH.:" pcirti s:1 n of either side.
2. H.eg ubr lcrn 1 cxamin :H ions arc nccL·ss:lry in high schools.

:~. It would he bet te r to ha \'c.: th e.: \\'l'l'kl y h., fid .1y
n n S :tturday .

0 11

i\fonday th a11

.,

tur ··s 'l lisli frc>1n und e r tlh· s urf~ l cc of thl' wat~·r ~tn d

1\ 1bptcd from ]lt CKFH .'-' ll~ . 111
11
·rh t.: Frog H•H1k .,

.
1 Illll
. bl'
.. If t'n". t ,'t JHii .so11"11s s;il
D' irn·wt'k con1·111cec
. i1·;i i,; i11 t r1
. ..
hy the: bile: of a mosquito. I le ll«ti cl'd 1k11 .r a "11•:sc 1t111n
··
· ,,. a l )Iu o ( l.- \l·;-.;.
. - , l ·I ' ··.it h<J ll"
1 s,
-1··11 1 with
r111t
l·ntcnn
,..., 1 it Il l.I\
.~
J) U llCI Ul 'C StH:
.
.
,..,
.
. .cl"ll '
. f o r lll',lr
. 1) • 1'1.s f111l luwth
. . . ·t ·t · j)HJ IJ(JS\IS
"' • ll\J jJ<> l,<;<l. ll<>ll S l I l l s
111-sc: I1 'ed
s u pon ·-th e skin
. ; 1Hit"·I1el1
. ti ' e 11rohoscis stnk, ·s hi""' 1 ;111r 1
p1
. .. ...s 1't s fill , the: sul1St.:CjllL'nt S\\Tllin ;.:: .and i'"i " >nt•llS
th,0 lU
rnCse ct c11.111
. L
_"
. l ··o ti · J le ·1 r,.·11,·d il i:1t these cff,·c ts ind1t·a1c:" t' <>ll sl.111
e lk c l :1rl' o 1 " 1 s.
· .~
II J
k •
- . ;-..; 0111 >us
1r .th
outp1n1ring- o f son1 c sort \I f IH11
;, fluid, durin
. .
.~
, e J iH1 -SUL ·1nh
..
\ J· t ·I fr o m I l<>11·,11 u>, ll ! i,sqtt1tuc s
process. - , c .qi ct
.
frn111 t.1d.
. · l . I· . f 1h,· t.-.;i.ls' fin :.J 11·;insf,!l"m :t 11 o n
Som c 1111ws • IL < ") "
.
• - . . ., , -,.r 1he
.
.
11oks ,·11inl'id cs 11·ith t h t.: <by ,, f a gt·ntlc: r:1111. I 1IL) ' 1.
I I1 . _0 .1 l\\"l)"S The s: llllt.: :ipp:1rl'n l rkl ugc: ,. f lo.ids
.
. . . ·
• .,f 1hc.:ir
sidt.:w:tlks '"" l c: ' · ' · · ·
.. . n occ u rs. s h n rtl .v .,ftc:1 -th 1.. tllllL I J"f.
rn :ty co me.: i f .t \t',ll nw1. i.11
' ngL' tu l ,\Ill I :-i.111111.1 Is The)' :trL' sn dclit'. < lll'
S<> ll S L' l 111 I c
c h.t
. al first,
. .
. wa t l! I., 1l1 ,,·1t th e)' ! J"· l\'t: i u11l y Whl'll the.: ;11r IS lllO IS l. ·
in
k"

dllct.~

4. Tn1th is more impn rt :111 t 1/i;1n p hysic; i/ brav e ry .

5.

·-

S\\',d.lt .1\ \ ' S

cap
" fro1,.
•
' t 'l' hc
tri es t.o hr:1 c t~ hi111 scl f u11 t IH'. I"llh" h111d '-'"'
,... .. .s" .1s
. ·. t"
l.
.
. th.e fi:-.h
tu k·,·,·p
. ,·1w :1\. · !111111
I l . . h l · bnth "1t the s:1rne 1111w
use L 1l'. i.t11 Ls)
•
. .
I
i '1'11 1>1 it v
-I . f ih . J. "t\\'S ·md tu pu s h It 1nt•; I 1L' lll"lli"
.
the a llg c·s "
c , . .
.
. . . . I Ii ·sid"s 1lw fr<>g l<>.<«·s
himself ;wcii11'I sl ippe·ry mud is llnl ""')' ·"". t . I. . . I .. · " 1" ·1t
h
. I' · "".
. .. ]'i ft ' ·cl ;1t .O IH T,. Si) lt• ' .111.1
.... t ;-.; " h \ .
hi s balance
l)(' c;1u se IJ<>t.1I I"""
.
. 1o.ng
. •·111 '. .l -=-"jJ·l·•1.-l1
Ioc
., in•"
o bdurc: h e: f111all y s wall<•\\ S th e fis h.

lll< ' KFH Su ~,

"The !· rug Boe"

col lq.;c: is the o n e: I s hould "lic nd.

EXERCISE 198 - Written
t>l ·'. \ ' l·: J.01'11'<; TOl'l<'S I ; \ . ,' ·,\Li s 1·:s 01' 1n·: s L' t.Ts

The threl' followin g p:iragT;1p h., :ire l'ialJoratecl by statements of c:tu sc and result fn e: 1c h, sl'kct tlie topi c Sl' lltl'n cc

and sh ow how it is dc\'L' IOpL:cl. l )uL'S eac h
his G tse?

\1Titcr

m:ike out

Th e \\' rs tc rn \\' one! F rng- is 1·,-r_1· all'kw.:i rd , bec.:i usc o f th e
m:issi 1·c buil d ;111 d grL·:1t lc.:n g th ,,f i1 s hind kgs. \ Vh c n wa lking, it
is ludi cro 11s in ;1ppc;ira11 ce, ;mrl it is st ill m ore ridi c ul ous wh e n it

. 11 owmg
.
t<11Ji c scntl.' nccs bv
Devel o p th e io
J gi ving- eith cl' t he
causes or th e res ults:
1. /\ s tudent often 11,.,s- 11·1,",,

a ne w leaf.

h~r ck s l

tilll l'. j· us t aft e r he h;is turn ed

(!\"C l'

.
,.
. I . ·I ol
I holida)· is '"""cl (b,id ) fo1 ti e Sl io .
· k
- "
than an ybody
3. i\I r. ,\ h:is hc.:ll('r crops ("" " 's , bu siness, c 111c ·e ns)
else in th e nc:i g hbu rhu ud.
l

2. J\ n un cxpec ct

.,:..

'

'",

~ :·.
'. •.·

FIJZ~ T

BO OK (JF COM l' OS ITJ ON

4. C r:mdmutla;r has bette r thi ngs tu eat than a ny u llll:r h o usekeeper
k now .

5. I know " man wh o beli e ves in t he ol d acb ge " L a rly to bed, early

•I

II

l u r i~c.'

1

6. O ur sc hool so me time ago <l cr id ecl to - - •

EXE RCISE 199 - Oral
l >EVE l.< l l 'l i'i ( ; T C! l 'H·s H\. V .-\1, l <ll lS

~ l l ·: i\ N::i

Think O\Tr t hl'se topic sen te nces and tk-cide \\'hat method
o f de\·du pnll'nt \\ ould be best fo r l'<tcl l. D on 't <.:unfim: yourse lf, necessar ily, to th l' co mbin atio ns he re in illustrated. Be
prepared to de velo p o r.:tlly in class a ny top ic se nte nce .
1. F ur t he firs t tim e th e g ran dmo th e r s pe nt Tha nk sgiving D ay all
al o m:.
2 . 11c w:1s th e most striking man I eve r saw.
3 . It is great fun to get up early and g o duw n to sec the ciff us unload.
4 . T he phr:1sc " u p\\';irds o f :i hu nd red" is o ft <: n rni su nrkrst oocl.
5 . Satun bp :rnd ~l o ncla ys arc fo r me very <liffe rc nt days .
6 . l L wo uld (no t) be wi se Lo h a\'C sc h oo l s ix days in the wee k.
7. O ccas io n:ol ly th e old miser would do so111e th i11g ve ry ge ne rous.
8 . S11 nrlay 11e wsp:ipcrs sh o uld be proh ibit ed.
9 . Suncb y news p:ipcrs arc a n ece ss ity .
10. In t h<: s pring c u1111; tht: fresh..ts.
11. I t. ri«il fnr fift<:c·n 111 i1111 t«S t n g l'L a J.,,.k a t the sq uirrel.
12 . T o make: a ch ild sit in church t h ro ug h a lo ng, dry s<: n no n is a
co m mo n for m o f cr uel ty.
1 3 . Lcss i<: put her hair u p fn r the fi rst time a nd wo re he r lo ng d ress.
1 4. Last s umm e r I tri l'd to make so m e mon ey by ge ttin i; s ubsc ripti ons
tu ---- J\ l :1g azin r.
15. < )n ly o ne<: hal'<: I hl'c n " scared st iff ."
HJ. T he ne w coo k c:urn.: yes taday.
17. I >id you e ver rid e nn a nw rry·gn-m und ? [ d id - - o nce.
l S . /\ b ird in th e bu sh is wunh tll'o in a ha t.
19. - - - is a p icture th at I li ke 1·e ry m uch .
20. [ >ick« ns c nlt:rt ain s me more th a n S cull d <>es.

V:\Rl ETY
21. I wen t thro ug h th e pocke ts in m y s nnll bro th e r's coat.
22. i\ t ti mes I t ho ugh t m y father very severe, b ut usually he w ets
le nie n t with my faults.
23. O ur p as tor a rg ues th a t it is un wise to k eel t ra mps .
24. The begga r looked th roug h the win d o w a t th e c hee ry gl ow uf
th e fire.
2.5. l alwa ys ge t up mo rn ings th e sam e way .
2 6. I s ho ul d like o nce in my life to hea r a parrot reall y tctl k.
27 . The lo ng droug h t II' ill he had fo r th e ga rden s.
28. Co nst,111L d ripp ing will we:ir the ha rck s t s l <> tll' .
29. "Need les a nd pi ns, need les and pin s " - wha t hc'Cu 11 1cs ,, f
the m all ?
30. 1 fo un d : 111 old cl i:1ry o f m ine th e o t he r da y.
31. T he re is a ma rk ed d iffe re nce bet ween b ra ve ry a nd dari ng .
32. T he re arc: se ve ral kin ds o f sla ng.

i:

;j,

ii
,IJ'..

I:.
IiI

i:

J.

1:-. \ ' J\l{] LT \' I N Tl<.O l' ES

Clever write rs ofte n gfrc \'a riety tu their compositi ons. and
thus gain intncst, by using t ropes, or fi g ures of spn:ch: th; 1t
is to say, fo r th e s:tkc of bea ut y or of emph:ts is, the')' use
words wi th unusual su ggest io n . \ \' h(' n TT ol nws \\Tote . fo r
in stance, "G ood fee lin g helps soc idy to m:tkt· lia rs of lll <1st
of us, - not absolute liars, bu t su ch ca reless ha nd lers of tru th
that its sha rp co rn ers gel te rri bly roun cl C'd," he used wo rds
with thl' ir usua l sugges tion until h c came t11 " ha nd le rs of
trut h ," etc. T here hi s \\'Urds lxgi n t o t;1ke o n unu sua l su ggestio n . \ V e do not really han dl e trut h, nnr has its sk1rp
corn e rs to be rou nded off ; but th e express ion docs :-ict1d ly
mak e th e thought clearer :md st ro nge r fo r us th an an un adorn ed state me nt coul d do . T he gain in in te rest th;1 L CO llll' S
from t he use of th ese co mpa ri sons or tropes h;1s alre;tdy bct·n
sug gcstl'cl (sec Exercise r I G).
T ro pes a rc plc:-is in g if they reall y add som ethin g of hc:-iu1 y
or stre ng th or clearn ess to th c ba re idea . Thi s 11·ill f" llow

I

•'

.

(

:

.

228

VAR I E' I ' \'

Fl RST BUO K OF COMl'OS ITI ON

only if the compariso n seems new and natural, and if it
reca lls a n e x perience more beautiful or strong or clear than
the bare idea. But \\'Orn-out tropes o r unnatural o nes must
be ineffect ive .
EXERCISE 2 00 - Oral
ST U ll\ ' ll\C SCJ.\11': fl(; U l,ES l H' Sl'EEC II

Is 1Jich: ns cffl'ctivl' in thdollo11· in g fig u n.: s of speec h? \ Vhy?
1\ncl a brt:t:z y . go1J~l·-ski111wd. lil ut:-n os,·d, rt:d- ·yccl, stu n y-toed,
tuuth-l'h:ittc: rin g plac·c: it \\':J S tu 11·ait in in the: w int er time as T oby
\ 't:c k \\'ell k n t:w.
' .

M o st sbn ,g is based o n th e pleasure th ;1t we g<'t from seein~ ;ind sugg·l'sting likl'lll'Ssl·s. J\t first :t piece of sbng may
be 1·cry amu sing and f\lrcibk. I t is n o t hard to imagine the
occ:1sion th:tt fir,,t c:illcd forth the cxprl'ssion ·· J\ubbc r ! "
and, further, to join in the sm ile tin t r;u1 around :ts the
hearers associated in their minds the e la sticit y o f c;1outc houe
and of the boy's neck. J\ ftLT a 11·h ilc..:, h• •ll'cver, th e expression bec:tme st: tlc an d flat, and no w it has lost practically all
the fcm-c it en-r h:1d.
Co111mn 11 111<''.t nin,gs c1f :1 l:trgc p:trt o f our r L·put:1bk ll'Ords
have co me :tl Jot1l in just t he s:1111c m:u 1ner. l\ul Jbcr itself is
so called bec:1u,;t· the gurnnw
. subsl:lnce 11·:1s LI SL'd for rubbin rr
out pencil marks . \\'L. c:t n rl':tclily SL'C ll'h :tt p ictu resq ue ness
has been lost in mmls hy looking up the dcri,·: ttio n of dai.IJ',
111rs!11r!i11111, <'r111.1fin" an d a//, 11!io11, and by co ns id e rin g th e
derived llll':1n ings of l11·t1d, 11n11, a nd ~,·i11i;»
IIa1·i n g pc rce i1·ed . then, o ne po int o f likeness in two apparently dissi111ih r thin gs , a ll'r itl·r 111:1y ex press this likeness o r
h l' m;ty me rely sugg,·st it. lly :in l'Xp1·l·.,.;s io n .,f thl· likeness
he Cl'l':tks :1 sim ile; by lhe su;..:gestiun <Jf it, a 111<..:t:1phor_ I [e

may write , ··Laura is like a b u tterfly" (a simile), n r .. l .:tura
is a butte rfly" (a m etapho r).
A mere comparison uf t1Yo things clearl y sirnibr cl<>l.,, 111,t,
however, constitute a trope: fur example,·· T his book is :ikl·
that one ." There :ire to() 111at1y points of likcnc,.;s , in thl· first
p l;tce, and , in the sl'C(lncl, the co mp:tri so n aclcls n1 °thing t" the
bare statement of fact . 1t dues n1>t dr;t1\· upon tl w rL·:tdn's nr
h earer's <:xpcricnce o r in an y w:ty st imubte hi s illl :1gi11ati<>11.
E XERCISE 2 0 1 - Oral
ST UD \'I NC S IMI U:s ,\ ND ~n:TAPJl()J'S

Th e fo ll owing passage from "The Autoc rat of the Hreak fast-T:1blc" is crowded with compar iso ns, sOllll' illlp l iL·cl, s"me
cll'arl y statl'd, a nd some including others . S l·kct tlw silllilcs
and met:1ph o rs. T ell what eac h adds to thL· b:1re ick:1.
Did 1·<u1

C\' 1: r

h ap pen to sec that ,oft-sp"kc.:11 :111d ,.t:1'·t:t ·h:<11d,· d

""d

s tea m ,: 11 g in c at the: !\lin t? Th e: snH o(Jt li pistu11 ,lidc·s b:lck11·"rd
for\\·ard ;is a lady mi ght slip hc:r delicate fin ge r in ancl out uf ;i 1ing.
Th e engine: lays o n e .,f i1s fingns ctl ml y, but r1rml y, upnn a hit ,,f
metal: it is a c<>in 11 mr, ancl wi ll rc·ml·n 1ber th:lt tou ch. and 1dl a
n c:w race: abo ut it , \\'hen tht: date: up u n it is crustL'd <>l·l·r "ith l\\'v n ty
centuric·s. So iL is that a g reat s ilc nt-1110\'ing rni sc:ry p111s a nc·w
stan1p on us in an huur 11r in a n1 on1cnt 1 as sh;trp an impn._·,si 11n
as if it h ad tak en a lifetime to engrave: it.
0 1.l\'E ll \\ 'E'.".l>ELL

~

EXERCISE 202 - Oral or Written
;11 :\ '' 1:-.:c

\ '.\ 1.:. 1ous

T1,0 1· 1·: s

J\hk e o ri gi n:d s imiles ;me\ metapho rs to show:
1. I l o\\' h:1rd th <.: ice is w hen you fall.
2. I I <011· s<> it you r bt:d is at ni g ht.
3. 11 11\\' cr1 inked :l ro:ltl is.
4 . J l o\\' dry a pic:ct: uf uld brt:ad is .

I'

J !IJU\E ~

230

1: 11.-:sT J;()()!.;, (JI' CUI\ ! I '< hlTJON

VARJETY

.5 . l 1ow u;..: ly :i man is.
(i. I I ow s tr;iig ht a p at h is .
7 . lfnw inkrl'stin .!. '.' :-1 ho(ik
11·:1s . ( For exa mpl e " I t absorbed me.")
8 . I I 1 iw ('a .~c...T yn u \ \'('r1..: lo du
so 1nt·t hin 1•
'
:J. 11""' h;, p py a ccrtai n tb y w :is.
,., .

I

!

I

I

10. I l uw liurri hlc

I

i
I

sig ht was.

11. )f, ;w S<Jll ll'lh in g 'u1·pris cd yu u.

I

t l1c· f:1r1-. " )

lll

( .-.,,.

c~ :t1nplc:, " l t slapped me

1 2. l low du ll the k cturc w:is.
I:>. l /i, w l•,ng sonlc thi11 .~ is.

I

I

SiJIJh;

H. l l ow

;1

15. 1 f t HV

L'l" • +!" S

t~ ll

J \\'('j>I.

a

jlLTS< >n

\\';\~ .

23 1

pantin g-, with w e t eye:;, ca llin g- f o r hi s stin by n:nne, :ind holdi ng- his
h:.inJ u n hi g h. Jli s so n fl e w to w:t rd s h im, ;111d h e :-.; 1i d, 1 ' ll crc, litt k on e,
whi le n1y hand is st ill warm!" ~ind h e pa sse d hi s h:.1ncl ove r th e hoy's

face , s: 1y i ng-,

H Th is is a care ss fr om thi..: I....: in g ."
And thi.:rc he stoo<:l, as th uug h in :1 d 1L': rni. with l iis eyl.' s fix L·d un the

di stant ca r r i:tgc, smil ing 1 w it h hi s pi pe in hi s hand, in 1li l.' centre of a
g ro up o f curiou s people: w ho \\·e n.; sta ri ng at him. 11 I l e 's <Htl.' 11f ihe
fo urlh h :1ttali o 11 of th e furt y- 11i111h ! " lh t·y ' "id . .. I l e i' a " dolier tl>:1t
k n ows th ~ · 1..: ing. " u i\n d th e Kin g n: cog ni zi.:d liim ." '' .\nd lu.: ,, fft:r1· d
him hi s h:in d.' ' .. I l e g-; 1\· t: the l....:in g a 11 ctiti1J11.' ' sai d u 11 t.'. n1 n rt· l11ud !y.
u N 1>, '' replied ( ' 11r ct 1i, whi1li ng ro und abr up tly: ·• I d id 11 u! J-:i\c hini
any pe tit io n. Th e re is so met hin i; e;: /se th at I wo ulJ i.;ive him, if he
wer e to a sk it uf m e .''

Th ey all s1ared ~I h im.
And he s aid simply," My blu oc l."
A~1w 1 s, " Cu o re " (lr:m s lat c d by Isabe l F . ll:t phuod)

EXERCISE 203 - Written
'l'l ·: ST Tl 11 .. .\J F

I
any su ljcd )'"ll c hoose . Tn tell in "
this stCJry g ive attention to all clni ccs t l . t 11 1.ll l 1 .
"'
. t.
·
;i c l interest
··t1 ·1cl ;..,· 1
·\.,~. \ ·; 1nct
· v . -1·11 ,
1.1
·
'
en rc\·1sc u r senten ce stru cturL'.
\ \'r ite

on

:l n :t rrati1· c

1'-l ' U :s : \Nil F.\J-:f\ ( IS J:s

IN

J '1 · ~, ·Tl ' ..\T i<> N

J.

Vinci cxampks o f their use in cli c t:ition exc rc iSL'S alrcady st 11dicd .

Exercise A
F xpl:1in tl1,. punctuat ion ancl 11·1·1. tc r1·< •111
' ' I Ju.· c irr 1• 1.L: l' i n I\ t•d 111 fr 1111! 1ti u s
' 11u n; 1I ' .' .. :-. I lOtJlt'<I 111 :1/ 1\' \ ·•i iu ·:-;

dic t:tti1111 :
Wr ite f rom

.i

/' :tee di :-> Lt 11t fro1n

th ··
111'/ f·,11·.
'-

"11111 1. . tli r " s li< 1utld < i i r e111 . . 1ftcr th ..: u l ht·r"
. .

111.s

I h" 1, "''"
~I 111 u. ..~.• I ..i t I i .1s f · •C l',
,...., . .

his t.'.)'c

: 111d

1l1r t'L' 111 t.·1l als.

Th,. . 1,; i11 ,",. . 11 h o Il.H I

dwc·lt f

or a

mumcnt

on

E xercise B

Al l serv ice r:ink s 1h e

s; 1111 c

with (;od -

I ,J \\ •y , [ll 1 11l'd l ii\\.i rd s
•
.
. ·!
us.ig.trn,.111dlook111g
.
.
,..,
_ t.. J< .H lt..< 11 ll s h.m il •1111 ' " rlit.. c. 11 1 1 1 ~ e
l Ol"l'tl l g :!\'t.' on e: k.1p forw;1rds :ind c h" · ·j .
,
o n ; rl1 c: cro\\'d hr11ke in :1nd "f"f >' ·· 1. J • ·_ J>l < 11
I h (· c·.i 111.1 g-i.: pas sc tl
(,_'
..
.
.
.
.
.11. 1 l l u :-. ; we l11 st s1g- ht of the elde r
V t t..·t1 1.
J. ut It \\' :Is 11 11h· fur · 1 mo m e n t \\ ' f
I

Ar c we; t here is n11 la sl rn1r fir st.
H1.- 1JW N ! Nt:,

"l 'ippa

P:1ss e.s "

E xercise C

llllflt<

( orct1 1 s 1r:1i .. li1 111 i1it ' l \ .

.

1

lll('ll10ry :

\ \ ' ith <;,HJ, wh(J s(' puppet s, l1t·st and worst,

Tht' Jl < '1 •11.: tli ltJ.s t his hL":id , :ind
r<>:i rcd, " Th e fo unh batt alio n of the
f.,r1 y · 11in1h ! ··
.

Rule 27. Ure lite rf17sft l o mark 11 s11ddo1 d11111gc i11 l lt/111.i;i! I
or i11 fali1~r; or i11 sr 11!01cc j i1r111.
R ule 28. { I.ff 11 sc111 im lo11 lei s1f1 ll ·t1/1 · farts of t7 (1'111fc >1111rl
sr11/1'Jfff' 7c•ltn1 17 !trir7·if'r 11117r/.· titan 11 (!lllllllt7 is 11o·i!l't!, ur
w!tcll //;1· t·o11j111ll'lio11 is 0111ittol.

.

.

Cont inuc:d (1 om p:ig c

e

1

:-1 1.

<J U IH

hi m ag ain Ji rec tly,

.A cco un t for th e u se or cvny 11 1: trk oi punct u:tti1 l11 in thi s p:irag raph , and write from dict~ttion :
Every vi o lati o n o f trut h is no t o nl y a sort o f s ui cide in the liar. bnt
is a stab at th e health of h uman s "cic.:t y. On the nH>st pr(Jf11.1hlc lie the
co urs e of events p rese nt ly lay s " des tructi ve tax; whibt frankness
invit e s frankn ess , puts the parti es o n a co nv e ni e nt footing a nd m;ikcs

,l

! lit·ir li 11 s in {' ss ;1 f r il' n d s hi p . Tru ..;t mc n. a n d t hey wil l be
tr t.::11 t hc11 1 gre; 1t !y . ; in d ! Ill'\' w ill
11) ;1kc a n C.:X \.'C' JHi,)n i11
r'

:-.h(J \\'

th c rn s l'h·c s g rc<1t,

your :tv o r tu ;1 I J th e

rul ~s

tru e to Y(' u ;
thoug li r h ~y

o f trad e.

F ., 11 ·1.:s1 J;-.:,

t·

J'r ud c..:n ce"

Exercise D

Wt.:

mi g ht

h ;1vc

west o f th e M iss iss ipp i. so tl1:it s uppl y s hip s

~ ILi., n T lic F vu l's

mi;~lit

Vick ::; burg w ith <1u t et irni ng within r:in hc !)fit s h 1111 s .

lie s ent hc [, , w

- · I le tri e d t () f111 d

a passa ge a v~ti lah l c f•1r g u 11 l11 ,:l1 ."" thr11u g h the l. 1h y ri nt h uf l>:1yuus tn the

n o rth , su th a t w ith t he a id <A t h e flc l: I. h e 111 ig l it s e cure :1 fi> lJth·il d fvr
th e arm y b eyo nd I L t incs ' J:Juff, :ind 1l1e n cc 1..·1Hl l <.: d o \\ n upu11 the rear
of Vick s burg . - Jv11 :-1 F "K 1·:, " lli stu ry o f the Cnitcd Sta t ~s.,

l:u t fo r n ur lilund l' r:-.; - , , h , in sh: 1mc ,
Jlct ,, 1c thL'. eye:-; i1f l 1t·;n·c 11 w e t: tl!. ' '

Exercise E

"The

c hann e ls, t o mak e..: a co nnn.: tc d pa ss ;1 g t'. thr ~n1 g li th e 11 Cl\\' t) I k u l IJ.1y11us

l t1r f. 1uli s 110 l 1'tHl<:rn css

1·:11 \\ .\h: /1 1..:.( 1\ \ ' l.\ '.'\ /1

11 11; 1;1:--; '.-> •1 .\ ' .

Durin g th e wh o le of February and \l:irc h ( 1S(03) C r:.11t " ."' bu cy

~hrnild :1:-. k ,
T h1..· c ha ..; tl'ning- :-.!ripes !lllL'l l c l1 ·J n s t· th t: m a ll ;
{

\\ ' 1.. N T\\ '1 •J ( Tlr

with tw o experimen ts : 1. Il e t r ied , hy digging c; 1n :d s :i nd d r· l·pcniiig

kep t _..:..

\\ !iu k 11d\\ ' S h o w s l1.1 rp ir pi c t \.'t: d :ind s tun~ ~
T /i(· \ \ ' l)fd \\'c.,.: l 1.1J 11<1! :-, 1,:ll~L [CJ .S :tV g .
\ \ ' 111 1 k no w s h vw g r;tndly it h ad r ~,1n g ?
l'

T11 0 :-.1 As

Processiv n of th e Fk1wcrs "

J.:xpl:t in the pt111ctua ti •ll1, a nd irritL· fr<J m lllL' lll on·
,. '/' lie ill-iim c·ci tiut h

Th e so ul is lik t.: a m usic tl i n s truin l' nt
it i s n ot <·nou g h t h:\t it li e
fran1 e d fu r th e m1 1s t d e lica t e \' ihrati1 111, l>1 1t it mu s t \· i l i r:1t e ! o n ~ ;ln<l
oflc n b e fo re th e lilJrc s gruw mcll11\\' to the li n t·st w ;t \ T S uf :-.y rnp:ltiiy .

1'r:1yc r "

Exercise F
'W r ite fr om d ictation t he three exa mpk s g i1·c n above.

Exercise G
Su p ply comm as 11·herc they <trc rn: nlcd rn tlw f11 llo1,· i11 ,: ~ li 1ws.
and gi ve the ru les illu s lr:ttvd. \\.hy is a c11l1111 i11 q «;td ,. f a t·11mma
us ed hdnrt: th e q uo tati»n ? :\»tire Jhat the lirs t svnt t· iitt·
ex celk nt c xarn pk o f a lon g but well-unified lous e St·n !L'l h't·.

is

;t n

Thin k <1 f the innu 111c ral1k b11ys wlin :t t a lm 11s t thi;-; very h1111r :1 r..:
g oin g t o schoo l in c \' c r y l;111d ; sec t li c111 in your i111 ;1g i n.1ti 1n 1 ~~,,ing

thro u g- h th e lan es 11f qui e t \' ill:1 g e s t hroug h th e . . t re l'tS uf 11 11i' )' t • 1\\· n .:;.
:d11 11g- th e :-;hnres of ~c a s ;ind l: t kcs u11 <kr burni ng s u n t hrou g h f1• g'i in
b o at s in th l.' cv untri l'S o f c; 11 L1l s u n h• . r se ~ l1 : 1 c k a c niss the h1 1 ~11d p r;1 i1ic s
in s led s o\'C r t h e s n n w tlin n 1g h \'; tlk y s :111d :-tm 11ng Ii ill s .tt r"" " f 1r cs 1s
and t o rrents 11p O\' e r the: s tliit ;1ry p :1t l1w .i ys u f d ie 1t1•111 11t.1i11s ;d•rnt' l 1y
1

t w f1s in gr n up s in lo n g file s :tll with IH 1(,ks un d t·r 1h ...·ir a n n-., .:..l1J!l1 e d i n
a th o u s ;111d Lt s hi1>ll S s p c aki11 ~ ~ 1 1Ji1 ,u s; 1nd t"n g u cs fr 11111 t he f. 1r1h c-., t

s c h o ol o f 1' 11 :-.s ia ;dinus l l11 s l :1m id th e ic e tri th e L11th c s t s c h1 11 1l ~ · f
J\r ~1 hia s ha dc<l hy p :d111 -1rees m ill ii>n...; :111 d rnill i ~ 1 n s all g11ing t•1 k ,un
und er a h un d rt·d forms th e s ame lhi n ~; i in:q.~ in c Li 1i s v: 1...;t \':t~t thrc ,n g ,,f
h oys t 1f a h un d red races thi s t r cinc i i d o u s 1n o vt·1Hcnt o f w l iit·li y< •u 11 1, d~t:
3 p; 1rt and t hi nk : " I f thi s !T'l r, ve nH.: nl s h o uld c ca sc l1u 111:1n ity \Ynuld fall
l>:i c k int o liarh;i r is rn; th is m o vem e nt is th e prog re s s th e h u pe t lic t:l<>ry

234

235

V 1\KlETY
of the world.''

< · f·ur a~e

t hen liulc snldi t: r uf th l· mi gh ty army. Your

books arc yvur arm s your c la ss i:-i your company the ba1tlelleld is the
whuk earth ;ind th e vi ctory is human c ivili zatiun. He nvt a cowardly
sol d ier my E11ri co . - 1\ ~ 111 · 1 . .:. . "Cuore ' '

An is land is where a IJ<>dy o f land is ent irely su rroun1krl by water. _

7.
.. u f p 0 c··t r-y t.:··nd with the same
8 J{hyn1c is when t\'vo ur in ure 1·lil- t:~

.
9.. Definiten ess is where a wntt:r

thou
g ht.A
10.

Exercise H
Ci vc a rule for tlw use of l';tch c:tp ital and mark u f punctuation;
"J:urn the ncct :rnd ruin Fran ce ? That were worse tl1<rn fifty 1l oguesl
Sirs. th l' )' know I s pc:ik the tru th I Sirs, belie ve m e there 's a way I
Onl y let rn c lead 1hc line,
l l a\'e th e biggest s hip to ste e r,
Cct thi s ' 1"11rmidal 1k' clear,
:1

p:i ss age I know well,

.
cha11ncl :incl
the 11 vcr IS \\hen I o •rs .lrC
s t ll l·k ''' t'ic
,

l <'ill the blanks below with th<.: past particiµl<.: of ten communly

J•

gr11u nd.
here's m y lie :1cl ! "crie s
H1-: q\\ 8 J,'\'. 1;, ''

·1f en'L'. l\.iel.

Jl cr vC l\.id"

the blanks and read aloud.
· J1
. I nscrt 1111! or /1 •1 wit

4
blanks and read aloud.

Exercise I
N' c'vc r use 7l'ho 1· ('x n ·pt to g in· so111e 11"1 iu n of pla\'e, nor 71,ftm
('Xn·pt t" gin· S<'l ll \' 111.r i.. 11 ,,f ti1n1" It is ;1l1s u1d t1> s:ty, "f\ lumps
is ll'iil'Jl )'" lli' (' li1·l'k s :1 1·e s11·c.:lkd llllt,'' "r " ( "111r:1g c· is \1·iic·n ;1 perso n is not :1fr;iid ,' ' <•r ":\ gLtciLT is \\'hnc ice Ji;1 s been forced into
a n :t 1-r.. 11· va lley, " a nd lo ctll these definitions. Sta IL' in good sentences
II' hat )'CIU think tht.: fulloll'in g sen tences ;ire int('nckd to exp n.:ss :
1

1. ~ f nvenrivenc ss '' is whe re a p('rso n is neve r al a lnss fo r means to
hi s e nd.
2 . I read abo ut wh e re 11 i: 1 w~1tha rn :idc a c: 1nu e.

3 . 11 c told us about wh e n he ran all'ay.
4. 1\ go1JCI paragr,ph is wh e re )'''" di,·idc th e subjl'ct matter Jog-i cally.
5 . l':ir;1gr:ipliin g- i s when )" 4) U ni; ikc :t nl'w d iv isi11n uf a t:11mpositiu n.
G. . \ co nipl cx sentence is wh e re yo u have a clau s l'. in cluded in a
prin c ip al s tat e ment.

J

misused ve rbs. If necessary, s upply an object.
. Substitute /111tl for /111Z'e and /1<1s; fill the bLmk s as bdure,
2
and read aluud.
, Read a s question s, with /w n

so und;

~uund:-. .

.
. .
CX')l'CS>l llg ills
-I
· ·

feelings suggested by th e printed pa ge .

L

by

. .. ·t wa y uf
t I1e c..;x.tt:

block th e way and pil e up o n e ach uther.
.
. . . ..
11. Th e rotat ion ,,f the eart h is wh e n the l'arth turn s on it' "-x'~:
l2. J.:. e al re ading is where yo u r;ct the mcc111111g :.rnd th e p1c:tu t es :.1nd the

Exercise

J\bk c th e <1thc r s ful lo'v mine.

And I lc:irl thc·rn . mc>.st :ind lc:1s t.
1'i g lit to S1 ,Jido r past (;r~' n:,
;\nd there la y thvrn safe and
.i\ nd if l1l1l_· ship mi:·dJC h;t\'t' ,
-- h:.t·e l su 111ul'l1 ;1s ;.. :- r:1tt..: the
\ Yh y. J \ ·c Jlqlliin g· l i ut my life, -

~~ jan1 ,, in

rin< l s

fill
and ltas, then with 11 111!;

11111 •e and
1

!l!fs, then with 11 1//I; ti ll the

I h:tve -

\\'c have - - .

\"<H I

\' v u have - - .
The y have - - .

- .
hav e - - .

Il e has - - .

Exercise K
Fill th e bbnks lil'l"w with the p;ts t f,,rm of te n cnrnnvmlv mi sused verbs. lf necessary, s upply an objn:l. .Rl'ad :tluud, f,.JJvwing

the model:
[ m 111 e yesterday.

Yo u r11 111<' yesterday.
11 e ca1111• yesterday.
l ·" "''it ye s tc rcby.
\" ou s11w it yeste rday.
I le saw it yesterday.
I - - ye s terday.
\'ou - - ye sterday.
lie - - yesterday.

\\' e ca m e y este rcby.
Yuu t ame yesterda y.
Th e y cflmt yes tc rd:iy.
\\~ e

s1no it yestcrcby.
\' o u .1·,170 ii yesterday.
Th ey ww it yes terday.

\Ve - - ye s terday.
\' o u - - yes terd ay.
They - - ye s terday .

'\

l l RS T

ll

()(l l(

<>I- <"< l i\! J'U::i lTI ON
)

'

-

- J/

Exerci se L
Dist in g ui s h hvt 11 ·c·c·n

Say "H e looks li/.-r my

/

.ffl lll<' / •r,11·,·

rc cti •>n s i1·ht.Tl' th1·1· ;ire ll l'l'Ckd .

and

.•·r111t r'h'< h t'l"c' , C I C.

Make cor-

1 . .\ ;• 1111· j'l. 1. ·,·1 .i r e n ot we:// ~ ituarc.:d f nr h .· . . .
2. ' L ik e it l q l f' lllc ' f'l1u,· wh ere \'•
.. ·
u s1 11 t 'i ... n· 111e r s.
3. J IJ . ' . . .
• JU l . l l i C .\; tll l // l l..' J{ lJUl C l i v
,(\C llt\ C I S CL' ll .r 11 1• t / 1 .. ,
I
.
J"
4 . '/'I . . . . .
.
. , i r ll u i c .H.':n11 1Ju l l y t: lc;tn . .
lt I C

I~

11 , 1 .ff~ 1t·, ·

111\ L'

/i o t!l t '.

5 . F -· .,.,. ('I . · I
G. .._, .
"' ' I ll t l<.: ~ Lil e IP ~ l son1 c t h i ng .
I l111d _r 11u "~ '"'Y fl11r,· I go .
7 . :\ re \ 'fi ll gninr,. 1 ('I
I·

8.

9.

10.

.

.

h ( "Y

<11 ,.

ll,t\'e !11 11 1..ed f(l r iL <"i't'rp fl11(·,·.

put ll 1 ~1l

111 111 ,· ( ' /

.
. .
. 1111 •' v 1111 r
t>

o

r,

.1 111,·

• •

•

•

"'' · , IJ }{

JI

a1 1· t.

I

1

.

l\U \',' /( S t.: C l ll S

.

used l o 1,,,,1.., " ,.r
brother ." Tdl ll'h)' lil.-1', as, o r
ing se ntences :
bro/her

lk ]tH>k S

/ // l ' /;'///(~

ii .\

i/

It,· 111 i:~111 /1,· / Il l ' !111/,·
is cv 1Tl'ct ly u scJ in t ile tdl "1" -

1. lt louks like r a in .
2. lt luo k s a s if it wo uld r :1in.

lo h e

110

I

.

f .. 1, <' .

un11 g tlic l1o lid a ,·s IJ11t J I
~

'

<.

, )·

4. Sh e loo ks lik e hn m o t hl' r.
5 . The.: A ssy ri a n c am e d o w n lik e :1 \\' ol f o n 1l 1e f., Jd.
6. \V e c :1m c do wn as i f we we re w u h· es read y !1 1 d t.: \''Hl r th1 · m .
7 . Uo as I J ,, ; ful d you r h a n ds lik e: 1h is.
8. I ran lik e a m;ldma n , a n d arri ,·e d b r e a thle ss as if f ru 111 a r..1. c e.l

' '11 t \now wh ere.

Exercise 0

: \ ft<: r lh.111 <•r "'" s" rn 1· \\"o rd -; ·1 rl· < ft
: 1.-; !;il l :1s I .. IJ 1L·:111 s .. I ; .·
, ' l'lllJ <>m i1 1,·d : ft>r c x:implc,
I . I
.
< IS .Is l.i
i1·1 >v l l<T t li:111 h im ., lll 1'" 11is ,. I 1·1 · I
I ;is / '"" I ,1// " , " I. l"k
i ·e
I
. .
I ,,. ll' l" Jd it T 111 ·1
I ! /. /, .
ll "l"<k r '" <kt c r minc i1·hid1 fu nn ., f t he J>ru n
, Jl
I ,·,· <1111 ."
th e S\'ll t<: il ("l'.
U llll {() ll .Sl', l"< Jlllpk:te

,. 11 ,· i.-;

Viii th e \Jla nk s 1\·it h lil.·r', 11.1, nr

</J"

!/ :

1. I f t: ac te<l - - li e h :1d nen.: r :-;cc.: n ;1n y th i11 g
2. I l e s pra n g up
;1 j;1l'\.,. i11 - tht·-h11 -.;: .
3 . Th e kit t e n Jnqkt: d ;i.....h ;1mc d.

-

:-. IH· h a d

it li e fo re.

U\ ' c r t u1 11c d

thl' milk.

4 . I l e f u llu w c..: d - - - h e we r e b e w it1 li v d .
y o11 ;1c t - - a c liiltl , w h y s h( 1u ld I l rl· ~1t y o u -- - y( •\I \\' 1· r1 · :t 111: 111 ~
Th e ri ve r looks - - th e re h;1 d b e e n h e a vy ra in s 11n t he l11 lls .
T he roar a t t h e d :t rn is - - thundn .
\" 11 t1 loo k - - y o u we re wnr n o ut.
It scl· m :-; - - h e w uu ld n c \·l' r cn m c .
I l c1c::-; n 't it s e e m - - the p :1r1 y h:tt l ju :-. t b eg un ?
11 '" d .. cs n' L ;1<·L - - h e fe ll we ll .
I l e dres s es - - a tramp , (1r :1t lt: :1s l · ·- h e \VL'. r c ut ter ly c : 1r 1· k ..;;-; ,
I di d iL jusl - - _
,.,,,, tuld m e:.
l l e runs - - a d vcr.
I k c:irn e in - - h e we re afraid.

5. J f

l.
2.

G.
7.
8.
9.

a.
4.
5.

10.

().

Vu u r tt.·11u s t/ 1; 111
---. lrn t 11 11 t s o f:ir ; p ;

7.

8.

ln 1t 1

as
:ire ll11t s 11

N U"n -:. l ·".

a 111

---·-

l.lid .

u lJt: r th a n l\.u /Jc.: rt a nd

kind as - -.

j.,, in s lt':1d

uf ,,_.. ll" it h

1 1.
12 .
13.
14 .
15 .

// (!/ .

SU C <;t ·s n : n

Exercise N
: \ t -'" Ill<' 1in1 e i1 1 th, · future· il m :11· lh ·
d1wc·1 ·I·11
I
·
co i i t' l l l» u st· /1/.-,· to intro. l ' " l', Hil ll slinuld CLT l:1i11h· Ii, .
I.
, . / f0 11
.
L .1\<>1<t 11 il<>ll'
l ' s c· 11sor
' J '.
<>11' <.: d by a st :11l'mc:nt ; It/.·,· f,> Jl tJ\H·d I>)·
·
a n v u n o r prunoun.

~

'

Exercise M

9. \ '11 u

if

<1 ...

.,

3 . S h e w alk s as lH: r 111 ti th cr d oe s.

ll S :tf t<:: nH> o n ? . \ ~ I f'l<fft' .

l

little: brolht-r ";
" I le: l<1.i k s <1 .r

Tl l E ~!J-:

"J" (l l' ICS

Hll{ U I O I C L ()]."

a. }'or Co l•Jrs :

( 1) Th e C rec ng rucn 's

\\'ind o w .

(2) :\ Sunset.
(.-,) Th e 1l e:t rl of a n Op:il.

\\ " (JJ ~ J)S

•·

•'!-

~~-- ~. ·'t:

flRST

J:oo K. OF LU J\l l 'USJTION

/1. Fo r Sounds :

( 16) Emha rrassmc.:nt.

( 17) D riving a J'ig.

( r) The Tiir<ls S ing-.
(2) Sounds at Nig ht.
(3) 1\ t the Station.
r.

V 1\ RIETY

( 18) T he Uld Swimming I l1 1lc.
( 19) l' olitc ncss and - l'c1l itc.:11c.:ss.
( 2 o) A Small Hoy's l'ockc.:t.
(2 c) Tw o Clerk s.

Fnr Smells:

( 1) Cr::in !ma's Pantry (Cellar).
( 2) Waitin g for th t: Second T :t! Jle.
(3) After the JZain.
rl. ·i:ur Touch :

( I ) \\'hen

r Ciluld n't

Vind a !lfatch.

(1) Bli nd J\l:in's Huff.
e. For 1\lovcmcnt :

( 1) The Passing Crowd.
(2 ) Tilt' \ \ 'ind among tht: T rees.
(3) The llirds Fly I 'ast.

Many provt:rbs that arc s uggest ive as topic sentences ma y
found in th e Standard 1>ictionary, p: tgcs 23.c; 1- 236 .1, and m
Hazlitt's" Engli s h J'rovcrbs" (Ch~1 rlcs Scribner's So ns).

(22) The b:td wo rkman finds fault wi th his tools.
(23) lkwarc.: of a siknt dog and still w:iter.
(24) Idle folks have the least leisure.
(25) Lazy prnplc work th e best
\ \'hen the su n is in the 11«.:st.
(26) v\le arc apt to bclit:Ve what \\'C wish for.
(27) Jt 's a lo ng lane thal knows 11 0 turnin g.

8) I ,ovc m e, love m y dog.
(29 ) ..\ cat m :1y luuk at a king.
(30) 1t 's th <: early bird that ca tc hl's th e w1mn .

(2

( 1) I >c:icon J<>1ws Takes th e.: ( :o llecti<lll.

( 2) I ! is 1-'irst J,.,ng Trousers.
(3 ) Thl· <·rnwd :tt: a Firt'.
( .J) T he ( lm· i l.<1v t:d Bes t of Al l.

(s) < h·nlwa rd.
( G) Th e 1:: inn Sa le.
( 7) J\l 11\·i11g ! lay.
(SJ 11 is i\ eek l il's.
( <J) :\

11

(l id :\ Iburn .

o) \l y l <k:tl J\l:in ( Wom a n).
( 1 1) ( \nnic \ 'a kn ti nes.
( 1!l Spoikd.
( 1 3 ) :\ J.";1dl'd 1:1ower.
( 1 .J) .J 1 1 ~ t a · f" r:1111p.
( 15) Tramps I I l:tvc 1\lct.
( 1

2.p

I;

CJ I.\ l'TF R V 1 I
COHERENCE

Ew-ry th 0ug ht h:1s thrc:i cls of .. ,
.
.
thutwhts ·111 cl t
,
. . l \ nncct10 11 \\'Ith many other
0
111
.
·' '
ipon · Y (Jne ul th ese J - .. - , ·
scizc 1f t' . . - I
. t l! L dcls th 1.: m111d may
.
Ill: l lOIC 1011111/o!'s 11·ne prunounc. I
. . ..
tll'cnty, :mcl each mc111bn of the cbss kt l . u U>l.1_ cl.1ss .of
o11· 11 11·:11· <tlllo1w I .
."
..
11s illlllL follow its
[
• · _ .
i--. l lL poss 1bly con nected th ou .. J1ts
at th ·· • d
o 011c 1111 11 utc pn./>ably th. . . . .
.
i--.
•
- e en
" .·l .
.
Lsc t11u1ty minds 11·n ulcl have ar.111 ~< ·/,.1t t11'L·nty_ l·11t1 rcly di!'krent stoppi11 "-. 1il:1ccs
.lllll , 1111 1 -/1 ·ir. 1. .
,...
· //1111a/N s
I
I
.
'. L .11 ;1p:irt, >ut the p:1th lietll'et·n thl' m m: t)' ha ve
ll'L'll e:1sy; from l1nn:1tcJL·s ((1 c-tns .,.0 • . . . . .
.
1
o rd e rs :\I· · 111 ·
' ·'
• ts· Jllllt:lllC!ll llll o secret
.
" ' ,Jso 1· ;111 cl its fu u11cli11,.· IJi· 1( in ..- s 1
temple :111cl c/ 1~11 \· h I Tl . .
" ,
. ,.., ·-" Olll u n, .Solomon's
1c1 e mu st ci· itk- nth- I . .
'
·
co nncctic, 11 i>l'tii·cl'll .111 1. .
. '
, • )L sn m1.: snrt of
·
·
succcss11«· th<Ju " hl .. I
ness :1s :in·id .1 t· I . . 1·. .
.
,.. s • H it co n 11 ected.
L l .1 .ts l l.lt Ill thl' Sl'l"ll'S "" . . . . I ..
ot the n:1nw \\ 'I . t. . ..
.
. ,._ 11en Is i. u clly ll'orthy
·
1. I .1 sc.1ttLT-br:1111 \\'Ould I . ti
h:il>itu:ilh· tlt"twh t iii ti .. f" ·J .
>l H' Jll'rso11 who
•
''
·
l I,<.; • IS 1101 l !
Hy l'C!lll'l'L'ncl', or e<m11c · . I ... ·
..
the ck.. 1r "\ ... "
- - llu lll .'i.", Jll L'< J111pos1t1 o n is mea nt
• ' · )>ilSSl\1n \lf 1·it·ii -.
·
th o u .~ltts CJI' i<lns ·\ . ti .. . . <CJllnc·L'l_ici 11 s:1nH111g \l'l·ll -un ilicd
' ... ·" l/S S[.tlC lll l'll [ lll1f>l 1 ·
·
f'
.
cs, lillll_I' o th ought
is clusclv l'l'hl ·d 1 . I _
J
' l
() CC! ll' lel!cc lll sc i· Tti 11 .. . .
1·
.
· L •
thL· l:1d.: of llllit 1. i.
·1} .~. · rcquently
1 ;q1p;iru1t, :incl d11e tn Joo rl ' .
. ..
: s <111)
p1 essccl coniwctlCJlls 1: .
l
.
I
) ex..
()J ('X: 1111 p ('
th111I-in - l
I
11·;1s :ii I S· I . I· .
_.
'
' g icm· Jusy he
· .i lll< .1_1 n101111ng·, :i h"i· mi ..-I
... ..
foot /J;11l suit, sh;1rpl·ncd. 1111· sl:· 1tL·s,.., <1>L1·ls·,(ll}' .' lput :lll';1y my
I
' ·,
'
m1 il"n·v ·!
:lll( il',lcf till' lll11111inicu,1) · ·
Jf • j · .
.
' - Sl (J('S,
I
,.,
,
f < 1.
<
i.1s
nw
nt
:illv Sl!Jl/>lil'( I th e
blll< I111" e emenl ·rn1
I .
.
c;.
. '
011g ( lL' Sl' ;1 /))l:I l"L'nt J_1· .~C)\il':-tt"~ CI l J1ougllts,
i--.

but he has n<>t slated il. J Iis s<·nte nn: \1-otilcl b1~ bcttn 1111 ilicd
because more cohe rent i[ he should s:iy, " Pu tt inc; :t1u_1· 111y
footlx1ll su it, sk1 rpening my sk;1tes, oiling my hca1-y s h\•l' s. :rncl
reading the morning p:1per kq;t me bu.sy up to t11·cll'l· o't·lc id ; _"
On the ot her h:ind, no c 1rc.; in exp ression could m:ik <· ;i 11·L· llunified a nd coherent scntvn cc out of the st:1l enwnts ... The
woman is ill," " S he is the m<it hc r o f thl· butcher," ";\Jett lus
advanced in pri ce, " because the r elat ion o[ the last th r 1 11.~ht til
the fi rst two is an accidental, not a 1·ital o ne. T o cohncnt ll'riting and spe:ik in g-, then, t1,·o thin gs arc necessa ry: ( 1) 1·it:Li rnnnect io n in tlh >ug-ht, and (2) clear expression o f that c1111 11L'ction.
To thi s cle;t r, coherent compos it ion there :ire fi\'\· principal
aids : ( 1) logical a rrangement, or o rd er ; (::?) wise use of CC\ nncctivcs and 1rnrds of reference; (3) proper suli()rclinati on of
the less import:lllt idl';ts ; (-l) furms (Jf se nten ces; :mcl (:; ) ;11" iidan cc of ;ill blurr ing dlipses. In thi s ch;1ptn )"LI 1\·il l kt1·e
pr:icti cc th:tt \\'ill hc·lp in SL'C urin g a comma nd of :il l th ese ;1icls .
Use them not o nl y in any compositio ns required, hut in ;ill
writte n \\'()rk fo r 11·hi ch you h;1\'e o pportunity.

I. ( ) /{ I l I·: I<

a. Order of sentences . Th t.: or(k-r of details in a p:1r:1gr:1p h
of cl csni ption h:1s alrl'ady been c1J ns id ned (Cl1:q>ll'r I\' ).
thou,c;h not ll'it h spec ial refe rence to co here nce . 1:ur gocJd
co nn ec tcdncss not cmly mu st details of a clescr ipt i"n ;incl ;di
idc.:·as uscd in de1·elopin ,r; a topic he arrangccl in logical order.
b ut th e 1\'ords in :1 se nte nce mu st lc;1cl n:1tur;dly from one to :111othn, and th e bq.; innin gs and e ndin gs CJf sentences mu st link
tllL'lllSl'h·cs tngctlwr. ln <>thc r ll'urcls, rn1t only the thought but
the 11 t1rdin;; uf the t hought must be carcfully urdned .

1: 11\ .'i T

! :<Hi!( <W <"!)\J J'( >S l'l'ION

EXERCISE 205 - Oral

EXERCISE 204 - Written

PLA C ING A I >V I·: RBS A N I> A ll V l "'l', II I ' ll RASFS
~

I

J\ rr; tn gL' in proper onkr the ite ms in e:tc h grou p.
cmlit>dy thl'm in a par:1gr:tp h1 joining the senknces
co nn ected wh ole.

se ntences as the y stand , rc:Ll\y
Decide wh at th e followm,, .
\
c1' ·r· r so tin t t he scn'
l
'\\'
'
SI . ft the tro ubl esome • ' ,"l') 111 0 I IC
what th e writers prolnbly meant.
. . .
•

(1'

~~cs ~~press

1. ,\ 1-!:'"'d fir" :tl l Cl'f' ni ng. Big kick log . hre sta rted from lhc
ll:tck log o f g- rL·1·11 11·uur1 . Fi re c:LLS dow n into wood.
Bu ilding a fire in this 11·;iy requires skil l.

.
" u ·n in the chair r :ithcr cun ou,l) .
S h e was loolong at th e m:in s t .1! g I , hnidc<l han<l with :t Lltn<l
ne
s1
d.:
un
l .: r l lc:
.
.
This d ress cl oses :t t O
·

2. F :tthcT yields ;n I.ht. Slippns rc:tdy \\'anncd; easy chai r dra
up . I >islikt: f.,r 1.i te 1x1rt ic·s . i\ l ot lt cr <Hl uu r side. F al ht:r conws OtJlllO
t ir<"d frum 11·cH·k. \\' ;iiting ;i!I d.1y f,.,. lti111 . Th e ques tio n proposed.
::1. F.i s1·i11 ;it;11g story. I 'ap<.: r a s:1111pk copy. L11d at nwst txciti

tening .
f'W m o uth fuls whe n th e bell rang.
3. We had on ly eaten a c
·I .
. 10 construe tl1c' p.tssa p:c .
.
. . re el to tr:111,., a tc 110 1
.
. I
4. li e n either was p i e pa
f . . .\Hin« by <lirut1u11 u lt 1c
'• -,11 cIe·d •3 \\'Ct:'1 0 1 11h
t>
5. The boys wer.: s uspc:

1'knty of kindling.

pnint.

C :iks .

tltc· cT:tfty ne11·s-;igc 111. S u bscript io n.

4 . l 'l:m11i11;.: t<1 g\'l ,\l ice fr<>m h o1111'. Surprise p:irt y . Di scovery ol
her birtlt d .ue.
I kr inn•1L·1· 1n stui>IJ1Jl'll ll css. 1\i d from uncxpectod
S•!Ufl'e. :\l ice 's surprise a11d delight.

5. Di scov<'ry <>f " peeper .. frogs. C a t fish 's di sda in o f li ver. Detttmin:ttio11 t11 Cll l' h him . Sc·c· in g :1 bi g c;itfi s h. Stc·:tl ing grass hopper ba!
\V e ig h t and k ngt J.. Ca ught by tr:1ili11g fru;; o n bot to m. Ex citement ol
lanJi11 g ltim.

/! . Order of modifiers .
tl1 L·y mod ify . If y1•u do this, t he ch;uiccs arc that car h sen·
tc11ce will be ck:tr in nw;tn in ::~-, cn'11 thou g h it m:1y be notabtc
for nuthi11g elsl'. Jr you Ltil ti) clo this, yo ur writing will be not
only confusin g but also at times :ibsurcl. J\ftc r only a moment's
thought the sign " l .uncliL·s put up fo r travell ers in boxes" q
c lear: but :tt first s ig ht it is s u .~gt·st i vc of un co mfortable quar~
tcrs for the tr:m.: llcrs . l·:rmrs of this kind in co herence arc
usual Iy cl ue lo rn isplacccl ad \'(:rbs, participles, or clauses.
r _ //d; ·r ,.fi 11rl/1t11t'ls - - ·;.'(J)-ds r111 d p!tmsrs. \Vhile seekio
exactness of Jlll·:mi n,c; thro ug h the posit ion of the adjunct,
try to ;n ·u id aw kll';mlncss of st:ttuncnt.

"'pcrintend e nt.
.
·o u in th e t:ihk clraw,·r.
10
1
. . 1 •111 I \\" ttcr f••r s upper .
G ] fo u nd th e krnk lent
)
1
•
7. Th e runaw:t Y \\"lS
· · C\'l'll h« l:td lo. h :tve JI l",tl , L
.
·
I
.11 J· sl rca~n ns fir s t.
8 He "ave t ie t\\· .1.
' · . ·
.
·::i t i full}' th;it the :tUl1<.
"'
I
t
l
'il
'}'
\\' l'OlC so 1Jc. ti
9 Sh e read the pocill t l:t ' c
.
. .
. .
- . " ,11id ll'L"L'llin~ a t. the s: 1me tim e.
.
.
.
"nee bo th w e re lau~htnn •
<l ri\' ill '' ·il oiw 111 :1 high,
" 10. T he farmer tu l t I m e th e s Lu ry w 1ll 1e
" •
,.,
cited vo ice.

. .

wc:ll :1«:1 111.
I
11 Mary al most appc"Us
• ·
n
·t ,.- ,, t<>" lurd hut a'"
12.· \ .\'hl'n he hroh· clull'll tH>l. un ly \\". l.S 1\L' :-.. l 1l 1- 11 1n
kin ,... l•> U litt le exen.:tse .
~
in her
13 . Ja net wrote clow11

I·

11 11t c- hn11k C\'\_·r y t ll1' ;.!.

lw sai d \\'ith h L" r

new sil v.:r p e nci l.
.
. ll'i tl " '''t i111t ·1 n111 1i<>n.
. .
l I . . rl· we hat 1 I' 1, 11\lll' 1
I
14 . \ Ve ltnt s h c< t 1e " "r ' C h1.c 11r4) t11 sec. Ill..S I ) r (ithn whu " ·:.s ~ J••t
15. !VI r. Joccl y n cunc· rt>m
. ,.,
.
i..,
VJ

the rubber in 1h e hl' :id .
16. Th e fre shm an d;iss last )'L':tr cn LL:rL"d

"I'""

t

I s tud\' ,,f i>o t:in y
ie
-

with so ine n1isgivings.

.
l"1 rticipks ,;n111l· l1m,_
·,.,.. ;..,' 1\'l' t roulik hl'l·:1u~c
•
- · , th e \IT1111 ~ 11CJrd.
'\,' .,;L'l' tl1 tu 111< >l 1I 1)
,
they ;:m : so p lacccl t l1.t. l L) I L;

.. ! ··

2. Par/1oj> '·' ·

1.- 1RST J:O() J(_ (ff

C:O~ l l 'OS lTI< l N

EXERCISE 206 - Oral
l ' I ...\< · 1.\<:

EXERCISE 207 - Oral

I' .\ l(TI! · 11 •1,i.: :-;

\ \That de> yo n think the \Hiter m e:i nt in each sente nce ?
R e \'i Sl', so ;1s to !iring out th e mc;11 1i ng.
1. Th e peddler had man y str:u1 gc cx r cricncc s tr;H«.:i lin g about th e
cou nt ry .
2. illy p o n y slc'pped int o a hole y«s terday trn ui ng :d\l ng on Fo urth
St rn·t.

:~ . The cars " " ·re full .,f pc.,pk at ;dl h u urs cif1,.,- s upper , Lik in g 1hem
to th e park.
4. I s:iw in t hl· s h:irl""' of the \\'( •()ds g h r>s ts and !wa rs and o ther
sc;u·y thin g-s p l'l' pi n.~· nut fn11n the k nt.
fi. S hi\' cr·in g , dri pp in g, crying, they g Ht tli t.: unf1J rtun atc girl home
31 la ~ t.

G. T h .. co:i t \\·as the hide of a J,.. ;1 r 111 :1Ci« up ll'ith th e h a ir <i uts id e.
7. ll«i 11g m:1c k o f I r ish b n ·. llL·rtha p11l he r h :it :t\\':t\' i n its box .
8. l·«•u11d . a bl:i«k k athcr P" c kct · h<>" k in :1 h:1rd11·:1re ; lure Ci •n t;1i11ing
te n d ol lars .

U. T lw ('O ndu c tnr collect ed f1'f>1n t he t r: unp. l"'in g a n gTI'. d o uble
the prnpn f:1rl".
,

10. l kin g- plar cd on the f r«•nt p .1g 1". the c dit <> r m akes th e ca rt oon
cxp r·e~~ the idvns of h is p:qw r.

1 1. I k 11';.s ly i11 g on a lwd i>«nt d oul> I« 'l'irh p:ii n.
1" l. t • ;1nin :~ hv:1\·i ly <111 thi. · :irrn 11( l11 s S • d l , I 1'111 ild

St 'L' thv

rild man

pl1>d ;11\';ty tltr .. ug h the r:1in .
t.: ~. l kin g· \·c ry much i ntcr1·stcd in th e lH 11JI..:. tlH : 1n1,r11i 11g slipped
:\\\'".)' hcfun · I rl':i li z"d it.

1-~c \· i se

thr11u ~ h

these se11te 1H·es so :ts to sL·curc g« >l)d uJhcre ncL'
p ro pe r pos ition s of t he c l:nt,.;«s.

1. l . ~ l S t c vL·nin g l\. cn: n.. : nd j . IL }'u rp 1•isc pr~;lc h ci l

:t :-i, ·n11un

o n the

Co ngo lw r ro rs, after \\'lti c li a resol uti o n \\'as pa ssL·J urgi11 i; th e gu1·crn·
n1c nl tu i ntt.: r fc rc.
2. :\ft c r the ce remony th e h appy co u ple sa t du \\' ll to t he ll'l.'dil i11g
feas t , St ll'l'\Jllll <kd i>v tlw i r fril'nds, whi c h co n s is ted u f f1ystcrs, dressed
chi c k t.. : n , n ·l1..: ry, cvffct.:, ice crc.: a n1, Jnd c 1kc.
3. ,\ li ttle g ra yi >h c lo ud w:1s pu s h i11 g its way up into the s k y, whi c h
rnu st h;i vc bee n s1 n u k c .

4. I le sa iJ th:il his narnl: was ll ev <:r ly Tra ve rs, ll' iti «t1 s11 und ed im proi>:ili k .
5. \\" c left Oxfo rd :it f»ur o'cluck , whic lt \\".IS t h e s t.1rti n g p•>in t of
o ur trip .
G. (Jn<: of the 111en \\'as murc cxc it u l tit a n th" ot h ers, "h'"e 11 :1mc
w asJ«tn l\odnc·y.
7 . I sa w a br;.:e room ll'ith a talilc o n u nc side n c;i r the ll' ;til ll'h ic:h
wa s u sc.:U ;ls a cu u n tc r.

8. ~ Ir. Si ncb ir, prnpriL·t11 r 1of th e th ea tre , g: 11"1" a j>l'l"f<> rm :11 1\"l" i11 a iJ
of th e
tt:t gl' t lus p iul, which re:tliznl I.I\'< ) h 11 1\l lrcd ""lb rs.
U. :) he passc·d to the curnpany sume iL·e LTc.trn u n h e r h :111<i -pai11 tnl
c hi 11:i , ll'hid 1 w;IS d"li c·i1i11 s .

c ..

10. ' l'li crc i s

t llH '

\·i ll:1gc l1vtwcc n H11st 1J1l ;ind S ;llH.:l s\·il k w lii<. h C1J1 1·

ta in s twu 1Jt.,11san d J>L«iplc.

14. \\'h L·n \\'\." returned thvrl' " """" <>nl1· f•1Lll" .,f 11s i n t he g reat coach
drawn hy fu u r ho rses sea ted u11 th e h:1c k sc;ll und er o ne umbrell a.

3. ( /,11rs1·s. Th e connvcti nn of vl:t 1t s«s with th e word s that
lhl'y modify should be s hu\1·11 by pus iti on. ( >t hl·t wi se ambi g uity may n.:sull.

E \"c n 11· hc~n th e orde r of words a nd se nten ces 1s li>.~i c;il,
th e ,·nnncct io n is ge nna ll y not pe rfectl y clc;1r \1·ithl)11t 11«irds
\.vhic h look ba ckward or lead fo rward a nd po int. till" w:ty.
Th oug h rc;tlly ;tch ·crb ia l modili c rs, g uidin g w<irds ;111d phra,.:«s
arc of great a id to cohe ren ce, incl ic;1t ing to a rcadn the di rection he is expected to go. Pronouns, tuo, referrin g tu an

CO i I Im ENC E
a n tccnk:nt, :i re rc;tlly in a sense connecti ves \\'h e n properly
useJ, :tn<.l ai:c ;1 frequent source of inco h ne11ce 11·hcn improperly usect. .J he fol lmnng e .\ crc iscs in t he use <if pronouns
a11d cun11L'\:t11·L·s s h ould m;1 ke yo u a li ve to th e impo rta nce of
e<>11s1tkrlllg thL·n 1 in your Ull"ll cu 111 p()s it io 11 . Cu 11 s id c r how
l ~,-;1ut if ully col1nenu.: is g:1i11 cd in the passage quoted from
Stevenson 011 p;1ge 1 02.

'' · Guiding w ords . T he guicl i11g \\'orcls mos t freque n tly
used :m.:: t!to1, a/In· !lu·s, , ~ ~« 1 i11, ji11al!_;•, l lt". r/, 111 111 -un •n -, i n
a d dit i/!11, bcsir/,·s, ) 11r//11·r.

E XERCIS E 208 - Oral
L' Sl i\l; G L" llll l\C \\"O JU JS

Ts t h,; sense of the foll o\\ing in l· idc nt c!,·a r as it sta nds ?

1nscrt in o rdn 11orcls from the li s t g i1·L·n abuw . Js th e parag r:i ph e;1sicr t<> rL·ad? ]s t he1·c othe r im pro1·eme n t?
Th e ne w d 01g ~nifkd at th e 111e<1t : - - IH· l""kL«l suspicit1usly a t
the rn c·n. - - -. he t u rnL·d tow"rd the nw;i1 _ _ , n c i·L· r fo r"e tting
f .
0
u 1 a m o mL·nt. lhuse st ra nge fn ces wa tch in g hi1n . - - -,j ust as th e
Inl"ll lll"L'ci w:. 1.-h i n ;~ him. <>Ile 0f th e old dui..:., spran g in ;ind seized
th .. f•>•.HL \ \"l1al li :1pp«11c d · - - "" unv ""'li t! " 'Y 11·ith L·~:icl n ess,
but the llllni dn slunk :1way with a g:ish in h is n cd<. _ _ he
SLTlltnl lo li..iv t' l11s l his ;tppclit e and - - - tu Ii.ti"<.: g :t im :d s tro ng
rcs pccl fur th e Jh .'\\'-C111 ncr.

EXERCISE 210- Written
USINC C: l " ll>J:--.' c; \\"Oh: l> S

\ Vrite one or t11·0 long p:1ragrap hs, us ing al l of the t1H:nty
conn cct in.:s . T he s ubjec t-ma tte r here ncL·d not be ()ri g in :tl,
th o ug h it should be as u n ified as poss ible in s uc h an exerc ise .
B e careful to m ake t he co nn ecti o n good .

B y re peatin g 111 t he.: hcg innin g of a n ew se nt e ncc or parag ra ph some 11·ord t hat has occurred near t he e nd of the prccccl in g, o ne m ay a id the effcct o f cohe rence . T his he 111:1y
d o, a lso , by us ing a contr:lst ing word or hy summar izin ,g the
p reced ing t hought by mnds like 1!11 ·s1', s1rrl1, and //11 · I.rt/ ,.,..
Fin d in som e m agaz in e o r nove l illu stratio n s of cunncctl'dness
ga in ed by th ese m ea ns.
Thi s is s uc h an c: isy way of toll in g a reader alo n;..:- th at a
write r mu st be c:1rcf ul to observe li rs t o f a ll hi s ha .~ i « prin c iple of unity. Othcrn·isc he mi g ht wa n <kr a lo ng su mewh ;tt
in t h is nu niwr :
Afte r we Incl c ndurl'tl the s tu ffy c:trs see min g ly fo r h 0 urs . the
1r;1i11 1«1lled u p to i hL· st:tt ion. Th is w;1s a 1w:il little- h<>x o f" litt ild
ing sl'l i n t he rn idst of ;1 hr11:u l pl!1l u f g'f':tss. I n ll 1l' J1! 11I. tt1n, \\T t l'
heel,; .,f fl o wers w ilt in g in t h e hot su 11. l.::t i11, it w :1s l'l·id vnl. w:ts
b:tdl y nccd ed; and , as a s ubsti t ute , water was being s1ni11kkd 011
t he !lowe rs by a ma n in un iform. T h is was al l white and rcrn inded
mc, except fu r th e ca p , of th ose w o rn h y bakers.

EXERCI S E 209 - Oral and Written
AC <,ll.' l l".'\ C; S< J\! F c;LJ [J ) J:'\ l; \\" U 1'1> S

J\bke a long li st of guiding 11·orcls, refe rr ing to som e novel
::i r tlthcr well -written hook fu r help. In c b ss select twenty
o i those.: most h dpfu l :111d most fr equ e ntly used.

I lu nge r 1ww

assa iled us, and we bcg::m to lou k for a res ta urant.

Thi s run s alo n g so as to g ive an impression of better unity
t ha n it rea ll y Ins, s" k ly because th e auth () r has used wo rds
o f rcpetit iu n, contrast, a nd s umma ry to bind the st·ntcnCL"S
togelh e r.

.
I

fllZST HOOi'- CW

EXERCISE 211- Written
i.:.r-: v1q~(;

U>llERLNCE

LOMPU~ JTI ON

TllJ ·: \1.1 ::-; Vol.:. CL ll>lj';(; WORDS

These exercises :1re intended to m:1kc you ~1 c qu a intecl with
this trid; of connect ion. Sekd on e of ) <Jllr old themes and
rc,·isc it \\'i th these devices in rni11d. 1\ pply them repeatedly
in your \\'riting u11til you ha,·e :1cquirecl the habit of using
them; h11t :-th\'ays be cardul of the unity of the 1x1ssage, and
seek, too, to ga in connectedness in a variety of other ways.
/J. Pronouns. Ctrcfully used , prnnn uns ,,·ill help bind sentences tngcthl'r; nthcnrisc . th('y \1·ill surL·ly intnft:n.: with
the rcadn's 1T:1dy grasp of the th oug ht, ;ind hence prevent
an imprl'ss ion of co nn ected ness.
It goes without saying th :1t a pronoun without a clearly
understood anll'L·rclent is meaningless. 1f any one should
attempt to lwgin a co111·crs:1tion wit h ;,,. or site, his hearer
would he at a loss un til th e speaker mc ntio11L'd th e person
wh om the pronoun rcp rescntecl.
Pr;tctin·d 1nill'rs :tre 11ot likely to he,:::; in a p:1ragraph in such
a rn yst iryi11g· 11n1t11 l·r: !Jut the int'.'\pcrie 1t n·d frL:qllcntly use a
pr<>nnlln ll'ith 110 ;111tcced t·11t cil-:1 rl y l'\j>It'SSt'(l, k: 1\'i11g lite
rt·ader to g lll'S.s fr"m th e sense of t hc p:1ss: 1ge \\'!to or what
is ml'an t . Th e IJr,1· \1·ho \\'role ' ' Tlw Ci1 ii \\ ':t r sl'ttlcd sl:t vcry
Jiy free in g /ft o11 " 11·;1S l hinkin.~ <•f COllrSe or Sl:\\'l'S ; but, 3S
hl' h:1rl not nwntionl'd. th em, he c; 1uscs his rc;i<kr to pause
for :t momc11t tP supply the co111wd ion th:tt hl' s l1ould have
m:tdc clc:1r.
I 11 this pa rt.i cllhr in st:111cc it 1s not h:trcl to understa nd the
writer : th e p:tuse r('sulting from h is ca rt·kss ll' ri tin g is only
mo!Tll'!lt1ry. Bu t frL·qut'nt ly the s: 11nl' fault will l':1 ust· rL·a l uncert;1inty or meaning. " \\'c had a l:ttc lJrcakf:tst, \\'hi ch - -."

One would suppose the writer was intending to s;ty so111d!ti11g
further :thout brc;1kbsl; as a matter of ract., ho11·n·cr, hl· l'l•lltinucd, "w hi ch m:tcle me hurry to get to schoul." \\'hat 111
the writer's mind ·was the antecedent of ,,,Jiidt !

EXERCISE 212- Oral
F.XP IZl ·'. SS! NG C LEAR /\NTL C l':ll J·:N TS F OK PIW;\CJC:\S

Decide as \\'ell as you c:m what the \\'ritn nw:rnt in t·:ich
of the fo ll uwing se ntL·nces. Then reconstruct th em so :is to
brin g out the meaning.
·-:.,

1. After sc:ll in g th e cnvc-lope ·1.:1ura told me 11ial i1 w;1s \'l'I')' impnrL1nl.
2. I n a we e k h e w; 1s fecli ll g un\\·cll. and this rapidl y grew <>n h1nl.
3. After he ckspairc:<l of recove r y, the invalid told ll H'. th;it he
probably co nt racted it from th e p11hlic drinkin g c up u n th l' tr:ttn ..
4 . C c ner:t l J::ick so n bore the a1t:ick \\· 1tlwut di s may . :1 t "h"h tlw
co mmander clubbed him " St 0 nc\\':dl J:1c·k son. "
.
. I1 cares
I arn I <Ium 11 w "'··
5. Ill y un cle used l» my st ify us \\'il

~"

t:·

I I c usl'd

to say th:;t he lcarnccl all th ese fro m U1c C hin ese .
6. The tr:llnp 's h::il h:id a h ole 1n 1t, wh ich m::idt: u s th ink he \\·:1s

th e victim of 0ur r:rndom s h u t.
7. Al first we did nol lik..: C <JW I'"Y 11·1·c: 1i11t

ft
:1 l\'hilc \\'e J, .1rn u l
a er
to aclmirl' them, and tht:n it \\':\S mnrl' pk;i s;i nl.
.
8 . Catfish :J. rc hard to kill, \nil it is no sign that they ;1n: ;1k 1n to c a ts .
!3 . Ou r neighbor's Jiulc g irl could sing hdor<' s hl' \\' :1s tlirc·c y,·;i rs
o ld. bul us ua ll y 1 hey :tr<' oi<kr hdurl' thi' y ca n c:ir r y a t11nc.
J !avin,-, no hair-ribbon , shc let it h:rng !<>"Sc do\l'n Ji .. rb:tck.
· ,.,,,"1-.-ot
f 11 n lo use a camera, but it is :1lso cxpcn'1'·l', unkss
11. I t IS
~«

{o .

you dcvt'lnp them yo ursel f.
..
J 2. Th ey say that a rolling sto n e gath e rs n n m"''·
13. Jn th<.: summer I tried lo get a j<>b , hut thc·y arc sc:irc'"
14 . T h e ora tor w:1s applauded, wh it· h 1n:idc him 1h1nk "'" :ill apprm·c·d
of wh::it 11l' said.
lo . At l'olk 's ckcti•m T exas entcrccl the U ni o n , which T.,·lcr s igned
as o ne o f hi s last acts as l'rcsid..:nl.

."

I

...

,

.l ·IRST l:OOK Oi ' ('01\ll'OSITJON

250

16. ;\f tc r pi c kin g uff all th e feather~ , \\'e roaste d it ove r the fire.
17 . '. \t an y ra t.:, th<»;e \Hore n<>t th e liu<1t s I ordered and ·is th · Id
d t>11e 1h1 s sa111c thin" before J rL'l urw·d ti ,
. <l 1 '
cy ia
•·
' · ·k
. "'
'
c
l e lll , .111
t 1<:11 they sent them
u;J c
tu me, cno.:l osing th e !;ill. t1Ju.

T\'ot.only nrnst.pron~ uns han.: a ntecede nts clC'arly expressed
but Ul l)'. lllll st rdcr defrn1tcly to these antl'ceclcnts. If several
suhsL:tnllh'S
precede the j)rollot1. 11 ' it .I S. ll cCC
. . ..SSLllY
.. . f OI. awnter
.
.
t_o t:1kc g reat c1 re that hi s mc:l1li11g ht..: clv; tr. " J ohn told hi 5
\\' I10 ·1 J 1- a sl: 1tc111u1t is
. worth makin "
.Lithe
. r th :1L ht. : " ._ _
1t is 11·nnh m:1l; 111g·
in
such
·
form
tint
tli.
.
·. llO C1OU 1Jt Of°
1
'
'
· •
LIL'. IS
its nw:llli11 ,;. ; . ( lftc.n Lh c clou IJt m:iy Ilt' cleared by a sim1}le
change in order.
EXERCISE 213 - Oral
1\\ ' <1 !111 :.;i: .\ \ l l: lt; L:JT \' I .\ ' Till ·'. 1. ...,. 1. . '11 : l'FZONOUNS

· gs Ill
. the follow. \ \ ' hi ch is. th e. best
. of th.e pnss1·1 >Ic Jlll·;u11n
m g· Sl' lltl· t1n ·s.? l\ cv is1.· c:irh se ntt'JH«: so :1s lo mak e it mean
clc:1rl y o11e thin g . Jn some C:ISL'S li st..: d irl'lt quotation.
.1 . ,\ft\· r th e g:-t ng plow we nt (J\'c' r· ti
th L· pri ce.
.
'"

r

11

.

I< ' ' ' i t se «nH«I 1., he worth

10. I got th e apple frn:n th e hi11, \\'hich 1 ale.
11. Thne \\'as :1 trunk in the :ttti c. whi ..:11 wt: ilwu g hl m ost i111 crcsti11 g .

12. Lucy s:iw as mu ch v f Jan e as s h e did uf h c r.
13. \\'hL·n I bo ught the papt:r ;i t the new s store las t w cck 1 ,aw th;it
it was bel ll'r t h:in 11·c had in town bdto r t·.
14 . \\' h en the c ulprit w as t;1kt:11 bd ur<: th e supcrintcn <knt he '""keel
at him in s urpri se.
15. I 11 botan y th e s p('c im e n s art: culkctcd h y th e cl;"s and lh« y arc

then nH n1 n Led fn r us<: .
lG. Th e S IH,W drif1cd ll.'.11 fcct d c·c·p " "''!'a part o f th <: n w l, so thctt it
could no t h1.: l'l'• >sscd .
17 . ( :c11rgc\ fath t: r dic·d hdon· IH· cou ld n ·nH:rnbt:r.

Y ou h:t ve noticed th<tL i ncnhL·rcn ct..: throu g h pronouns is
due not to their number so much as to th e :1rrangcmc11t of
th t..: parts of thl' st"nknn'. Nut in fn.:qu cntl y tht..: s:1mc pron oun
is usL·d m·cr and on:r i1 1 a p:1ss:1gc, :111d if its nll':111in g is JlLTkctly ck:1 r, it helps ratlwr th:tn hind ers th e impress ion (1(
con ncctL·cl ness.
!lill y \V oods stuppt:cl s hort before rc·:ic liin g th<: gall', :ind o pc 1wrl
hi s 111 oul h. 1-'irst a lo11 k oi c hildi s h drc:td c1111L· <>l'L·r h is Lice. I k
lrn1kcd ;it l\luns1111. ThL·n lw luo kc d around :<l th<: s taff. T!w11 h e
turn c·d his f:t cc ;1w ;1y and s:tt dull'n at th e nc :trcs l dc,k . !king a
bPrll rt.' Jhirll'r, IH· li :al g r;1 :-. pcd tli c whol t: sit u:itinn f rnn1 beg inning

tu cnd. -

Th e (Jthcr hn_,·s took tic
, : oa rs
inti ) c:u np.

"UL

o f t JH : '"'"ts :<nd hro u!!ht the111
. . ,.

5.
h... r 111•1llicr i f s he had l'l ' « I' 1,l ..c 11 .1n 1N L' W \' ork .
G T he·
. g irl
. ;1skt·d
.
. I Jc lrntlt h1111 s.·ll a C<>llCl'L'l<: h<>u sc \\'h i,·h s o111. ti. I· . I
m :1tcri :d for jl«rtnancnn·.
,
,.
e 1111 ,, is l 1e best
7. Th e cx:11ni11crs t;,id 1hc: ]J0 , -5 that thL·· · 1 II
o'clock .
·
) s iu u ( be rt:ady at nine

8.
9.
whe n

Tht: no te 11·as ll'rittcn
'"· c.111d k 1i ,..,.. ht · hut It IS ..•
oil 11g 11t ro r a cn mp
.
•.
I 1l e k :tdl< ·r J'(·111111dcd th< 1 OJtll l",.., rn :m t Il.l l hc h.1d i>L ui pi c:pared·
h e called tu Jll'L'Sclll hi s c; 1; c.

J\daptcd frut<I \\'11.1 . 1 ,\~I S , "The

s1 .. lc11

Story "

EXERCISE 214- Written

,,, l\hkc a list o( \Yonls th;1L will re presen t without n::unin g :
( 1) a man, (:!) a woman , (3) a book, (4) your class mates,

(5 ) you r stud ies.
/1. \\Tri te a p:1rag-raph about an y of th ese topics, using all,

if you ca n, of the words li sted under one number. l\bke
these words bind the sentences into a connc<;tecl paragraph .

flRST HOUK

or

EXERCISE 215 - Oral
0 I\. <; ,\ :'\ J 7. 1:'\<; :\

CO il ER ENCE

l'( lilll 'OSIT!ON

I\. F C I TAT! ON

Org:lllizl' f11r prcsent:ition to the cbss S!>llle topic:il recitation t li,1t. yo u Jun· recently Jllade, (Jr ;1rL· soo n tu make, in
history ur some other scho"l subject. \\'u rk buth in your
urg; mi z;1tio n ;md in your or;1l n;c itttiu n to sec ure un ity and
co herence.
EXERCISE 216 - Written
TEsT Tl! Ull·'.

\\'ri te a ch;t ractcr skck h of some o ne yo u know, givi ng
only sn much pns(ln;t! dcscript iPn ;1s h«lps to make the
cliaracl<.T l·l«:1r. I lo nt>l. 111;1kc this skl'lch :1 st11ry, liut illustrate
your points liy tL·l ling i1 Kid ,-nts \\ ili«h liri11g o ut the traits of
d1:1ractu'. Cl11><>,_l. ;1 :-;u\Jjnt of ;..'. 1'<':11 indi1·idu:ility, but make
your skvt\'11 :1 1111rtr:1it, n"t a caric:1lure. This dul's not mean,
hm,·e1·<.·r, th;1 Ly11 11 :ire t" a1·oid hunllJr. 'F irst be sure that you
undcrsund y()u r subject, :md th e n s in cere ly try to make the
fellow members o f you r cl:tss kn<111· him. JI· careful to introduc<.: , ·;1ri ety int o you r sentcilCL' struct ure, and to connect your
statements \l'l' ll liy all the m<.·ans yo u h:t\T bn· n practi cing.

r. Conjunction s . J\ s h;1s bn·n sai d , thinking proceeds with

regular stqis, L·;1ch th<iught li<.·ing- joined by so m<.: close connection to th;1L 1\·l1il h g<><.·s lidore. The thinker ca n tell, if
qucstion<.·d, \\'hdhn hi s th" ug hl nmcc rn s th<.· result or the
c 1usc of wh:1t pr<.·n·ck s or is a nwr<.: ;1dditinn to it; but in
express ion he fr <.'<jl lL'lltly L1ils to show thi s. Th e re should be
an im pr<.'Ssioll of C<1llL'rL'lll'l', ;111cJ this is lll:1de frequently uy
th<.: co1111 ectiH's 11·hich 11·e cdl co11junct iv ns .

,)

In th e chapters o n U ni ty and V:1ridy you ha\'C' ;1lrv;1<h·
had s"me pr:1ct ice 11·ith conj UtlL·ti«ms. \'OU ha1·e f<>und .t h:1l
thl:y arc divided into two brgc classes: ( t ) C<H>rdin: 1lc,. 30111in « clements of equal r:111k; and (2) subord111:itc, 3111nmg ;1
n
.
dcpcndvnt ckrncnt to "nc (Jf mnr<.' 1m portanc·c.
.
.
1 . Ct1-on/i11c1 1l· omjlfll(/l(lllS . The cc1-ordin;1lc co11.1und1nns
you have found, furth e rm11rc, ;1rc di\·i<kd accnrdin g t11 .thL~
mc:rni n« of th e.: r cbt inns in to fou r cl:isscs: (11) <«1pul:it1 1·L-,
1
(b) :illl';nativc, (r) a<h·c rs:ttin', and (cl) ill:iti1·c . Thc~L' r<.·btions :ire sometimes shm1·n liy 1\'CJrds 11·h1<.·h an: not gr: 1mnutically conjunctions . Sec if you can ad<l to the ful lu11·ing li sts

!'

of conjunctiv<.: words or phrases:

(11) (iJf11!11t/;oc :
well

n o l 011ly ... hut als" .,

i11 additi•>n

:IS

in like 1nanner
li»lh . . . and"
fu1 lhl'rmorc

lhcrcup<

likt"\\ j..,l.

1h"n·:1fl<'r

prnccc1l

similarly

l<>

H\

:IS

f mt her

',

J1..._· .... 11ks
\(14)

n1on·o\·e r

EXERCISE 21 7 - Oral and Written
F!:\llT:\C ,\:\ll l '!' I N C; C<> l ' l ' l. .\Tl\T. ('00.:\l·'.C Tl\T.S

\\.hi d i arc t he mosl common o r thes<.· co1111<.-cti1·<.·s 1 Tc·st
in scYeral p; 1gcs of you r reading- . \Vri tc L·11cn1.:c:h scnk11cvs
!.<> us<.: c:ich of th ese cn nnl'ct ivcs ;1t k~1 sl o ne<'. l(ccp )'Clllf
sentences as nearly ~t s possible about one thing.
(/') /l lt1·m11ti<•r :
ncith cr . .. n o r 2
otherwi se

cilh cr . .. or'!

or else

1 SC'c pn gcs 2 1 1. ':!1-4 .
-i

E:tch ui an y p:111 of co rrcbti,·c

(: onj1111cii1111-;

j, !1.: n t i1.: ally the sa m e cu n s t ru ct ion as th e ot hc.; r.

nnr
or

~huuld usually he

fol\11wi:d I

·y

..

L:

F J l\S'J' ! :()OK_ (JI ' C<l \11'< >S I T JON
('(llll -: 1.:.ENC E

EXERCISE 218 - Written

\ Vritc four topic sente nces that cont r; ist two th ings, one
of\\'h ich)·ll
·
.< 1 mu s t. c IlO" Sl'; f or 1nst;1ncc,
"N:1l iuna l revenues
may be r;11sccl liy clir1.T L or by ind irect t;J\; ition. " Select one
of th ese .;rnd d1.·1·e lop a unifi ed p;1ragr;1ph, us ing in it at least

t lie List four a lt..- rn:it in .: ~:onn crtivcs.

u1 1 th e l>thcr h.111d

in ~ pit 1 · pf

h ()wcvc r

ll t.:\' 1. ·rt ht·J l' S S

111 >l \\'it hstand i n ~~

wh crc; 1s

fur all tli:ll

<•11ly

on the co ntrary

still
but
yet

EXE RCISE 219- Oral and Written
US!:\! : .-\ll \ ' J·:J.:.S. \ T l\ ' J·: t '():\:\ i·:c·T l \'J·:s

l II)\\' lll :lllv c1f th l'sc ;1<h·1.T.-;:1ti1·" ('1111 111.Tli n·s c:m al.so be
l'< Jmhincd
11·i1h /! 11 / ' - 1·t'/, '·111d .r/1.ll (·1v
·1 ·11 I///. . .
· )'
• .
• ·' · ·' 1
• I
Ii .llT/I/(' Iii/I(' [
\\ nk l"ll <•ll .:. : h s1.·n1 1.·n 1·<'s tn us" 1-: 11.·h uf 1h1.· co nn L·ctivcs :it
k:1 st nn cl' . ;\Lik e the co ntrast (lr tl111 i1 ,..,•··11t m1rt Ii umlrasting
in cx pn ·ss ion .

in C' 0 11 St ·q ttl'l1 CC
COllS<.'. fjlll.'nt ly

l

hl'J'l'f1 II'('

and s o

Sindbad soon grew tired u f living a n idle life ; - - h e v111!i;1rkcd
i\ ftc r tuucl1in~ at
sc'.\TLti pfJrls, the sh ip was u1·nt:1kc 11 by a drcad(ul tL·1npcs t and
w as rende red al1nus t h dpks s : -- - it h ad to mak e h ar bo r ro r rc p:1irs. \\' ith dif1icu lt y th e Ll·c w broug h t. th e 1·csscl t'l an island. the
shores of whiL·h fai r ly s wa rm \' d w ith dwar f s:11·agcs . ThL·sc h:1in·
w il d men danced :1b1•lll on s h urc , br:1ndishi11g the ir kn iv es :ind
s hoo ti1 1g the ir p11i s01wd a r ro11·s at t h e s hi p. - - Sindbad and his
fe ll ows had no d es ire lv land .
wiLh so rnc 1n l· 1Tha nts un an oth er lo ng voyage-.

S I NC !\f.'I TJ.:.N.'\ Tl\ · 1·: ('f >:\:\ J·:\·T I V F.S

at tlic sa 111c ti me

255

thence
h e nce

EXER CISE 220 - Oral and Written
S I .\ t; I I.I .. \Tl \'I: \ '() .\ .\ TC .. !'! 1· 1-:s

\\ ' h ich o f the ill:1tin: con1ll·l'li1·cs c:i 11 \·ou in se rt in the
fnll1Jll'ing IJJ;i nk s ? l 'sc llw Ji,., t nm·s. \\ ;rit1.· :tn olher wellu11 ili1.·d p:1r;,gr:1ph, us 1nc;· the 11!'1 1.-rs.

,.

EXERCISE 221- Oral
U S I N C TllL H> U I.:. T\' l ' l ·'.S tJI -: C O NN H .. l'IV l·: S

,.

D ecide 1Yheth c r thl· second sente nce in eac h of the fo llowing gro ups L·xpresscs a th•1ughl copulativl', :ill<.'rn:ttin·,
ad1·nsati1·L·, o r ill:it ivc t( l th :tt in the first. l \c\' i ~e S(I :1s
to C'\ JJr<.·ss the prope r r1.·l:itio1i. \\ ' licrc1·er it sec·ms best ,
mak e o ne sentence or th e two. Use a \'ariety ur cu nn ccti1·cs.
l\.e\' icw J..'.ule 25, p:tgc T 72 .
1. Thl' h·1ys h :1d mumps . T he y did 11 11 l g <1 t11 sc li11nl.
2 . l'ul >(,..' rl 1.tiuis St1.·vt· 11 :-;(lll c: tn1c t•) , \1 11l·r i ~ · ; 1 in th ._: s tn: ril g'l'.

I le

crossed th e pl:iins ill a 11 in 1nti;. .~T;u 1 L tr:1i 11.
:1. St\'\'l'll S<Jll \\'\' Ill lo l': tlif11 rnia in sc·arc h o r h e: il th. Not findin g it
th 1.· re, he: s:1ikd f,.,. the South Sl'a Islan ds.
4 . In th is L1r-:1way pa rt o f the world he spl'nl th e rc·rnaind c r o f hi s
life . I k kl'pL in t•rn c h with hi s old frie nds throug h charm ing letters .
5. t> nc would thi nk tha t a man so much nrnfi 111:d to hi s bcd would
hav e s mall s trc: ng 1h (<1r writi ng . Stcvc nsn n during these y ears of illnl'SS
d id mu ch (>[ hi s hc s t W<•rk.
ti_ I. cc migh t l1:11·e p rc:sscd u n in to h os tik c<Ju n try . I le m ig ht have
re turn l'd i 11t1; \ ' irg·i11 ia.
7 . Th e· arn1y h:1d no a<kquatc fo11d s u ppl y . It rc: tr ~1ccd its c 0 ursc .
8. I >i c kcns ofkndc:d man y 1\ 1m·ric:u1s by his c<Jm mcnts "n this
co u n t ry . t >n h is rdurn so111c years l:itcr lu lecture h e was greeted by
apprn ·iati1·c :1utli cnccs.

'!"'.

1-'l RST 110<

,,

I

'
I
'I

)!(

!:I. I k wa s a great nol'l'ii s t.

h is own s loril's .

OF COM1'0S l'f'!O N

COH l·:RENC E

10. Sh c rlur k I lf,l mes o hs l'r\'ed th a t hi s fri e nd \\':I S poo rly shaved on
th e lt:ft s id e. l le cund udcd th: 1l t he li g ht h:1d bl'e n v n tb e rig ht.
11. 1\t fi rs t h is co ncl usio ns sc·cm s upe rn :i tural.
how he reach ed them . they arc rcaso nal,k <' ll o u;.: h.

\\.'h en he explains

12. 1\ <letc'C ti\·c mu s t rea so n frur n e 1·idcncc tD lind th e cri111ina l. A
s c holar mus t use c \· id cn ce to arri1· c at a c•mcl us io n.

5 . J'urpose: th at, les t, s o that.
,
.d . ,, (Thi s rl'l:rtio n is
.
1· .
. ·r 1111less exce pt b11t th at , prov 1 111 ,,, .
6. L"n < 1uon · 1 ,
· ·' ·
'
. . . h.
I ·e ·t in the d :iusc .)
ofte n s h O\\'ll s impl y by placin g the verb bclo1c t c su )j c
7 . C o nce ssio n: alth o ug h , tho ug h .

Som e of these rcb tions, a s you have a lready seen, ma y be
expressed by other means. \ Vhat arc they?

l:J. Th e m agici: 111 hid a ll th e cu ins o n the m:irb le top u f a table. \Ve
selected n ne.

EXERCISE 222 - Oral

1 4 . Th ose on the r:1 ble s oo n bc·c 11ne rold , \\'hi le th e o ne we c hose
\\' as war med by o u r h;.in ds . l le had liulc truublc in p ickin g o ut from
th e ha t th e p c n m · that ll'e h:1 d s d<'ck cl.

15. Tirn c· and tid e \\''1il fo r no man.
pro mpt 11c·ss.

17. Th e l>oys we re \\':t rn c'C l to kcl'p nut <•f th c fi l'ld.
bo ldly ac ross it.

Th c'y marched

18. T hc e arly bird g els the worm, it is sa id. \ \.' hy did th e wor111 get
u p so earl y ?

·I
I

:1

IiI

EXl' J.:J-:ssl l'\ (; S U BOl.:.Jl l l'\A TE lll FAS

Complete the foll owing sente nces :

J t is \\'i sc to form habits of

16. \' u11 m ust be· a l the st :it io n in time lo c hec k y uur trunk. You
rnay go w il hout it.

;i

257

1 k was a m os t entertainin g reader of

19. I le fre q ue ntly used in his t:i lk pro \·c rbs ;111cl <)ll <i t:iti o ns. C e nerally h e l\\'i st l'd t hc m 011t ,, f th e ir us ual s e nse.
20. T he t hou g ht in o nc's J11i11d m:1y l>c dear a11d c<J here n t. U nlcs~
co nj un c ti \·' cl l' rllc 11ts bind the deta il s tng c th ,.,., it may lie: incohcrcnl in

irnpr~ ~s i u 11 .

I'!
!

2 . .\ / 1/Jord/1;, 1/,· <'011/1111«1/011.r. .Su bo rd i n:ttc co nj unctions int roduce adn:rb c bu sl·s ex p ress ing ( 1) pl:t cl', ( 2 ) time, (3) m anner. <-t ) c: tu sc, (5) pu rpose, (6) rnnd iLi un, : tn d (7) con cessio n.1
F (llluw i11g is : t lis L of the lll• 1st cu mmon s u burdi n :He conjunc-

1 ()ur J>lans wnc defect ive in th:it - - -.
to hc l1i
2.· Lcc Ovcrst rccl, w h o is a n o 1c1 cu II q ;' C j>lave
. r, p ro m is"d
us,

pro vidin g - -.
.
I . . . . . .. cvinpa ny , irlCL' 3. I l e h as !Ke n workin g fo r t lc cx.p 1c ss
_
Tl
., 11 _ _ _ he rc rna ined at. l11 s pos t.
.
.
'
\\' c.. -<
s·\ w
o f. An1 c n can gvu<.s.
1
54. \\ ,1uu:---•
h e rn-er ---,
_ • we wen,; hearti ly chagrined.
6.· I nas rnuc 11 •,ls, 7 . Th c bull cl og held on unti l --'--.
..
8. S111ce
- - , I 1e 1·efuscd lo t:'l k..: a refusal.
•
9 . Les t - - , yo u mus t m:'lke complete prepa ra ti o ns.

~1d\·crtiscn1cnts

lO . The doo r slammed as - - .

·I ,

, .. _ _ _

Sh e wo uld turn b:ick and gi \'C up h er. crr:md \\ ic n e\ Cl
Sherlock 11 olmcs knew so ma n y d e tails that - -.
1 3. J\s - -, no o n e co uld re;id l11 s letters.
l4 . J\s - - , tiO th<.! trct: must li e.

~~:

.

EXERCISE 223 - Oral
l'l.:. .- \ t ' T/ C I': J N

SL t J ; o J .:.I1 l ~i\TJ<J>.'

ti\'L' 11·v rd s :111 d p hr:1 scs :
1. l' L1c·c : \\'l1" 1"" ''"' ll' ncc . \\' hith e r.
:! . Ti m c : \\' lw11. \\'J1 c n e ,·e 1'. :i fter, lie-for(', till . 1111til , s in ce.
3 ,\L111n lT: :rs .

4. C:i use : hl'l':l llSl'. '" · si11c·l'. f., r, in:is1rn 1"11 '" · i11 t h:i t. Sc'<·i11 g that.

. ;
1)ec iJ c \\'hi ch o f the follow ing- st;ttcrncn t s t o su bord in ate
·r·
l
·
t
.
.
tl1
.
clements
in
t<>
un
i
ice
sen
l ·nc l ·s. ' .sh)\\·m·'
'
,..,
I
tJll'n COlll )Ill e
l'.
·
. · . •.
th e t hou~ht re lat io n by the in se rtion of prope r cu nn cc l!\ c;; .
..
. 'I
,, . it ch bl ac k . Fa th e r c arrie d a lan te rn.
1. 1 he n1 ;., 1l \\ ,i.s P
.
,
d . \\' e sa l a n d w a tched
2. Th e su 11 SC' l into a h:ink of .1n g ry c 1"u ' ·
t h e ni g ht cJ 1,sc i11 up•111 us .

,_
~

258

FIRST Jl()()K <>I: C{)!\ll'O SI TION

:~. Th e thief returned th e stole n goods and ,; rorni scd to lead a better
life. Th t· s lalc·s att o rn ey had him buund O\'l:r to co urt.
4. Benjamin Franklin made many experiments with elect ri city. He
wi s hed , among utht.:r things , to identify ckctricit y an d li g htning.
5 . Tht.: li un \ roar shook the hill s. Thun de r s hak es th e hills.
6. \Vi lkins bo ug ht th<: old bri ck mansion. l lc was bo rn there years
befo re .
7. - - a yo un g man ente rs the army, he llll L~ t serve three years.
8. - - th e pi: nalty of fail ure \\'as se ver<:. Hass;1nio boldly chose the
kad casket.
9. Ant o ni" b"1To11·cd the mon ey - - h e might knd it to fl3 ssan io.
10. l 'u rti :1 hurri ed b:Kk tu lkl rn unt, - - J c~sica and Lorenzo were
a\v aiting her.

11. - - th e pony had thrown him once , Ca rl was a fraid to ride
ag:ii n.

12. R(Jbin I I nnd 11·as an o utlaw. I It: had to Ji ,·c in S he rwood Forest.
13. l le 11·:1s strnng and sk ilful. :-;o nwtirn es h e 11·:1s dekatcd.
14. ( ;corgc fed his pets so m uch - - t hey :ill beca me surfeit ed.
15 . Laura kd th e chickc·ns rl'gula rly. They did nut lay an egg all
wi n ter.

16. - - l lol mcs's" Old l rnnsidcs" appeared, th<: ship was saved.
17. Th e boxer's eye is qui ck . It nutict.:s th e sligh tes t mo tion of the
opponent.
18. Electrocu ti on is more human e tkm lw ngin ::;. It has bee n lcg:illy
ad op ted in many st:1tes .
19. Th e g irls \HTC lat,·. - - -- they had been calkd in pknt y of time.
20. - - til e train was runni ng on scht.:d uk , th e conduc tor would
not wa il.
21. Fas hion s oftL·n lkcrce ri dicu lvus thin gs. S ome people always
wea r them .
22. Consumpti,·cs arc now advi sed to sleep ou t n f doo rs. They
there can ge t plent y tlf frt·sh :i ir.
23. 1'ublic drinkin g cups :m; dan ;.:-n s to health, - - th ey transmit
dis<"ase i:;crm ' .
24. Indi ans livnl bq;ely in the opL·n ai r. Th ey se ldom had diseases
of the lun gs.

aI
' I
ifI

1
~

C OIIFl{F N <· E

259

EXERCISE 224 - Oral
S U IHJ l.:. I J[ 1'1 1\TI N <; J>l·'. T 1\ll. S

Consid e r with care Llw rclatinns of Lhc deta ils in th e fol,
low in g groups . Comb irn.: th e dcLaib su as to rn:t ke C!l1l' good .
effect ive se ntence of eac h g t'< Htp. l f th e result s of membe rs of Lhe class differ, see that tht.: c tuse li es in d ifferen t
un cle rs tandin~s of tht.: m ea ning.
1. The man was in a lrnrry.

l le did not see the wire .

l le fell

sprawlin g.
2. Stan 1ey wor k·c(1 on a 1ww sp:1pc r. H e felt h is im1>ort:ince. One
day he had an experience. It humbled hi s pri tlc.
3. Fathe r wish ed to gd some excrcist.:. l lc tril'd pun chin g th e bag.
H e did no t like it.
4.. \ Vt.: bovs offered to teach him to skate. J le n·tl ec tcd th:. t the icc
was hard , bc~ides being nearly six fed fru m his ht.:ad. I k dedim·d nur
off e r.
5 . I chose the be t s<.:cds . Th ese I sowc-d in ri ch ·soi l. l cultiv:.itcd
the plants every wee k until the cr" Jl w:is " l:ii<.J by." l h:td th <: hl'sl cnrn
at th e exhibit.
6. Sergeant () ' Kcdt.: s:tw a ~li nt o f money in the trarnp·s hand . I fc
arres ted the tramp. H e ::;ot th e Joni;·suugh t hold -up m:1n.

EXERCISE 225 - Oral
VAR\'fNC 7\li':TllOl >S O F :-; u 1HJ l.:.Dl :-.l :\TI ON

Y o u w ill rl'c:t ll (p:tgl's 204 - 207) th:tt in stc:1d of suh<> rdin::ttl'
clau ses , s omet imes participles, in fin iti ves, and nomin:itin: ab,
solute construct ions arc used to express ckpcndcn t id eas .
]\ e ,·ic w Lh c t\\'O preceding exerc ises and sec where th ese
three kinds o f phr;1ses - p:irt ic ip ial, infinitive , a nd 11 0111 inati,·c
absolute - can effecti ve ly be subst ilutt.:d fu r cb uses.

260

1" 1!<S r

1· ' (.

' >OK OF COMPOSITION

EXERCISE 226 - Oral

~

STl<J\\' lNC CON i\

. , ' T C TION H\' SUIJO l.: IHNATION

Combine the scntcnccs in eac h '
.
.
1
group 111 as many sensible
ways as )'(Jtt c- 111 Sh
' · · ow 111 11· 1at connect'
·
would be prd('r;ibJe.
ion one ot the \\H1,
l. Jack played third b::isc 1·11
th e bst ga me.
urd::iy . O ur team did not win.

. 2. Th e lu1· «r hesitated j11s1 a rn o•ne nt
.
nght -hand door a nd npcllL'd it F1·l';. • . l Jc walked qui ckly lo
t.lid this. Th e s tory dues I t '.1 1 • j heart stopped beati ng whiJ he,_.,
i o le us wh e ther th e Lady or ti1e tiger
.
out.
aimo
3 . T orn S:nvye r did man y :imusin" th inn.
.
one of them. This w:is he· ..
I. "
,,,s. I have always envied hi~
4 \V' .
'
.i1 ing lls own funeral serm on.
.
e p l:!nned lo ent<.:nain the
.
seni o rs at a p·irty
ti11·
·1.
·
' ·
hey go r ah ead of us
'
·
5. Protec tive e1doriiw is. ni ·i rl ·,. l .
· · Is. When in thdi
na tural h::i unt s th cv ·ire "Jy · I • ' "c .rn. m:iny dll1ma
G ..
, •
arc to sec. I he chipmunk .
d
.
. l om rcac h<'d sc hoo l ah ead of t'
·1·1 .
is a goo exampk'.
plan.
une.
11s was unusual. He hnda.

EXERCISE 22 7 - Oral
l>lSTi l\"\. l i I S T!I N\. P R
.
d J\ C fl',\[. A ' I> S U BORDI NATE

D ecide which se nte nces co ntain th
.· .
.
g-rOltf). th c r1 1n ·1J ·c ti .
j
j
C pr ll1 CI)la] ideas in C3CJ. ,.-;
'
' \
1('111 t 1 • ) .
f
Th e oth er , .
..
c ascs o you r new sentence$.;·
. .
. sen tenets mu st be subord i1nted I b .
to clau ses or ph nscs ]f . r· l .
'
Jy emg reduced '
_
• · · ·
)O U 1n r 111 anv crroup i]
f ..~t .. •
1;ink, yo u mus t · f
-.,
.
Jo
(easo eq ~ .,.
. 'o cou1.>t , comlJ1 ne them b o
f h
types of co-o rdin ate co njun ct ions.
y ne o t e four ,

~

I !

1.J

I'f

1. Ca nada is an d li :1s lo1w bee n a B _. .
.
ants :ire of th e sam e st . ·k . ~ . . . .
l It1 sh possession . The inh:tbit•
.
· .
' I )(
, IS \\ C. J\ ( r ()SS the j' .
Ii
,
in tradJt1ons and a markC'd d i ff ..
.
.
in c we nd a d11TcrcnaQ
2 M 0 ti1
k
c1C' ncc 111 :itt1tudc toward England
·
cr ;is ·eel me to do some sho ·
f
·
was ne ver ent C' rt aining t'> me. J w:in.tccl~~rng or _her .. Matching ribbona
unl oad . I went off cl '
I
.
get pe1m1ss1on to see the clrntt.
·-,
o vn t 1e stree t with apparent 1 .11 .
v1 mgness.

COHERENCE
\Ve ran the last th ree blocks. The train was bic.
\ Ve h:.id plenty of time tu rest.
4. There arc styles in dress. There an: also styles in spe llin g . An
xample is th e spellint; o f /i1)1for. On ce it was spelled h -o ·J\·U·U·r.
me day it may I.Jc spelled o-n-o-r.
· 6. Cxsar did nu t wi s h to seem :-if raid . I I c had bee n w:-i rncd nut tu
~ lo th e se nate h ouse . Calpurnia was his wife. She i.Jegged hi111 tu
emain at h ome. J le went. I le was kill ed.
6. Th e re a rc m:1ny kinds of stoves and furnaces . l n all of the m the
principle is the same. /\ir co ntains oxyge n. This is necessa ry to fire .
It is supplied hcl uw th e fL1L·l.
7. The " l\·I<.:rch<1nt of \'eni cc" wa s to hL· p1·esc ntcd. The pcrfurmOur prin cip:d di smi ss,·d sc hool at noon . \Ve

EXERCISE 228 - Written
S U llOIUJINATI ON l·:Vl.- l·:C Tl \ ' I-:1.Y I N A l'ARAGRAl 'il

The sen tences in th e following parag raph arc 11ut only
monotonous in form, but, bein g all co-ordi nate, tht:y crnnot
express the relations in the writer's min d . Decid e what arc
the chief po ints in th e parag raph and what are th e relations
of the d etails; th en rewrite the paragra ph, tryin g by all the
means at yo ur co mmand to connec t the de tails so as to show
their rcbtive values.
N ow nit;ht had drooped slowly upon the wide watery kvcls in
front. /\t no g re:i t di s tance from .the men in th e boat the s hore line
curved round. It formed a lont; ribbo n of shade upon th e horizon .
The re a se ri es of points o f yellow li gh t bet;an to start into exi stence. They dcn otecl th e spot to be th e site of Budmouth. There
the lamps we re bein g li g hted al ong th e parade. The cl uck of their
oars was the only sound o f :-iny distinetness upo n the sea. Th ey
labored amid the thi ckc ninJ!: shades. Th e l:implights grew l::trgcr.
Each appeared to se nd a fli ckering sword far down into the waves
before it. F in ally the re :irosc, among oth er dim shapes of the
kind, the form of the vessel. They were bound for it.

Fll\S'J' J:OUK OF CU :\1 l'O S !TION

lll. Loost:

A NJJ

P1-:1uu1l1l;

S E N TE NCES

/\s has b,
· ·
ecn Sl'Cn, it is tolerably easy to hold a reader's
attention IJy the use of close rnnneetiH:s; but because this
Is so, su rne \\Til e rs ·ire incl' . I
. .·
.
. .
'_
. i net lo sli i ng out a sentence until
all u111ty o l 1rnprl·ss 1011 is lost F 1., . ·
.,. .
. .
.
·
· · · c tY it em may be clear; its
I cLttiu11 to 11 Ii.it p1 l'CL·des ·111 I t 11 ·J .
1· 11
. .. • .
.
· ' l u
i.it u rn1·s may be unmis1
t.1 ~:ibl e .' but :ill !he Huns logd hc r d o nut impress one Jar er
1clcc1. Such sentenc· ·s .-. ·
·
g
1 }must ;1J\\':11·s
.
.
t. "ea
Ill effect loose Th'
docs not imply th;1t loose Sl'l1ll'rwcs sJ~ould be avoided. f ..1s
the c lnpl ·r
\' ·
·
• 01 111
.' ~ on arrct y rt ir:1s sh"ll'n th;1t they are im1iorl'lnt
ant I t•lfcct 1ve · but·t I · · ·
..
'
. ,
I < ,,, s lllt ,111 th:1t loose Sl'nlenccs should
be used with c:ire, lest both un ity and cohcrenu.: IPe lo s.
·t
EXERCISE 229 - Written
SECUl-:IN( ; UN IT\'

i\ ;'\'l!

('01 11·:1-: 1·:.'\'1 :1·: 'l'JIJ;l>l '(,' Jl J'ERJODIC

SF .'\T J·:.\ t: l·:s
.

) .
1\.CV1se these slrinoy senknces
,...,

·

unity and uihert·nn· "«iod effect .
' ,..,
s.
of each ;1-; unit y requires .

·

s1

· 1 as lu g;iin, throtwh
0
1\ 1 I
" .;e :1s many sentences

J. Tl""" 1h:1t lm·cd ln11li .c:<>t uu1, f<>twht f11r hl' r ·111d c1· I
dream of thi11 gs tli;1t lhl'y \\'<11ild Iii · . I I M I
I
''
t< not on ly
I .
'" " '"· ' u1 'a1·"d ·11 1d so did ti
anc. in the end ur in <k-:11h ·" '"' h"r S\\'t·c t s tern Lwt· ;Ju ."
iem,
wl11k others \\'uuld like '" h:11·c s('c·n htT hut 11 .. 'r I L in the mea nhcr, but only sat ll'ilh cr1JSSL'(I h ·11 1<ls ·1n<l' " I <l
lL)'f< IC not try to find
'
'
SI " lC
o r ) " ti . b .
thlcreforc no t be ing strong e n1J ugh lo he lp ~hem se·1r~~:·fo11el11r elhkcf
ot ie rs.
'
er 1 e

2. Th e li1tle <Ille, ri s in g on il s I .,,..
I II
.
· <,., s, locc ed lhruiwh ihc s now th
o Icj g nrn y shall'I in ll'hi"h it 11 .. 1" 1,.1.. 11111 ·<I 1 . . .
" .
' e
1 g 1ll' h I ·t
'"
•
<
i:u1n
I
qu eer litt le burn1ct cbn ,c:·ling :11 i1 s ba1 k - I l<ll, I
in c i ' anc the
f S" . 'I · .
.
uc cc on to the o iJen doo
o ~ Has n .u ncr .s cot1~1 ..·c :11ld rip I t
I
. r
. .
,., .
,.., ' up l11 I 1c w:mn hcanh where ti
wlad
· s ~ kl~right ~re of logs a1vl sli<'b. 11·hic h had thorow.-hly' wurm d1telre
o s .1c (Silas s 0" rca tco·it)
. ,
"
<::
lC
'
s prcac1 o ut o n tht.: bricks to dry.

COIIFRENCE
3. \Vh en the time o f maturity in th" , hry salis state h ;is been rrachccl,
the coveri ngs p:irt in su c h a way as l<> """"' 1lw t· sc:q>e uf !Ill' perkc:
in sect, whi c h , as it comes furlh , generally c:i r ri es 11·i1h it some suggesti on of its caterpi llar s tate in th e kngthcncd ahdt>men, which it with
apparent d iffi c ulty trails af1cr it until it secures a l10kl up u n sonH· "iljl'cl
from whi ch it may depend while a rrnccss of development (wh ic h gc·n·
crally lasts a few hours) takes place preparatory to !ligh t.

1V. l' A R.\ l.1.EL

CONST IWCTION

It is eas ier for ou r minds, as for our bodies, t< > n ·p<·at a n
activity than to undertake a new one. I mkcd, 11·c arc told
that, aft.er do ing sonwlhing once w it. h satisfacti o n, \\'C incline
to do it again. For thi s reason we incline, on the side of c:-.:press ion, to use the same form of sentence or moclificr again
and ag-:iin; and, on the s ide of impn:ssion, we c:-.:1)l'ct the
rcpL:tition of a form. \ \Then this is l'<inti11t1L·d t<>o lun g it becomes, o f coursl', rnono tonnus and tiring. But \\'hen 11·e have
. a repetition of simibr thoughts or mod ifiers, thne is, 11ithin
limits, a gain in cuhnencc th rough ;1 repetition o f the form
too. Shylock might ha ve s::tid, for in stlllC<': " I lath not a
Jew eyes? /\Jew hath hands, org;llls , dirnensiuns, sL·nsc·s,
affections, pass inns." But th e coherence of the p:tss:1gc is
imp roved g reatly liy t.hc repetit ion o f the int crrog~ tti 1 · e f<>rm
of se ntence .
This princ ipl e of p:irallcl structure is often treated for ot h er
ends. In this chapter t h e emphasis on parallel structure is
for the purpose of securing conncctedrwss . The coherence of
a passage is materially aided if ideas simib r in th ought arc
m ade s imilar in for m. This applies espec ially to th e form of
the sentence - dec larative, interrogative, and imperati ve ; the
fo rm of the modifiers - cb use, phrase, and word ; and the
voice, mood, and tense of verbs.

;·,.-c

F IR ST BOOK OF COM l'OSI TI ON
EXERCISE 230 - Oral or Written
S l,:C UR I NC <'0 111·:1.:E;\ C E TlllWUCI C PARAl, l .EL FORM

Impro,·e the connectedness of the following sentences
by mak ing para llel in form everythi ng that is parallel in
thought :
1. Paul sat up in bed and listened. The mumcd soun d is repeated,
nearer this ti me.
2. "O h," he th ought, " if my father we re on ly here or if I was a
man. "
3. The lette r finally was written and Florence blotted th e last page
contentedly.
4. l\fy lit tle broth er was \'Cry happy over his presents. He received
a hook from J\unt Ne llie , Uncle J<•e se nt h im a toy gun, and there was
a wheelbarrow fr om Cousin Fred .
5. The tops of the trees held the sunli g ht awl1ilc, then it rested on
the hills , and finally night chased away the bst lin ge rin g rays,
6. "Ole Miss l~obinson" never ch:.inged. She still rocked nervously in her chair; she had not ceased bow ing in her je rky manner to
all who passed the house; and she kept up her habit of making testy
re marks to he r fri end s.
7. l Ie remarked solemn ly, " I [ow are the mighty fallen and the
wi cked ha \' e come on evil days. "
8. She seated herse lf :it th e piano and the next moment the keys
were pn:~se d by her l(1ng, slende r li nge rs.
n. ( :ive me liberty or l wuuld rather die.
10. "J\rc you not a man?" the capta in sho uted 111 his car. "You
have cou rage enough to hold out a littl e longcr.1'
11. J\ man of ho nesty and brave enough tu tell th e truth has a great
opportun ity.
12. l t is s:ii<l to be the ghost o f a trooper, whose h.:ad had been carri eJ away by a cannon ball , and the country people sec him now hurrying along in the gloo m of ni g ht.
13. J\ whi s tlin g woman and a h en that crows will never, the old
prove rb says, come to any good e nd .
14. The two brothers . hard-hearted and selfi sh , fail ed, while Gluck,
who was kindness itself, found the Colden River.

COI I ERENCE
V.

E u .11•sEs

Lack nf coherence o f lc11 rt'sll 1tc: f.r•>lll tl1"~ <•1 11 issioll (If
words necessa ry to the express io n uf the thuuglit. ." Huys
lik e 'Treasure I sland' bcllcr than g-i rls" m:ty ha \ e eith er()[
- \\ -11 c.,.c." ts.· " l h·1\·c
two m ean ·111 gs,
·
··1hl"l)"S
,_ done th. is and :.tlwa -vs

intend to" expresses no mca11ing clearly, s i11 ce 1t demands to~
much o f the reader --- th :1l hL· s upply :1 fu rrn uf the \Trl> (i ii•)
n ot alrl'adv used in t l1c scn lL'11ce. ·1-hc crnTL'l'li• •ll ,, f . such
.
• c'-·s 1s
· ;111 c:1sy 111:1 tt 1·r. Tl\\ ' 01ilv diniL1ilt.\· ltl'S 11 1
fault\· sc ntcn
]
1·
· l ()J)l''s <1\\'ll_ \\'11rk.
dclccti
_
11 g the inc o mp de const ru e 1011 11 .
vVh :tl is ck~t r to the writer \\'hl'll he sch It duwn -\I.ill Jll obahfy be cl ear to him when he g lan ces ove r it; but ii ,lK' n·:1ds
· car- \\··1·
•'lccl dl11>sc-;
th e pass;tg<_· :tlOll(,l 1i 1s
1 1 o ft c' 11 d "
-- · Lk1t lllcl\,
blur th e mcanii'1g.

EXERCISE 231 - Oral
Sll l'l'L\"l l\ l; l!~llTTLI! \\'<J l.:l>S

Decide whethe r each of the foll ow in g- ellipti cal sentences
suggests too Jittk 1 or :1 \\'rong ide:t; then amend it.
1. C h np lh c r:lisi n s finl', then sn;ik in wat e r ovc~·night.

2. John Iiad don<' this once and i11t1:nrkd tu agai n.
3 . .l 'u rto !Zic·u is nearer N.:w \'ur k than I· lunda.
4 . T he directors ekctt:d th re<.: oilicers: a president,

:i

sec retary ancl

treasur.:r .
I I'
5. I nev c:r have studied that subject and now I never' 1:_1 1.
6 . In the cellar was a cidcr-b:1rrel, a nd al the tirst 111v1ta11un we

\\'Cnl

to ge t so me.
.
.
7. I le did not li ke keepin g books, so res ig ned it .
8. The tw cnty-s.:cu nd of December is s horter than an y ut hc r d:1y uf
the year.
9. I le studied as hard as he cxp1:cted us to.

·{.

···.-

266

1-"l IZS'I' BOOK OF <:<>,\ ! l'OS I'l'I ON
CO HERENCE
EXERCISE 232 - Oral
SU J'l'l.Y!'.\(; SLIHJ E<'TS U V \'E1"1ALS

The omission of any logical subj ect fo r a pa rticiple or a
gerund
oJLcn disast rous to cohc rrn cc . ./\s you have al ready
found (l',xc rc1se 206), participles nn:d \\'atching . Often a
cha nge in th e orde r of words is not enough to make clear
the connection of the participle; the \\'h ole sentence must
be recast in orde r to express clea rly a suhjcct on ly vaa uely
.
c
suggcstcc.I Lllrrect the fo ll o\\'ing scnll' ncL·s:

1:

a s li p o f p:ircr, with out the ir seein g it, not th e vari.1us namc·s. hul
each tim e 0·r1111!. Fol d the slips a n d d ro p them i1110 :1 h:1l . : \l t n
yo u h a ve a number "f s li ps , as k th e c hildre n to clr;1w • •Ul. "fl<', n .:ad;
an d bu rn it, ta kin g cc1rc nut le) kt you see llie n ame, wh1c·h mil. "'
course, be the only on e th a t y<JU h:1ve writte n . T:iki ng t he as hes .
rnh them on yo ur furc·;1nn, and th ere, mys tery uf m ys ll'rivs, will
appear th e n ame (;n11tl.

2. Looki ng f11 n he r down l he strl'l' l, thi ngs :1ppl'ar so s mall that J
can n ot te ll wha t they arc.

a . I s eve ry csscnti:.tl dcta il fo r the s uccessfu l pcrform :1m-c
of the trick given? A rc the deta il s g ive n in ordn? \\ .h :tl
dev ices arc used to bin d th e scntcn ct·s togcthcr :incl th us to
g ive th e wh ole pa ragraph co nn cctcdn css?
b. \ Vrite directions in a s imi lar mann e r for performin g
some trick. Takc ca re Lu secure cohere nce

3 . Entering into U1e contc.:s l w it h great e n ergy, IJi s milit::iry k nowledge sno n brought h im promc•tio n.

EXERCISE 234 - Written

1. J\ ftl'r si tting on a ben c h f,,,. so me tim e, my <'yes beca me accustom <."d to the cbrlrncss.

4 . Li sten ing ca rdully, the s ou nd s see med lo co me from behind a
c h est o f d ra wers .
5. l.oo k ing cl osely at th e srccimc n , it appea red to be cove red with
fine h a irs.
6 . Bdo rc be g inning t0 \Hit c. ;ill t he material s h.Hild be in ha nd .
7 U'.1 l1 stc11111g to the old 111.111·s s 101 y, a l'< •111p1om1 sc \ I.IS a i ranged.
8. \v Jul e 111 the midst o f the sto ry. 111y rea di ng ll'as interrupted by th e
d in ner bel l.
9. l !al'i11g n10untl'(! a st:1 ir of corrcs p0 ncling ru <k 11 ess , consis ting of
hu.gc bl oc ks u l sto11e ro ug hly dressed with the hammer a nd of un equal
height, a st ro n g iro n door admitted them to th e g rea t h al l o f the donj on.

EXERCISE 233 - Oral and W ritten
STUJlYT i\C ANU \\' J.:.JTI.\(; A CO I J1':R l: N T

l ' i\ l{ J\CRAPTT

T hi s is a tri c k that w il l alw;1ys mys tify th e yo unger m e mbers of
th,.. fam ily a11cl S< >nl<.: o f 1h e old<'r ones loo. Jn pre parati o 11 , write in
md k (J n yo ur fo rc:1rn1 the k t1.. rs <; 1< ANT a nd Id them dry . The n,
g oin g 1n to th e childr<'n , as k 111<.: m to me11 ti o11 n1cn p rum inc nt in
th e C i,·il \ Va r. :\ s lh <-y c dl uu l th e 11 ame of eac h man, writ e on

Tl ·'. ST Tlll·'.1\l E -

l 'A l'.J\ l ' l!R,\ S I:

vVith all these clcviccs in mind for g ivin g :rn im pression of
coherence, \Y e arc wcll prepared to a pprcciatc th •· ('( •11 lllT kcl n ess in what we rea d and to lea rn from it how to \\Titc hdtn
ourselves. l t woul d hardly pay me rely to copy wh:lt a 111:1stl'r
has written , but th ere is mu ch to be lcarnccJ in try in g to do
hi s work over in a slightly differe nt way.
Write in good prose one of the fo llowin g incidcnts. :Keep
th e lan guage when it is good in prose, but be careful not to
use words or expressions or order distinctively poetic. He
careful, also, to g ive unity a nd cohe re nce to eac h paragr:1ph
th at you make. Y ou may have excel lent practice in point of
view (see C hapter l l I) by writin g the same incide nt 111 the
first and in th e third pcrson.
1. Cowper," Th e ]) ive rtin g lli s to ry of J ohn Li lp in. "
2. Whittier," Abra h am l> uve np<>ri. "
3. Lo ngfe llow, "The C hildren 's I lou r."

v
~~ ~~.~

··~!

.\

268

4. Lon gk ll ow, " l':i ul R cwr<.:'s .1'.idc."' (T t: ll thi s in the firs t person .)
5 . South ey, " T h<.: ll :i ltl e o f Blcnht:im ...
6 . \\"ord"v o rth , " 1.uc\· Cr:iy."
7. Shakt:s pc·:ire, ",\ ~Iiclsurnnll'r - Night ' s Ure;.im," Act Ill , scene ii ,
lin<.:s 6-3 .j . (Te ll thi s in the: third µnsnn .)
8. L:1 11 it: r , n Ni ne frurn J·: i 1~ h t. ' '
9 . Browning, "J\ n I ncidcnt " f lhl' Fren c h C amp. "

\ \ \: c;111 k a rn much :t!Jout l 11l: o rgan iz:it io n of longer articles by making outlines a nd synopses of those written by real
maste rs. If the out 1inc of a good article is well made, it
s hould show, p referably in com plete sente nces, all th e import.ant pa rts in thL· i1· rela tio n to ea ch othe r and to the whole.
Jt is sel dom wise to carry the ;malys is beyo nd th e second
subhe;id. The ab ility to make s uch outlin es is necessary
before one ca n 11-rite long articles h im self or eve n read with
intelligent appreciation suc h articles by othe rs. Il ere is the
outline of a lect ure by Thom;ts I Icnry 11uxky. 1
\'EA ST
.- 1. \ Vhat is yeast?
I. Th e rninoscopist h~s sho\\'n that:
If . l t is a subs 1:111c'l! co11q,.isc:d o f :111 enormous multitude of
defi n itely forrnecl g rain s fl oa tin g in a liquid;
/,, These g r;1i ns ( lorub·) cons ta 11tly re p rod uce by budding.
I I. The c h e mist has shown th:it.

a. The yeast plant is com posed of a cellul ose bag containin g
a vcgcto·:lllim;d sc·111ifl uid;
/>. Its acti\'c p;irt s co111ain prote in,
I.

whi c'h is similar 10 the fundamental substance of
every an i rn:tl org~l ni s n1.

l ,\ p3.rt of a lect u re ( 17S1) on l 1 rn 111pbsm and t he Ccnn Theory, quoted in
i · :-.;pi.Y in11..· ns o f I li scnnrse.' ' (If a minute and exhaustive :_rnal ysis of a long
p ie ce o f wr it in g is 4..h:sin:d, sec 1.amont's nli t ion o f But kc's H Spe ~ ch on Co n~
c il ia tiu n w ith 1\mt.:ri r:.i," pp. h-i - lxiv. l ; inn and Company.)
:\rHJn.: ws·s

C< >11 ER t•:NC I·:

1"1RST J:OO K OF COM l'OSfT IO N

E. vVhat is th e na ture of the pr<>ducls of krrnc111e1ti"11?
l . Th{; suf-(~U is broken up into:
a. Carbon ic acid g as,
/,. i\lco lwl , and
·
1· .-t1t·
. ,·1·,, ·,, . .·ic id ;1nd "~1y(
· f·riiH·.
~.\ sn 1: dl qu ;1n111y 0
-~
·
( ,', \ V\i.: ll Lt\IS('S fc!'lll C ll1 . tli•• l 't :

.

. ..

.. . , t.
. f1 r thL· r c i.-., n 11J ) l i I
1 ' l'h c torula nH1 s t t.\ 1use f t.:l n1 <. nt.t toll'
'
.
·1·11C 1·iqu '1 cl of the: ).,-..~ ,s· t 1 frnrn wltith tltc l<•rul.1 !1.1'.
ii.

\1( "( "li

rcniovcd by str:1inin.~. is u svd ;
/, . The t 11 ru\a is killed hy hc·:itin g; .,r
r._ J\ir, in which tlu: l1>ruL1 llo:llS , i·_, t_·;...du<_l1 ·( L
I I . Thc11ri cs of lww the: t<>rllL l cau ses fcrm c n l:tl 1< >11 :i re :

a . Faulty th eories :
1.
'.2.

Fahroni's ,
Th e n:1 rd 's .

h. ,\ cceptcd thc·<>ry :
l . l.ichi g \;: th:1l partidl·s of
\i v t he fo rn·s
/).

.. t' s nf
j\ pp I1c.1
1011. .

;it

sh:il-. (·Jl
w<>rk i n th e yc·:1st pL<11t.

thL·s~ discoveries ha,·c pro,·c'< l:

1 That all plants- a rc , ·itally rl'l:ttl'd t<>

·

s u;_'.:; 1r ; 1rc

.
·i 1. T ha t man y diseases

.

..

:utlltt.d

1 f. . . I
1 c · ,\I H .

;1 <.; l11H

1er

::
.

.. ..

a1c

- ·d I . irnd a r nwlu p\1e·al1un ,,[
L<lllSL
)y a s

germs.
EXERCISE 235 - Written
•'
Make a sk clet" n (Jt1tlinc o ( one <> 1. ti ll' f " ''l " ,,·in. ."~· t'1ki11
. .
..,
" f1 1rr11 of til e outlirn: the rclall<lll ul the
pains lo s IHJ\V l)y lll v

parts:
1. I r \'ing, "Th e Legcml o f Sleepy 1_1ull~~v . "
2 . J-law th o rn e, "T h e Creal Stone l·ace .

.

3 . Em e r y , " I-low tu Enjoy \ 'i ~t urcs " (:'.'.1y c'.1~ptcr~ . ·"
4. Addison an d Stcc:k, " Tlt e Spcctet t"r (a ~c <:Ltc p. 1pc._1>.·]· . " \1 "c·o ns 1lira1..· v u f l \J11ti~H.:. ,, ( \ ' ol. I, ch ~ q>:-\. l , J \ ' . l)J" \ ' . , 1r
•5 . I' ,\I -,.ll).l '
;
alm1 >st :m y ch;.iptc r o f ] ',trk l\\ ;111 ·s).
6 '-'t c ven son, " l\: idnappcJ .. (chap. X).
. ·'
I' 1 ·
7 lliblc Story (Da,· id , Joseph, Esther, ,u 1.1). .
,
..
.
.
I t . <l ' tion to" E n g li s h and Scott ish 1 op ul.ll I ;;i !\:ids. ,,
6. Kittredge, n 10 uc

,-

270

flJ\.ST l:UO~ <JI : COJ\1 1'0S l'J'J ON
EXERCISE 236 - Written and Oral
S \ . i' \Ol'SIS

J\i\ 11 O t; TL! N l·:s

Us ing th e outline that ynu made: in Exercise 235, prepare
a threc-rn 1nu1t- s.1· 1mpsis of the :1rLiclc; o ne of five minutes ;
one: of one 111 11H1k. !' rese nt to t he class t he synopsis ca ll ed
for by th e: teacher. C m the n:st of th e class make a good
o u tl m e from your or; d s_1·110ps is?

c:

\VJ{JT!NC J\ C.:() NN l·:cn: I> C.:UM J' CJS IT JUN BASED
UN J\. l·:AU JNC

1.

F 1C\ )Jf ;\°(; i\L\Tfo:l< I A I .

Tt somc:lin1L-.s h:1 ppl·ns th :1t y rn1 <ire cillecl on to discuss
some:. suhjvd :1l>out 1r h il ·li } "ll li:11·e little exact kn owledge.
1 n tlns c:ts(' yo t1 c:m ci'J nothing- since re: with o ut first gcttin <Y
a number of f: 1cts :me! thl· n interpretin g them ; conscc] ucn tl~
you mt1st k :1rn J1( •t unly how to find f:1cts hut a lso how to
intcrprl'l t hl·lll iw f( 1rL· beginning :1ctua lly lo write. If you
k no1: the: hrsl and not tht.: second, you will s urely become a
copyist and not a compose r.
Eve ry o ne sh ould know what I"Cfcre ncc: books arc avai lable
h im, and wh :1t , in gcne r:tl , th ey contain. Get acquainted
mth the e ncycl(!pcdias, cli ct iom r ies, a nd hand-books in your
l1 hr:1ry, sr1 th:1t ><Ht ll'ill h:in.: at least o ne l'a luablc kind of
kn mrkdg·c . i hl' kn rmkdgc of 11·ill' re yo u may fi nd in fo rmati o n . Tlll' n, 11·li c 11 l1L·g i1111 i11g lo \\'o rk on some top ic, find
nut " '. hat Sjll\· i:tl ;1ids on it y nur library contain s. In large
l1hr: 1 rw~ 1hnL· is w; u:tlh· so me <• nc to s him· yo u the uses of
thL· c:1t:il"glil' :rnd ind t' \ L·.s : in sm:tl l o nes yo u mu st d epe nd
Jo r the m 11.sl part 011 t liL· t ilks of books a 11d the n o n th eir
tables of con tents and inckxcs.

f<~r

Not a ll that you find , of coursl', will he cqu:1liy rc:li:thk;
th c rd<11-c: you must le;trn to \1-cig h your evidence, to <kcide
what you 111:1y trus t. l\Iany hoo ks and artie ks c:.illed "auth o riti es " ;1re obv iously \1Ti ttcn in a part ial or p:trti san \ Till
th; 1t makes them almost 1·al uel ess for yo ur purpose . Gon:rnm c nt reports, n1 osl books that hav<.: survived long use (un less,
as in t he cast.: o f th e sc ie nces, thnc ha ve bee n ma n y changes
in rl'Cl'nt years), books 11Tittcn by m e n 11· ho hal'C learned to
fincl tht.: tru th as well as to tel l it - thl'sc you m<Jy trust. Of
cuursc: no genera l state m ent ca n d o muc h more t han put yo u
0 11 your guard against s uc h article s as are not trustwo rthy .
You mu st consider ca refully for yo urself each particle of ev1 d..:nce off eruJ. Frc:q ucn tl y a vc:ry casua l examina t ir1n of a
l;o<Jk w ill sh ow whether it is too d c:tailcd, too techn iL·al, o r
too o ld f1)r yr1ur usL·.
] ,earn to use t he prdacl·, the tabl e of contents, :mcl the
index. Th e preface: i11 many a hook will m:tkc: clea r at once
what the: ;l11th o1-"s pu r pr1se is, wh:tt hi s attitude is, :tn d ll'h:tt his
sotllTl 'S arc:. The table of conknts s ho ws in tab ular form the
org:1nization of th e book. a n cl fro m it you m ay find \\' hat p:1rt ,
i f any, is of in terest to yo u. Th e index 1Yil1 tell w he re in the
l;11ok num erous deta ils are disc ussc:d. U nfortunately prefaces ,
Ltbks of con te nts, and indexc:s vary in fuln ess, acc uracy, a nd
excell e nce.
EXERCISE 237 - Oral

Ex:imin c the preface, th e tabl e of conte nts , a nd the inde x
in th r«e books th at arc not prim:tr ily literature . 1\ eport tu
th e cbss ll'h:tl caL· h conta ins :md how it di ffers fro m the
corresponding pa rt i 11 th e othc:r books .

272

l· IR ST l:<lUK. OF ('Ui\ll'()SITl<>N
E XERCISE 238 - Oral and Written
l.J ·: 1\ JU\ I :\(.; T O liS i': N E\\'S I' i\ I' J·: J.:S

Books arc supposed to presen t fi n:d j uclgme nts; newspapers gin: 11·hat seems to lJL: the truth from d:ty to day,
ofte n correcting or denying in o ne i,.;sue \1·h: tt has appeared
in a previous one . It is important f\lr re:td e rs to learn to sift
the mass of n e11·s1xtpLT statements fo r thL·mscll'cs, to throw
a\\'ay \\'hat is clearly un true or ()f no \·:ilue, :111d to save the
kernel of fact in pLTlnps a page of chaff.
. S elect some .subject noll' IK·ing trc:ttl'(] in th e papers; for
msLtn ce , a stnh., change i11 f()otb:dl rules, a trip by the
l'rcsick nt , preparation for a " sane " hiurth of Jul y, municip:tl im provements, o r, best of :dl, some :tctin; loca l issue.
Read daily 11·h:it is ll' ri tll'n :dmut it :uid d eci de, :1s best you
can, wh:it is tru e . l\bk e a sl;tlt'rnent in your nut<.:hook each
c.by of the fads :ts thvy seem then. \\' h.t· 11 till' matter - or
Sl)ll1C phase of it ... is CO ll l'i lllit-d. \\Tilt' al\ : JL'l' O llll t nf it f ro m
th e bl'ginning of yo ur 1H•k-t:tk i11 g to the end. Tma ginc that
you r article is inten<kd for a cert:tin rnag:1z i1 h', :ts th is may help
you to determine whaL to include and 11·h:.t t to om it.

\V lw n 11·orkin g up ;:111 artick y( •ll ll'ill n eed to tak e notes .
For these llsL· louse kaH'S of :t nott:book or ca rds of a uniform s ize , since tl w y c:1 11 he ~o orde red at an y time as to
bring together all tlw rn:itcri:il nn each phase of th e s ubject.
IVInreo\'LT, it is a c<ins idl'!'a h ll' s;l\·ing· Lo 11TilL' hut o ne note
o n each sheet or cm!. !'aper is chl':lpl'I' th;111 tim e, and it is
no economy to s;1 l'l' p:tpl'r ; 111d sec ure an effect that is poor
th roug h b ck uf org;1niza tiun.

<'. (I 11 El<. l•'. i\C l ~

T ake few noLL·s; usually you will find, when )'!Jll conw lo
t he actu;il writing, that you li:11·c far more m:1ll'ri:d th:111 you
can possibly use. Quote seldom. It is not uftc n t h:1l you
will need to use a writL-r' s exact words, - on ly wh e n th \·y arc
in s ummary or when th ey arc n otably \·igtlrous o r stri~ i ng .
J\n d on each card mak e a m e mora ndum of the soun·e <ii the
cb t;t, citing vol ume a nd page; thi s item ll'ill sa\'l· you much
tim e in case yo u need to see k verificatio n or more infurrnati<in
from th e same source .
But eve n before beg innin g work on a book uf reference.
decide \\·hat you expect to get from it. Not ofte n d <ws ()Ile
find time to reaJ a \\'hok book through for a single p()int.
By means of th e index ;md the table of con tents,. partin1brly
if the bttcr is analytic tl , go after yo ur particular 111l11n11atH•ll.
J 'ract ice goin g to the h c;1rt of th e rd cre ncl' . fi1 1d i ng the
cssl'ntial thou ght, howeH:r it 111:1y he h i(kkn in illu str;1tio 11 <•r
ebhoratinn. I >o not f:iil l<J nntl' the eonll'xt of th e pass;1ge tu
which you arc rdnrcd ; th e nwaning d epe nds largely upo 11
what pn:cc:dc,.; or \\'hat follows it.
f\s yo u gL'l th c auth o r's thoug h t, acid it to s01n -th ing :tln:ady
in your mind and question \\'hat bea ring it h:ts on Y"ur topi c.
J), 1cs it cont r:idict slJmcth ing a lready accepted? Is th e contradiction oral or appa re nt? If th e latte r, which fa ct is true?
})oes it. add a new poin t or lin e of thoug ht? lJocs it modify
your point or \'i ew? .!\ fter you have con si dered the l)l':tring
of the r eference on your plan, make in you r notes a statement s u ffic iL·nt to bri ng tn mi nd everything essential. But
lea rn not to record unn cccssary matter. \ \'lwn you h:t1·e
found in th e rde rencc what yo u n cc:d, lay th e book ;1side .
"Tc:at dc:tl of t in1L' is ll'a sted in read in g and recording \1·h:1t
A ,..,
is un necessary 111 th e development of the topic.

2 14

1-'JJ' ST

.

'··

·

HOOk <>I; CUJ\1!'0S l'l'IO N
COI IEKEN C E

275

EXERCISE 239 - Written

vVorJ · u
·
·
·
~ p material on one </ tl f ll
.
all books and arti cl . . . . . 11 ie n owmg t(J pics, rcportinrr
cs con s u tt:ci ·md l 11'
o
tu them :
·
"
c 111g why you went
1. Diel Poca ho ntas sa ve the l'f. . "
.
2 T:.lking- machin es.
' e u t L.1pt;.i1n J u h11 .Smith?
3 1 \ 1\ oma n n1arri:igc .
1 . Ou r s pell ing s hould be i· ·f
I
5 \ ·
<. o r mc<.
.
· Vhat r.:ffect wi ll th · j • .
G. S
e an.1111a (. :11i:d hav.
N
,, ume
n ·ce 11t a rui . , . I ., .
e o n ew Orl eans?
.
l L.Xp 1)1.l!HJIJS.
7 · d irds :i nd :1gricultu r<.: .
8. T he probk·n1 uf stn:ct cl .. .
9. T he h .,.·1 . ,
. . c.in 1ng.
1

.\~ e1 1c.; o f dnnh: 1ng- w:i k r .

10. rl f<>l, ec [,l\.'c L''f Jluri11g uf aninials (< •I I
11
p :nu s;.
. ns<.:c. t .11ch1tccrurc.
12. Tl ic mu1·<.:111c·nt ,,r glacias.
13. I low vin"s clilllb.
14 . Chemi stry in i11dustr1·
f
•·
. g t o n.
16 Tl . · . " ness " ( •corgc \\ ' as·I1111
· . le 1nl.111d wat en \" i\"
1
.- ,
~ ,, !"" 1110\'t: nJL' Jll.
7. 1 he pnrole syste m s h <iuld be ·1J, l .
of minor o ffenses
• >JI ed fo r :11l11it prisunt: rs,. .

15 . The g re · t

.

I

,ufl VIC let

· ··

l8. \\'1m1en sh 11 I
19. T h ' H
sOU ( l J\'C t he ri "" ht ( '( S.li ff.l< i<'C
20 . . . e "Y .. L'<> ul s (<>r Cmipli re (; ir is]
"' .
I he 111 uv111g pi c'lllr<.: s li u11'.
.

j f /.

\\ ' J'f'i'l N f'
'

i' I ' 1

' ~\ J

~·

J'\f>TE S

I favin g fini s hed the coll ecti on of
..
th e m a nd t hin k the m .. .
n otLs, you n eed to read
<>\ c l until l'<> U Jn . .
.
.
su l)ject-rn3t tcr Tl . .. "II
"
' ' c possess ion of th e
.
lls 11 I
nccess1t·1tc .
state ments of th, .. .- .
. ·· '
}Our com pa rin rr th e
.
c ',lJ I< H ts \\Tt tvrs n ot o n l .
,.
r..
but a lso wi th ll' lnt
i· >L J·
1
·
) \\ tlh ea('h other
•
, t t ,now ron 1 1-1
should, o f course 1 • , .
..
- •u i <>ll'n L'X pcri c nce. You
' i a 1 e n o .u m l'X l'CJJt to f cl
J
.
ll1
w 1Jt is tru e.

EXERCISE 240 - Written

vVith the subject- malle r in mind, bl ock out yo ur theme.
It is wel l to use a Ltrgc sheet of papn on ll'hi ch to imlic1t.c
. your general h eads and th e s ubhc;1d s. Th c n if y11 ur notcs
are on cunvenicnt cards !Ir loose s h eets , you can sort th em
into piles correspond ing tu th e top ics in your o utlin e. Your
outline m ay luok sume\\'h;1t like that of l l uxlc:y's lecture
on page 268.
He sure th at th e outl ine h;1s unity, tklt th e co nn ections ;ire
cle;1rly indicated , and tk1 t s imilar points have similar f<,rrn.
At a g lance you ca n tell from th e form h ow many points
Hu xley mak es and what arc the cldai ls unde r eac h head .
Final ly com es the Las k o f wri ting out yo ur the me. J f Y"u
h ave made the outlin e with care, thi s e xpansion of it in to
connected discourse ,,·ill be t he eas icst part of th c wo rk.
The re before you is th e pbn to fo ll uw; th e cu nn ect iuns arc
cl ea r in you r mi nd; nothin g re mains c xccpt to set down in
its fuln ess wh at yo u ha,·c already th o ug ht. But what you set
clown must re prese nt your O\\'n thou g ht, yo ur O\\'n judgment,
your own concl usio ns . lt wu uld nuniTestl y be d ishon est to
write anything else.
It is hard to draw the line \\'hnc the leg itimate use of
material leaves off ;md pbg iari s m, or lite rary stealin g , begins.
It is pc rfcctl y prnpcr, o f course, to write that Shakespeare
was born in 1 564 or that J ,onclon is a la rge r city th a n B oston,
for these are matters of ge neral informatio n or data that every
one understa nds must be secured from histo ry or gazetteer.
Hut it is quite a different matter to assert as your own tha t fools
use wage rs fo r ;'l rg um e nts or that you ca nnot hc3r wlu t one
says because his character speaks so loud. These phrases

1: I RST l:<HJK <W C <Ji\1l'O S ITIO N

arc too tlior.,u ghly a part of Butler ;ind Eme rso n to be
exprL·ssL·d as vne's l!ll'll, C\'C n thuugh in p;1 r;1phrascs.
Som e \\Titers seem to ha\·e the ide::i tk1t if they t::ike only
a se n tence o r tll'<> linL: :rncl t here fro m a n :1rt iclc they are not
stc:tl ing; lrnt it is /i;1rd t•> see h ow thi s :1pprn p ri a ti o n differs
from any othn pl'lty brccny . The pbn of ~111 article, the judgm ent, t he co nclusi"n , t he fel icities of s tyk, be lo n g to ;111 a uth or
quite as much as hi s clothes do. lf a ny of th e m is borrowed,
t he O\\' n er must be co mpe nsated , at k ;1st hy quotati on marks.
Hut f:tr better th:m a ny definition of pbgiaris m, as a g uide
tu what may be taken, is Onl''s consc icncc .

C01!ERENC E
EXERCISE 242 - Written
TEST

T IIl ·'. ~lF

Write on o n e o r m ore of th e to p ·ics sugges t«:cl at .the. close
,. ,,.
of thi s chapter o r of oth<.:r c h apters, ch ooslllg those lt noh l\l,..,
o ur ow n exper ie n ce o r im:-i g in atio n , n ot rn atc n :d g~1 1_1wd .1y
yr ese-.trc 11. It \"()L1ld
be interesting· to u s<.: one topic ft om· .111
.,
<
1
(.
II
l c11· I \ ! ) u1)on
which ,vou h:-ivc \\T lttcn.
e:nly c i apte1 say
·

before and to wri te wi tho ut co n sultin g your fo rm L'r thl'll~l,
: '...,. • 11 tl1·1t )'OU ha ve learned s ince that was writte n . n
a1)\)1J" in,.., •1
'•
·
· I · .. l·cl t ' >
. · . • • , • ll th e thu11es \\·it l t eg.1
class each pupil may c1 lt1c1zc .t
, . . . p· ·<l
. l .
. t O n e set of themes m ay be cxch.rn,.,c
·I· . .
one particu ::11 porn ·
.
.
for careful written critic ism by other members of t 11<.: c ass .

EXER CISE 241 - Written

In a composition of sc \·eral p;1r;1graphs a \\Ti ter s hould be
s ure th;1t li e 111;1kL·s (';1ch point clc;ir before introducin g the
next. There is lHi better me: ins than th is of securing co nn ectL·cl n css of the whole i n the mind of t h e reader. Un less
:1l th e end <•f L';1ch p:1r;1gr;1ph lw knmrs exactly wha t has been
told h im. how can he t;1kc the SIL'ps fo r ward with th e writer
to a ge tll'r;tl con cl t1 s i()11 ? ( ·onscq tt c n t ly. bc f<> re leaving a paragr:1ph a \\T ill'r shnt1ld llL' su r e th ;1t h e ha s macl e ck:1r the
unif ied irnp rL"ss io n th:1t hl· Ind in mind. S e nte n ces o f sttmm :1ry and ck:11· lnpi L· Sl'lltL·nccs fu r pa ragraphs wi ll aid coherence ;ind unity. 1\p ply all t k1t y o u hav<..: learned.

!··J

<·I

lr':-1; '
~- .. ~
~·J.

S U CCEST l ~ll Tlfl·: i\n: TOl'ICS

\\ "rit e th e tliL-rn e outl ined in the llrLTL'ding exe rcises.
l\L·,·isL' you r mirk ca refully t11 SL"l', first, th ;1t _\·1.11 have, through
Yarid y and oth e r means, \\'ri ttc n so as to inkrL·st yo ur readers .
H e su re tk1t. both sentences and p:1r:igr:1 phs have uni ty a nd
coherence.

277

1. The fmmig rant's Trials.
2. My First 1:ormal Call.
3. T he l'ersistent Agent .
the O th e r Side.
4 . ] ,>e,,.111 "0' an A<'entt°"'
5 . Ecl ipses - What They Are. .
.
6 . M dcors, Comets, and Shuutrng ~Iars.
7 _ !low Much ls a Million?
8. Tides.
9 . The Phases of the Moon.
1 o. Advertisements.
l l. A Wild G oose C hase.
12 . Lost, S tra yed, or Stolen.
13. A. Modern Crusoe.
14. M y C hristm as Shopping-.
1 5 . An U nd eserved l'unishment ( Rewa rd).
16 . Wires Crossed.
17 . }'un with a Camera.
1 8 . U nexpected .
19 . A Reformer and His Work.

APPENDIX A
SYMBO LS USED I N C RITI CIZING TJT El\T ES
Amb.
Antee.
Bw.
Cap.
Coh.

D.
Def.
Form
Gr.
Hy .

Inex.
Int.
K ..
I.e.
p.
Quots.

ambigu o us
ag rcc nH:nt o f pron o un :rnd antcn·dcnt
hcltcr word nccc.kd
use cap ital lette r
cu hc re nce
see di cti o na ry
dcfinitcness
fo rm needs i111provemcnt
g ra111111ar at fault
hy ph e n
inexact
interest lack ing

a\\' kwa rd
use small lette r
pun ·tuation
qu o ta ti o n marks

s.

no scntl'ncc

Sine.
sp.

sinccrity qu<·s tionc::d
spell in g
tr:ms ft.:r
unity
varie ty
weak
any obvious e rror
de/11 = omit
questions a fa ct
mak e a paragraph
apostrophe
inde nt

tr.

u.
Var.

w.

v.
(j)
?

ir

17 9

APPENDIX B

J\.PPENDIX H

S\ -.\(JN\·,\r s

W CJl(ll ,S

' ' " · r) ( )·1·111.-. r,

•

1

tlt/1 ·1;·,·, ad l'ise
11

//;'d, effect

a.ficr, afterward
(~(t;n11·111,.,

annoy, provoke, exaspcratc. irrititc
a/!111..,, think, s:iy
all11t!e tfl, n 1L·111iun

'

conscien-

·ontL-n lp t u ou .~

I'

Ctllf'tlld/,

('OJ1ti1 1J l(llJS

corpo re:il

m11plt', pair

' 11111' 1~i.;. bet Wel'n

<rt'rli/Jle. t-rcditabll', credulo us
c11st11111, h:dJit, practice
t!mr/~1 " deathly
rlci<:as,'t!, diseased
t!t!lit!erl, clecisi ve

mad

apt, like ly, Ji:ible
rn:fttl. s<:ve re, unplea san t etc.
bat!, severe, dangc rou s
'

rlf'J mrlt'll!, d e pendant
rli'7'1;l', d evise
t:tllter. each

1'ala 11re, rem:tinder
/tc..-1;/e, besides
<alod,1te, in tend

elt',1[11111, cldightfuJ
esti111,1te, e.~teC'm

may

ti1x1rcll(I', casu;ilit y
clt11r,1dr.r,

tio us
.

lll Os /

tT/11111111/, numbe r, quant'ity

c11 n,

o1111/~·~r11. Seve re

m11.1oi111..-, cc m sc ien cc

Clllltl//llct/,

,tft,·r11,1ti1 •f', choice

'11~1['] ',

l

m11t,·111 "tt/1/1·, <

,tf/11 ..-11111. illu siu 11
11/1110.1/,

dai111, :1ssl'rt, conrt:ncl
d,'7•er, pk-:is: rn t
dotlts, clothes

''· Ytt'j>ti; 111' 1/JI(', exceptional
s uspect, think

reputa;ion

l'. l ff'r/,

zSo

jin1h er, further
/ e111alt?, woman
jh·, menu , repair
j(I', flee
ji11'lllt'r~1 ', formally
ji11111y, ucld , qut:er
gd, ha ve
g111's.,-, think, suppose
/1,111_(0/, hun g
l1Mltlt_v, ht:a lthful, who ksome
lw111,', house, residence
/111111t111, huma nt:
im1111111<·111, imminent, em inent
i11, into
i11t/(lr.i'<' , approve
i11_fcr, imply
i11_jlir111eJ , pos ted
i11tdl1;i;e11t, int e ll ectual
il.r, it 's
;i'7od1y, jewels
/,11~1 ', woman
lttst, latest, preceding
/,1ter, latter
IMr11, teach
/c,me, let
less, fewer
lig/!/11i11g , lightening
like, as if, as though
loatl1e, luth
lose, loose, loss
lots ef, mu c h, many
/01•c, like
ma;im/y, plurali ty

111,111 ,

ge ntl e man

111igr1 rl1~ 1 in11nigratc, czr1 ig:rate

11111S1i·al, musicale
11111/llci/, l'<>lllnH>n
11e,·rss1/ie.J·, 11 eccss; tri cs

11it"1', c harming , pleasant , de.
11,1t1Jri{l11..-, notccl , notablt:
0, u h
1J/1.ro·1,,1 11re, obse r vation

ti/

off

or, o 'er

t1ral, verbal
ft11t, portion
p,1r!ly, partially
party, person
f'rr.,-e<"1tte, prosec u tc
pi!/,1r, pillow
_pislt1I, pistil
plenl)', plentiful
pradi,-,d, pract ica lile
pre.r,nl1e, proscribe
proceed, precede
pr1J111ise, assure
pmJhe.1y, prophecy
prt1pose, purpose
quiet, quite
q11ite, somewhat, very
7·11ise, r ea r, bring up
real, really, extremely
rem/led, remember
relation, relative
n'7'erenrl, reverent
nde, drive

.,

282

APPENDIX B

I· I RST HOOK OF COMPOSlTION
sclw!11r, pupil, student
Se7(111ge, sewer;:ige
su111e, somewhat
sp!enrlirl, pleasing, etc.
st,1t 11e, st atute, stature
sta)', stop
tea m, eq uipage
transpire, happen

11g!J•, vicious
1111i<11te, unusual
va!tterl, valuable
ve1"'l, venial
V1J(11ti1m, avocation
10/1irh, who
wilh1111t, unless
wo1tuut, women

JI
HoMON\'MS

There arc m the Engli sh langu:1ge mo re than th ree hundred
groups of words calkd humonyms, wh ich, although pronou nced
alike, arc s pelled di ffe re ntly and h:tve diff('. rcn t meanings. In the
foll ow ing list s one word is given from each of the more im po rta nt
gro ups. Find two homonyms fo r each word 111 th e first list, and
one for each in the second. Note carefully in each case the spelling
and distinguish the meanings.
A

carat
fe ign
I

idle

ore
pa ir
peak
praise

rain
sack
seer
sight

so
two
vain
you

B

air
aisle
ale
alter
ark
ascen t
bade

bail
ball
barren
base
beach
bean
bear

beer
bell
betTy
be rth
blue
board
bolder

bough
bow l
breach
bread
browse
build
cannon

canvas
capital
cast
cause
censor
cents
cereal

choir
cla\VS
climb
colonel
complement
corps
council
co urse
cue
currant
Dane
desert
d ie
done
d ual
dying
earn
fa ir
fawn
feet
fe rule
flee
flower
fo ur
fourth
fowl
freeze
fur
gamble

gate
great
guild
guilt
hail
hair
hall
heal
hear
hew
him
hole
holy
hoop
in
indict
jam
key
knave
lane
laps
leaf
leak
led
limb
load
made
mail
main

mantel
marshal
m aze
meat
medal
metal
might
miner
need
night
none
nose
not
ought
our
pam
palate
pale
peace
peal
pedal
peer
plain
plait
plum
pole
pour
principal
rabbit

raise
rap
red
reed
rest
ring
road
roe
roll
rough
rung
rye
sail
san<:
sealing
scan1

seed
seen
sell
sent
serf
shear
shoot
sign
sk ull
some
sore
soul
stationary

steak
steal
straight
style
sucker
~ urge

S \\"L"d

::;y mbul

wk
taper
taught
tea
their
threw
tide
tier
time
trout
vale
vice
wait
waste
wave
way
we:ik
wcath..: r
write
wrote
wry

Al:'l'ENDlX
PRESENT

APPENDIX C
PRINCIPAL
PR~:SENT

attack
be
begin
bid
blow
break
burst
buy
catch
choose
climb
come
dive
do
drag
draw
drink
drive
drown
eat
flee
fly
freeze
give
go
gro w

i'AI{']'S OF VERB S OFTEN
l'AST

attacked
was
b<'gan
bade
blew
broke
burst
bought
caught
chose
climbed
came
dived
did
dragged
drew
drank
drove
drowned
ate
fl ed
flew
froze
gave
went
g re w
18.1

M ISUSED
PAST PAltTICIPLll

attacked
been
begun
bidden
blown
broken
burst
bought
caught
chosen
climbed
come
d ived
done
dragged
drawn
drunk
driven
drowned
eaten
fled
flown
frozen
given
gone
grown

hang (execute)
hang (suspend)
heat
know
lay
lend
lie
lose
plead
prove
raise
ride
ring
rise
run
see
set
shine
sing
sit
speak
spring
strike
swim
take
tear
throw
write

285

c

PAST

hanged
hung
heated
knew
laid
lent
lay
lost
pleaded
proved
raised
rode
rang, rung:
rose
ran
saw
set
shone
sang, sung
sat
spoke
sprang, sprung
struck
swa m, swum
took
tore
threw
wrote

PAST PA H.Tlt.'. l Pl.1'~

hanged
hung
heated
known
laid
lent
lain
lost
pleaded
proved
raised
ridden
rung
risen
run
seen
set
shone
sung
sat
~pokcn

sprung
struck
swum
taken
torn
thrown
written

APPENDIX D

APPENDIX D
ONE THO U SAND \ Vu 1ms O FTE N

abbreviation
abdo rm:n
abscess
acceptance
accessible
accidentally
accommodate
accompan iment
accumulate
accu rate
ache
achieve
acq uai ntance
acquire
:icre
across
adjecti ve
adm issible
admission
admittance
advantageous
advertise
aerona utics
at:roplane
xsthet ic
again

M1ssl'1 ·: LLED

aggravate
aggrieve
agreeable
all right
allusion
:illuvial
:illy
almost
aln:ady (cf. all ready)
always
ambassado r
amoun t
anzcsthctic
analysis
a nalyses
analyze
angel
ann iversary
annoyance
an nual
annuity
anxious
appall
appa lling
apparatus
apparel
286

apparent
appeal
appeara nce
appendicitis
applaud
appliance
appreciate
appropriation
approval
a rchitecture
arctic
aren't
a rg ument
arouse
arrangement
arrest
arrival
articles
a rtificial
asked
assassinate
asse mblies
assistance
association
assure
athlete

athletics
Atlantic
attacked
attention
attorney
attract
auctio n
audacious
automobile
autumr;
avenue
bachelor
baggage
lx1king
balance
balloon
bananas
bankruptcy
b:irbarous
baq~ained

because
becoming
beginnin g
believe
beneficial
benefi ted
bereave
beseech
bicycle
biting
bitten
blamable
boaster
bought
boundary

break
brethren
brief
Britain
bruise
brute
bureau
burglar
bushels
business
cable
Cxsar
calendar
camera
campaign
camphor
canal
cand idate
can't
capabilities
capacity
capillary
careful
caricature
carrying
cartridge
casualty
catarrh
catch
catechism
Catholic
caught
cautiously
ceased
cedar

287
ceiling
cemetery
c<:ntral
century
certain
changeable
characteristic
chariot
chauffeu r
L·hemist1-y
chieftain
chimney
ch ivalry
cholera
choose
chores
chosen
circular
cistern
civilize
cleanse
coast
Colosseum
combated
comedies
comical
coming
commander
commemorate
commerce
commission
committee
commodious
commotion
companies

~

API'F.Nl)IX. I>

288

FIRST BOO K 01 .. C OJ\ll'OSITION

comparatively
compelling
competitive
conceit
co nceivable
co ncern
condescension
confectionery
confederation
·co nfe rees
con ferred
confi dants
confidence
congenial
conqueror
co nscience
conscien tious
conscio us
consent
considered
consistent
constan t
contem porary
con tern pti ble
contour
con lract
control
controll ing
convalescence
convenient
corpora ti on
could n't
councilor
counte rfeit
courageous

CU Li rt

"

co urtesy
covetous
creatures
creek
crisis
cruel
curi osity
curtain
cyli nde r
cylindrical
daily
da iry
deceit
deceive
decim al
dedicated
defe ndant
definite
deity
delegate
de licious
dl'rivat ivc
(kscend
cksccndant
de~niptio n

despair
despnatc
dcs1)icable
dL·spisc
despondent
destitute
destroy
det ached
develop

devise
diamond
diary
difference
clifficully
dignified
dignitary
dilapidated
diphtheria
diphthong
disagreeable
disappear
disappoint
discernible
disciple
disciplin e
discriminate
disease
disguise
disinfectant
dismissal
disobey
dissatisfied
dissipation
distance
disti ng uished
div isible
docto r
does
doesn't
domestic
don't
doubt
drier
driving

drowned
duhillUS
dul y
duteous
dutiful
dyspe psia
early
earnest
eccentric
ecstasy
edible
eff l'. Ct
eighths
either
elapse
c:lcctor
elegant
cligibk
cm barrassment
embroidered
emergency
emigrate
employees
employment
enemies
engagement
enough
en tcrprisc
enthusiasm
c1,velope
environment
('qually
equator
equivalent
especially

essays
etc.
e::xaggerate
exasperate
exceed
excel
excellence
except
exce ptions
excitement
executive
exhaust
exhilarate
exisknce
ex orhiti1nt
expense
experience
extraordinary
extravagance
I
xtremity
fami liar
famous
farthest
fascinate
fatal
I ;tllgHing
faucet
favorite
feasible
features
February
feign
felicity
femi nine
fertile

2~9

fie\(\
fil'nd
fier ce
fiery
figurative
f111ally
financial
flu e
fo rcible
furc
foreign
forfeit
furty-fo\lr
fo\lr\<:<"11
f rauclulcn t
freight
French
friL·nd
fundamental
further
gardener
gayety
gayly
ge nealogy
gene rally
gc:ograph y
l : corgc l·:liot
gnawed
government
gove rnor
grammar
gratcf ul
grievance
gro up
guarantee

... ·..

·'

·

g uardi:rn
g uests
gym nasi um
hack neyed
hammer
hammock
h:mdkerchief
handsome
h:irang ue
harass
harbor
h:iulcd
have n't
height
heino us
l1L'morrhage
hered ita ry
heroes
hindr:rncs;
ho lin"L'SS
honcy
lwnorable
hoping
hopping
hosiery
hnspitable
hu gely
humoro us
hundredths
hurrying
hyg i<.: ne
hypocrisy
hypoc rite
icicle
~ iden tically

,_

I'

/

I

APPENDIX D

l,. lRST HOOK OF COMPOSITION

~<)O

~-

ign ition
illegal
illusio n
illustrate
imaginary
imitat<.:
immaterial
immatu re
immediately
immense
immig ra nt
imminent
immovable
impromptu
im provement
inaug urate
incidentally
increased
indefinite
independe nce
indescribable
indest ructible
indicative
indispensable
individual
indomitable
infinite
infinitive
infringement
inge nious
inh:ibitant
injunction
illqu iry
illsat iable
insignificant

insistence
intellectual
intelligible
intermittent
interpret
intimate
intricacy
introduce
in veigle
investigatio n
irascible
ironical
irregular
irrelevant
irresistible
irrigate
isn't
isthmus
itinerant
itself
jaile r
jealous
jeopardy
journal
journey
judgment
knead
knew
knowl edge
laboratory
laid
language
languor
latitude
laugh

launch
lead
leave
ledge
legal
legible
legislature
leisure
le ngth
leopard
lettu ce
level
library
license
lie
lief
limit
liniment
liquor
literature
livi ng
loathsome
longevity
longitude
loose
loss
lucrative
luscio us
lying
Macaulay
Macbeth
m achinery
mag ni l1ct.: nt
majo rity
m a nacle

manageable
m aneuver
m anufacturing
many
m a rine
m aritime
marriage
massacre
mathematics
meanness
meant
medicinal
m ed icine
mediev:il
medium
melancholy
melodies
mercenary
merchant
me rciless
me rely
merril y
mess1.: nger
military
millinery
millions
miniature
minutes
miracle
mir:icul ous
miscellaneo us
mischievous
misshapen
missio nary
misspell

~9 1

mitigate
modi ilL·;moisture
mnLtsst.:S
rn onaste ry
moneys
mon oplane
m onstrosity
month
morality
morally
moreove r
mosquitoes
moto r
mot toes
mou ntainuus
moYablc
much
municipal
murmu ring
musician
musli n
mysterious
national
natu rally
na,·ig:1hlt:
n ecessarily
negative
negro<.:s
neighbor
neithe r
nt.: rVOUS
nt: uralgia
Niag:ir:i
nickel

't

FIRST BOOK OF COMl'OSlTfON
niece
ninety
ninth
noise
noticeable
novelist
numerous
obedience
objection
occasionally
occupant
occurrence
o'clock
officer
often
omission
omitted
oneself
onions
operation
opportunity
opposite
optician
orange
orator
ordi narily
organization
original
ornaments
outrageous
pacific
palatable
Palestine
pallor
panicky

parallel
paralysis
paralyze
parents
parl iame nt
participle
parti cularly
partition
partner
pa rtridge
peculiarly
pecuniary
pendulum
people
perceive
per cent
peremptory
performed
permanent
permissible
persecute
perseverance
perspiration
persuade
p<:'tition
pharisaical
phenomenon
phrase
physical
physician
physics
physiology
picnic
picnicking
pict ure

pierce
pitch
pitiable
pitiful
plagiarism
plaintiff
planned
plateau
plausible
pleasant
pleasurable
pliable
poetry
popular
portentous
possession
possessive
potatoes
practical
practicing
prairies
preach
preference
preferred
prejudice
preliminary
prepa ra tion
preposition
prerogative
prescription
presence
presentiment
president
prettily
prevalent

primary
primitive
prisoner
privilege
probably
problem
procedure
procc<.:cl
procession
profession
professor
proficien t
prohibitory
promenading. pron unciation
proprietor
prosecute
Protestant
prove
pumpkin
punctuation
purity
pursue
pursuit
quantity
quarrel
quarter
quotation
rabid
ra1s111s
rarity
ready
reality
really
realty

APPENDIX D

293

reason
rebellious
recede
receipt
receive
recess
reciprocity
recognition
recognize
recollect
recommend
reference
referred
region
rehearsal
relative
released
relief
religious
remedy
remembrance
remittance
remodeled
removal
remunerate
renunciation
repetition
reprehensible
represent
representation
repressible
reprieve
republicans
rescue
resemble

reserving
reservoir
residence
resident
respec tfull y
respect ively
responsible
restaurant
resurrection
retribution
retrieve
revenue
reversible
review
rhetoric
rhythm
ridiculous
righteous
rinse
Roman
route
rout ine
ruffian
:;acrikgious
safety
sailor
salable
salad
salary
scarce
scenery
schedule
scheme
scholars
scientific

~ ~· \

i··

294
scintilb.te
scissors
scru tinize
sculpture
scythe
secede
secretary
scdt:ntary
sediment
seize
sena te
st:nsi ble
se nsitive
sentence
sent inel
sepa ra te
serenade
sergeant
se rial
servants
shepherd
shidd
sho ulders
s hovel
showing
sh riek
sickle
siege
sieve
sig nificant
similar
simile
simultaneous
since riLy
situ ated

skeleton
skies
sleigh
sleight
slyly
sociable
solicitous
soliloqu y
sophomore
sorry
southern
souvenir
speak
specialty
specime n
speech
spherical
spying
squalor
squirrel
stately
statistics
sta ture
sll'ad fast
stereotype
sti rru p
stories
strategy
strawberries
streng th
stretched
striking
studied
su btract
succeed

295

AP P ENDIX D

Fll.ZST BOOK OF COMPOSITION
tobacco
together
tolerable
tomatoes
to-morrow
torrid
torturing
totally
to urist
tournament
traceable
traction
tragt:cly
transferred
transitive
traveler
treasurer
tremendous
trial
trudged
truly
undoubtedly
until
untying
useful
using
usually
vacillate

success
::;ufficient
sugar
suicide
sulphur
summary
superintendent
supersede
superstitious
sure
surface
surfeit
surprise
surrounded
surveillance
surveyor
susceptible
suspicious
sword
syllable
symmetry
taming
tariff
temperament
temporary
tenants
tendency
tenement
Thackeray
theater
their
thief
thousandths
tidal
till
~

.

valky
valuable
variegated
vegetable
vengeance
vertical
vessel
vicinity
vicious
vicissitude
victorious
view
village
villain
visitor
vocabulary
volum t:
volunta ry
vying
wasn 't
wa tch
wealthy
weapon
wear
weariness
weather
Wedn esday
whereas

whereve r
which
whistle
whi ther
whuCVlT
wh ole
w h Plc ~ <> l llC

whose
wh y
wide!
w itn c ~s

wo m en

wood

\\·orries
\ \'t )rsc

,.
::.. ~
~:·

wnuld n' t
\\TCCkl·J
\\Titi1 11,..

"'

\\·rung

w ro u ~ h t

yacht
yeast
yeste rcb y
yield
yo ung

zo()logy

{,';

~.

td
~'- '~ ~

\·
~

'

::

,.:.,

INDEX

1
f

Abbrev iati o ns, in letters, 30, J2; on
envelopes, 37
,\ cc urat e observations. 6o- 67
Adjective modifiers, zo3-20.1, 2432.15
Adjuncts. Sa Modifiers
Adverb m od ifiers, 204-209, 242243, 244-245
Adve rsative conjunctions, 213 - 21 5 ,
252-254

Coherence, 165-1 67, 240-277; in
sen tences and paragrap hs, 24 12(,S; in the whole composition,
268-277
Co llective nouns, 167
Colon, 87, 96, 232
C olor-words, 61-64
Comma, 13- 15, 19-zo. 2S-29, 7 5-76,
87. 134, 135, IF-174
Comma blund er, 1J- 15, 157-1 58
Co mparison , 1 28-1 ~ 9 · 2::!/-~JO
Complex se nte nc es, 2 15- ::!16
Co 1npound sentences, zt3-215
Co njun ctions, 1Go- 165 , 213-214,

A/111 0.1·t and 11wsl, 57

Ambiguity, 243-24 5, 2 50-2 52
And, 16o- 165

Antecedents, 249-2 51
A po logics, in le tters, 89
,\ postrophe, 22-2 3
Appositives, 135

252 - 261 i

Argumen tat ion, ..; 5, 111 - 11 2, I .\ 51.16.
11/..-,, E xe rcises 24, 26. 29,

S•"

95· 132, 133, 193, 197
Author's co mm e nt, 1::5, 195- 11;6

Beginnin gs, 89. 115-i
Brevity, 132 -1 33

17

Bu siness letters, 27-40
16o-1 6 5

Hut ,
C11u

and

mn)' •

co-ordinate,

1(10- 16 5.

213-214, 253- 256; s ubord in ate,
256-261
Co nn ec ti ves , 1(>0- 165; use in secu rin ~ cohe re nce . :? .i5-z61
Co nst ru c ti o n , shifts in, 1(15- 170
Contrast., 130- 132
Conversation. 1:3- 1: S, 11J.~ - J fJ i
Co-o rdinate co njun c ti ons, 1(JO- 1(,5 ,
213- 214 , 25 3-256
Co-o rdination in se nt e n ces, 1(>0-1 6 5
Copulative conjunctions, 213- :1 5.
2 53
Correct usage. 2 5- 26. 5; - 5S. (>?-GS,
73-8 1, 17-i-1 S 1, 23.1-237

5S

Cap italizati o n, 13, 15-19, 22 , S7
Cause and result , in develo ping
paragraphs, 224-227
C haracter sketch, 197, 252
C lau ses, a rr:rnge m e nt o f, 2.14-245
C limax, 11 S-123

Dash , 87, 96, 2 3 1
D e finiten ess. 4 1-·7 5; in bus in ess letters,30- 40 ; in cletail . 47 -.18; in point
of view . .18-55; in word s, 55-7 5
2 97

INDEX

1-'lRST BOOK OF CO Ml'OS !'J'l(JN
Descripti o n,

roo- 105.

11 0.

:s,,

133 .

C/.-t, 67 - CiS

33 .

Goo d fur m, 10- 4 0 i rul es and exe r-

3(i . 37• ·12 • .1S. 51. 5 2. 55, 56. 5S,
6 r, 66. S t, SJ , S5 . S6, 89, 93, ll S.

c ises in, 7(>- S 1, S 5- SS, 94- 96, 1341 JS, 172- 1S I, 230-237
Gramm:ir, 25- .c6. 57 - 5S, 6], 7S- 0 1,
136- r.;7 . 1(15, 17.1- 11) 1, 203- 207,
234 - 237. 2.12- 2.15. 252- 26 1, 266
( :uiding \\' Ord s, 2.1 <>-2 4S

.\~·'"· 1d .10 Ext:rcisi..:s .:: 3.

JO,

I ~J, I /)• 2 16

J ktail s, -17 ; c h.i icc o f. 99- 107,

1 13-

:.Gl>- :.(q . ~i ~ - :j.i ; in devc..:lopi11 g para g ra phs, 2 1 ~ - ~ 19 : order
uf. 10 7 - 1 1 2 , ::!..\ 1 - :. . 1 ~; suburdi nat 1 1 5,

ing-, 059-06 1
l1i c tati on, 59. 6 1, 75, 76, 13.1. 135,
172, cJO- cJJ
Di1·ec t and indirec t discourse. 17S,
1 8 1, 193- 197
I l isjoinecl exp re ssio ns, 15S- 1 59

/ '. ;IC/,, I J(,, 165
Fillier, 136, 165
Ellipses, 236. 2(15 - 26(1
l·: ndin gs, ') ~ -95. 1 17- 1 1S
J·:nJo rsem -•nt of th e m es.

Enve lopes,
l·.'.11; 111r1·,

1j

37

E xpla nati on,

in

1.1S - 15::;

dt.:vclupi11g-

p:1r:1-

gr:1ph s, ::o- ~:! 1

.1 6--17. 111 , 1 :.7 - 1 ~~.
:!6..) ff . .S~·e r1/so E xercises 3. 5. r..

E xpos iti o n,

27 . 2t), _3 1, 7 5, 'JO . 9-1· I 10,
I 13, I ' -I· i :!O, 193, ' 9·1· l'J St
1 9~ ' :! l 5, z33, z39, :::.1'· ~ ..1.:

I I :.
11/ t .

Fig ures o f speec h, 12S - 1.c•;. 22 7-230
Fin d in g mat e rial, 1(i5. 270- 27 4
Furn1 of compositions, 1 1 1 j; o f
letters . 2S- 3S. S5 - .~•J . 9.1- f>
l"o r111al letters . 'JS - •; li
1-'ri endly lette rs. S.1- 95

resu lt, ::.1- ::7;

/ .11 1-. 174- 17S
Le tt ers. 27 - 40, S3- 9S, 147- 155 ;
addre ss, 30, S6; apo log ies, 89 ;
body. 3 1- .12, SS - 9.1, 148; e nv elo pe,
35-.)S : headin i;, 30, 86, 14S;
leave -taki ng. 32, 94 - 95; sa lut a·
ti on, J 1 . SG- 83. 9(1; sig nature,
)2-JJ · 9 5· .S,·c al.w Ex e rcises 20,

70, 72 • 73, 74· 7(1, 70 , 79, 133,
1 35· 136. 137. I J S. 13•) , q o, 14 I, t.p
1.ibrary-wo rk , 270- 27 4
/ .i,-, 17.1- 178
/ ./le! z36- 237
L<)OSe and pe ri odi c sen te nces, 209(x),

::: I 1 1 ::(,~ - ~(,.)

. 11~1_ 1·

:i n cl ,·,,11 .

I I

5,

J 23 1

17-l •

203, 23 4
. \ ;-11111·r, i JG, 16 5- 166
.i\ e wspapers, Zj'!.
.\ imc . 165- 166
J'\ ote s, acco m pa ny ing gifts, 1 5:1 53;
fo rmal, 14 7- 1.tS; mi sce llaneous,

1 55;

of gr3titud1.\

1 54;

of introduc ti o n, 15-1: of invitati o n,
q S- 152; uni ty of, 1.1 7- 15.1; use
n f. 274-276
i\o tc-wking , "72-27 4

5S

i\ l c..: m orizi ng, 7(~. 7K , 135 . 172, 174,
::3 1, :::3 2

de ,·eluped

hy

co mbinati on u f means. ~1~ - ::.:. 1 ,
22 6- 2 :::7; d e ve loped by JL·t:1 i ls,
:! 1S- :.! 19; ckvclopcd by cxpbn:ition, :::::: o- ::~ 1 ; dL'.veloped by illustra ti o n, :: 1c_J - :::o; dc\·clopcd l1y

proof, 0:.1 : good f<•rm in .

-·

,•

11:

q o- 146. 2 17; va ri ety in . 216- :: 7
l'arall c l con~truction. 2G3-2Ci4
Paraphrase, "(.7- :6S
l 'an icipl~s. 2.13-- 24 .j. :(.(,_:(,:-;
l'e ri ucl 1:; - 15. 1S- I ')· ::: .~. : .1
1

J'er i<idic ;ind loose st:11tc1 1t.:e". : 0 1 12 I I , 202 -.C ('_)

( ldors, 6(i
Ora l co m positio n: incidc nt:i l, Ex ercises I ,
.\, 5· 6, 7. x. 10 . I 2. I 7'
19. :::? 1 , "-I· 2(,, 28 . 32, 34· 35· -,s.
40, 43, 44, 4 5, ·17 · 50, 53, 57, fo.
C. 1. (15, 67. 7 I , 7 5, 77, So, S2, 8.1 .
SS. 9 1, ')2, 'JS, 99· 100, 10:, 103.
10.1, JO S. 106, 116, I 17, 11 9. 1 2 2,
I 2.1. I 2 5, 132 , [ 34 . I.I.) . 1.14, '-1 7'
q S, 1.1 9. 1 5 I , 153· 1 5.1, I 55, I 56.
I 57, I )•'-', I 5'J, 161. I fr::?, 163, 164 .
165, I (,7' 1r,s , J 7 1, 17(•. 177. 178.
179, 1So, 1S I. i S:::? , tS3, 1 8 ~1 185.
18(,, 1SS , 109, 19 1, 192, 200, '.?Q J I
20 :::?, 205, 206, : 07 , :08, 209, 2 I 2,
0 13, 2 I 7, 2 19, 22 0, 2 ~ I , - - -1 2:3,
22.1. 2 2 5· 226, 2~7. :!JO, 23 1. -.)-1
::37, : 3S; fo rm al, 3, 27, 29, J I ' 37•
4S. 5 1, 5r•. s 5, 90. 9.l · 'J 5, I :!(1 , I "7 •
J "0 . 13 1' 17.1. 19•), :! I 5, :33 · :3(1

>.

subordination in. ~G 1 ; uni ty in.

answe rs to,

150- 152

35 - jK

J'arag raphs. 7:; coherence in. 2. 11 "6.); rk vclopccl by c1u'c :ind

1

107 , JoS, 109, 1J 3 1

lllati ve cu nj un cti o ns, 2 13- 215, 25.1
l ll ust rat io ns, in d cve lo pin:; paragraphs, 2 19-220

ln v itati o ns.

J·.110-:i ·, 136, 165- 1(16
Exclan1ation mark. 1 5

22 .

J lo m unyrns . 202 - 203
I f y phcn , 77

p urpose, (i
Int eres t, 4.3 · -17· S; - 1_13: in letters,
93-'J·I : o f d e tail s, 99
1 nte rrog-a tion po int . 15
Jntervicws. 1<">5

I louble negative, 137
I >ra m at izin g-, 1 28

I\arration, 10 5-107 . 11 : - 11 3 , 11 81 19, 1 :3 . . ~~·e al.10 Exerci:-;es 3 :2 ,

29. 39· 47, 87 , 96, 97, 10 1, I05, 106.

In sincer it y . of ig no ranc e, .:! - 5; o f

/)o , 138

Order o f sentence clements, 2 00 - 2 0 ~
Oq::a ni za ti o n of a th e me . r .13 - 1.15 .
074 - 27(,
Outlin es, 1 ~1 : - 1 44, :(8-- :;o. :7 S - ~ 7 0

Metaphors, 1 28, 229- 230
111 od ifi e1», 203- 209, 24 2- 2.15
~ l .. od , 168
J !o.•I a nd a /mos!, 57
~ I ot io n, 68 - 70

l'oint of vi .:w, .1S- 55. S.1. 1.1 :;. '-1 7·
I 50, I 52
l os1 -c1r<ls 'J7
l 'rnnoun s, 5; . So- S1. 1_; 1- 13 :- . 1 (15 167 , : fi . 2.1S- 252
1

1

Proof, in cJ evc..:loping- pt1r:.igraph ~ . :: ~ - 1
1'rupo r t iun, 1 1:! - 1 1 5
J un c tuati o11 , 13- .: 5. :/ 1
. 51. ;1~ - ;; .
1

07, 9(,, 13.1- 135. 157- 15•). 17: 17 1.
:.!_10- ~ J .i

mark. 15. :: .1-- ::: 5
Quotat io n mar ks, I •)< 1. c 1- ~ S
<: ues tion

1
/1 11i .11·.

177 - 1Ko

l~ eport i ng

an intc rvi t.'.W. 1rq

Nist. 177 - 17S
S c ien t ific tkscripti•11L 100- 10 5
.\~'<' , I

J7

/•"'

300

FIRST BOOK Ol,. COM I'O S l'J'JO'.'l

Semico lo n , 61, 135, 23 1
Sente nces, co herence in, 24 1-268;
co-o rdination in. 160-1 65 ; d ec larati ve , interrog:\liv e, and imp e rative, 197- 199 ; ell ipses in , 236,
2(,5-266 ; g ui ding words in, 240::4 ~ ; luosc and period ic se nt c n<.:l's,

209-2 1 1, 26:-263; o rder of, 2.11 -2.; 5; order of ele me nts in, 200:!0J; parallel cons tru c ti o n in , 2(q !(q ; simple, corn pound, an<l com-

plex, : 11 - :16; unity in , 156- 17 1 ;
va ri ety in. 197-z 16
Set, 177-178
Sh,i/I a nd will, 178-1 8 1
Shifts in construction, 16 5- 170
Similes , 1 :8, 229-2 30
Si1n plc se nt ences.

z.36

Sound-words, 64- 66
Spelling li s t, 287 - 29(,
Subject and predicate , o rd e r of, zo 1-

l ' nity , 46.1.10- 171 ; in th o uJ'.(ht, 156157 ; o f for m, 1 57 - 17 1 ; of notes ,
1.1 7- 1 SS; of par:i~raphs, q o- 14 6;
of se ntences, 156- 171
lisage . Sa Co rrec t usage

. -.;

Variety, t83-230, :? 59 ; H\ paragraphs, ::? 16 -2 27 ; 1n senten ce s,

in words, 1:5, 184- 193
\' e rbs. /S-So , 137 - 138, 166- 170, 17 41S 1, 235 ; prin c ipal pans, :85-: 86
\ "ocabulari es , 184- 193
Vo ice, active a nd pas s ive, 168, 199200

JV/u 11 :-i nd u.. hcrt', 234- 235
\\'!w k c ornpos ition, : (,S-2 77
Iii"// and,/,.,//, 17S - 18 1
\\'ords , 2, 6-<j, 25- 27 , 51, 55, 57-58,
67 -63 , 70-7 1, 75. 7S-S 1, 1:5 . 18.1193, 203-207. 24 5-26 1, 280-283
\Vrit te n compositions : for mal, J·: xc rcises ]· 20 , '.!::? , 23, 29, 30, 31 , 33.
3(1, 37 , 39, 42. 48, 51, 52, 55, 58 .
6 1, Gr,, C.J , 70. 72, 73. 76, 79, 8 1,
83. 85, 86, 87, 89, 9.\. 9-l· 97, 107,
I O~, 109, I 10, 11 2, 11..i , I 15, 12 3 ,
I z7' 130 , 133· i 35, 136, 137· 133,
1.10. q1, L\ :!, I 52, 16o, 169, 17.\,
17 5, 1S7, 190, 1931 19-1· 19 5· 196,
11)7 . Ii.JS, 203, 204, 210, 2 Lt, 2 16.
: :S , 2 33 · 23.\, 236, : ? ., ••
2 1 ~'
zI~

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'

1

20:'.!

Subj ects fo r composi ti on, 1-- 5. S5 ;
findin l~ d e finit e, ·L)- -ir,, z.70 - '"!.7::. f

narrowini;. 43-.1-1; suggested li sts,
8 ~ ~ I JS - 139, 1S2 , z37-:! J9· '. ! /7

Subo rd in ate co njun c ti o ns, 256-26 1
Subordinating deta il s, 2 59
Su gge stion, 129- 130
Symb ols us ed in theme correcti n g,
280

Sy nonym s. 7 1-72,
205-206
Syn o psis, no

1z5,

18.1- 193,

T ense, 169-1 70
T ex ture, 67
Th emes, e ndursc rnent. 13; pre p3r:lti o n of.

I VJ- I 70
Titl es of themes , 4.1- 46
Topic sentence, 108, 144 - q 5, 217227
To pica l rec itati o n, r45, 252
Tropes , 1 2~- 1 29~ :.!27 - 230

132, 197-2 1() ; in tropes, 227-230;

:! 1::! - ~ 1 3

Si nccr ity, 1- 9, 4 -l--\ 7, 55, 59· S7 - S9, 93
Sit, I 77- 178
Slang, 70-7 1
Socia l le tte rs, 8.1- 95
..._)omnehen·,

topi cs, 82, 138-139, 18 :, 237 - 239,
277
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