i\ ;'\j)

RHETO~ I C
BASE!J ON LI TFRA R Y i1! 0Dl:-LS
I

i

I1,
I.

By ROSE M. KA \TANA,
Teaclur of E 11giis!t ill lite
Jl,fed/11 H 1j;i1 Sc/tool, C!timi;o ;
and ARTHUR BEATTY,
fnstr11clor 1·11 E11ghs!t 1·,;
f'11h,r-rn/ y

u/ iVis,-011 -

s1·n, Jl/adis o i1,

it isru11sin

lfte

.i

1

ILL USTR ATED

RAND, McN ALLY & C0\1 P "\ NV
/ :!JU( . I 11 U .\".·if.

/' l/lil. ISlll:"I'- \ '

Ne\\· York

Lond o n

i

I

THE PREFACE
. 1a rvrJ.r~ i ln1versity1

l

Dtipt of Edur.atlon Library,
('ift of the Publishers..

l

HARV MO CO LU GE LIBR A!,',

l

~

I

;' ·l

I!TS is p rim ar il y a book of t cch ni <p1c, whi ch aims
at sti mu lat ing an i n te r est in good w orkmanship
and at preven t ing the pu rposeless wanc1eringch aracte ri stic of mu ch of t h e w o rk in seconclar y English.
It a pplies t o th e st u dy <if comp<isit ion th e studio meth"d
fa mi liar to st u dents of oth e r arts. An e x planation of
this method as develo p ed in this hook is giv e n in tl1c
Introduction. Another distinctive fratu r e is its plan fur
co rre lating l iterature, r hetoric, and co mpos iti o n by de rivin g from particular m aste r pieces a numbe r o f typ ica l
for ms fo r vari ous kinds of t h emes. In this way literature
is made to furnish n ut only th e subject -matte r hut the
fo rm of su m c o f th e s tudent's th e mes. The au tho rs hope
thus to sec ure in th e stud y of rhetori c am1 co mposi ti on a
urca dt h of treatm e nt o th e rwise im poss ible an d t o keep
the st11<1y from becom in g a matter of ahstrac t sc ie n ce
o n the one han d or mere mech a n ical d eta il on t h e ot her .
Th e hook is intvn rkd for t hre e yc :1rs' wo r k in h i g·h
schoo ls or for l>eg· innin g course s in academi e s, semlllari e s, a nd normal "ch"uls. It is rcL·um 111 c n dccl that hig·Ji
sc h ool studen ts devote t he first •ca r to nar rat ion and
desc r ip ti on , t h us cl11s ing \\'it h Part Ill .; the second
year to exp11sititJ11 and its co m b in at io n w it h nanati on
and clescription, with spec ia l emphasis upon the hotik
review, the historica l o r biograp hical essay, a nd the
nature sketch ; an (l the third ye a r to arg-11m c ntatio n
and persuasion as f<•t1nd combined with the o th e r thre e
forms of discol!rse in th e deliate and th e oratiun.
To Mr. George B . A ito n, State Inspe c tor of High
Schools for Mi nn e sota, and t o Mr. R. w: Bruere, of the
Depa r t ment of English, The University of C hicago, th e
a uthors qre incl c htcd for the r ead ing of the w o rk in
proof, and for m a n y valu able suggest io ns.

T

I -iA' . •; t 11 •ct L IO

'" " 1

2u ls~.

I

j

I
l1

Copyrig ht, u;o2,
By RO S E: M. KA V ANA nnd At<T ll U R B E ATTY

i
I
t

. '!

I

]\. :\!
:\ .

i(.

j ;_

October 1, 19u2.
,;')!

-

...

'· ·~ ~~·.·,"'·

.~~

'f HE TABLE UF CONTENTS

A LIST OF THE PLATES
J',\ C E
'r 11 E s~)!'\ C ilF Tl l E

r. :\l~ K

Fron lispiert:

F r om

ll

pai11tl·11,.., ,. by j ul(,•s

!\1111<:-.: I:-; t;
/ ·/·um

.i

p ,1i nti11g- by } t,'Ull l •\1/ >l is le Cam i//,· ( Vr o / .

'1'1 1 E

I

/.'r i ·/ ,111.

l 'A G E

Tltt: l 'rr/ <1 t'<'
A Lisi c:f t h e Fla/i's
i ltt: f11/ rcJdu c l/cJ11

I :\\' ,\t:\l\:E l{S

P .11n

Frum rl pai11t i11,1," by j u h(,•11 Dupre.
]<1 ,\N CJ F AR c - L 1-;T E.;'\: I N1: T O T ll E Vo I C ES

J uAN OF J\1<c- T11 E DEl',\IU'l / HE FO R HATT I.I ·: .

jOAN (JF

A l<C- BU R NING

AT 'l'llE S TA KE

J.'r o m a pain t ing /Jy Alj>/11J11se Cu rdo11111i -r.

T ill·: C ATJ •:C ll I SM

I J~

Fro m 11 pai11ti11Jt hy )11/cs Afun i ,·r.
lh:J'Al<'l' U RE FOK

J;rom a
L v sT

puJ1111·n.~"

p uhzti11.~r by

T 111·: .l \fA N \\' 1'1' 11 T i n:

IIL
) \ '.

V.
\'!.

Th e S it uat io n .
Sen te nce S t urli es
Sit ua t io n-t y pe s 1. an d II.
A S e ri e s of Si t uations .
R e trospective N arr:ttive
R drus pective 1'.' arraliv e (con c lu d e d)

15
31

-15
5S
75

1q

p .un IT.

Chu.rles c;a/lr id C lryrt:.

lJESC I< l P'l'IU N

.Nh,_· z·~ r e .

IT o E .

p.lin t in.~r tiy

o i: ~ I v

IT.

178

From a pai11tin,it by 1Jr1 /0 11

P oR TR :\I T

I.

by C:h.z rlt:s l.J u veu /.

T 111·: N1< : 11T-IV AT C ll

From a

ChajJta
ClwjJ It! r
Chajilt! r
Cltapto·
Cltaj>frr
C lltlj/,:r

S11 1;-.; T1-:-Ev1·:'J"n :

I i_1. u s 10 Ns
1:ro m a

I.

N ARRATION

FnJ111 rl m11r1t! puint i11.~ .. i n !/Jc J Jan!h1•011 by )11/es E 11g t11 e L1~ 11 f'j'>V1..' 1t .

T 111·:

3
4
7

}1'llll Fra11(u1·s .l!ille t.

{i.f uT llER

2 .j 2

.

Cltrr/>l cr \'TT
Cltap!a \' i i I.
C!tapt,·r IX.
c·ht1}l1.-r X .

'I'h e l )(:sc: ripl i\·c

I' a ra.~ r<lph

CJ r nan1cnlat i1111 in I >c:-;c r iption

1.;c,
J .'-\_)

' r'li e I ' ese r i pti ve '"I' ht~ t nc

l '.: u ·;.diL·l

C u n~trucllull

Frv m "p111.11ti11,t{ by jam r:s .-Jbbo t l .1J,·,\·1·dl ll ' /11.s //1.'r .

268

'I'JJF. S t1 EPJll·'. RU ESS .

I "f(Jl/I

L.. A 1: IJ <l l '.,\ T,

.J.

/' J l .u t in.L,.. by jcJll /··1

,J!J \.·!J'

T11E C ll(C L! S l\1AXl~! l) S

r.

a p aintin.s,r hy

Clt.rpt a

X f.

P1 {1:'\1.\I { \'

}t:c111

S t · 11 no 1. (J I ..

J_jt•n G/r6 m r .
PAR T

JV .

EXPOSIT I O :.;

H11\" s

F'rr.Jm a pai11ti111/ by jeuu

C'/(({p/,.r XII .

u·r,~(froy.

Hn1 N T o S 11.E:-<< ' F..

f.'rom a p.1in tin1t by

Th e Sliurt Slory Cont a in in g Description .

3 16

l\! tl.'J' O N lJH"l'ATf N(; l' A i( A ll l S E L OST.
l·~ro m a pa i ntin.!t by .Jf dui ly .I/u11kll csy.
'r11E

11

S .\ i i .\ I ~. \ J\i .CFH IE ~-..'

F ru m a p 11in / i11,([ by G' u sl11 t'e (.; u i/l.111111c·/.
/~ 'ro m

PART

.i.' :li:. :I .

JC)O
~~lf(Je rt

Tlw mas.
<.

4 )

Clllljifrr X I IT.
C/1nj>frr XfV.

E xµos itu ry ~ fut i\-cs and ~ iatc rial
Th e Exposi tory l 'arag raph
T he E x p" s it<1ry The m e
( 5)

257

6

Tlie Tabll' of Co11 /mls
PART

V.

NARRATION, IJESCRIPTION, ANIJ EXPOS ITI ON
CO;\IBINEO

THE INTRODUCTION

l' AGE

CltajJli!r XV.

The Trav ele t.. s Sketch, the Cha racte r
Sketch, the l'\ ature St u<l y , an<l the l:liograph ical Essay .

PART

T

35 1

VI.

AR GUMENTATION, PERSUASION. NARRATION,
DESCRIPTION, J\ ND EXPOS ITION
'

I

co~rnrncu

C!tapter XVI.

Th e Debate, th e Oration, and th e Drama .

THE APPENDIX
Par/ I
Part IT.

Rules for Punctuation
Selections fo r Repro<luetio n

A /..isl of th e R ea dings
Till! Index .

403
4 12

416
417

tf

t
t

1

I
'

-,,

I

I!

f

I.

HE presen t volume will be found to be a frank
atte mpt to apply to t he teaching of co mposition
the studio m e th od so long prac tic ed in the art of
paintin g. This meth od rese mbles the so-called lalJ1J r a tory and other indu c tiv e methods of studying En glish
in that it contains lit tle theory and provides for m uch
pract ice. The authors feel that the difficulties whi ch
hesct composition arc not theo reti ca l but practical ones,
that th e student 's o wn theme shou ld be t he startingpo int for the instru ct ion he r eceives, and that therefore
h e should write daily, i f possible, fr o m the very hq.:· inning of hi s course. Th e m ethod of this buuk is distinctly a literary, n o t a rhetori cal m e thod, and di ffers
from all ot hers in its l1 se thr<>11gho11t o f a syst em of
typical parag-raph ancl the me models derived fr om parti c ular pieces of literature and from co nversation in our
daily life.
The sec re t of th e importance of practice, guided by
g-oocl mocl c ls and a m od icu m of the ory, was long- ago
discove r ed in all the othe r departments of th e arts and
crafts, and this book follows in the path of that disco\·c ry. W he n th e st11clcnt sees that h is co mposition is following the outl ines of the free anll large utte r:rn ces of
men w ho had no thought of c ramp ing themselves in
vnler to fnrnish svme model lkmandui liy this or that
partic ul ar t heory of literature, c1·iticis m, 11r edt1cat1u11,
he will ll<•t n.·g-::1nl his tJ;eme-wurk as a m l'chan ical, unnatural exercise which the perversity of the teacher or
the tcxt-liook h~ts isf>lated for 11im.
The correspo nden ce bet\\'cen the m etho<l of compos ition her..:· presc n tccl and that of the <1ther arts ;u1d n;1its
111a y be run li er seen in the way tlte student is taught to
analyze a piece of literature bcfu rc attempting· t•i ll>'C it
as a pa ttern . c\ hoy who is making a bux ,,·Jiicl1 shall
resemble another box, first anaiyzcs his model in tu its
( 7)

~·

"

s

T!t t /11/roduclioll

}fl,· !11!rod11dio11

necessary features, those comm on to all hoxcs-siclcs,
gen e rally fo11r, a bottom, and a co ye r. lie obsc n· es tl1c
fo rm of e ach of these clement s and t he ir relatio n to
each othLT. Sit11il a rly, an arc hitec t w ho has a building to clc sig-n studi es the ;-i 11a t1 im y of other buildings;
th a t is, li e examin es, in th e ir relat io n l<1 each o ther, the
n ecess ary featu res of all architecture -the arc h, wall,
p ier, b uttress, r o(Jf, and apertures. ()1;c bu ilcling differs
frum an o ther only in th e wa y in whi ch these elements
an~ comb in ed . As a pi ece of 1i tc ratu re is an orga nic
prod u c t quite as m uc h as is a liox CJr a b uilding, the first
step in learning- huw t o write is to lJC able to analyze a
piece of lite rature anatomically; that is, to r esolve it
intu clerncnls or units fuun<l differently combined in
other specime ns o f litcrat11re .
Th e word, the scntenl'e, and the p:i.rag-r:i.ph are not
the units w e arc seek in g in this analysis; they arc to a
e(1tnposition only what the separate b r ic ks are to a building ()r t he separate notes to a p iece of mu s ic. \ Ve arc
looking fo r certain units of experie n ce fuuml bo t h in
li teratu re and in life a s expressed in our co n ve rsati o n,
of ·whi c h some of the mvrc import:i.nt puintcd out in
this volume arc the desc ription of characte r, place,
personal appearance:, muod, mode o f life, occas ions, r etrospective 11 anativc, the situati on , f o n va rd-n1oving· 11arrative , and the gen e ral r cn cct io n. Students arc Jll:J.(l c
to sec that all p ossible lite rat ure is a combinat ion of
t h ese :i.nd other spe c ifi ed c le ments acconling tu designs
as va ri\lu s as the fig ures in a kal c iclosco pe.
Let us n o w sec h o w these constrn ct i \·e 11 nits, of
whi c h literat ure mak es use, son1 ct imcs appear in our
conve rsat io n. \Ve may im agine oursch·cs listening- t o a
g r o up of per::;o ns conversing o n ord in:i.ry subjects. One
wh o has hecn travel ing in a fo r eign co11ntry is clcscrihing a ce lebrated cathedral ur the sccnL· frum his window
in on e o( the: places he has visited. Thi s g·i\·es tts p lacc desc riptiDn. A se con d pe rson has iUSt me t an oid
frtL'll d \\'hum he iias n ut seen tor \'L':trs . :11Hi 1s tcil111~
ii"w chan~·cd he is in l o"ks --an c x a.rn pic.: ,,( the dcsc ri pt>(! tl \>I p erso n:tl appcar:tlll'C . ::)L ili :uJ< 1ll1c r ut ti1c co m pan y is g-iving· his opi ni nn of tl1e charnder of some man
in publi1,; life. Tltis is d1aract1,;r-description. One who

is interes te d in sol'ial settlements is ckscril Jing· the ll'av
in w h ic h the pour live . This is dcsnipti"n of rn1>dc ,;f
life. A fi.fth is gi\·ing an a ccou nt o f a tll l'L'ting lie :tltcnded in the a f tcr111H>n -dcscri1 >ti1111 uf :u1 11ccas i11 11 ""
:1ssc m bl:1ge . It will 111>t h e nel'c ss:lry t.11 c:irry th l':'c
illustrati u ns furth e r. It may lie r c:td ily seen til:1t th e,.;c
muLives arc found in litcra t t1 rc l >LT:<lt sc tlil·y arc u11its
nf e xperience 1\ll()rg·an izcd in life lrnl or.1..'.<lllizcd in literature int<1 large r and unified \\'hull's. \\' hen thc·sc vkm e nts of litera ry constrttl'tiun ;-ire <>nee 11nrlerstn•·rl, the
problem of CtJtnpositi o n is merely th :1t ()f their L'ffcc ti\' C
enmbinatiun ; and the prublcm uf litl'rary :ll 1: dysis <lll
the side of fu r m is the se parat ion of a piece of lit e rature
into its compo nent m ot ives.
A t.hircl way i n which this hnuk conncl'ts literary
m et h od \\'ith that of the nthc r c11nstrul'lin: :trt s is
through the tlist incti<•ll 11·hic ii it rn:1kl',,; !Jct \ITCtl tl:t•
strtll'ttt ral a nd th e ck curati\T p rolJ1c111s in the art of
\\'ri tili).:'. Lt· t us once mu rc rn :tkc use uf :1rt·l 1itt:l'l t1r e
for pllrposc s of analog·y. The structural c kml'nts in
arc hitect ure, the a rch , p ier, etc., g·i \·c strcn~·th. <1r1kr .
sym metIT, and orc:·:rni1.ati< 111 t<> :L ln1ilcli111.'.· :rntl l·x p1·1 ·.-..s
the intelligence ot the arcli1tct'l, \\'h1lc tile 1>l'llan1 ~ · 11t:1 ti1>11 a<kb lil·:u1t y t" thL· \1·<1rk ;rnd tlispl:ty,; th t· ft'L·!1 1;:-'.
of the hu ilclcr. " T lic t11'<J \'irtu c,; ., f architl't'l11r,· \\'ht< ii
\\' e can ju s tly we igh," s:tys R11s ki11 , "arc 1ls strcnl.'.th .. r
g<><>d con s tr11 ctit1 11 and its lic a1 1ty 11r g·"ud dcc11r:1t «11i."
lt is possilJlc to wc-igh in the same manner tl11· \·ini;cs
of a pi ece uf literatu re , t" scpar:1tc in it the structu ra l
from the del'or:Lti\·e cic111l' 11ts. \\' i1:1t is meant. iiv th•.::
structure or :i.natorny of a piece of literature has al;.ea<ly
been explained . The deco ra t i\'C o r pttrl'l r ;l:s th ctic
·clement is secured lJ\- m e ans of Y:iri<1t1s rhd"rit·ai dl'viccs and tnrns of CXJlrl'SSt• Jll , st:ch <ts figllrl's 111' spen·l1,
the rhctnric:ll qt1l's!i<>n, t he ]'':ri,,tlit· '.'L'llkllct·, :u ;tl 11:11· a lll'l construc ti 1111 . all 11f whi1_·h kn•l mi11 <1 r l w:i 11 ~ic·s t"
the wil ulc . it. 1,; tlir•'l 1 tl>t· u;·11:1111t'11t:tl .~11k 111' tltc

~

r

I

i
!

I

I
!

•

()

s11L1 1cc·t tli:tl tlll' iJ(\{•k l
11,:..:·;--; l ' l · rl:ttil 1 1l i;tsc~-.; 11( ; l: l· _...,l!llh( c inn ~li rilt.·t, ii-1 c :11t,1 1 lil ' .-..:i_ ll1 l t ·i :t ':---; \\' • 1;·I.,: 1:1 :ll ·: tl ~ ll c· •l l-~lrucl Hlil.
\\.it 1:c· Llic }>!'1 1i1i c_· n1< )(1..·(1111111 1.- ..,ilJ(•ll d1 •l' S n .. L

uf

dea l primarily w ith or11:Lllll'lll:1LitJn, Jl! J tcxtl""'k ":' n
altogether neglect this :1spL'ct of it , (.,r :t ll g«•<>d \ni t 111 g·
'

·~,

.

. _.:·

IO

T!tc /11/roduc!ion

is in a 1.n easure beautiful. 1\s the builder first p uts his
stones into order and afterward learns "to touch them
into beauty with the graceful and dclic::ite .forms he
finds in nature-foliage :incl birds, shells and clouds and
wavcs_"-so the writer must not neglect either the con strnet1ve or the ornamental side of his art, or his writing
will be defi cient either in clearness or in grace.
It. wdl be seen that this method of studying comp os1 t1on is mt endcd to react on the study of literature .
It makes possible a correlation bet"''cen these two
departm e nts whi ch will lead to power in constructio n
a nd to skill in r eal literary analysis w hich means an
appreci:ition o f literature on both its anatomical and
dccorati vc sides.
The meth o<~ o[ composit ion and literary analysis
thus ou tl1ncc1 is the most no,·cl fea ture of the book .
Stm1en~s, however, need di rect ion, not only in the org-an1z111g- of· mate ria l into th emes, but in the selection of the
matc1·ial it self. The book, the refore, deals with the
q11esti<>n of material. Literature, art, ·and common life
a re the.sources from which the student is cxpcctec1 to
draw his subject-matter. The plates \Yhich the boo k
contains furnish so me uf the material i n narration and
description , and th e method herein s11gg-estccl for the
description of these paintings seeks to m·oid the mere
catalog-uing of the details found in th em-a most pernicious e x erc ise in composition, though it may stimulate the student's ge n eral power of obserYati on. The
social side uf co mpos it io n has been kept w ell to the front
hy showing the origi n of some of the models in colloquial speech, bv carrying- on oral and w1·itkn compnsi tion_ sit1c by side throughout the book, and by suggesting
sub3ects from common life that \\'ill open tot he student's
eye~ the p ossibil ities of his eYery-clay surr<Jundings a s
sltbJeCts fur themes. anc1 so sh o w him that the materials
Of poet ry and art are very near, C\'Cll on" the p:lthway
CJf 011r lives." In th e early part 11f the b<>ok the thcmematc;rial is Jrawn \'c;rv Jar·~·ely fr()lll literature. "\Vhi le
the student is str11g·g·li n l( \~' 1tli the clcmL:nt s of furm, it
is t!H>ught wise tu furnish him \\"ith sui>ic«t -n1:i1t0L
Une piece or lilcrature is, thcrcf<JJ'C usetl fu r a pattern
and another for matcri;il to !Jc r~produl:ed, or mad~

T!t c I11t rod11rl /,,11

I I

over, as it were, according to a gi\·en pattern . Befurc
sL:lecting th e matter t\I lie used in this way, t he auth1Jrs
obtained lists of r e adings from twcnty-fiH· uf th..: leading
high schools in the co11 ntry, and have taken from th1)Se
lists th e selections th:1t seem to commend thcmsdYes
most generally tu teache rs <•f sccumlary En;..:lisli.
\V hile cl11e pro minence has been g-i\·en to the common
divisions of co m positi o n into narratilln, description,
exposition, argumentation, and persuasion, an clTort
has been mn.de to k eep before both student and teach e r
the fact that these do not, n.s a rule, occ ur in eithc.:r life
or literature in th eir pnre form. No author sets 011t
with the intention of m ak in:i..:- a <.lcscription, for instance.
tu the exclusion of narratiun , cxp11siti\ln, or any other
furm of composition . Indeed. the f(1rms uf co111positi1m
are mere abstractions, useful onl y fo r anal ytical pu rpuses. AlthCJug·h at least one thl·mc-nwclcl has 1Jccn
gi\·en upon each of the Ji\·c cl iYisions of l"1•111positlllll, in
its pure form, more emphasis has l>ccn pl:tcetl.upun the
mixed types. Th ere arc th e me-m odels on narration
:tnl1 description combined, :ilso nn narration an(] ('XJl""i tiun , and <>ll narratiun, descript ion, and cxpos1t11Jn con1hi11 ec1 . The vari011 s m"dcls provide f\lrms for the ,.;il11:-t
story, the character skctd1, the tr;tvdcr's skl'lch, tile
o r ation, the lJuok re\·ic\\', the <.kbatc , anc1 the biut:'raphical ur histurical essay.
It will t hus be ,.;een that narration is the o n e form th:it
is ca rr ic<l throu gh the hook :incl g·i,-cs t.hc worh: its nnity.
There are t\\'O rcas<ins why narrati11n has h~·cn .c:·in· n
such prominence. Cine is tl1'tt it is the must colllJll1>n
type of lit e rature anci th..: one \\' hid1 intt·rests the l:tr~t·-;t
n11mb cr of pcnp lc. Tile cpit'. the dr:tm:t, the no\-ci. thL·
short st o ry, til e narrati\·c pul'm, history, and hiugrapi1y
are all primarily narrat 1\·c, and c1m,.;tit11tc t11e gTL·:ttc·r
part of till: a\·cr:tt:e person's rL·:tding-. lt i", therct"1 >1·c ·.
import;rnt that uur nat11ral tasli..: f.,r 11arrati1·c li tcrat111·c·
should he prnp1: rly ed11calccl, in 11nlcr that we n1 :1»' ::"l
he satistien with \\·hat is inferior in l'u!l ct'p;i un <•r l.:,l· ,-: :L1"11 .
'l'he ot lll·r n·:tsllll is ti1e 11 t'l'd ,, f 1h1h· lim1ti nL' tiw
SClljlC o f the Wllr!.:: attempted in :rn vic11w1H;trv C••\lrS~'. It
IS 1mp"ss1blc fu r the ) " >llll:,.:· stlltknt to gai11 'a ~'<11l1pk tc
working knowlcdg-e vf all th e f.,rms pf cump"siti"n in

I·

~·Y:.

":':''•'."

.., ._.;:;. -,

.
·,

//;,. !111 rc1d11ct io11

The f11/r od11clion

the time generally allotted to the subject in secondary
s c h•><ib. For Lhese re :isun s the bouk aims to co n cen tratc
the attention upon the leading- form, :\lld t o give tho ug-ht
to the othe r kinds "f c•>mpusition, f"r thc must p:1rt , only
as thcy cntcr into L'i1 111lii11ati"n w iLh this.
.
The rnin"r fl'atures ,,f the !Jo.,k may be b1·ietly
summarized. SpL· c i:1l exercises in pt111ctuatiu1 1, c h o ice
of words, sentenc<.: structure, and vthcr min o r matte rs
:ire given as they are needed in particular thcmcs .
Jn this way grammatical, mechanical, and rhetoric al
cletails arc brought in inciclentall~-, as they should be,
:rncl only as th e y arc required in th e stude nt 's co mpositiun. The young- writcr should lie taught t o hanu le
th· wo r d , th<.: sent<.:I'lC<.:, and th e paragraph as parts of
a c1111crctc anll larger wh ole whi c h he is creating, just
a s Lilt.: mason lcarns to hanclle and lit his bri c ks lJy laying· them in an actual \\·all. Hy in tcrspcrsing- a few
spc llin.L:· cxcrciscs and H!\·iew k ., sons in grammar, th e
auth o rs aim to make the stuck nt feel that the break
bet w e en high-sch1Jo l En,L:·lish and gTamma r -schuo l E nglish is nol very marked. I n the th e mes drawn from
life an etfurt h :1s been made to keep the commo n p lace
frum clcteriorating into th<.: trivial o r the in sip id, by sug-ge s ting a treatment of these subjects which is vivid and
dramatic. ff bot h theme and treatm ent are allowed to
lie ordinary thvre is little cha n ce for gTowlh i n voeabul:1 rv n r g~1;t-r:t1 litera ry ap p reciation.' Thus, thc suc ial
s ide . of c<>mp"sition, that whi ·h eonnects it with C\'t.:ryd :1y life, has two prolilcm s : one to open the stud •nt's
eves to the h e n1ic elemen t in common life, and t he
<Jtlicr tlJ teach him how tlJ make th e unheroic and th e
ordinary interesting", l>y th e manner in which he deals
\\'ith his sulJjc c t. The autlwrs ur;.:·e tha t st u de n ts be
cnc<lurag·ccl t.o select their u11·11 st11Jjects.
The tc:ichvr ·s ~lanu:il. \\· h 11·h :1n·<imp:u1 il's the 1,," ,k,
suo·gests ce r tain ckpartures fr"m the orde r in which
s uGjcL·ts are prcsCilll'd in th e stuclcnt·s l)l)ok. The lo~·i­
cal order which is ckm:11111l' cl in a lL'xt-bo<Jk is n<>t
always, as c\·cn· tc:i c licr k1 11111·s. t he· pt·cl:1:.,:·og·it·:tl "r<lt:r,
tlial -dcmandt.:tf liy th<.: natu r :tl i11 lcrL·sts ul the child.
This gui cl c is :ils<J int ·nclcd t o c n :1blc t c~i c hcrs to anti c ip :tl<.: certain crrors to which st t1d c nts a rc pron e in the

use of th e m ethod of compositio n he re outlined. Tlil'
Manual is practi ca lly the work of students, for it is
made up of th e ir exercises and th<.:mes written according to the clirt.:ctions in th e st11tknt's lio<>k . Tlic C'<tIJ\ .
m e n ts on th e er rors in th ese exerc ises, th <.: suggest 1uns
inte r spe r sed :i.t , ·:i. ri o t1 s po ints, and the additional exLT cises wh ich the flfonual contai ns, r cprcsL'Ill the large r
p a rt of the autho r s ' contrib u tio n to this guide.

I '.?

....

'

'

I ,
J

i

;

j'

PART

I.

i

NARRATION
Cl I /I f>'!I'.N !.

THE SITUATION

I

! .

r. H ow to Begin a Story. In our w ork in
compositi o n w e sh a ll study first th e a r t of telling a
story na t ura11y. M ost of us are m ore interestin g
\vh e n we t:i.1k than whe n we write, because w e are
th e n m o re spontaneous; t h::tt is, m ore informal. Th e
art of being natural wh e n we a rc ·w ritin g is something- mos t o f us have to Jea rn , atHl we must learn it
by st udy ing the meth ods lJy which stories arc tu ld
i n our ordinary conve rsation.
F irs t let us ask," I low d<>es a persu n natur:tlly
heg-in in co nve rsati o n to tell (Jf somdhi ng ht: has
witn essed? " It is by list en ing to p e npl e talking
that w e sha ll karn h ow tu begin a stury . Lilcr:tture , 111 order to be spont:J.nco1;s, must clcri,-c its
methutl as well a s its material f mm lifc. The o rigin
in colloq uial s p eech o f ccrbin types o f lite ra ry construction is o ne of the subj ec ts that wi ll recur again
and ag·:t i 11 ill <Jll r \ \·,,ri;: .
Im:1g in t: a dinner talJ1c a r u un d whi ch the memb e rs of a fam il y arc a sse mhled for th e ir evening
meal. Th e fath e r is sayin g , ''As I was on my way to
( 15}

-

, ... ,.

~

..

.,

16

1-

Tiit' Si111111/,,11

the~ offtc~ this m ornin g I met Henry J ones in front
of :-i rm th s drug store, hurrying fur th e d octor."
Doc s thi s s o und natural and familiar to yo u i
\\Tou ld it 11(· iik e iy t11 1c ~1d f,, further c o11\· cr:...;~lt1 o n in
\\ .1 1': . 1 ..., . ~
1 i L 11 1H · 1 · n~q):--.· 1Ll~ l c~ .--:to r~ · ilf,• : in :1 cci11 t ·nt lt ~ _....;1n:tc ll lclll
lier of J\~ r. Juncs's family wuulc1 be tu lcl? 111 ight it
lead to tnc story uf .'.l. long illn ess elating back several

/

away fr om \1·hatc\·er li g·hL then; w :-ts, and .su·iking UlTjl
into th e w ou<ls, but t hc..: 1r feet w ere f:u11 11lar 11·1 th the..:
p;tth, ;u1d it \\':ts no 111aLtcr whether thL~ tr v ycs c•Htld
:--.ct:

i L

i

,1·

111

,1

,t

years?
2. Elements of a Good Beginning. vVh e n WC
ex :u11in e the b eg- inning- quoted a bov e \\. , find that
it co11t:1ins the follo wi ng clements :
1.
2.

A mention o f tltt timt, .. this m o rning-."
A mention of t!tc dtarrrctas, "Hen;:'y Jones"

:i.nd "I."

3· A mention of t/11· plaa, ·· in front of Smith's
drug sto r e ."
4· A m e nti on of tit,· nr u1s1u11, o r the c ircums t:i.nces whi ch caused the different characters to be
in th c place m cntionccl ~Lt :t p:-trti cuh r time . " 011 my
w .1 y to th e of'! icc. " "hurryi ng· fi ,r ;t <i<>dor. "

O ur next questi<>n \\'otil<l nat urally b e , "Do we
fincl wr i lc rs s ometimes beg-in ni ng s tor ies in Lhis
w:-ty?" T he :lllS\\"Cr is, ·' Y l!s, \'cry oft e n."
vVe shall st ucl y Ullt l\\'O illustrations from lilc ra.
turc here, thoug·h m a n y others will occ ur in onr
later w o rk.
I.

The \1· nocls. \ \'e r e :l; r c:rtLl ) fil ic \; wttli sh a dows one
J tin e, e1~c n1n g ..J_ us t liefo n · L'i:_;-h t 1>\.. :vck, though ,1 bng-ht
sunset sllll . gl1 111)lH' rL'\l L11 ntly amo n g tl1 e t runks of the
tr ee~ . .1'.'- li~tlc girl wa s dr i v i n.!.!" home her <'l>\I', ~ 1 pl<>d Lhng, d1l.1to 1y , pro.vo k1~1g creature 111 her b e havi o r , but
a v al u e d compa111<•11 lnr all t hat.
Th ey wc..:n; goi ng

I

i

l'

j

i.

In th e ulc1 CL•lon y day s, in Plymo u t h the bml of the
Pi lg-rims,
T o a m1 fro in a r oo m of his s i m plc :ull1 pri Ill it i 1·c..:
dwdlirn.'·
Clad in do u b!~ i.' and h1 Jsc, and 1.> u<.i b uf Corcln1·:i11
le ather,
Strode, with a m::tr ti al air, ;\l iles Standish th e Puri tan
Captai n.
Bu r ie d in th ong-h t lie sce m c..:d , 11·ith his h ands h chind
him , and pausing
Ever an d an CJll tu hc..:h• JlLl his ;..:litlcr in;..: wcap .. ns (•l
w:-trfare.
Ne a r l1i111 was sc..::ttcd ]<Jllll A ld c..:11, 11is rri c nd, :l11cl l1ull SClt1 ; h[ <.:<>lllj> <ll1 l"il,

.

.

•

\Vri ling" ll'ith diligc..:nt s peed at a ta ble "r p111 c l>y cll L"
\Vin t111\\·,

-

J li: :-.; 1n · \\'. L1 1~ (;1 · 1 ·. 1.1. 11\\" ,

(

·11urt .u:·i/ ' ,'.( .111/( ·s .·...:r,111Jn/J.

3. Th e Situation E le men ts, or the Four W's.
Each of th e.: ;dJl >\"C q tt <>l:1ti 11ns is the h q!: i11nin;.:- o! :t
s t o r y, and like the co l lc1qui :d iliustratiun in se cti1.'11 1
eont :t ins tlt l! men t 111n of th e pbl:e . ti111c..: , o c..:c:ts 11 1 11.
and c11:tr:tders. The situa t io11 elc111c11ts an s11·c..:r t h e.:
qucst i1 >ns «·Ito , '"Ito·,·, ;,·/1,·11, ·;, •/1y -- til l! fvu r \1.-s.
\V e hav e lear n ed th c..: n at least un e accepted 11·:t\·
of b c ~inn1ng· a story --- th e metl1cid ol tl1e f, .,1 r \\'· s .
lf th ese qucstiuns \\'hi ch nat11r:tliy u cc ur t" 11s in
r eg-:-tnl tn place . time , l'tc.. ;tre :tl1 S\\T rc<1 :i. t: th e hc <r of the storv.
our minds arc satislied, and
,
g innin ,..,
~ve are prep::trcd tu hear more.

.'

lit<' Situation

Ci1111posil io11 rr11d Rl1t1oric

18

vVi th fa ces worn ancl weary,
That told of sorrow's load ,
On e day a man and woman
Crept do wn a .co nnt_r y ro_ad.
They sought th eir native v1llag-c,
Heart-broken from the fray;
Y et shining still behind them
The Lights of London lay.
O cru el lamps of London, i( tears yo ur li ght conl<l
drown,
Y our victims' eyes w ould weep t hem , U Lighb of
L ondon Town !

I.-A STORY TOLD BY A
SERIE S OF SITUAT!Oi'\S.
\Vhen onr story is once
starte<l in this way, our next quest io n is h ow to
proceed su as to hold the attention of our hearers or
rcalkrs, having once secured it by ou r in troductio n.
Let us look at the following poem, which catches
the attention by the method of the four w's, and
keeps it by the Yery simple device of usi ng three sit uations, one at the beginning, one in the mid<lle, a nd
a third at th e cml of a ser ies of eve nts. This pla n
will enal1le u s to te ll a story in an effective and inte resting way, and is our first themc-moclcl or pattern .

4.

Theme -model

A N ALY 5 1> uF TllE Moo~: 1.

Observe in the first para g raph:
.
.
The mention uf time: "The 111ghl wa,, dar~ and sl(lrtny.
~: The mention o[ place: "The heavy r oad," "Tbe L 1g-h ts

THE LIGHTS OF LONDON TOWN

of London Town."

The y ears passed on and fo1111<1 th<.:111
Within the mighty fold,
The years had brought them tro ub1c,
But Lruught them iittic gul<l.
Of~ from their garret winduw,
On lnn g, st i ll, summer nights,
They'd see k the far-off co untry
Beyond the London iig-lns.
0 mocking lamps of London , wh;it weary eyes look down
And m o urn the day they saw you, 0 Lights of LunJon
Town!

· ..

/
3. The m t:ntion of c!taracfrrs ·: "A. country l<zd and asst'' ·
4 . The m ention of the ocou11111, / e .. U1e re,a son. \\' !~'',;he
ch a racte rs arc in th e place_ named. fh1s ';\ imp1,1~d in \\ .ictt
fortune;; lie \\'ithin vm1, () Li~hts <>I Lond<•ll J r1 11·n: .
.
Find Lhc si tuati on cleme uts m Lhe st:cund an cl tlunl paragrapth
of this poem.

The way was lon g- and weary,
But gallantly th ey strode,
A country lad and lassie,
Al ong the heavy road.
Th e night was dark ancl stormy,
But blithe of heart w er e they,
Fo r sh in ing in the distance
The Lights of L(lndon l::ty.
0 gleaming- lamps of Lon<lun, th at g-em th e city's
crown,
\V hat fortunes lie within yon, 0 Lights of London
Town!

[

-

5. Plan of S ituations in Theme-model I. Thcrncmodel I. is derived from Tiu· I1;i;l1/s <'f lundon T,,,.,,11 ,
which has the following plan:
Situation I. The first paragraph gives Ili c Prrpara tio11-a bt1 and a lass st:i.rting out to seek t.hci;fo rtu nc .
Situation II. The second parag raph gives 1J11'
Climax-the failure of their hopes.
Situati nn Ill. The third paragraph gives Ilic
Sequel-- the course of action which follows the
climax.
\\Then von :i.rc asked he rea fter to tell or write :t
story acco~-ding to Theme-model I., give th.n.;c ~itu­
ations, each in a separate paragraph . The situations

20

'

l'

i

Tit,, Sit 11rrt /011

should follow th e o rder of t ime, that is, th e natnra l
s<::qucnce, so that the fi rst occurs in the preparation
of the s tory , the secon d ;i.t the c limax, and th e third
in the sequel. Such a th e me r ese mbl e s a chain of
three links of th e same size and shape, if we consider
the rese mblance of the separate units \ th e s ituatio ns)
to one another. If we cons ider their relations one
to :rnulhe r, this kind of them e is lik e a i1owcrin1r
plant, for o ne situation grows o ut o f the pre ccLling·'.
as the stalk from the root and the blossom from the
st:tlk. To ch an ge the figure , writing a sto rv accord ing lo this pla n is also like clirnbi~1g a hill. The
startin g t o cl imb co rrespond s t o wh at w e have called
th e pre pa rati on; rea ching the su mmit, to the cl imax;
and descending o n the othe r side, to the seq uel.
f

6. Definition of Terms. In th e p receding sect ion:; we have used certain terms whi ch will hereafte r occur fre quently an d need to be formally
tlefinccl . Th ese arc the terms: Nar r:1.ti o11 , narrative,
pa ragraph , s ituation, situat io n cle ments, theme , and
theme-m ode 1.
I.

1\ poem which ~ci b a .'>Lury is :t n:truti ve

po('n1 . n r ~tn cx ;-11111)1l: 1;f 11 . t: · i-:tli( •il .
2.

i\ ..11rrol/on Jn e ;tns :--;tl>r y-t i~·lli11g .

3. Narmti'i1c means story-telling or rela ting to
story -teilin g .
'1· A f'1n·11/;raplt is a ;;r()lljl uf sentences \\·li id1
clcvclup unc ille.-_ L
5. T!tc sil 11tlli"o11 is ;-i. type of par:ig-nph which pictnres a sin g le sce ne in a stnn· h\· 1 1icnti o nin~ tliL·
ti me and th e place o f th e acti<m , t he characte r s involved, and the occasion whi c h hrin gs th e characters

f
~

f

t

f

"

I

I
;

21

to th e particular place at the time mentione<1. Each
stanza of Jill' f ,(i;lils <~( f..u11d1111 Ii1 -;c •11 is th erefore an
example (Jr the s itu :tlion. as ,,. e han.: s een .
vVh e n the studcnt l) e gin s to luok f\)r th e s itu:ttio n
in pieces of lit e rature h e will find that it sometimes
occupies m o r e tl1an one paragraph. HowevL:r, in
writing the: themes called fur in this book, he .1 s
advised to confine th e situatiun, except when <11:tlogue is u sed, to a single paragT:tph, other "'.i se this
e leme nt may be out of p roportion to tb e o tncr 11:1.rrati\'C and (lcscriplivL: 111<•ti,· es.
6. 7J1c sit11aliun cll'lno1/s answer the fou r questions, w/101, <c•!tcre, w!to, ancl <i'lt)'· (See ~ 3.)
7. A t lt <'llll' is a co mposit/011 in the se n se in whi ch
vou h ave u sed the latter Lenn in the gr:unm:tr
~choo1. The wunl t/10J1t i:-; used h e re in stead "f
composilio11 ])L·cause it is sh o rter a 11ll 1nurc prec isl: .
8. /\. 1/in11c-1J1odd is a pil:Cc of l iterature fro111
which we nuy derive a pattern or gen eral plan for a
theme.

7. Uses of Theme-model I. We shall find
Theme-m o(kl T. c onvL~ nicnt for ana1yzillg ot her
poems const;·uctcd <>il th,; s:tllll: :.-'.c11cr:tl pl:i1i. tli:lt
of a Sl." rll.:S of silll:tll<lllS, -- such :ls 1(ing·sky '.-; l/1r,1 ·
Fislto-s, Ccorgc El iot's /'<1'0 l.o<•a.1, and Longft:llm1·'s
Tiff /!on1ri11•r
1!/ tltc Cr1 111t.
It will s e rve also for
0
0
ori .o-in:tl
n :trrativcs , f<>r thL.: d<;,;cri1itiun of pictun:s
...,
th at contain th e f 11lir w's. and iur the r eprudt1clH111
of st• 1rics, liot. h thuse 1.rnilL on the same ancl on a
JilfrrcnL pLn.
8. The Situation Elemen ts in Pictures. Ikforc
proceedi n g to a dct:tiicd stc1dy of Tht:mL.:-llludd l.,

22

however, we shall examine the sing1e si tuation more
in <le tail, hcgin ni ng th is st u<l y by fin cli ng- th e c iemen ts
of pbcc, time, characte r, and occas ion in p ictures.

23

J/1r Sit 11ation

Co111positiou and R/1ctoric

sente nce structure. \Ve have had a slight in troduction to one type of theme and paragraph. \V e arc
now t o give some thou g ht to the sentence a nd the
word.

Exercise

Exercises

Turn t o t he frontisp iece antl fin<l 111 it the four
situation eleme nts.
\V hat is th e pbcc? \V hat <letai ls show this?
Docs the t itle t<.:11 anything a bout the placc? a b o ut
the time? Isthetimcofyear g ivcn? of day? \ Vho
is the character? Ho w do you kn o w? vVhat is th e
occasion? How is it shown? l\lake a 1ist of the
objL:cts that give tlw place element; th e time e1emen t. vVhat is the social rank of the c haracter ?
What show s this?
Find in the magazines, in your liume, the schoolroom, o r ebcwhe r e , p ictures that contain the situation ele ment s. De t ermi ne in each case what
expresses the place, the time, the occasio n, and the
characters, and be able to m e ntion all the detai1s
which give each of the fou r w's in the pictures y ou
examin e . Remember that all pictu r es do n o t contain a11 of th ese cleme nts. In so m e portraits, for
inst.'.lnce, we find only the character ele m e nt, as we
use the t erm charac t er in th e :rnalysis of a s itu ati o n (see §z). Look for other pictures that have
on1y the place cle m e n t .

Find the m e ntion of place, time, occasion, and
charact ers in each of the following examples of the
situa ti on :

9. Examp les o f the Situation for Analysis. The
following examples of the situ at ion are first to be
analyzed into t he fo ur eleme nts we have been studying, and then r eproduced as an exercise in the law
of variety. It is in the study of this 1aw that we
first consider the questions of choice of wo rds and

I.

I n his chambe r all alone,
K n ee lin g on the fl oor of stone, ..
Prayed the Monk in deep contn t10n
Fo r his sins of indecision ,
Prayed for g reater self-de nial
In temptation and in trial ;
It was n oonday by th e dial,
And the Monk was all alone .
-

HENRY

\V.

LONGFELLOW ,

Tiu L e.i;-t: nd Hurn tiful.

I l.

King- Solumon b efore hi;; palace gate
At even ing, o~ the pavement tessellate
\Vas walking with a stran ge r fr om t h e East,
Arrayed in rich attire as for a feast ,
The mighty Runjcet-Sing, a le arned man,
And Rajah uf th e real ms of H1nclosta11.
-

lIL NKY

\V .

Lu:-;G FEl.l. U\\',

,· / ::;rad.

I I I.

"Ah h ow short arc th e days! How soon th e night
'
overtakes us!
.
In th e o ld country the twilig:ht is longer; but here :n
the forest
. .
Sudde nly comes the dark , with hardly a panse in 1h
coming,
.
Hardly a moment lic tw ec n the twu hg·hts, the day
an<l the lamp light;
,
Yet how grand is the winter! How spotless tnc snow
is, and perfect!"

24
Thns spake Elizabeth Haddon at n ightfall to l l annah
th e h o usemaid,
J\ s in the fa r mhnuse kitchen, that se r ved fur kitchen
ancl parlor,
By th e window she sat with li er work , and lookccl on a
landscap e
·white as the great \\·hite sheet that Peter saw in his
visio n,
By the frn1r co rn ers let clown and descending out of the
hea ve ns.
I\-.

Une summ e r morning-, \\' l1c11 the su n was ho t,
\Vcary with labor in his ga rd e n-plot.
On :t rude bench be;1cath his cntt age caves,
Ser Feclerig-u sat a mong th e lea\·es
Of a huge vine, that, with its arm s o u tspreacl ,
Hllng its (lc] icious clusters <ffc rheacl.
-

Ih:NR\' \ V . L 01'C FELUJ\I',

Tit,· Fa!c<1n of Ser Fcdcn;i:t1.

v.
Robert o f Sicil y , brother of P(lpe Urbane
J\n d Valm ond, Emperor of Alkmaine,
./\pparelled in magnificent att ire,
\ Vith rctin tle of many a knight and squire,
On St. J nhn's eve, :-it v espe rs, proudly sat
And heard the priests ch:mt the Magnilic a t.
-

I lE N li.Y

\\r.

Lu0t;l ·T . l .J.<1\\' ,

A'/11.1.,r /,\ 1/1,· ,-/ (~( .\i«i~ J' .

\' !.

The wi n e] is rois tering 011L of doors,
My w incl<>\\'S shake and my chimney r <>ars ;
:M.y E lmwno<1 chi111neys sn:m 1.:rno n in g L•> me ,
J\s of old, in their nwody , minur key ,
j\ncl out of the past the hoarse w ind blull' s,
J\s I sit in my arn1-chair. ;111d t<•ast my toes.
-

jA~!E S R1·ss El.L

Lo1Yu .1 . '/i1 I 'lt11rl<.> l:hi1/ 1\'orlu11 .
\' l I.

The hard white hun<llcs in th e shallow spli11t-l1as ket
were disappca r in.c;, ()Ile J,y on e. and taking th e ir places

I

fl
I·

I

Tiu· Sit urr ! ion
on t h e dec r e pit clothes-horse, well ironcll :-iml precise ly
folded. The Jnly sunshine c;-imc in a t on e side of l\1 rs.
Powd e r's kitch en, :-ind the cool n c>rthwest lrree zc ]Jkw
the h eat out aga in from t he other sid e . 1\1 rs. Powdc·1·
g rew uneasy and impati e nt as she n carc cl the encl of h er
t a sk, an cl th e nat-iron m o ved m ore and m o re vigoruusly.
Sh e k ept g la nc in g out thrC111gh the doorway ; t11d alon~
the coun try road as if she were w;-itching f.,r son1d>ody.
- S A 1c \11

01<1'1.C ]E\\' ETT,

Ta!,·s 1:f 1'/cw L11.i;·/,u1d.

VIII.

Th e lo ng, low, red-painted cott;-ige w:i.s rai sed a1 Jo \· c
the level of the stree t, un an e ml>ankm c nt s1.: p:tra tcd
into two t e rraces.
The whole varcl an<l tile
doubl e banks were cove red wi th a tall, wav in g- crop of
red-top and herd's-g r ass and red and whit e clover. 1l.
w as the hei g ht of haying-time.
A ru sty () pen
bu g gy and a lop- care d white horse s t ood in the chin :
opp<Jsitc the side d oo r of the hou se. An eld e rly woman
with a gree n cotto n uml>re lla ove r h er h ead s:1t piac idly
waitin g- in the lrnggy .
T he sid e do"r sti)(Jd
open, anl1 a y oung woman kept c< •ming· out brin"ill"
pails and round wooden boxes, which sl~e sto~vccl ,;~v ay
in th e back nf the hu.c:·g·y and lrncl e r the seat. ~ he was
a li ttle round -shou lclerccl , h e r fa ce with its thi c k, dull eolo re<l complex ion was like h e r mother's, just as pkasant a nd smiling, only with a suggestiun of slircw<l sense
about it which the older woman's did not have .
-

i\L\1<\' E.

\Vil.KINS,

A !Jumble No111a1u·c, and Utlur S t on",:s.

TX .

At Dronthcim, Olaf the King
!Icard the h e lls of ·vule-title rin~ '
A s he sa t in his ban que't:liall,
Drinking- the 1111t-hrow11 a le,
\Vith his bcarclccl Berserks hale
And tall.
X.

On ce on a time, some ce ntu r ies a i::-o,
Jn the hot sunshine two Francis<;an friars

',;
: ':,;

Co111posilio11 and R!tdoric

\Vended tbcir weary way, with footsteps slow,
Back to their conven t, whose white walls a nd ::;pires
Gleamed on the hillside like a patch of snow;
. Coverecl with dust they were, and torn hy briers,
And bore like sum pter -rnules upon their bac ks
The badge of poverty, their beg-gar's sacks.
-

HENRY

IO.

\V.

LoNL;FELLO ll',

Til e 1l1011!.: of Ca.rn l-11fagg1i1r,·.

The Law of Variety in the Situation.

'vVe

all know how tiresome mon o tony is in o ur ordi n ary
experience. A sound repeated again and again
wearies us. Sameness of color tires o ur eyes, and
our minds are jaded or made dull by mono to ny of
thought, or by tasks that require the use day after
day of the same set of mu scles or nerve centers. In
order to keep our health, either of mind or body,
·w e must have variety of interests and activities; in
o th e r words, we must obey the law of variety. \V e
sh::dl find in our study of the situation in th is chapter
that the principle of variety belongs to art as well as
t o life. The examples of the situation quoted in
section 9 vary in r.i-pr<"ssio11, in the order of th e situation elements, and in so11t"11cc stn1cl11rr.

Ir. Variety in Methods of Expression.

'vV e

shall study the examples of th e situation given in
section 9. first for variety of expression in the situation clements, beginning with the following study
of the time element :
Example I. "It was noonday liy the d ial" gives the
li111i: uf dfl)' · Herc a who le sentence is used tu expre,.,s
time.
Example II. "1\t eveni11g" alsu gi.,·es Lile ti111e \If
<lay, hut c:xprcsse s t.imL~ in a ph1·asL·.
Example III. The expressions, "Ah, how short arc

the clays!" and" Yet how gr:-tncl is the wintc:r ! "t ell us
that tile surso1t is winter. I !ere time is expressed by
the direct q11otation in the form of an exdamat(lry sen tence. \Vhat kind uf sentence was 11scd in Example I.)
"Looked on a landscape white" also indicates the season. Here, too, a whole sentence is used for t he time
element. "In the okl country the twilight is lunger"
gives us the time of day ancl exp resses the time ckment in a sentence.
Example IV. "One ::;ummcr morning" gives !Ill"
season ancl t!tc //111,· of day in the furm of an adverb i::il
oLjective, the won1s ::;ummcr and morning being used
instead of phrases or clauses.
Example V. "On St. Joh n 's eve" g iv es 1/11· 111u11//1
and day of Ilic 111011/lt ancl the time of day. Ti111e is
here expressed in a ph rase.
Example VI. The time is im pl ied, not cJirect ly
expres::;cd, in this example. \Ve infer frum the roistering wind antl the blazing fireplace th::it it is autumn ur
winter.
Example VII. The 11w111!t is given in th e express ion
"The July sunshine."
Example V 111. "It was the height of haying-ti me"
tell s the season in a direct way. Is this mctiit•d as
effective as that used in VI.?
From a study of these examples of the time element w e h:t\'e learned th e f()liuwing- facts:
1.
That the time may be told indirectly.
2.
That it may l>e told directly also by th e use of
the adve rbial objecti vc, a phrase, a clause, a sentence.
3. 'l'h:it we rn:ty be give11 the century or :1g-e tsL·e
Example X.). the year, season, rno11th, day, or l1our.
S11';GESTJ1>1' . - 'l'hc clements of place. char:u:tc r. and ncc::1sion
in Examples I. to X., section <J, may be studied in the same way.

.

~

28

C11111posz'tian and Rlu:toric

Till" Situation

12. Variety in Order. Note also, from the following study, the variety in the order in which the
four situation clements arc introduced in the situations quoted in section 9:

T!tc rcproducti,m: Godcrville was in hig-h feather, for
it was market day. The peasants might he seen

In Example I. the or<lc r is as follows :
a. The plau is mentioned first, in the e xpression,
"In his chamber."
b. Next, the cliaractcr and the occasion, "Prayed the
M(Jnk in deep contrition."
c. Last1y, the t/111,., "It was noonday by the dial."

Sometimes two of the elements are given
together. See the mention of character and occasion together in b of the above analysis.
S11c: t:E sTJON.-Thc orde r in the other examples of th e situ ati,-,n which l1 a ve been given in sectio n 9 may be determined.
'Whi ch of the fou r elements is mentioned first, which next, and
so on?

r3. Varying the Order and Expression in Reproduction. In the exercises called for at the close
of this section the student will be aske<l to rewrite
certain silu:.tlions in onlcr that he may sec how the
clements of a parti cular s ituatio n may be expressed
in many ways. A sample si tuati o n and a reproduction of it arc given below to show how this variety
may be secured. The r eproducti on is not necessari ly an imprnvemcnt on the original. It aims merely
to be different.

Tiu on/;£na! sit ual 1011: "l t was market-day and over
all the roads ruund Gc1dcrvillc the peasants and their
wives w e re corning towarcls the town.
The
women wal kcd with steps fa r shorter and quicker
than the men."

trudging- al ong th o roads leading tu the t1111·n, tl1l· i r
baskets fill e d with vegcta1Jles and fruits. 'i'li •..:
shorter and quicker steps "C tile: \\'<•lllcn rn : t d~: tl1c·m
appear more sprig·htly than the m en, wlw str11d e
throug-h the dust with their wood e n shoes.
Socc;ESTION.- Prnvt' that the same place , characters,

C'l< ..

an:

mentioned in the original s ituati o n and the rC'pr .. ducti .. n.

Exercise s

L Reproduce the last three examples (If ti1e
situation in sectio n 9. Determine first the urder 1,f
the four clements in the origin.:il sit11:1tion, :lnrl in
your reproclnctioa change both the original order
a n d the mode of expressing Lhc four \\"·s. (;-)cc ~ 8 1 1
and 12.)
II. Bring to class several situ:itions "\Yhich you
h:i.ve found in books. Determin e the f<illr w '.s in
each . Reproclucc three of these silu: ttion s , varyin,t~
th e orcler and takin;.; can~ t<> prl·s1·11t c:i.l·lt .,r li1e
four elements in a way un like that llf the <>ri~inal.
14. Variety in Sentence Structure. The b\v of
variety is constantly vi()latcd by slt t<lcn ts in the
structure of their sentences. They use with p:tin ful
monotony, either the short, simple sentence, lx:gi11 ning almost invari:ibly with the subject, or a series
of simple statements connected by a11d, t111d so, or
and t!tcn . These conn e ctives unite the statements
gr:immatically. but they do not imlic:ttc the logic:i.l
relations of ti me, cause, concession. L'lc .. w h ic11 of Len
exist 1x:lween such statements. In order lo g:tin
greater variety in the sentence we rnttsl f: r:;t kar11
to construct the longer complex sentence by sub-

30

Composition alld R!tctoric

ordinating some thoughts to others so as to show
their log-i cal re btions. \Ve shou Jc1 11sc complex,
compound, a nd simple sentences vvith equal ease in
our writing.
Sentences should vary not only in grammatical
structure, but in length. Neither the short nor the
long sentence should be allowed to become tiresome
by being used too frequently.
There is still a third ·\\":ty for securing variety in
the sentence . vVhen we put the subord inate elements first and do not complete the principal statement until the close of the sentence, we are using
what is called the pn·iorlic scntmce. ·vlhen we reverse
thi s order, completing the principal statement early
in the sentence and bringing in the clauses toward
the close, we a re using the loose smtmcc. Vl e should
strive to use both the loose and the periodic sentence
in our composition.
To sum up what has been said on the subject of
variety in the sentence : The sentences in a paragraph or a theme should vary in length, and in
g rammati cal and rhctoric:tl structure.
Exercise

In each of the examples of the situation quoted
in section 9, how many long sentences are there?
How many short sentences? How many compound?
How many simp1e? How many complex? How
many loose sentences do you find? How many
periodic?
Do any of the examples of the situation violate
the law of varie ty in regard to sentence length?
to grammatical structure? to rhetorical structure?

CHA1'7FN II.

SENTENCE STUDIES
15. The Material Used for Sentence Study. In
the following stmlics uf the sentence, the sitnation
will be used for most of the material so that the
exercises may not be upon detached sentences, but
upon sentences combi n ed to make a situation par::tgraph, whose use in the theme we already understand. (See §§r to 5.)
16. Outline of Sentence Study. The foilowing
is an outline of sentence study as treated in this
chapter:
Sentence StiH1y I. treats uf the comma fault , which
consists in writing several d istinct and indepcrn1ent
sentences as if they were one. Students sometimes
omit all marks of p11n ctuatio n between such sentences,
or separ;ite them hy commas (h ence th e name ,,f Llic
error, com1na fault). A sentence sho11ld , l!l cour~c.
cluse with a peri,>d, an intenogatiun puint, or an cxciamation point.
Sentence Study IL deals with a series of independent
statemen ts.
Sentence Study III. h:ts to do with th e reducing of
independent to coordinate statements wh en the thoughts
expressed are coordinate.
Sentence Study IV. sh ows how a coordinate statement may be re(1uced to a subordinate e lem ent in the
sentence. Students often use the compound sentence
when the logical relations of the statements in a
(JI )

Co111pusitio11 rr 11d N!tdoric

32

sen tence require that it be complex . Study IV. is
intcnc.lccl to co rn:ct this error.
\Ve sha1l l<.: arn in th e first study when a sentel1(.:c
ends; in the secnm1, th i n1, an<l fourt h , to a void a series
of shurt. disconnected sente n ces, a nd the excessive
use of statements connected by th e word "and."

17.

Sentence Study I.-Tm:

"COi\li\!.\ FAULT. "

For lad.:: of a better t erm th e express ion, " comma
fault," is here used loosely to cover the two kind s of
errors menti oned under Sentence Study I. in section
16; name1y, the use of the comm:i. insteaJ. of the
period to separate sentences, or the writing of a
se ri es eif sentences with n o mark of p un ctu atio n
between them. In connection with thi s se ntence
study, consult Appendi x I. on Punctuation . Refer
to the rules there wh enever you are writing a theme
or excrcise.
The following excerpt illustrates the
"co mma fault":
"As Baucis h:1d s:1id there was but a sc:1nty s upper
for two h ungry travelers in the rniddle of the tab le W:1S
the remnant of a brown loaf with a piece of chcesc on
one side of it and a dish of honc\·eom l.J on th e uthcr
there was a pretty g-ood b11 11 ch of g:rapcs for each of the
guests a muderately sizccl eart hen pitcher n eai-ly full of
milk stoml at a e<Jn1er of th e h"ar1l"

II. How m any statements are there in e.:tch of
the situations quoted in sect ion 9? Find the subject arnl the prc dic:tle in each s\:tlelllL'11t. U.rn.1cr~
scure th e prcd icate Ycrhs a s lJcfllre. !>\)not g·1vc : t~
a reason fur you r knowin~ that a given gr011_p o.~
words is a sentence, "It b egins with :t cap1t:tl .
Consitkr th e thought.
.
III. Punctuate the following quotations fur capitals an d pcrio<ls:
I.

" One eYening in t imes l1rng ago old PhilcmPn and his
o ld wife Baucis sa t at th e ir c"tlage-l1o( ir cnJoy1 ng·. the
calm :tn (1 heautifnl snnsct t hey hall already eaten U1•: 1r
fnq.~·al snpper antl inten<lc<l n uw tn spend a qu iet honr
~r twu li dore hcdtirne su they talked t"gdl1cr al;1Jt1~
th eir garden an(] their e"w and thei r ])<..:L' S :1nd tnL·11
grapc~·ine which clan 11Je rec1 o\·er the cottagc~wall
on which the g r apes were 1K"gmn111g- to tn 1 n pn1 pit
but the rude sh outs of child r e n :1nc1 th e fie r ce harking
of <] ,,g·s in t he vill:1ge near a t h:rnLl grew l1rndcr and
Jomlcr 11 ntil :1t last 1t w as hard ly P('.s~~lJlc for B<tnus
and Philemon to hear each other spear:.

;.ull:

JI.
"Fro m far-off hills the p:inting· tea m fiff ns is t<>i,lin,~
near (or us the rat'tsme n do11·n the stre:un thL·1r 1,;1:u1\I
baq~es steer rings out for us till' axe-man's strc:ke ,rn
fur~sts oid an<l st ill for \IS lhc ccntury-c1rclcc1 oaK !ail s
erashin ;.; d·_,11·11 hi s hill"

Exercises

I.

I-Tow many statemcn ts arc the re in the passage
quoted above? Name the verb in each statement.
Name the subject in each statement. Punctuate
t his p :uagraph correctly, hegin nin g each sentence
w i th a capital and ending it with a period. Prove
that this p.:tragr.:tph is a situation by finding th e
four w's.

III.

"\Vith these words of ehce_r they mosc ancl cont i1111 ;d
th eir journey suftly the evcnmg' came the s;1;1.frum1 t.~c
w estern horizon like a mag-1c1an cxtcndeu 111s ,L'.oidLn
wand o'er th e Ianc1scapc twink ling v:tpnrs arose :ind sky
and water ancl forest sccrncd :111 un tire :1t the tu11cli
a ntl melted and rninglcc1 tugl'lhcr hangin g lJet\\"cen
tW•) skies a ehn1d with edges of ~ il ver tl oatc:d .~ he lluat
with it s tlripping o:1rs on the mutwnl ess wat er
;}

Compos itz«m and Nht'lorfr

34

IV.

. "Near to the bank of the river o'ershaclo wed l.Jy oaks
I rom whose bram:hes garlands of Spanish mus,; and of
my,;tic mistletoe flaunted such as the Druids cut down
with g-olclcn hatchets at Yule-tide stood secluded a11f1
still the IHn1se of the l1 erdsman a garden g- ir<l ell it
round abuut with a belt of luxuriant bl iissoms tilling
the air with fragrance t he house itself was of timbers
hewn fro111 the cyprc,.;s -t rcc and c:1rcfully fitted t"g·et her
large and low w~1s the roof and on slender col umns sup ported rose-wreat hed \·inc-encircled a brnacl ancl spacious verarn.la haunt <>f the humming-bird and the bee
extended arounc1 it"

35
18ENT

Sentence Study IL -.'\ S1:1rn:s
STATEMENTS.

'l'he

follo\\'illg

()F T'.'1>1:1·i::--:11-

par:tgr;iph

lS

mad e up of short, independent statements:
Th e autumn day di e d. The little honscs 011 either
side the road were dark. The dwellers in them dared
n ot show any light. It mi~·ht allnre to them the fuut stcps of their foes . Fkrnac'!"n sat with his arms i•ll the
t:-iblc . He w as \\·ecprng. l\I:-trg"t hclc1 11c:r little s<•n.
Margot was Bcrnac1on's wife. The child J1ad faikn
asleep. It was helpless and weary. Its sleep was
peaceful.
Exercises

"Nearer ever ne:tn.: r among the numbe rless islands
darted a Jig-ht sw ift 1Ju:1t that sped away o'er th e wa ter
urged o n its course by tile sinewy arms of hunters and
trappers northward its prow was illrncd to the lanc1 uf
the bison and heaver at the helm sat a yo uth with countenance thoughtful :-ind careworn dark and n eglected
locks overshad1i\\"Cc1 his hr,>w anli a s:1clness somcwh:1t
beyond his years on his face \1-:1s lc:_:·ihly written"

i . l,)ro\·c tha t the ~llJl)\'l.' p: Lrag:r;tpl1 is ;t :--;ilii.1:_1 11,
that is, show that it contai ns the esse nti:-il e lements
of the si tl!ation.
II . The fc •ur w's 111 the a11on; silu:t t ion :tn.:
given in independent s tatement s. each exprcssinga single fact. \Vhi ch se11tcnc1._:s give t.he time?
which the place? which the occasion? which the
characters?
Indqwrn1cnl statements render the 11i11tl ~'.Jit..;
they c·xpr1._•ss "f cqu:tl ,·:Liuc, and illllic:1lc tli:tl tiwrc,
is no connedi1>1 1 l>etwecll these thu1q,:hts.
l n tlw
situation gi\-L'!l alJoYc, time, pbce , occ:1sion, :tnd
characters, as expressell in scpar:tk scntC'nccs, :trc
like separate mountain peaks, all of the same
heig-ht, standing isolated :tg:tinst the l1< 1 ri1.on .
The sc ntL' nccs in a par:tgr:tpli shuuld lie iikc a
mountai n chain . not like isPlated peaks scpar:1tcd
so that the lwri;:r111 line crn he seen l>ct\\Tl'll lhc111.

l V . P unctuate the above qnot:1tions frn- cnmm;1s
and semicolons. (See Appendix L for rnles.)

z"nd1poulcnt statonenls, ,·aclt cxjircss111x UJlt' a11J 1 111 /r ""''

•• 'J'hc ni.~· ht ]s falling CP111r;:u.1es 111inc u ur fnuL~:; urc

beasts arc w e:-i ry and through yon elms the tavern sign
loo k s out upon 11s cheery the landlord beckons from his
door his beechen J·ire is g-lo wing- these a mpl e barns
with fee d in stor<.; are filled to overflowing "
VI.
"She sat be n eath the broad -arm ed elms that skirt the
mowing-meadow ::rncl wa tched the gent le west wind
wc:-ivc the grass with shine and shaduw heside her
fro m the sumrn<.;r hc:tt to sh:irc 11LT gT:tt('f11] ,'-'<'l"l'l·nin·-··
with forehead bared the far111er sl11;id up"n his pitl'I~
ft_Jrk Jcan i11 .~"
Vii.

V.

Uclerinine whit.Ji uncs arc situat ions.

11

l>\t ! TI( )'.\·.

.f<1ct.

. } ·;·011!

/ //{ ·

{'_lfl'S ,\ I; 't'

1rs1·

1 1/

({

.\ ! f / ; "S

1 1/

,,

Dn!lfosil io11

t7!1d

Rl11·/ori1·

37

r9. Senten ce Study III. -Crii°·,1,1 11N,\Tl<i i'. Dy
the term coordination, as applied to the sente n ce, we
mean the connecting of a series of state ments by
the w ord a11d. In th e fnllo\\'ing- parag;r:tph the same
statements arc 11sccl as in the illustration of the
preceding section, but they an.: here cuordinatecl.
The autumn cla\' tliell r111d the lit t le houses un eith e r
side the ruacl wei·e d;trk and the d\\'ellcrs in th e m
da red nut show any lig·ht tu allure to them the fuutskps o[ their foes 1111d J;crnaclon sat \\'i t h his arms on
the table 1n1d wept bitterly and ;\larg<i t held her little
son a!ld h e h acl fallen asleep and hi s sleep was peaceful a!ld he looked helpless and \\'Cary.
• J

· '.
!

$,

.: i

'

I
I

"

j

The statements arc still uf equal value grammatically. A 11 th e \\·orcl 1111d docs here is to connect
the isobtcd peaks of thought into a chain whose
peaks :trc made ali of the same h eigh t. If you
were painting a picture you would subordinate some
uf these peaks to others.
C ,\ U Tl<J:'\. - ,' /7·oiJ t/11 · t.rass1;·<'
S/i//t'lllOllS

,·;111111·1·/o/ /!)'

!ISi'

of ll st'rtt'S of

" 11111(. "

20. Instances where Statements may be Connected by "and ." J\ SL'ries of st:tlL'mcnts eonncctc(l
by t?llt! is sometimes tksignetlly uscrl 1;y \Hikrs
to give an impression of nal\·ctc, or to express the
tlrnug-ht as a child or a person o f imm:i.turc mind
would present it. j a mes \\' hitcornh Riley's Jiu·
h'mr Slot)' illustrates this use:

vV·y, wunst they wuz a Littk Boy went o nt
fn the woocls to shoot a Bc;i.r.

Su, he went out

'\Vay in the gTea'-big· woods- he did.- i\n' he
\V11z guin' along--an' i,:·oin' alonu Yon know
J\.n' purty soon ' llC hee1:d so m cpi r?.~·o "I /"01!/t _; " Is t thataway-" ll'oo-oo!t I" An' he wuz s/..·,-,·rt'tl,

IIe \'>llz. i\n' so be runnel1 an' ciimhet1 a trceA g r e a'-hig- tree, lie did,- a sick a 111or1· tree.
J\ n' n c:n he heen.l it :.11.( in: an' he looked ro11rnl,
An' / ' 11:; 11 /.'orr .1 - A J;Ii'tl '- Ii<~· s/1on-' -1111_!/ ./), ·11 r .' --

Another llSe of the w<>rd 1111d is to pro<lt;,·c
slowness uf motion al1l1 dignity, as in the folluw i ng
from St. Mark 's Gospel, Ch:i.ptcr IV. :
( 1) And he began again tu teach lJy the se:iside:
and therc w:is ;..:·atl1erccl 11ntu 11im a gT~:at multit11de, S<>
that he ente r e d into :i ship, and sat in the sea; antl the
whole m11 ltitudc washy tl1c sea on the land. (::>) ,\n d
h e taught the m many things by p ar:i.h lcs, and said unt(I
thl'm in his doctrine, (3) Hearken; Behold, there \\'cnt
out a suwcr to s ow : (-t) And it came to pass, as he
sowed, some fell liy the way sitle, and the fowls oi' the
air camc antl dc\'<.rnred it 11p. (S) J\nd sumc fell on
stony t_:Tnt1 1Hl. where it li:td not rn11ch c·:1rtl1: and
irnrn.ccli :1tcly it sprang np. licc·ause 1t had n<> t1cpt l1 "r
earth: ((') But wht·n th e sun was up, it was scorched;
and l.JeGtuse it had no root, it withered away.
2I.
Sen tence Study IV.-Sl 'HOl..:l>f.'\,\TIOC\. Kote
in the follo\\'in;..:· how the cme11<lct1 exprcssi•111s
reduce staten1 c nts to ,,·ortls . phrases, or elau.scs: 1 . 1-.,
serve to m:tke so me statements s uborL1inate to uthers.
in form as \1·c 11 :ts in tlwi.lg h l.

On;i;-i11al p11ra(n1j>lt ·;.•1//1 01101t!11lie11s: The :i11t1111111 1h_1·
died. (At the eiusc uf tile autu11111 day---j'r1'j'o.11tio11t1/ pl1r11.<'<'.) The little houses un either side: the
r oad were dark. The dwellers in t lit·rn d.1r,·<i 11"t
shuw any ii,:.;·iit (fur the d\\'eliers in th c n1 dared nut
show any light-whcr/Jia! clause). It might al lure
to them tlle fo(Jtsteps of their foes (to allure tn them
the fu<itsteps uf their f"cs-111/i11//i; ·,· fl1rt1s1'). lkrnad.,n s:tt with his arms 1111 the tahlc . llc was weep ing li1ttcriy (\\Tt:ping l1it tcriy-/r1r/1of/1'). ~hrg<>t
held h e r iittle S<!ll. M:1rgot was lkr11at1011's \l'ifc
(while Margut, his wifc-11pposi//;•c- held her little

.. ;':

Co111posit i"" 1111d R!trtorir
son - adi•crhial clause). The child had fallen asleep
(who had falkn pc;1cefully-ad<·ab-asleep-rc/1r/i;·c da11s1"). It was helpless and weary (helpless and
wcary -- at(jcd i·,.,·s) .
Nc:,•rl!tnt: J\t thc close of the autumn day (prcposili111!{l/ pl1r<lsr) the little houses on either side the
ruad were dark (sla!o11ot!), for the dwcilers in them
<bred not show any light (1r1frcrbial clause) to allure
tu them the fuutstcps of their foes (i11fi11/1fr,· pl1ras1") .
lkrn adun sat weeping hi ttcrl y (par! lcipk), "·i th his
:irrn s on Hie ta1l1e (s!a!o11rnl), while :".I.'.lrgot, his wife
(1rpposlti<'t'), held her little son (ad<·t ·rhit1! dirnsc),
who had peacefully (ad; ·crb) fallen ;1skep (rdali'ZY
drwsc), h elpless ancl weary (11djtcli< •cs).

There are but two statements in this situation as
rewritkn - two high mountain-peaks of thought.
Find these leading thoughts. The other statements
of Sentence Study II. Juve now been reduced to
foothills grouped around these t\\'o peaks. They
hav e been reduced t o subordination by the use of
the following grammatical units :
1. An appositive," his wife .· '
2. A participial phrase, "weeping bitterly."
3. A relali,·c cl:tuse, "who hac1 f:tl le::n asleep."
4. An adverbial clause, "while Margot held her
little son.
5. i\ prcposition:tl phrase, ":1t the close of the
autumn day."

So1tc11a

Studio·

3<)

appositive; tu a participial phr;1,;c; t() :1 n·htivc clau se :
to an adv e rbial clause: to a prepu,;iti()nal phra,;c; tu
an adjective; to ;i.n a c1 n:rb: to an inilnitin ..
22. Examples of the Situation for Reproduction .
The fniiowing- exercises on the situation arc gi,·en
with the object of securing sul>ordinati•>n in the
minor clements of the sentence. and Yaridy i 11 the
order and expression of the situaliun clements.
Exercise

\V rite reproductions of the following· sitnations,
subordi1nting some oi the statements :t1Hl thus \'an· ing the length and struct1ire of the sentence. Put

a different clement first each time: Ti'111c fir.st in
one situation, place first in the next. ancl S•> , 111.
Compare the reproduction in each case ·with t11c
original, and see that it is as different as pe>ssihlc
from the orig;inal 111 cxprcss1un.
I.

A hundred years ago three children played on this
beach . Their names were J\ nnie Le'-', E11"l·h ..:\nk11,
and Philip 1'.ay. J\nnic \\';ts Ll1c prettiest littlc d:irnsci
in the p()rt. Philip was the rnilkr's only Silll. E1111c·li
was the orphan of a sai l()r who had been shipwrecked.
These children were accustomed to play among the
waste and lumber of the shore.
I I.

6. An adjective," helpless. "
7. An adverb," peacefully."
8. An infinitive," to allure.''
Exercise

Find in Sentence Study II. (~ 18) the statement
which has been reduced in Selltcnce Study IV. tu an

At t en o'clock on Christmas-C\·e, Cnnwav and Jhonson sat in the local room uf a m:wspaper <>fficc . 1 t \\'as
a very cold night. All the nt11er twenty and uJd
r eporters were <>ut on assignments. Christm:1s eye is
.a lways a very -much-"ccupicd e\·c11ing everywhere, and
especially so in a newspaper office. Bruns<111 and Cuilway were the very best uf friends in the uffice and , 1u l
of it, but this night their relations wcre strained. Th<:

'-.; ..

Co 111f'ositi"11 a11d Nlrdoric

city editor hall given Conw:ly th e Christmas-en.: story
to write. This had made Bronson Jealous.
JI I.

The birds were nl1tt eri11g from hush tn l111sh. "!'!icy
were reveling-. Thev were takin<>· their fare11·cll banquets. Cock' robin a'.ncl the blac IJi irds, the cedar hi rel
and the wooclpe cker, were there . C"ck robin is an
honest b ird. He is the favo r ite game uf t11e striplin~.
The woodpecker has golden wings and a crimso n crest.
The bbckbi rcls w ere twittering and l1yi11g in sal>lc
clo uds. The cedar bird has red -tipt. wings and a ycl luw -lipt tail.
IV.

(;uido had a ruw of p las ter casts <lra\\'n up nn the
sidewalk beside him. l Ic had plaster lig·un ·s of S t.
Joscph and Diana and .i\"ight and l\lorning. :'\hr,; and
l\fin e r va. A man stood next to him. lie liad liitl crn1s
lll<•nkcys. These m onkeys dan ced from a stri11g-. Somc
ladi e s b011ght th e nwnkeys hut cli<l ll•Jt loo k :tt the
C:lsts. Th is happened in Fourteenth Street l>ct\\·ccn
Fifth Avi:::nue and Sixlh Avenue. IL \1·as gTm\·ing tbrk
while Guido stood there.

v.
Mr. Platcas \\'as

professor of (;red:. He taught
in the g·ymnasinm of Lyra. It \\'as afterno()11. ;\Ir.
Platcas \\':ts returning from a \1· alk. 1 lc l<!"k a walk
regubrly cvcry arternoon.
<l

\'I.

The r e ign of r est :11H1 a ffect ion and stillnl·ss nliw
r e commenc e d. Day had dqi:1rted . It took \1·ith it. ih
h11n1cn of heat and du s t. T11·ilight dc,;ccndcd. Tilc
evening :o1tar appearc<l in the sky. The herds r<.:ltt r nL'd
t.o the homestead. Th e farmer sat liy his firesid e.
l fe was icllc. Tlie fireplace 11·; 1s \1·idc-111outliu1. 1lc
Watc h ed the na111cs and t!J e Sill"ke-\\' rc:tt]i,; ,
'J'ltc y
were strugg·ling t ogcthcr. Tltcy n :111i11d c d the farmer
1Jf foes struggfing in a ln1rni11g· city. E1·a11.1..:·L·li11c· 11·as
the !'armer's d;iughtcr. She w :·1,.; a gen tle girl. Sile
sat close to lter father's ,.;id c . Slie \1·as spinning Jlax
for the loom . The loom stood in the corne r.

--J

:r:

-

~

'>

r-:
;t
~

"''

-".

t.,,

,_
:..,...

~

;r:

('.

·~

t"'.

"
:).

,,
\·

•

~

f

l·

m

~

lI

~

t

II
1:
~l

mi

l
I

!I
!

[Th e st ud l'lll s h11 u1 <1 s cl :lpa rl in his 11otl ·h11ok a ft '\ \ • p:t ~~t· s 1 1 1
be u:-=ied for a su n 1 111~lr v of dir"-:ctit,11s and caution :-:. , tu \\'hi L·ll lh:

can turn \\'hen r e vi s ing. his th e me.]
1.
( / 11drr.ff//r« i11 t/1c
"a!ld" ,,,llic!t CO/lllfflS /-;,

i

l

I•
l

I

2.

r, /LC l/1 c r

,'..; ct"

1

)'rill

first sit11afio11s )'/ill ·; .. •rite 1·: '«Fi '
0

1

sfilfl'/t/(J//S.

0111 ro!tt(<' 1111)' of !lt<s1· sla lc111o:fs

to a di!l;',"Clll g fa11111111l1ca ! fur111, J11od1/y i11.~· .101111· , ,., ,rr /
Z!l

a11 0!/11-r f a rt of I/It" so1/i"11 (1 '.

.\/ah11101ls 111r1y /1,-

rcd1t Ct'd lo a 11y of t /1c .ful!u-zi 1 i11g g-nu11111al i1.·1t! d«11101fs:

j

a. appositi,·e,

[

/!.

~;

rclati\'c 1.._.i : t l.l~L"
part

ii: iui :tl c L l 11:--c.

~i

1: . pn.: p ns itional clause ,
_(. a<ljedi\·e .
". . ;ti I , .1·1 11. , 1r

11
_ ,

!!>!.

.~

1·

3. , /ftcr ) 'till ltll <'l. 111ad« s11 1111· of ) 'Oltr sl11fn1101fs s11 /Jordi11ali", Ii)' /<1 ro11dt'11sc t/11 ·m

/!)'

11/Ul !IS

of t/11· /11!/1r;:, · i11.~"

. \_ '!1/[J:t 'S/i (1J/ S :

a. Can

) '<H t

use a prepositional instead ,,fa partic·ipi a l phras" )

"\Vi tit these w o rds lt c left the room," instead of
"llaving said these w o rds lte left the r""m."
/J. Can yon re duce any ~ u 1verbial clause to a pn: p(1siti (11 1; d
i1hra :-\1..: ?
··At the c1t 1 ~~e of t11e autu n 111 cla\· ... instead of ''\\' hen
the a 11t urnn day close d. "
·

r.

Can yon re d n ee any re latin: c lause <1r phrase l" an :tdjl'l:li vc:'

"J\ s:ul-face,1 man. " i11stead <•f · "1\ m an "·h., h:td a
sad face." or" J\ man witlt a sad f:tcc . "
d.

Can

yf)tt

rL·d1tce any cl:t u~1 · tn an i;1flniti\· 1· or a 11 :q, pt •'-'i l i\·t·

.. / \ ii g·ht to allure ," in stc acl

,I

'""I-1:_1'
iI
·I 1

I,

,J

l
I

I

j

1

or

.. ;\

:lil11;c· ·
"l le ca m e l" inqnirc,' ' in s tead of
mi;:ht inquire . "

li.~.!: !it

;

\\'li ic lt \\'u11ld

.. I l e came that h e

" · Ca n y»n rcdnce any ad verbial clause nr pltrast: t" an

Co 111j>osit io11 a111( Rliduric
~l'l n: r1 1 "·i t houL lc avin~ out part of th e picture "·hic h the phrase

or clause g i,· es?

4.

Rr ca rc/11/ i11

1/11~,- co11do1sali1'// 110! to s110·1_jit-.- /(I

1111'/'t' /Jrt"i'i/)' !/11 · Cll/IC!'i'/1 · 1·/t'l!l(l//S 7c•/11«/1 J;· i<•t' / i_f1· / o a
/!/("/Itri'.

"H e walk ed \\'i th \\'Cary stc-p an cl nnxious g-iance " 1s
more . ,.,_v1_<l t han: "_l-le \\'alke cl \\'eari ly a nd a n xiously,"
ev e n if it 1s not so bn cf.

5. fl 11ll'n ) ' <II/. rol11c« a j>l1rasc or clause lo s111a /lcr
11/C{lS/lrt', as/..• ) 'UllTSd_f, "//a1 •c ( /1f! Oil/ a 11y COl/Crdc di'11/Cll lS o.f //1c pict11rc in t/1is co11dc11srr!1·11n ? "
" A boy wlto !111d darl f'l't'S" mean s no m urc th an ·•A
boy wlllt darl.: qes."
·
The s h o r te r fo rm is thl'rc fo1·e better here, hut it is so
because it is briefer and yet no c111Krete ele m e 11t uf th e
pi ctu re is le ft 111 1t in the condensation.

6. He canf11! i11 s 11 /t11r di11al i11g a11rl co11dc11s1'11.t; 110/
l o }11! i'11co11gr11011s c/011c11ts i11!0 a s.-11!c11c1'. !11 o//t 1 ·r
71•ords, oliscr71c l ite jri11njk o.f s111h11c«-11111/y; / Ita l is,
Ilic pr111ciplc 1e-!tic!t _forbids {Jltr p11tti11,i; 1'1110 011c so1/c11cc
!/w 11glt!s !/tat lta7'C 110 co11 11cclio11 <<.· it!t oil<' ano!l1rr.
" \\'i t h tlw se trai ts a:11l hi s h1>1!y clot h ed ve r y s impl y ,
h e hacl the appea rance of a siro n g 111an."
\\' ha t arc th e i11 cn ngTu ous elements in thi s se n te nce?

7. /11 {'// ll rfr11.1i11,i;, cu11sirlrr car£j11!/y 'il'l1fr/1 s/11/01101!
slw11/d. lie s11bord i1111 !cd.
"T ri lcm iu s Ji,·ed at lf e rbipolis. li e \\'as an abbo t. "
Shall it be: " T r itcm ins, an abbot , Ji,·e<l at If c rbipoli s ,"
or,; Tri tcmius of 1-le r b ipol is \\'a s an abbot"?
T he answer to this q11c-;tiqn \\'ill dc:pend up<•ll w hich of
t h ese thoug- h ts is de\'clopcd in the sentences t ha t fol lu\\'.

no

CAUTfO!\!. // {!/ fa111il t lii'S( dirffliu11s lo i11t1-rj{·re -::..;it/1 J1011r t /1u11glt1 in !Ill' Jirsl -:vril i11g · o.f a j>ara,i;Tap!t or a tltc11tc. 'T lli y 111·« i11!01dui to c11ablc t!tc
st 1tdc11t f(I 111a/..-c 1111 i11tdl<i;·c11t ri-<·isio11 o.f liis worl.:,

43
23. Difficu lty of Seeking the Phrase. Y o n may
ha ve found i t difficult in the exe r cises y••tl h:t\'\:
just \\'ritt e n t o \·ary t he exprcssiun for a g·ivcn
th ought.
The fullowing selec ti on will show that this t:is k
of " seeking the phrase" has not lH;en found e:isy,
eve n by some of the mos t gifted w riters . Jt \\·i ll
al so sh ow how p::i.ti en t ;mcl persistent \\'C should 1)e
in t h e scan .:h for w o r ds that will best e xpress our
1ncarnn g :
I ha\·e licen working for some honrs at my arti'-·lc nn
M m e . ck S tael , bnt w ith what lahur, wha t pa111ful
effort 1 \ \Then I write for pub li ca t ion eve r y word is
miser y , a nd my pen stumbles a t eve r y line, su ~u1xi uus
a m I t o find the ideally h es t e xp ression, a ncl su great is
th e numlier of possibilities which open bc i'<ll'C me at
e v e r y step.
C <Jmpositio n demands a concentration, dec isi<•n, :tncl
pliancy which 1 n o lunge r pl)ssess . I '-·annul fu:-,c
tog-ether materials and idc::is. lf we an: t o give anythi ng a fo rm, we mus t, s o to spea k , be the t yrants of it.
'vV e m11 s t t r eat our su bj ect brutally, and n ut lJe always
tre m bling lest w e are cluing it a wm n g. \V e m11 st h e
a b le to transmute a n d ahsorb it in to onr o \\'n subs ta n ce . This sort of co nfid e n t affronte r y is lJC)'<J ll d m e:
m y wh ole nat u re ten d s t o t hat im personalit y w hich
respect s and subordinates itself l<• t h e object; it is l<>\'L'
of tr uth whi ch holds m e back from concluding and
dcciding .- Ancl then I am always re tra cing my steps :
in stead of going- fo rwards I wurk in a c ircle : l ;1m
afraid of having fo r got t e n a puint , of h a v ing exaggerat cll a n e x pressio n, of h av in g u secl a wo r d out of place,
whi le al l the tim e I o u ght to have bee n t hink in g· of
essentials a n J aim in g at b r eadth uf treat men t . I d 11
n o t know how to sacrifice a n yt hin g , how to gi\·e up
a n yt hin g whatever.
In r ea li ty I h ave never giv e n mnch thought t n the
art ,,f writ ing, t o the best way 1Jf making an art il·k, a;1
ess;1y, a b ook , nur have I ever rn c th o<li cally un <krg., nc

·~--·

'·

~-

f

.

44

t.h<..: \\TilL'r·s appren ticeship; it \\'111ild han; lll"L"n useful
lo

lll l",

.

.

.

:111<1 T \\":t s
.

.

:tlw:1\" .S

:1sh :1mcd of 11·li:1t 11·:i s i1 s1· f1:l.

l)r:L 1..: ti\...' c an d r •d:tinc \\·uu id

li; 1\ · c

t_i i \·t · n

and a s,-,urancL· \1·itho11l ~1:hich
tl1e 11 atu r:ll g·ifl a nd i/11p 11 lsc dies a11:a1·. . . . .
But i t \\'Ottld lie \\·ell l' ' prad icc <>nesclf in the use of
the single \\'ord - Pf th e shaft <kl i1·crc d promptly an d
<incc for all. l s h ould ha1·c inde ed to cu r e myself o f
n1c t.l1:1L c: tSL', l i:_:·ltt1h· s ,.;

h esitation first.
I sec too m a n y ways of sayin g thin gs; . . .
I
arn co nscious ind eed tha t at bottom there is hu t on e
rig·ht ex pressi on, hut in order tu Jillll it l 11·i s h t•> make
m y _clw.ice among all th:1t arc like it; and my mind
1nst1nct 11· cly g ucs thro ugh a se r ies of Ycrbal modulations in search <•f th at s had e which may m1Jst acc urat el y r e nder the; iL ea . Or some times it is t he idea
itse lf \\'hi ch h :i.s l o he t 11rncd 0 1·er and <>Yer, tha t I m a y
k n ow it and apprL·h c nd it better. I think , pen in hand ;
it is like th e dise n ta n gle m ent, the windin g·-off of a
skein.
-- TI1-:r-; 1( 1 Fd: 11i'.: 1:1 c / \MIEL,

'J1>ur1111/ /11//1111' .

Cl/.·/ I '!FN 11 ! .

S IT U ATION -TYP E S I. J\ ND II.
24. The S ituation Elaborated. The next skp
we sh all Ltke in the study "f Jlar rat iun is t1 l bcc"mc
acqua inted with a more cla liu r:tle f11rm uf the silu:tti on than that whic h w e have been studying ---- one
that in,·oh·es more d e l;i.il s in r ega rd t o th e four L'lc mcnts, and scn·es to in t roduce narrat ive i n dialo;;ue.
The exercises that folluw on t his new type an.:
s imibr lo those we kt\'c :tlrca<ly hall upon the situation; that is, they furnish drill in the princ ipk <>f
variety in sentence strneture, o rder of the situation

elem e nts, and choice of words .
25. Model for Situation-type I. A situ.1.Liontype is ;i. si tuati o n th:tl may be 11scd a s :i. modci ur
pattern in o ur composition. Type I. aims at teac h ing- us lww to handle th e s ilu :ttion clements wit Ji
a littl e more pr<..:cisinn than the pre ,·iuus cxcn·i sc
on th at motive required. Ruskin, in cxpl:tinin;..;
h ow pai n ful t oo much libert y of choice s<inie t imcs
is t o ou r mi nds , tells u s that a child who will shudder
if left alone i n a n ope n pl::lin, will b e happy playing
in a w alled garden . This new situa tio n-t ype ,,·hich
we a re auout t o study is like the ga rd e n wa1i in t hat
it will n arrow ou r liberty in the use of th e four w' s .
It will, h oweve r, make th e writ in g o[ the situation

parag-raph easie r because m ore definite than it has
hitherto been .

' .

Co111posil ion a 11rl R ltd or ic

S il1111ti1111-lj'f 1'S I. 171/tl JI.

"Th e sun wns shining bright anc1 clea r after squal ls,
and the str ~iits sh o \\" c d vi olet, gree n, r ed, and bronze
lines, melting and inte rmingling eac h c hanging second.
J u lcs McC artn ey, th e best b lacksm ith on the island,
s tood al the d oor of h is cottage, no tin g tl1is change in
tl ~ c we ather.
He was kee ping m elan c holy holiday in
hi s b es t cluthes. IIis nei g hbor, Sim on Gri g gs, paused
at the gate in passing. He ,,·as evidently in distress."

th e appos itive sh o ul cl h e d ropped in th'-' se cond and t hi rd si tuations. Studenb will sec the need of th is clogniatie s tate m ent.
whC'n the y :tltcmpt l• > wri te s uch a t h e me.

A N ALY SI S OF TIIE

i\l o1n:1.

Th e /tin e c/011 enl(hcre <hy t im e) ma y he told in an indirect
way -·· T he sun was shinin g b ri g ht a nd cle ar after sq ualls."

There should Le n o ch:u1 g (i; "f place L'r time in
this kind of situation. It should Le like a picture
taken with a snap shot . The s itu atio n is spoiled Ly
a change of scene or ti me, as a picture is by a rnu,·em ent of the pcrsun whu is l>L:ing photngraphcJ.

1.

C AliT I <>N . -

/n .i;h'/n_i: //J c li111<· elo11t n l a vo id Ir/It! e.rprcs-

s1u11s s 11 c/1 a s " /'he la s / r11y s 1f / /, c

S1111."

2. Th e p/11 r ,- d «111 c11/ 111ay be ~ i ve n b oth ind irectly-"slraits ,"
an cl direc tl y- " i,..Jan d ," " couag:e duu r."
3. The cl!11r11 clt'rs w e sh a ll d cs i).(nate as /\ ancl B , A be in g
t he o ne fi rs t m en ti o ner] in any s ituat io n.
a. In writin g a s itnatio n o n th is m ode l, the student
' s h o u ld m e nti o n the nam e o f e:<ch ch aracter, un less o ne of
t he m is a st ran ge r \\·ho se n;1m e \\' C are to le a rn in the
narra ti ve which follow s . "Jules McCartne y," "Simon
Gr ig-g s ."
/J. /\ is to be <l cscrihcd b y an appos itive, a phrase , or
a clause , w hich wi ll tel l h is oecu pali on or o th e r relat ion to
sucic ty - " Th e bes t l1lack smith C>ll th e island."
r . B i:-; lq ht.: dl'..:t-ril>L·d hy nn : tp po ~ i t i \'l' , a phra ~ L'. (ff
a ,·Jau sc" wh il·h w il l tc:ll th e n ·l:. ti<in oi' II to J\ - "1 lis
ne ighbor." u,e .. a stra nge r," o r" [l t ra ve le r," or some
<Jth er g e ne ral ..:haractc ri 7. ati o n. if Hi s u nkn own ti>/\.
d . A and B are each to he locaterl -"<\onr o f his cottage, " " g a te."
t'.
13 is t o b e p la ced at so me di stance from 1\.
.f. Th e r ea so n w hy e aeh is in a particular place is
g-i ,·e n - A is "n ot in g the ch an ge in th e weath e r." B
pau sed" in passin).(" ancl" was e v ide ntl y in d istre ss. "
.I( .
Jn a d di t io n to .f (i. ,. ., t he rea so n wh y e ach is in a
particular plac e), /\ alHl H may each h e represe nted in
a c ti o n .
In th e abo ve situ a tion . Si 11 111 GriKl.!;S mi g ht have
b ee n represe nte d as comin g d own th e street s h o utin g.
.;. In te llin g a s tor y in t he fo r m of a se ri es of tllrce situati ons,

-ii

.

,

Exercise

vVrite an original si tu ation. using Type I. as a
model, and correct it in accordance with the directi ons gi v cn bel ow :
DrRF.CTroNs

[T u lie use cl b y tile P" l'il in re v isin g hi s th e me. ]

.A;.1oid 11si11g tltc la11g-1tag c of 111« 111odd.
z. .llfa/.:e t!tc place signijic1111!; !/wt 1·s, place a Janna
in !tis fields, a la wyer in !tis ojjicc.
3. Do 110/ co111tect t!tc names of t!te clwrac/as.
I.

lf s t lllknt s arc a llowed to do this, t ii e y do it c·.,n s\;rn tl)".
and s<' 1n a kc t h eir situatiun s 111onot<Jn o us.

4.

/Jo

1111 / sf'1 «rl.·

i11 < 1 rrri11/J~r

1if / I

11s ;,•r1fr/1i11.!t fi r ·;«11it -

i11g- ji1r /,'.
Thi s di rl' dinn is giv <: n f u 1· th e s;1n 1.. rl'a s" n "" 3 . that
is, to keep the sit11atio n s frfl m beco min g stereot yped.

5. Set <
i f till· apfosili;-c bj' un1111111 s .
6. f)o not Id t!te appusili·11c, pl1rast, or rla 11s1 · mudifyiug A or B, tell tile 1,1/wlc f'oi11t of t!tl' story .
7. Du 11 0/ use an appositi·.,,· 1t•1'tl1 11 p11ss1·ssi; ·1· 111 t/1,-

sit11atio11 .
CAUT10i'{. - - /),, 1111/

w !t ilc ) 'Oii arc writi11g .

a//,1w

/1 rt/Jlf'r r _1'1111
rt"i·isi11K <c url.-.

diri'l'/i,111 .<' /r1

Use /Item only

i11

1

Otherwise you will bt.:: in tht.:: same state of mind

'

~.-·'

Si111alio11-/_J'jlt's

Ci1111/osilio11 t111rl R!1C!ori,·

11.

vVh en it ra ins in J\mstenbrn, it po11rs; and wh e n
the thu11<1l'1· takl'S a hand in the pcrfc>r111 a nce things arl'
pretty livl'l y ; this is what m y friend J\althazL:r
d e r Lys was s:"t ying to himself one sumnicr night as he
ran :dong the ,\rnstel "n hi,.; 11·ay h"rnc t" l'Sc:qlc t )1L:
sto rm. . . . On read1ing the Orphclinat ~traat lie
rushed nntlcr the awning of a s h op tu seek refuge from
the rain; in his h n rr y 11e did nut take ti me to look where
he was going, and the next m o m en t he found him self
fairly in the arms of :rnl•ther man.
The ]ll"r;-;nn
thus distur bed w as ;-; catul at thc time in an arlll-ch:ti1·;
this JlL:!"S(JJ1 was no (>lht:r than uur 11111t11:d fricncl, C<>rnclius l'11111p, wh" 11·:ts unduubtcdly une uf tile must
noted :;avants of the age.

v.m

26. Examp les of Situation-type I. for Analysis.
Til e f(Jllowing p:tr:tgT:tphs shc>uld be ex:unincd fur
i ll11str:ttiu ns of poi11ts 1- 3 gi\"C ll in the analysis uf

;

"j

25) :

-

I

:! 'I

\r11_· Tu1.;1v:.: S .\ l\.IH1L r ,

./t· /lf//1tra and ()//u:r .'."torit-·s .

l.

ill.

To11·:i.n1s th e hcrnr o f suppc1· on Frid:i.y, the twentysixth of the month of flccernlier, a little shepherd bd
came illto N :1z;1rcth , cry111.l!· bitterly.
S.;111c pca;-;~rnts, who \1·c1-c dri11ki11g :tic in lhL: B1ut.:
Lion, upcned the sh11Lters to look i11 to the 1·ill:1g-e
<•rcl1ard, and s;1\I' tl 1e chiltl rtllllling· ci1·c r tli L: s11ow.
'J'l1cy l"l.'COg"nizc<J hilll as tJic• S<>n o f J(orneli z, and Callctl
fru111 th e wind"w: '' \V hat is the m:Hter? It's t ime
yon were abed ! "
But solii>ing· s till nnd sh akiil!..'. \1·it1i terror, the boy
cric ll that the Spani:i.rds l1ad comL·, tha t they llatl set
fire to the farm, had hanged his mother among- the nut
trees, :-ind buund his nine little siste r s tv th e trunk of
a b ii-:· tree.
- ,\L\ Ul{! CE J\L\:·:TE1<1.1:-c c K, !"llL· ,1/11ss,1 r"rt' of t!te lnn ou nls.

l\frs. Rnt}.:'.·er tk Peyster sat in her steamer chair i.Jh·
watchinc;· tlic~ j>l'<>]>k .1ll:1r1·1iinc:· 1>:11'1' :tlld r(lrlh <>11 tl1c·
c1cck J\ ,,·learn ut· inll'rL·st l11c·kcrcd :111 instant in her n·c,.;
as he.r nt:µhcw, young· U;-;\\"aid, g:t\'C her a guod rn"r11I11g·
anll asked if he might tal;e :tdv:tnt:l).(e of Colone l <le
l'eyster's alJ:-;e11ce t" sil in his t:liair f<>r a while.

:-;u,;i:i-:sT10:-.s.- 1. F ind t h e' refc n .: nccs t" placio . Notice that
th e 11a111 e uf th e town is g' l\Tll !irs t; then tliaL ~>f the inn ; t11en

i

40

appea r,; hefurc t h L· Blue Lion.

After ym1 h:i.ve kept the above directions in mind
for some time in r evising your exerc ises, you will
begin to u1x~y them with ou t effort in your first writin g nf a paragr:1ph o r theme.

'.

I!.

the bituation, for thvy nm nut in N azaruth at thu ti me lhu lmy

"The ccnlipedc \\·as h:i.ppy quite
LJ11til the Load f11r fu11,
!-'aid, 'l'ray, which kg g<>cs after \1·hich?'
vVhich W(Jrkccl her soul to such a pitch
She lay distracted in the ditch,
Cuns ickri11g huw to run."

\~

a11d

4 . The adi•Hl S of,\ and B arc t ul<l . \\"hat is the acli•>1·1 .. f eac·il '
5. l\lth 1•l1;...J1 a third ~cl ed. people arc n11....·1it i ti11cd hL·rt.:, Liit:
n1uth e r and sisters and the Spaniards, tht.·y are not 1..·haractcrs of

as the centipede whose bewildermen t is described
111 th e f\Jll u \\"ing:

Situation-type I.

!.

a pani ...: ulal· part of L111...·

in11

h

ll1L' llLi1il\'...:1L

'.! .
l low many tirnc s is A spoken of? \\"hat is th e name?
3. The r e as .. ns why J\ and Ban.: in the ir r L·specl i,·e places
are t old. \ Vho g- ives eac h r e ason ? \\That are the reaS<dl S !

r

--~

r t
·-· ~

l \'.

It

\\ra~ ;t ~l1 n1 n1c r L' \ 'l'n i n.c:·;

( J\11

1...:.~1~p;lr·~ \\"tirk \\·:t~ d(}ne ,

J\nd he before his c<Jttag·e duor
Was sitting in the S llll;
J\nd hy 11im sported on th e )!,Teen
His little _1.;randchild \Villicirninc.
-- 1<.uHEl<T Si •l.TllJ·: \·, ]'/;l · //11///'-: rj f.'/, ,11h1.·i111.
St: (~1 :1 ·'-> '1'111N . - /\.nalyzc alsf1 the situa:iuns in sections::: a11d CJ
:1nd dcten11ine \\·!iwh of th en1 h1.:inn!-:' tn 'i'ype J.

In llie next section we shall g· i vc al ten lion lo
th e import ance uf v:tridy in this kind of sitnatiun.

so

.')ii till t iu11-IJ'/'< ·s /.

27. Variety in Situation-type I. T h1.: precedi n g
cx:1111ples of :-)itu.1t itrn -typ1.: I. are y;iricd in the orde r
in \\· hic h th ey i11 tr11dt1cc the f11ur w·s , in th e way
thl·y express thc1n, an<l in sentence s t ruclurc.
Observe 111 the examples of the s ituati o n in secti on 26 the fulluwing points:
1 . The v:ui ct.y in the mann e r of exp ress in g the
different ek m c n ts; fo r instanct.::, th e l i11u· do1101t:

Exam pk T. "T<>\\"arcls th e h o ur of su ppc r u n Friday, the l\\·cnty-sixth of the m<>nth of l>cce m ber. "
Nute the m ent ion of the h our, clay, an d m onth.
Ex:111plc TT. "One su111111cr nig·ht."
Example JlI. "Yuung- ()s\\·a ld gave he r a KOOCI
m orning.
Exam p le I\-. "I t \1·as a summer c \·e ni ng-."
" The Y:tricty in tl1c o r de r in whic h the difie rcnt clements an.: in troducccl in examp les o f Sit uati on-type I., g·i ve n in secti on 26.
Exam ple f. Th e order is as fullows:
11 .
Tim <.: ck me nt.
/1. Characlc r J\ - "shcphcrt11ad."
'" Place in general (that is, the t u \\'n) -" Naza ret h ."
d. Character B-"s<•Illc pc:1sants."
r.
Reas<m for B's hcin g- in a particular place " who were d r inking nlc ...
f. Place of B- " in the nlue Linn. "
.~·.
Pla ce u[ A -" to lnok into the v ill age o rchard
and saw tht.: ch1lcl r unning- ove r the snow."
/1 . T he i<lcn ti ty uf J\ - " s<Jll of l'- o rn cl iz."'
1.
'l'hc r eason for !\" s 11c ing- in th e place made
clear - " th e hoy c rie d tl1at t he S paniard s h ad come."
The on1e r in th e uthe r e x amples d iffc rs from this .

11 11 d

I!.

28. Reproduction Accordin g to Situat ion-type I.
The m odel fu r t.hc si tua ti()n gi\'cn in scdi o n .? ) is
as fuJ],Jws:
i !tt· urigi11al s1/11a l iu11 : The s un \\' :Ls ::,hining IJriglil
ancl clear aftcr squalls, ;ind th c st r:Li ts slw\\'cd ,-1 .. lct .
QTeen, r ed , ancl bro nze lines, mL·lting an d int cr111111g·l ing each changing- second . J ulcs l\lcCartn c;-, thc
best blacksmith on the island, sl<H •cl at the cl<t<1r ., f
his cottage, noting- th is c hang·c in_ the. w eather. , 1 lc
was keeping- m e lan choly l10l1da y 111 l11s Liest clo tnc_s .
Jiis n c i• •hhor Simo n c-;rig· ~· s p: t11 sed at the gate 111
p:t~sing. Il e 'was evidently' i1; distr<.:ss.
0

A reproducti on of this, with cl1:.u1g-1.:s in t1nlcr
and i n mode of cxpressi,Jn, reads as full() \\' S :
T!t c ri·frod11clitJ11 :

Jules J\kCa1· t ncy had kfL his forge
fo r :t holiday and was c\·idcntl y 1·c ry llllL·"mfort:1l1k
i n hi s uest cloth es. F1tr la ck of SO lllct hi11g· hct {(' r t"
do he stoocl at the g:tle of hi s cotlag·c, \\' :tlL'hing h<:w
th e vi olct green antl 11rll11 ze lines un the straits
m ade the \\~:Hers 'nn1ncl th<.: is land luok like a .1..:·n·:1t
cal dron of multen m ct:ds , f"r th nu,~· h th<.: s11n \1·as
again shini n;.:- clear and h rig·ht , thc \\' :1vo..:s \\·e re sti_il
ro ug h a fte r the sq uall. J)., 11· n Ll1<.: street h1 11TtL"l lt1s
ne ighbor Sim on Cri '""" scc 111111g·ly 111 suinc d1;, tr ess.
l le pau s~d at th e ga t~~ '
.

Sl 't:c 1-:. sT 111 >.-

l) o

\"41tl

find th e situali ou ck·n1\.·11t s the

~a11H..! in

the uri;.:inal and the rl:produdi1J11 ?
Exercise s

I.

Reproc.lucc thre e of the exa m pks of the s it1 1at ion g ive n in sec tiun 26. Use Situation-type J.
Change the original o r de r and the nun n e r of men tioning- th e place, t im e, occa sio n , arnl cliar:lclcrs.
Sn bon1in:itc minor clements in t he structurv of
yo ur sent e nces so as to in <1 ic:1te t h e rl'l:t li\·c imp<>rt:in ee and the lo<'ical
rehtion s of th e diffe rent
<:>
tho u g hts.

....

,.•If'

53

(;11//fositi1111 a11d R!tdorir

JI. Hri ng into class a number of situations that.
yuu ha vc.; found in books.
1.
Dc~tcrrnine the clements in each .
2.
\\lhich of these situations conform to the first
type?
II I.

I<.cpro<1uee three of the s ituations you h ave
found for voursclf,
Yar)·ino·
th<:: sentence ;tructure '
)
:::.
the orde r, and also the manner of express ing th e
four w·s.
ii

I

''

29. Situation-type I. in Pictures. \\'c have see n
how the situation may be used in telling a story.
\Ve sh:tll n ext learn h()w to use it in describing certain kinds of pictures or familiar scenes fro m life.
l{eacJ. the following description of th e picture
facing page 24:
" \Ve h:<ve hL·re an C>pcn sp:< cc just at the cdg-c uf a
f<>rL·st. The sun is shining- unt tliroug-h the m orningmist, a nd a haud of wood sprites :ire friskin.g· ancl fr olicking· un~ r the grass. .i\ ctr the rig·l1t side one of th e
nymphs j11k i11g·Jy pulls a c"mpan il•ll liy the arm, teasi ng·
her tu cume and join in the fun."
S v 1:cF.'.-. T l11 NS.-

1.

ln thl! de:-:.criplion notice

tla~ nh.:nti1111 of

the

following :
cha ract ers . \\'Jin arc tl1cv?
place. What is it?
•
time. In "·hat ""1'· is lime in dicated?
occasion. \\"hat is .it >
Look fo r these same il ems in the picl11rc .
2.
Obse rve al so the fo!'!uw ing puin ls in the above description
of thi s p icture :
a. That there is 110 ment ion of the fac t that the author
is describing a pict11n.:, but lh:it it is \r..,ated as if it were
a real scene which he had \1·it11css t:d. There arc no s11ch
e xpres sions as " I sec Sllllle nylllphs," <>r "Thi s picture
contains."
b. Note aiso the e/Tcct of little l<1t1 c hcs which give
life ..s 11d1 as "jokingly."" fri sking." St1c:h to11ches affect
the .kehng of. the reader and convey lo him the genera l
sp1nt ot the picture.
rT.

''
''
.l

/J.
c.
d.

The
The
Th e
The

30. Analogy between the Situation and Pictures.
Remember this analogy hctw ec 11 the situatiun ;tntl
ccrlain pidures which contain the four clements,
place, l i 111c, occ:ts i•rn, :rnll characte r. \Vh c nc\·L:r you
arc ask ecl tu \\'rite a situali<>n, arrange tlic clements
in your m ind's eye as if yon h:ir1 a canvas llefore
you on which you were painting a picture.
Exercises

I. Find the situation elcrnL~ nts in "The lhymakcrs," facing JXt~e 40. \\That is the place? \Vlnt
<1 et:tils sho\\' this? I ),;cs the Litle tell :rnything :tlHlllt
the place? \Vhat is the tim e? How is it shuwn? Ts
the time of yc~tr g i \'cn? uf day? .J\t \\·ha t time 11f
c.by (in our country) cln haymakc:rs cat lunch? \Vho
are the char:tclcr.-;) Iluw du yuu knuw? \Vl1;1l n;trncs
will y1lll give them? \Vint is the occ~tsion? lJ,lw
is it shuw n? \Vh ;tt :ne the objects th:1t give llie
plrro· clement, the time clement, etc.? Can ynu tell
fr o m the picture whether i t is hay or gT:tin th :tt is
being cut? T>o the hay11nkcrs i11 the picture differ
from c;tch oth e r in appc ar:rnce ur atlituclc?
II. \\'rile and gi\·e o rall y a description of" The
Haymakers." Use Situation.type I. ( ~ 25), and apply
the suggestions ~ivcn on the description of" .il.lorn ing," in section 29 .
IIT. Finc1 in the magaz ines or else where a number of pictures which contain the situation elcme11ts.
\\Trit e descriptions of these accorcling to Situationtype I. If y()\1 rn:ty cut ot1l the pictures, it would
be well tn paste them at the l• •[> of the p:qJL·r C\Jlltaining your description. Look in your home or
in tlw public art gallery for ulher pictures which
may b e <kscribed in this way.

.

'

.)' it11a//,111-l)'f'i'S
C .\l j 'J'J0:\. ·-

!t10 t1/!t'11

111

/ )(1 110! 11si' !lit

,,·ords

"<«as" /Ir

<<'ri/111.f.;· a sil11a!io11 . 1111/rss yo 11 11 .v

"<c•crc''
1!1011

rrs

)'11r/ of a 'i't·r/1 i11 !l1t f11ssi:·1· ·; ·t1i1·t' .

The repetition u[ ",,·as " :1nt1 "w e re" in th e following shvws how monotonous the use o f these
verbs Gl.11 become : "It 'ii'ns mi<lday. The villagers
''"n· on the r oad . Th1.:y « 'trt o n their way to markd ." Verbs of action ::ire generally stronge r than
\·erbs uf being.

..

I

l'

''

:• iI

3r. Situation-type I. in Subjects from Life.
N()t ice wh ethe r pc()ple i n com'e rsatio n naturally
b1.:gi n a 11arrati\·1.: \\'ith a s itu:tli u n. lJring· int" cla.s:-;
examples of s ituati1rn s \\'ll1ch you lw.\·e aL'lu:-tliy
h1.::.trtl in ur<linary conn:rsation . L is te n closc ly fo r
th e four w's when yon hear a pe rson b1.:gin to tell a
stiiry, and pcrhaps in thi,.; ,,·:-ty you ca n once more
hcc(IJlH· intcn·s te tl in slorie:> wh ich you haYc heard
certain members of your family tell a gTeat many
ti mes. i\ m:m once said th:tt when one ft.:ll into his
ancctlot:tgc it was tim e f1>r him t() retire frum the
world.
l'crh:tp.'-' yo u c:111 find in the study of colloqui:tl st"ry-tc llin g a new use fur the m:in in his
anc cclutagc .
Exercise

\Vrit c and give oralh· a situation suggested by
om: o f tlic following· tnpics. Before ·writing upon
any nf these subj ects imag in e that yon :ire painting
a pic ture up o n the parti cular suiJ j,~ ct you se lect.
This will give concr eteness an<1 unity to what you
com pose.
The Shopkeeper.
The l\l[orning vValk.

Reading hy Lamplight.
Late f()r Church .

The Fire ,\lan11.
At the Matin ee.
A Street-Ctr Conductor.
Christmas En.: .
In a Railway Statio n.
A Firesiclc.

f. a11d If.

SS

Carryin;..;· a l\[cssagc.
A J\.ainy En.: ning.
An / \ pril Fool.
Catching a Train.
Ilume fro111 Lile Piiilippi11cs.

Th e Cin: us P;ira<lc.

32. Supplying the Situation Elements. .Not :tll
of th e situation clem e nts are sng-g-cstctl in each of
the above topics. F<>r ex:unpk, "Th e Sh11pJ.:c1.::pu ·"
gives you but one uf the fuur \l··s, a cliarackr. Yuu
must suppl y fr<>m your im :tgi11ali11n a phc'" tim e .
ancl occ:1si(i11. In others, 1111l y tile lll'C:tsi" n i" !-': ivcn
and ynu must supply tile other th1·c· c clcrnc·11ts. ,· J1 :1racters , place, and time; in others, time only is gi\·1.:11 ;
in others, pbce only.
33. Presenting Important Points Clearly. Do
not kt the mcch:llli c:ll rnattcrs whi ch ,,-c have hccn
stuclying- in rcg·:nd t<> sentence structure_·, etc., inkrfere with tlw unity of yuur narr:tliun hy cunfusing
your mental picture. It is :<11-important that yun sec
the fou r clements (lf every sit11:ttion very clc:trly in
the min<l's eye before yon begin to write.,.. Th en
tak e pains to present them ck:1rly, but tlu nut 1;ec(J!ltc
monotonous in yuur m ;u1ner of expressing them.
The purpose of these various exercises in oruer,
choice of wnn1s, and sentence strudi;rc is tn tc:wl1
yon t o avoid the hal)it nf monotony in cxprcssi(111.
Having iearncc1 ll •>W t•) write the situation witii
proper attt.:ntinn to v:trictv nf c.-; prcssi .. 11. orckr. :lll<l
sentence structun·. \\'C sh:tll in tlie 111.:·xt · cli:tplcr
return lo Themc-m<i<ld !. (~..J ), i n which \\'<.: us, · :t
::;eries of these situations tu ti..:i l a s tory.

. '
\

Co 111fosilio11 1111d Rltdori1·

.\it11a tion-typcs I. and I!.

What Situation-type II. C on t ai ns. This
contcti n s :lll t.h e clements of Type 1.,
b11t for the sake of vi\·itlncss, some of these arc
given in dialog·11c ur lJl()rJOlog·uc. \\- he n we m ee t a
person for the Jlrst time, ,,. e often find out, through
conversation with him, who he is and why we find
him in th:lt p:lrticular place at tli:tl pa rti cula r ti me,
and thus we determine the silu:ttiP n clc1nents of
ch ;1r:1clc r antl occasi1J11 through dial, •gu c. \\' h e n w e
write a situat ion according- to Type I I., th e tim e and
place clements may be g-i\-cn in dialogue as well as
th ose of character and occasion, as the e x amples in
this sccLion an<l in scctiu n 35 \\·ill show.

Example o f Situation-type II. Alth<Jugh
ll C \\" kind of situat ion 11n til we
have s t udied dialog ue (see Chapter V.), the follo wing example and suggestio ns should be re ad ancl
compared with Situation-type I. (~ 25) :

34.

~iluation-lype

It was a black Oct1>hcr night in the y ear () f g-race
t .SF, th:-i t discuvcrcd rnc st:111cli11g in front <1f the old
tavern al th e C"rners. . .
I was \\Tl to t h e skin
and in n o arniahk humor; and not b e ing ahlc to find
]Jell -pull or knocke r. or c\·cn a cluo r , I belabo red the
side of t he huusc with my hca\·y wa lki ng -stick . In a
min11le or t\l'o J saw a light flickering snrnewh<.: rc alo ft,
tlH.:1 1 I h eard th e sound ()fa wind"w npening·, followed
hy an exclamatio n of clis~·ust as a lJlast of winc1 cxtin - ·
g·11ishec1 the candle whi ch had g-1\·cn me an instantaneous
pi ct11 rc r·11 sil/1011('///' of a 111 :111 leanin1.t out of a case m e nt.
"I say, what do yuu \\'all L, <lo\\"ll there? " :;:.iid an
unprepossessing Yuicc.
" Isn 't t his : t hot e l, .. r ask<.·<l. final ly .
" \ Veil, it is a sur l uf hotel," said the voi ce, l1o ul.Jtfully. . . . .
"But wha t clo \·nu w:rnt li er<.:, at the Co rn e rs ? \Vhat's
yo ur lrnsincss' -People d on ·t come here, least way:; in
the middle of the night."
"I t is n"t in the ·midclk of the night," I r et urn ed,
in ce n sed. " [ come 011 l;us incss co nn ec ted with th e
new road. I'm the:; :;uperintcncli.: nt of the w o rks."
-

57

35.

w e cannot write this

One sunshiny m o rning-, in the good o ld times of the
town of Hos ton, a young· c1n·lT in \\' oocl 1 we ll kno\\·n 1,,.
th e n ame of 1>row1;c sl~od co n templatin g a lar••e o:i kc·;1
log, whi ch it w as his' purpose to C<1 nvcrt 'int " 11;~. fig11rL··
h ead of a vessel. J\ nd while he disc11s,;ed \l'ithill his
own rnincl \\'hat sort of shape or s imilit11 dc it were w e ll
to bestow l1po n this excellent p iece of tim ber, thc·re
came into Dro\\'ne's workshop a certa in Captain J l111111 c w ell, ow n e r an d c ommander nf the goCJcl brig c:-tllul the
Cyn osure, whi ch had just returned fru m li er first vny:-t"e
to Fayal.
· ''
"Ah ! T hat ·will clo, Drowne, that will <l o 1" cried
the jolly captain , t apping tli e log ,,·ith h is r:1tL111. ·· I
b espeak this \'cr y piece of oak f" r the fi g urc-il ca tl ,,,- the
Cyn osuri-. Sh e h :-ts show n herself the swcctc~t craft
th at eve r fl oated, <inll I mean t<i decr>ratc hL"r pr•111·
wi th the han dsumest image that the skill of nun c:111
cut ont of timber. .1\nd, l>ro\1·11c, yo n arc the fclJ.,11· t"
execute it."
Sur:<:Esnn;o,; s.- 1.

all the eleme nts
2.

The se two silttali<111s (~~3 -1 and 35) L">llt:li11

"f ~itua1io11.type I.

Find th em .
Som e of th ese elements are given in dialngtte.

\Vhiclt

ones?
f)1 I< J·T TJl! N

}/;fake a s11111111a1)' i11 your ll o/choo/,; of all !l1t· sui;_i;.,.-stions and dircctio11s )'Oii. Junie !tad upon t!te Situation.

T111 1>1 A..., l?. _\tl.E\' ;\u11•11 '11.

1J!11rjon(· / )1171• a nd 0 //i ,·r f' o>/•lc .

't

:•

50

CJ l ,-1/'JJ:R J 1-.

A SERIES O F SITUATIONS
)6. Origin of Theme-model I. in Colloquial
Speech. \Ve must not think that the m e tho<l of
klling :t story in a sc ric:s of si ti.1a tiuns is someth ing
invented b y :t w ri ter, an<1 not clcri\· ccl frnm ubse rvation of the way people natu r ally tell a s tory in conversati o n.
Have you ever g ain ed the d e tail s of a n arrative
in so m e wha t the fo ll owing way)
FIRST IllETH O D-TOLL> flY S EVERAL PERSUNS

Sup p ose that several peop le arc sittin g abou t a
firepbec in the eve ning, tal k ing over th e h::ippenin gs o f an ord in a ry cby. O ne says:
'' vVhen I ope ned the duor fo r th e p0st m:-in thi s m orning, I h:-ippc ncd tu g lanL'C a cross the way and saw o ur
nc ig-hho r, ;\l r. S 111ith, drin: o ut wi t h his n e w span of
h1 )rsc.-;. He told m e bst w eek t l1 at lie in te nd ed to ta ke
:l dav 's rest (rum his uusincss as soon as bis n ew horses
arri \;eel."

Another says :
"I noticed him \\·aiting-in his ca rria ge in fron t nf Mr.
Joncs's at half-pasl eleven, wh e n T was g oing over to
]\ fo r y's. ?llar y said that lie and ;\'! r. Jun es uften drive
to th e Country ClulJ for dinne r on Snt urcl ays ."

A thi r d ac1tls:
"l\s l turned into T w e11ty -sec1l!ld ~lre e t o n my way
ho lll L', l1Lo and Mr . Jo n es \\" l' rc s t:111 di11:..:- "n the c" rn e r,
l uuk i11 .'-:· wistf1illy :1fter h is hursc s fast d isappc:iri ng down
the avenue and dash ing h 1s handso me carriage against
ever y lalllp-post th ey pass ed ."
{ 58 )

Have w e n ot h e re an outline story oi i\Ir. Smith 's
adventu res of a day? Is nul this given i n t he 1°111·1 11
of th rec situations ? Examine each of the ab()vc
spe e ch es for t h e fonr w 's. Prove that t hese situations ha ,·e not all the cletails found in Sit11at ion type T.
SECONll ll! ETII O D - TOLD HY O:\'E l'ERS O'.'l

The above story is tol <l by tll!"ee d i ffe re nt speakers, bnt it might h ave been given in thre e si tuation s
by one person. Let us sec :
"\Vh en T \\·as st:-i rting- f(Jr the offi ce tl1 is m o rnin ~ . I
saw o ur fri e nd Smith ll ri,·e out of h is b a rn w ith a new
spa n of h o r ses. l t \\"as evident frum his air of e(J m pos nrc and r elaxati on th a t h e inte nd ed t o hav e a holi-

day.
"Just l) e:ore 1nnch T we nt out to th e Country Cl uh
to sec about t he shrub bery a]r .ng· th e river .
As T
turn ed t1ut of the ~· ate r,n mv wav hack , I saw him
again. l l e l1ad hru ;1 ght] "nes.out t~> d inner.
"I rnd him for the th ird time alJout an h our ag·o
when .[ w;i,s taking the car horne. l le aml J" 11cs
stood n n th e co r n e r or Twe nty-second Street. I Ji ."
carria ge lay in a heap o f ruins ••n the opposi te co rn e r.
and his h11rscs \\'ere rapi dl y d isappca rin g du wn th c

aven u e
This, tn r >, 1s an example of narra t ion liy mc:rns ()f
a series of s ituations. Test c:tch paragraph fu r the
four \\·'s.
THIRU METl-I O D -

DIPERSO:\'i\L

\ Vh e n three people tol d th e story we had an
exa mple of 11 1rrr11//7 ·,· i 11 d i alol:1ff; that is, a story t <>l d
by co nve rsat io n.
vVhcn one pcrsun tuld the story we h::id 1111n11ti've in 111011 0/oguc; that is, t uld by o ne person .

-.;-·

Go

Co///ff!sil iun a11d R!ff lor/(

The re is st ill anothe r ·way in whi c h a sto ry
may be r ebtc d in thr ee or m or e s itu a ti on s; nam e ly ,
in rmt!1or's 111rrr11li1·,·. This third method gives the
slury in an cnlircly impe rsonal way , :tnc1 is lhe
m e thod w e have alread y s tudied in T!t r.· f.ig lils of

7.
T!t c fi r st .ff1ile11cc of t !tc Sfft111d s il 111rliu11 sli11 11/d
s!tow tlta! a p1·n-ot! of Iii/IL' !tas daps cd si11c« t/1c / 1111c of
t!te first sil11a/1-011.
Jn 1·1t, · ! .<:.;·It/ s of ! .o n d on 7 U7t 'll tl1e e xpression , ' ' T li ·::
ye a rs passe<l u n, " is the t im e se ntence a t t h e h c g in11in:.;
o f th e seco nd s ituat io n.
T h e firs t se ntence of th e thi rd s it uat io n s h ,rn hl a !s ..
b egi n wi th a t ime sente nce , clanse, or ph ras-:-. s lt <• w ing th: tl
su111 e tin1 c ha:-:. p asse d sin ce th e seco nLl sit ua l i11n.
111 J /1('
L<l!"hls of l io ndon 7l1iun th e c xpre ssiu11 , "\\' it h L Let'S

l~11 ,•11.

/, 011dun

37. Uses of Theme-model I. vVe shall find this
m odel co n ve nient in r eprodu cin g pi eces o f lite rature , in d e scribin g pictures , a nd in telling st()ries
from li fe: and hi st or y. In all th e se u ses o f Tbemem 0l1cl I. we shon kl obse n· e lh c fo llow i n g·:

\V o rn and \\'C ary," stq.::gcs t s that a sotn C\\·hat lo ngy r ti1 nc

ha s d apsc1 l hd \\·ec n t he sec nnd a nd third s it 11 a ti .. 11'. (Sec
models \l'hic h fo llu \\" fo r tl1e ti nIC se nten ce , cla u se, ••r
phra,;e .)

D I I< 1-:C T It I;-.; s
[To be u sed b y t he st udl' n t in l" L'\·i s in g hi s th e me . ]
1.

/ l1 ·oid !Iii' prr·so1/ h11sc i11 11a rration.
Of course e xcellen t narr ati o n is \\T ilt en in the p rese nt
te n se, b ut beca use sttHknts h :wc t he llal,it , ,f so m e t im es
u s in;.; the past an d th e Yi,·i tl pr esent in th e :<:une se nt e nce ,
\ \"C shall confi ne our narrat ive to th e pas t te nse in th ese
e x e rcises .

2.

.'l -

{ ! _1"!' J/ (I 1·.1pri·ssio11 fo 11nd in //11· lll f! 1it-I.
H i;i;in so 1111' of J 'tl ltr sn1/01o·s 7i 1t"t!t pl1ras1 ·s or

cla 11 scs.

rV!tot

a f' ILra s c or cla use a l l ite bL/;llll/lll/{ of a
sc11/c11ce is 011/ of its 11 s 11a f order, ii slt011!d be sd off by
a co11111w.
(Se c Appe ndix I. , R~ 4 :ind 6.)
5. Us e 011c slw rt so1/cn cc in cac!t situation.
-I·

" \Vh en it rai ns i n J\ m stenl am it pou rs ."
"\Vi th ,·igo ru u s :ual n: lc n tless pe rs ist e nce th e snow fell

38.

The Time Scheme in Theme -mo del L

A

time se nt e n ce, cbuse , or phra se is uscll a t th e b q~in ­
ning uf t he.seconcl ::r nd t hi rd s it uation s tu s ht1\\' iltJw
far s e parate d in tim e are t h e fi rst and sc cu ncl, the
seco m1 ancl t h ird s itua ti o ns . The full uwin g sc n t e n ccs a r c take n fro m a se ri es of co nscc uti\' C s itu atio n s j n l 7 ;·1rn,i;di11c.
I.

Fir st time .1"1'1!11·11(( , fuu1Hl in the first situ a ti o n .

"fk h incl t he ])bck wali of th e furest , ti ppin:..:- ih
summit wi th silve r, a r ose tl1e 1110011.''
2.

Sffo11d I ii/le smtn1cc, found at the b eginnin g ()f

the seco nd situation.
"Pl easantly r ose th e sun 11cxt 111or11 on the v il lage of
Grand-Pre ."

ov er Pari s."

6. llfa/.:c 11 s Jal, i11 !ltt sffo11t! a nd !ltird sit11ations,
t!ta t Wt' !1 m· •L' 111d tltc cl1t1rac /i'rs /J1 fo rc.
O m• wa y t o clo thi s is to omit the appositives or their
e.-1ui val e nt s. (See\"\

~s.

/,,

1· ,

and 4.)

3. T!1in l !i11t<' sn1/nu·.-, ;o und at th e beginning o f
the third s ituation.
"J7011r lim es Ilic s 1111 !tad riso1 a11d sd, an d now 0 11 the
fif!!t (la y c h eeril y call ccl the cock to the sl eeping m a ids

of th e farm house."

C11111pusi/i(l11 a11d Rlil'lorfr

6.c

4 . F o11r!lt t i111t sm/rn ff, found at the beg inning of
th e fourth situation.
",)/a11y a ':l'rrlr)' ) ' !"ill' !iad passed si nce th e burning of
<~ram1 -P rc,

·w h e n on the falling· tick the freig· ht ecl vessels d e parted."
S1 •ccEST l u ."< s.- 1.

Th e tim e sch e me of the above series is as

follo\\·s :
n.

h.
c.

E\·cning-.
'!'he Ill'Xl n1o rn ing.
Fin; <lays iater.

d. Many yea r s lat e r.
- · ()h,;e r,·e t he var icty of way s in \\'hi ch th e lapse o f Lim e is
indi cated in t he fullu\\'ing Sl' ntc necs:
" · " The \'cars came and the ,·ear,; we nt- seve n in all."
b. "And 'now the ceaseless t~1rning- uf th e mill
Of time, that ne \' c r fur an !tour ,;tands still ,
Crrnmd out th e (~u \' crnp1"s s ixtieth birthd ay ."
c. "The su mmer lussecl, t hc autumn ca me ."
d. "i'\o\\" was the wintt:r gon e and the s nuw ."
'" "'Tis t hi rtee n ye ars.
Once more I press th e turf t h at s il e n ces th e lawn."
/. "i\lunt h af ter nwnth pa,;sctl away, :\1H] in autumn
th e sh ips o f the m erc h:u1h ca m e. "

39. Theme-model I. in Reproduction. In this
t e xtbook. r eproductio n , o r the p uttin g- o f the thought
of ;t pi ece or lit e r:ttun..: into a n e w furrn ur 111old,
precedes ori~inal co rnp! >siti<>n, \\"hi ch require s us to
fi nd !>llr O\\'ll rnatcri:tl for themes. Our fir st effort
sh o uld be to master th e gmcrn / j i1rlll which our
t he m e is to t:1kc. and while w e are s tru ggl in g with
this p roblem our materia l sh o ukl be furni sh ed.
After matters of t ec hnique have become so easy for
us th at we n eed t o gi ,·e the m littl e attention, we
m ay seek fur som ethin g o ri g inal to say. Stevenson,
who was one of t he g r eatest ma ste rs of styk: among
modern wri ters , gives u s his te stimony o n this point
in a lette r to :1 friend:
"Bvw your head t•> techniq ue. Think of t echnique
when yo n ri se and wh e n you go to bed. Forget

From a mural painti ng- i1t Ille Pan t/J eon by Jules J::u..'f/Jl e Lenepveu
]() ,\:\ OF ,\ 1,~· - L ISTE:\ 11\ U
1.\1 •1• /'it.( .-("

br;

TU T llE \ ' l!I C l·: s

11/fd 1-12 1

purposes 111 the me:rnwhiic; gl'L (11 l!l n ; t cchn ic::il jlr(>cesscs, to g lory in technical s11c cesscs; get tu scc tlJ.._,
world e ntirely t hrough technic al s pectacl es, tq see i t
e ntirel y in te rms uf what \'Oll c:rn . 'l'licn \\"li'-·11 \"()U
hav e ~inything t o say, the ·Lt ng11;1ge will Le ;q>t :u\d
copio11s."
Exercise

'N rite a rc proc1 uction of T/11· J. 1:i;1tts of Lonr/011
Tow11 i n three sitn:1.tions, g iYing the four elcmenh ,
place, time, character, ancl occasion, in e:1.ch . l "sc
Sitn:1.tion-type I. (§ ~s) ancl supply frum your 1magination det:1.ils r equ ired by the mo<lc1, hut not
give n in t h e poem.
Follow your m ode l as c:1.refully as th ough you
were tracing a d el icate p~1 ttern tl1r<>ugh <>ikd p :tpL' r.
Obse rve the directions gi,·en lH.:low in r L'~·~1rd t" the
w riti n~

of this repruductiu11 .
DIR!T T IO'." S

r. .l!1 )'Ollr rr/'rorl11c!io1t jillt Ilic tilllc dono1t _first in
t!tc St'Co!ld 17!1d t /1ird si/111l!i1i11s. ;.:_,.,,;,..;, •tit<' 111 ,,dds j(>r
t!te time sr/1011c i11 Sfftz'on 3S.
2.
1-:i11d t/1c farl iripii'.I', i.f_i·o11 /111;·,· 11s1·d !Ill)'. F i11 d
t!te 11111rds I /11·s1· f'11 rl iopli-s 111ud1_/r , 1111d 1111dl'r.\'/'or1· I /1011
w it It a si11,;:ic lillc.
.3· Find fl!/)' rdati'i'(S J'Oll 11111_1' llllZ'1' //S(r/. r:11d,-r scorc t!tCir a11/C<"cdni/s 1eil!t a s i 11,;:l1· l111,-.
4. Do llOI c!t1111gc .fr(ll!t tltr rrcli7'1' !11 tit, · /'ilS.i/Z'<' •·1>1<1·.
or fr om t/1c passi<•,· lo tltc 11«/i·.-·", ;,·/101 l /11· d11u1,i;·1· 1s
UJ/J/i'Ci'SS!I l"_I'.

" 1\ s the process io n passed. the· l1oy stood"" l h e• fen ce
and h i ~ hat -;cas "i£Jll71t'd in approval ." 'I'h is chan g<: ,) f vi ,in·
is Ulll lCl..'t;~S •• ; y .

. 5.

apply

Fi1//o'ii' 1/i"r, ·ctio11s Kl.'l't'IL i11 fn«•io11s /,·ss,1 11s ·<<'/11,·!t
lll'u.

66

A Series of Situations

Composition and R/idoric

4r. Reproducing Poems Not Constructed on
this Plan. P oe ms which are n ot written in the form
of a series of situations often contain material fo~
three or more ~ituations and may be reproduced .
according to Theme-model I. Any poem which h as
a number of striking scenes may be treat ed in this
way. Th e following examp1e should be carefully
r ead and its scenes clearly pictured to the mind:

A traveler, by the faithful hound
I-l alf-huried in the snow was fou~d .
Still grasping in his haml of ice
That banner with tlle strange device,
Excelsior.
·
There in the twilight cold and gTay,
Lifel ess, bnt b eau tiful, he lay,
And from the sky, serene and far
A voice fell , like a fallin1' star
'
Excelsior ! "'
'
-HENl<Y

EXCELSIOR

The shades of n ight were fall ing fast,
As throngh an Alpine village passed
A youth, who bore, 'mid snow ~mcl ice ,
A banner with the strange <lev1ee,
Excelsior 1

In happy homes he saw the light
Of household fires gleam warm and brig-ht;
A bove , the spectral glaciers shone ,
And from his lips escaped a groan,
Excelsior!
"Try not the Pass 1" the olcl man said;
"Dark lowers the tempest overhead,
The roaring- tor ren t is deep and wide'"
And lollll that clarion voic<.: replied,
Excelsior 1
" Beware th e p in e-tree's withered branch'
Beware the awful avalanche!"
This was the peasant's last Good- ni g ht.
A voice repli ed, far up the height,
Excelsior!

At break of clay, as heavenward
The pious monks of Saint Bernard
Uttcrccl the oft-repeated prnyer,
i \ voice cried throu gh the startled ai r,
Excelsio r'

\ V.

L1> Nt;FEl.J.O\V.

S VGGES~~· 1 0Ns .- \Vhat is
Who was ~amt Bernard'

an a_valanch e ? An Alpine village i
\ Vhy is he ment10ned here i Wlwl is
meant by th e word" Excelsior"?

The number of situation s to be used in reproduction will depend upon the material which any
poem contains. Instead of one climax, as in Thcmcmocl e l I. (§ 4), there may be several moments of
strong interest, each requiring a situation. The
preparation may have more than one step in it, and
so also th e seqncl, thus making the number of situations more than three. The poem quoted above
has material for four situations.
Exercises

I. Reproduce Exrdsior according to the following plan:
Situation
Situatiun
Situati on
Situatiun

I.

Finll ma ter ial in paragraphs 1, 2, an<l 3 .
JI. Fiml matcrial in paragraph 4.
III . Find mat e rial in paragTaph 5.
IV . Find material in paragraphs 6 an d 7.

This theme-model should be written in four p:tragraphs, one for each situation.
Place t.he time clement first in each s itu::it inn.
II. The ruks that apply to the :Hlc1ing of rrl and

'·c•,

Composition and R!tl'lorit

A Sl'ries o.f Situations

1nK (~ -io) apply al so to the at1ding. of a . or , ,·st, abfr,
isl!, or a ny other suffix hcg111n111g with. a vowel.
Adel the pro pe r snffixes from the ab()ve li st t~ tl~e

report; m oreover, they have spoken 1mtr11tl1s; seconc1arily, they arc slan ders; sixth antl lastly, th ey lm7't' bdi«d
a lady; thirdly, they lw< 1· 11erijialunj11s/ l/1inJ:s ; and , to
conclude, they arc IJ1in,r;· lmtwes.
Don lhiro: First, I ask thee w !tat t!tq /ur n' don e;
thirdly, r ask thee w!tat's tlirlr 0Jli 11se; sixth anJ lastly,
w!ty t/1,y il1'1' co111111i!tcd ; and, to conclude, ,,•/wt yo11
lay lo t/1rir dwrg1·?

01 ,

following \V onls, with the necessary changes: Tian,
;.:/ad, sad, 11njit,fof>, tr11r, sweet, bl11c, dismal, bitter, adore,
/ rth1 ", bl11slt-r, lltcl<'t , so-.·icr.

Ex:nninc tlw spcllin~ of words in your them e
vnding with lhc suffl"cs or . tr, tst, ahk, 1'11, is/1, and
apply the rules for :tllding these suffixes.
D1Rl-:C Tl< >NS

In rrprod111·i11.t; 11s a s«ri«s 1>/ sit111rt1011s 1r p oem
w!tidt 1s not wrillt11 in tlic1! ji1r111, find:
a.
JJ1rcc or 111orc points of ti11ll, till!Cr
t.ij>rtsstd or i111pli«·d.
h.
J/1 rl'l' or JI/Ore di(/crc 11 t plrras ( nj>rcsscd
or i111pl1 rd) 1/ t li t re is a d1a11.r:·1· of src111·.
c.
!!l!'1 ·c or 11/01'1' O((asions.
d. !./ou clwrarlt'rs <i'ltidt 111ay niter into the
s1n111d, t!tird, and .rnhs1·rp1l'11t sit11atio11s.
/ l ' /1t ·11 1111y of t!tc /011r do11cnts arc l1zc!.:i11,t;, supply
t!to11 fr(llll your 11<.u1i i11111,r;·i1wti1111.
I.

Th ese <:leni en t s are oft e n implied in t lw l'"e rn and e nter
into o ur nH.: ntal pid11rc witlwul being c'xpress ly slated.

42. The Repetition Fault. The following arc
illustrations of the purposeless repetition of words
:trnl thnug-hts. Read th ese illustrations of this error
anu avoid it in your writing:
1.
Repeal i11g a <cord.
"H e ascended the mountain tu
th e ships on the sea."

2.

Sff

if he might see

Rrf't'i1 / i11g a I /1(111g/1/ ln dijJtrcn t words.

/)og/1ar,v:

Marry, si r, they have co11w1iltcd false

1

1

-

\V11.1 .J,\M SllAK S l'El<E,

11f11c!t AdtJ A/Jt111/ Nut!ti11_i;, Ad 5 , S r .

,\/wllozi•:

to-night.
Falstaff:

Sh a llow.
Slwllozu :

1.

By cock and µy e, sir, you shall not away
You must excuse me,

Master Rube rt

[ will u ni excuse ; 1011 ,- you s!tall 110! be
s/1all /l /)f be ad111itlt'd,· !lterc is//(} t'.IX11St'
sliall 110! he excu sed--.

i'XCl/St'd; (XCl/St'S
s!tall s1 'r7't'; )'Oil

-\VJJ . l.IAM S11AKS J'ERE,

Su.:<:t·:sTl<>NS.-J.

l!e nry //.' .,Part II., Ari 5 , ,~;-. I.

Jn the last two exa mples Shaks pere obtains

a comic effect by senseless r e p eti tion.
2.

N"tice examples of repetition in th e extract from

B ear Story, sect ion

Tlte

2u.

43. Theme-model I. and the Description of Pictures. A story may be tolcl by a painter in a series
of pictures. The three pictures facing pages 62, 7K,
and 106 give us some notion of the life of Joan of
Arc. After exa minin g these pictures look up the
subject in a history or encyclopedia and find out
how nearly correct your conjectures were .
Exercise

Write and give orally the life of Joan of Arc
according to Theme-model I., the three si tua tions
being descriptions of the three pictures of her in
the order in which they are arranged. Tell which of
these pictures seems to you tru est to the det:-iils of
hist oric fact; which th e most irnag-inative; whi ch the
most beautiful. Find other pictures of Joan of Arc.

70

A Scrfrs of Situations

Composition and Rhetor ic

lives . . Th~ myste ri_ous workmanship of man'; heart
t?e tr ue light and inscrn ta b le darkness of man's des~
tmy, r eveal the m selves n ot only in capit:-tl c·f1
d
~~~"~ ~c~~s~~;~~i~\:~~ in every hut a n_d h.aml ~t c\~r~e~e
· l b
e. · · · . It 1s n nt the rnatc na
ut ti1 e workm an th at is wanting It is not the
darl~ p!C:~c. that hinders, but the dim ;J'C. A Scottish
hea_s an; ~ l ife was the ru_dest and meanest of lives till
mn s ?ccamc a poet m 1t and a poet of it· f
cl'·
m c·m 's life ancl t·l1ereto
·
-' .
· , oun rt a
re s1gmficant
to men."

44. Theme-model I. in Subjects from Life and
History. \ ·V e have now become so familiar with
the series of s ituations that we should be able to
use it as easily and unconsciously as if it were our
own invention. \ Ve ::ire therefore prep::irec1 to turn
our attention to the questio n of finding our own
material. In addition to the subjects suggested in
the following exercises, the student shoul<l select
others of his own, an<l thus open his eyes to the
possibilities of his every-clay life in the way of literary material. No one h:is spoken more eloquently of
the charm and beauty which the artist may find in
the commonpbce than Carlyle in his Essay 0 11 Burns :
"The on1inary poet, like the ord in ary man , is forever
seeking in ex te rnal circumstances the h elp whi ch ca n
be found only in himself. In w hat is fam iliar and near
at hancl, he d iscerns n o form or comeliness; h om e is
n o t poetical, but prosaic; it is in some past, distan t,
cunven tional, heroic world, th at poetry resides; were he
there and not here, were he thus and n ot so, it would be
well witl1 him. Hence our innumerable h os t of rosecolorcd N ovels and iron-mailed Epics, with their locality n o t on tl1 c Earth, but somew here n earer to the
Muon. Jkncl! our Vix-g-i ns of the Sun a n <l Kn ig-h ts of
the Cross, mal iciou s Saracens in turbans, and coppercolored Chiefs in wampum, and so many o th e r trn culent
fig· 11 res from the heruie times or the h e roic climates, who
on all hands swarm in our poetry. Peace he with them!
But yet, as a great m o ralis t proposed preachin g t o the
men of t his century, so w ould we fain preach to the
poe ts, 'a se rm(ln on t he duty o f staying- at h()me.' Let
th e m be sure t hat he roic ages a nd heroic climates can
do l ittle for them . That form of life has attraction for
ns, less bec.11;se it is better or n oble r t han ou r o wn, th an
simply because it is diffe rent; and CVl! n this attraction
must be of til e most transil!nt sort.
But
h:tppily every poet is bor n 1·n the world; and sees it,
with ur against his will , cYc r y day and every hu1 ir he

7r

1

Exe rcises

I. Write a n original story, acco rding tu Thcmen:odel_ I., on any of t h e following- topics. Use
Situatwn-type I. C 25) for each of the si tuations.
I. .

Th e

The life story of some one you know personall

li~e you_ c hoose should be one of vicissitudes.

fhe li fe of some historical character
ArnolJ, Nathan Hale.
<

B

2.

:

y.
d.
ene ict

3· S ome incid en t r ecorded in the daily
b
.
·
newspaper.
must
n ot e sensational or trivi·1l
~nd m ·t f
. h
•
< • "
ll!:i
t1rn 1s
~~~enal fo r the preparation, c lim a x, a nd sequel. (Sec
It

4 . . Three Christmas days in a person 's life or in th
e xpcncnce of a family .
e
..,

. 5. '~lire~ or more birth days, s howing changes in the
circum s tances of a pe rson .
6. Visits to g randm other,- in childh ood youth
cl
manhood .
'
'an

II.

·write on one of the follo wing subjects:
'·
2·

3.
4.

A
A
1\
A

day's fishing-.
shopping adventu re.
ride fo r life.
boat race.

In such subjects as these, take as your points for

A S er/cs of S illfntio11s

Co mposition and Rl1rtoric

72

73

Situatio n I.
Th e obli g in g- :;e rva.nt.
Situation I I . Th e :tg r cca b k co mpanion.
Situati o n I I I. Th e tyrannical master.

t h e th re e situ at io n s,- the st:uting out, the most
e x ' ilin g p o int in th e in cident, th e r 'turn home .
Othe rs uf t]fr; c haracter will sug-g-est th e mselves to

111.

you .

Jll. Rcp rod n ce t he follo wing an ccclotcs o r some
othe rs tha t may uccur l o you:
I.

/\ certain kin g \Jcsiq .:-e d ancl t oo k a castle in h is
e n e m y 's co untr y. Hy th e te rm s o f s t1rre n(1c r all the
men w e re to h e made prison ers, hut the wom en were
tn l>e all o w ed to k a ve th e castle with as mll ch o f th e ir
treas ure as th ey co u lLl con ve y. To the surprise of the
king-, c:lc h wom an ca m e d o wn th e hill from th e castl e
ca r r y ing on he r l1:1ck h e r h t1 slJa nd, fath e r, or brother
- h e r g r e ate st t r easll r e . Th e m e n w e r e g iven th eir
fr ee d o m, a n cl th e w o men allow e d t o rctllrn for their
possess10ns.
Tell thi s sto ry in three situations according to

. "Tl ic I', ope of O c 11 11s .. is th e name of a Ct' lt.'hratccl
P~~~,l~~~- ~~;~111t1c·d lhyl l'ol yg notu s, a cli :-: ting"ttish c cl (;;"Ce k
<
1 0 c Jct a )C111t -1~6 H. C .
.
;v] O c 1111 s w:1s t he nam e o f a poor hut in ci11 st ri o 11 s Cre e k
v 1ciscl c.x tra v; 1ga 11 t \\'i l"c S }ll' lll hi s lll<Jll C ) ' ·is f·t.st '·ts ' ,'
earn c t 1t ll . . .
I ·
' · · · · · , Jc·
and t r i h u ia ti o ~s ci~~11~/;i~t1'.1 ~c 1 .l'.' '.>0Jy.~~not11s of his trial s
the pi c t11rc alluclcd to ·a~~;\!~ccl, ,11H.l l olyg"1wtu s p:-unted
T h e pict11 re rep re · . t .. ·
l ·1 1 slc n sl .1 . poo r m a n \\·eavin g- a r ope
out o f s tr ·1w
. . . . ' . w ~ 1 e ic i111t h1111 s ta nds an a ss e a t in " 0 ff
tl ie ot I1c1 e n d of the T"Oj) C Tl
"l
. ....
b y th e I . ·t .. . . .. . I .
ic s1 c nl lesso n C<>nv e ycc1
i1c y1 e Is s. u c t u h a ve ha d th e desi red d Tc .
h y/er frugality a nd
prosperity.
. uon o nse I om o bscurity lo g-rcat

P

~t~1~~l;~~ll~:t-;1i11~10..,rn11\and
- S . IT.

Situati o n I.

the foll o win g plan:

Ki 1. 1.J K E 1. 1.v.

th r·i~~

C11nii 11s Q u n liiin .<.

O c nu s d isc ussin g his tro11hl es wi t h P nh·-

gn otus.

Situation I.

The k ing annou ne1ng th e t e rms of th e
surre nd e r.
S itt1a ti o n 1 r. Th e e x it o f the wo m e n can y ing the men .
Situ at io n I I I. Th e kin g hitlding the m e n g'o free, and
p crmi ttin ~· th e wom e n tu re turn to the
1.·ast le fu r th e ir treas11re.
I I.

Th e p oe t Rng-e rs was very kind to his se rvants, and
kept th e m m a n y yea r s in h is e mpl oy, in fact. g·e nera11y
unt il th e y di ed . <)n th e o ccasion <>f th e d e ath of one of
th e se old se r van ts, a. fri e nd of the p oe t was o ffe rin g
h is c on d olences. "\Ve ll , I don't know," said Rogers,
" t hat J fee l hi s loss so v ery m u ch a fter all. F or the
ftrst sev e n y ears h e was an o bl igin g- se rvant; for t he
second se ve n y ears, an a~ rce ah\e compani on, anc.l for
th e last sc \· e n, a ty ranni cal m as te r ."

,

Situal in n ] I. O e n
1 · ·
s. t t . I I I , " ti s 'e xp .ain1n ,....··- the 11ic t11rc t f_) 11 ·I s·
• I ·u a 1011
. 1 li e wife of U c1111s r e fo rm ed.

\\'I

f

c.

Suj ; ,;1·: ~ · 11 1 •0 s . - Tn \ \Ti l i11• ' tl J>o n 'l n. , -( 1 .
. .
have t o sul) "ll y fr
.
. ·:-. , . ) ' t Ie se s1 i1 ,J t. ·c t'. . \' • H J w i'l
•
j
'
t )ll} )' ll lll
llll ' l~ l ll' ll1'H l ' ( l
f I
'
e a c h s it11ati,, 11 . Th e " ivii w o f 't1 .' . ,' ~r''i' ·"
"
l t co c lc na: nl s in
ie r
I , ,r in, , nt.1
1
•
,...
t <. tlln c " ' 1Y lo•Yl'lh r
ti t iH~
.
lH<
,
"r
a
ny
,-,f
th
l'
Ja
r
·
l'r
.i
·
·
·s·
.
.
,
'·
"
'
t..:
\\'J l
l
t 1011 , al wa ys 111a k t.: S llic :-iCL'IH.: St'L'l~ 11101~~ ';.:~:~~:-.of l!llh', i ri a s 1t u a -

45-

The Rewriting
of Themes •
•

N' U C1OU 1>t

t 11( •

stu
d e nt has alrc ad)' cli •..,covc1"''ll
tl1 "~ t tl·.
. en
.
v
ic writt
th e m ~ fre quentl y d() c.~ no t c o me up to his cxpecl :i.~1 ~ ns '. t ~.at ~l'. e mat <: r.1a ls ha\·e n o t take n quite the
sh.Lp
Pc>1- tl1 <.::. s·k'J]
• e his IJ1arn C()llcc 1vc:cl ·
J
t o e x p r ess
? ~11- tl1 0~ 1 g ht as w e have c on c civc tl it, mu c h p r;1cl icc
is
11rc. d an c1 . mu
ch j):l.ti
e nt toil · 1"\.11 t: Xl'C IIUl t
~ 1c. q1_
· ,
.
'

exer c ise in acquinng
shll
J. "" tl1 c 1ewnt1n
.
. . go f
~ this
· ·
'

.'./

74

Co111posit ion n 11d R!tdoric

themes in the ligh t oi the tcacher·s corrections. As
many of the student's themes as time :vill a~l~w
should be rewritten, fo r wh en the student is familiar
with the materiab, all his attention can be given to
the correction of errors and to the acquirement of
skill in handling the mate ri al. He should not, however, spend so mu ch time on subjects on which he
has already written that his interest is killed.

C!!AP TER V.

RETROSPECTIVE NARRATIVE
46. Definition and Forms of Retrospective Narrative. Narrative which gives the story of events
that happened before the time of th e situatiun i~
called retrospective 11nrrali7•c; that is, narrativ e which
looks backward.
Retrospective Narrative may take three principal forms : (a) Dialogue, (b) Author·s Narrative, a.ncl
(c) Vision ,-terms which will be explained as we
go along. In this chapter we shall study the first
form, that in which the story is brought up to the
time of the situation by means of dialog ue. The
next chapter deals with Author's Narrative and
Vis io n.
47. Retrospective Narrative and the Situation
Combined. Each of the four theme-mo<lcls cliscusse<l in this and the following- chapter comb ines
retrospectin:: narrative and the situation. These
mod els enable us to revi ew all we have learned ;tbuut
composition thus far, and to add tu th e situ:ttion a
new narrative motive.
48. Colloquial Origin of this Form. Like the
series of situations with which we are now so familiar,
the m e thod of narration that we are about to study
is one which we find people using in conversation.
Is not the way in which the following story is
told natural and familiar?
( 75)

77

Composition a111! R!tctoric
Suppose that :i. friend of yours who is calling
upon you says in the course of the convcrs:ttion:
"I snw your old fri end Jameson in London last summer. I st:1rted out o ne afternoon to visit vVestrninster
Abliey and met him nt the d<>or as l \\"as ente ring."
"Ind eccl?" yo u :mswe1·; "I am glad to h ear from
him again , even indirectly. It is 111 :111y years since we
met, tho11.~· h I used to hear from him occas ionally
th r• 1u gh Cu l< >llcl Sum me rs."
"Hy th e way, cl id he ever tell you h ow he and the
Culnnel happened to hecumc sm·h warm friends?"
"I nl ways s upposet1 that the Colunel knew his father
as a hoy."
"Nu, they met first in a r e staurant on Broadway.
They happened tu be seated at the same tal>le, and when
the Colonel came to pay for his 111neh, he fouml he had
no money. His pocket hat1 hecn picked. Jameson let
him have the money, and the Colonel took his name aml
address. Jameson he:lrd nothing from the old gentleman, however, mitil the following Christmas, when he
r eceived a c heck for one hundred llollars and an invitation to dinner. They saw each (>thcr often that winter,
an<l the next summer J amcson visited the \Vorll1's Fair
as the C(ilonel 's guest. There he l>ec:un e acquainted
with one of th e English Commissioners, who sceurcd for
him, upon returning- to England, the position he now
hulds in London with Bu1·ton &. CL)."
"\Vdl, he has been very fortunate in this friendship."
"Yes, and I n eve r could und e rstand why anyone
should take such a fa ncy to him. He always seemed to
me a very erratic fcllo\\'."

Ld us try to analyze this s tory into its clements.
1.
\Ve have first a sitn;ition,- the characters,
y ourself and a friend; the place, your p:nlor, probably; time, evening, perhaps; the occasion, a call.
2.
Next we have a sto ry told by one of the
charackrs. This story g T<>\\"S naturally out of the
conversation anu 1k1rls ;,1///1 t"i'Cltls 7,•/11dt !tappened

brforc t/11· ti111c rf tl!r sit1111tio11. It is, th erefore, :111
example of r e t rospect i\' e narrative.
Let us now examine a piece of literature written
in this form .

49.

The Selection used as Theme- model II.

The following poem l>y Southey contains a situation
ancl r e trospect ive narrative in dialogu e . It should
be read earefully, lug-e th er with the outline of it in
section 50:
TllE Hi\TTLE OF BLENHEIM

Sit11ati1>1t

It was a summer eve ning ;
Old Kaspar's work was done,
J\ ncl he beft>re hi s cottage door
\Vas sitting- in the sun:
And by him sported on the green
II is little grandch ild Wilhelmine.

Tra11silio1t Sh e s:tw h er brother Peterkin
i;:.oJl something- large and round,
\Vhi ch h e beside the rivul et,
fn playing there, hnd fo nml:
I le came to ask what he had found,
That was so large and smooth and rnun d.
Old Kaspar took it from the hoy,
\V lrn stood expectant by;
And then the old man shook his head,
And with a natural sigh," 'Tis some poor fellow's skull," sa id he,
"\Vho fell in the great victory."
"Now t ell us what 'twas all about,"
Young Peterkin he cries;
i\nd little Wilhelmine looks up
·with wonder-waiting eyes;
"Now tell us all about the war,
And what th ey fought each other for."

Composition and Rlicloric
Retrospcc- "It was the English," Kaspar cried,
ti11c
"\;v'ho put the French to rout;
Narrati11c But what they fought each other for,
I could not well make out;
But everybody said," quoth he,
"That '/was afa111011s 7 1ictorJ1•

"lVIy father lived at Blenheim then,
Yon little stream hard hy;
They burnt his dwelling to the ground,
And he was forced to fly;
So with his wife and child he fl ed,
Nor had he where to rest his head.

"T hey say it was a shocking sight
A fter the field was won;
For many thousand bodic:; here
Lay rotting in the sun ;
But things like that, you know, must be
After a famous victory.
"And everybody praised the duke,
Who this g-rcat fight did win."
Concl11sio11 "But what good C.'.lmc of it al last? "
Qlln th little Peterkin.
"Why, that I c:mnot tell," snid he,
"But 'twas a famous vi c tciry."
-RnnER T SouTllE\'.

Sur.r.ESTlor-< s. - \Vho asks the questions? \Vlw answers?
Docs th e ret rospec ti ve n:1rrativc <1e:il with thl' complete life of
a person, o r with only an in c irlcnt in his life'/ \\Those li fe? Are
we g-ivcn th e story of an historical even t ? \Vho i; ives the rctrospcc ti ve narr:lli ve?
Analyze the situation. What si t uatinn cleme nt is repeated in
the conclu s ion?
Can yon see th e resc mblnncc hetwecn th e m ct11nd use d here
and that in scctiun 4S . in onr imaginary conversatio n ? I s the
resemblance close? Study the transition and the conclusion in
the latter; in th e former.

79
50. Theme-model II. in Outline. \Ve derive the
· following outl in e from South ey's Battle- of Blrn!tt·im:
The poem consists o f four parts - a situation, a
tran sition , retrospective narrat ive, and a conclusion.
1.
The sit11at iu11 belongs to Situation-type I. (§25 ).
2.
The lnr11.11'tio1t provides a n occasion for the
tellin g of the story - here it is the find in g of the
sku11, and the questions about it. The transition
contains dialogue.
Lowell begins his Vision of Sir Launfal with
these words:
"O ver his keys the mu si ng organist,
Beginning doubtfully and fa r away,
First lets h is fingers wander as they list,
And builds a brit~f!t' from Drca111la11d for his by."

The function of the transition, in Theme-mode l

II. , is to "build a bridge" from th e situation to the
retrospective narrative.
3. The relrospcrth1e 11arrali11ca. Deals with the s t ory of eve nts ·w hi ch hap pened p r evious t o the time of the situation.
/!. Follows the order of time.
c. The first sentence uf the retrospective narrative makes a general stateme nt in regarcl to the
eve nt described. " 'T was a famo us victory" characterizes the event, the details o f which Old Kaspar
gives in the remainder of the retrospective n;:irrative. This introdu ctory sent ence we cali the characterizing sc11/r·11cc.
d. The rest of th e retrospective narrative proves
the general statement made in the introductory
sentence by giving the d e tail s of the events which
form th e subject of the narrative.

:;

81

Composition awl R!trtorir

Rdrospccti< 1c Narrati1 1c

4 . The ro11cl11sioll summarizes the s to r y, :ind
r eturns to the situati o n by means of dialogue.
"And what good came of it a t last?"

about the h:i.ndling of dialogue , which is used 111
that t11cmc-modc1. \Ve must lear n how to punctuate anc1 p:ir:1gTaph it, and how the principle of
v:i.ri cty e nte rs into it. Th e r e mainder .,f thl: l·h:tpter is tlevutcc1 to a discussion o f thi s subject..
\Ve shall consider under the specia l s1 1bjvct uf
Dialogue six topics, :is fol luw;,:
1.
The paragr:iphin g of ,dial og u e.
2.
The p11nctu a ti<m uf di :tlog ue.
3. The v: tryi ng of t h e verb o r exp n :;;si<>n \\'hich
int roduces the direct quotat ion.
4. The v:trying of the subject 11f tlw intr .. duct ory verb or express i<> n.
5. The v:trying of the positi1111 of the i11trud11ctory verb or e;..:prcss ion.
6. T he e laboratiun of d ial ognc:
a. Hy the use of descript ion a nd 1nrration.
/J. Hy means of certain gr:1111111 ;ttic:tl u n its , th e
p h rase, cl:t use, etc.

So

5x. Unity in Retrosp e ctive Narrative. The situa t ion at the beg inning and the u111d11sio11 :tre to the
retrospective n:trrati,·e what :1 fr:ime is to :1 picture.
The fram e s:ttislics nur sense of completeness, thus
se r ving a n :trtist ic end hcsi<ks i ts uti lita ri a n use
in preserving the p ictn rc. It says fo r the picture,
" Th is is all." In a narr:itive a lso we lik e t o feel
quite clearly th:tt the end has come. This u se of
the situation and the co n clus io n is o n e way to secure
unity o r oneness of im pressio n in a n :tr rat iv e . Th e
stude n t sho ul d re member lierc:tftcr what is m eant
by" framing· a pictl1re" wh e n we talk of narration.
The u se of th e char:ictcrizing sente n ce at th e beginning of the retrospective 11.'.llTttive is :1 n ot h c r m eans
of securing unity.
This principle of unity is very importa nt - n ot
o nly in telling a story, bnt in \\Titing· a description,
an expositinn , ~tn a1-g-11rn c nt. o r :111 y C() Jlll1i11 :1tio11 of
these. \ Ve sh:tll find il appc:trini.:: in :Il l our study
of co m pos ition . :tncl a hrgc p:trt qf 011r task will
be to presen·c nnily in the \":trious th e mes we sh.'.lll
write . I n<h:ed, many of the rnlcs and tlirecti11ns we
h:tve 1<.:arned, or sh:tll lc:trn. :ire rea ll y means of
secur in g unity . Tht.; discussion of this law is much
ful1e r unde r th e sulJject of Descriptio n. (See Chapter VII.)
52. Outline of the Study of Dialogue. Before
wr it in g a story accurd in g t() Theme-model II., it
is necessary l o understand some t echn ical m atters

53. The Paragraphing of Dialogue. The fol low1 n g ex tract ill11 stratcs the pr in cip le that in di:tlog uc each spcL'l'h slw11ld f11r111 :t scp:1 r:tlc p: tr:1 1~-r:1ph.
The worc1 par:t_gT:tph is lw re u sed in the sense "f :t
d ivision or break in the text :
"Hark ye, 111 nthl'r -- <111 g·ht11't \\·c· to l>tl)' 11s

:l

lamp?" '

" A la Ill p ? \ V ha L sn r L of 1a 111 p ? "
. ""'(hat 1 l )011 "t y< 111 k 11< >\V th:tt the s t"rl'kc cper who
lives in t he market tuwn has brought from :-;t_ Pet e rsburg lamps th:tt actually llllrn hctter than lt:n f1iF1'iT .9 ·"
Th ey ' ve al r eady g"t a Lun p uf the su r t at the pa rs. >11:1 ;.: c ··
"Oh, yes! Isn't it <ine uf thusc thi11 gs wh ich shines
·* ·'\ jnirt'. (1' r. , /JJ1 .l 'l""- I' ; S\\"c<l., /1,r / 11: G e r ., />rr.1,•d) is a rc>sinous prn e c hip , 01· sp!111tcr, used in stead u f Lordi ur l'ctndle tu li gbt
th e poorer h ouses in Finl::inJ.
6

Rctr(lspcct 17.•e Narrath•c

Collljlosit l(llt a11d Rlrctoric

82

in the midd le of th e room so that we can see t o r ead in
eve ry corne1-, just a s if it was broaL1 day lig!1t~"
"That's j ust it. Th e re's oil th at hnrns m 1t, and yon
<>nl y have ti) li ght it o f an c \· enin g, ancl it burns on wtthu11t going ou t till the n ex t morning-."
"But how can t h e wet oi l b urn ?"
"Y o n might as well ask - h ow can b ran dy hurn?"
" But it might set th e whole place on fire. Wh_en
hr:rnd~. beg·in s to burn you can't p ut 1t o ut, even w ith
water .
·1 ·
"H ow can the place he se t on fire wh e n the 0 1 is
shut up in a glass, ancl th<.: l~n.: as w e ll ?"
,
"In a glass? How can hre burn m a g lass- wont
it bnrs t?"
" Won't what b urst?"
"The glass ."
.
" Burs t! No, it never bur sts. It might bu rst, I grant
you, if yo u screwed the fire up tuo hi g h, but you 're not
obl iged to do t hat. "
. .
" Screw 11 p the fire? Nay, dear, yo u're JOkmg-how
ca n y o u screw up fir e? "
"Listen, n ow! ·w h e n yo u turn the sc r ew to the
right, the wick m ounts- the lamp, you know, has _a
wi ck, like :.my common candle, and a flame t oo - but if
you tnrn the sc r ew to th~ left, the flan;,c gets smaller,
and then, wh e n yuu l.Jlow 1t, it g oes o u t .
"It goes o ut! Of course! But I do n'_t '.'.nderstand
it a t it yet, howen;r mu ch you may exp lain .
-

J u ll Ai" I H1{ 1i 1: u.11T (p~<.:ud . Ji 111 AN I 1\1H1):

S1;11in· J/d/1111111 ((l/d U / /i,·r

.

~ /ones.

SP<:<;F.sTI ••NS. - !las each s pcecl1 been ~ive n in a ~cpar'.:te parag rap h?
J lo quotat ion marks enclose e ach speech I
1<1nd the
interrogative and ex clamator y sen tences.
DIRECT IONS

In dialogue com111rnct· a new paragraplt w lun one
person stops tal/.:i11g and anotlur begins.
2.
Euclose melt spccc!t in quotation marks.
.
An
inlerrogati1 e scntmce sltould close wit!t an
3
interrogation point, and an exclamatory sentence with
an exclamation point.
1•

1

Exercises

I. \Vri te an original dialogue on this rnvclcl.
Let it be a story t old Ly one pcrsun in answer to
another's questions. Use no verb of introduct io n.
W e arc now learning m erely to parag raph <lialog-ue .
II. Paragraph .1.nd supply the quotation m arks
in the foll o wing :
I.

Excu se me. Is it not trn c yo u arc yo ung? I am three
and tw enty. Ah ! a nd you had , doubtless, a father who
cared fo r yo ur ear ly in st ru c tinn, - wh o, pc rl iaps, was
himself a schola r?
.
. Yes, at least a father liy
adopti on. He \.\'as a Neapolitan a n d of accomplished
sch olarsh ip, both Latin and Greek. B ut h e is lost to
me - was lost in a voyage he too rashly un de rtook to
Delos.
- A d11jJ lo! fr om C V()1u:1·: EunT's R om ola.
I I.

Ah , you ng man, yo u arc hap py in having b een ahlc
to un ite th e advantages of tra vel with th ose of st udy.
. . . . B ut doubtless, yuung man, research after th e
treasures of antiquity w as n ot alie n to th e purpose of
your trave ls . Ass u red ly not. O n th e contrary, my
companion ,-my father,-was willing to risk his life in
his zeal for the disco very of in sc riptions and other
traces of ancient civ ilizat ion.
- .·1dajJlcd j r 1J111

GEUKGE

Eu oT's R om ola.

III.

I am Atlas the m ighti est giant in the world! A nd I
hold the sky u pon my head! So I see. But, can you
show m e the way to the g ard e n of the Hcsperid es?
What d o you w a nt there? I w an t three of the golden
apples for my cousin, th e king-. There is nobody but
myself t hat can go t o the garden of the I-Iespcridcs. and
gather the golden apples. If it were no t for this little
business of h olding Np the sky, I would mak e half a
dozen steps across the sea, and get th e m for yott. You

·J,.'

Co111posi1ia11 a11d Rlitlor ir
a r c \' c r y kind.

R t· frospal i ·i'l' Na rrat '7·1·

0,,)

J\ nd c:i.nnnt ynu r est the sk y l1 pnn a

111011 11\ a i n?
N <> 1H' of tli <'m ar c •11 1ilL' hi'.._'.·ii c 11 0 111.J1.
- .·l rla/1/ (· d_(ro111 NA TJl ,\ i' IF.L ll .\ \\'Tlf1 1t>.!'\ J·. ~ / l l f ',111J,.,- / 1'1N)i.'.
I V.

\ :Vh e rc :ire you f ro m ? Tam a Pok.
]lave
J-I ave yo n t e st im onials o f hon orable gov e rnme n t se rv ice?
JI c1T a rc the test im on ia ls.
l 1·c c c i ve cl thi s crnss in 1830. Th is scc .. n <l o ne is Spanis h fro m t h e Carl is l \ V:tr , t he third is the F n : n c h L egion,
t h e fo u rth I rccc i\'cd i11 11 u ngary. i\ fte n \·ard l fo ug ht
in the S t a les a g·a in st t he S <1 11th; t he re th ey d o n o t g ive
c r nsses .
!)u y• •ll k now se a se r v ice? l sc rvecl
th r ee yea rs on a whal e r.
St iil y o u see m too
olcl fo r a light-h on s l.: keeper. Sir,
I am
gTcatl y wc:iried, kno cked :1ho11t. l h an :: p assed thro ugh
mu ch , as yo u sec. Th is place is one o( those w hi ch I
h ave w is h ed for most a r d e ntly. 1 am ol cl, I ncccl r est.
l n eed to say to 111 ·se l f. he n : you will r emai n ; thi s is
your po r t. J\ h s ir thi s depends no w o n you a lo n e.
\V ell l take yuu; you arc light- lw u se keeper
-Ada/ihd fn•111 I-IEN RY K S11·: NK 11·:w 1cz's S iclmd.·a.

yo u se r ved?

.N••T l·:. -

l!! th C' ahO\'l' C>:tTl'p ls I le cxr rr ssio n s \\' hil' h arc 11scd

to 111 trod l U:L' 1hv d1rel· L quutat11 111:-:. arc u1n1l tctl ln.:c au ~c lilL' ~t11dcnt
has ,ntll yet lt:: \ n h.:d l 1r1 w t 1 • 1n1 n c t uah' tlh.: din.: ct 11 11 ,, tati •;n w he n

the~ i11ln1dt1c t<1r y wortl or cxprc ~ si u n is 11~ccl . 'l' hi s n 1 11 i ~.sio n has
ll L' t'l' ss i l :tl1.: d t he n 1 a k i 11 ~ of su tne 1.: ha 11 gc:-. in the lHl l1l' t11 ;t li o n uf
tl1 t.: ori ~ inal.

:

t'

: I:

54. The Punctuation o f Dialog ue. Th e fo ll o wi n g- s e nten ces give us t he se ve n p oss ible forms of
t he d i r ect quo ta ti o n , with the p rope r pun ctu:ttion of
e a ch t ype :
1.
2.

.) .
--1·

5.

" (~ive rn e t h e hook ," h e sai d.
l ie saitl , " Civ e m e th e hook, Joh n ."

'' (~ivc the h(lok," li e said, "to m c ."
" (; i\T rn c the !Jouk," he :-:. :1id . " I t 1s min e ."
"Is th is y<> ur hook I " 11c :ts ked.

Ex e rc ises

I. Learn l() w r ite , wilh cor rect punctu a li"n. the
se ve n ill1 1strali<ms ()f the direct qw>L tti u n gi\·cn in
secti\1n ::: .1 .
\\' 1·1-tc ( 1·1· g "111:L I Sl.:llll
· ; !ll. ' l·~ . 1 1 ~-.\ ·lil" " ~l .....; ~l
m oc1 d e a c h uf the seven direc t <1uot:tt
- 1"' >11s· )._;-I"'\ 'Cll 111
se cti o n 54 .
1'·11"
·
J y •t I.1\.: 11c·ccssa r y j>11 11du .
·II ·
• · l\'"l"
"" • l'Jl
l 1 .' Lilt l supp
a tion mar k s i n the f .,] Jo\\· i 11 g qt111 t .1li"11 s:
J

T

.

.

)

i.
1
a t ] is lhc lll:llll'r
saicl lie c"\""rl\·
111 L... II \ t •l l L'.';1 ·
• - · \ Vh
·
·
' .--. - 11· ' i·tl
•
c_nes a n<_ that clash 111.~- ()f swords> <>nil· :t Lr ic k ,,f tile·
tu'.1es sa id \ V: unha t hey arc all p ri s .. n-c rs . \Vl w :in·
p n su ne rs cxcla 1rncd C11 rtli i111pal ic·n l h-. i\fv i " r<l a 11 ,j
m y lady, J\ t h e ls t:rnc an d l I un<l ilic rt ai1d < > s~va l d .
,
O ur, m ast:· r :1·a s t uo r c a <ly to light s a id t hc jester
,rn~1 J\ thclst.tne 11:-ts n ot rl':1<ly l'll<•ll.~- h :ind 11 " ,, (Jic-r
\~C~~m.1 _ 1va~ ready a t al l. They arc p ri s<> IH'rs t<> .L'.T l' t'll
c ass.ocks
\\'·.1 111 I >.t. s .. 111
·I
J
I .111d, lilack \' IS'-'rs · ·
G Lll t l L Jt>l l Jl:tst a \\' c' :ljH> n ;111l1 tli \. 'heart w:is ·\· ".
stro n ger than thy li.r:tin 11·c :i r e <111!y l\\'o Ji 11 t a si: <ld .~ 1 '1
at tack l r• 1111 111c11 ,, J re ~; ., ]11ti .. n wil) d" 11111 d 1 ful lu w 111 ....
vVh1tl1 c r a nd fu r wh :it p ur p•hc s ai cl th e j es ter

- ~ II '. \ \ '\1 ·111'

~crJl l ,

/; •tu:h 1 1, ·

I,

'

!:
!

I

I:

'

;

I"

Yon arc contented then sai cl Varney t o take court
serv ice. A y , worship fu l s ir, if yo u like my te rms as \Yell
as J like yours. And what arc yo ur t erms demanded
Varn ey. If I am to have a qu ick eye fo r my patron_'s
interes t he must h ave a dull one to\\·ards m y fa u lts said
Lambourne. Ay said Varn ey :-;o they lie 1:<;>t too grossly
open . Agreed s::tid Lambourne. Next 1f 1 run dow.n
ga m e I must have t he pick ing of the bones. That is
h ut r eason repli ed Varney so that yo ur betters are
served befor e yo11. Good s aid Lam bourn e an d 1f the
law ::tnd I qu::trrcl my patron mu st bear m e ou t.
Reason again s::tid V::trn ey if the q uarrel h ath happened
in y ou r master's ser vice . For the wag~ an<l so forth I
say nothing proceeded Lambo urn e ; 1t 1s the secret
gucrdon that I must Jive by.
- S 11' \ V ,\ LTE R Scorr. A'enilworth.

-

S 1R \ VA L Tt-:t<

Scorr, I van/we.

IV.

Th e cra nkn pf th e Hcspe ric1cs cri e(1 (Jnc . \Ve thought
mortals"had been '.1·c;-iry 0 f s ecki n ~ it after ::-:o many
c1isn ppointments. J\nd pray adventurous traveler, what
clu )'<lU wan t there? J\ certain king- \\·llo 1s my eousm
replied he h as orde r ed m e to g-d lrnn three golden

/ / (11:1:· .

55. Varying the Introductory Verb or Exp ression. The followi ng is a list of \.vords which may
be u sed to introduce a d irect q uotatio n :

I will pay h e said the thousand pounds of s ilv~r
that is he added after a mom en t's pause I \Vtll pay 1t
with the help of my h r cth rcn . . . . : ·w hen •u1d
where mu st it be delivered? II c re r eplied Front de
Bucuf
we ighed and told down o n th is very
clun«con floo r. . . . . And \\'h at 1s to be my surety
said'"the J cw that I shall be at liherty aftct this ransom
is pa id? The word of a Norman 11 ~1hlc tho u pawnliroking slav1..: an s wered Prontde Bm:ul . . . . . Hut
whe r efo re shonld 1 rely whol ly o n the word of one who
will trust nothin g- to mine said Isa::tc timidly. Because
tho u canst not h e lp it Jew said the knig.h t.
Grant me he sai d a t leas t with my own li be r ty th at of
tlic companions with whum l travel.
They
may contribute in some sort to my r:tn som .
-

XATllANIEI. llA\\' 'j l!I Jh:N J·. , ..·l [~'0 11i/,.,-

Suc;<a:STJ,ON. - Sce ./\ ppcmlix I. for rules for punclu::tliori.

II I.

1·

"I

apples. M ost o f the young m en \\·h o go in quest of
th ese appl es observ ed another of th e dam sels des ire to
obtain t h em for themselves or to prese nt them t o som c
fair m a iden whom they lovl' . Do you then love ti1is
king your cousin so very much. Perhaps n o t r l'plicd
th e stran ger s ighing. I-le has often been severe an d
cruel t o m e. But it is my dest iny to obey him. J\ nd
do y ou know asked the cbmsc l who h ad first spok e n
that a ter rible <1ra gon with a l11111clrcd hc:1ds kcl'ps
watch under the g •·l dcn app;c-trLc· )

II.

I,

,. -

Nc!reSf((: /i:·,· ,Varra!h"·

Composit /011 !111ll R!tdoric

~

., "
--%_,.\'.-:--

~-

---.--

r emark ed
observed
declared
e xplained
remon s t rated
assen tccl
s11ggested
cehoccl
qu c sti<111cd
inquired
sol il oq11i zecl
sigh ed
proc 1ai m eel
asked
demanded
eomm anclcd
11 rgct1
entreakd
implored
begged

rejoined
began
exp stulat<:d
vue ifcratcd
ordt.:rcc1
e xclaimed
shouted
sh rickecl
growied
whispered
threatened
mutte r ed
cl raw led
stamme r ed
sta tccl
protcstccl
wailed
pan Led
yciil:d
CUil

t i llllcd

hissed
pers isted
faltered
laughed
cried
in tcrru ptcd
gas peel
l11(Janed
added
in tcrpose1 I
r cpe atcd
rcitcratc 1l
returned
1·ep li ec1
retorte d
answerl'd
th nught
rc·IJ..d,·il
n111r111111· ," i
c:ilkd ull l

. '"·

Retrosp ective l\Tarrati«c

Co111pos itio11 ,wd R!tctoric

88

Exercises

V:try th e verb ur ve rbal e xpression introctuc ing
the d ire ct quotations in the folluwing sel e ctions.
Supply th e ncccss:try marks of punclu:.1tion and
p:n::i g r:1ph in a cconbncc with the rules give n in
sections 53 :rncl 5..\:
l.

Ts the sky yc ry h eavy li e --_. \Vl_1y n o t partic11larl_y
so at !i rs l - - the g- ianl shrugg-1ng li1s s houlders but it
g-c ls to ])c a littl e ln1rdensome after a th.,us:111 tl years.
J\nd huw lPn ).!· a tim e - - the hero will it take yo u lo
ge t the golclcn applt:s? ( >h, that will be dun e in a fe w
mnm en ts - - J\llas. I shall take ten nrfi !t cc n rn1lesat
a stride an d lie at th e g arden and ba ck again before
vn ur sh o ulders hl·t.:·in l<> a ch e. \Ve il, then - - l fe n.:ules
·1 \\·ill c limb the n;r.untain behind yu tt th e re and r elieve
you o f your burd e n.
-

NAT ll A:\IE L l l AwT Jl 1JltN E ,

A /Vu ndn· /;'ouk.

I I.

IL\\\' Tll•ll<~ l·:, ...- /

Varying the Subject of the Introductory
Observe h()w th e sulijcct of th e vcrli whi ch
intro duces th e direct quotation is varic<l in th e ful lowing diagr:1m of a co nv ersat ion between /'I :tt1d B.
two enemies engag-e l1 in a cle:tdly cC1mb:1t. /\ is ;t
Contin e nt:1l, Ha T o ry wh o has murclcrcd 1\ ""brot her.
A is aven g ing his brother's mnr<ler.
" -- -- - " -- -- - " --- -· -·· ··--" - - - - --" - - - - --" ·- - - - - - - " - - -- -- -- - " - - - - --" - - --- - - -

- - - - , " said
- - - -,"said
---· -·-· .··said
- - - - , " said
- -· - -," sai tl
- - - -,"sai d
- - ---~~ ,"said
- - - -, "said
--- ---,"said
· - - -'---,"said

the Tory.
his opponent.
tl1c Briti ,., h ,., .. Jili,·r.
th e Co ntin ental.
his enemy.
the J\ rncri1.·an .
th e culprit .
the :n-c11g-e 1·.
his victirn.
the victor.

llow rnany sy n•,nyms are sec ure d for th e \\'nrd
]J ,iw man v fnr Conlinl'nl:-tl) Can vn11 tc- 11 fr,.rn Lhe sv no-

S u q;E, Tl<! N , . -

Cnu s in En stacc - - Swee t Fe rn wh o had bee n sitti ng· at th e stury-tcllcr's feet with hi s Jll () llth wide opci:
exactly h ow tall was this g·iant ' 0 Sw e et Fern Sweet
F e rn - - th e stuc1ent, l1o )' P ll t hink I was there to
m eas11re him with a ya rcl -s tick' \V e ll, if yo u must
know to a hai1"s-hreadth [ stq>JlllSl: he mi g:ht h e from
three to li l'tce n mi les st raight tqmar<1.
Dear
rn e - - th e ;_;<1ocl l ittle h1•)' with a co nt c nll'u sort of a
g-rt1n t th a t was a g·ianl s ure enoug h and how long was
his litlle linge r /\.s lo ng as from Tan glcwuocl to th e
lake - - Eustace. Sun.: cnot1g·h that was a g ian t - S weet P e rn.
1\ ncl ho w hroal1 , l w onder, we re
the shoulders of ll e rc ulcs T hat is wh ~tt l have never
been able to finl1 out - - th e student.
I wi sh
- - Sweet Fern with his 111out11 c lose to th e student's
car, t hat yon would t el l m e how l1ii.; w e re some of the
oak -trees that gre w liet\\· ee n the g- ian t's toes. Th ey
w e re !Jigger - - E us tace than the c hest nut- tree.
- N ,\Tll 1\ :" IEI.

56.
Verb.

/Vond<· rJ.'110/.:.

Torv?

n ynls c hc•sc n l(lr t f1 c Wf1rd s, l'<H1Linc11l:ll an ( I ' l'orv. t he feclin~ or
relation .,f one c haracter to the other al the tin1«: ., f a parli~ula r

~peeeh?

If the s l!bj c ct wc.:rc.: not variecl as a11ove. the r epetition of the Wl>rds Cl>11Linc.:11lal and Tory w o1tl d
become rn<1notonous. \Ve slwuld have the expressions" .'-':tid the Tory," "saicl the Continental ,"" said
th e Tory,"" s;iicl the Continental,"" said th e Tory,"
"said th e Continental," repeated many times.
Exercise

V:iry the subject of the verb, or verbal expression,
introducing the direct quotation in the dialogue,
in sections 54 and 55. i\s you do not know the
context of these quotations, you wi 11 lie obl ig-cd to
infer from th e conversation who the speakers arc.

C11111posilio11 and R!trloric

,.

1:.
,'

57. Varying the Position of the Introductory
Verb. Observe how the positio n of the expression
or v erb whi ch introdu ce s the cl ir cc t quotation is
vari ed in the fnllo\\'in g- di: t! o g-11c, which is taken
from I Iawthorn c 's Tiil' G'ual S tone Face:
Still, Ernest's nei ghbo r wa s thrusting his e lbow into
his side, and pressing him for an an swe r.
·· Co n fes s! con fess! Js n ot he the very picture of
your Old Man of th e Mountain?"
"No!" said Ernes t, bluntly," I sec littl e or no likeness.
"Then so mu ch th e \\' Orse fo r the G r eat Stone Face !"
ans w e red his neighbor; and again he se t up a shout for
Old Stony Phi z.
-

NAT ll AN I EI. J~J A \\. TTI ORi'\ F.,

Th e S now lma,i.: t', and Ot her J1uli't·· ?'old Tales.
S u c:r.E STI ONs. - r. In th e first speech in the a bo \·e quotation lb e
",·erb or CX') re ss ion of say in g" precedes the quotatio n. Call this
Type I. , which may be represe nted as fo ll ows: J l e said ," - - "
2.
ln the second speech th e "verb of sayi n g " occ u rs between
th e parts of th e quotati o n. Cal l thi s Type II., whic h m ay be
represented as fo llo\\'S: ·· - - ," said he,"-- . "
3. l n th e third speech the " ve rb of sa ying " follo\\'s th e quotation. Call th is T ype I I I. , \\'h ich may be rcprl' s<.:nte<l by the fo llowing diagra m: " - - , " sair l he.
4. What is the verb introducing the tlircct quotation in each
s pee ch of the a bove e xtract?

CA U T!ON. - 111 w riting dinlo,r;1ll', 11r< 1tr !t i Type I.follow Ty pe!., Type II. Tfpc /!. ,ctr., /111! ••ary in some suclt
waJ' as !!tis: /. ,JI!.; JI., Ill.; I., II.; Ill., I.

Rctrospcclfr,,. 1Varral i•·,·

./llfrs. T11!/i71cr: Tum, yo11 naughty hny, where's your

sister?
/;1111: I d()n't kn ow .
11/rs. T11!/1-;·,.r : \Vhy, wh e re did yon lc:t\·1· Ji, -1 '
7~1111:
Si lting unrler the tree ;q~·a111st tll<' 1'"1 1d .
111rs. '}'11/lt«'tr: Th e n go and fctt:l1 her in tills
minute, yu11 nau g hty b oy, - How coultl you think o'
going to th e poncl and ta ki ng your s is te r where there
was dirt?
-

GcORGE

EuuT, Tiu• .1fil/ on t i:< Flo ss .

I J.

Slt}'lod:: T hree tho u s::tncl ducat s : w ell.
/Jassa11io : Ay, sir, for three m onths.
S/1yluc/.: : F o r three months; w e ll.
Bassa11io: F or th e whi ch, as l told you, Ant on io
shall be bound.
S/1ylud.: : Anto nio shall become liuuncl ; w el l.
Bassn nio: May you ste ad me? will you pl eas ure
me? shall I kn ow your answer'
S!IJllocli: : Three thousand clucats fnr three months
and Antonio b o11 nJ .
lfas.m11io: Your answer to that.
S/iylod· : Antoni o is a g ood man.
JJassa11io: Have yon heard any imputation to t he
contrary?
. ,'-,'/1ylod.·: Oh, no, no, no, no: i ny meaning i n s;tymg h e 1s a guud man is lo have yutt undl.'rst and me
that h e is sufficient.
-

\V11.1.IA!l.·f SJ/ 1\K Sl'Fi<E ,

Tiu: Jl/e ri ·h,111/ t:f //011i ·c , ,/t.'/ 1., S c. J-

III.

Exercise

Snpply a diffe rent ve rb to introduce each speech
in the following extracts, and vary its position with
r ekrencc to the quotation (see ~~ 55 and 57). Paragraph and punctuate these se lectio n s in accordance
with the rul e s already g iven for the paragraphing
and punctu a ting of dialogue.

91

Jacques:

By my troth, I was seek ing fo r a fool ,

when T found y ou.
Orlando: jcre is l1rown'cl in the lJrook; look but in,
and vo u shall sec him.
J;,cq11cs: T he r e I shall se e min e o wn figure .
Odando: \Vhi eh J take to be e ither a fool or a
cipher.
-

\\'11.1 . JAM SllAK Sl' EKE,

As Vim Jj /..·,: fl, /l et 111., Sc .

2.

',-

Rdr<>sj>al i«I' l'-larra! i<·c

93

Comp osit ion n11d R!tt'toric

The Elaboration of Dialogue. J >i:ilog11e is
ehbor:itcd 1>y the u se of words , plir:ises, or cbuses,
to modify the n : rb ,,·hich intr0<.h1ccs the q uot:ition
or the subject uf that n : rb. Thrung-h this elaborati on we lc: trll l1< lW the s peakers look e t1 ,,·h e n th ey
nude :t ce rta in specc l1; ll<lw th e y felt; what t h e ir
m:1nner was: w l H.' H ; th e y w e re; in wh:il t"ne t hey
s poke, etc. These little tu11ches en r ich thl! t1 ialuguc
:1 11<1 :rw: tken o ur in terest in the speakers by making
them more r e al. \Vh e n we 1.elcphune 1.o a pe rson
w e Jie:tr only his voice ant1 ,,·o rcls , lrnt ,,·hen we t:l.lk
to him n ear ;i.t h a n d we use ou r eyes ::ts w e ll as our
e:trs: nute hi s d re ss :uHl manner, the expression of
hi s f:t ce , and his gestures. \Ve a lso make mental
1wle of his ch:1ract e r :ts r e ,·calccl in his :i.ppca r:tnce
<l r s peec h, or from wli :11. we kn o w of his p.'lst. The
m i nd is Lh u .s kept \'c ry :tel in:. :111d d i: tl og ue is the ref<>rc a \·c ry complex a cti,·ity in real life: it is much
mure tlnn the m e re \\'urds th:tl arc spoken in convcrs:1ti<! n .
If the rlia lognc we write in our themes is to have
any resL·mlibnee tu that of real lik, \ \ T must transcribe all th e latent elements th:tt :iccomp:tny th e
wurc1s spoken , h cc:111se <>\Ir pk:1s11rc or l:t ck of
p leasure i n a c011\·ers:1tiun dq»ends often ;i.s mtH.:h
upon these :1ccom p;1 nimcnts :is 11pon w h at is s::ti<l .
\ Ve sh:ill stud y fi rst the J.::in<1s o f nar r::ttive ::incl
<kscripti\'e details which rn:1y be u sed in this
elabur:1t iun, :m<l seeundly, the gr:t111m ;tlieal fo rms in
wh ic h th e se <l c t:Lils rn:1y be expresse d . Thus we
shall consider 1.he subject uf dialog ue elalm ralion on
thl'. sides of bot h 11!011g /1 1 :111dji1r111; th at is, from both
t he lugic:tl an<l grammatical p oints uf view .

58.

59. Elaboration of Dialogue on the Side of
Thought. Dial 11guc m:1y be amplified b y means of
certa in narrative ; t11ti dcsc ri pli\'\..: 1111>ti,·cs. which
g i ve us tlet:til.s in regard to the speakers, th e place,
an<l othe r matters cunnccte<l wil h lltc di:dug11e.
1.

Hy mc:tns of c1escrip1.io n.

a.

] >cscri pli1Jll () f f1-rsu 11a! 11/'f'1·11r11111f.
" B less

u ~ , .. cried Ll1 c ?ILtyor, "\VJ 1;1l's tli:tl I ..

(vVi th th e Cor·pora ti "11 a s he s a t ,
L r1/l/.: 111.~· /1///,' tlw11_1;lt wo11dr o11s Jal:
J\/or br1,g l1!/' r 'iL 'llS !tis (J'c , 11 or 11111islcr
Titan a l oo-lo11g- op1·111·d 1~)'sli'r,
Save whl·ll al 11<><>11 his p;1t111ch g-rl·\1· nn1ti11<>ll"

F 1.•r a plate .,f tu r tle .c :rccn ;tn <i :_: i t1t i 11<>11 ,.; )
.'-'l' ra pi 11 .:. :· oi" -.;)i , ;c s <>11 tli 1.· llLt t '

" ( l illy ;t

J\11 y tili11g- lik e the sound of a rat
h eart go ]>it~a-p;tl'"

i\la kl' S 11l _\'
-

J\. r lJ :F l<T

]'.1{11\\' '.'-/ l i'\! : ,

J ft t' f Jt ('l f / '1j

t ~/

11 T

/ / rfJI/ ('/,'// .

"FanHHIS, ch ' " T s:ti<l . /,111!.-i11.:: a(lt'r ! Iii · ft1r1 )'
of !l1r 111ilkr, i11 /11 .1 jlo11ry c1111:'11S r"11n ,/t1!1t 111/ .

/J . D e scription of m ood.
"No, 110, s irs, l ditl not know that
Italian s."

said
r.

.\/11·

71'1/.\

y ott

Ji~11r1 ·

were the

r;11ifr j!11s / 1r1·,/ 11n,/ / i 1,i;l1/t' 11, ,/, 1111,/

cordi1i/~J! 0 1011,1.;!1.

lto7<' ,J;ltrd

sit,·

71'1/S l o

/111'i'1 · us /J 1>!/1.

TJc s1.Tipl i"11 "' d1 11r1r1·1t'r .

" J\h , l rememb e r." "ai d til l · s 1:·;i 11 .:..:1.·r . t 11r11 i11 ;.: a\\':t\'.
lik1· O/{(' 1u/1osc appc!ih for co11/011pla!10/l 'i.cas s11t111 s11/1s-

' ·~-"

jied.
d.

IJ cscri pt io n of pince.
liavt: a i' lc asa nl lit tle a.Jytum th1.·r1.-, I Sl'l' ,
said the stran g L' r, l1 oli11_i.; !i1rollg lt 11 /11/11, ,-r/ st-r, ·, 11
w it /cit di7.11dol l!tl' s/1op _from a roo111 /If a/Joni n1ual si::r.
"1 s uppose yuur conclave uf cr11diti meets
there ?"
"Y <1 11

1

--.,...,.

Composition and Rlrctoric

94

95

"There, and not less in my shop," said Nello, leading- the way into an inner roo111, zn wlliclt ·were some

/!e11cltrs, a table wit It one book in manuscript a 11d one
print ed in capitals lying open 11po11 it, a /11/t', a few oil
sl:etc!trs, and a 111odcf or two of !rands and a ncien t masks.
-

GEuRGE ELIOT,

Romola.

By means of narration.
a. By the use of rctrospccth1c narratic•e.
The retrospective narrative u sed in elaborating
dialogue refers to events which t ook place before
the remark was made which it is u sed to amplify.
2.

"'Nell, won't you light it now?" asked mother again,

w!tcn all t!tC 11nscrewed tirings had /ia11 p11t /Jae/.: into
t!tnr plaus, and .fa!ltcr !tad /wisted Ilic lamp 11p to tlte
ceiling again.
"Diel you know John Sherwood?" asked Earwood .
"\Vh y, of course I did ."
" Wh at a small work1 it is, to be sure!" said Earwood,

mater ial for a slight review of English grammar and
will show at the same time how the various gram.
matical 1111its may be u sed in giving the accessories
of a conversation; such as, details in r egard to the
persons who are talking or the place in whi ch the
dialogue is carried on.
T!te prcpositio11al fltrnsc .

r.

a. The preposition in:
"Give it to me," he said, in a low tone.
b.

The preposition wit It:

With a shru g of the sh o ulders, he saicl, "Give it
to m e ." ·

c. The p reposition wit/wut:
\Vith out a tn:mor, he said, "Give it to m e."

d.

The preposition 7tpo11:

tire 111t'11!io11 of Slrcrwood bri11gi11g had.: .filr a 1110111cnt
a rc111e111hra11cc (If t!tcir last 111Cdi11g· and to1t7'ersation,
and lite strange p11rs11il into wl11dt it !rad /rd !ti111.

Upon hearing the news, he said , "Give it to me."

ii. By the nsc of .forward-11107 ·ing 11arrati11c.
This kind of narrative refers to events which fol.
low in time the remark the narrative amplifies.

"Give it to me," he said, g lancing down th e street.

"Bu t n ow I ri.m tlnong-h with him," said James, and
.folding up !tis pod·c!-boo/.:, !tc said .farewell and walked

4. T!tc adwrhial r/a11se - introduced by as, 7v/11ic,
w ltcn , tlwug!t , since, d e. :
As h e trembled with fear, he said," Give it t o me."
·while he trembled with fear, he saitl, "Give it

fl'i.t'tl) ' .

t hc

S1-.:•:F. sT 10N.- Fin<l the narrative and descriptive passages in
i 11 ust rations q uotcd abon :.

60. Elaboration of Dialogue on the Side of
Form. S tuden ts of ele m entary composition often
nc c (l to rc\·icw English g-rammar. The following
cx:unplcs of cl:tlHir:ttion by means o f ce rtain gram.
nntic:·tl units -- th e phrase, clau:5c, ctc. - will afford

2.

3.

T!tc prrsent partiriple:
T!tc pcr.ftct participle :

Filled with misgiving, he said, "Give it to me."

to n1e. "

Though he trembl e d with fear, he said, "Give it
to me."
"Give it to me," h e said , for he was hung r y.

5.

Tire ad7'1'7'h:

He said wistfully," Give it to me."

96

Co111posilio11 and Rlirtoric

6.

T!tc rclali°<•e clause:

GENERAi.

"Give it to me ," said the prnf<.;ssor. who was as
mo<kst as he was amiable.

7. Tilt! 11omi"11al i·;•,· absolute :
"Gi\'C it to me," h<.; said, his face filled \\'ith joy.

8.

7111· ad.1i ·t1 h•c:
"Givt.: it to m e, " h<.; said, full of zeal.

9. C(lorrli11alt s/t1!011ml actio n :

slw\\"i ng a ccom p::rnying

Ile closed his eyes with a sigh ;ind said, "(;ive it
tu me."
10 .
!11d1po11/01/ s/a/011ot1 ing action or conc.litiun :

Juhn was brukcn -hc:ar tc <l .
1 1.

showing accompany-

"Gin~

/11dcpouln1t st11!011c11! -

giYi ng a comment:

Exe rc ises

I 1 l,

I

T. \Vritc origin:tl sentences in illustration of
each of tht..! examples g-ivcn lJJl(lcr th e formal side
llf d ia logue ehli1>r:ttio11 \~ Go) . \ Vritc also SL!nlcnccs
illustr:ttin g each example of <lialoguc elabo ration
o n the si<k of tho11ght (~ 59).
II . \V ri tc an original di:lloguc which shall contain all of th e m e ans of cbboralion on the sides of
both th o ught an<1 form . Be sure that each of your
phrases, clauses, etc., ll.:lls something s ignificant
:11Juut the speakcrs - - s omething that 11as point in
tlw context.

D11'ECTll>NS H>R

\\"1z1 r1,.;1;

97
l>1Al.u1; t; 1·:

In the c1i:llog·ue portions of Th e me-model I I. ol>scrn::
the following directions:
Va1y
Vary
/'ary
V11ry

r.
2.

3.

4.

!lie c:rprcssio11 .for !lu· i11tn11!1tt'lory <'t'r/1 .
t!tc position of !Ill' i11!rod11c/(lrj' -;·,·r/i.
!lie s11/J_i ·ct 1,f lit<' 111/r/!d1ulorr ·;·rr/1.
!Iii' posilio11 o.f 1111· s11/'j',-c/ 1'.f !l11· i11lrt1d11,--

tory <'crb.
5. l:..ia/!oratc tile dialogue, so 1rs lo .~- i<·c dncnj>lio11.1
o.f place, j>1·rsil11t1I app1·arr1111"t', 1111>od, 1-!1t1r11,·trr.
6. Us<' d1_!);-rotl -~· r1111111111/101/ 1'll'l11t'l1/s, flu· j•l1r11.1,._
clause, t:!c., 111 !lie clai!(}nrtio11 .
7. N,·71rr 11 sc dia kc! or sla 11.~ 111 I Ill' di,r/1'.>;·11" )'Oii

write.
\Ve are learning to write English that confurn1s to tlic·
laws of good use.

it to me,'' he said.

. "No," he answc:r ecl," I havt.: never het.: n ll st.:d to anything but common victuals, and I ca n't cat that now."
Experie n ce hacl bred no fancies in him that conld raise
the phantasm uf an appe tite.

•

Retro.1p1·cti11f' Narrati7 1e

6r. The Paragraphing of Theme-model IL A
story written accnrding to tlw scco1lll thcnH.:-moc.lcl,
sections 49 anc1 50, shonl<l lie p:tragrapht..!J as follows,
the wor<l paragrrrplt meaning break in the text:
First paragraph - the situation . Tlw situati1111
should he written accon1ing t() Situation-type T.
(§ 2 5.)
Three o r four paragraphs -- transition in dialogue (see~ 50, 2). The transition should g-ivl.! the·
occasion for thl.! telling- of tht.: sl1)ry.
A nnmhcr of paragraphs v:trying with th e lcng-t i1
of the story - retrospective narr:1ti\'e in rnonul()guc
or dialogue.

Three or four paragraphs -- conclusion in dialogue (see ~ 50, 4). Tbc conclusion slwuld rcctll
the minrl of th e reader t() the situation and sumrn:trize or comment on the story.
7

i

·'

Co111posil ion and R!tctm-ic

62. Theme-model II . in R eproduct ion. Reproduce according to Theme-model IL \ Vhittie r's A 1110 11!
tile I/ ills (see Appendix l I., § 2). or \ Vordsworth s
/.Ve ari S l' 7 •1•11 , o r, if y()n prefer, the follow in g story.
E a cl1 of tht:sc selecti ons co nta ins r e trospective narrative in dialogue, J. situation, a transition , a n d a
conclusion.
TllE !11 1\N WIIO PUT UP AT GADSlW'S

I

II

1

'

~

. 'I.

j.

:-;i11w 1i011 : \Vhen my od d fr iend Riley ancl I_ were
new sp ape r co rr e~ pornl c nts in vVash1 n g t on, m tl'.e
winter of '6 7, we \\"Cl'C comin g d o wn P e nnsy lvama
Aven u e o n e ni g-ht, n ea r m1d111ght, 111 a driving s torm
of snuw, wh e n th e flash of a stree t lamp fell upor:- a
man who was eagerly t earing- alo ng- 111 the opposite
direction. This man instantly s t op ped, and exclaim ed,
.
. ,
,,
"T his is lu cky! You arc Mr. Ril e y, amt you?
Riley was the m ost se1f-possess.ed and solemnly
deliberate person in the republic. He sl<~pped,
looked his man over from h e ad to foot, ancl tinally
k'
said." I am Mr. Riley . DiJ y ou happen t o be 1oo -mg
fo r me? ,,
"Th a l's just wh;i.t I was do ing," srtid the man ,
joy"usly , ":rntl it 's the hig·gcst_ lllck rn t he . world
that J 'v e fuund yo11. l\ly name is L y~ 1ns. Im _one
of t he tcrtehers of the high school -- ~a n F ra ncisco.
As soo n a s l h can1 the San Francisco post-mastership w:ts vacant, 1 made up my mind to ~ct it,-;-and
here I am . . .
. N o w I want you, if you 11 be
so good, to g·o a1'< illnt1 with me to .the Pacific delega t ion, fo r I \\"ant tu rush this th111g thro ugh and
get a long h<Jllle."
.
.
"lf the matter is so pressing, yo u will yref?r
that w e vi sit the 11clq..;ation to- n ight," saiLl R il ey, m
a voice which had no t hing mocking in it ,- to an
unacc ustomed ear.
"O, to-night, hy a ll m ea ns ! I_ h a ve n't got any
ti 111 c to foul arollnd. I \\"ant thei r promise before

Ndrospali<·1· ,Varrali<'I!

(J')

I go to lJcd,- I ain't the talk ing kind, I'm the doll!/[
kind."

Transition : Th e storm \\·as ragi n g, the thi ck s n rrn·
blow ing in gusts.
Ril ey s tood silent, 8pparcnt ly
deep 111 a r everie, du ring a rrnnutc o r mo r e th en lie
looked u p and said ,'
"Have you eve r h ertrcl ab o;t t that man w hn nut un
at Gaclsb y 's, o n ce ? . . . H11t J sec you lia~·cn't . "'
H e hrtckec1 Mr Lykin s :1g:1in s t an i r<111 krn·1·
b ll tton hol c d him, fastened him with his c \·v lik~
th e an cie nt marin er, a nd procccdccl t o 1111 f·il;l his
narrativ e as pl ac idly ancl peacefully as if w e were
all str etched co m fo r tably i n a lilosso m y su mmer
m e ad o w tnst eacl o f being p erse cuted Ly a \\·111Lry
m idnight tempes t:
Retrospccth'c 1Varrali11c : " I wi ll t e ll y ou about t11at
man. It was in Jackson's tim e . Gad sby ·s 11·: 1:; the
prin cipal h o tel, then . 'N e ll, this man a1:ri vcd frn 111
T ennessee about nine o 'cl ock , o n e m o rnin:.,:-, w ith a
ulack coachman a nd a s p lcndi1l f"11r -l1<>rse. " ;i1Ti,Wl'
a nd an elegan t clog, wilicll he \1·as c1·idc11th' fu11d a;;,]
proud of; he drove up h efo re Gaclshy's an(J the clerk
and the landl<1rcl ancl eve ry body rushed u 11t t<> take
charge of him, h11t he said, ' Nc\-cr minci ,' :rn d
j u mped out and told th e coachman to \\" : 1it . ~- s:1 i ci
he hadn 't ti n1 c lo takt..: an\·th111 :_:, l " t·:tt. h e 11 11 i1· i::1d
a little clain1 a.:..:·a rns t t he h·,,1·L·;· 11rnc·11L t •> c,",, ·, ,., : .
woulcl run across the way, l!J the Trc: 1s11r\', :111• 1 !"•.-tc h
the mon e y, and th e n get right along li;;ck to Tc·11n essee , fu r he wrts i n co nsid era bl e uf a burn-.
" \Ve1l , a b out eleven o' clock that night ·1w c:1 nw
back and orclcr ecl a hcc1 and told the m to 1n1t til L·
h or:'ies up, - s a 1c1 h e \\"011lc1 collect the c·l:tim i11 tl"mor n i ng. This was in Janua ry, yo 11 u 11rlcrst:i11il ,J anu a ry, 18 .H,- the 3d u f Jannary ,- - \\' cd11cs1.h 1-.
"~Veil, on t he 5th of F L·h r11ar y , h e so ld t 1 ;~ l1: H~
carn age, and h<n1ght a cl 1c ;q> SL"l" 1J !l<l- li :11Hi ' " " .
sa id it wo11lcl an s11·c r just :t s 11·L·ll !11 ta k e t l;c· 1.1,,: , c· 1
hom e in, and lie clid11't care f11r ,;t \ le.
"On th e 1 J th of At1gu,;t he sul(l a pair uf ci1 c fi1 1c

'

~- ~ ' '. ~

TOO

Co111positio11 1111d Rlictorir

horscs,- s::iid h e'd o ft e n thon~· ht a p:-iir was bet~er
than four 1 t(j <"()ove r th e ruul.'.'h llH>llnt:u n roads with
wh e re a 1Jod\:'hacl tu he c ar~ ful ahonl his clriv ing-,ant1 there w:~sn't so mu ch of his c laim but he co uld
lug the 11101H:y lwrn e with a pair easy enoug-h.
"< )n the 1 'th uf Uccem h e r he sold anoth e r h orse,
- said t\\'o '~arn 't nec essary t" drag· that o ld lig-ht
vehi ck: wi th,- in f:tct one C1J11ld snatch it along
faste r than w:1s ahs()lutcly n ecessary, now tha t it was
)..'.'o ud solid winter weather and the ru: tds in splendid
c1 111 d ition.
"On th e seventeenth 11f Feb ru ary, 18.15, he sold
t h e old carriage and bought a cheap second-hand
huggy,- saicl a hugg-y was just the tr ick to. sk nn along
mush y, slushy early-s pnng roads wi t h, and h e had
always wanted to try a buggy o n those m o unta111roa(1s, anyway .
''On the 1st of A11g11st h e sol d the lJuggy ~nd
bough t the n.;111:-iins of an old sulky,- sa 1d he JUSt
w an'ted to see those green Tennesseans stare and
)..'.awk wh e n they saw l~irn com e a-ripping along in a
sulky, - clidn't liclieve they 'd ever h eard of a sulky
in their lives.
"We ll, on th e 29th nf Augu s t h e s<Jld hi s colored
co:i.c h111a11 ,-- sai<l he didn't n e ed a coach man fo r a
sull;y,- \\'<JUldn't be room en<>t1gh for two 111 1_t anyw:1y,- a11d said il wasn't eve r y day that Prov1c1encc
s<:nt a man a fool w ho was w11l111g- to pay nin e hunclred dull:lrs for such a third -rate ncgro as th a t,bec n want in g to .~ct rid of the creature fur years,
b11 t d idn 't 1i kc to I lirt><t' hi lll :1 way.
"E igh teen months later,- that is to say, o n the
15th nf February, 18,)7,-h c sold .t he sulky and
liou g-h t a sad dle,- s;ud h orse-ba ck nd mg: was what
the d1ic tnr hacl always rccomm c nc1 ec1 /um to take,
ancl dog- 'd if he wan ted to risk lt_is neck g oi ng o~e r
those m o untain -roads on whee ls m the dead of wmter n o t if h e knew himse lf.
:. O n the 9th of 1\ pril h e sold t~ e sac1dle,-~aicl he
w as n't going- to risk /u s life with any P?nsha?le
saddle-girth that eve r was made, o v e r a ramy, miry
April roacl, while h e co uld ndc bareback and know

RdroJpcctivc Narrali<H

IOI

and feel he was safe, -al ways fwd d esp isecl to ride
on a sadd le, anyway.
"On the 24t h of A pril he sold his horse 1-s;1ic1
'I'm just 57 to- (by, hal e and h carty, - i t w0ul d
be a pretty howd y-do fur me to be wasting- su c h
a trip as that and such weather as thi s, o n a
horse,. when th e re ain' t anything- in the \l'urld su
spl end id :-is a tramp o n foot through th e fresh s p r ing
woods and OVl'r th e chee ry monntains, to a man t hat
1s a m.::in,-ant1 l can make my d og ca rry m y claim
111 a li ttle li11nclle anyway, wh e n it's collcdcd.
S"
t~1 - morruw J'll l~e up li right and ea rly, make my
little old eolleet1un, and mosey off t" 'l\: nn esscc. 011
my o wn hind lq'.:-s, with a ro using Guod -Liye tu
Gadshy's.'
"On th e 22d uf June he sold his dog, - said.
'Dern a d og, anyway, where you're just startin g- off
on a rattling bully pleasure-tramp through the sum m e r w oods and hill s,- perfect nui sance ,- chases t h e
squirrels, barks at everything, goes a-cape rin g and
splatte ring around in the fllrds - man can't ge t an\·
c hance tu re fle c t and e nj oy nat11;·e - and I'd a blame~!
s ight ruther carry the_ c laim m)rself, it 's a mighty
s 1g-ht sa fe r; a dng"s mighty un certa in in a Jinanci:tl
way,- always n ot iL·cd it,- \\'cll,good-liye, boys,- last
call,- l'm o ff fur Tennessee with a good leg· and a
g ay he art, early 111 th e m o rning 1 ' "
_The1·c was . a pause and a silen ce ,- cxCL·pt th e
noise of the \\'llHl and th<: pelting sn.,w. i\I r . Lykin s
:.:aid, impatiently," W e ll?"
Riley said,•· \Ve il,- that was thirty years ago."
" V c ry \\'cl I, very we] I, - what of it?"
"I'm great friends with that old patriarch . He
comes eve ry evening t< >tell me good -bye. I saw him
an hour ago,- h e 's ufI for Tennessee early to-morro w
morning,-as usual; saill he cak11lated to get his
claim through and be off before night -o wls like m e
have turned out of h e d. The tears were in his e v es
he was so glad he was going to sec his old Tennes'.
see a nd hi s fri e nds o n ce more ."

Co111posiliun and R/1C/oric

102

Co11clusio11: An oth er silent pause. The stranger broke
it,"ls tha t al!? "
"That is a ll."
" ·w ell, for th e li111r o[ ni ght , a n d the !.·i11d of nig ht,
it seems to m e the story was full lo ng enough. But
what"s it all fir.I "
" 0 , n o thing- in particular."
" \ Vc:ll, wh ere 's th e p oint of it'"
"0, there isn't any parti c ular point to it. Only,
if y o ll a rc not in loo mu ch of a hurry t o rush off to
San Francisco with that post-o ffice appointment,
Mr. Lykins, l"cl ad vise you to 'p ut up at (,'adsby's'
for a spell, anc1 take it easy. GooJ-b ye. God bless
y o11 I "
So saying, Riley bbnclly turn e d o n his h eel and
left the astonished s ch ool tcach e 1· s tanding there, a
mn si ng and m otionless sn o w image shin in g in the
broad gfow of th e s treet lamp.
He ilCvcr got that post-office.
-

SAMUEL

E. C L E ~rn:-; s

{:.1A KK

Tw AIN), A Tramp A broad.

63. Theme-model IL in the Description of
Pictures. Before g iv in g a n oral and a written
description of the picture fac ing page r 32, according
t o the pbn of Theme-model I I., answ e r the followin g- qtH.: sl iuns : vVh.at docs the a ttitude of th e priest
indicate? ll<>W clo the attitrnks of the children
differ frnm one an other ? ls the place an unusual
o n e fo r a c;.ctecl1i sm lesson? Is the backgro und of
th e picture p oetica l?
The descri pti on should contain:
I.
A s ituation - according to S ituation-type I.
Group the ch ildren as "Character B."
2.
A t ransition - in d ia logue , between the
priest and the child re n.
3. Retrospect ive narrati\·c . Imagine that the

Retrospectiv e Narrative

ro3

boy who is standing is reciting some familiar Bible
story in such a way as to inte rest th e c hild ren.
.4· The conclusion - in a dial ogue betwee n the
pnest and the children who are sitti ng.
SuGGESTJON. -Apply th e g-eneral direc ti o ns given in section 6o.

. 64. Th~me~model IL in Subjects from Life and
History. Stones th at are writte n a cco rdi ng to
Theme-mod.e l II. sometimes have in th e m a personal
e l em~nt wl~1ch makes them interesting. The person
wh o 1s t e llmg the sto ry may e ith e r r eveal his own
character in his conversation or give u s a conception
of the ch~racte ~ of those to whom he is talkin g hy
~he way 111 wl11ch h e adapts his narrative to the
111t~rests an? capacity of his listen ers. A pa re nt
telling a child a story would choose details suited
to ~he child's tastes a nd un derstand ing ; a ch il<l narratmg something to his parent w ould reveal his
own interests and capacity. Thus we may h ave a
s~ory fron~ th e spea ker's or the lis ten e r's point of
view. I t is the personal e le ment in this kind of
the.me that mak es it possible for on e to tell by means
o~ 1t eve n a com monplace incid e nt with spi rit and
vigo r. ~he following narrative is tin ged by the
personahty o f both th e s peake r ancl the listener:
Situat~on ;" Th e :y h ad n ot gon e far ~efore th ey saw the
Mo~k. I'urtl e m the _d istan ce, s1tt111g sad ancl lonely
on .ci httle ledge o f .1ock; and, as th ey ca me n <:are r,
Alic e coulcl he ;~r 111111 s1ghmg as if his heart wou ld
br~~k . S h e p1t1ecl him deeply.
.
Wl:at, _i s his sorrow ?" she ask ed th e Gryphon,
.uJC! t he (yJ y_plwn answered very n ea rl y in the sa m e
w o rcls as h e f ore
Come 011 ! "
" It's all his t'.rn~y, .th.at. . .
So th ey went up t o th e Mock Turtle, who loo ked

!
·'

. , ..

.,

;

Rctrospcrti;•1· !l'arrat1"«c

Co111positio11 a11d Rl1doric

10.~

al them with la1-g-c eyes full nf t ea rs, but said
nothing-.
J'rr111sillr111 .- "This young- lady.·· said the (~ryphon,
'·she wan ls tu know your histPry, she docs."
"I'll t e ll it h e r," said the J\luck Turtle in a dee p,
holl <•W ton e : "Sit down, hoth of you, and clun't
speak a \\·ortl till 1'n_;1inishcd."'
Ndro.1 fff lt< 1· Nar n1//;_ ·,·: "Once," said the J\lock Turtle
at last, \\'ill! a dcL' P sig·h, "I was :l r ea l Turtle."
These words \\'ere folluwctl hy a very long
sik 11 cc, l1n1kc11 <>nly hy an oc casi u nal exclamation of
" Jl jck rrh ' ·· from the (; ryphnn, and tht.: constant
heavy subbing· uf tht.: l\lock Turtle. . . .
"\\Then \\'l! wert.: little," tht.: i\!uck Turtl e w e nt on
:tt last, nH1rc c:tlmly, th•1ugh sohliin;: a little now
and then . "we went t•• sch uol in tht.: sea .
\'c s, \\'L' went to sclw<>l in Lht.: SL':t, though yo u mayn' t
hL·licv e it."'- " l n e ver said I didn't 1 " interrupted Alice .
"We had the best of ed11cati1Jns -- in fad, we went
to school every day."
"{'-;•£' been to <lay-scho"l, too," said Al1ee; "you
needn't ht.: so proull as all that."
"With extras'" asked the Mock Turtle a little
an x il!usly.
"Yes," s::i. id J\ lice," we 1carn ec1 l'rcnch and music."
"i\nd wash in!.!"'" said the J\lock 'I'll rt le .
.. Certa inl y Il<;t'" s: tid 1\li cc, in dignant ly.
' ' J\h 1 Th e n you 1·s wasn·t a r eal ly gone! school, "
sa id the ]\'lock Turtk in a tone of gTL' ;tt relief. "Now
at c111rs th L'y Jiacl at th e end uf the hill, French, music,
and <uas/1i11_1.;--cxtra."
- C11A1,1.Es L. I ,.,,,.;,,,N(p;; c ud. L1·:wis CAl{!W 1.1.),
1

,·/!ti"<' /11 l-V1111d< rlr111d.
Exercise

\Vrilc a ll1cmc accv rLling· l<> Tlicrnc-mocld 1l. on

one of the following subjects:
1. l \ story of sumc in cident in t h e Civil War.
Let the incident be t old to a child l>y a soldier.

10 5

"

'~.

~

Th e life sto ry of S()llle one you have k11c1\\·11 per sonally; of •Jn e pf yollr anccst1>1·s wh"m )"<•ll kn<>w hy
tradition; of an l'L-ccntric charackr in the t"wn 111
whi c h you lil'e, ur "f sornt.: hist"rical charackr .
J\rakc th e narratur re vea l his uwn personality l> y the
details lie }Jllts intu the story.
3. A lJ•Jy·s a ccu l!nt, in C<•nvcrsation with his rn<>ther,
of a q11arrcl with su111c fri l! 1Hl, or "f tr .. 11hlc at sch•>"! .
Or Of SO lll C Other liuyish L'S<_·; 1p:t\IL' f.,r Whi,·h hL· )1as /Jcell
called tu :1cc1>11nt. Let tlit: h"y r t.:Vl!ai his ()\VJl cl 1a racter· by little tollches i n his story.
4. i\ lllother telling :i. caller of the experiences .,f her
son, w hr, h:i.s h cc n havin'-.'.- 111 :ukul s11cccs_-; in his pr11ft.ssion:tl c•r l>11 ,., 111css c.trLTr, in a d1.,,Lt11t «1! _1·
l.c- i the ·
mother revL· :tl lie r pride in her S\Jll. :\l:tkL' tl11s ,,k t·t<_-li
humon•u s if p•Jssii>ic.
5. i \ girl's ace.,unt, in cnnvl! rsation with hl!r teacher
of the events of her summu"s vacation.
'
6. 1\ pi11ncer t ci ling his son tile story "f his hard ships in \\·i1111i11g his way .
.
7. .'\ business man describing t<> a friend till! varinus
steps hy which ht.: has risen tu wealth, a11d telling what
h t.: co nsid c: rs th e vhic:f fa ct ur in his Slll'CL'SS.
i:i. i \ yot111 .~· 111 :t1 1 ;q>plyi11g to :t Lt\1·yL'r f<•r a posi tion
in his nf1ice, :111<1 gi1·ini..:· an acC<>llllt of the pusiti<>ns he
bas prcviuusl y held; the kinds of c111!'i"y"1s Ill· iias ktd;
the r e:ts<> llS \\·liy ht.: gave up pusiti.,ns he jJl"cv1vus ly
held_
9. A child wh o has lJl'L'll i11j11rc<l tc-lling the pl1ys1c1~u1 \Vh!) l=-' dtlci1d111.:...: i1 11 11

.....

till· ~t11r_,- 11f tl11..· ac l·idL·nt.

10. J\ 11"•,lll:tll ;~· 11·i11g· :t ii1sl<>I)' ,.f· llL"I" <'XjlCJ"ll"lll'L'S
with servant>'.
r 1.
Ts T hcmc-m<>dcl I I. t•J() formal tu bt.: i1scd in
telling-, in a le tter to a fri e nd, some incident 111 your
recent experience? Try it.
;,.'c

•.i:

106

Composit ion rr11rl Rltl'loric

65. Theme-model II. Repeated. In Thcmcm oclel I. we le::t r ncd how to fincl the three most important situations in a sto ry ; in ThcmL·-modcl II. h ow
to use r e trospective narrative to explain the events
which precede a situation and lead up t o it. If
we r epeat Theme-model I I. thre e times (see outline below), pla<-'ing th e first sit11:1tion in th e preparation, the second at t h e climax, :ind the third in the
sequel , we shall ha\'c a pla n for t ell ing; a lon ger
stu r y th:1n any we h:t\'C yet altem ptecL The plan is
as follows :
Chapter I. (According to Them e-mod e l 11.)
Sit11a/101t - in the preparat ion - Sit ua tion-type L or
Situation-type II.
Rdrosfffli< ·c 11arrali<•1' ill 1110110!0,i;11 r-giving the eve nts
in the story which precede in tim e the fi rst situation,
Chapter IL

( According to Theme-model II.)

Si!llrrl/011 - at the climax-Situation-type T. <>r Situation-type 11.
A°l'lrosj>rcth·c llflrrr1 ! i~ ·1 · i11 1110110!1'. ( -!{(. or rlialr1g111' - givi11~· the cvc nh in the s to ry betwee n the Lim e of the
ilrst sit11ation and that of t hl! sec1Jncl.

Chapter III.

(Accord ing to Theme-model II.)

Sit11atio11-in the scqncl-Situation-typc I. ur Si tu-

ati on-t ype II.
Rctrosjh'C/ i·;1c 11arra!/·,.,, · in 111ol1olo,i;11r or dialo/!:11 c -givin g t he e\·ents in the story hl'l \\'ce n the time of the
seco nd :mcl that of the third situ; tti on .

Use i n each ch:tplcT :1 lr:111 s il in11 :rnd a L·nn clusion,
each cunl:tining di : tl"~· uc_ ( ~t·e ~ 50.)
It is well tl<lt to llsc ~itlt:1tio11 - typc I]_ in all of
th e c ha pters. because luo much dialog11e may be-

come lcdiou!S.
JU.-\>i U I-' ,\ I<!'

l '.l 'R'.; l'.; 1, _\T Till ·: ,.;T .-\h:I ·:

{.~)t ' 1 ' j.tJ,' 1'S (")

.ut ./

I / ..! )

·.,

' I
., ii
I

l07

11

I

11
l
•

l fl

.
i

66. The S ele ction Used as a Model. Matthew
Arn o lc1"s F ristr11111 1111d f.1nt!t r epeals t 11c siLt1:tLi•)ll
ancl r et r1 >spcc ti vc nar r :ll i\T , :tn t1 h:ts sug6cs tu1 the
th e m e-m"d cl oullinc1l :tbovc . 'I' hc p()c lll is Luo long
to be quoted here, :tnt1 too d ifll.c ult fo r denwntary
cb sses t o read. Th e fol l() wing story is simple and
has the same arran ge m e nt; namely, T h e m e-model
II. r epeatetl . It w ill be nutice<l that the three
ch apters of this selection Juv e all th e sa m e pl:tn;
nam e ly, a situati()n, a transition, r c tros pe ctin:: n:trra tive, a n d a c1mclnsio n.

·-·r ·

··:

~;

C I!ANCEABLE C H AR LIE

C11 A l 'TEI< I.

Situat ion: TL was o n e Llay when o n a summer tramp
th at, e nte rin g· a ckcent ish l\l\\' 11 and lrniking· ab<>ut
at the shop w in dr1ws, T hcg:m l i> beth ink me o f the
n ecessit y that liacl fallen up o n me, by th e t ea r an d
wear il f the jn ur11 e y, (j f hc i 11g at the cx p c11 SL'. <i f a llL'.\\'
h at: so I e nt e r ed a rn:1 g·az i11 e "f misce lla neo us c omm odities, when who should as t o11ish m e in the persun
of tli c sho p keL'. pcr but my old pupil, Ch arlie C iic:lj> !
Tra nsition : "i\Tcrc ifu l m e, C harli e ," sai1l T; "who
wou ld h :t\· e cxpel'Lec1 tu fill(l y ut; at t hi,; t riLtlc 1 I
thought Y"l l h : td _g'<> llL' t<> Lil e l'nl ie g-L'. to sc rV L' y11tir
titn<.; fo r a 111ini stc r (J f th e g-ospci. "
I.;:.clrospccli'i'c J\Ta rrali<''' : "Inlle cd ," saicl Ch arli e, "that
w as o n ce tliL'. intent : ln1t in truth , Ill \' head g•>l.
ra the r cnnf 11 -; " r] w ith ih e lair ;rnrl the ], ;'. .'.·ic . T IL1d
not tlH~ leas t v<>niu:.;·:tiitv tl> the <;ree k c"i1j u~a t i <>11s.
and when i c:u11c l <i tii-c lkl>i"C\'·.: . t hat is i:c:;d c\·c·q·
word backw ard s, Lilli, I L'.utild n either rL'.ad it l1:tck wards n u r i'u rwards. and fair ly st11ck, and gTe w a
s ti c k e<l minister. But l had lung l> eg un L> se c that
th e minist e r track w:ts a p<>ur husinc,ss , a nd that a
man might w :1i t for mustanl t ill the meat w a s ;tll
eate n , and s o [ j 11st \<>l>k u p a c l111p l ikL' my f:tthL·r lil·fore m e; and f:t ith , D o minic, 1'111 111 :1king a fortune. "

~- .

!j

I

,I

;;

.

'I

liI

l
j

.r

103

Co111posilion a11d R!tdoric

Co11c!11sion: "\Vcll," s:lid I, "I am r eally happy to
hear it; and I hope, besides th:it, that you like your
cm l >lnymL'llt."
.. l am quit e (]clig·h tcd with thl' chop-k eep ing, Mr.
Balg·ownie; a \·c ry differe nt life from chapping vcrbs
in a ca uld eolkg·c. Besides, Tam a respect ed man in
the town; n o thing· hut J\lr. Cheap here and Mrs.
Cheap there, and ladies corning· in :tt all liuurs of the
day, and bo\\·ing· and becking to me, and throwing
the money to me acn>ss the c01111tcr: I would not
womkr if they should rnab~ me a baillic yet."
" \ Vell, l am really delighted, t1111," saicl I, "and,
from my kno\\'ktlge of h:iillics, -l \\'011ld n•it wonder
in the least: so g·<>od-l>ye, !llr. Cheap. I think this
hat looks \·cry '.\'ell on me."
"Mak es you ten years younger, sir. Good-bye!
wish you your health to \\' ea r it."
C ll A l'TEI<

II.

.\i!11t1! 1-011: It might he a t\\'e l\·cm<>nth after that I was
pludding· along· a country rr•:td S<!lllC ten miles from ·
t he fore-mentioned t<>\\'11, when, look111g over the
hedge by my sidc, l sa\\' a team of horses pnlling
a plough towards me, and my cog·it:-itinns were disturliecl liy the yo-ing and y a1\' -ing CJ f th e man who
follo\\'cd it. Sl!nH.: thin~· struck me that I krn;w the
\'<Jicc, and when t hc la~t ot' the men c:tmc up l disco 1·e rcd un<kr th e pl11sh waistcoat and farmer's
honnct, my old fricnd, Charlie Cheap.
/'ra11silio11: "Soul :rnc1 conscience 1 " cried he, thrusting his clayey h ancl through th e hedge and graspingminc, "if this is not my uld master the lJominie ! "
an<1 truly he ga\·e me the farmer's gripe, as if my
hand had b ee n made of ctst meta l.
"\Vhat are you <ll>ing here. Charlie? '' said I; "wl1y
arc yon not minding your shop instead of marching
there in the furrows at the p lough-tail?"
"Ch<ip 1" said lie; "what chop? Na, na, Dominie:
[\re ~·otte 11 a b ette r trade liy the hand."
"I"t cannot lJc poss ible, Charlie·, that ye've turned
farmer?"

Rc!ros/cl'li~,,· ,\T11rr11/1;'i·:

"I lu ye tl1i11k T \\' ;ls .:._: .-i;ng· tn
be tied up tu haberdral >be ry all my days? l\:11, no,
I. kn cw 111ad a ;..:cni11s Cur lar111i11g; the l'hop -kccping
grew /Ltt and 11nprufitahlc, a chic! from England set
1.tP next: cl'"'r to inc, so a country custurncr t""k a
f:an ey for a town life. I s11ld hilll my stock in trade,
and _he S<Jld m e the st<ick on !11s farm. I le stepped in
hel11nd the counter, and I got hehind the plo11g·h: so
here I am, happier than ever, besides, hark ie ! I am
making money fast."
"Arc Y"ll, really' Hnt 11<JW d<> you k11"w that?"
, "Can I not C()1111t my ten fingers i 1 lave I wit
f1gurc<l 1t on !.>lack and \\'hitc over and uver a1..:·ai11?
'J'h(:rc's great pr"fits wi t h management such as ;11i11L",
that l e:rn assure yot1, sir."
' ' But how enulll Y"tl possiuly learn farming'
Th:tt, l believe, is nut taught at cu-liege."
"Po"h_, my fricncl, 1 can learn anything_ l;csi dcs,
my
. .wires muth c r was a farmer's dat1"litcr
~
, a11d
I ,1zz1e herself 111Hlcrstands fanning already :1.-; if she
was r e: u-ed to it. She makes all the huttcr, and the
children drink all the milk, and we live su happ y;
h1nl s _s1 11g1ng 111 th<; 11wrning, C<)\VS lowing at night,
(lnnktng treacle ale all day, and nothing to do l>ttt
watch th e corn growing. In short, farming· is tile
natural state of ma11. J\ dam and Eve were;~ farmer
and his wife, jllst like me and Liuie Chcap 1"

Cr.111c!11sio11:

"But yu11'll change again short!;,, T am
afraid, Mr. Cheap."
"That's irnpussiblc, for I've got a nirn:tccn -Vt'ars'
lease: ] 'JI gTow gray as a farmer. \Veil, go11tl-byc,
Dom1111e. Be sure yoll give us a ca ll the next time
ye pass, and gct a drink of our treacle ale."
"Well, really, this is the most extraordinary
thing," saicl I to myself, as I walked up the lane from
the farmhouse. "I shall be curious to ascertain if
'he's going to stick to the farming till he's ruined."
CILIPTER

Situ.atio11:

Il I.

thought no more of Changcahlc Charlie
for above a year, when, coming towards the same

'[ .

,,

-,

.'

110

Co111positio11 a11d Rlutoric

11eighborhooc1, I resolvccl to go a s hort distance out
of my way t o pay him a visit. l\ly road Jay across a
clear country stream, w hich winded along a pleasant
green valley beneath me; and as I drew n ea r the
rustic bridge my car ca11ght the lively sound of a
water-fall which rnurnrnrcd fro m a pictu r esq ue spot
among opening woods, a little way above the bridge.
A little mill-race, wi th its narrow channel of deep,
level water, n ext attracted my n otice ; and, presently
after, the rcg·ular splash of a water-wheel and th e
boom of a corn-mill uccame objects of m y m editative
observation. The mill louked so quaint and rustic by
the stream, t h e banks were so gTcen and the water
so ele::u-, that I was tempted to wande r towards it,
down fr om the bridg-e, just to make the wh ole a subject of closer observat ion.
A barefooted girl came forth fro m the h ouse a nd
stared in m y face, as a Scottish lass ie may be supposed to do at a reasonable man. "C::i. n you tell me,"
said I, willing to make up an excuse for my intrusion,
"if this road wi ll lead me t o th e fa rm of Longrigs,
wh ich is occupied by one Mr. Cheap?" The lassie
loo ked in my face with a thieve -le ss smile, and, with out answering a word, took a barcleg-g-ed raee into
the mill. Presently a great lumbering mill er came
out like a wal ki n g- hag· of flour from beside the
ho1;pcr, and I i111111 cdi:ttely saw he was going to
address me.

Transition: "You were asking-, I think," he said, "after
Charlie C h eap, of the Longrig-s ?"
"Yes," said I, "but his farm must be some mil es
fr om this . Perhaps, as yon arc the mill e r of the
neighborhood, you can direct me the nearest road
to it."
Th e burly scoundrel first lifted up hi s eye-winkers, which were clottecl with flour, shook 011t abo ut a
pound of it from his hnshy w h iskers, and then burst
int<) a 1:u1gh in my ve ry fa ce , as loud as th e neighing
of a miller's lrnrse .
"Ho ho ho1q.~·h ' "<•T inned 11c co ug·hi ng- upo n m e
a show~r of Jlou.r. '" C it possihie, l >'u mi n ic, that ye

11 I

di.nna ken. me'" ::mcl, open in g his m outh at le<ist as
wide ::i.s 11 1s C'.wn h opper, I began to recog-nize the
exaggerated features of Chang-cable C h ::i. rli e .
. " \V~ll. re:lll y, " sa id I, gazi ng- at his grin, and th e
h1'.ls () t flour that arose from his c hed:s,- " rea lly
this llcats c\·cryth1n.L!· l i\ncl so, Charlie, ye 're 11()\\'
tnrn ed into a mill e r'··
"As surc's a gun!" s::i.id he. "L0nl hlcss \-";ir
sou l, Dominic! Uv you think I could bear to ·turn
up dirt a ll my life ? -N o!" . . .
"But clear m e, l\-Ir. Cheap, " saill T, '' wh~1 t was it
that pnt you out of th e farm, where I th o ug·ht \· ou
were so happy and making a fortune?"
·
-

Rl'lrosj){·cth 1c J\Tarrati;·,·: "I was as happ y as a man
could bc,_a1Hl mak111g money too, an~1 nothing put
1
me out u! t.1e_
!arm, alt h ough I was quite glad ut the
change, b ut _lust a pe:rny of fair debt-the \\"hi ch .
you know, 1s a good man's case-and a lit:Llc ei\·il
argument about the rent . But everything turnec1
~mt for the best, for \ V1l1i c Hopper, the former miller.
JUSt ran ::iwa the same w eek : J i.;ot a dead b:tr.:..;·ain
of the mill, and so I came to rei g n in his stead. i\ m
I not a fortunate man ? "
Co11c!usio11: ':N ever was a man _so lucky," s<iid I ; ''hut
do you real1ymean to he aw:uter o n the mill-h<;p 1•)er
all you r days?"
"As l11n g a s wood t 11r11s round a nd water r uns. But, Lizzie," he added to his wik "w hat arc \· c, 11
s_tan cl ing glowering- there for, and n;e like to chc;ke?
Gang and fetc h us a jug of your ]Jest treacl e ale."
. "It_surely c::i.nnot be," said I to myself when I left
tne mil l," th.at Changeable .Charli e will e\·cr adr 1pt a
new profession 11<1w, l.Jut live and die a mil ler." 1
was, huwevcr, ent irely mist :1ken in m y calculat ion,
as I found before I was t\\·o years older ; thong-h 1
have not tim e at this present sitting to tell th e w holc
of Charlie's s tory.
0

- J\NJH~E \\' l'lf ' Kt·::'\s .

S11c:r.ESTlll N . Prove that th e plan of this selection is tha t of
Th em e-model 11. repeated.

Co111posit io11 and Nltctoric

Rt·/rosprct hie Narrati11c

vVe s hall use this n e w m odel in the fol low ing
exerc ises 111 reproducing- Ruskin's l/11· J<i11.i;· of tlit
(;o/d,·11 N i7 cr.

Chapter III. (Use Theme-mock1 II.)
Si"tua!io1t~ Gl11~k i n possess io n of T r cas11rc Vailt-v.

112

1

Exe rci ses

I. Read Ruskin 's l/1r A-i11J; of tiff (,.u/t!m /\i'ller,
and answer the fullowin .~ q tH.:slions on the sl()ry:
liow many characters are the re? \\That are the ir
nam es? Is there any transformation of inanimate
objec ts i nto persons or •·ir1· < trsil ! Find in this
story a prophecy and its fulfillment. Desc ri be
briefly each o f the characters in the selection.
II. J\.epruducc ]/!; · A-i11,1.;· "/ t/11· l,olr /, ·11 Ni;·a
accon1ing to the following plan, that of T h em emodc1 l 1. repeated:
1

Chapte r I.

I

13

co n vcrs 1_11g with a ncig-hhor. Find ma tcri:d in Cha!) ter V. ot th e sclec tiun .
Rc1rosp1·ct i7 1c 11arrnti<·1· - Let c:lu ck tell aho11t th e
dwarf's prophecy; his lir<>thc1·s' attempts t" fu lfill
the pro ph ecy; his ow n success. Find material in
Chapt e rs 11.- V . "f the selection.

':

Use in e :<ch chapter the transition and t11c con clusion c~tll ecl fo r by Th e me-model IL

(Use Theme-model Il. )

Gl u ck nncl the South-West \ Vind s1tt1ngnear the firep lace. Find material m Chapter I. of
th e selection.
N1 ·/r ospccli<:f' 11arrrzli'i't· -- Let \.lu ck tell the South\ Vest \Vi nd th e story of his liroth ers' trea tm e n t of
him nm1 their nci.1.!hbll1·s. Find mate r ial in C hapte r
I. of the s electio n.

.')'it11rzlio11

Chapter IL

·,

(U se Th c m c -m orlcl J 1.)

.\it1mtio11 - ( ;lu ck and the <l\\'arf 1rnnH.: diatcly after the
dwarf has heen "p"urccl 0 11 t.'. Find material in
Chapter l l. of the selection.
Nt'lrosp1·c/i711· 11t1 rrrz l 1°<•c- Let Clu c k tell, in answer to
the c1warf'sq11cstiuns, th e story ( 1) of the inhospitable
treatment a ccorded to the South-,Vcst \Vind by the
two wi cked brothers; ( 2) the destruction of the valley; (3) the liie of the brothe rs as golt1sm iths, and
(,1) the story of the melting- (lf the mug. R ep resent
the clw:.irf also as g-iv in g· his own his to r y in a nswer
to (;!11ck's q11,;stiu11s. Find m~ttcrial in Chap te rs I.
and II. of th e selec ti o n.
8

JI.ct rospcct i<ll' 1Va r rat it·c

(l!.11,JF/\. / '!.

RETROSPE CTl V E N AIZ RATIVE -

( Ci111c/11drd)

67. Outline o f this Chapter. Theme-model~ ~ II.
.:uHl IV. of th is chapte r ckal "·ith the t wo rema mmg
furms of Retrospecti\'l: N arr:1t i \·c (~ 46). Thememoclc l y. combines a 11 the th rce fo rms of Retr?spect i ve Nar ratin: : by !lit 1111//wr, i11 dialoJ:;-11~, and Ill
·./OJI. 'I~1 11·s• ]·. _1·st t heme-model
also eont:uns
the
7
·
.
essential features (>f Thcmc-moLkl I. and is tlrn.s a
review of all tint we have stndiccl up to tl'.is point.
It g ives in addition an opportunity to wnte more
co m plicated narrat iv es than those based on the
previ ous th eme-models.
1 /.\

Theme -model III. - R t·:n:.osl'ECTIVE N ,\RRAIn Theme-mode l II., which
we h ave just b ee n studying", th e silllation is g ive ~
by the anthor, and the othe r thre e p:lrts, the tra.ns1tion, the r et rospec ti\·c narrative, and the conclusion,
h y the ch:t ractc rs. S <.nnetimes, lwwe~er, the a~th o r
p r efers t o g iv e al l of the fonr. parts h1ms~lf. r~1en
w e h :l\' C a them c-mudel cu nta111111g a11tlior s rtlroJpccti7.,. na rrath·t. In Theme-m odel lll., whi ch we are
abou t t o stull v, we shall !l1Hl th is new kind of r etrospective narr;ttive. It is, of course, less v ivid than
t hat in wh ich dialogue is used, and lacks the personal clement . but is useful in passin g rapidly over
a lo ng· series of eve nts which an autho r '~i sh es to
brin ,..,
<» lo our altention, but n ut to e mph asize very
68.

Tl\· 1·: HY TllE i\UTYI O R .

m uch .
( n,)

I I

5

Read the following selection adapted from J/1(
Great Stant· Faa, one of the talcs in lfawthorne ·s
Tlte Snow Image , and Ot/icr Tzf'ia - li1/d l ido-, anc1 nb.
serve how the r e trospective narrative here differs
from th at in Th e m e-m od el II.
The m odel which follows combines a situ a t ion . a
tran sition by the d e vice of ques ti on, r et rosp ccli \T
narrat ive (told by the author :i.ncl not d irect ly lly .1.
character), :i.nd a conclusi o n .
Situation: "On e afternonn, wh en the sun \\' :1s g-1> i11g
clown, a m ot h er and h e r li ttle boy sat at the do"r
of their C<l t tag-e, talking- about the Crcat St ern e Face.
Th e child 's nam e was Erne s t.
Tra11s1h"on: "And what was th e story of t he Grc:1t
Stone F ace which the m othe r was te lling?
Rctrospccti;•c Narrati1 1c: "It was a st ory S<J Yc ry old .
that eve n t he In cli:rns, w ho fo rmerly inhal,itcd th i,.;
valley, hacl h ea r(l i l frum their fo n .:fathcrs, tu \\" h()m,
as th ey affi r m e cl, it b :tcl b ee n nrnrmured by the
mountain streams, and whis pe red hy the win cl a m()n..;
the tree-to ps. Th e purport was, that, a t som e fu tu re
day, a child should be burn h c rcal>oll ts, wh o was
dest in ed to become th e greatest a nd nu h lcst person age of his tim e, and whose cou 11 te11a1we , in man h<>oci,
should have an e xact rc se m hl an cc to th e <; rcat S to n e
Face. No t a few (Jld-fa,.;hi()ncd p eople, a nd y<11 111 gon es like wi se, in the arcl n r of thei r h!• pc s. still
cherished an cndl!ri ng faith in this old prophecy .
But othe1·s, wh o had see n m ore of th e " ·url d, ]1;1 <1
wa tched and waited till they were weary, a nd had
beheld n o m~m with such a face,
consid ered it t o he nothing- hllt an idle tal c . !\ tal l c n~ nts,
th e grea t man of prophecy had nut yet appc;u·ctl .
Couc!usion: "Ern es t was one of tl10,.;e who l1<• pcd that
this prophecy would lJl' ful!illcd, an d his mo the r, an
affect ionat e and thollghtful woman , felt tha t it \\"as
wisest not to di sco ur<i:ge th e gcnc ru ns h opes of lie r
little son."

116

Co111posili{l11 and Rllrturic

69. Theme-model III. in Outline. i\ 1l themes
written a ccordi ng to Th...:mc-mnde l 11 l. sh o uld be
arran ged as f,dlnll's:
First paragraph - th e situatinn, which should
fol low Sitnati()11-typc I.
Second paragraph - the transition . The transition is m:tck lly the "device of question,·• i . t., by
:ts king- a qucsti(ln to be answered hy the retros pective narrati\·c .
Third paragraph - retrospe ct ive narrativ e . The
first sentenee of th e retrospective narrative c haracterizes the story as follo\\"s: "It was a s tory so old."
Th<.; charactcri ,, ing scntcm.:c is important and should
not b e neglected . Only such cvl:nts as will prove this
:-;taternent should ]Jc selected and given in th e re tro:-;pcctivc narrati\·l: . In thi:-; \\"ay unity is secured in
n :1rr:l1.io n, a:-; h:t:-; b <.;c n already <.;X pla i 11<.;d in section 51.
Fo urth p:tragr:q>h - thc conclusion . The co ncl u:-;ion is auth1>r"s n:trrative, and r ecal ls the reader's
min (1 to th <.; si tu al inn ])y the mention of some of the
situa tion clements. The two characters A and Hare
mentioned in th e concl11s!on of th e selection from
Tiii" ( ,"r,·111 :..,·10111· J-i,,.,., which is ]i<.;re used as a model,
hut time, p lace, or occasi o n may also be indicated.
S1 1.:1:i·s 1 "•N , . - C· >111parl' \\'illt Lit is 011Lli111.; L11al nf Th e me- model
11 . (\:; 51 >) , so that you 111;1 y ' c" t ile resc mhlan ccs of these two
11111<ids lo e a c h <>LI H:r . 11 111\· docs th e trans itivn h e re differ from
that of 'l'h e m e-mrnkl I l. >
·

Befo re wr iting or giving orally a theme on this
m odel, study the foll o wing matters of detail which
apply to narra tive in g e neral; namel y, the introducing of unn eces ·ary d e tail and the following of
the sequence of time in telling a story .

Rrtrospccti1•e Narralh•r·

117

70. Introducing Irrelevant Particu lars. In writing narrative of any kind the giving of informatiun
which d<~es not t end to the main purpose in thl'
telling (>f the story sho11ld h e avC>idc<l. The following e xtract illustrates this fault:
One time, whe n we 'z at 1\un ty 's house ' \Vay in the co untry! - \\'here
Th cy's ist but wouds-an' pigs, an' c<iws An" all's outdoors an' air'An' <Jrch11rd-swing, an' cl111rry-trees An' c/111rri1·s in 'e m!- Yes, an' thcscHere redhcat.I birds stea l all they pkasc,
An · tc tch "e m e f yo11 dare ! \V 'y, \\"llnst, <Jn e t ime, wh en ll' C \\' ll Z th ere,
I Ve ct 0 11! 011 !lte purd1 !
-JA ~ t ES \V111T L"• >MH R 11.EY, , / /

71.

.·lun/y 'x

l/1 • /1 .1"1! .

Following the Order of Time in Narrat ion .

In r etrospective narrative that which happened Ii rst
should l>e told first. Thal whieh happe ned nL·x t
should be told next, and su un.
Exercises

I. Arra n ge the following from th e spe ech l)f
Jacques, in Shakspe rc':-; .1 /.1 ) "011 /,i/..1 /! , in the ord er
of time, beginning with the ge neral :-;tatemenl:
"All th e world's a stage,
And all th e men and women mere ly players :
They have their exits and their cntr:rnCL·s:
And on e man in his tinll: play:-; many parts,
His acts be ing scven ages."
r. And then the lo ver, sighing like furnace, with a
woeful ballad made to his mistress' eyebrow.
2.
And then the whinin g sc hool boy, with his sct tchel
ancl shining morning face, creeping lik e snail unwilling ly to school.

Co111fusitioll and Rl1doric

R.drosprdi<'t' 1Varrt1!i«·1·

J\m1 then the justice, in fair round belly with
eap"n lined, with eyes severe aml h eard of formal
cut, f1111 uf wise saws and modern inst:tnces; a n<.1 so he
plays his pa rt.
•J. 'l'bcn a suldicr, fu ll of strang-c oaths and bearded
like the parcl, jealous in honor, sudden and quick in
fJUarrcl, sccki11.~- the lrnbble reputation even in the
cannon's rn.outh .
5 The - - age sh ifts into the lean anJ slipper'd
p:tntaloon, with spectacles on nose and pouch on side,
his youthful hose , well saved, a worlcl too wide for liis
sh ru11k shank; and his 1Jig manly voice, turning again
t"w :t n1 chi ldi sh tre blc, pipes aml whistles in his sounc1.
6. - - scene o f all, that ends this stran ge eventful
hist ory, is seco nd ch il dish n ess and m ere o blivion, sans
teeth, s:tns eyes, s:ms taste, sa11s e \· ery thing.
7 J\t first the infant, m e wling and pnking in the
nursc's arms.

Fol/ow lite orr/1-r (If ti111 c i11 11arr11tio11. (Sec ~ 7 1.)
J)o 11t>! i11trod11cc irrd,· -~'tlltl ddai! 111 ,·it/1,-r
. description or 11arrat1011 . (Se e~ 70.)
8 . . [ / l"C !ltc sa1111· tl101tt', paragraflt, t111rl sotli'111·<'
modcfs fur oral as for 1eri11,·11 co111posit1011 .
9. Gi11r orally J'illtr tl1011l' or fara,i;-rtrflt /11/or( <i'ri!ing it .
10.
{.lsi: t/11· fast Int.ff i11 11tlrr11lio11 .fir !/t ,· rt"r1sr111
given tit scctiu1137.

1 1S

3.

.~·01H1

II. Observe how clea rl y th e time order is indicatctl in the selection in section 62 . 'vVrite a series
of e\'ents observing the time orde r.

72. Oral Narration.

The following directions

h:t vc already been gi vcn in r egard to written comJllls i ti1 m, but need tu be o1Jservec1 with special care
in o ral wo rk:
1.

11atc
?

'

~

: 'l"
\

'!

~

~

Do 110! 11sc "a11rl" /(l(J /uq1101!!J'; !!tat is, subordisome 1>/ you r sloll'1110 1!s i11s /(1lfl 1'/ coiirdi11ating !Item.
A<-'tJ!d u1111al'ssary clw11g<'s from t!te active to tile

f'tl.\·sf·; 'l' 'l 'O / ( t '.

H1gi11 some so1t1·11as <<'illt fl1rascs or clauses.
Use lite prcp ositio11al plirasc i11s!md of tlu: participial pl1ras1· or !ltl' d11 11sc <<'lto1c11cr it is possible to do so.
5 . .1/<'il/d !ltl' "rt'f,·titio11 ji/11//." (Sees 42.)
3.

4.

l l I)

6.

7.

73. Theme-model III. in Reproduction. 1\ us ti 11
Dobsnn's J!)' Ir111dlt1d_y ur the r(>Iluwing· Sl·lcdi· •11
may h e rcproc1ncec1 :i.ccording to Thcrne-mudd II l.
THE RISI-TOP'S ISL 1\:'-<'U

Situat/011: "They t:ilk a cblc abf1ut l)ishops in 011r
own tim es, plaze your h onu r, in regard o' n.:form. an·
th in gs that way; lJnt I hc:ird a story of a hish11p
th at \\'as then long ag11, an' 1 declare if he didn't Jl.,:.:
all the bishops in Europe: it's a clhrull thing. l i '.,
you see that island out oppozitc us in thc \\·:1thcr?"
The speaker po in ted with his stick !1\ an i;.,Ja11d
s t a nding about fifty yards from r1ne (Jf th"se st11pendous cliffs which look out llpon t h e Atlantic fr11111
the w ester n coast of Jrc!ancl.
lt w:1s a s in g ular
piece of land, rising fro m th e water ~ a]m.,st to the
height of the precipice on whose l1rink we stoocl .that is to say, a11ou t three hundred feet. F rom its
contiguity to the cliff, ancl t h e sim ila1·i ty of its
structure, it might he conjectu red that it had at o n e
time forrnec1 part uf the shllre, and was separated
from it by the raging of ·that immense ocean \\'hllsc
overgrown b ill ows me e t hcre thei r first impediment.
The s ummi t uf this sing-nlar islet \\'as a small L1ln1l:i1·
p lot of ground , on which a few sheep were .~T;1zi11g,
th ough uy what means a n y animal without \\·in.~s
could r e ach that h ei~ht sccrnell cnif:·matiL·al. Between this lonclv rock a nd the mainla~1ll a m11ltitnd c
of sea-fowl inin,glcd their disc\lrc1ant scrt:ams with

. ' ~· ...-, ·p

_,'.· ..--,·_

12 0

Cu111fosit ion a 11d N/1ttoric

th e r oar of the t roubled waters that h e aved and
foam e ll agains t the base of th e cliff.
Trr/l/siti/111: "Du \">li sec that island 0 11t frontin' 11 s ?"
re jll'ate d my uni1pani (l n _
.. I d1l."
'' \ Vcll all' d< • 1·oi1 sec IH•W a cla rony stone, w )th
the sca -g·11il sitti1i' al><>l'C 11pon it , in among the
sheep'"
.
With some (liftlcult y T was able to pe rce ive the
ston e.
"Thal stnnc wa s .. ns t a statute of a hishnp that
owne d t he island, althou;.J1 thcn:·s little mark s of a
stone statute a bou t it n o w. That's th e liish o p I'm
teltin " you [ heard taiks o f in rcgard,,of h is cloin's,
_
a n' T'11 tell y ou th e story 1f you like it.
P c rcc i1·in~ m e attcntil'e and curious, h e sat a t l11s
case upc1n th e mossy bo r der of the precipice, and
eu mnH.: nc e tl hi s n a rrati1•c :
R r trosf ff f i<•1· Na rrati<·l·: Th ere 1Ya s a hishop l?n_g
au·,, an' he had a ~reat hou se upon tha t island . Tis
tl~e 'way he 11sed tog'. ' to and frn bct un c it ancl th e
land 11-;1s lJe man es ol :t dhrawhnclg-c.::, that h e cn uld
pu ll a s lwre afth c r him c ith c i· (•n o n e side o r th e
other, :ts h e pbzed .
_
.
.
"\V L·ll , \\'hat d•> Y"ll tli1nk of tl11s latl uf a ~1shop;
H e u sed tu keep ope n lwusc on the island, mvitm
all th e qua lity ah<•Ut the count r y t~> his house, an'
t hratin" '<..'11 1 like a prince; onl y 1 11 tell you of a
t h rick h e hacl , fo r al l th e !-!""'cl opin io n th e p eopl e had
of h im about the place, that wasn't over-see mly fo r
_
a bishop.
"H e'd in vite a parcel u ' jcttlcmen an' ladi es of a
time that he'd know the y had plenties o ' mon ey, a n'
he 'd give 'e m the best of ·c nthcrtain m e nt fur a co up le
o' d :;ys. W ell a n' good . 1\ fth c r that, maybe, h e'd
,,·ct up of a morn in' bdu re sunr isl·, an' he'd asho re
~vith himse lf, an' he 'cl tlhraw the dhrawhridgc after
hi m an ' hc\1 lave all the company there upon the
isb1;d without a bit o f 1·itta!s, ma yb e for as good or
betther tha n a we e k o r a fortnight, an ' th e y h a vin'
n o man es o' com in' ashore. i\laint ime , himself would

l 2 l

go about th e eou nthr y cl i varti n -_ \<\! ell , when h e 'd
th ink th e company had time to he st;u\·ed , lxi.c:k
j1 e 'd go to the cliff, an' lay out th e clhrall'hridgc
again, an' step across to the island t <> sec \\'ha t was
th e mat t her there; a n", finJi n ' 'cm all dea d ll'ith th e
hu n ger, he'd ta~c all their e::i.sh an' go uds, an· flin;.;
the bodi e s out u\·er the cliff into the s~1y , an' n()\J11dy
but h1m s<.::lf k n ow in' any thin' about it.
" \.\Te ll , aisy u ntil J tell y0 11 how th is janius (Jf a
bishop was pinned in the latther end. 'Tis 11nkn own how_long he was g·oin' on with these cape rs,
until of a t im e o n e o' them ou lcl ch ieftains an· h is
wife, a great haro of a lacly, that liv ecl near th e \•illage o ' Ne w Auburn ove r, begun talki n' abu11t the
busin ess of a clay, an ' they afther brcak'ast.
"' Erra, isn't it dhroll,' says the lacly, 'th at any
compa n y that goes to the bishop at al l, sumeh o w or
a n o th e r w e n ever any m ore hear uf 'e111 aft h e r''
"''Tis, eroo,' says the o ul d chi e ftain.
"'I d eclare to my heart,' says s h e,' I 'd lik e to mak e
it ou t.'
"H ardly the word wa s out of h e r month wh e n
who slw1ild walk in th e duore to 'cm (Jnly t'hc Lid
himself, an' h e comin' to ;1 x 'em tn his gTc at hr .11s<· '.
"'I'd he happy to a cce pt yo11r lordship's offer. ·
says the u11lcl chieftai n ' univ J'vL' a murt <>' monev 111
the h ouse, an ' J'cl be ii; dhreacl to lave i t :..tfth e r 1~1 c ."
"'Eh, can't you get a big ehesht an' lirin.i.:· it
with y ou , man?' says the rogu e of a bishop (knoll' in"
w ell wha t h e was about ).
"'Do croo,' says the wife; ' be said by his J"rd ship,' says she; 'an sure 'tw ill l>e safe r th e re than
h ere itse lf,' says she.
"Well, it was so settled, s ir, an' the lady, unknown st to h e r h11shand, orclhcrccl a co u ph: lll<tft:
baskets, an ' filled o ne \\"ith arms an' the other with
prov isions, roast an ' hui lcd, eat abl es an' clrinkaliles,
an' away with 'cm to the isbnL1 . 'Whe n the bishop
seen th e thre e e hes hts, you 'd think his he:n-t woul d
jump _i n to his m ont h, alth ough he n ever prctcncl cd
anythmg-, only sm il ed a n' w eleom c d 'e m to th e
place. Jn th e y went, an' fou n d a great comp an y

122

Comfosit ivn n11d Rlidoric

in side before them, ladies and _jcttlcm e n_, ~n' they
as pleasant as could _1>1:, sport111 and talb n : _ vVcll,
aftli cr tw o days ' fai st1n', the ould ch1dtnm g?t up ?f
a m o rnin,' an' walkin' out to the hall ? 001c'. what
sh o 11 Id he scc on ly the cl hraw!Jndg«.: dhi:1w11 .lshore
upo n the cl iff, and not a sight o'. th~ bishop to be
se e n high or low, nur one bc lo ng-1 11 to th e ho use,
;in' nut a s ign o ' bn.::l.k 'ast?_ \Ve il, the co m pany :vc~e
bothe re d, an' the 011ld ch1cft_ain beg-an ~co l d m ~is
w ife fo r biddin' h im to be said by the b1s~10p . She
said n o thin', onl y !ct 'c m ta lk away, an th ey _ a ll
wcm d h c rin ' what mad e he r look so calm. _A f ther
Icttin' 'cm fast fo r a cou ple o ' clays, she earned the
Id ehicftnin with her into th e room wh ere they
ou t h e chcshts an ' th ens l1e openec1 ·e m nn ' .showed
foicl
·
J~im the arms ar;d provisi o ns, a n' CYcry ha'po rth.
"Well th ey all g-cv it 11 p to her that th ey ow~ cl
lie r th e ir 'lives, an ' th ey kild1n1cd with what '''.a_s m
th...: c hcsht, until they seen th e oulc1 p oe t of a b1shop
sc t tlin' his clhrawbridg-e, cock~s ur c they were all d ead.
Tn h e ca me quite aisy, j ust !1k.e a ca ~ th a t w ould be
stalin' into an 0 11 lcl ga rret an spy1n. about tor the
·. , Well if he did my la<ly had e m all ra nged
n11c e.
,
'
. . ,
ll
· ·hen he
w ith their swords a n' hagmts 1n tnc 1ia , an "' . . ·
put his nose inside th e d ?o re_ th e~- fe ll upon l11mself
an ' hi s m e n, an· t hreated c m JUSt 111 t.h~ .same way he
m e ant to threa t th e mse lves, hy castm cm out over
th e ciiff into the main occ::tn.
r
/ llSI·O/l. · "I tl1i11k • sir"
conc luded my informant,
1,_,0/IC
·
•
f
with a sagaci ous noel, "that was a ralc poet o a
bish op. "
-GrnAr.n G1uFFrN.
Exercise

Wri te am1 give o ra lly a ccording to Theme-11'.odel
TIT., :1 reproduction o f ,,/ /1 !llflirrn S11111 111cr Rc1 1crir, by
J:uncs Russell Lo wel l ( Appc1Hli x IL, \:i 3).

74. Th eme- model III. in the Description of
Pictures. D cscr il.>e the picture fac in g page 152
accordin g to Theme-model III.

Let the r etrosp cc-

123
tive n arrative deal w it h what you imagi ne may have
bee n the li fe story of th e two peasan t s . \ Vhat
d e tails g- ive place ? li ow do you know wh at th e
occasio n is? \ Vhat d<:tails in th e appea ra n ce uf thL·
characters show th e ir soci al r ank? Arc th ese people vilb.gers? Is th e pos iti o n of th e fig-ures in the
picture an unu s ual one?

75.

Theme-model III. in S ubjects from Life.

Here again it is hope d t hat the subj ect s s uggested
in t h e following- exercise may lead th e student to
find others of hi s o wn.
Exercise

Write a th e me on on e of the followi ng subjects:
Th e story of an o ld h o use.
Give an a cc () 11nt nf the differe nt families tha t ha ve
occupi e d s ome lw us...: in you r t own; or of th ...: c:h:tnges
that have bee n m ade in the hou se by <liffcrcn t O\\'ncrs
who h a ve altered it to su it their in dividual tastes.
2.
The story of a piece of si l verwa re t hat has bee n
handed d o wn in your family , or of any ot her h e irl oo m
or cu ri o,-a rin g, a swonl, a c hair.
Th e retrospec tin; narrative in this theme migh t
afford a glan ce at the diffe re nt u ses to whi ch the obje c t
you select has bccn put at v a r ious tim es.
3. A rare boo k which l1as passed through m any
han ds.
1.

Read in this C() nn ec ti o n Lon g fellow 's T o an Old
Dauis!t Song-Hool.
4. Th e sto ry CJf a p:tt h or stree t.
Th e fol lo wing
quo tat ion may suggest something to you :

" Life, (1cat h, w ccll ock, the lin ge rin g of lo vers, th e
waywardn ess of childish feet, the tread u f weary toi l,

'

;

~I :

.

~

RI'! rusf'tc/ h '' /'-la rrn r h.•t'

Co 111posit ion a11d R!tt toric

124

the s lo w, sw:tyi ng- \\"alk of the moth er, w ith her balle in
he r arm s, th e nH.:as urccl steps of the bearer of t he d ead,
the light march of ynuth and strc ng· th an d hcalth,:i.11, all hav e h e lpe d tu be at out the strange, wandering
lin e o f the old path."
-

I-I. C. B uN NEI<, jcrsry S tr N I 1111d j ers ey Lane.

5.

A g ift yu u have hacl from som e friend may serve
to n~ call th e life of that fri e nd , or the stury uf you r
assuc i:tti o ns with him.
6. Th e histo r y of the g rowth uf some business house
in the tuwn in which you live.
T he sight uf the build ing in w hich the business is
co m.lu ct ed 1ir an a lh ·ertisc.:ment of th e firm in a magazinc whicl~ u n e vf the charact e rs m enti o ne d in the situation may 1..Je r e prc.:sc ntccl as r ead in g-, may be made the
occ:tsio n of the tellin g uf th e sto ry .
. Som e trink et in a pe rson's possession which he
7
has worn o n i 111 po rtan t occ asi ons i 11 his life may lead
him t o g ive the stury of his life as connected with the
trink e t.
8. The histury of the g rowth of th e town in which
you Jiv e.
Imagine for th e situation, two travele rs, one of whom
is familiar with the hi sto1·y of th e place. e nte rin·g the
town by raihvay .
9 . The st o r y uf a horse o r dog own ed by you or
some of your re lativ es o r friend s. This must be a true
sto ry.
S11t:1:i·:sT1uN .·- For th e sit11a•. i1>11s
must inv e nt t b e f o11 r w's.

you use in these them es _you

76. Theme-mode l III. Repea ted. H we r epeat
Theme -model III. three times , as we <lid The mem odd IL, we shall ha\·e another plan for dealing
with a l o ng story.

Chapter l.

I

~

-

-)

(Accnrcling· lo Th e me-!llPdel IT!)

i11 th e pn•paratl•• ll.
A11lltt1r's rdrosp1·t"fi;·,· 11111-r1lli ,.. ,· __ ;:,i1· ing t11c c1T11 h
th e sto ry before the time nr the first sit11:ttio11 .

Si1uafio11 -

Chapter If.

,,j

(Acco rding tu Thcme-mod<..:i 11 l .)

Situation - al the cli m ax.
Aut!tor's rclrt1sj>1·cli·,y 111trrati ..,· _ ;c.·i1·i11g- t h<.: eve nt s nf
th e story between the tim e <1f tl1<.: sc.:colld an d that
of th e first si tua tion.

Chapter III.

(A cco r d in g- tu Th e rrn..:-mod~~ l III.1

S d11alz·o11 - in the seq ue l.
Autlwr's rt'lrosf' (( /i;_ ·r 11arr11/i,Y - g-iving- lilt: cn:nts
betwce n th e time uf the thi rd and tl1al .,r tl1c.:
second situation.

Use in e ach chapler a transiti1m and :t conclusion
as calle d for by Theme-model 1ll. Th e situa t inn
should be written according to Type l., wilh B

omitted when necessary.
Exercises

I. Read lVIacau l:(y 's l lo r1lli1t.i a! I/ii· Hrid.i;-1· r:1pid ly
for a general acquaint:rnce wilh the story . Ti1e f"llov..·ing questions may be of use in gaining this gen eral acquaintance w h ich \l'l.: see k:
What is the name anll idenlity of t11e lc ;tdin 1.·
character? Can y o u draw a map of Ilaly and l11c:tt~
the place s m e ntioned? \Vhat w:ts th e rL,:tS<ln f<Jr
Lars Porsen a 's march o n Rurne? \Vlut noliun of
the Roman ch aracter is g iv e n by this pncrn? of th e
Etrusca n? Can you mention an y oth e r piLTe nf
·. literature in which th e narrative inte rest lies in the
details of a combat?

127

C""'pos il ion and R!tdoric

II.

Rl:procluce J!omti11s al lite !Jndgc according
to the fo llovvin g pbn:
Chapter I. (Acco rdi ng to Theme-model III.)
Situation-the decision that t he b ricl g-e mu st come
down . Find material in stanza HJ.
Au l/t or's rrtrosj1tcli7•1' wrrrati11c--:the d eclarati on of
wa r the mustering- o[ both arm1t.:s and the approach
of Porsena. Fiml material in stan zas r- 18.

Chapter II.

(Accord in g to Theme-model III.).
Si111a/io11 -1Ioratius :rnd his co mp:i. ni ons standing on
the bridge. Find mate rial in stanzas 35-3 7.
A ul/tor 's rctrospci:ti11c 11arrati;•c s t anz:<s 20-34.

Find

mate rial m

Chapte r III.

(According to Theme-model III.)
Sit 11a/i(J11- Horatius on the Rum an shores. Find material in st anza 64.
A 11 t !tor's rr/n1spccti1>c 11a rra l i<•c - F ind 1pateri al in
stan zas 30-6 3.
Do not necrlect the tr:msitions and the conclu-

s ions.

"'

Theme-model I V. -R 1·:TRus l' 1~cTI V E NARRA\ Ve h ave already see n how certain
fixed m ethods of narrati on ca n b e derived from
colloquial story-telling (sec n~ I :mu 48). We shall
now s tu dy a for m de rived frum the way we sometimes re v ie w th e past s ile ntly, "·ithout t e11ing anyo ne what is passing- in ou r minl1s , as in d reamin g,
reverie , an d reminiscence. Suppose a man is re turning t o his nati ve town after an absence of m any
years. As he comes in sight of the famil ia r r iver,
or the well-remembered street, will he not n aturally
think ove r t he s tory of his ear ly life spen t there?
77.

TfVE I N V1s10N.

It is this thinking over th e story of events which
happe n L: d previous to t hL: t imL: of th e s itu ;ttiu 11 , this
seei ng of the past with the mind 's eye, which we c::ill
retro.'ljali·;•( 1111rrati·;·c ill 'i·isio11.

It is sai d th at wh e n ~t 1ie rsun is d rowni IF'
,_,, the
of his past life fl:i.s h through his mi nu wi th
startling rapidity. Th e pensive sLtte of mincl
induced by sitting in front o f a fireplace in which
a fire is burn in g b ri g hlly alsll le::icls us to review the
past.
e~e n ts

"I think the open fir e place," says Charles Dmlley
W arner, " docs n ot kindle the im agi na t ion so much as
it awakens the me mory . O ne secs tile p ast in its cr11111 b l111 g embers and ashy grayness, rather than the fut11 rc.
Th e fireplace is a window in~o the most ch arming- world
I h ave eve r h ad a gl im pse o f."

In this remini scen t st:tlL: of mind a series of pictures comes before us. R1.:trns pL:ct ive narrative in
vision tells us what the person wh o is thinking secs,
h ears, and feels in reminiscence .
The poem in Sl:ction 78 will show th e form wh ich
such a series of tholl gh ts natl! rally takes. It ma kes
us fa ncy th:i.l w e c:tn look into the mind of th e
person w h o is thinking- of th e past and b ccu rn l:s
conscious.of h is th ou g hts.
78. Mod el fo r Retrospective Narrative in Vision.
Read the following poem , whi ch C<lllLtins retrospective n ar rativl: in vision, and ol>scrv e how t he
outl in e of Theme-model lV . in sect ion 7'J is d er ive d
from it. This poem cont:iins a situation, :l transition, rctrospL:ctive narrati\·e, and a co n clusion .
Theme- m odel rv., like the preceding theme-model,
does not make use of dialogue.

,,

1 28

Rct rt1S/'CCI ;,.,. J\'a rral i1'<·

Composition a111l R/uloric

Then hi s cruis ings o'er the seas,
W es tward to the Hebrides,
And to S cilly's r oc ky shore;
An d the h e r mi t 's cavern dismal
Chri s t's g reat name and rites bapti smal
I n th e ocean's rush a nd r oar .

KI NG OLAF'S RETURN

Sit11al io11

And 1:-:ino- Olaf heard the cry,
Saw th e ; c: d light in the s ky,
Laid his hand upon his s word,
/\ she lt:an cd upon th e railing,
And his ships w e nt sailing, sailin g
Nurth\\·anl into Uro nth ei m fio rd .

Conclusion All these th oughts of l ove and strife
Gl imm e r e d through his lurid life,
As the star s ' in tense r li ght
Thro ugh the reel flames n'e r him trailing,
A s hi s shi ps went sail ing-, sail ing
Nor th wa r d in th e s umm e r ni g h t.

Transition Th e re he stood as 0 11 c 7,•/w rlr!'a 11ud ;
And t h e red Jig-ht g·lan c cd a nd g lea m ed
On th l! armor tha t he wore;
j\ nd h e shouted, as th e rift ed
Strea mers o 'e r him shook and shifted,
" J acce pt thy challenge, Th o r 1 "

Rctrospcc- Tu his thoug·h ts the s::lc re d name
O f his m utlwr J\ st r id cam e ,
ti1•c
f\nll th e t alc she oft hacl told
Nar rati7lc
Of h e r flight by se c re t passes

Th ro u rrh t he m o un tains a n d morasses,
To the home of Hakon olcl.
'!'h e n strange m e m ori e s cro wclcd hack
U f Q uee n <.;unhild's wrath am1 wrack,
J\ nd a h ur ried fl ig ht uy s e a;
Of gTim Vikings, ~111d the rapture
Of th e se a -li g ht, and the capture,
J\nd the life of slav e ry.
How a s trange r watch e d his face
In the Esthoni:rn mar ket-place,
Scann ed his fe atures one by on e,
Saying·, "vVc should k now each other;
I am Sig-urcl, Astrid 's broth er,
Thou art O laf, Astrid's son ! "

Th e n as Qu ee n All ogia 's page,
Ol d in h o no1·s, yu 11ng in age,
Chief of a ll her m e n -at-arms;
Till v a g ue \\·his pe rs, a nd m yst~riou s1
Reac he d K ing Valde mar, th.e 1mpenous,
Filling him with strange alarms.

S uc1 :1·'. ST !<1N. H. c :ul al s 1J Lon g:fc il o w's l -' illor1·<l C o /0 1111 t1, l'h,·
Sln11t''.» /Jt ·,-,111/. an rl 7 ;, ! It< .· l 7't1 J1, ]amt.·s \Yh ilet•mh i(ik ,"s .·ill
Old ~)· 7t ' ( ' t'I /t, ·{1r l and \\' nrd ~ w u r t h ·~ ·l/1t..· /\' t.·1 , · ,-1> o/ /', 1or ... .; ll St l!t,
all of which co ntain re trospec ti,·c narratin: in ,· isi 6n.
1

1

79. Theme-model IV. in Outline . An an :ilysis
of Ki11g Olaf's Rd11r11 g ives us th e following plan f()r
Theme-m odel IV.:
First p:iragr:iph - the situatio n , which is writt e n
accordin g U> :->ituati(111 ty pe I., with character B anc1
all that pe rtain s t (J that eliaracler omitted.
Second p a ragraph - the tran s iti o n , wh ich indicates th at th e re t rospec ti,·e narrative is t o be in
v1s10n.

In K ing Olaf's R.ct11rn, th e expression, ·•as

one who dreamed," s uggests the type of n arrati\·e
whic h follows .
Third p:i r:ig raph-retr us;)ec tiYe narrat i \·e in \'i sion. T hi s narra tiv e s h ou ld begi n with th e c haract e r izing se n t e n ce as in Them e -mod e ls II. :ind III.,
·. in ord e r that the story m:iy have unity.
9

I _)'0

The writer should can:y uni the thought of the
ch::nacterizing; senten ce hy ch oosing the incidc1:ts
which enf1>rce the qu :dity that distinguishes the l.1fc
or e\·cnt that is being· c1esc r ibccl. 'l'he reco1leet10n
mu st be by o nL: uf t he char:ictc rs. or h~- the ch:uacter
if there is hut one in the sitnati(\11.
Fourth paragraph - -- lhc conclusiun .. in which .a
return t<> the situati11n is made hy 111enllon 1ng- agam
some of the s ituation clements.
in th e sumnH: r 111 g-h t.

\ Ve have here place and t ime in dicated again.
The conclusiun is also ;t kiml of summary which
repeals thL: thought of thL: characle/i::ing sen tence,
"All these thoug·bts of /11;·c and .1 / 11;1.
'

S uc:.:1·:,Tt<>1>. - Cnmpan.:
Them e-rnodt: l I! . (>' ;o).

tl1" nt1Ll1'11" ".'il't.:ll
- ~

a! J»\"\~ \\'ith that

of

80. T he Verb of Vis ion . As a matter of training, the writing- of narrat i,·e in vision _is ~f value
chiefh because it afforc1s a g-nn\1 cxc 1-c ;sc 111 synonyms, fur thL: verb o( remembrance or Yisirni. -V:ou
will 1-cc:1l1 the list \if syn o nyms f1ir the Yerb which
is used t•1 i11 trlldllt.:L: ;t <lirecl quu~ali•111_ ( ~S S)- 11.1

. . (J/ -· · I' . ,, 1-.: -s ) \\·e 1ind the fo\lo\\" 1ng- expres.__
!\./ Jt',. II1 ·' \ l 111 11 \ > I '
sioi;~ for t he ,-crb of r eeollection:

''To his 1/11111"·/i/s th e sacred name
Of his moth.~r Astrid r11111t'."

"Then slrn11 •'t mn11(1rits tTo<t•dcd back
....
Of Queen Gunhi
\d's wrat I1 am1 wrac1c "
".·I II t!itst' 1/io11.£:·li1s nf .lo\· c and st;,ifc
( ,'l/111111tri-d t/1ru11.~h Ins /11nd ltjt.

heard once more
felt ag;tin
pictnn·cl to himself
cl rcaml.'d (If

r em em be r ed
rt..:called

th o ught o f

saw in memory

V irious n:rhs uf :cction, tngether with the ;1<1 \"CrlJs
agaz'n ur 0111'1' 111or1" may he usccl in this kind .,f 11:trrntive tn in<li ea t e the act nf r e miniscence. The fol -

lowing are examples:

" ,\ s his ships \\'cnl saili n g·, sailing:.
I'\orth\\";.11'tl

The fullo\\'ing fo;t may aic1 the student in \';trying
the exprcssi(Jn \\'hich introdu ces vision:

" Again the bugle s:mg."
"O nee rn~.rc the pine trees were

snunllin.~·

in his

cars.
f )o 110/ n'jJ<'11/ llfl' 7·crb (If 7·isio11 so fu -

CAUTlOC\.q11c11tly !Ital

it

ro11i1td tit. · rrado-

/J1·<'01111·s
l/111/

1110110/011011s.

tlu · 1111rr11li<·1· is

Cst· ii 1'11(1· t o
111 7·1.111111.

Sr. Analysis of Examples of Retrospective Narrative. Th ro ugh the study of ThcnH.:-modc ls I I ..
III., and IY. \\'e ha,·e become acquainted \\'ith the
three princip:cl kinds of r etrospecti\'t~ narr:tti\·e. Let
us now sec whether we can distinguish these forms
when \\'L: meet them in nther pieces of lit e ra ture.

,,._ .

E x erc ise s

I. 13ring · lo class examples of r etrospccti v·e
narrative which you lnve found in your general
reading ancl dete rmin e \\·hetb er the method is that
of vision, author's narrati,·e, or dialogue .
II. Compare the t r:cnsitions to retrospective; nar.
rative in these last three theme-mod els. Study and
be abl e to point out the transitions in th e examples
you bring· to class.

.. ;'.1

'.,
I .)-

Co111posil /,,11

r711d

R!tttori,·

82. Reproduction According to Theme-model IV.
The following poem ll:ts the pb n of Theme-model
IV. ancl m:t y be r cprocluccc1 acconling- to that m od el.
It will be ubsen·ccl that the poem c()ntains the four
di vision s: the situation , transition, retrospective narrative , and conclusion.
THE BELFR\- OF BRUCES

Si111a tion

'

'

In the market-pla ce of Brugcs stands th e belfry
olcl and brown ;
Thri ce consumed anc1 thrice rcbuikk:d , st ill it
w:i tehes <./er the to wn .
As the summ e r morn was hre:ik ing, on that
l ofty t owe r I stood.
Ancl the "· o rl d thre w off the Jarkncs'.:', like the
we ctls of wido\Yhoo<..l.

I

I'

from thei r ne sts be n eath the rafters sang th e
sw;1lluws wild and high;
Anll th e \nirltl, beneath lllL' slcL·pi ng, seemetl
more distant than th e sky .

i

L
~

I

Trrr 11-

Then m ost mn sic:il and sole mn , brznf:l/lg back

sit i 1>1t

I lie o ldo1 I 1111c"s,
\Vi th th ei r strange , nnearthly changes rang the
m e lanch oly chimes,

Like the psalms from ~o mc 0 id cloister, when
the n uns sin g- in the choi r;
Anc.1 the _great bell tolle d among them, like the
chanting of a friar.
Vis£011s of t!tc days dcpartol . .1/tado<.,')' p!tan!oms
ji!lrd my bra111:
T!tey wlzo !i11c in !tistorJ' 011/y scrmcd to walk tlu
car/It rrgai11:

Rctrospccti~·e

1Varrati11c

1 33

Retro- All the Poresters of Flanders,- mighty Baldsj>cctive
win Bras cle Fer,
,Varra- Lyderick du Bucq and Cn.:ssy, Philip, G uy <le
tive
Dampierrc.
I beheld the p:igeants splendid that auorned
those days of old;
Stately dames, like queens :itlcndcd, knig-hts
who bore the Fleece of Gold;
Lombard
Jadc n
1vlinisters
r oy al

and Y enetian merchants with decpargosies ;
from twenty nations; more than
pump and case.

I beheld proud Maximilian, kncelin~ lrnrn l>ly
on the g-roun<l;
I behelcl the gentle Mary, hu .n ting with her
hawk and hound ;

I beh el d the Flemish weavers, with Namur and
Juliers bold,
Marchin g- homeward from the bloody battle of
the Spurs uf Gold ;

Saw the fight al l\rinnewate r, saw th e Wh ite
Hoods m ov in g west,
Saw the g reat i\rtcvcld e victorio us scale the
Golden Dragon's n est.
And again the whiske r ed Spaniard all the land
w it h terror smote;
And again the wild alarum sounded fr um th e
tocsin's throat;
Till the bell of Ghent responded o'e r lagoon
and dike of sand,
"I am Rolan cl ! I am Roland ! there is victory
in the land ! "

·'
R rlro.1pcct i<.•1· 1Va rra li1•r

Co m f' os ii io11 a 11d N Ill ·/ or it"

Cu11d11 - T hen the so uncl of J rums :i roused m e. The
awak<.:ncd cit v' ,; roar
s1 011
l : ll as<.:d t he phan.Lurn s T h :1d su mm oned lJ:ick
in to t h<.:ir gra\'c·s vncc nwrc .
I l ours had passed :t\\'~l }' lik<.: m inutes; an<l,

Lo

1

lieft> rC I wa s a \\' a l"l'.
.
th e shadow ., f t he l)clf ry c rossed the snnill umin cd squa re
-

l h ::-1<\" \\'.

L•J<'<I FF.Ll.0 11' .

83. Theme-model IV. in the Description of Pictures. F rom th e charac te r an cl a ction of th e d iffe re n t figu r es in t he boat , in t h e picture f~c i ~g p:i.g-c
1; 8, gather d e tails fr o m whi ch y u u ma y rnl c r wh:i t
th e li fe uf th e p erso n o n t he s h o re m us t have. 1Jcc1.i.
Draw up o n y o nr own inve n t io n for in c i?ents 111 tl11s
life . \\'I nt deta ils of place do yo u itnd? Is th e
t im e in dicate d, U n w is t he occasion g ive n?
Exercise

Gd · Ve an o r a l an c1 a ,,-r ittcn c1csl' ri 1)t i< rn of thi s pietu re a ccorcling- t u Th ·11 1c-111<1clcl I\·.
Rcm e n IJc r t o use t he ,; it u:1 ti n 11 , the transition,
r e tro spe ctive narrat iv e in vi s ion . and th e conclusion.
84. Theme-model IV . in Subject~ from ~ife
and History. T hi s t ype of n a rratio n is n nt sU1ted
t o tri v in1 s u bj e cts, :.rnd should be used only i'.1 giv.ing
a se ries of e\-e n ts remote in t ime fro m th e situa tion,
a nd se ri o us in characte r. 1\ s it is mu c h m ore poetic i.l t han e ither of t.h c othe r t y pes w e have been
studv i n (T, \H: s h oukl \Jc cn rd ul no t to choose comm on,pb~c su bjec t s to be treate d in this way.

Exercise

Wri te a short them e upun one o f the foll owin g
subject,;, be in g· c i.rcf t1! t1) g ive it th e se rious to n e
whi c h su c h s u b j ec t s n :qt1irc :
1.
l m ;ig-i nc you rscl f v isit in g i\I o u n t Ve rn on, an d
reca ll in \' i,;i on t hc; li fe of ·w ashing ton.
~
Pi ctu rc; N apoleo n o n til l.! Is land of S t. I! clcna,
anc11ct him r e \-ic w hi s life in vi s ion. Con s ult th e e n cyclopedi a for m:ttc r ial.
3. C hoCise :tn y <• thc r hi st.uri e:t l clwrac tc r and g-ivc;
his li fe according to T he m c- m CidL'l l \' . R cp rcSL' nt t he
characte r :ts rc \·ie\\'in g- h is 0\1·11 life.
4. Le t a n <>l<l In d ia n ch id rc1·ie w th e agRress1ons of
the whit e man ag ainst hi s rac e.
5. Pi ct ure an immi g ra nt , ne \\'ly arri,-cd in 1\cw
York, r ecallin g th e sce ne s u f his life in his n a ti\-c
country. :M ake t his a s tud y of r e:i l li fe l>y Ica rnin gfr om som e f"rc ig ncr \\'horn y o u kn ow th e st ory u [ his
earl y life in E urope.
6. R ep rese nt a poor m :i n in a garre t th in k ing over
the clisastc rs 1\· h ich ha\·e red uced hi m from a nl ucnec to
penury.
C h oose a p e rson fro m life if y ou kn u \\' a n y
such.
7. L e t a laborin g man o r \\' Oman recall a life uf
hard ship. T a lk with a bbor c r a nd learn somet hin g- of
his life.
Choose o th e r s ul>j e cts o f y 0 ur own.
85. Theme-model IV. Repeated. If w e rc p c:.tt
Theme -mod el I V . t h ree times w e s lwll hav e the
follo win g m odel:
Chapte r I.

(Acco r din~

to Th e m e -mode l IV .)

Situa t io11 - in th e prc pa r:i tinn- Si tu a tion-type 1., with
B omitt ed if the sto ry so requires.

·j

~·

Co111posilio11 a11d R.!1ctoric

Rdrospccti<·c 1\!arrali11e

Rctrosprctr v e 11arrat11·c in visr.011-deal in g with the
events of the story wh ich happened before the time
of the first situation.

II. Read Tennyso n's E11odt ,-/rdm merely for
general familiarity with the story, and answ<.:r the
foll owing questions :
Find lln: characters who :ue esse11li:ll to the
story. \ Vliat is the scene of the beginning uf th<.:
poem? \Vh cn w:i.s E noch shipwreckecl? \Vh y c1 id
he 11ot reve:i.l himself 11pon his rdurn? Should he
have t old his story tu Mir iam Lee?
III. R e produ c e F11oclt ,-'/rrlrn :i.cconlin;:; to the
following plan. that of Theme-model IV. repeated:

Chapter II . (Accon1ing to Theme-m odel IV .)
S1/11ali"o11 - at t he climax-Situation -type I., with B
omitted if the story so requires.
Retrospccti7•c 11arrati11t i11 7'isio11-c1cali ng with ev_er;ts
which happened in the st ory betwee n the time ot the
first and that of the second situation.
Ch:lpter III. (Aceorcling to Thc:mc-moclel IV.)
Situa/io11-in the scq11e1 - Situation-typc I., with B
omitted if the story su require,.;.
Rctrosj>cctfrc 11arrali<·1· i11 7·isiu11- dealing with the
events which happe ned in the story _hetwcen _the
time of the second ancl that of th e third s1t nat1on.
Exercises

I. Learn the following rule for the spelling of
w on.ls in fr ancl ci:

Apply this rule to:
conceit
heinous
priest
gncve
pi ece
inveigh

shriek
deign
siege
receipt
pcrccn·c
reindeer

heifer
height
sleight

fn rfc i t
foreign
counterfeit

(Accorcl111g to Theme-model IV. )

Sit1111tio11 - Anni e a lun c , some time after her marriage
with Philip. Find sug-gcstions in stanza 38.
R etrospcrli«c 11rrrrali< 1c in 71isio11- Represent Annie as
reviewing the life of Philip anJ herself since En<ic il',.;
departure from hume . Pind matcr i:d in stanzas

skein
con ceive
deceive
rein
r ecei ve

Learn these exceptions:
neither
weird
either

(According to Theme-model JV .)

Sit11alio11- En oc h on board his ship on the rn ;irning (Jf
leaving· home. f'ind s ll ggcstions in stanza 18. lf all
the clements arc nut gi\·en, supply them.
Rct rosp1·c1 i7 1c 11a r rat h'c i11 <1isio1l - L e t Enoch ::is he sails
away recall the live s o f 1\nnic, Philip, and h imself u p
tu this time. Find material in stanzas 1-17.

Chapter II.

J before c
Except after c,
Or when sounded like a,
As in 11ng!tbor and wcii:it.
relie ve
chieftain
pierce
neighbor
weigh
ceiling

Chapter I.

sovere ign
surfeit
financier

19-38.

Chapter III.

(Acco rdin g to Theme-model IV.)

Sll11alio1t- E n och alone clying-. Pind th e place ele mt.:nt in stanza 50, anotht.:r element in st;inza 59 .
Supply fr<Jlll your imaginati on any uf the clements
that arc lacking.
Retrosj1:c/i7·c 11rrrrati~ 1c i11 «isim1 - Let Enoch, dyin g ,
recall his own life since J1e left his hom e; nam e ly,
th e jo urn c y, his life cin tile islanJ, his rctnrn ::incl
disappointment, the closing- years of his life. Find
material in stanzas 39-50; 52-59.

.,,...

lo111j'o.11 I ion 1111tl N/11'/or fr

I

'1,
I

'

86. Theme-model v .-T!J IS .i\IOl>EI. A SUMMARY.
Theme-model Y. is <>nc that comb in es Theme-models
II., l fl., anc1 I\-.. :tn(1 contains three chapters, one
written according to Th cmc-moc1c1 II.(~ 50) ; another
accon] i 11g to Th e mc-rnc1c1cl III. (~ 09), and a third
acc1 iHli11g t•> Th e m c-mockl 1\-. (~ 19)·
] L :tlso nuk es u se of Thcmc-modt:l I.. for the situatiun in the first ch:lptL:r is pbcccl in th e preparation, as
i11 Th ·mc-mcidcl I., th:tt nr the sccuncl chapter at the
clim:.tx , and that or th e thinl chapter in the sequel.
\\'c c:tn tlrns sec tl1:tl tl1is Ill'\\" kind of theme is a
summar.J; of all we haYc learned about composition
up to this point.

87. Uses of Theme-model V. Theme-model V.
will scn·c on ly for im:-i~· inatin: literature, such as
th e nm-c l, short st0ry , 11arr:-itin; poem, or the play.
It sh oulcl not be llscd to rcproc111 cc a history, a biogr~tph y, or a narrative essay, moJ.cls fo r which will
be give n btcr.
The three kinds o f rctrospcctiYC narrative used
in Thernc-mock l V .- in c1ialogl1l', by the a uthor,
and in Yision - gi\"C! variety t o the theme, and make
this meth od of telling a story acbptable to almost
any rnatcri:11. l \s in the case of the other narrative
models , m~itcri:-i l fllr th is kind of theme may be
dra\\'ll from 1ileraturc, pictu res, or life .
88. Theme-model V. in Outline.
ing is :rn outline of this model:

The follow .

Chapter I.
Sil11alie11 - in the prcrarntinn- th:tt is . g-enerally about
on e -third throu g h the story.
Rdro.1p1·rti<•c 11rrrrati·; •t-1cacling u p tv Situation I.

Chapter II.
at the climax, generally about t\\"u-tl1inl s
thrvugh the stury.

,')it11alio11 -

.
t /' re I l<'r"
!\' fros

.
111zrra/1;·l· --gi \·i11g the e\-cnts \1·hich li:t\'t'
,,f Situation J. and th:tl

happened bct\\"ecn the time
of Situ at ion ff.

Chapter llI.
,<)it11atio11- in the st:1p1cl, near th<.; end "f the st .. ry
Rctrospffti·:•,· 111l!T11!1;·,· - gi\·ing the: c:\·e 11ts \\·liiL·li li:t1·c·
happened lidlVLTn tile Lime o( tile S<.;Cund situ:ttiu11
and that of the third.

89. Different forms of Theme-model V. 1\s
each of the situations mu st be f.,JJowcJ. liv :t clii"ferent ki n<l of narrati \·c, Theme-model \'. 11;ay t:1 kl·
any of the three following forms . In a gin:n c:1sc
that fo rm should l)e chosen which is best acbptcd
to the material.
Chapter I.
Chapter II.
Chapter Tl I.

Or
Chapter I.
Chapte r II.
Chapter II I.
Or
Chapt1_'!" r.
Chapter JI.
Chapter l I 1.

( According- ti> Thcme-moJcl II.)
(A ccorcl in g to Tlicmc-m\K1cl Ill.)
(Accordin.~· to Theme 1110,kl l \'. )
(:\ cconling t o Tlicmc-moclcl I l f. )
(;\ ecorcling tll Tlicmc:-nwdd IL)
(According to Theme-model IV .)
( A ccr_irding l•> Tli cmc-m<Jclel I\ .. 1
(.- \ cconlin.~· to Thcll\c-m()dc:l II. 1

(L\ ccurding

to

Tlwm c -mo<lc: l 1 I! .)

vVhat c ver co mhin:rt i.,11 .,f tht.: tlircc kinds uf
retrospecli vc nanali 1·c 1s made, all mus t be u sed 111
the one theme.

i'

I

I
I

'l i
I

'I

!.1

l Ii i
.j

Ii

1I \

Exercises

I. The selec ti on which is to furnish mall:ri a l for
our next theme is Ua\\·llwrnc's 7/ff (;rm! Carlm 11clt .
Rea<l it m e r e ly fo r tbL: stu r y, ancl write in co mple te
se ntences the outl in e of the aeli ~)n; that is, mention
the inci d<.: nts that ad\·auce the story in the orde r in
which IIawthurn e prese nts th e m. Tell only what
people did. Lc:tve ou l incidents that merely throw
light on character or give backg round .
II. Answer the following questions:
How many characte rs arc there? \\'hat are their
names? Descr ibe briefly each character. vVhat is
th e scene o f the story? \V ho disco \·crcd the Great
Carbunc le ? \Vhat b~comcs of each of th e characters? \\Th at did each int e nd lo do w ith the sto ne?
90. Theme-model V. in Reproduction. Following is a pbn for th e r eprod ucti u n of 7/1( Grmt Car/11111clt' according t o Theme-model \-.:

Chapter I.

(Use Thcmc-m o(lcl II.)
.'>.it11atio11 - Fi11d mate rial in parag raphs 1,

2, and ·I · Use
Situation-type I.
Make i'vlaLthew and his \\'i k 1\ of . the m odel , and
group the other characters as B.

Tran sition -provi din g an occ:i.sion for th e t elling of the
previous history of each o( th e :.Hh·enturcrs.
Nctrosfl'cli7. •e 11arrali<'C 111 dialog11c- find material in
paragraphs 3, 5 - 22 .
.
.
.
Select two ur t hree of the minor characters, and
let them throll '' h c"n\·crsa ti on tell:
r.
How th ~y came to h ea r of the nrcat Carbuncle.
\V ho thcv arc nIHl how th ey loo k (through
2.
elabor atio n in tl1c dialog-lie).
3. \Vhat c:H.:h in tends d<Ji11g· \\'ith the stone.

.).
(;rOll\) t he <•lllCJ'S ancJ Jct <>llL' uf (\ic.' c'll:tl':lc' tCrS t e ll in mnnP log l!c their :1pp<.::1r:cnce and aims.
Co11d11s1.011 - r ct l!r11i11g Lo Sitl! at ion 1. anll p<Jinting- for ward to Chapter JI.

The story of i\htlhL:\\' and his ,,.jfc sl wuicl be
given prominen ce in this theme hy introclu c i ngthesc t\\'o characters into both the situ :1tion and
the r etrospective narrati\·c in c:u..: h chapter. The
adventures an<1 fortunes of l11L' other ch:1r:tctcrs
should be made subsitli:1 r y l> y ha\·in)..'.· tl1vsc characters appear in the retruspcctive narr:lt1vc eac h
time aml in the first situation, but not in the seco nd
or third s ituations.
Chapter JI.

·'"·;'

1.'. .

(l"se Thcmc-muc1cl 111.J
.

.'»it11r1t/011 -- Fiml rnate1·ial in para,c_:Taplis .\2 .)/·
The
finding uf the Grc:n Carbuncic . Situatiun -typc i.
Tra11sitio11 - by the <1e\·ice of (p1estion.
Ndrosfi1·t'l/;·c 11111-r11li7't' In· 11!1· 1111t/1or - Find material
in para.<:Taph s :q -3 1. Co1tcl11.1io11-rctl1rn ing t1J :-:.it11at1<1n Tl. and pointing fo r \\' a r el to Ch apt c r TI T.

Chapter JII.

(l1sc Thcme-m udel IV. )

St/11at1011- Find mat e rial in paragTaph 53.

l\latthew

and Hannah in their h o me. Si tuatio n-type I.
Transition.
·Rctrosprcti«·t 11arrali'i't in <'t~\/011-Let l\Iatthew rcvit;\\'
in thought ( 1) his o wn and his ,,.if e 's fortunes si n ce
they found th e Gr<.:at. Carbuncl e . Find rnn.tcrial in
paragraphs 48-50. (z) The ultimate fate of the two
or three minor chn.raclers who were especially m e n tione d in the first r et rospective narrative. Find
malcrial i:i paragraphs 51 -52.
Co11c!usio11- returning to S ituation III. and giving- us a
sense of completenc:,;s in rega rd to th e who le story.

:-.

'

1..jJ

Cu111fosit io11 a 11d J\lii'lon" ·
Exercises

Exercises

I.

R epro duce T!tc (,'real C11rb1111d<' according to

thi s pla n.

II.

\Vritc and give ornlly a reproduction of No,[[tr
1Jfah•i1i's JJ11rial, as the them e is outlined in Appendix 11.. sectio n 5.
9r. Theme -model V . and the Des cription of
Pictures. Th e pictures fa c i n~:; p:t~ e s (,~. 70, nnll 10<>
" ·ill scn·c :ts a basis for a thcrne <'n t hL: life of J oan
of ;\re, to bL: \Hille n in th e furm of thre e situations
(s ugge sted by t h e pictu res) , c: tch fnllo\\' e cl b'~ a different kind of retrnspel'l1\· e n ;u-r:tti\·c. as ll1 l hernem odcl V.
lk fqrc writin•". consult tlil' cn cy cl()pecli:1. L et
the first si tuat i •J~ rcpn;scnt J<•:tn :ts listening to
the heavenly vui ces, and the lirst retrospective narrative give h er hi s tory up tn the time of t_hc fi.rst
appearance of th e vision. Let the sccnn_d s1tuat10n
repn:sent her :-is th e ,-ict ori uus lcacler ot the army ,
ancl the r e tro sp ec tiYe narrati,· c in th e second cl_rnpter of the theme gi,·e the hi sto ry of c\·cnts s111ce
the time uf the Jirst sit11 ati on. '!'li e th1nl s1tnat1on
should represent the dl':1th ()f J o:tn . an tl the _retrospective narrative of this part giYc the 1~c1de_nts
which happened bet\\' een th e second and third s1tu:ltions.

92. Theme -model V . in Subjects fro m L ife and
H istory. Only a few subj ects are here suggested
to be t r cate(1 acCt)n1 in g- to Them c -mod c l V ., b ecau se
the s tudent may select a ny o f those given in section
44., upo n which h e h :ts n ot alrc:1cly writte n. Oth.ers
or the same nature ma y h e c hose n.

I.

\ .Vrite a theme upon the fullowing- subjl'ct:

Anti g-o ne w:i. s a nol >lc GrL'Ck rnaiJL' ll Jcn>tcd t•; l1L"r
father am1 broth e rs. \ Vht..:n her fath e r hlin<ll'tl hirnsl'lf
and w'.1s obligeJ to leave Th ebes, i\ntigone accwnp a111ed him antl re m a ined \\'ith him till hi s death. One ,,r
l~ er broth e rs \\'as slain by th e uth c r in h :tttle. The king
lorbac1e any "ne to hury this 1Jrothcr, !Jut: J\ nti g·•>llL'
c1 e fieJ thi s prohibiti<in, ancl was in conscq 11cn cc co11G11 cd
by the krng- 111 a ,·a ult un cle rgru11nd, \\'here she killed
h erself.
This is a m e re skeleton uf the sto ry . Yuu mu st
in ve nt t he m ateria l Y"ll n eed for the tldTe n : nt sitnations and the rctrospecti\·e narrati,·c.
T:tke as th e p(Jint fr,r \'ullr fir ,., t sit11 ~1ti<>n, .'\ iltig-nne
and h e r father leaving· ThL·hc- s ; for the "L'l' un<l, tlil·
king ann ouncing th;1t 1\ 11tigo1H."s L>ruther is to remain
unhuri ecl; the third, Antigone d ead in the vault.

II.

\ Vritc on th e quest nf some object similar
to the Great Carbuncle.
Use as points fo r the three situa tion s -the sL\J'tin).:'
out, the finding of the object, and a sce ne in the sul >sequent life of the finder. Keep the lead ing- charaetcr in
th e situations as \\· e ll :1s in the r ct ro--.pcl'livc nar ratin·.
Use as mater ial for the fi rst r c truspcctive 11arrat1\"l',
the cifr11mst:111 ces \\'hi ch kd to the qu est, the identitv
and aims of th e seek e rs; f<Jr th e seco nd th e circun;.
'
stances which lecl to the finding- of the object;
for tl1c
t hircl, the subsequent fate of the c haracte rs.

III. T e ll the story of a mystery ;icconl ing to
the following plan :
Chapte r I.
Situalio11-Th e mysterious event whi ch forms the
motive of this story has just happened.

,,

14.i
Rt! rosf'al /; ·c 11a rral i<•r- the

!i

is tory of _th e perso ns co ncern ell tu the time of the fir s t s1tua t10n .

Chapter II .

PArn·

SI! 11at ion - J\ p e rson is a pprch c nde<l \\"ho is s uspected
of doing- th e d ee d.
R.c!rospccth:e narrali<'c-thc historY'. of th e . circumstances whi ch point to the connec t1011 of this person
with the mystery.

II.

DESCRIPTION
C/f,.J l 'JLN I "fl.

Chapte r I II.
!\ secoml p e rson is apprehem1ec1 a nd it is

,:,·i111alio11 -

pro ved t ha t h e. a nd n ot t he firs t p e rs <J n suspected,_1s
).( nilty. Th e acllun 111:1y ha \·e hecn that <:>f a natmal
force , as in S artlou 's Jk· Hlad· n ·11rl, nr utan anin:al,
as in Poe's T!1t· 1lf11 rda s 111 1111" N11 !' ,lforg·11!', 111 which
case the thinl s ituatio n deals wi th the discove ry of
the ag-e nt of th e acti on, w hate \'cr it may be. .
Rt1rosf'cc /i ;•1· 11arrali<·,· - the history of th e circu~·
stances which kd to th e d iscrwc ry of the r eal culprit
or agent of the my s terious act ion.

TH E DESCRIPTIV E Pi\RAGRAPII

In the st uc1 y of dcsc ri pt ion ,,. h ic h follows, we
shall con ce rn uursel \'cs prima ril y \\'i th t he de scr iptive parag-rap h r.:tthcr than wi Lh the d escriptive
theme, becau se the l>:ts is u[ \lUr work in the first )'L·ar
is to be the study o f 11arr:1t ion, th e telling of s lc• ri es
-from th e s implest t:lk, t hat is pllrc ly narr:tli vc,
up to the co m ple x fo r m of the drarna, in which
narratio n is embell ishcLl by mc ~tn.s of the fol!r other
kinds of disc•>llrsc ; 1umL·ly, d cscripliun, c:-q111sit ion,
argument, and p c rs uasi<1 n. \\"e arc intt:rco.t e d in
descripti o n , th c n .:furc , m :iinly as a sulisidi:try form.
used as a n1cans of adorning narration, and thus
making r eal and inte resting the persons and phces
involved i n t he action.
For the en ri chment <•f a
narrativ e , the d cscri ptive paragraph and nut the
descriptive theme is u se<l.

93. The Relation Between Narration and Description. If we study th e En;,;lish n ovel historically
we sh a ll find th.:tt the earl y n ovelis ts rn :lssccl t heir
description, giving us so metim e s two or three p:tges
of it at once. These extended descripti o ns int errupt
10

( ••s)

I
:'
1'

Vl e h a,·e see n how the \' a ri nus types of n :t1T:tt i<ln
ri se o ut of g e n era l 11 :1 rrat i,· c for m s \\' h ic h \\' C 11: 1Lu rall y u se in cunvcying- to each u l hc'l" i n conn.: rs:1lit111
accounts of h a ppenin g s in th e \\' ()rld of ;1l·Li o1 J.
Besides th e m ere se rie s of c\·cnts. \\'liid1 is a l l tlut
pure sto r y conta in s , \\'C l1 anc: in ()llr tl10u~hts pictures of pbccs, rn c n, an<l ohjeds t hat we S () Jl1c tirn es ·w ish l o transfe r t o the minds of ou r fcll()\\·s.
e ith e r for th e ir pleasu re or f<> l the pr:1l'li L':t1 ends c•f
eve ryday life. It is irn p().ssib lc fu r th e Lu ·"L' r n um be r of us, i n ollr shu rt li n :s antl ,.,·ith th e li1~1itati<rns
whi ch our in(1i,·id t1;il circ um s l:ln cv.s i1 11p":'e 1q" >1 1 us,
to kn o w al first hand m:111y ph;t :< l·s ., f l1k, m:1ny J:t11,J..;,
or classes of m e n . \V e must, tli e rcf'orc . clcpe rn..1 u pon
con ver sati o n or books f, ;r a. b1uwlcc1.~ ;c of pla ces.
person s, an d things we c:1111H,t l'nu w ;Lt fir;: t Jund.
if we a.re t o a\·uid b e coming int e llectually n:u-rrJw .
Thu s w e see that. dcseriptiun in li<>tl 1c<>n\·c rsati<1il
and books g ro \\'s o u t of the soci:d n e e d (If c1>n\•ey inu
to o r rccci,·in g fwm others pict.urcs uf life <• li lsicl;
of o ur ow n r:in ge o f c.:-.:pc ricncc : and bcc;111.o.: c mc11
desc r i b e d p e rso ns and <Jlijcl'ls in C<>llVLT s~ 1 ti 1m l w fo r e t hey did in b ooks we s hall lirst s tudy desnJJ)tion in its colloqn i::d form .
·

Lhe s l•iry, "·hich is u u r m:Lin i11Lcrcst., and become
,· c r y t.ircsumc . L tlc r \nite r s, rc:tl izi ng h ow p ro ne
\\'C arc to s kip t h e d csc ripti,·e p:-iss.'.lg-es wh e n massed
in this \l· ay, h a ve brukcn llp thi s c leme nt into shorter
par:tgraphs, or even into sen tence:; , and have scatte re d it throu gho ut t he b ook, so that it no longer
retards th e a c tion. The n ove l is becoming more like
lh c pby in th is re spect. \\-c shu uld be \'e ry impati e nt (Jf an actor \\'ho r ccit.c <1 t\\·o or three pages of
p11r e dcsc ri pl i()n ,,·hilc w e \I-e re anxio us t o learn ·
,,·hat was l u li:tppe n Lo the hero, and ,,.care n ot less
int<il c ra nt of lh c \\'rit c r "·h e n he debys th e narrali,·c l!!<> lun g in order t u gi\'l' llS cumplctc pictures
o f l h e p e rso ns anc1 pb n·s ,,·11osc story he is telling.
D csc riptiPn, ,,·het hcr in the short sto ry, the novel,
o r lh c phy, should e nri ch but n ot imped e the action .
n:tr r :lli\'C sho u1 <1 fl()\\' on l ike :-i ri n :: r , but, like the
1\
ri,·cr :\lso, it should lJc embellished . The surface
of Lhe ri ,· e r is m:1d e lica utiful an cl various by its
" ·a ,·es, by the sunl ig·h t which plays u po n it, by the
g raccf u1 st ea rners a 1H.l smaller boats '"hi eh glide so
s mo(lth ly \)\'\._; r i ts s ur f:lcc . Its b:rnks, t oo, are interc s t. i ng to us bec:tu sc of th e trees ,1"]1ich o ve rhang the
\\':tle r, a rn1 th r.: f1 m 1·c rs \\'hi c h gro w upon its green
borders but c1o n ot i nte rru pt its flow . In like mann e r the v:1ril >US desc ri pti,·c-m otin:s we s hall study
in this eh.1plc r a rc u sc c1 tu vi,· ify and beautify a
narrative .
94. Meaning of the Term Descriptio n. Description is th e po r tray:tl i n \Yorcls of the quali ties or
fea tures of any thing· Sl> as lo produce a picture or
conception of it in th e mi nd of a reader or hearer.

~I

95.

Colloqu ial D escription. ·w e ha ,·e all li ste n ed
to conversations simi lar to the followi ng.
Tw o m e n are talk in g o ve r an uld acq uaintance
whom one of them has r ece nt ly met:
.

"Yo u say yon saw Da1br<1 wh e n yuu were in JJctroit
last. Has he changed rn11 l'h si11c1~ he came west'"
." <?h, ye~, yuu wou ld scarcely know him, P""r fell"""
His tig llre is ba dly bent, an ll his hai r almost whit e. J le
has grown p ortly, too, and his step has lost th e clasti ci ;y

\·' ..

•

'•

f

I

'I

Ii
Cu111positio11 r111d R/1/'/oric

'I·

it had when h e nsec1 to sl;:atc with you r sister on the old
mill-pond.
Rut t here is th e same ki n <lly expression
about his m out h, and his eye s light up at a g ood story
ju s t as they always d id.·' l 'l'his is desc ription of personal appca r anct~ . J
" I presu m e h e still li n~ s in the old hom estead on
J ~ond Street?"
"Nu, he has b ought a n ew p lace ac r oss th e rive r,a fine place, t oo. He has a bout an ac r e of g round, all
se t out wi th as han dso m e shrubbe ry as yo 11 would wish
to sec. I I is gTee nh o11se is o ne of th e best I have ever
vi s ite d. On e ve ry odd tbi11g abou t th e place, however, is
t he cr ude r ustic fence lhat s urro unds the e n tire grou nds.
l t mu st be six feet hi .~· h . The archi t t:cture of th e house,
t oo , see ms to me a little eccent ri c. So m e portions of it
are in the Colo nial style and ot h e r s suggest a French
chatc a u ." [This is plae c- clcscr iption.l
" How docs h e manag-e to s1H.: 11d his time since he
gav e np his law practi c? ·'
"H e has a farm of three hundred acres a bout two
mi l<.:s ou t, whi c h he inte nd s ka \'ing t o the eity for a
park wh e n h e is through with it. 1Jc drives o ut there
e ve ry d a y, and o \·crscc s the improve m ents that are
he in g mad e. One of his fad s is collect ing old china,
furniture, a nd o ther curios ; he h as built a kind
museum fo r these trea s ures on h is fa rm. Then he i
\· c r y mu ch inte r es ted in t he charities of the city, takes
a n a c tive part in a ll 111 0 \·cmen ts fo r pu b lic improvem e nt, is a m e m hc r of th e li b rary board , a school t rustee,
and s e rves on all k in ds of committees." [This is descripti on of m ode of li fe.]
" Diel you have any opportunity to talk over old
tim es with hi m?"
"Yes , I had a long talk wi th him , but his conversati on, you know, w as always very comm onplace. He
has nc\·cr r ead much and <•ftl' n lacks words as well as
o ri g in al icle as. His voice is c vcn more h arsh and inexp r ess ive th an wh e n he \\·as yo unger, and he has never
o ve r come hi s irritating- ha bi t vf sk ip ping from subject
to subjec t l ik e a b ut te rfly. In fact, on e's n erves are
pa in fully racked by a lwlf-ho u1.. s conve rsa tion with
him." [This is d esc rip t ion of a conve rsation .]

or

"Ye t h e lias turn ed ou t very , JI f . l
ising yo u th we used to h1 0 . °IJ \\ c. or t le un pro mtimi tl he w as as a lad 1 .. ' ·
r e m c m ucr ho w

11·

0 : 011

. "l:·cs, . he \1·0.ulcl t;irn pale at the sig-J1t c
.
Wh e n we b . .
l .
·
o, a <> nn
the g un tl o 1~:;/\1~1~1;'.<\~~l ~11 m ,t:i_ go al ~ing 11·~ always"hi(i
he w o u ld l >l· ~ ·J
l .t piece, kn o\\ in g ut course that
· )·
·J
.
He , · b· · · ... s iam cc . to
. t11 r 11 !J ,' l L,
\\ ic n 1le saw it
\\a ~
ctt c1 at r ccit 111 c,. Y e r~ c .
. , 1• . ·
, ·
liarm o111ca than a t climb 1......
l . · · ·I~ J~>I il . t} ing- o n l nL·
11
wind ows. Ile co uld t .. k ~ ~· 1 L ' · l'Tlccs or brcakingfist, h owe ve r wh e n ~\,:.1 i1e1 : tclt·1clmc 1Hl'. >11 s !>low wi th h is
·l .. , te 1-clcsc
.
' npt
. ion.J
.
v
.1 c
l1 1n angrr)' "
[Tl·
·.
c1a1ac
·
i1 s. is

~hi ~ i mag-inary con v ersat ion might be co n tin u ed
b y a dc1111 0· dcscn Jt
f
.
. .. "' . .
1 ion o ti1 e rnoucl, at particub r
times, of t he p e rson <lescriLccl o r of ~n o
.·
.
1· h 1
'
"
cc:1s1011 111
ll C le may ha \·e bad a pa r t, ;ind so on. En oug·h
wwevcr, has been griven tu sl1r
.
f ~ ,
cl .. -· .
.
. . J W so m e n th e
~sc: ipt1vc t op1c.s o r moti Ycs \ \·Ji ich 11·e frequ e ntly
use ln convcr.-::1t 10 11. Let us n ow 1·111 cl .
1
..
t1
.·
.
.
.
.
·
examp cs o f
1ese v::i11ou s m o tives 111 l it e rature .

t

9~:. ?utline . of the Description -motives. The
desc11pt10n-m ot1vcs o utlin ed Lclow arc th ose which
~ccur mos t commonly in literature and in everych,
life: 'We shall study each o f th ese m ot ives i n' ~
typical p:irag raph. In sectio n s 09- 120 i1·ill be fo u nd
a model for each type, with 'ttnl ys is 'll1d 1·,
.
of its use s.
, ~ ·- . ,
c iscu ss 1o n
Desc ription of placc. - l\l o tiv c l.
Descripti o n of personal .tppcar:m cc. - l\1otiv c
Descn p t10n of characte r .-i\lo t i\·e Ill
IT.
Desc ription of m oclc o f life.- .M otive
r. Of an indiv idua l.
2. Of a co mmuni ty .
D escription of an occasion ur a ssembbge.--- 1'1'0tive V.

I\'

:· ·~

..r'

'

Co111po.1il i(lll

rr 11,/ N !1r·//lr ic·

/ !tr · /),·_1f rip!i~ ·1· l'11rt!Krr1f'/r

I - l
)

Uc·sc ripti.,11 •)f :t con\·crsalion . or:i.lion, ];uuk, etc.
--- Moti n: VT.
Dcscript.ion o f 111ood , feciing . or scntiment.-Molive \' 1I.
D csc ripliclll of climate.--- ?II nli\·c VlII.
Dcscripti"n uf nrnsi c ur a so un d .-- ~Iotive IX.
D e sniptidn u f audible tlwught. - l\rotive X.
Th e te n par:1gr~1p h-nHH1c1s, \Y hich embody the dcser ip lim1-mot ives enu111er:cted ab.>Ye, by stress upon
l hc prini.·iplcs of u11ity and c111f!iasis \vhi ch will be
L~xplain e d i n th e n e ~l t11·n secliuns.
Th ese de scri ption -moti 1-cs a re m:cssed together
in secliuns 99- 1::?0 fi>r the fnllc)\\· in g r eason s :
1.
To shn1\· t he s imib rity bet\1·ccn them in para-

the·Jword . iro1t is the kc,J ·n o te ' J i· •f,{(/{( I.1//1101/11/ /ti t/1'1
0 f tleob1cctd esc ri bcd:
' ' Y
A11d
crne. ~·in
I . r lc!lln .-..
,. j)Ci1red.
'
. - a 'I
:1 i1n u t. .I roll ,
H · · J Ch01
is h .: ll'.l't \1· ns cit iro n, and his .c:·i1•1·c:s
Of
\ 110
I ..11,. ..i11d. his Lm.:.ast1ll·1
:
' t e '·111<l l1·is. g.1.ca , .L'S

~ ll(. t. 1,.,st.:ts \IT1·e (Jf: irun, a11d his shiL:!<l
~~ his l_eft ~1a11d he hel <l an irnn spea r, .
Tl 1:1 " r rglic hand hrs sword in\·i11cilile.
Ai~~~;:;;:~ }1t-1:ud o..: on l>ttl tlit.: strength of iru11 ,

'.

. .,

c .u me t 11·ith ir<>n nnrl th .· . 1 .. ~ . . · ·.
. ctr 1 ic .i, t."> 111 th11l tlicm
6
fi
L: 011mort1at thcv , 1. re
' .
Ar~~ ields _and all the. roads we re filled \1·itl~· ir.on
. ( pu111ts of i ron gl is ten e d in the s11n
,
.·\n<I shed i1 terror tl11·(1t1.,·J1 tl1
.t .
\V ere stron o·e r th ·i n tli' .

Tl

·'--

.

-

C Cl

)'streets.

flE:-.: 1< 1· \\' . L" .'\( ,J·TJ I ( •\\'

···

'

('It t1 · / ·111

·

'

a. .r u e .

the 1 , . . .
ie<1i et
Tl , 1. . . .
ie ' uid ll'l11cl1
1
I cl l ZL. .S (.II.'> llllj>l'C SSl<lll C:\lJl·c.··.c·c
,, ,c,· til~·
ji1n,/,1 .
mot/a r;ualtf_I' \Jf tlic description.

in each .

98. The Law of Uni ty in Description.
11·orcl unity, as appl ied to a description, means one.
ncss of effect. It i,.; sec ured b y c ~cluding from a
p icture details t hat stri ke 11 s as ou t of h.:trmony with
the gene ral impression that the object we are de. ·.
scribing makes upon us. In the following extract ,•

.

. A uescnpt1n11 wl1ich procluces
s111glenc.. f ·
. .
sso 1rnp1esst ( >nl1~1s1111it\·
ch:-iract ·· .· . . · i· · . ·
.

T o sh1J\\' lhe di,.;similarity in the 11tall'rial used

97. The Law of Emphasis in Description.
bw uf emphasis, a s ~tpplicd lo the par:1graph , is that
important scnlc11ccs shuulcl bave important places.
The i mportant pbces i n a par:1gr:1ph 01re the beginn ing allll thc encl. Tile s e1 1l cnce of most eonseqnc nc e in a par:tgraph is that whi ch gives the gist
nf the whole. In c; 1ch cx:-irnplc of the description.
rn o li,·es which m:tke up this cktptcr. both the first
atHl lhe last sentences gi\T the gist of the whole.

'

B . .· . . J JI On . Ali \\'h1J 1rc:1t bo..:forc him
es1d c ht!ll and behind him 1 . . ·J· l l
We...
. 'l . .
. ' ii s \\ io e ltJ~t '
1

.( l'tlf'lt SlrtldltU .
I

. ,.:··

llj)Oll

0

.

•
.

•

·

·'

99. Description of Place. - lll<>Tti·i..r.c t ·
. l · t i nit\'
euec
is. ··cc-·tii·c.J
1)" ··-.; o.;1· --1 1111
· . ;
. "t. .
l
·l .
.
Y :' . · g
~ ,o ti c picture pre .
sen l cc
111 tlic f,;J]"\\'I11g· c111ol'1ti 0 tl
]·
:i. J' unc,tme
nt ·il
·
•
.
qua ] ily o r cha ra cteristic which 11e'"\'
' I .. tl
.
'
.11 e.-..
ie \\"l1n1L-.
.~

.

'

;\J () ll J·. I.

"lfLt• ·~ ·1//t1 1 rl' 'il'(!J j{1//' , r 17 ·1 ·.1
road, lr1ur1;1nlas a t-!ttl/u~.
·' • '1' /Ill /Jo/Ii .1"1_t!,-' c•/ !Irr·
1
1 utt un 1v li c· 1r1l
·
tr
1·
·
t o time
the crow in o· f .
··
·
,
(Ji ll
1111c
L'<•<'k w ·1 i· l·d t
· '1c <-Tc'lt \\' '"'1. "~ some
,
F rorn t1
passed lik~ c~tres~,c~'.~'s( n;u:ut lr>y cam~ long lirt.:atlis t hal
.
'
· ., ·'
!\Cl
lC J'() ( I S
'J'J
_
with their bl~ck s ir 1 . .
J · ·
1e 111 cadows.
'
· .i c 011 s put o n ·1 lll)' ·t .·
sec I u d c<l m a jesty, ii·hi lc all 1 , . ' . . s c1 ious anc 1
gushe d forth into the cLl ·J· t. Jc. i 111111111.i..: wat ers that
a cl ·J tl
.
, r ,ness s ee med to he the
I
n I 1y llllt c bre athin g· (Jf the slc . .
.
coo
111 omcnts, the m1ll-wh~ c l hsl :1 · J~p 111 .c:. co11ntry. At
' ' · • s <e p, sL·c 111l'd tu be

:>t

T

'

•• ••

( )1

1

.'-. 1 1111 1

. '~·

;·: -~

.-t..

<lreaming-, like thost.: ulJ w at d 1clof:·s th a t bark while
sn o rin g . It crcak <;d, it talked all hy itself, lulled by
the falls of th e Morelle. whose sheet (•f water g-ave
fo r t h the sus tained and mus ica l nnt c o( : tll organ -pipe.
Nc<'t'r /1arl l!l/lrl' ,,.;d,-sfuad j>(11a fal!t-11 o<•a a ltaj>pier
cort111 of I /11 · t 'il r ! It. ·'
- - E ~ 111.1·.

z, 11..1,

Flt.· ,·It/a ( /.· en t ltc JI.fill.

:\ NA l.Y S IS O F Tiit. ~lOt>i•'. l.

J' arag-r11/11! sl ru ,:lurt'.
11.
'J'Jic fi rst s<.:ntc nce stat<.:s l1 r iclly :ttl(l J cfinitel y the
fundaml·t ital qualil y <>f t he pictur e . Suc h a sc n tence is
callv•l a 7i'}ili: So1fr 11 u . This furnbm c n ta l qual ity g ives
unity to th e paragr:qih . "The \·ilhg c \\·as/,1///11,i;- asleep."
b . The othc: r ~cn\ences L·n f.,rcc thi,; quality. Note the

1.

\\·on1~ \\·h ich c:-: l ires:-> or su~g: l·st ~lce p .

c. T he las t sctltL'llLC: summ:n izL' S; that is , gin; s t he )l;elle ral j 111 p r 1.: ~s ion \\·h iL·h the lh.':-.criptiun i s ll1L'anl to con vey :
;, NL.:vcr had 1nore -;<1;i/, ·)/Jr,·ad jH .t <·r· fa lle n <1\·e r a happier

w vrld. "
2.

Such a senknc·c is L·alkd a S11111111<1riz ing Sen-

t e 1u ·r .
1'/tc 111at1-ri11! lt.>t'<I lo ,/,- ~·,: lop tit" f1 1111la111<'!1fa/ quality

CUl lJiSIS

of :

Ttelll~

vf t he la1Hl sc ape ; uf hui ld in;~s. cl<.:.
I 11 Ll te a h.w e: model th e wind and the wal e r are the items
emp lrn sizcd a!J(\ are . tlit•rdorc:. put in \ltc lllai n state 1ncuts. The
fJLh cr i ten1s art.! s u h~ 1r din:ttL·d by liL~ ing 1ncnliotlL'd in phrases ancl
clauses. l' rove thi s :<L tle 111cnt hy a sl LHly of t bc <ll'scriptio n .
3. Dc<Jli:1:s u sol i11 t/11: /1 ,n1rfli11g r:f l ite mafrrial.
B y the t e rm d« «1;·,·.1· 1u ,-d int It. · lrn 11Jli11_,_.. of ma t e rial we mean
dev ices use<\ fur ment io11 i11g , \1·ilh spvc i ~l viv id ness , certain details
that e nte r int o t he pi cture . !li:t ny of these tlcviccs arc what we
call fign res of speech , \1·hich a re 11n 1,.;11: d mod e s of express ion
fu1· t he sake o f great e r c rnpha s is , clearness , o r l;eauly. In this
descripti o n .,f th e vi llage w e lin.J two of t h e se <lc:vices- pe rsonific a ti u n anu simik, huth u.f whi ch a :-i.; expla ined in the next section.
/ t is i11iforlt111! tltat tltr .1!11rfo1t remember
o.f tl: r /(rlll llL\.l\: l·:S V''E ll I S T IIE HAND LI NG
OF TIH: ~ I A T f. I~L\ I ., for'"" s/111/I usl' it a,i;·a i1t a nd again
111 011r 'li.'Ork in j),·scrij>lwn and L.1j1uslliu 11 .
C A t:T 10:-; .-

tlzc

11/CG l/lll,r;

thus compared mu st c1ificr from ea ch othe r in most
o f th eir ch ~1r:1cte ri st i cs. The pl eas ure derived from
the use of this fi g·ure is d ue to th e surprise we
expe ri e nc e l1p n n p e rcc ivi ng som e poin t of likeness
bcl\1·ccn thi ngs essent ially dissimilar.
Exa m ples:
"Th e wnnH.:n sang
Hd ll'lT ll the r1>llghcr \'\l ice,; of the m e n,
Lik e li111H.:h i11 th e pau,;es uf th<.: ll'ind ."

",\n tl s t il l T wore her pictll r c hy m y heart.
"\ 11d \llll' dar k tress; a11 <1 all :truund thc 111 lJot h
Sll' cl't tliun:J1ts 11·u ll ld Sll':trm as bees abnut the ir
qu een.

"I saw my fat h er 's faec
a r ising- rn oo n."

( ;ru\I· lu n g· ancl troubled liJ;c

.. Hut :-tll was qllict : from th e has t io11 'c1 walls
L ike th rc:1dccl spide rs, one hy one, we clrup t. "

"T here sat al ong th e for m s, lik e m ornin g clov es
That s un their milk v bl•sorns o n th e thatch,
A patient r angc of 11Hpils.''
~ p1;, ;1·:Sl' l <J:< .- l-inrl L\\·o ,;imiks m t he exampl e of i\l otiv e 1.
( !Jl',;crip ti<11111f place:, ;;'J<J.)

(;I·. ;>; 1-. 1{ .I I.

I >1 1d ·: I'

1· 1, 1:-;,.; 1"< 11{

l h .s<' RI l'T ION

In ll'riting· a de,;cripti11 11 up •m ;\f.,ti1-e I .. nr any of
thc othL·r m"tin_· ~ th :tt f"ll• >I\. in thi,.; c h ap t e r, o bse rve
tile ru le,; .~·i1·L·n hclo\\' :
Firs! d .-!1'!'1!1i11< !h r / 1111d,rn1o i/,r/ t'jt1trli!y J'OU

1.

i11trml t o 11ssi:t;·11 lo )'/I/Ir
2.

/'/;c11

1•11y 111s ;;,,.

1·u 11 .rnl!

t /11·

nic/111I

1

t it<'

di(/1, 111tl7)'

ji1r a list of :.yn-

!ftCll! "<<'/ft'!/ 11/'t't!t-J

, ,·/1it/1 y o11

h'1:fu r <' ;,• riti11.i;- t/1,- f' 1ll'<l,t;'J'llfl1 111,rf.·/' ,, /i_1/ ,,(

lll

ll/"1!/lt1Jli11_,;- (/ff

tiCJllS

7(• 1//t

i11 !01 d lo 01Ji1rrt' tit/' .f1111da1111'11!al r;11rrlity.

tlt,-

IOI. Place-description in Pictures. \\That <lcL ti !:-;
in th e picture fac in g page 196 g ive til e p bcc) t lie
tim e ? \\'ha t cloes th e title tell you? \\' h() arl: the·
characters 1\. B, and C? \\'h at i:-; t11c ]' i:tn· 11 f .\;
of I3? of c:- Ho \\' docs the acli«n ()r ;\ , I\. :rn d \ '
differ? \\' hat is I.he occa sio n) In wh~tl co ntin ent
do you imagin e t he place to be~ In \\'rilin g the
secontl p::i. ragraph c:tn y o u increase th e impression
of desolati o n liy atlding t o lhe dd:tils actu;d ly give n
in the picture ot h e rs that it m e rel y suggests to yuu we ird sounds, for ins tance , or si lence . or ll1<> Vc'l11cnP
Descri1Je thi s picture, u s in g for th e first paragraph
a s itua tion; fo r th e secu ml, pl acc-(l l:!sC' r ipt inn with
d es olr1 t i 1111 as a fnncbm cn tal quality.
Find othe r pi cttirl:!S of places .

Description of Personal Appearance. - i\l • ,_
TIVE II.
U nity of effect is secured l)y ass ignin g- a
funcl::i.1rn:ntal quality to th e foll1>11·ing· picture <>f :t
perso n :
102.

1.eord 1. , ·Ii ir/1 1'.1}'ro-.1·1's I !1!' j1md111111'11!al

(7 11ali!y _J'1'tf /111 ·;·" d1 ·n,/i'J 11po11. /\',-1 f' i/11s IHI of 1uords
1•r cxf' r /'ssi1 >J1 s al l11111d 11s .1•,111 7<'1'l/< a par,1graplt and
II .ff

3.

details .1·011 i11/n11l !o /11! i11!0 //;,· ,1>i1·/11r<
4. F o//0-;, 1 !Iii' 1117(1 o/ faragr11/l1 s!n1ct 11r1 · 111 '" )."tll't:
to t!t l' fir st, !Ill' last, a11d t/11· i11t1ri•rui11g so1/1·11({'.1.
(~99, 1.. rr,/J, r.)
5. ( ;Si' I;,, . d1jfo·o1 I dt 'i''"""' 111/'11/ io11cd I lll'u/l.1;!1 1111I
1111·s r!ta/lt'r, j i1r lite lu111dli11.t;· 1'.f 11111/i'r /,tf, 7<'lt l'll t"i'1 ·r
yo 11 can ,/,1 so <<'il/111/1/ 111aki11,1.;· )'flt/I' ·:<'or!.· s/nr i 11nl r111d
11111111!11 ro I.

;\f u1n.1
//1 1· l · t ~ ! ," l/(iJ/lr'J/

t~/ ('"r t /lit' '"it'ffS Jlr 11 /llftf j' /1c ·rr/1/, · /,1 /11,·

1 ll' 11·:1.-.; ta il, 1Jllt L'x ,·c· l"iin .\.'.iy Jan:; , \\'Ith n;1rro>1\·
sllvulders, long arm,; anc.J lv:,:s, h:u1cls tl1:1t dang-led a
mile out o f hi s slcc,·es , feet th at m igl1t ha ,·c sc r\' vrl
for sh ovels, ::rncl his \\'h ole frame rn 1•sl l"nsc ly hung-

f1Tso11.

.l

T!te Dcscript fr·c Fa ragrap/1

Lo111posil io11 a11d N/1d11rir
together. His head was small, and flat at top, with
huge cars, large green glassy eyes, and a long snipe
nose, su that it look ed like a wca lhcr-cock, pe rched upon
his spindle n e ck, to tell which 'ray the wind blew. To
see him strid ing al ong the profile of a hill on a windy
cby, with his clothes hagging ancl fluttering about him,
011e 111ig/Lt /1a7 •c 111istakn1 /1im for t!t c genius of famine
dcscc11di11.!i 11pu11 t /11' rart /1, or si>m e scarecrow eloped from
a cor11-/idd.
- \\' ,1s im:i;To;-; IR1· 1Nc:, T!te Ske!c/1-Book .
.:\ '.'.'Al.YSI ~ 11F TllE :'\f1l)JVI.

7/u· />11rt1;:..,"r11j>h slr11cl11r,: is //u• JtTl!le tts in Descripti'on~
m ot/7'<' I. (D e scripti o n u f place,\; 'J'J .)
Pro\'e thi s by sL u•.l y in,;· th e firs t, th e la" t, and the in terveni ng
S<.;ntence ...;. '\Vhat is th " fundamental quality? '\Vha t expressions
en for ce this quality'
~
T!t c 111afrria l 1t sol lo rl1'7'dt1p th" /1111da 111 e11ta! quality
consis t s of :
Items of pt:rso nal appearance - Ggure, pos ture, gait, dress,
fea tnres. Tn w!ti c·h senleJH.:e o f the quotati o n do you find each of
the items " f person:d appearance mentioned above?
1.

3. In t it« o rd1·r oj 11rr1111.;"1 ·111e11/, /It ,· !ar.~·«r or more genera/
it ems (l!'<' jlf11Ct'tl Ji r s /.
Figure, posture, and gait a re mentioned before details of the
fal'e . ]'rove tit is from tlt u 11101lcl. \Vhat details arc put in phrases

and c la11se s?
4.
'l'/h· dr 1•ti ·c·s 11sl·d in /It,· /1a11dl/n. t.·· r'.f d et ail are:
a. Th .., giv ing uf t!tc sum mari r.ing sente nce in the form
of a simile in slea tl of a gc· neral statement , as in Descrip·
t io n-m o ti,·c I. \\-!tat is the' simile?
h. Fin1l another simi le or comparison.

Drn E C T

10 Ns

2.
Do not use t!tc
"posture. "

In the model quote<l above , stature is the first item men·
t io ned; the face th e last.

"figurt"," ";:ail," "form,"

It is b ette r to me ntion, in~ tend, s "me pnrt o f th e body.
as shoulders, arms , etc .. an<l describe the v;ait i>y 11si11~
expressive verbs; such a s , "glide ,. , " bustk." ('..;t'C ~ 30.)

3. Do 11ot !(St' tiff r.1f1"t"ssio11s "fir !tad," "/fe ,,,as,"
"fie wore," loo jn·ql(l'ltl ly, as !Ill' rtf1·!i/ /(111 of I l1i"s1: ·;,•,;rds
becomes 1110110/011011s. (.'::i.r1' ~~.J'O a11d -/ 2.)
4. R e1111'111bcr to bt:i;i11 so111c o/ j 'u11 r so1/,·11ccs <eii/1
phrases or da11srs.
5. Do 1111/ 11.11 · t/11· :c11rds "/1/'/ukn1," "(!//u,f,··ctl:a,"
"nevert!tclcss," "Jfokc ••0!11111cs."
T11is direct ion is g i ve n bi~ cause the ~c are v•un1s stu1.1l:uts
arc pron e to u...:.e a.:~·- 1ul1 and a,:..,ra/11 in the dc:-.cri p tiun of

personal appearance. It is nH.'allt to inciude any 11-.1rd or
phrase that is used too frequ e ntly.

6. Beware of scnti111c11ta!is1J1, tawdry 111!;i·cti111·s,
"fine writing," and sla11i·.
7. Ta!.-1: <'ilrt' 110! lo co/11 71•ords or 11s.- 1/1os1· //111! an·
obsolete.
8. Do 110/ use "t/11·" before a11 i!on of jhT.w nal afprarSay "/1is" or "/t,·r."
9· Do u ol 11sc l<t 0 f11rtinjil«s afli'r a 1101111.
1

" The Tory, fn:r;lt!o1nl, thi11!.:i11,i; Lo so fte n his antagonist."
" The sun , s!ti11/ng so bril liant ly , p u ri11_i; through, witnessed a mortal <.;om bat."

vn 1< D1·:sc 1u 1n ;-;1: Pi·: 1~ s o N AL J\ PPEARANCE

In desc ri bing personal appc:trancc, observe the folluwing sng·g-cstions in adc1iti o n to th e genera l directions
for the writing of the descriptive paragraph given in "
sect ion 1 oo.
· l.
1'11! t!tt· large r or 11/lirt go1crrr! details first.

'i.i 1ords

Place <1J1IJ1 adjccti7.•rs of fcr111(11 ;mt r;11n!il_J1 he/ore
the noun.
JO .

"Hi s sunken, cast down eyes gazed at th e dour." "C11sl

down" is unly a ternporary co nditi" 11 "f the eyes an1l not a
permanent cl1araetcristic.

It shoul<l the refore folio\\' the

noun it modifies.
"Her tossed hair" is another example of this error.

;

.

'

..

I )')

103. The Portrayal of Personal Appearance in
Pictures. I s the ti me clemen t gin:n in the picture
fac in g page 2 ir,? J\ l "·hat seasons of t hL: year is a
hoe most lil.::clyto ])e u sed? \Vh at is th e man h oeing? Is he \\'01·king •ir resting ) \Vh:1tdoes thepositinn of hi s b:mds tell) Notice th e shape of his
hands antl fee t.
\\"h at d ocs his ge n e ra l attitude
show? \ V h :1t c:t n you say about t he expr ession of
his eyL.·s? 1\ re his cycc; deep set I Does his foreh ead in (licatc mu ch mcnt;tl (]c ,·clop rn c nt?
Describe this pi c ture , u s ing- for the first paragraph
a sitn:ltion : for the sec<>JH], a descrip ti on of the personal appearance of the man, \\'ith dd1t1sn11n1t as the
fundamental (1uali ty .
Fin<l other p ictures in which personal appearance
is the lc:Hling- motiv e .
rn4. The Description of Character.-Mo nvE
III. U nity of i mpression is secured in t h e following model a]s ., by the u .<;c o f a fund a mental quality:
;\'[ n rn: 1.
0 11 .for lite latest
He was an attendant at_ c 1·LTY fnncrnl, and as fa r as possible every wedd111g, 111 the vilia.:..;·c; <t _l CHT)' fla,:..;·-rai si ng an d husking,
and t.uwn an<1 co unt y l :11r. \\Then more pressing duties
<lid not h 1nclcr, he endeavored to meet the two daily
trams that passed through i\lillikcn's Mills, a mile or
two fro m P leasan t Rivn. IIe accompani ed the sheriff
on all journeys entail ing serving of papers and other ,,~
embarrassing d utics comm on to the law. . . . .
He we nt wit h al l paupers to the Poor Farm , and never
missed a tow n meeting. . . . . He knew who owed
th e fish-ma n and who owed the mea t-m a n, and who
l·otild not get t r usted by e ither of th em. Jn .fact, so far

./ol

rz11t!

h'r1.1,- 0 111 0 111/1/ rrlZt'tlJ'S ;,,.

11111s/

a11//101/1c lli'Z<'S .

-

r diol

as tlti: di<·i11<' llllri!//ltrs o/ 011111iscir 11 ,·i" 1111d 11111111pr, su11f
could be 1•t·stcd 111 a /i111/tv /11111m11 1I1·11!1111 ·. r/11·1· ;, ·, 1,
presen t

i11

-

Jut

/Jc1sc o111.

"

KATE 1 l<>t 'Lt. As \V1 c1; 1N,

Th,· / "i//11,r« I/ ',r/1 !1

T<J7<'<'1'.

ANAl.\' s l s uF TllE M u 11E t.

r.

Tiu!

jhll '<l. :..,' l'{l/Jh S /J'!lt 'l 1tr1·

is / /tr'

S t llll t ' tlS

in

/J , ·s1I1jJl1 1/ /l +

11w th;e I .
f '/1t.• J/Ull t-rial usn l l l' d1 "1h· l oj> !lt1'.f1t11d(ft_11<·n/ 1rl •/lf 1rli(1· ,.,,
r·11 11 s/r/ s 1j:
'l'he ba1Jits (1f life, Lt Sll':-;, npi11iun s, a u ..: 01npli;-:. li n1l'11ts, l111t l\i1l
details o( th e pcrs<-.na l appearance. ,,f the pc·r,;rn1 w hose: charac·1er
is described: \\.L: ll l'l'd t11is latter n1atcr ial f()r a :-:. c par.:1tc nHiti\T
that ·of t he description "i p·-·r~o n al "l'l'earan ce (,; 1u '.! ).
U se inciLl e nt s chi e tly for material in writing cltaract<er-<IL·sct iption.
'vVhat is till' fnrnbme11tal quality ,,f t lit· clt :iral'lL· r <le,;c-riJ,._. ,1
11bovc? \ .V lrnt <lct ails enfo rce tit is q11aiit,· '
2.

c/ia 1~at · /,·r-d1 · srTljJl/u 11

I05- Character Portrayal in Pictures . \V ri Le :i
descriptio n of th e picture f:teing pa~ e 2..J.2, using for
the first para graph a situation; for the second, a ck scription o f th e p e rsonal appc:1r; tn cc: uf the w11rn :lll ,
with digm.ty as a fombm en tal quality; fur t he t h ird.
description of the character of the wnrn :tn , ,,·iLh
· refi11cmc11! as a fulHl:une nt:tl cp1;tli ty. Jn (k \· ci( •pi ng
this last parag raph emp loy hints of the person's
tastes which you finJ indicated in her su1-roundin:.,:·:-:.
Imagine wh at su m c of h er hab its m11.o.;t lie . lnn: nt
incidents to show h e r t astes or h al.J its. In stuclyin g
the personal appearance of this w o man , note the
attitude of th e bod y , details of dress, the p•>sition of
the hands, the expression an<l general conto u r of
the face.
Find oth e r pictures con taining the motive of
·character-descri p tio n.

.-

16o

Co111j>osir io1t

and

Rl1l'lori,-

ro6. The Descrip tion of Mode of Life. - Monv1·: IV. U nity of effec t is gain e d in the following
quotatio n s hy making- a sin6le quality fundamental
t o the d e scripti o n·.

.·/.

~Iom: OF L IFE 0 1.. :\:\ l:\J)IVIDUAL.

:Jltolll :L

f\'o fl/, ·, 111y /1, 111(s/ scl/{)l1rr.1 110 !1/c so lurppy and so
plcasa11t , as Ilic /1ji: of a 7,•df-.i;rr;·cr11l'd 1w/;la; for when
the lawyer is S\\'allu\\'cd up \n t h lrns111t:ss,- and the
statesman is p r eve ntin g·, or cuntnv1ng, _pl ots,-then, we
sit on co \\' slip· ba n ks, hea r th e b1nls sing-, a nd po~sess
o ursel ves in as mu ci1 quietness as these s il e nt silver
streams, whi ch we 110w sec g lide so quietlY: by us.
Ind eed, m y good sch nb r, \l'e. may say of an~lrng-as
Dr. Botele r saicl of s trn\Y be r ncs, "Doub tl ess God could
have m aJc a better be rry, b ut doub tl ess Goel never
did"; and s o, if I m i.~ht be judg-c,- " God ll C'i.'f'r duL 11~~kt
a 111 orcca/111, q111cr, 11111(1(·r·11t rffr t"a f w 11, titan angling .
- l Z AAf;: \ V ,\l .T <>." Ai\" 11 C11 ,\1u .1.:s COTTON ,

1 /1.: C1JJ11jJ/d1: A 11,r;·/er .
J\ ;o.;,\l . \" S I S OF TllE
I.

Tiu: jh1ragraj>/1 s /nr d11 r l'

1:f

i\I o nEL

flu: s'""" as i11 Description·

moli11e I. l' rovc.: th is s lat c:111c 11l.
2.
T/11: 111ato·i als us,·d / ,1 d,- ,,,./<1/1 l!tl' /1111d,ll/1 cJ1/11/ qualify
11,.c!:

T h e c ustomary a ctio ns uf an i rnl ivi c111al. Vn1at is th e fundl!.•
mental qualit y? Wh al are the a ct ions m e ntioned. in this model?
3. lite dn1 /c,-s u sol in//;.· !ta11dli11g o.f the material:
F ind a direct quotation.

H.

MnnE ClF Lt1· E <W ..\ Co~1 MVNTTV.
M ODEL

'/Jtey [the pcas:rnts of th e Valai s] do 110/ understand
so m11clt as tlte 1w111e of bn rnly, or of /mow~edge. They
unde rstand clirnlv that of v irtue. Love, patience, hospt·
tality, faith, - - th ese thin gs they know. To glean their
m e adows si d e by side, so ha ppi er; to bear the burden.
u p the bre a t hless mountain Hank, unmurmuringly; to

bid the strang-er d rink fr o m their vessel of mi lk ; t" see
at the foo t of their l o w deathbeds a pale figur e 11pon a
cross, dying a lso, patiently ;- in this th ey arc cli!Tcrcnt
from the cattle and from the ston es, hut in al l thi s
unre warded so far as cun cc rns th e present life. F u r
th e m, th ere is nei the r h •ipe no r passiu n u[ spi ri l ; f11 r
them n e it he r adv ;: nce nor e xult ati un . Black b read ,
rude roo f, dark night, lalJUri o us clay , weary arm a t sll n set; and life ebbs away . No b ooks, n o thoughts, 110
attainm e nt s, no rest: except (Jill y sometimes a litt le sitting in the sun und e r the ch urc h wall, as th e b d i t o lls
thin and far in the mountain ai r; a patte ring of a few
prayers, n ot understood, by the altar rails of t he .dimly
gilded chapel, and so bad.: lo 1/1,· S(l 111/;o· /1 011/i", 7,•1//1 !/11
cloud upo11 t/1 cm s!tlf 1111broko1-th :tt cloud o f r11cky
g loom, bo rn ou t of the wild torrent s and r uin ous st on es.
and unlight e ned , eve n in their rc lii,;iun, e x ce pt hy the
vagu e promise of s,)me b e t te r thing unkn o wn.
-

J c•/1 :-; R us K 1;-; ,
A :-.- ,\l . Y S I S 11F

.1!odcrn l'ai11/e rs, V ol. IV.
l' l lE l\ f o l , E I.

The _p,1ra.t;r1rjJl1 s lr11 ,-11;r(' /s !ht..' sr1111,: aJ Iha/ 1f !h·srriplz'on-mo!i11e I.
2.
1/te llt 1ll1: r/a ls us r:d ar ,; :
The habils, o cc11pa t i<•11s, or tastes u f a c u111nll111i ty . \\'hal i s
the fundamental q11aliLy? \\'hat <klails m e 11lio11e<l enforce this ?
.·. '~·h at are the Ji a hits and <WC 11p.~tio11s of thi s C()llltll1111it y ~
.J . Th e dc 711f·,·s u s, ·d /11 l/1 ,· !t11 11 dli11 3: 1!f 111rt/1 ·r i1 1/ 11F , ·
a . E1111 11 H.! ratio11.
/J. Ml'l ap h or.
These two JI (;\\" dc:,·iccs used in the 111e11Lioni11g- pf 1\c-ta ils :-.re
explai ned in the ne xt scl"lio n.
I.

Other Device s for Givin g Vividness to
We h:tv c f1>u1H l in the last (kscr ip tion
quoted two new devices for the vivifying uf dctail ---enumeration and metap h o r.
I.
E11umrra/io11 . By the term cnumc ratio11 we
mean the mere cataloguing- of a number of items,
generally with a sumrnan z111g word, tit, ·_,,. o r s11dL ,
11

.'

at th...: c nJ. T he examples of cnunH:: rat ion
d escri pli•:in from H. uskin , in section 106, are:
lu1·L',

I

Jl< ll iL•ncT ,
hospitality,
faith -

J

111

the

" T ha 1· e n 11 -'"/' /1 r
Ji1 jri,-/.· tiff s1d1·s (I/ !NI' i111,·111. ln1t <>nl _1·
V ault in .~· ambition, 11· hic h u'L·rlc: <J lS ihclr.
J\ncl (alls on th e other."

~-

to ~-J ean the ir 11 H·adu 11·s siclc by si(k, s"
happier;

I

th e bu rden up the hreat hh:ss 111 011n t a in flank, unmurmuring·ly;
tO uid the Slrang e r dr ink from their vessel
uf m ilk;
to sec at th e foot "f their low d eathb e ds a
pale figure upon a cross, dying also,

I

t<J b...:~ir

patiently;-

hlaek lm..:ad,
r11cl e ro<1I',

"I mu st i.::o seek some dew -dro ps here.
J\ nd /1t111g tl f C<l rl i11 C'i'O)' cu<i'slij>s (// r. "

\

I

in t!tis
th ey are
d iffere nt
from the
cattle
and
from the
sto nes;

"This is th e state of m a n: to-da y li e p11ts for /It
Tl1c l c11rfrr lc11 <11·s of !1ojr, t<Hll<>1T"11· (1/oss11111s
An d bears his blushing honors thi ck upon him:
The third tby CO!lt f'S a frost, a /.:iilt11J.:·Ji'osl,
J\nc1 , - whcn h e thinks, .i.:« iod easy man, ful l s ureh·
ff is g r cal 11css 1·s a n/101i11,g-,- 111ps Ins root,
And then he falls a s l d o ."
Suc<: 1·:sT1< •NS. Ru sk in in secti on

Find thre e rndaph•1r s in th e <jllvlalion iro m
10(1.

Are th ey effee live i

}

dar.k nig·lir,

and life ebbs away.

lah<>rious day,
weary arm at sunset:
Svr:1:1-:>'T <" x.- Find another example of enumeration in the
passage fro111 Ruskin i n :-.L-ction 1u(J.

2.
)fd,1jJl1or. \Vh c n we speak of one object in
terms ()f another, we :t re using- th e m e taphor.
\ Vhcn Tcnn ysu n sa ys lh :1t a certain woman, m enti o ned in one uf his poems. is " a rosebncl set with
little wilful thorns," he is calling- a woman by the
n:tme of a Howe r. \Vh c n Longfellow calls the stars
"the forg e t-me-n ots of th e ang·cls," h e is speaking
of one object a s if it were anothe r. The metaphor
is a simile (see\:$ 1oo) with th e word of similarity, like,
as, so, silllilar to, rcsc111bli11g , co111parrd to, etc., left out.

Examples:
"Anc1 this s ame /lower t!tat s 111llcs to-clay
To -m orrow w·ill be dying."

108. Confusion of Images. ln writin g m etaphors ,,-e must lJe caref ul not to change lh e im:1ge .
W e mu s t keep one comparison in min d :u1d be consis te nt with it throughout. th e se nlen ce : 0then1·isc.
we shall be 11 sin g 711/xnl 11u·/t1 j lw rs, \\·hi ch a ss ign l<>
an object or id ea in comp:tl ibl c attributes, and thus
confuse th e pictu re in the min<l of th e rc:ldcr <1r
listen e r. The im age changes in th e follo\\'i11 g
mixed m etap h ors:
"The char iot of Revolution is rC>lling and gna s hing
its teeth as it rolls."
"To take arms aga inst a sea of trouble."
When we speak of R e volution as rolling we mak e
a chario t, but when we say that it g n:tshcs its
teeth, we suggest th at it is an animal, and a re, th e refore, incons isten t in our conception of r evol n ti on.
Wh en we sa y of trouble that w e will take arm s

Compusilio11 and Nlfflorfr

against it , we make it an army. \Vhen we call it a
sea, in the same sentence, w e have confused our
mental i mage.
109. Pictures Containing Mode of Life. Desc ribe th e pict ure faci ng page; 2(;S, using for the first
par;igraph a situat ion; fo r the s 'con d, a d escription
of th e m ode o f life of the shephenkss, with mo11oto11J'
as a fun da m c nt:tl quality. Supply de tails m erely
su g·g·cs te cl to yo ur imagination by th e picture.
l3c fore wri ting thl· sc pa rag-raphs, ;msw er the followin g quesL iun s : \ \T!iy c1ocs the sh ep herd ess stand with
her back t <, h c.: r ch :trge) Is she d o ing an y thing
bes ides \\':ttchi ng her shee p) Docs she seem to be
inte re sted in the landscape' Is th e re a·n ything in the
la ndscape to in terest her) \\· hat d o yo u imagine
h e r home l i fc to be) II ow docs she spend her eve.
nings? To "·hat class in society does she b elong?
\Vh at is h e r nation a lity; Of what country was
Jean Fran<,:ois l\Ii llc:t? \\Th at phases of life did be
depict? Can yo u te ll from a list of the titl es of his
paintin g s \\' hether he wa s interested in the bbor of
th e co untry or uf th e city?
Find uthcr pictures containing· mate rial for a ·
tlescripti o n of til e muclc of life of an individual.
\\That s (tuati o n element is g iven by the title of
th e p icture fac in ~ p age 294? l'dust any of the situati o n clem e nts be supplied hy yo u? Is the climate .
warm here ? \ Vh a l in the picture shov\'S this? What
effect may a w a rm climate h:i\·c upon the mode of
life of the people; \Vh at clocs the architec ture of
th e bui!cling·s s how abo ut the life of th e inh abi tants?
\Vh y a rc th e people gath e re d out of doors in this

way? What do you imagine to be: the a i) pearance of
the ins ide of th e ir hom es ? I s this a vilbge? Arc
the buildin gs reside nces or places of bus iness ? Is
this a h oli cby scene? \ Vh ;rt are th e occ u1x1ti o ns
of th e peopl e of i \ lgc ri;r) \\·h ~it is their characte r
and hi story :.
The encyclopedia may help :>uu tu ans\\'cr s< >tll c
.of th ese quc s ti1 >ns.
Writ e a description of th e picture, using for the
first parag raph a situation; fur the second, a description of the mode of 1ifc of t11is community, \\'ith
sluftks.wcss as a fundam e ntal quality.
Find other pi c tures t h at give th e mode of life of
a commu nity .

no. The Description of an Occasion or Assemblage.-1'1ffn n : 'i/. The unity of th e following
description is secured by the use of a fundam en tal
quality:
Moo CL
On a bright October clay, wh e n the air i s full of
golden su n sh ine, llta1· is 110//1111 i; 1;111/1· w cxlti/11ral111,r;1rs
going 1t11/t 111g. . . .
1 lik e t11 sec a cr11wtl <1f li1iys
swarm over a chestn11t- gTO\"C; th ey lca\·e a dc ,.;e rt
behind th e m lik e the se\·ent cc 11 -ye ars loc u s ts. Tu climb
a tree ancl shake i t, to cl u h it, to s t rip it uf it s fr ui t and
pass to th e n e xt, is the sport uf a brief time. I han;
· seen a leg io n of buys sc;i m per ove r o ur g-rass-plot 11 nder
the chest nu t-trees, e a c h une a,.; active as if he \\· ere: a
- new pa t ent p ick ing-machine, ,.;weeping the: ground c lean
of nu ts, anc1 dis:tppcar uvc r the hill befo re 1 could g·n t<>
,the d oor ancl speak tn th e m a1J<>11t it. Ind eed . I h ave
noticed that boys don 't care m 11L· h for c11nv c rsati on with
the own e rs of fruit-trees. T/1ry ro11/d spn·di~v makt·

. tlteir forlll/l ('S
fieids.

1/ t lt1)I

7.UOllld

7t 1or!.· !TS

rapid!)'

Ill (/!/ /Oii -

(i!//tf'O.iilio11 rrnd Rltcloric
II2. The Description of a Conversation, Sermon, Oration, Book, etc.-11 cn1n: VI. Unitv <Jf
effect is secured in each of the tlHL'e models which
follow in this section, hy assigning- a fondament:tl
quality to th e oL>jcct de sc ribed .

.'\ :-C .-\L\' S I S UF TllE ;\[u!JEJ ,

1.

Tlte j;a ra.<.'raflt slntd111": is tlt r sn!llt' as

n10 / h 1r / .

1'ruve tliis

1'11

Descnpt1iJll·

sl~llcn1cnt .

'!'li e a cti<>n~ . u r fc: e ling-s (gi,·c·n b ril'lly). of several persons.
\\' hat i ~ the: fundamental quality ' D•) the dt:tails selected enforce
l

11 i ~ q ucll it y ?

I 1 I.
Description of Occasions in Pictures.
Describe the picture faciu:;- p~tgc 316. Use for the
Jirst par:1gr:1.ph a situ:1Liv11; for the second, a descrip.
lion of ;1 n occasion ur assem bb.ge, with excitement
.:ts a fnncbrnc:nt a l cp1al ity .. Supply any of the situation cle m ents th :tt :tre lacking.
It will be necessary to consult the encyclopedia .
fur i nfo rm :1ti•i11 in regard to the Circu s Maximus
ancl 1<-<>n:tan chariot racing . \Vl10 took part in these
races ;, \\"h at ,,·e re: the p rizes o!Te r cd? On what
necas i"ns c1 itl cli:tri<>t r:tcing t:Lkc place? vVhere
w.:ts the C ircus l\hxinrns and what is the m eaning
nf its n :1rnc) 1 low dnes th e painter contrive to
cxprL·ss in this pi cture the intense effo rt of the
ho rscs and d ri \'Cr.-;;,
rn o rd er l<) \\'ritv an int c reo-:ting- paragraph on thi
picture, )"> II m:ty find it l1L~ ccs~: 1ry t o individualize
some of the charioteers or membe rs of the audience,
giving these persons names. It \\'ill be heTpful also
to reacl other famous d escripti ons of occasions simi·
br to this, Sllch as the ch:uiot r:tce in Ben Hur and
the uo:tt race in J i1m Rro7, ·11 at 0.1/ord. All descrip.
tions uf corn bats . ·\ \'hethcr bt:t\\'ee n individuals or
numhc·rs, may be cl:tsscc1 und er this heading of
oceas10ns. Find other pictures that treat'of occasions.

A.

DESCIUl'TI!>:\

~ '· S1 ·: IDI!>:\.

\)J-"

:Mo1n:1.
a 1101·.I)' and ral/1,1 t'11co11 .i1'(jll1'/!/1al
effort. The preacher had little to say, but he roaret1
that little out in a h:1rsh, unmusicai voice, a ccompani ed
by much slapping of his hands and pounding of the
table. Towards the encl be luwercc1 his voi ce and began
to play upon the feelings of his will ing hearers, and
when h e had won his mce(l of sobs and tears, when he
had sufficiently probed old WOll!Hls and made them
bleed afresh , wh e n h e had conjurecl 11p dead sorrows
from the ;;rave, ,, ·fteit ltc /111d o/Jsc11r!'d tltc s1111 of /11 ·a-;•01/r
lwpe wit!t t!tt · ;·apors of carl!d)' gn1/, ltc s1rl do:<'11, satTl1e .l!'rJJ/Olt 7i't7S

isfied.

-PA UL LA\\·1u-::-c n : D1 •;-.; 1u1:, 7'/r,: U 11c a//,-d.
..:\i\ :\ l.\'SI S

t

q: '1 llE i\l(J] 1LI .

The par ,t,!.._'"rttflt slr11 c /11r,; is the S£011t' rrS in .1/o/i1·" I
2.
The malt!r/,t/ us,-d /(!'"' '''" !up///,: .f"11t!tllllt'11/,1! fJ">1!il1 •:
The mann e r of th e speaker. His style of speech. The effect on
his listeners. Jl is s11l1jn:t-mattc r.
What is th.., ftt11d:unc:nlal quality? In what sc n ll'11c·" is tl1c·
manner of the spcak,;r desnibed? I I is style:?
3. f)tl71ll' t'S 1t.l'1'tf /11 //i1· /i ,1111i/i11.1'· t1/ 111<1/ , · 1 ·1~ 1 / ·
Three metaphors. f.i 1lll them .
I.

B.
.

DESC l.:.l l'Tll );\ ( )J,'

.\

C1 1;\\'Fl{S,\TI< ):\.

MonE1.
T!tcre is 110 01!rrlai1111101t so /11//

1:/ q11id

plrns11/'t' 11s

the !tearing a !trd)' of c11/tivalio1t a11d nji11e111c11t rd11lc
her day's expcrimce in her daily r ounds of calls, charitnble visits, shopping, errands of relief and cond olence.
The evening hu(lgct is licttcr than the finance minister's.
. . . I don't mean gossip, by any means, or scandal.
A woman of culture skims over that like a bird, never

''

Co111fosi1 i on a 11d Rlff l or t'c
t ouchi ng it wi th t h e t ip of a win g . ·wh at sh e brings
borne is the fr es h n ess and b r igh tness of li fe. She
touches every t h ing ~o da intily, she hits off n. character
in a se nten ce , she g ives t he pith of a dialogue without
tediousness, she mimi cs w ithout v u lg-:lr ity ; h er n arratio n sparkle s, but it d"csn't sting. The p ic t ure of her
day is full of Yi':aci ty, aml it g i\·cs n ew val ue nn d freshn ess to comm on thing·s. !.f 7.ee cou ld only /11me on tlte
stage suclt acl rcsscs ns -;-, ·c /1a•·c in Ilic d r n<l' i11g roo m!
- C 11 AR!. ES D UD LEY 'V A RNER , /Jncklo,r; Studies.
J\ ~: . \l. \' S IS U F Tii l:: J\f tH>E L
1.

Th e pnrn,i::rnfh slrurlure n11d !h e· mnt erinl used z"n lhis

p ara.£: r,1ji/1 ar1· / he salll l' as 1/t l ite alw71t' dl'.H ..r1p t 1"on nf n. serJJt01t .
ProYe thi s statement. "" hat is the fu11t1ame 11tal q uali t y ? Do
all t he details chosen enfor ce Lliis quality?
..,

} ) 1:7 1 1/"c'S

11 .ft'd /11 / /J t' fttll!d/in.<

rif IJ! fl /t 'ria /:

Tw o comp:.irisons, a simile and t\\·o metaphors.

C.

Fi ncl t hem.

DE~c1uPTfll\' OF A N A u T1 10 1z's \ i\To ru;:.

Som e t im es descr iption is u sc<l in p lace of expla..
natio n, o r cxpos iti un (Part I V .), in g iv in g one 's impression s o f n. book or author with which the r eader
is supposed to be familia r.
MODEL

1'.f H1t n1s is, illtko l, n 111011g Lite rarest,
u 1/1r//1rr i11 fodt)' fir fr 1>st ; 1111 1, al I fie sa me time, it is
pla in n ll d orsi(v rccflr;11i:::cd : /11.s ,'i i11tcrity , /1 is i11disputJltt·

1·x1·dlo1ff

nltlt• air of J'r11t!t. lferc :i.rc no fabu lous w oes or joys ;
no hull o w, fan tas tic s ent im en taliti e s; no w ir e-d rawn
r efining-s, either in though t or feeling: the passion that
is traced be(lWC 11 s has glowccl in a 1i vi ng h ear t ; the
opini on he u tters has risen in h is ow n un der s tandi ng,
and b een a light to his o wn steps. 1-Ic docs n ot wri to
fr om hearsay, but frnm sig·ht :i. ncl e xp erience ; it is the
scenes that he has li\·e(l and labored amidst th at he
desc ribes : t h, ,,;e scenes. n 1de am! humbl e as they ar e,
h:wc bndl cl lJcaut_iful e1110t i11ns in his soul, noble
thou gh ts, and dcfi111lc resol ves; and he speaks fo rth
what is in h im, nut from any outward call of vanity or

interest, b u t bcc nusc his hea r t is t oo full t o lie siicnt.
He speaks it with such m cl.,dy and n \!Jdul:ttion as he
can ; "i n h o mely rustic jin;..:·ic ·· ; lrnt it is his own, nnd
genu ine. T hi~ is the g-rand sec re t for Ji11ding r c: 1d c·1·s
an cl r ctai 11 i11 g· t hem: kt /ii111 ·;,·/111 71•,11t!il 111 o~·r a11d 0111 ..
vince olli crs, /;r Jirs l 1110;•01 ti/If/ t"fl 11.- ·i11<",·d lii111.1rlf.
- T11 1D1.\ s CA1, 1. v 1.1-:, l:'s say u11 /!11rn .1·.
ANA L Y SI S OF Tl lE -:\ l o l ll·. L

'lftt.· fara J::-rilfh slr11 r l 11r,.· i s l ltc so 111,· 11 .,· in .1/111i7' t' I.
~
Tilt! m a l e ri,zl u s,-d i s : the auth1>r's s ubjc:c·t-rnattcr i 11 g e n ·
cral; t h e s pirit of h is \\Ti tings: llis style
3. } h·victJs u sol i11 h1111dli11.i:· of 11url.-ri nl: T h n.:<- metaph"rs .
I.

IIJ. Pictures Suggest in g Mot ive VI. 1 >cscrihe
in the form l•f a siluation lh c picture fa c ing page jj('i .
Find out ,,·ho the ch::tractcrs arc b y read ing the life
of Milton . 1\ s a <le scripl iun 11[ th e genera l character
of Milton 's wo rk would be t"o cl i fTlcult for t husc who
are n ot ve r y famil iar w ith the subject, th e follow ing
sonn e t m ay be r c:id inst ead:
I p ace th e soundi n g s ca-hc:i.ch and hch oltl
Huw t he \'olumin o us h illows n il! :ind run ,
Uphc a v in g- a nd subsidi ng, \\·hilc the s un
S h i nes t hrough thci1· sl1 ee tcd e m erald f:tr
un rolled ,
An d the n in th w ave , s l ow gath e ri ng fo ld hy fold
All its l oose-f1 11 wi ng g-nrrn c nts into one,
Plunges upon the sho r e, and !1o< •cls th e d11 11
Pale r e ac h of sands, :i.ml chnngl's t he m t o g.dd.
So in m ajest ic cadence rise a nd fa ll
The m ighty undulnli(l ns (>f t h y son g-,
0 sightless bard , En:,.:l: t11cl's J'd a:o n ides?
An d c \·cr and anu n, h igl1 o\·cr all
Upl ifted, a n inth wa\·c S11Jwrl> ancl strong,
Floods all t.l1e s<>11l with i ts ll lL·J .,cli1>11s sc as.
-Jli-::--1,y \\-. L nN<:F J·: J.l.• 111 . s,,1111,-/ ''" .lfi/ /,•I/.
Su<:cESTI ON~. -- '1' 11

Fi nd three mctaph .. rs.

what i ~ 1'Tilt1111':-:. p1'1L' lry hl'rt' con 1parcd
Fi11d a situ aLi ' •ll i11 thi s po<.:lll.

~

Co111posil io11 1111,/ Rl1doric

n4. The Description of Mood.-M OTI\'E VII.
Unity of effect is secured in th e following d escription by the use of :1 fundamental quality:
l\I ouu.
The more he thought of it Ifi e blnr/.:rr sco11cd !iis
i11gralitudt'. He had ac tual ly in sulted th e man who
had saved his life! The blood rushed to his cheeks;
his r emorse grew keener and keen e r, and his philosophy
\\'as of l ittle comfo rt . Ha\· in g eaten his last bunch of
raisins, he pushed away hi s plate angri ly, threw his
napkin on the table, and went up to his roo m in a very
discontented frame of mind .
"I've behaved abominably," he said to himself.
"\Vhy sh ould I ha\·e offc ncled him ? There was no
n eed of saying what I did. R enection always comes
tuo l:tte with me."
And strikin;:; his head with l1is hand he paced up
and do wn his r oum in the gn)\vinJ::· darkness
and in the s il ence and darkness //tc 'i.'O)' ln1sio11 of !tis
11cr<1cs 111nde liim more and //lore rcl/lorscJ11!.
-

DEMETR IOS

R1Klol..·\ S. Tales.from

l!tt'

/Eg·ean.

A1>ALY s1s u v ·1111·: ;\f ou EJ .

r.

Jilt! para,t:rr1/1h sln fl'l/lrt! is tlt1· s<1111c as //wt of Desert}·

/1~Jl/·/ll (} fi'l•1' /.

i'r<>\· e this st:tte111ent by detcrmining; ,,·h at thc fundame ntal
quality is and what details enforc e it. anrl wh e tlwr th e last senl <.: 114..T s11111n1ari zcs t ht: dc script ion.
- · T/1< 111111i'ri11/s 11so( lu rf,·7•,· /,1j> t/11· /1111d1 1111t•11/al quality
11.
The physical t.:ffcd upon th e one who feels the
e motion.
/1. The effect npon hi s a ctio ns.
i: .
The effect t1p<>11 his tl10u g; ht.
ProvL' this by ll 11 <1 i ng in the a!Ju,·c model e xa mpl es of points
''· b, anc] ,._
3. A d, .,,,,;_.,. ft, ·r,: 11s ,·d /11 flt ,· l1 1111dli11g oj flit' 111atenizl is the

diri·d

q uut at 1i•11.

Find th e qnntation: Not e th e par:tg raphing.
\ht:: la\\·s for paragraphing dialngt1e ' \Sec~ 53.)

lJoes it follow

IIS. Mood Description in Pictures. In the picture facing p;tge 358 what ;tre the situ;<tion clements:>
Is the time given or must it be supplied;, l luw do
the a ttitud es and expressions uf th e el11lc1ren sh<)w
th e ir feeling-? \\Th;tt clo you think of the ehar;tcte r
and appearance of the teacher) Is this an /\ merican schoolroom ? Do ynn find any humor in this
picture? \ \That specia1 thing is each (lf the pupib
cloi n g? \Vhi ch chilcl i nt c rcsls you most;, \\'hat
detail s of place do you notice, \\rhat thoughts <1"
you im ;t g·inc p;tssing through the minds 11f the
chik1n.:n?
1 kscribe the pietnrc. l/1,· f'ri11111r_r _<..;d1011/ fl/ /,'ors,
acc1)rt1ing tu the following· pbn:
First paragraph-- a sitn~tti o n (TypL· L\.
Second par;tgraph - a description of the n1•>••d ul
the children, making s!11d1011.111!'.1s the fundamental
quality.
Third paragraph -- a description ef place, the
schoo lroom . using as a fundam e ntal quality, lh1rro111css.
Bring- tu class, if pussiblc, other pictures which
express mood primarily.
II6. The Description of Climate or Season. MDnn: VIIT. lTnity is secured by the use uf a fundament;tl qu;t]ity in the follo\\"ing· description of the
wint e r elirnate of Normandy :
Mo 1>F1.

I/1r ,·,,,-/y ft1rl o/ 1/11· ·:, •i11!t'r is 110/ ,-o/,/ i11 , \'or1111111d1',
espe c ially by the sea. As long as the \1· csterly \\'in ds
swecp across the Atlanti c, the air is soft tlwugh clamp,
with fine mists h a n ging in it , which sh ine with rainb<>w
tints in the sunlight. Sometimes Christmas and th e

I I- .l'

Ne \\' Year !incl the air still .~c ni al . in spite of t he short
<l:t ys and th e lo n g r:1111 y n i gh ts . ~tr u n g g;d es may blow,
IJll t so lon ..· as the1· du not come fro m th e clry e ast or
fr osty nort'i"; tli ac / , 110 rod sc'i.'1'l" ity of ;un1 tli cr.
-

111>1;,\ SrnrT 1·u:-.:, .l ft'r!td L.uni/.1·

Cross.

;\ '.\. , \ l.\"~ I ~ ' JV 'J ll E )l ulJE I.

'!Jl <I/ '7 1 1:

1 J1c·
I.

part1. ~·r aj1/t slr11 t· /11r ,·

/s I /Jr _,·tT111, · 11 .,· i n

n7.

The De s cription of Music, Sound, or Odor.
-- ;..l "T I\' t·: lX. l : ni ty uf imp r ess iu n li es in the u se
o f a f u nd :pnc n la l q u ali ty i n the fn lln\\·in g d e sc ript io n s of nu1sic, so u nd , and odor :
D1·:sc 1, 11·-r 11• :\ 111 :

It

1

- \\r_\:) Jll ~LT t 1>J

li-:.\ ' J '.\4 ;, 'f'/1,·

A NA L Y:-i!S 11F Tll E

{N<n i.: ·1q 'rE\1 ·111·: 1\ . :_ ~r. )t i\· t·s .~. q, ;lt1d 1•_, a~·l' i ~1t c nde(1. fo r use
in t he an~1h· ~ is 0 1· Sll~tl..::-.p L·n.: ' :-; .J / ,·r rh 1111 t '!I I 1·11 1( ·, ., :-;L'cl1o ns 289
to -:.!.<)!, a 1Hf t 1the r p i1..·ct:s 1>( litl'r~itur1...· . ThL' ~twlc n t \\'h 1 1 i ~ beg in ning t he :-; t udy uf cu1n pu s itiun should no t he : l ~-d..:c tl to \\T1te u pon
thl'm . I

1

·"' vas t p il e , and s ee ms t o pr th e v e ry walls - the air 1s
stnnrn.:d - th e se !1 scs a r e 0 1·e r\\' hcl m cd . 1\n d n ow 1t is
winding up in full j 11b ilcc - it is risin g from tli e L'arth
t o h eave n-/ ///· ·1 •1 ,.,, S(lll / st'f'111s raf t 117 <'17)' 1111d jl1 a tol
upw ards //I t 1 1!1~1· S7c'1:!!ini;· tid,· 11/ /wn11 011)'.

/ )1'Sl-Y1plt(J 11·

P r o ,·e the ;t b•l\'c· ,l~t lc: n1e11t. \\"il:i t i,; tlie fund: une nt a l q uality ?
~
"/'/i,· 11111/,·ri.d " ·" ·dis flt< ji/t ,:11/J111<1111 t!/ fft,· 1<' l' ,rt !ter.
\\"ha t special phcn11 1ne n ;.l are ll \l....!ll ti 1 mcd?

,· /.

draw n cadences ! \\' hat snlcrnn s 1\'l:t.:p in:.,:· c~ <> n L· , , 1· ds

gro w s n wr<;: aod 111<>1'<.; de nse and powc.T l\il- i t !ill s. t h e:

t.

.\ 'fi«·/, ·ft - f /f 1l1J..

J\ l 11I J1". I

f '/t t: f rtl"l1,!-,r rajJlt s/ru r l u r r· i's !hr' S(f/Jh' its i n .1 l o//; 1 r I.

Pro ve th e abuve s ta te m ent , d<.:Lc: rn1 i1 1i11:.:; fir st \\·h a t t he: fun d a men t a l q11 a lily is, th e n wli<;re it is s t al<: .I, h 1,w e nlur..:vd, and
wh eth er ti ll! l: l ~t ~i.:ntc!lCC su 111n1ari zcs tl1~ \\' b ol e de:-;c r ip l i;H 1.
2.
T ltc !!l it!t ·r ir tl 1fSt'd / _,· :
T he e ffe ct pn>du ce tl (.1) on the: ScllSl:S; (h ) 011 the: l11 1il.Jing C'ITI ·
ta inin g th e in st rum e n t or s in ge r; (<) 01 1 t he rni11d. \Vil al are th e

spec ial effeds menli•i n ecl i n t ile m "il c l?
3. T it,, de<•i1.'<'S u s<d i1t l ite k1 11dli11,:,·· 1j. / /1 ,, m a l c r i 1t! ,tr ,·
'l'b c desc r iptio n of tltc sou nd s a s 1/1 (f t,·/ / o n . Fin cl ex arH pl c 11 f
thi s cle ,·ice in t h e mode l.
Fi n <l e x a m ples o f the u se o f til e exc lam at• ·n· scnte n c·c· . l s it
effec ti ve? Fi nd t hree 1nelap ii o r s a1 11l a 't11l ilc.

M us ic.

~]1 J l>EI.

S11t!rloilr t /11 11/lli'.1 of 1!11· tloj>-l11!1or i11.r: orx an !111rs1
11fo1t t !tc ,·,Ir , fallin g wi t h d oul1 lcd and r ed o ubl ed inten'.
sity, an<l r ulling, as i t \1·e rc, h uge bill o ws o f sound.
Ho w w ell do t hei r v o lume a nd gra nde ur a ccord with
th is mig h ty bu il di ng ! W ith \\' hat pomp d o they swell
t llr ou~ h ils v :.st v a ults, a rnl b r eathe the ir a wf ul harmo n y\ hruu ~~·li t hese C L1· es of de;it h , and make the silent
sepulcher V(1c:1l ! J\nll n " w t hey r ise in t riumph and
a ccla m a ti on J1e;ivin •" hi i:; ll c r and hi:.,:·lic r th e ir accordant
notes, and piling s111 ;~1d ;m soun cl. Am1 n o w th ey pause,
:111ll the soft 1·1, ie cs o f th e c h o ir lirca k o ut into sweet
gus l1 e s o f me lody ; t hey soa r al oft, a ncl warble along
th<.; roof, and se e m to play al.iuut t hese lufty vaults
lik e th e p 11re a irs fJ f h e a\'l:n. A gai n th e pealing organ
h eaves i ts t hrilling- t h1111dcrs, co m p re ssin g- air into
m us ic, ;i nd r o llin g it {" r t h upo n the so ul. Vifh a t long-

ii Ii 11) EI.
f f ind t/11 · so1u/ll <'f t/1 c m 11-;:,•i11.g·-11111cli i 11l' a 11d r!t, · ji11/01 !
. reaper an· . . . . i11 t1111 c -;: ,•1/!t t/11· ·;1111c1sof 1Va;~11- <'
at t/1 1s sur.w11 [ the sea so n u f sum m e r h a rvest1 11 gJ.
i he
charac t er is ti c so 11n d s o f rni ds nrnm e r a rc th <.; s h ar p, w h irrin g c r esce nd o of th e c ica d a u r h a r vest fl y , an cl th e r asp ing , s tr id ul ous n o tes o f t he 1_1 0Ctu r nal inse ct s . The mo wing -machin e r e pe:1ts a nd 1m1 tal cs these so 1;nds .. 'Ti s
li ke t h e hu m of a loc nst or the s hu ltl rng ot a m ighty
grassh oppe r. . . .
T he tinwthy s ta lk is l ike a
fil e ; t he r ycstra w is glazed w it h fl lil t ; the g-rasshoppers
snap sh a rply a s th e y fl y up in fro :lt o f yo u ; t h e 1>l rdsongs have cease d; th e g ro nnd cr a ck les 1111 cle r fuut ; t he
eye 'of Jay is b r assy and lll e r c~lcss ; a nu lit /wr 111, 111y 7,i1 t /i
all t!tese tlti11g·s is till' r a t tic oj till' 111o·w a a 11 d ltay-tc(ldrr .
-

j fl 11 :"1 l h·K 1<.ou1 :1t :-; ,

J:/rds an d

f) tJt ' / S.

'•

,,,

• ..-,

i<

.·

175

174
..-\ _'\:\i. \" !l l '." uF T l lE

~f U lll·: I.

1.
'lite .faraJ.t rofh slrul ·/1tr t! is llte sr1111c as in _J foli1 1t• f. ·
Pro ve this st a tc.: 111 c·11t. lJy <lclc'nnillin).( firs t " ·hut th e fuJJdumentul
quality is, th e n 1,,.,k ing for th e cl i:uacte ri z i11g a11tl su111111arizini;
:-;c11tc11vl'S al tile !Jcg i1111i11 g a11d the encl.
Show that eac h <Jf the
o th e r sc llt e1 1n:;; cnfort"cs th e fun,lanH:uta l qual itr .
2.
'lit e 111'7/,·r/,r/ ttst·d:
·

Find a st:ries ..:if co1npari~ 1 >n:-; b et ween thi~ ~Uhl ut hc: r similar
snunds.

lh· 111{:·t: :•1 11 st·d 1/1 /It,~ /J11ndli11:_: of 11111/,_·r1:rl:
s imi lc:s a re 11'c:d. See if \ .
c-:rn lind th e m.
Fintl also a m e taph o r.
-

J.

.,;t

'!'"'"
C.

Th:suz11•TfO/\

()Jo' ' ' " (

)1, n 1z.

?If O J> I·: I.
l 11111 lllJ'i!/,·d /._1· its r. ·ltri/'s] f u slt and 1'11dr·sn·rl1ablc
od ors - th e pL:rf t1111l: o f" th,~ lrnrsting S(J rl, of the quicke ne d roots and r<Jotlets, (Jf thc m ould llllLkr the lt.:aves,
ol· th e fresh fu1To\\·s . N() othcr lll () ll til has o durs like
it. 'l~h e \\' CSt \\"ind th e other day came fr : uq.~ht with
a per!um c th:-it \\·:is tu th e sense of sm ell what a wild
and <.klicatc strain of mu sic is to the car. It was almost
trnnsccndental. I \\" a lkcd across th e hill with my nose
in the nir taking- it in. . . . . I ima~inecl it came
from the willows of a dist::i.nt swamp, ~,·hose ca tkins
we r e: affnrding· th e hl'cs th ei r first p"llcn, or did it
,·nmc from much fonhcr .-frum hcyond t he horizon, the
;_t ccu mulat ~~l brcat!i uf innum e r alJ!c farms am! budding
to r cs ts? Ili c 11u:u1t du1 ractcn.i/1( of /lt,·sc .-lpril odors is
!lteir unc!oy111K }rcslu1c;s.
-]<•11:-; lh·1uu w1; 11 s , /lirds and P ods.
..l\..':Al.\. :-- 1 ~

(1 F

Tii i·'. )l< JJll-'. 1.

1.
l/1,· f"1ra,1.,• ·rajlh slr11, ·/1rn · is //t,· ·'""'c "". in ./)r:scriptio11mo/i71e ./.
Prn\·e this statement l>y <letc:rmi JJin g first the fundamental
quaiily a s before.
?
Th e 111a/c· r/al u sc:d t u rf,·-;11·/oj> tlt/s 1110 //11r i.\':
<1 .
Th e eilc:ct u pon t h e: se n :<cs.
b. The effect upon th e mi nd .

Find th e Sclllenu: s al>u\·e \\'hi c h gi\"l: th e: effect on th e:
on the mi11d.
3. fl c 111Ct.'S us,·d in /ft,· h1111dli11,:..,r tf 11111/,'rt"tl :
F'ind an instance of the use of the rheturical qnestiun.

S<'ll'<.' '<

n8. A Picture Suggesting Music. The picture
facincr
p;i 0t q_~ .)cio
has for its Jl1()tivc 11111si1-. whil·h is.
b
'J
p e rhaps, l ( 1<> dinicult for sludt:nts of elementary c"111 pns1tiu11 to use e xcept for purpuses of ;rnal~ ·s i s . \\'hen
th cy find a piece: o f literature or a picture ,,·hich
contains it.
vVrite o ne p;:i.ragraph on this picturt::, g1nng the
si tu:i.ti o n.
\\Th at is th<.:: tim e ? \Vlnt clemen t or cl e m e nts
docs th e title give or imply? ls tlwrc an y thing in
the picture to suggest musi c? to sugg-L· s t s ilence?
\Vh;:i.t details of place do you notice /
0

119. The Description of "Audible Thought ." MoTJ\ E X. Audibl e th ought is mcnt~tl ckb:tting.
It consists in th e giving of r c:i.sons for ur ag·ai nst a
course of a c tio n.
The unity in this moti ve lies in :t funchmcnt.11
que stion of co ndu ct tu bc dec ided, as thc followingquotation will show:
MODE!.

Bui <i!li)' not as/.: ltcr ar/11/cc in co11jiJc"1tff .? S he was
a woman of sense and experience, and cou l<l probably
find some way o u t of their quandary. Mr. Liakos was
on the point l~f going l o his cousin, hut he r e fl ected that
it w o uhl be a gra,·e indiscretion to impart the secret to
a third perso n with o ut his friend's c:mscnt, a1H1 he felt
too that it would 1Jc v e ry weak 111 him not to perform
loyally the duty he hacl undertaken. l·~;rwarJ, tltc11 .'
Courage.'

1-~

I I

.-\ .'.\I

llt l'

I.

111ul '7h' I

y -. rs

11/· ·1 11E

.\In n t-:1.

jJara.!.!r a lJ!t s /r11 1 /11r1· ;:..,. lh <'

l' rove thi s

,

I'

f)

.<r1111 e , 1 ,,Ill

') ·

1'.l'i'l"l1

lliJ11-

st:iteme11 r.

i!tt' JJ!lf /l· r1~ 1 /y 115 ,·d ar1·.
'l'he pros :tlld C Clll S o f ~l C1H 1r:->e ,f :u:t io1 i:
].
flu· t!, ·1 1 1~ ·rx 11r1 ·./ 1>1 //1,: h11J1dlti1" or //: 1:
'l 'I fi
·""' :;
2.

I

'' ·
11 .

·riit' .

111 1·1 /
'

'

•

, , h.: 1rst sen t<.' ii l·c is .i n lile fo nn of ;1 quest ion.
I h ~ 1:1:; t se n tc nu.: i s i1 1 titt · forin <If. a c n111n 1and.
, ·.
Jn t hl' :trr_: 11 :gL· 111 c nl (1r till' j>:tr:t g r~ q>li t h e art1·ument
; ;,,. altcr11 al<: s \\·1 th til e ·1r ..·
.
· ·
"
. . .
). ·
.
· ·"- 111111...: nl <1.~·a111 s l tli e prnposed
~h. .: tlt11 1.

120.

l

Jl)\'l' t ll! ~

s tatL'JllL'nt.

Us es of the Description -motives.

motJ\Ts an..: . tu be used in <llll
both an a lysis :ll1 d sy n lhc.sis .

\\"l)J'k

These
f(J r purposes of

They 11·iil hc c o111 h i11 c'111·ith th e varioll s kinds
bl'C ll stu d,·ing, antl w ilh cxpos:t10 n , a r g um cnt:tt 10 11 . or pcr:-;uasicm (sec J-:>arts V. and
\, L ). 111 ascric.s of thc;mc- rnucl cl.s cxlcncling Lhrnugh
th e r cmalllckr of th e bouk .
t.

~f _narrative w e li:t \·e

2. The y arc to b e 11 scd togcL her \\'ith the situdti o n and r c lrnspc_c,tin: and for\\'ar<l-rnov in g- n a rrative 111 analyzi n g J/i, · r:r m l S1c111!' I~rff (~ i 0i), which
is a se ries uf narraLl\· e and <1 cscriptiH: m u tives.

r2r. Need of Me t hod in Description. This
~ encs o f <lcscriplinn-mc >l i1· cs. ;ill d rawn f rom dificrcn t autl'.<1rs !Jut crrnslrt1L·tccl on th e ~am c pbn,
mt~st h ave impre sse d up(ln the sluclent the fa c t that
wn
\\' ()J·]·
f o 11 owmg
.
_ tcrs
., , u s. e met h od in their
.
'. rl'J1e
.
ext1 ,le~ will sho w h o w l11g h a ,·a lu c Co le ridge puts
u pon t h e advantages of nrd c r an<l de s ig n in any
krnd of compositio n:
1

:·~ h <it is th at '."hi ch first s tr ikc.s n s, and strik es us at

on~c, '.n a man o~: cducall c: n, and which, am o ng- edu ca ted
men, su instant]) d1 s t111gu1shes th e man u [ s u pe ri or mind,

that (as \\" as lJbscn·c;tl \1·ith eminent propriety (Ji the
late E dmund J1urkv) "\\·e cannot s tand 11n<ler th e sam c·
arch\\·ay, t1nrin ~ a slHi1\"er of r ai n, \1· ithn ut finclin;:; him
out"? N o t the we ig·lir o r n ov elty of his rem arks , n<•t
any unus ua l in t e rest r1f facts communi cat ecl lJy him ; f" r
we rnay suppr1sc 1l(Jlh the one an d t he othe r precl11t1•_·cl
bv th e s hc1rt11 c:ss uf onr intercourse, :11111 tile t r 1\·1:1l:1v , ,f
the subjects. Th e cl1f'kn·nce "·ill lie in1 pn·sq·d :i nd fvl :.
th ough th e ccJn\·cr sa ti•>Il sh<> lll d be crn1 li11c.:d ;, , ~he st:1t c.:
of the w ea th e r o r the: pa1·c.: m c nt. S til l le ss 11·ill i t aris1·
from an y p cculi<trit y in his words and phr:1 scs. F<>r if
he be, as we n rJ w a ss um e , a 11· L·ll -e dlll.:atcd man as \1·cll
as a m an o f superior iw we rs, he \1·il l n11t fa il to f<illnw
the g olden ru le of Ju lius Ca:: sar, i"ns11/c11s 'i'r r b11111,
t a1111;11 a m .l"l'1>jJ1tl11111, , ·;·ilarc.
Unless where n ew th in.L:s
nec essitate n e w t erm s, he will .avoid an unusual w1 )r d
as a rock. It inu st ha1· e bee n amon g· the:: e:1rl icst lcss <>ns
o f his you th t hat t he breach t1f thi s prL'('ept, :1l all t im es
hazardo us, becomes ri d il· td cl!ls in th e l< )pi cs 11f or<li11 :1ry
conv e rsa tion. There remains b ll t on e uth c r 1mi11t of
dist in ct io n p nss ilik ; and t h is m ust he, and in fact is ,
th e tru e Ca USC o f tlle i Ill p re ssi <in mad e Oil llS. ft is tJic
un p rc m e cli ta t etl :ind evidently hah it u al 11rr1u1.1;01111tl of
his w o rds, gruu1Hkt1 on the h ab it uf fCJrL·s cc in ,~" in c:ic h
integ ral part, or (more p la inly) in c;1T ry se nt c ncl', th e
wh ole th at h e th e n int e n ds t" •: <>llllll lln ica le. l l•11,·cve r
i rreg ul ar and d es ultory his t:1lk, there is 111/'//1ud in th e
fragments.
Li sten, on th e oth er hand , (Cl an i.~11<•r:tnt man , th e>Ug-h
p e rha ps sh re 11·d ;:rn<l ahle in his parti c ul a r c:tlling ,
wheth e r h e he; descri bing or r elat ing. \Ve imm e dia tely
p e rce i ve that h is mcm.,ry :tlon c is c:1l lctl in t<> aL'li<in:
and that til e ohiccts ancl e\Tnts r c c 11r in the n :1rra tiun
in the same (1rd~r. and \\'ith th e same acL'. 11mpa nim e nt s,
howe v e r accidental or im pertin ent, in \l'hi ch t hey had
first occ nrred to the narrato r. Th e nee<.: ss ity of taking
breath, th e efforts of r cco ll ccti0n, and the abrupt r ec tification of its failure s, produ ce all his panscs; and, with
the exception of the" and th e n," the "and there ," and
the still less si;.:·nifi ca nt ' ' ;rnd s,,," th ey constitute lik e wise all his cunnectio ns .
-

12

SAM U l·: L rrA \'LOR

Cu l.E H.llHj l·:,

Jl1 c 1·1-i t.' fld.

.:;.

~

,•

'<.

122.
Other Types of the Parag raph. ( )f course,
we fi nd i n literature p:nagr:1phs \\·hose structure
differs from th:tt uf the type of paragraph used
throughout th is chapter; namely. tlnt \\'hic h places
the topi c SL'lllc n cc at t he beginninb:' and a surnma.
rizing sentence al th e close . \ Ye arc n ut attempting, Jw,1·c\'C r, to consi der here all the possib le kinds
of p:1r~tgr:1ph structure . If stll<k n ts master th is one
type in the time genc·rally allotted to the study of
elementary e"mp()sitio11, they " ·ill he doi ng all that
ca n r easo n ably be ask(.;d <) f thc:m . Mo reove r, this ·
type of paragTapli is the one: tli: tl c:mbuuies most
clearly the Ja,1·s pf u1i,ily and cm plusis, which are
th e ;..;rc:d: priilciplcs n"l only ()i liLcralure but also
o[

'
.....

a l l the 1)tlier ;1rts.

E>:. \ ,l l'IYS

l> I·'

Till·:

Th:S('1'li'T IO'.\ -J\I (J TIVFS

TO

BE

CL\ SS l Fl 1-: 1>
1111 tlie stu<ly " ' the ,·ari"''' rJ ,_.,nipti•11 1-mutivc:s which arc. ·
~i\·l..!11

bel l) \\· , the stud\..·nt slH1u ld 111,t f1 1 r .~ L·t that ln d oi ng this ana~­
lyti L·al \\·urk hi.! i:' prepari ng lti 1 n~ "· l f t 1 1 \\·:·i tc Lh e various them"°'
111olkls i11 l'arh 11 . Il l.,\' .. a11d \'l "·hi ch i>l\'lllve c.lescr ipti on. J

~

f.

.

l2J.
General Questions on· th e Following E x·:'
amples. In the first part o f this chapte r we becam
su m c,1·] 1a t acquaintc c1 \1·ith the principal d es criptio n~ ·
mot i\' es. \\'c shC1ulll 1w,,- bL: able lo distin g uish one
uf these from anothe r \\'hcn cn:r \1·e meet them in··
literature. The follm\· in ~ cxamplcs a re intended to
afforc1 pr:1cti cc in thi s cliscrimin:ttion . The student
is to cbssify them as to moti1·L· and structure
an s "·cring the follo\\· in:;· questions :
I.

2.

11ni!J1

lf'llill is tit,· d1 ·.1t'n'p!i1>11-111oth ·c ?
// '//ll / i.\ fl/1' ji11t.l/llli< ' //(c/ / ljlf(/lif)I 7c'lticlt
lo

t/1t' 1kso·ipliu11.Y

·.

. ·-

I / \I

3. !>u1'.1 lit« first so 1/01a s/111" //tis lj lllllitj'., !s it
slt1l<d dir<'cll)' or i11dircdlj·.:-'
4. D ut'S t't1d1 of lite ut/t, ·r so11i'11t"l'.1 01) i'ri" t/11's
lilltllilJ' /
5. f)ocs tit, · la s/ so1/ c11l'r s1111111111r i::,f 1/1,· d 1·s1f1Jl11>11
or gh •t /IS {l St'llS<' of ( ii/11/'kll'!l(SS /'1 ~(t1 rd1!1,(' ii ,,
(, _ lf '/mt is t!te 111alt'rial usu/.!
lf'/m/ 1'to11s ar1·
sdalt'rl i11 rnd1 pa ra/;rapl! ?
I.

Bes ides, snme or tile s m :-tllc r c it ies arc c harmin g . Jf
they hav e an old. chu r ch or two, a few s tately mansion s
of fvrmcr g-r:-t ncl ces, here a ncl there an old dwelling
with th e scc<, 1Hl sto ry p roj ec ting ( fo r the co nv e ni e n ce
uf sho"ting th e Jndi :-tn s knock in g at th e tront-Joor
with t omahaw ks ), - if th ey hav e, scattered abo ut, th ose
mighty squ a r e hu uscs huil t something m o r e th:-111 half
a ce ntur y ago, and sta nding li ke architec tural bould e rs
clroppe cl by th e fo rm er diluvium of wea lth, whose
re flu e nt \\'ave h as left th e m a s its m o nument,- if th ey
ha ve gardens with elbowed app k-trcc s tliat push their
bran ch es o\· c r the hi g h llo:ird-fence and chop their fruit
on th e s icl e -\\' al k, -if th ey have a little g rnss in the sid cst rc ets, enou gh to beto ke n quiet with o ut proclaiming
decay ,-- I. t hink I co u ld go to pi eces, afte r my life 's
w ork \\·e re done , in (>ll C uf those tranquil places, as
sweetly as in an\' c r:1dk: that an olcl man may be nJcked
to slcq> in.
I visit s uch spots always with in fi nite
delight.
-

0 1.1,·E R \V E:-< r1F1.L Hot.ME S,

Th i· Autocrat of !Ill! Brea!.fast Table.

The example quoted above describes a class
instead of an indiv idual. This kin<l of portrayal
we call rlt'scriptio11 g mtrali:::o l. J t resembl es exposition in that it gi\'CS us the general characteristics
of a class. C:rn yuu fincl any other examples of it
in this sect io n?
SuGGESTIONs .-An swcr the ge neral (jUCstions m section 123.
Find three m e taphors(§ 107) ; two simil es(§ 100) .

,

180

1J_

T h e secret of the young- 111 , • __
and abstractcc1 nmbit io n . ~ I!~l~ s c 1iar~ct,e r was, a h i_gh
an unc11st111 •' 11ishccl lif. I 1 t
could h.tve born e t o li ve
_g-ra v e. Yea7"ning dcsii~ l~;\ d ;~~~ nt•: _be: _jor_-gottc n in the
and hope, lo ng- cherished h ·td b 1.111 s o1l.1kn cd t o h ope;
t h at. olisc 111 -.·Jy' 'ts lie . J.<l ' '
ccome 1 ·e cert a inty
~
··
11r ncyc(1
.
•
liea m o n all his Jat h wa . ,n O\\, a glor y was to
he w as t reading· lit
Bt?t '
~hon 1-,l 1 n u t, perhaps, whi le
bac k into the gloo 11.1 of wl1·"' i~n- post_cnty s ho uld g aze
w o uld trace the hrig·li t ne .'tt \\as n o_\, the p rese nt, th ey
iog as m ea n e r "·l0ri c s hd s~l (J_f l;1s Ju:>ts tcps, b ri g h te n.
o ne had J~assc c('rrom. hi~ c\.~{cJ'112(~oc? n t cts, tbli at a g if ted
11 s o m , wi t h n one
to r ecogm ze him.
-

0I A Tl l ;\~IE J . l fA \\'T Jf (tl~::-. 1:,

T-,,,,-, -,._ 7 i• ld

Talcs .

~ · S1 ·l;(:J-:sT r< 1:'\ ..... -..-\ ii:-;,,·cr 1
I· llld a mc-t a p!lt)r.
t le g e 1l<.: ral questio ns 111 sectio n 123 .

JV.

A n ol d ma n in a l"dgl: w ithin a pa rk ;
Th e c ha111 l1c r \\'alls dep icted ;tl I arou n d
\ V ith portraiture,.; .. r hllntsma n , hawk a n d h ound ,
Ancl t h e h u r t dee r . li e li,.;tc1Kth to t.hc la r k,
\ V h ose s11ng· cum<.:,.; wit h t h e s1111s l1inc t hro 11 gh t he da rk
O f pai n ted gl a ss i n k aclc n la tti ce h o un d;
He lis tl:neth and he l:lug·heth at the S(J tJncl ,
Th e n \\'ri tet h in a h<>ok 'tik e ; 111 y cle r k .
He is t he poet of the cb \Y n, w ho wro te
T h e Ca n te r bu r y T alc.s, a nd his o ld ;igc
.M a ci e bea uti ful wi t h song ; an <l a s I read
I hea r th<.: c ru n- ing c oc k , I h ea r th e n o t e
Of l ark and linn et, a n d fro m every page
R ise odors o f pluughl:tl field o r fluwc r y m ead .
Suc~1 • ES Tt u'.\' s . - A 11 s\\·t:r

l I I.

on

-

J<>11N M1 LTON,

L' A llegro.

111 sec ti o n

\ V.

1.... 11:'\l; F E LJ.11 \V, ['/t111(1 ·1·r.

\' .

i\n <l c\·er, ag-ai n st c:1ting ca res
Lap nie i n s11lt Lydian nirs
'
~·I a rn l:d t o i m 1nurt a I '"'-~ rsc '
Such as the meeting so u l 1~1ay p ie r ce
In_ nutcs w ith many a n-indin _g bout '
( )!_ li n ke d S\1·cct n css long dra wn ou t
IV 1t h w anton h eed ·11Hl gicld)'
.
The meltino· ,, ·., ' . ·
l'll nn rng-,
U
. . . ,., \ >1,c th1 11 llgh m azes runnin "
t.
g,
Tln twJ 1st1
. 11 .l:- al l l hL' ch·11.1
. 1s. tl1at
'
JC
n
l C 11 cJ_cJ<.:11 Sf',U! <>f harJ11(J J1 )' ;
l~ h.:1. t 01 pheu s self mav hl:a ve his h e a d
•r o m go lden slumhe r
a bed
<
~f heaped E lysi a n Jlow<.:rs and h ea
.S 11 c h st r"t · , .
' ins .is wou Id ha v c' w o n th er ear
Of P lu to t o h ave q 11ite se t free
}-I 1s h alf-rega in e d E11 rycli ce.
{rh ese d e li g h ts if th o u c a n st « ive
, i rth, \n th thee T mean to li~c. '
.,. SuC:<:Es-r1 0Ns. - J\ llsll-er ( hl·
J· rnd 11\-c me ta phors _
)-; •' lll·ra l q11c- s tJ 0 11 s

'I I E:\ 1..:.Y

th l; g-L"ne r al rp1est i ons i n scct i.,n 1:! J.

123.

B ut if there \\·as a ple a sure in all this, w h ile snug-ly
Cllddl ing in t h e chim n e y curnl:r uf a cham h l: r t hat \\·as
a ll uf a n1 d<iy gluw from the c r ackl in g wov tl -lirc, and
wh ere, of cu ll rsc, no spcctrl: d a r e d t o sh ow hi s fa cl:, it
w as ck :u ly purchased h y the terro r s of h is Sll b scquent.
w a l k hom ew arcls. \ Vhat frarful s h apes a nd sh:tdows
bese t h is path, :t m iclst th e dim a n d ghastl y gl.trc of a
snowy n i)..'.ht !- \ Vith what \\·istful look di <l he eye e\Try
trembling- r ay of lig·h t strl:a mi ng- ac r oss the w aste field s
fro m su m c <li s t:tnt wi n dow 1-- ll uw uftc n \\'a s he appallccl .
bysoml: shrub cove r e d w it h sn o w , whi c h, lik e a s h eeted
spectre, b ese t hi s ve r y path !- ll ow of t e n c1 icl h e shrink
with curdli ng awe a t t h e so un d of hi s o wn s t e p s o n a
fr os t y cr u st bl: n eat h h is fee t ; and dread t o Jo"k o\·cr
hi s slw u!J er, kst h e sh ould beh old so m e un co uth be in g
tra m p ing close be h in d h im! - J\ n cl h u w ofte n " ·as h e
thrm n1 into c o mplete di s m ay by so m e ru shi n g- ulas t ,
h o w l ing· among the trees, i n tl1 e id e a th a t it was the
G all o p in g H ess ian un u n c of his ni g htl y sconrin gs !
- \VA s111 N<:Tu:>1 ]J(Y t l\c: , T ile S!.-dc /i - Huu!.-.
S 111:i :i·: s-r 1.. ;-;s.- Answer t h e g-en e ra l ci uestions in sel'l iun

Fi n d a s i111il e; a m ..:tapho r.

Note th e u s e vf excla m a t io 11 .

1 ~3.

.....;:.,

(i1111J>11sitio11 and Rl1doric

,

Vl.

Nothing troulJk Ll it. \Vars :md rumors of war,
revul u tions and cou n tl:r -revolutiun s, em pi res an cl insurrectiuns, mi!it:uy and p ul itil'al qucstiun,..: 1 - these all
were for it th ings 11nknO\Yll and unheard of- mighty
winds th: tl arusc and blew and swept the lands
aro und it, but ncYcr came near enough t" harm it,
lying there, as it did, in it s lunclinc ss like any la rk 's
nest. Even in the gn:at clays of the l{e\'<Jlution it had
lic:en qniet. It had lnd a lorcl wh om it lun:cl in the old
<:astlc un the hill at wh ose fcet it nc:stkd: it had never
triccl to harm him, and it had wept b itterly wh e n he had
fallen at Junappcs, aml left nn heir, and th e chateau
hacl crurnukJ into i,·y -hung· rnins. The thunder -heats
uf that clrcacl time hacl scarcely scvrchccl it. It had seen
a fe w of its best y o uth march a \Yay t11 the chant of the
J'II arseillaise to fi~h ton the p lain s of Ch ampag-ne; and it
had been visited by S<•lllc ]Xl triots in b11J1i1ds r ouges and
S<>l<liers in l1lue 11nifi1rm,..: 1 \\·ho h:tcl g·i,· c n i t tricolored
cockades and bade it wear thcm in th~ lwlv name of the
Repulilie one anu indi,·i sibk. Hut it lia'u nut knuwn
what these mean t , anc l its han- cs ts had b<.:cn reaped
with o ut the suund of a sh(lt in its fields o r any g leam
of steel by its innocent h ea rths, :-;o that th e te rrors a nd
the tit1ings of those noble and ghastl~· ycars had left no
impress on its generations.
-

L< >L"1'1 ·: l•E I.A H.A~1 i'.:i-: (01· 11> .\ ) . . /

l .<<1/ i11 //i1· S lorn;. ,

S111;1 ;1·: '.'·.. l'l"N 'i. - /\ns\\·l·r tlH: gctH: ral q1h. ·sti1111s

in sc.:c ti <1ll 123.

.Find three 111d aph11rs: a si111ile.
\"IL.

These dim eyes ha,·e in Yain explored for some
monlhs past a w e ll-k1101rn figurc , ur par t of the figure,
of a man, who u sed to glide his comely upper half over
the pavements of London, wheeling· along· with most
ingenious celer ity upon a m achi ne of \\·oocl.
He
was of robust make, with a flo rid, saih•r-like complexi on ,
ancl his head was bare to the storm and sunshine. He
was a natural euri.,sity, a spcc uLition t•1 the sc ie ntific,
a prOllig-y to the simple. The infant would stare at
the mig-hty man brought dow n tu his uwn l evel. The

w<1uld ih· "'i)\-.e 111 " <>\\

11

pusillanimity,

common en pp it.:
,. ·t, l ..irt <>I° this
viewin.:..-· the h.ilc st<Hltncs..,, n nc1 1ll.ll ) ic • . , - · - .
. ,
.
He sccmct1 c: trt11-hu1 •l . ,111
half-hmhcLl lg1l,Lll\ick i.n f.re~h ,·i o·c ·r frnlll the s"il which
Antreus, :rn c 0 s
·
" · -·
, .. · ,·ood as
h e n e ig·ll1>ored. He was a ;.;rand t 1.tglrincl nt '1 .1slgl l1·t\' .
, .·
. ·1 1,
The nnturc w l!C 1 s wu l
' c
an Llgm m,u ) e.
.
.' .. .
I ·t 1 ut nnlv
- . . t · 1111·~ rcft lc·.rs and thH.;hs, \\.ts not ~),..: ' J
;
rec 1 u 1 u
·'
· "
· 1
1 ]t • 1 l -rcule •;
r eti1«:d into his 11ppcr part,;, ancl lc·tw~t1 '.~1 cc'1\ta1~r frc11.11
l l c \\·as :ts t he man-p.u
J
'
.
. • ,
. -11 ·· 1'if lnd
h cc n cl uven in some d11c
'
which t .1 1e 1101.sc
Lapithan controversy . - Ci 1.,i<1.h L . \~IH , / c-ssirys of Fli11.
St ' t;i ;J ·. "'i 1 lu'." S . - - • \ lb\'.'L' i'

questions in sectlnn
t he •,._q·neral
.~

i-:! _l .

Find thre e' 111elaph 11 rs.
y 111.

Th e Parsr1n, tno. appeared, a man :nisterc, .
The instinct of " ·hnsc nature was tn kill , . . .
. (. (·1 11 . lll""'tch c d from \Tar tu \ l«ll .
Th e wrat 11 '' f " )
L
~·
"· 11 .
J\nd r e~tcl, with fcn·nr, Ecl\\·ards o11 th~ \\ 11 .
His fav"ritc pastime w:is t<> sl:ty the dee1
l 1 ~urnm c r on some J\d1ro1Hlac hill,
E'c1~ no\Y, while \\·alking·. dnwn. the rural 1'.rnc ,
lo 1 JeJ the w:i.ys1l1e ltl1c,..: \\ ith h1~ c~nc
[I ,,
~- llF
j J
. ·;. /' / / f \ ! //111·,...,r-" ·•1 !}"//t .
~ I<\° \\#. l.,p~1;1: LJ.l.t)\\·, f l l' J//" t Si:
.

. . .

Sul;1.,L ~

.. .

111 11, . -

'\' l '-'"'L'r iht· \'·L·ncr:ll

~

• . ..

·

-

._,

1jll l....'~l i11Jl~ in ~cctlnn 1 ·~ :'-

lX .

Rcader would st t lwu know \\·hat tJ~ uc pc ac;c an~l.
.
'
. ] I ·t thou find a rclll""l: lr<>lll thc ll<ll :-,l S
· . ,l
ciun: t n1ean · \\ u 11 ls
"
. ·. f the multituclc. "·ouldst t 1wu cn.io::i .1
ancl c 1an101,..: "
·
•
.. . ·s tl1c
1
1
. , solitude ant1 socie ty; \\"<lllhst t.1011 pu,..:sl" ·. . ' .
3~pc~h.of thine o\\·n s.p irit in stillness, without being slhlutt
he ·s uf th)· s11ec1es . \\ \ lll ( ,.,
out fr o m the c<ln so l atory ~ c.
.
.
. . . ; . . i1 1•t
1ll lie ·1l unc and Yet accompamed; sol1tar:;' ) ct 1
th (
- t s·omc. to J·ec1J
t 1c<.:
,. lat ' .· singular -yet n. ot \\·1"ti 1on
~ .·
c1eso e,
.
• . .
. .. , rte. · t simple 1n comin countenance; a u111t 111 agg1 eg.1 , ''.
. .
Josite. - come wilh m e into a <Juakers meet111g-...
f .
.
·-- ( ll A l<l.h L .\~IH, F.s.rnys of ! :ha.
c

~ ...... -- An~w t. ·r th e: t:rencral ftlH:'-'t1nns in seL·t_\•)11
S ur.t.1.,s 1 11 1 ~ :-. .
- f th e sanH: ~ra 1n 1na l1 c al
Find instan ces .,1 th e re1?ell ll o n u
.
.
slrm:tion. (~cc Chapter X .)
_

•

•.

,....,

X.

The trouble with the boy '.s iil'e is that he has 11 0 tim
that li e ca n ca l l_ h is Ol\"11 . l 1c is like a h:trrel < f l
·tlw·1)·s o n 1 It 'l'I
,
>
)Ce1,
'
'. · .
< ra . . ie rncn-f11lks, ha,· in•,. wo rked in
th e 1_c gular hours, lie clown and r es t, strct cJ1 themselves
~c}ly 111 ~he s hade ,at noo n, or loun ge about after s upper
,1 '.1 en Uie ,l)()y_ wno 11as clone nothin.I.'.· all day b ut tun~
.~ 11ncls to n c, ancl _spread hay, and rake after, and run
hi s .lit tle k.i..:·s olf at C\·cryboc1_1"s bec k nn cl call, is sent
err:rnd or S•>llle h o usclwld l'11(J re. in order tha t
t1111e slull nut lLtll '" hea\·\· 011 ]11,· Ji ·111 cJ ·
... , .
.-.
· ..
·' ,
s . 'fl ic b oy comes
nc,11 e_1 to perpe tual mutton t h:111 anythin.i..:· else in nature
only It Is n o t altu,(!·cther a \'Oluntan· motion
'

?

on S'.> m:

-C11.H:.1.1 ·: :-; J>1 · 1q 1·: \'

\\< \H. ;.; 1·: 1{ ,

;.·,.>

11, "), ,.

a /Jou

./ '

S 1 · 1; 1: 1·: ~Til1'.\s . -J\ 11 s\\·cr the
I
h11rl an ex alllp lc of irrn11·. till' i.;·c1H: ra IJlll'Sl i ons in sedio n 123 .
uppnsite of \\'h:t t he 11ll'a1is.
''·~"' c 111 wlut:h a p e r so 11 says the
,.

G e neral Exercises on the Description-motives

I. Br ing- tu class cx a mpks uf Llc:sc ription-rnotives
which you han; found in your gcncrai re:1din(r
' IL \Vr ite o rig-in:ll paragraphs on each ~f the
L.'~~~npt10n .· m oliH·s aln.:ad y g·in: n in this chapter,
excep t those) on arc exp ressly told to om it. Follow
t_h e laws of p:1ragrapli structun.: in r e•rard to the
~1 r.st.) the last, and th e interve ning- sent~nces. (See
);>99·

()!~N : \i\l ENT. \ Tl<>i\

r24.

IN

lll~SCRIPTION

Fundamental and Minor Devices.

;\fter

we haY e ciecickd \\'hat fundamental qu~Llity we \\·ish

unr picture to possess, a nd ha\'C se lected the material \\'C m c:an to put intu it , our n e xt problem is h o w
to vary an d make cffccti.vc the handling of this
mate rial. This is the problem of ornamentation.
It is the d cco r:ttive clement that gives life, color,
richness, and variety to our description. The fundamental d evice enables us to give unity to the
handling- of uur material by usin g a single dev ic<.:
throughuut an e ntire paragraph of description. The
term" fundamental d e\·ice " will be m o re fully cxpbinecl later. The minor clc,·ices, such as figures of
speech, o r allus ions , g ive \·ivi <l n css to certain details.
Many of th e devices found in this chapter m.'.ly prove
too cli fncult for u se in our own writing-, b11t n study
of them will in c re.'.lse our pleasure in r eading pieces
of literature in which they ~tre employed .
125. Meanin g of the Term Minor Devices. Hy
the term" minor dcYices" we mcau the various arti fices for the effect iYe hanclling of clet:1'i 1, of whic h
those already n ot iced incidentally in Chapter VIL
are personif!c.'.lti on, the simile, the metaphor, enumeration, exclamation, interrogation, and the direct
quotati o n. Other d evices which we sha11 study in
the present chapter arc all us io n, ant ithesis, the nse
of the concrete, and on o m atopceia.
( 0R5)

:;:

Co111j>osil ion and N_lu·tori,·

Or11rn11n1/r1t io11 i11 /)t'so·1jitio11

r26. Concrete Words. Concrete \Yords arc those
that stand for individuals rather than for classes of
objects, acti o ns, etc. Th e y appc;il m o re directly
to onr im;igination than c.l o the more general terms
w hic h designate cbsscs, and they ;ire, th erefo re,
an effective means of \'iYi fy ing dt:tai l in tlesc ripti on.
The Wt1rcl "puny,'· f<Jr inst:mce, is c.::is icr t<> picture
m<.:ntn ll y th:m the nwrc gcner:t! \\·ord "horse." The
word horse is more tlefln_itc th a n the m o r e g e neral
wonl ·• c1u:.iJrupcd," :1n<1 quadrnped is more p:-irticular
than " VL: rtebratc ." \\'hen ,,.c hear the wurc.l ve rtebrate, we picture to o ur minds animals of so many
cliffcre nt furms that o ur mental image is confused.
The word quadrup ed docs not bring· to our minds so
man y different kind s of concepts, a n cl sn on r picture beco m.c:s clearer. \Vith the other t\\'o t e rm:;,
horse and puny, uur cuncep ts become still narrower
and clearer. If you ;iskccl an :trtist tu paint fur you
a \'Crtebrate, he would immccli :ttcly :tsk, "vVhat
kind?" 1f ynu ,;;ii(l " .\ q11adrnped ." h e \\'<ll1ld again
ask, "\Vhat ki 11d, ;i hnrse, a CO \\'. a dug- i" Tf you
answered ".\ horse. " h e ·would ;isk, "\\That kind of
h orse . white or hbck. large or small. o ld or young? "
If you said, ''A pony." h e might ask, '" 1\n Indian
or a Shetland pony'.. If Y"ll a ns\\'crc d, "l\. Shetland pony,". he might ask ,1-h ct h e r yuu \\'ishcd the
pony painted lying du\\'n c' r standi ng, and so the
questions \\'uuld eonti1111c until, lJy compell in g you to
u se more particul:tr terms, the artist wonld be able
to lc:crn just what piclnre ynu h;icl in mind.
If in writing d esc ripti ons 1\· e imagin e ourselves
to be artists p:tinling pictmcs of those objects we
are portraying in words. we shall form a h abit of

making definite pictures of objects and using particul:.u wore.l s t o describe their attribu t es. The use of
v~w u e genera l terms in ckscription al 11·ays in dicates
a l:ccl~ of clearness and precision in our mental
image:;, ;t ·•dimness of the mind's eye. " In other
words, concrete ness is the test of excellence 111
descri pti< •n.

186

Exercises

l. Incre:tsc the concreteness uf the following
terms:
Insect, \'cgct:t1Jk:, building, animal, lltensil, man,
weapon, science, \\·ork, cducatiun, occu 1~:ttion.
If. Find the concrete terms, espec ially Yerbs, 111
the passage from Rnskin in section 100; in th e exampl es q uoted in sect io n 1] 3.
III. In which of the fo ll owi n g ex tracts do conc rete terms prcclomirnte; In which abstract t<..:rm s ?
Select the concrete o r the abstr:td te rr!lS in each .
vVhi ch :n·e c:-ts icr t<J picture mL:ntally, thuse CP11tainin g abstract or those cont:1i11ing concrete ,,·u nb;,
I.

\Ve had not lost ou r balance th e n, n or g rown
Thought's slaves, and c1 ead to every natural JO)' .
Th e snwllest thi ng cu uld give us pleasure th en --The sports of cottn try people,
A flu tc nute from the wuods,

Sunset

o\'Cr

the sea;

Seed -t ime and harvest,
The reapers in the corn,
The yincdrcsser in his Yineyanl,
The villagc-g·irl at he r \\·heel.
.
Ful n ess of life a nd po\\'cr uf feeling, ye
Are fo r the happy, for the souls at ease,
\Vh o dwell u n a f-irm basis of con t e nt!
-:'llATTllEW AR1'llLU,

L'mpt'flc1cll's

OJI

Elna.

:'

188

Co111fo.1i1 '"'" 11111! N /11·/ort'c
11.

Perfect happiness d o th im ply the exercise of a ll oth er
virtues , whi c h are s uitable to so perfect a be in g , upon
all pro pe r and fitting nccnsi ons ; thnt is, thnt so perfec t
a being- do n o thing t hat is co ntrary to or unbecoming
his h oliness nml ri g h te ousness, his truth a nd faithfu lness, w h ich arc essential tn a p erfe c t be ing; a nd for
such a being to ne t contrary t" t he m in any case, would
be t o cre at e clisq 11 ict and d i.-;turh:t nec to itself.
For
this is a certain rule, and neve r fa ib, that nothing can
a ct co nt ra ry to its O\\'n nature with o ut reluctancy and
d ispleasure. whi ch in m oral age nts is t hat \\'hi ch we cail
gu ilt ; for guilt is n oth in .i..:· ebc bu t t h e trouble a nd d isquiet which ariscth in ones mind, fro m th e consc iousness of ha ving d o ne som c thinl!' \\'h ic li is contra ry t o the
perfect ive prin c ipl es of hi~ be ing; that is, so m e thing that
d o th n o t beco me him, :rn cl \\' hic h, b e ing \\' hat he is, he
o ught n o t to ha\·c cl o n e ; whi ch we cann ot imag in e ever
to befall so perfe ct a nd immutable n. bei ng :is God is.
- Ju11 ;-; T1Lu.rr,;u:-; , lf11j>jii1fl·ss ilf Goodn ess.
Il l.

Imm e dia t e ly a p l;icc
Be fore his ey es a ppea r ed, sad , ll(l iso m c, dark;
A laz:u·-house i t sc e mccl, wherei n we re laid
N uml>c r s of all disc :1secl-a1! malad ies
Of g hast ly spasm, <1r rack ing torture, qualms
Of heart -sick ag ony, all fc ve rous kinds,
Con v ul s ions, epile ps ies, fi e r ce catarrhs,
Int estin e sto ne and ul cer, coli c pangs,
Dcmoniac phrcnzy, mn p in.i.:· 111ela1H.: holy,
:'\ ncl muo n -stru ck madn ess, p ining atrophy,
l\'larasmus, and \\'i dc-\\'asting pest ile n ce,
Dro psies, a n u asthmas, a11d joint -rack in g rh e ums.
- JL>ll :-1 ?I ! 11:ru:-;. f',u ·,11/i.1·1· Lost .. ri.' n7-488.
I V.

Nature means th<.: snn1 <,f all phen omena, togeth er
with the cau ses wh ich produc e tb<.:m; incl udin g n ot
o nly all that happe ns, b ut all tkit is capab le of h appeni ng-; the unu sed capab iliti e s o f ca us es be ing as mu ch a
part of th e idea of Na tu re, as th1 >se \\·hi c h take effect.

S in ce all phcnL1rnc11.1 \I 1lie·! i IJ.11 l. been "1tl t1uc11 tl' ]J,with. r e1,,..- ulant\·
exan1 incd arc f uun c1 t o t a k_c Place
'
:,,' eac
v,1
11 ·1v111 " c e r talll llx CLl coiH.1 1t1u11 s, pos 1ti1·c and nc,.,at1 e,
<1 th e,.., occt1rrcnce <if \\'h1ch it rnvana
•
bl y 1la ]) )l ( ' n - ; ·, in '·tn_ha\·c l1e e n able _to asccrt:un, cith_c r by :lircct
vation or h y rca,.;un1n.1.:· prrn::csses gtoun~lcd ".11 t'., t (l
· 1· t li"..., O"Cl1i·1··n
l .t.
COI1Clions1J
~
~' 11l'c
·. l>i· rn:u1\-. ]lhennmcna,
. ·
.. ,. . · a·,.
the prugress <, f sci e nc e marnly consists in ascc r ta111111g
th ose c onditio ns .
, . .

~~nc1

ohs~~.~

-

J (J 11 :-.; ST U ,\ HT J\I11.1.,

'f'hr t:t'

/•,~ss ay s Oil /\ l'/1,t.,r 11 111.

2
Allusion. \ \Then . in desc rib ing an1 object
.
I 7.
.
we re[cr to some other more farn ili :1r fact, tun g, o.r
person for the purpose _o f mal~ing th e r eade r associa t e th e t\\'o , we arc u s 111g a fi g ure call e d Allus1011.
In orde r to 1111d e rstand th e force of allus10ns we
fr e quently must look them up in t he en cy clopl: c:1:~
o r in th e n()t c s o f the t ext \\'C a r c r c :tcling.
th is r e aso n poetry c1lntaining many a llusi o ns appeal s
esp ec ially tu s cholarly p e ople. Jn the wo ~k o.f .the
gre;i t p(Jc ls. \\.,...., ''t1·e i'n11-)ressc
_ · · cl with the
_ . be,1uty .ind
f r ee of the cl e ,·i c e. 'X e s hould not 1:ll l t o look up
allusions in our r ead in g , as it is an
exercise in c() rre bt in g kn owledge a nd acqu1nng a
func1 of g-e n c r a l informati o n.

rm

t~e

...
. .

cx:~llent

I.

T h r e e poets in three d istan t ages horn ,
.
<:re<.:cc, Ital)., and Eng~and, did ado_rn._.
The fir s t i 11 !oftiness o t thought su1passe <l ,
The n e xt. in majesty; in bo th_, th e last.
Th e for ce of n atu r e could no fur ~h: r ?o ; .
To make a third, she JOrned the t oi m e r t1\o .
- ]011:-1 ]JJ<\'llEN, Under ,l fr . J',ft'!t on ' s P1i: tu r l' .

In order t o comp reh e nd thi s passage we must
unders tan d that th e a 1lnsio ns are t o Homer , D ante!
and Milton.
.,

>

I <JO

0r11a 111( 11 I a I ion i11 }), ·sc ript ion
II.

" \\Thy nut :L s11 1nmcr's as a \\'1J1te 1"s tale ? ..

Tht.: ~dlnsion
// '1.11/t'r's 1;r1,·.

mack hcrt.: is t o ShakS!Jt.:re's A

1 28. A ntithesis. I3y antith e sis w e mean the setting of one object or th o ught ovt.:r against another.
It is the oppos ite of t h e s imile or mclaphur, fc•r it
affirms differen ce in s tca<l of sim ilarity. Anuthcr
name fo r the figure is contrast.

111.

'~'o sage Phil osop hr n e xt lend thin e car.
I• rom h e a1·e n clcsccncl e cl t o the lo-:,•- r oo/;·d /w 11 s 1•
Of .'iorrahs-sec the r e his te nement _:_
I V.horn , we ll inspirccl, ///1· orndt j>ro11011111°1'd
I I 1s,:s1 oj mot; fr(Jill \1·h ose 11 10ttth iss ued furth
l\fcll1At1ous strl'ams, that \l'akn: d all th e schools
<?f .rlcado11!ls olcl a11cl n c\1·. \l' ith th ose
Surn amed l '1·ritatc/i(.1" and the s e ct
l:j>TC11r, ·1111, and the Stoic sc1·erc.
-

J u1 1:-; :'\[ 11.T11:-.; ,

J> a rad/s ,· A',·,!,rtriJl f' d.

Th e allu s ions in the last passage arc italici zed.
Ex pla in them .
Exe rc ise

Find ancl e xplain fiH.: allusions in the fol l owing
quotation:

In Attica thy b irthplac e sl11rnlcl ha \·e been
<?r the I(lnian I sles,

11r

\l'h<.:rc t he seas

'

~11c1rck 111~th e ir a rm s the Cycl ades,
~ o ;1'.ho l.ly Gre e k wa st t hou in thy serene
An cl c11llcll 1k e J•>r of life, 0 Philhclle nc !

Around t hee would lia1·e s11·a rm c cl th e Atti c bees.
Ilorncr h ad been thy frie nd , or Socrates
'
An d Plato welcom e d thee t o h is demesi;e.
For th ee old lege nd s hrc:1thcc1 lii s toric breath·
1'hou. s:twcs t Poseid on i n t he purple sea,
'
i\..nd rn th e sunset Ja son's fleece of gold!
Oh , what l1 a dst tl10u tu du with cruel Death
Who wa s t s o ful l ot life, o r Death with tl;ee
That thou shoulcl s t di e before thou hads t grown
oJd I
'
-

HE:-; H Y

\V.

LONGfF.J.1. o w,

Tl1rer Frinuls o/ M~lte.

Exercise

In th e following quotati o ns find examples of
antithesis, o r contras t:
"Though c.l eep, yet clear,

thuu;~· h

g e ntle, y et n u t d ull."

"But the gL:icliators' bloody circus s tands,
J\ n oble \IT Cc k in ruin o us p e rfect ion,
\Vhilc C ~l!,;ar ' s chambe rs, and the Augustan halls,
Grovel unearth in indisti nct decay."
"0 \V11m a 11 1 in our hours (J f L·asc,
U n ce rtain , coy, and hard t o plc;ts c,
l\nd variable as the shade
B y t h e li g ht qu i1-c ring aspen rncuJe ;
\ Vh e n pain ancl anguish wring the brow,
A min istering· ang·1.J thou! - "

"Vice is a m o n s te r of suc h frightful mi e n
Tha t to lJ L' li;it c d 11n·d,; 1Jt1l \.,he sc..-11,
B ut seen too oft , familiar with h er face,

o\ • ~·~ •

'vVe fi rs t end ure, then pity, then e mbLtce."

"?viy cas tles a r c my k ing's alon e,
From turret t o fou nd at iun sto ncTh e hancl uf Douglas is his own."

"On Lin de n, wh e n the sun was low,
All blouc1less by th' untrodd e n snow,
Ancl clark as winter was the flow
Of Iser, roll ing rapid l y.
I3ut Lin de n saw anoth e r sight,
\Vhcn the drum beat, a t dead of night ,
Commanding fires of death t o light
The darkness of her scenery."

• J

11) _)

Onomatopreia. Tb e figure called onomato.
pa:i:i c o ns ists in tl1 e use ' >f wo rds "'hose so und sugg ests the i r m ean in g.
129.

" 1\11<1 <;are th loosed th e st0ne.
Pr()m o ff bi s neck , th e n in th e m e re i>esi 1le
.Tumliled it ; <>ilily 1>11bbled 11p the m e re. "
"On as u thlc n Ppe n fl y,
\V i th impet uou s n .! coil and ja rrin g. so11nd,
Th e in fe rn al <l<>ors , and on tlwir hinge s gTat e
flars h th11nd e r, that the low est lH1tlo111 shn"k
Of Ere 1>11 s ."

Exercise

Find exampl e s of onomatopa:ia in th e follow in g
quotations:
'Tis n ot enough n o harsh ne ss gi \' CS offe nce,
T he so un d must seem an echo to t he se nse.
So ft is th e s trai n \\'h en zephy r gently blu 11·s,
A n d the s mooth stn.:am in sm outher numbers fl ows ;
Bnt when loud surges lash th e soundin g sh(Jn:,
The hoarse, ro u ,1~· h 1-c rse should like the t"rrc n t roar:
When Ajax qrin:s so me rock 's vast \\'eight t u thr.,w
The l in e too Ld Jnrs, :rnd the \\'Ords m ove sl<Jw:
'
Nut so, when swift Ca mi lla scours th e pl a in,
Flies o 'e r th' unl>encling- corn, and skims aJ.,ng the mai n.
-At.EXA~IH ·: R

P u !'E,

.· /11 1': .l'.flf_ I' 0 11 ('rtl/ri.\·111.

"And my pulses cl< •scd their gates with a shock "11 my
heart as l heard
The shrill- edged shri e k of a m o th c 1· divid e th e sh ud de ring air."
" [h ea rd th e ripplt.: w ashi ng· in th e r eeds,
,.\ml th e \\'i ld 1rakr lappin.<.:· on the e r;1g."
"Till as \\'h en a boat
Tack s, ancl th e sl:tcken'd sail flaps, a ll h e r voice
F a lte ring and Rutteri ng in her throat, she cried
'My broth e r ' ·"
" \ Vhile t h e g r eat <1rgan alm ost burst his p ipes,
(;roaning for priwc r, ancl rolli ng thro' the co urt
A long mel odi ou s thunde r to t he so und
Of sofe mn psalms ancl silv er litani es. "

General Exercises on the Minor Devic es

I. \Vri te o n e or more sente n ces, co mpletin g the
similes s u :~·~cstcd by eac h of th e foll• •win g expression s: l>ull as; l >r igh t as; ·w ilrl as; s11ft as; s11·ift :ts.
IL vVrit c one or more se nte n ces cont:tinini-; :1
m etaph or <i ll each of th e following subjects : The
wind; a ri\'Cr ; ni g; ht; a child; autumn .
III. vVrit c one or m•>rc se nte n ces p e rsonif y in g
each of th e followin g t•b j cct.s or id c :ts: The ocean;
old age; the locmnoti\-c; duty ; o n e's native country
IV. vVritc une ur more sentcncl'S containin g;
all us iuns to each of th e fol imvi ng facts or ol1jects:
Th e Bible; som e poem \\' ith \\' hi ch you arc familiar:
some hist o ri c.:i. l in ci dent or personage; some phec
that h :ts m:rny hi s torical associat io n s; s om e SCl\'11 tific fact, such ::is thuse connectetl with the gro wth
of plants ; som e fact in r egard to th e solar system .
V. Complete each o f the following .:i.ntith eses,
contras ting subject with s nl.Jj ect or verb with v e rb,
and so on . Remembe r that in an antithesis the
word !mt is e xpresse d o r impli e d:
Prospe rity brings fri e nd s.
Ign oran ce is the parent uf v ice.
Th e Roman s opposcc1 private luxury.
Th e wag-cs (Jf sin is d eath .
Th e end of a goml man is peace.

1.
2.

"And :ill the plain,- brand , m ace, a nd shaft, and shield
:-;hoc ked , like an iron -c langing an vil banged
\Vith h ammers."

3.
4.

5.
w

.J

194

Ii

I

j

i

Cu/l/f!ositio11

a11d

Rl1duric

V I. vVrite five origi nal sentences, each containing a quotation from some st::mdard author. (See
the u se of Lh e (p10tation in l\lodcl I., s(;'c ti o n 106.)
. VII. vVritc five sentences, each aski n g a quest10n, not for t he s::iJ..:e of receiving a n answer but to
suggest that there is but one pos~ib le answe;, This
kind of question is me r ely a device fo r making a
strong statement. The following is a n e xample:
" Breathes there t he man, with sou l so dead
Who never to himself h ath said
'
'This is m y O \\'n, my native lan~l '?"
VIII. \Vri te five sen te nces, each co ntaining an
e xclam a ti on . This figure, like inte rroga ti o n, e nables
one to strengthen a statement, fur by it w e not oniy
decbre a certai n thing to be true. but we show our
emotion upon reali7.ing that it is so. (See ~ 1 17.)
130. General Remarks on Minor Devices. The
stude n t, in making use of the minor J cv ices in his
own writing, shou ld r e m e mber that they mu st serve
other ends than that of me re ornam e nt. They
must add clearness and force :-is well as beauty, or
they will seem far-fetched (Jr f:tnt ~ts tic.
In conversation we use the va rio us minor devices
very frequently. vVe c:in t e ll much abo ut the taste
and culture of a person by his use in conversa tion of
figures of speech, especially of the si mile and m etaphor. Sim iles, lik e our physical features, are often
handed down from father to son, and it may be said
of them as of certain \\·ords, th at th eir nsc sometimes
"brands the gener ations before and after." Let us
therefor\.! strive fo r re finement in the figures we
employ: in both our oral arn.l written speech.

(!r 1111m1·11!11/io11 111 J it·s,.,-1j lit1 11

I <) 5

Meaning of the Term Fundamental De We can h cst g-a i n a nnt iun oi w hat is rncant
by a "fundamen tal dev ice" l;y comparing the .two
descrip t ions g ive n below, uf which o n e co ntarns su ch
a device and the other d ol!s nut.
The following selectio n has no fundamental
131.

vices.

"It was a singllLll' face, that of the m erch:tnt. A n
imm e nse skull polished li ke a kn ee, anc1 su n oumkcl1)y
a thin aureole of white ha ir, which brought out the
~lear salmon tint of his complex ion a11 the m ore strikingly, le n t hi m a false aspect of patnarchal ~)<1n,l10rn 1t: '.
counteracted, h oweve r, by t he .sc111ttUat1on. ot t.\\O lllth;
yellow eyes which trcm;ilcd m thc.1r orh 1t ~ 11~~ ~1ot1~ s
d'or upnn quicksilver. 'I he curve ut his nosep1 cscn tet'.
an aquil in e silhouette which .sug·gcstc<l th e U11:n\1~ <:1
Jewish type. JI is hands, tlnn, sk 11d e r, fu.I: o f 1:~1 veo,
which prujcctec.1 like st:ring·s upon the i1nge1 -l ioalCl '. 'f .' 1
violin and armed \\·i t h claws like those on the tc1n11n a ti oi~s of bats' wings - sh {Jok with s<.:nile trembl111g-.
This strange ulcl m an hac.1 an aspect so tht>rm1ghly ral >bini c;tl al1l1 cab: di st ic that he would have lwc n 1Jtt1 n.~ on
the m ere testi m ony o( his fa ce three ccnl1 1r1cs ago.

·:·

1lc sc riptio1Hn•',li\' ~ . ., f .t his ~x1.ra :
\Vhnl is the furnla111 c11L:tl qualtty' ~ ".''l..t.l 1ctl L1 1eic 1~
here n u olle ,)cvice tbe<l 111 the ha11<1li11 ;; of th e ll1.llc11.tl .
Sur.<:F ST ION S. - \ Vh at is t h e

graph '

Compar e the above p arag ra ph with the fo~lowing
descriptio n, which has a fu rnbmental d e vi ce ancl
keeps our thmight fixed o n the whole r:1th e r t h an
on th e details throu gh which the wh ole 1s realized.
Tell whi ch description is the easier to picture mentall y; which seems to you the m ore a1ystic.
2.
Th e fnndam c ntal (.lcvicc u sed 111 the following passage is th at o f the effect of light. The
d e tails are mentioned by show 111g how the light
affects each :

"·

,I

Ftill un this casement shon e the wintry m n<>n,
1\nd threw warm gulcs <111 J\lack lin e's fair !Jrcas t,
As cluwn she k n e lt r.. r hell\' L'll's gruce and l1oon;
l\11se - hJ,"1m kll "n her hand \ tug-ethe r prcst,
.-\ttd 1111 her s il \'er L'!'uss soft amethyst,
.- \11d 011 lier h: 1i r a g·i<>ry, like a sai nt:
S h e sce11 1't! a splendid an.1.:·cl , l1L'\1·J y dr es t,
Sa1·c \\'i11.~·s . f"r h ea ven: - l'1Jrpliy r" g rew faint.
Sh e kne lt, s o pure a tiii11 .L'.·. Sn free r1·c·1n 1ll>1rtal ttint.
- - } 11 1N K 1. .\ r:-., Jlt 11 1~·,;, · '!f .\"/ . . J.1,' 11t,·s.
S1 • 0 , ~;1 ·.:-. 1

l 1•N;-. . -

'I'lii..:

liF;lit is 11...:rL' r1.._ ·pr1..·SL'll lc d

a :-. t:ti11ct! gLlSS window .

arc 111c: 11li1>1 1c:d i>y sl1>> wi11g

; h :-. hin i11 g tl1n111g-h
\\'li a t it c n1 s ,_,( l\ f:t (kli 11 v ' ~ appcarant:t
the: cilL"d o i 11).:;h t 11 p1 111 th e111 !

The sec()n cl p :1 rag rap h h:ts not onl y unity of
i111prcssion bu t unity of handling, and llws econ <>111 izes our atlcnliutl.

...,
:i:
t'1

'.7.

Out li ne of the Fundamental Devices Used.

-;:

Tile f11l l c>1\·ing i s a list o f tl w ft11Hbmental d e vices
g·in : 11 i n sections 133 150 :

':'

132.

1.

T he ca l:tl<>gt1ing (If t h e detai ls <1f what is clc-

,.,nil1cd . (Sec~ 1.u. )
. . Th e l rn.: ali;;, i11.~· o f det:1ils. (Sec~ 13.1.)
,;. '!'lie f111Hb 111 L' lll:1! illlagc. (S ec~ 135 .)
.1. The ser ies ., f i111agcs. (Sec~ 1,;r1.)
5. The jll'J'S(J IJi fic ati11n of details. (S ec ~ 137.)
r. . The clfrcl of li g ht, ('!li d, ell'' lljH>ll th e detail s of
a pid11re. (S ee~ 1 3~. )
7. The effect o n the obse r v e r or li s t e ner. (Sec
~ I .)').)

~. T he g iving of directi1111s f11r ge tting a concepti1111 .. r a p e r so n , p laL'L', etc . (S L·e ~ 14 0 .)
'J·
Oi>v..:rse d l'sc rip tio n. (Sec 8 14 1.)
10 . J\udibl e thou g ht as a d cl'icc. (S1 ·c ~ 142 .)
1 1.
The u se of a gene ral r e fl ec tion to introduce a
d esc riptiun . (Se c~ 1.13.)

:i:

~
;...

...,

()

;r:
..,

Ornamentation in D1·srnjtion

I CJ7

12.
The single contrast making- up the whole
descripti o n. (S ec~ q4.)
13. The use of a series of c ontrasts. (Se e~ 1.15.)
14. The s in gle analogy or c <>mparison maki11 ,g· 11p
the whole d escrip tion. (Sec 8 1.1 <1 .)
15. The se ries o f analngiL'S <>r co 111p;1 r1sons . (See
§ 14 7.)
16. Dialogu e . (Sec~ q8.)
17 . Visi()n. (See~ q<J .)
18. J\ ]>"strophe. (Sec ~ 1 50.)

133.
ING O F

Fundamental Device I. - T 11 E CAT ,\ UJ(;LJ.
Dr::T/\rl.s. The simplest rnethon of handling

<letails is tki.t of ml'rc c m1m c r.1tion, of which the
following is an e x:.unple:
A.

M< >JJEI..

The whitewash e d w:ills, t he little pews wh e re wcl lkn ow n fign res e n tc r ed with :t su hd u ed rust\ in g-, and
where first on e well -known voi ce and then another,
pitched in a pcc11\iar key of p e tition , utteretl phrases a t
once o cc 11\t :md familiar , like th e amulet worn 011 tlw
heart; the pulpit whl'IT the mini s ter d e livered 1111 q 11 c ~ ­
tioncd doctrine, an tl swaye <l to and fro , and h:111dlc<l thL'
book in a long·-a ce u st.nm ecl 111 :11111cr; t h e very p:111scs
between the c"uplcts 1Jf the hymn, as it was given 1111t,
and the r ecurrent swe ll of voices in song· ; th e se things
had been the c h:inn e l nf flivine inflnc n ccs to Marn er.

'!.

i·';

',.

''

i.

,.. /-/
Suc<:EsTivN. -

\Vhat are the details catalog-n ed ?

Jlfi11or d1 ·1,frcs 11s1'fl.

R.

;1o•

F'iml a s imil e; a m eta ph or.

EXi\M l 'l.E H II~ ANAL\'S[S.

Ichabod arril' c d at th e cas1le of the Heer Van T :1s,.;cl ,
which h e fot1nd thron ged with the pride ancl llowLT , ,f
the acljaccn t cn u nt 1·y. Old f:tnm.::rs, a s pare kath e rnfacecl race, in JiqmL·sp1111 <·oats a n<l breeches, lil11c
stockings, huge shnes, and m ag nifi cen t p ew te r ln 1 ck k ~ .

"

D1111ft!sit io11 1n1d N ltf'lorir

Onw111c11 /atio11 in J),·scriplio11

ll!i11o r d,·., .i(/'s 11.1frl.
1.
Almost c\'C:ry itcm ml'ntioncd in th e nbovc
description is compared tu so me o ther object :

turn ccl tn r eticct or t o tra n sm it the s un beam, firs t a
torch and the n an e merald. Far 11p into the r ecesses
of the v al ley, the g r een vistas arched lik e the holl\l\\'S
l!f mighty wave s of some crystalline sea, wit h th e arbu tus flow e rs dashell along th e ir flanks for foam, and silve r Hakes of orange spray tossed int o the air around
the m , b r eaking ove r the gra.y walls of rock into a thousand separate stars, fadin g· and kind1ing alternat e ly as
the weak w ind l ifted a11l1 le t them fa1 1.

206

Cables like iron bars.
Nels so many 7C'd1s of fire.
ffa!j of tlu: oar dark as c/!011)', the r est like silver.
Drops fell in starry slw'<vcrs.
Furr/IW li ke a c/11111'/'s l1uf
.')'ai//lrs seemed like 111,-11 i11 Jla111rs .
Your arm hecamc ajiri ·/Jr1111d.
The jis!t were l o11g11rs ef jirt'.
2.
The use <>f the scc<>nLl pcrs()n in :t g-enerJ.l
statement, "If you plung·ctl." lfuw many s uch
stJ.tcmcnts do you find?

B.
AND

MnDEI. II. -

Tim

EFFECT O F STORM, RAIN,

vV I N I>.

It had be en wild weather when I left Rome, and
all across the Campagna th e clouds were sweepi ng in
su lpl1 11 rous blue, with a clap of thunde r o r two, an d
breaking gleams of su n along the Claudian Aqn educt
lighting up tl1e infinity of its arches like the bridge of
chaos. But as 1 c limbed the long- slope of the Alban
l\1ount, th e storm swept finally to th e north, and the
nohle outline of t h e domes of Albano, aml g raceful
darkness of its ilex grove, rose ;-igainq pure streaks of
alternate blue and ambe r; the uppe r sky gradually
flushing through the hst fragments of rain -clo ud in
deep palpitating azure, ha lf :-ether and half dew. The
n oonday snn ca me slantin.c:· clown the rucky slopes of
La Ricc ia, an(l tht.:ir m asses of t.:ntangled and tall foliage, wlw::;e au tumnal tints were mixed with the we t
verdure of a thousand c\·c r grecns, \\'ere p e n etrated
with it as wi t h rain. I cann(Jt cal l it color, it was co nflagration. Purple, and cri111srn1, and sca rlet , like the
curtains of God 's tabcrnack, the rej o icing trees sank
into th e valley in showers of light, every separate leaf
quivering with buoyant and burning life; each, as it

- J u 11 N RusK JN, ,?/odern P11 i 11/ers , Vo l.

I.

St1t:.: 1·s 11uNs .- \ Vhat dc,;niptio11 -m otivc is u sed in J\'loclel II.?
'Nhat is the fundame nt al quality 1 \Vh at objects in lht,; pictnrc
art,; affccll:cl by the' r ai 11 •lllll wi11cl?
l s th e contrast bl'.t\\' ee n
"cl<•lllh," "\\' i l !l \\'Cather," and " brea king g-leams," of the first
se 11tc:nc·e, ma in tained tlnnughont the p11ssagc? W h at are the
won],; that canv out this cu ntras t ?
\Vhat words and images
sugge:-;t inuve111<:!nt?

;1fi11or d1"i:ias 11s1·tl.

C.

Find six metaphors.

l\'lODEL III.- TllE

EFFECT OF

CULi>.

St. Agnes' Eve.- J\h ! b itter ch ill i t \Vas!
The owl, fur a ll his feathe rs, w as a-cold ;
The h are limp 'd trembling through th e frozen grass,
And silent was the flock in woolly fold:
Numb were the Beadman's finge rs, while he told
H is r osary, and while his frosted breath ,
Like pious i n cense from a censer o ld,
Seem'<1 taking flight for heave n , without a ueath,
Past the sweet Virgin"s pic ture, whil e his praye r he
saith.
- }•11 :-1 Kcxrs, Eve o.f S I. A.i;-nes.
Sll<:<:EsTJONs. - \Vh at <lescription-motive is used in M ode l III.?
\Vhat is the f11ndamental quality 1 \Vhat objec ts in the picture
a rc: affec t ed by the cold? How ?

Jl/z'11or <lr7•iccs 11snl.

F in d an exclamation ; a s imile.
Exercise

Describe in a paragraph the appearance of a
perso n by s h owing the effect of li ght, cold, or rain
upo n hi s garm en t s, movemen ts, e tc. Use the forego in g fundam e ntal device .

208

Co111fos/1 /1111 a 11d R/1£'/or/c

139·

Fundamental Device VIL- EFFECT OF
The g i,·in g of the effec t
p roduce d ll [ lllll au olisc n·cr, e ith e r by th e who le, or
by th c details whi c h 111 :1k e up th e whulv, is a strong
D 1·: TA11.s \lN 1\ N 01: s i-; 1,VE R.

and s 11 g·gestivc w:1y of h: 1nd lin g m:itcri:d in d escription . The following- g i,·cs a pi ct ure of Vlcst rninskr i\ hl>L·y by mcnti"ni11;_;- t he v:1ri"11 s e moti ons
anll thou g hts it s dct:1ils sug;..:·cstcd tu an obse rver:

20<)

JJ. E:\AMl'l.E F U R ANAl.\'S f S.
The cag·Je is a bird of large _ideas, h e e mbraces 11111.i:::distan ces ; the L«•tlti n e nt 1s l11s home. l n c\·c r lut1k
upon on e without e m o tion; 1 foli<>w him w ith m y eye
as lon g as I can . I think of Ca1i;td; t, o f tlt L: (; real LakL·s,
of thL: R <1cky i'llo11ntains, of th L: wild and suu nd1ng· se acoas t.
Th e wate rs arc his, and th e \\'\l<>cls, an d tltL:
inaccess:hk c li ffs . Ile pi e rces l>elii n d th L: \·ci l uf the
stur111, ;111d hi s j• •r is h,·i ;.:ht ;rncl d ep th ancl \'ast sp: tces.
-- J1 11 1:-... H1 11.: 1u • l1,; 1h, / I ll /,~vi

, /.

M\lllEI..

Un e nter in g he re, th e m:-ign it11'1 e of th e bt1ildin gli reaks fully upon the mind, c"11tr:1stcd wi th the vaults
of the clois ters. T he eyC's g-:11.c w ith wonder at clusk recl columns of gig· anti c di mcnsions, with arc hes
spring-ing· fr() m them to su ch an ama z ing· h e ig·ht · a nd
man \va;Hlering al><•nt th e ir b:tses, sh rn.nk i1~to /nsignifi~· ancc in co m pa r iso n wi th his o\\" n handiwork. The
sp:1ci o nsn css and gloom of this Yast ed ifi ce produce a
profound and 111yste r i<>11s :i.wc. \ Ve step eautiously and
softly ahnut , as i f fea r ful of disturbi n g th e hallowed
silence of th e tomb ; w hi le every . foot fall whi s pers
al on l'." t h e wa lls and ch atte r s r111111ng th L: sep ulchres,
makin g us m1J rc sensible of th e q1 1iet we h ave interrupkd . It sce111s as if the awf1 tl nat11re of th e pbce
pn~ sses clown lljl• >n th e so1il, and hu s hes the beholder
into noisL:lcss re\·ercncc. \V e feel that we arc s 11 r roundecl
by the co n g regate d lmncs of the great m e n of ]Kts t
tim L'S, who have fil led hist(Jry with th e ir d ee ds and the
earth with the ir r e n o wn. J\1.1d y et it almost p/ovokes a
smile at the v anit y of lrnman amb iti o n, to see h ow they
arc crowded toge th e r and jostled in th e du st.
-WAs 111 N cTvN

lRvJNr., T!tt: Skddt - Hoo~: .

St1c:cr-: sTtoNs. -\.Vhat d escript ion-motive is used in this model?

\Vli at is t he flln<lam ental qt1ali t y? A re the cffcets prodnced on
fee lin g- , action , o r thot1 g-h t ? What details prndt1cc th ese effects?
Point o ut the verbs which see m to yun espec ia lly strong .

Jl,1£11or d ("i 1 r"ccs Nsrd.
Find :.t n examp le of the use
of contrast\ ~ 12K); of p e rsonificatio n( \:\ 100).

1!f

//11· / /1111 <1'- J:, ·,·.

S ut:(; 1-. :-..-i 1.i NS .--- \ \ ' li:d 1k ·:-:c r ip tio11 -n1uti,·1. . · i s u :-:cd in thi s l·~ : 1n1 \ Vliat is tl1c· 1"11 11 cb1ne11lal q11 ;tli_1y ? \\'l 1a l ,,, ... tlil· t ·llt'l"h
dcsc rilJt:d a s lff1 Hlun.:d ' Jl1 t he ol i sc r \·c r t Arc t il t...' erlt: 1.. ·t :-> • 1 11 n11n 1_l,

pl e?

feeling-, or a cl inn ?

fofi 11or iln•iff 11sol.

Find a m e taphor (>S 107) .

One o f th t.: m nst e lal>orak ex amples of ckscripti.on b y the efTccL prnduce d "11 a li s t e n e r is I>ryd c n's
Ode l o .\!. Ci-olia . Musil: uf v:u·i<1us J..:ind s is t hue
c1 e s1.:ri1Je cl b y th e effec t it J>r<>dttccs upun i\ lex:L11der.
Th e quntati<>ll fr"m Brownin;..(s .\1111/ (~ 157) is an ot11 c r exa mpl e nf thi s method of d esc ripti\111 .
Ex e rci se

\i\Trit.e a parag-raph on :rn y moti ve you c h11CJse,
usin g Fund:t111 e 11tal I )cv ice \!I l.

140.

Fundamental Device VIII. -

(~JVI N \;

tiF

\/\Then we <l esc ribe an obj ect so as to
e nable th e r eade r to see it in the process of creation,
as it w ere , we ve r y freq u ently use th e irnpe r at ivt.:
m ode a nd s peak as if we we re t e lling the rea<l e r
h ow t o cu nstruet th e obj ec t or h ow t o paint a picture of it. Th is m et ho<l of d e seri pt ion is a pleasin g
one, fo r il a ppeals to o ur in s tinctiv e inte r e st in seeing things grow.

,1

;i

'.

DIRECTIONS.

14

; -,

2 10
.rl.

Or11a 11u·11tation i11 fl1·scrip t io11

2 1I

0

1VI0 1n: L.

:-; I'.11 agi ln e a hr.~·c head tipon a lean and feeble body
' u 11 u unc the lhrc1aL ll'ith lace .. f d:tzzli1 ,. . . .
. .'
wurkcJ ll1 meshes like a /i sli-1H:l
F . . lg ''/11.te ness,
velvet c1011hlet of the old n1·t11 11·1.tl.t . l c,., l< HJ ll l lt: black
1
·
·
.L icavy gold cha ·
an.: y,o,u mil have a fa int idea of the exter ior of tl~~l~
s.t1.'u1ge rnd 1v1dual, to whose appearance the disk
light of the lancl111g lent fant;<stic color in g· y
'. /
;,1:'.vc th o ug ht that a ca nvas of H. e mbran\it w/~~o~~g.~t
r'.tme hacl walked silen tly up th e st·tinv ·t)· t . .1 s
With it the d )
'
' • )J'!J1gll1g
· ar ~ atmosphere w hich w ;:is the "
manual of th e greJ.l m aster.
•
sign,. S1·c t :i·: ~T 1 u:-;s.- \\'lta t dvsniplion .mnti1·e is . d.
l ·I•md the llll]kratin::s
\\' I . t 1.. , . . . . · use . 111 l lb mullel?
· ·
Lt c 11cct1u1i:-, :ue here g iven?

1:. EX :\ ~IPl.E flll~ AN i\ L\'SIS.
'.l:u a true p ot:t-_hcart :i cl d the fun of D ick Steele
l hrow Ill allo t 1\ dd1son 111i111ts the ch ill
'
\V1th the whole uf th: tt partnershi1J 's ~ tock ~ nd
w iJ 1

«

~~/~~~·cl.I,
~:ncl, whik
1

good

q,irring-, h um o'e r, a s a spel l

S '.~ .: :c old English Gentleman , simme r it w e ll '
; ,11 :cLl: ll 111,.,t t c~ your uwn ]HI \'a t c likinl.!-, th e n st'rain
l h .tt. only I he lrncst anJ clca1·c:-;t r cmai· n
'
:;ct it stand out of doors till a soul it rcc~ivcs
I u1n t lh c ll"J.rm lazy sun luiterinl.!· cl o wn thro ugh gTeen
L':t l'<.: s

'

,

i\ncl yu u'JI fi· r;d :t choi ct: nature n ot who !! d "" . .
•
i\ n ·un · c · tl .. J' .1. 1 .
Y l:se 1vmg
. , c I 1l:l ~ 11 .I.! rs 1 ur \ :tnkcc , - just Ir ving.
- jA .\IEs R1: ss 1-:1. 1. Lu w1.:u., ,./ Fabl.:/ur Critics.
• S ui:t: i-:sT t<•;>; s. - Fi:id the clirections v i .
·
·
.
\Vh :1t clescriplion- mq li,·e is thi . , ·\ \'j · ve n 111 t 111s se lecti on.
IJllal ity? \\'ha t su"""e stiun .· l . s. 1· I. iat JS Uie ftllldamental
o·'::lo ·

111/'nor r/c71fr1·s usu!.
Fi n d a metaph or.

:-..

t

l.> )

uu

1th

ut a recipe ?

E'-XP 1:u·n t l w .:tllusiun s .
Exercise

VVrite a paragraph clcS1._Tibing a place, and use
as a f un da m ental device, the giv in g uf <lirections.

14r.

Fundam enta l Device

IX.-OBVERSE

DE-

By the term obve rse description we
m ean the mentioning o f details tha t arc abse nt.
Thus w e may describe a p icture by t elling \\' hat it
is not. This is one of the s imple st a nd must cffecti \'C
of d evices.
SCRIPTION.

A.

MODEL.

Th ose wh o are in the h abit of r e m a rki ng such
m atters, must have n oticed th e passive quiet of :in
Eng li sh landscape on Sunday. The clacking of the
mill, the r eg ularly r ec urrin g stroke of the fbil, the din of
the blacksm ith 's hammer, the whistling of t h e ploughm an, the rattling of the car t, and all oth e r sounds of
rural labor are suspended . Th e very fa rm d ogs bark
less frequently, be ing less di:=-turbe cl by passing travelers. At such times I h ave almost fa n c it:d th e win ds
sunk in to quiet, and that th e '.'lu nny lan dscape, with its
fresh g r een tints melting int o blue haze, enj oyed th e
h all owed calm .
SuGGESTIONs.- \ Vhat (]escriptio n -moti ve is u sed in th is mod e l?
Wh at details m ent io n ed ca r r y out the funda m e n tal quality' Show
th at the la ~t se ntenec.: an cl th e fi rst sentence g ive the fundamenlal
quality d irectly and t h e inte n ·e nin g sente nces obversely. \V hal
is th e fun da rn c nlal q uality?

Jl.fi11or dc7'l·as 1tso!. Find instances of onomatopceia
(§ 129); a m e ta p hor .

In th e fo ll o win g example fr o m Sbaksperc "s ,.Js

You Lile fl , the heroine R osalin d is d esc ri bing
Orlando by provin g that in appe::trancc h e is not a
typical lover.
In writin g a description u s in g th e obverse m e t hod
the thinl pc rsnn shoul<..l be n scd inst eac1 of the s econd, as l1crc, unless one is describing in dialogue.
(See ~ 148.)

,i!.
.,."

,,i.' ..

·Hi

I'

,1.

2 12

(0111fflsil1011 1111d !\lrd oric
E.\: 1\ ~l l ' l .i':

fl.

J'(I J{

On1a1111'll I a/ 71111 i11

J \ N ALVSI S.

Nosrrh11rl: !\ lean ch ec k, \\"hich y<>11 h ave n ot a blue
t.:ye ..a 11d Sll11k c n, whic h yoll ha ve 111 11, an tllHJll Csti onabl :
sp111t, whi c h )'o il have n .. t. a l ic;m l neg- lec tcd which ·
yo11 _h a\·c. n ol.; hilt I pa rdon )'<> ll for th;tt, for' simpl y
yu 111 hav1n~ 111 IJc ard is a younge r broth e r's reve nu e :
the1'. your h use sho uld he ungartc rc d, y ou r bonn et
unll.tnd e d, y nllr s leev e lln huttonecl , yoll r shoe un tied
a nd ev.c r yt h1n g- ah<>ttt yrn1 demonstra ting a careless
d <.·solat1 0 1:; but yn tt a rc 11" s11 c h man ; y .. 11 arc rath er
]l< •111t -d t.:v1ce 111 y <>111· ;1l'l'o11lrl'111e 11t s as lovi11i.; Y\lltrsclf
th a n sce m 111 g l hl· l .. 1·L·r " ' ;11 11· other.
-

\ V11 .1.1 ., >1 S 11 .\ K, 1·1·:1a:, ,·/.• J',111 / .//..,- It, .·l <t JI/., .\r»

""Y

.'1h11(1r dnlf.as 11.ffrl.
Find exa m pies of th e repetiti ()n of '''< 1rds :tt !d constrncti()ns. \See Chapter X.)
Exercise

p;i r~q..; r:iph d escrib in g th e appc:.irance or
cha r:tct c r "f :t pers•m "r anirn:tl . Use <•bversc descript ion as a fu11 da rnc.:n tal de vice.
\Vri lc

.'.l

Fund amental D e vice X . - Ll s 1·: , JI' AU DlBy :tuil il> lc thou g ht is m e a nt inward
q u e.~ti()11 in g or del>: tl i11g» It i.s cs peci:tlly effective
r42.

111.1-: T11n u( ;JJT.

nescnh1ng what is my s t e rious (Ir perp lexing.
Audible Lhot1ghl :is a dc.scriptive devi ce m ust not
b e eonfuser1 with the dcsnipti(l11 -moti v1..: we have
.'.llready consiclcn:d rn section 1 19. H o w do they
differ?
ll1

A.

MODE L.

. Nothing cou ld 1•e lll< •rL· )JL'l"pic:xing or e ni ;..;ma ti cal
th.m Lh e s11 mptt1<111 s hea ult L'S ol the cave rn. Enchantm e nt reigned o ver al l.
W:t s it day li g ht which

2 13

ente r e d by this casement bene:.ith th e sea' \Vas it
indee d water whi c h tre m b led in this clusky pool' W ere
not those arc h ed ro o fs and p()rches fashiuncu ou t of sun set clouds to i m itate a cavern tu m e n 's e y es? \Vlrnt
stone w as th a t b e 11l'ath the feet? \ Vas lH~t this sr .lid
· shaft abo ut t o m e lt and pass in to thin air? ·w hat was
th a t cunning- je\\"c lry of gl ittering s hells, J1a1f s ee n
be n e ath the w ave ? How far away ·were li fe, and th e
gree n earth, a nd hnm a n faces? \ Vhal st range e nchantm e nt haunt e d tha t mysti c t 1,·ilight' \Vh at b lind e m o ti o n,
min g lin .~ its sympat hi e s wi th the un easy restl essn ess
of plants lie n eath the wa\·c'
-

.!.

S1~1;t;J<:s.TJ11 Ns . - fn thi s c~t.::-;cri_pti1111. what dct:ti l s ar c nl e ulion cd
/
ubvc 1sc ly
Arc
1kt:1ds .~l\"t ' ll direc lly' \V it al d eser ipti onlllnll\·c is 11 sed 111 lilt s ,;:,: llll]>k ? \\·'It a l is til e f1111<Ja 111 e 11 ta l qu a.lit)•
1111 piled >

/J1 ·scr if I io11

V 1t ·T1t1<. lit i t;41,

'"/ ~1ilt·rs

1f / /J, · . . . ;,. .,,.

Su(:i;F. , Tl0N s. - \ Vh:1t 1ll-scr ipti" 11 -rn nti vc is thi s ' \\' ha t is the
funda rnc 11 tal q11a lit y ·, \\'h e r <.: dues a11dil1k t lw11 g· ht appl'ar in the
form of / pt ~s t..iqn ?

EXi\ ~ I l' LE HJ!<. ANAl.Y S h .

JJ.

J\las 1 (th o 11ght I, a n d m y hL'art ht:at luu cl )
Il ow fas t s h e nea rs a nd n e ars I
/ I re !lros1· h er sails that g·la n ce in the S u11
Lik e r estless gossameres ?

/ I re !/rose h<.:r ri hs thmugh \\'hi c h the Sun
l li d peer, as t hrough a g rate?
J\n d is / ///11 l /7011w 11 a ll her c t-c\\· ?
Is ! Ira ! a J lcalh? and an· 1/10·1· lw<1 ?
I s !J.-a llr t. l1:1t \\'o l11 :lll 's m a te?
- ~:\Ml ' l ·. I. ' l' A \'l.\>J.: C 11I.El<llH:1·: ,

l fir:

.~ /11 ,; /,·11/

11/arin r r.

~1 H :•: 1 ·~ ~ 1 11 , 0 s . - \\~ liat <h.: sl·riplio n -111qt i ve i:' u se .\ in thi scxall lJ1le r
vVhat dt:Lail s are 111e11Li< •1H; d i11 ti"' f<>rnt ,,r a 11 d ih k t11 »11 gltt i \Vliat
is th e f11 11da1111•11t:tl qua l ity' l s :u1dil1l c thn1 1g h l It e l"<.: givv11 i11 tit«
fon11 <1f q11esti< 11 1s and t:xcl a1natio11 s? I ~ tile i1bj ect describl' d 111 y~ *

te riotts ?

11/i11(1r d1 ·7•io·s
a m e t a ph o r.

11.1nl.

Find e xamples of th e s imil e;
Exerc ise

Write a parag raph desnihi11g- the c h a racter 11 f :t
pe rsvn o r a nimal. Use a u d i lJle t h o ug hl.

'•,l

2 14

Orna 111r11 /r1lio11 i11 f) cs,-ription

Cu111p11sitio11 nntl Nliet oric

143.

Fundamental

Device

XI. - A

GENERAL

R1·Yl.Jo:!''J'l() N To l N Tl<o11 uc E D1-:sc 1u1•noN.
A g e n.
era! rdlcc Lion, as \\' C l1ave a l ready learned, is a statem ent of a ge n e r a l truth. The fo llowing paragraph,
whi ch is used a s a m ode l, consists o f two parts - the
gene ral s t_ate m cnt at the beg innin g and th e applicat1011 o f it at the en cl to t he particular person or
o b jec t clescribecl.

/1 .

MODEL.

It is a g re::tt r evol ut ion in social a nd d om estic life
a nd n o le:-:s so in the life of a secl ud ed s tu dent, thi~
:tlmust 11n i\Tl'sal ·x ch:tnt.:·e uf the ()pen fire µlace for
the chccrl c s~ :1nd ungc 111: d stm·e. O n su ch a m orning
as n ow lu we 1s a1 <1u11d uur old gray pars(Jnag·e I miss
the brig-ht fa ce of my ancien t frie n d, wh o \vas wont
to dance u pon . the h eart h and p lay th e part of more
~~m1_liar s un sh ine. It 1s sad to tu rn fr o m the cloudy
sky .mc1 sombre landscape; fro m y o nder hill, with its
cro wn of rus ty, black pines, the foliage of which is so
d ismal 111 t he a h~c n cc of the sun; that bleak past urelan d , and the brni,c n s urface of the potato field with the
hrown clods partly concealed by the snuwfaiJ of last
ni ght; the s wu lkn and sl ui:_:·g ish ri1·c r with ice-incrusted
bo r de r s, dragg1 ng its hi u ish-gTay stream al o ng the verge
of ~H1r orchard like a snake half t o rpid with the cold_
it is_ sad t o t_urn from an o utwa rd scene of so little
c~mfo r t a n d find th e s:1111e su lle n influ e nces brooding
w1thm t h e pre c in c ts of my stll(lv.
- N A TllA NIE I. HAwT11 0 1<NE,

1l111s~·es/rom n 11 Old Manse.

S uc:G ESTIONS.- \Vlia t de :.;cription -mn t iv e is used in this model I
Does th e last sente nce r e t11rn l<> th e gene ral re ll ec ti o n at the beg1nn1ng? \V hat 1s t h e fundamental qua lity ?

B.

EXAMPLE FOR ANALYSl S .

Th e life of a good young gi rl who is in th e p:irc nt a l
n est as )'lOt, can 't have many of those thrilling incidents
t o which th e heroine of r o man ce commonly l:tys claim .
Snares o r shot m ay take off the old birds for aging without - h a wks m a y be abroad, from whi ch th e y esc:t pe <>r
by wh o m they suffer; b11t the young ones in the n es t
have a p r etty c omfortable, unromantic s o rt of ex istence
in th e down and straw, till it com es to th ei r turn , t oo,
to get o n th e wing.
W hi le B ecky Sharp was on h e r ow n win g- in th e
coun try , h o ppin g- 011 all sorts of Lwigs, and a mid a m11l ti plicity of t raps, a nd p e cking up h e r food q uite harmless anc1 su ccessful, Amelia lay snu g in h e r h (J rne in
Russell Squ a r e ; i f she went into the world, it was 11ncle r
th e guidan ce of the elders; nor did it seem that any ev il
could befall h er or that opulent, chee ry , com fo rtab le
home in whi ch she was affectionately sh e ltered . Mam ma
h ad h er m o rning duti es, and h e r daily drive. and th e
d elig ht fu l ro und of visits and sho pping whi ch forms
the amu sem e n t , or th e profession as y ou may call it, of
the rich London lady. Papa co nducted his my s te r ious
operatiuns in the City-a s tirring place in th tlse da ys,
whe n w a r was raging all over Europe, and e mpires were
being staked. . . . . Mea nwhil e matters w en t on
in R11 ssell Squ a r e , Bloom sbury, j11 s t as i f m a t t e rs in
E uro pe w e re n ot in th e least disorganized. Th e r e treat
from Leipsic mack n o diffe r e n ce in th e 1111111lic1· .,f m e a ls
M r. Sam bo took in th e servants ' h all; th e al liL's Jl' ' u rccl
into France, and the dinner bell rang at fi ve o'cloc k
just a s u s ual.
-

\ V 11.1 . JA M llf A KEl"l·: AcE T!IA C KF.RAV,

. 1·'

.

''"

/ ' anily /·;"·,._

S 11Cl'1·:sT1 0Ns.-\Yhat dc:sc1·iption-motive is used in this exam pk?
Find the gene ral r e il ec:tio 11 and po int out its applicat i<o1 1 \•) what
foll ows. \ Vhnt is the fundnm <: n t:d q11 11lit y? l ).,vs t his example
portray the m ode of life o f 11 11 indi v idu a l or a co mmunit y?

;. '

\ !'
1 ,; - .

flh11or .dn z"ccs 11 :;,~d. Is th e poi nt o f view given .
from which the picture is cksc rib ed ; i. e., is the
obse rve r placed in a p arti cular p osition? Find a
simile.
1

Exercise

\Vrite a parag raph <.l csc rihi11g- an :t ssc 111h la~~- i..: "r
oecas io11. l'se :t ;;cne ra l rcflccli<1n t<> in lr<1duce t he
descripti o n.

144.

Fundamental Device XIl. - i\ SIN<;J.E CON-

Tl.:AsT. ThL· tlSL' "f contrast is one of th e mos l com111 1>11 and al lli c s: t111c ti111c mt1st cflcctin~ devi ces.
I t is :tkin t<> antith es is. \\'hi cli we kt\·c already m e t
in sect ion t ~S. 'l' liis d e ,·i L·c is a f:t\·orilc one with
literary c ritics and h isto rian s "·hen tliL·y wish t o
co n l r:tst l wo pc rsons.
,. / .

l

'!I
I

I

M\llH: l. .

The ch :tr:1 c lcr uf J\li lton \\'as pcc uli:trl y di s tingt1i sl1 ccl
l>y l11(tincss (Jf th1111ghl; th:tt "f I >ante l> y inlL'nsity (J(
kelin;.:-. Jn eve r y line of th e " I >ivine C<n11ecly" we d iscern t he a spe ri ty which is prn duccd by prid e strnggl ing
with misci·y. 'J'li c rc is perhaps no work in th e world so
deeply and m1iformly s o1T1 \1\·fu1. The nH.: lancholy of
1>:tnt e w:1s 11<1 fan tastic caprice. lt was not, as far as a t
t l1is <listan ec of lime c:111 l>c j11c1gccl, the effc ct <>f c x tc rn:il c in: 11rnsta11 c cs. It \\':ts from \\'it h in. Nt·ithc r lov e
n<>r glory, 1l l' ith LT th e co nfli c t:-; <>f earth nor the h<>pc of
lt e :t vcn C<iulll d is pel i t . .It tu rn L· d every C()Jl S<>laLiun
:111d cn: ry pleasure i nt<• it s own 1i:tt11rc. It resembled
thnt ll<Jxi1111s Sar<l ini:in soil of whil'11 th e inknsc hittcrn css is s;1 id t" ila\·e hcen p e rc l' ptihle ev e n in its hon ey.
l lis rni11d \\'as , in th e noble language of tile Hebrew
J1"L'l, " a Ltnd <>f d: trknl'ss, as da rk n ess itself, :uHl wh ere
the li g h t w:1s as dar k n ess'" Th e g·lnom of his char:
:tl'lL'r discol(Jrs :tll thc 11assi 11ns <•f 111L·n and all the face o f
nature, and tin ges \\'ilh i ts <•\\' 11 Ji,·id l111e th e flow e rs o f
l'a rad ise and th e ).!; l<>ri cs <>f th e dern:il thront:. No perso n ctn look un th e kat11rcs, 1101 ,Je c\·en to n1gge dn css,
th e dark fttrru\\·s <•f tlt e c hL·cl;. th e h:tl..'.\:·ard ancl w oeful
stare (Jr th e eyl'. the s1 1lk n :lllcl c1111te;npt11ous curve of
the lip, and d<>ttlit th:tt t llL'y l>L·lon.I..'.· to a m a n too pr.rnd
:u1d l<J<> se nsitiv e ti> i>L: l1: 1ppy.
l\I ilt"n was, likc ll:111 tc, a s tat esma n and :t l o ve r;
a11d, like Dant L'. he h:1d liL·cn 1111furtunate in ambit ion
;lJ1d in lol' C. J l ~ hall s 11n·i1T1l h is h ealth and his sight,
th e Comforts of hi,; lll •l lll'. and tli c jll'<•C: (JL'l'ity of hi s
p;1rty.
If c1·tT <kspondency ancl asperity
ro uld be cxL· 11 sed in any man, th e y might have been

II

I
I
I

i-3

:i:
t'1

;.::
:>-

I

'./.

.....
<

;r;

I

i
;']

Il

-?

:i:

c

t'l

,,!

I

~
<>

:i

l.

"

..,,.
"

":ii·

~~

~:::

I

,._____ ____j

I

~{

.' i

Or11a111n!lat irJ11 i11 f ),·srriptio11
exc us e d in J\lilt.on. Hu t t he st rength <if his mind o ve r came e very cala mit y.
Neit h e r li l indness, nor gout,
n"r ;ige, nor p e nur y, n u r domest ic aJ-lli c lions, no r p ol iti c al disappointm e n ts, 111>r ;ilrnsc, nor proscr ip tion, n<>r
neglec t, h;td power l o dist url> h is sc cl ale and ma jes ti c
pati e nce. His sp ir its do n o t see m lo have heen high,
but they w e r e singula r ly equable.
I [is tern p e r w as
se r i()us, perhaps s tern; bu t it was a t e mper wl1i c h 11 0
sufle rin.1.,:·s c ould rentlcr sullen o r fretful. Su c h a s 'it
was when , 011 t he eve of g r eat eve nts, h e ret urn ed fr"rn
his tra vels, in the prime of h e alth and manly hca ut y,
lo;ide d with li terary di s t inctions, a ncl glowing· with p a triotic h"pcs, s uc h it con ti nued t" he when, after h av in g
expe ri enced eve r y calamity wh ic h is in c ident to nt ir
na tu r e, 1.Jd, Jl"n r , s ig h t less, anti disgraced, he retired to
his h ovel to die.
-

T11 .. ~u s BA lll:>:<'T":>:

lllA \'/\l' l. A\',

f c's say

011

,)/if / on .

:-;11.:.:1·:, r1" N'. -- \\' hat dcsc ri ptinn -n1nt i,·e i,; 11 sed in this ni ot!e l ?
\Vhy a re the JK' rs"ns co n t rasted? \ Vhat i,; th e function ,,f the
fi rs t para gra ph i 11 this lll<><lc-1 ) .,f the s1.:c<11HI parag; r aph ' \ Vhat is
tlw f1111da111 e n tal quality in th e c h ara c lc: r o f e a l'1 1 o f the p 1.: rso 11 s

: !

C'J ll lra:-. Lc<l ?

:
'l

1J!i11t1r d1 ·1 •ird· 11s1·d. F in d exa mple s of c num crati on; " f antithesi s. ( S ec ~~ 10 7 a n d 1 ~0. )

!>.

E>.:A ~ ll ' l.E

H>J .:. J\ N :\LV S IS .

J\ l'onf in c <l t r iangle, pe rh;ips fifty miles it s g reat est
len g th, a n <l thirty its f.:TL' at es t l >rc adth; t w" ele\·ated
rucky i>ar ri e rs, m eet ing at an an g le; three pr1J1ni11 en t
m o11ntain s, l'<>rnma n d in g th e plain,- Parn es, l'cnt e li n 1s,
and 11ymctt u s ; an un s ati sfactory so il ; s"m e streams,
n nt a lways fill! ; - su ch is a b out th e r eport whi ch t he
agent qf a L\11Hlo n C"rnp an y w o ul d h ave m ade of J\ tlic<t .
He w ould report that th e cl im ate was mil d; the hi lb
were lim es ton e; th e r e was plen ty of g-<H Hl marlik ;
m () re pas tu re Janel than at Jirst surv ey mi i.:- ht hav e h ee n
ex p ec t e d , s tdli c ic nt CL' rtainly for s h eL" p and goats; ' fi s he ri es productive ; sil ve r min es once, hut long since
work eel o ut; fi gs fair; uil first-rat\:; o li ves in profu s ion .
But w h;it h e wo ulLl nut think of noting duwn was,
that that o liv<.: tree was so choice in nature and so noble

.1
·,.
.:

''

,,

.l

Co11tj>tJs1/t'o11

and Rhetoric
O r111111101/11!i/111 111

in shape that it exc i tccl a r eligious venerati on; a nd that

it t ouk so kindly to the li g ht soil as to ex p and into
w oods up on t he ope n plain, and to climh up a n d frin ge
th e hill s. Tic W<luld no t th ink of wri ting word to his
e mpl oyers ho w that clear a i1·, of which I have spok en,
b rou~·ht o ut, y et hknded and subdued , the colors on the
marule, till t hey h a d a softness and harm on y, fo r all
t h eir ri chness, w hich in a pict u re loo ks exaggerated, ye t
is , afte r a ll, within the truth. He would n o t tell how
that same delicate and hri lli:rnt atmosp h e re fre sh e ned
up th e pale olive till t h.:: o li\·e forgot its rn omitony,
a11d i ts check glowed l ike t he arb11tus o r b eec h of th e
Umhrian h ills. Ile wr1ulcl say no thing o f thc th y m e and
thousand frag ra n t her bs whi c h car peted Hymet tu s ; he
would h ea r nothing of tlic hum o f its hces; n o r take
mu c h aceo unt of the rare flanir of its h on e y, sin ce Goza
and Minor ca were sufficient fo r the En glish demand.
U c w o uld loo k over the ..tEgcan fro m t he h e ight he
had ascended ; he would follo w with his eye th e chain
of islands, w hic h, starting from the Sunian h eadland,
seem e d t o offer th e fabled div in i ties of Atti ca, when
they wou lcl vi si t thl' ir Ion ia n cousins, a so rt of viaduct
the r eto acruss t.hc sea : bu t this t hr n1ght would not occur
to him, n or any admiration of th e dark violet bi ll ows
wi t h thei r \\·hi te ed g es clu\\" n bei ow , n ur o f those gracefu l, fan-like jets of sih·cr u pon th e rocks, which sl owly
r ise aloft like wa lL'r sp iri ts from the deep, th e n s hiver,
an d ])reak, ancl sp re ad, and shroucl th e niselves, and disappear, in a s oft. mi st o f foa m; n"r uf the g e ntle, incessant heav ing a nd panting of th e wh<Jlc li quid p lain; n or
of the lung w aves, keeping steady tim e, lik e a lin e of
solcli,; ry, as th ey resound upo n the h ollow s h o rc,- he
\\·c,ulcl not deign to notice the restless living elem en t
at all, l'Xcept to bless h is stars th a t h e was n o t upon it.
No r th e cl istinct detail, n(Jr the refin ed C(J lo rin g, n or the
graceful ou tline and rosl'ate golden h ue of the jutting
c rags, n o r the bold shaclo\\"s cast fru m Ot us or Laurium
b y th e declining- sun;- our a gent o f a m e rcanti le firm
would not val 11 c these matters c\·c n at a low fi g-ure.
Rat.h e r \\" e .mu st turn f(J r the sympathy w e seek t <) yon
pilgrim s tud e n t, come from a semi-barbaro us land to
t hat smal l corner uf thc l':trth, as to a s hrine, where he

/ ),·so·1j•lio11

mi ~ht

take his fill of gaz ing· o n th use e n.1 l)kms a ~<l
eoi:uscati"ns of in\· is ib le u 1wrig 1nate pe r.fecl 1"1;- .. J l \\ ,ts
th e s tran~·l' r frnm a r e m ote pr.,v1nl'c , trunl '.' 11ta1n. <11
from l\la;1ri t ania,
wh"m a scene S\ ) .t:i;_f ~·~ent
th at of h is chilly, woody swamps, u r of hi s !l e1·y-Llw~_11,'.~
sancls, \\'(Juld have show n him 111 a meas11_re \\ h.,tt .. t ."l'\
unive rsit y mll s t be, by h o lclmg "li t ti i him th e surt u
count ry which was its suitallle h ome.

tu

_ J0 11 N
c·

l'.•m:.

11 i".:"'K y NE\\' ;\t A:-.', lltr' ( Jffi1·t,· and 11 "or!.·

.. .- Tl 41 1Ns

ff

l

.-11 /;i,· r

s ///,·s ·

-\Vh:t t .J csniption-moti\"<; is ll scd in t his qllota-

,-, u t.l.1. :-i
. \\Ill:
ii ·]1 I.~ - t l lL' JHti
S: llc
. .
. . . ·un \llc l,r tl1c ll~c 11 f c1111t.1... l sl,
.
.
t 1.011'' l I i tJ 11· s· .~·-.
I
l I ., "\\'
o r c~nnn u n il· t1...:e a n 1 \\'h ichl h c p <1e t icorsc 11li11Jt...: 11ta pu 111 t~ ' · L .·1

Note the

,i/ff~n:;1 ce

in se n t ence st r uct ll re in the: t."·" •kscnpt101h.

Jn whi cJ{ are the sentt: nces lu ng-er,

1~Hny

con 1plcx 11:

''·'

s ;r u ~l'.ir0'. a.''.(~

·
rli ·thnlical ? In which di:scnpll on <l o y utt f~TH1 u1 n.-t1~lLlll. l.
more . ) . . . et c, J\l ·tkc ::i. l ist of th e d duils u sed 111 tl1'-'
t1u11 1 1:. s1111 11e~.
..
'
•
·f ·
f
ti
ti
u111t
clesc'ri]~ ti <1n from th e: a !>"cnt "s point o
r_,,;111 11.: p uc- L: 1'
o f view. \Vl 11ch con ta111 s m o re of th e conu c te .

".'cw_'.

Exercise

v\Trile a conlr:i.st bel\\'C L:J1 t\\"O perso n s ' conceptio ns of the mndc of life of a ce rl:tin community
or class of pcuple acco rc1ing lo th e following- pb,n:
Give in thc first scnl c n ce of th e first paragr:tph lm:
point o f view o f o n e person. In the :~s t. senl_c n ce <1:
th at paragraph summarize y o11r c1 esc11plwn f 1 <>Ill the
first p c rso n's poi n t of v iew. In tl: c l1rs t s.en t ence of
th e seco nd paragraph g ive Lhe pomt of view of llie
s econd pe r so n a nd summarize in the ].a st se nt en.ce,
as before, what yo u ha ve said abo11t his conccpt1un
of th e comm u nit y.

145 .

F undamental Device XIII. - A Si 1rncs '•F

j '~ .
•!

. I.

,,'
I'
I

CO NTRA STS.

A.

MODEL.

It is d ifficult t o decide o n th e co mparativ e m e ri t of
h im [Fox] and l\ lr. Pitt: th e latte r h::tcl n o t th~ ' ·;he:
m e nt r easo nin g, or a rg um e ntati ve nd1culc o f M1. 1 ox ,

"i· ~ ·.;.t
..,,

'"I

~2 1

220

. bnt he haJ more splendor, more image r y, a11L1 much
more method and c11sc rct1on. . . . .
Mr. Fux ha(~ a captivating earn estness of tone and
manner; M r. Pitt was more cli.t.:·nifi cd than earnest: . .
... ; It .\\'as an o l;s.erv;i,t 1on uf the_ reporters in tlie galle1 (, lh.tt 1t requ11 ed great exert10 11 to follow j\'[ r. Fox
while h e \\';J.s s peakrng, none to remember wlwt he had
said ; that 1t \\'as easy an cl c1cli.s.;h tfu t to fol low Mr. Pitt
not so easy to r ecollect wh:1t had de lighted them.
'
-

C11A1<LEs H u T1.E1<,

No11i11/s,·,-11c,·s, Jl!r. Fux and 11/r. /'Lit.

S1 1< ;c1-:s·:·10Ns. - \\' ha t d esc i_-iption -mntin.: is 11 secl in thi s m"llel ?
I_1"11 lll:l ll) C<>11tras1s d" y o 11 l111d 111 thi s series' \\'Ito arc t li e ierI

~<>lts cu:1trasted? 111 what. res pects are they compan:d ,

1". EXAJ\ll'LE J-'()I( ANA !.\'s is. C iceru, after con trasting the splenc1il1 trPops of the I<.om;in s tate
\\'Ith th e wrc tclie<1ness "f the followers of Catil in e,
tlw consp irator, goes on t<> c<Jmp:t re the l\1·,J C: lllSes
fur wh ich he, as the represcnt:ttivc of J<.\>lllc and
Catilin e , who is aiming al the overthruw of l~ome
rcspcctivclystand. llcsays:
'
For un the rnw s id e is figlit in .~· mod esty, <in th e other
wanlunness; 011 lhe nne chastity, un the •itlil'r un clea nn e ss; on the one lwncsty, 011 the other fraud· un th e
<>Ile p iety, on the olhLT \\'i d:l'd ll cs...; ; nn th e " ;1c firm ness , on lite other matln es...; ; <Jll the OllL' h<•ll"r 0 11 the
uther _l>:tscncss; on th e ()Il e C••ntin e ncc, o n t1{e other
~ list; 111 .~1_1urt'. eq ui ty, tc rnper:tllCL', fortitude, prud e nce,
-t!l ~he .. vn tue_s, c<>11tencl a.~·:1inst 1111qu1ty, luxury, indole 11c e , 1.1shncss, all the VILTS.
-

;'\. I :\ Ht ' 1 1 ~ ' 1' 111. l , l l lS C 11·i.:1.: 1 ~ .

.·l _,"ai11s/ ( 'a!il/11c, <i ral1i111 11., ('It. Xi.

146.

Fundamental

Device XIV. - J\ Sli\LU·:
This device he;1rs the
s; t1n · rL·l:ttion t" th e fu111hmcntal image (see ~ 1 ~S)
th:1t th e simile d"es to the mel:qilior. Jn the L·,,1 11p:1rison, t he li kcllL'SS is expressly stale d hy the
words as, sr•; in the fund;t1nental irn:tge, one p]1jcct
1s spoken <Jf' as if it were another.
C<•~1 1 ' ,\l'1 s<>N <>1' L 1KEN l·:ss.

•"

l\.1 < I >I·: I. .

.·/.

>

,\...;\\'hen S<>llle g•l:tthcrd fr"lll t he hilltop SLT S
i\ cl"ud that traverses th e d ee p l>dure
i\ str .. ng- west wind, - heh .. lding· it afar,
l'itclt i>LtL·k it seerns, and bring-in;.:- o'er lit e waves
i\ whirlwind with il; h e is seized with fl'ar,
i\11d drives his fJ.,ck lo shelter in a cave,---S•> with the warrio rs 1\jax to t h e war
l\.1'"v c d, dense and dark, the phalanxes <>f y .. ulhs
Trained for the co m bat.
-

I l ·•~ll-:R (Hi< \ ',\ ,.; -r' ,

T1< ANS l .!l" l I<

•1'), Tlir· !fit1 d, /,'oo l.- IV

~ 1 1 1;\;J ·.!-> l lf>N ~. --- \Vha l dl' ~t' J ipti11n -n1oli\· e dnL·S tlli ~ 11111dv l ill11 . . . trali...'? \Vl1a l w11rd c1111111...: cts tlti..: tw11 11H.: 111 he r s of the l' •lllljhtri ~ "11 !

H. E:< ,\~1 1 'LI': H>IZ J\N1\J.\' SIS.
i\s when Lile occ: 111 -i>ill"\\'s, surg-c nn ,; urge,
i\re p1i,;llcd al1•ng t<> Ll1 e rc s11 1111ding s l1"rc
lk-f11n..: the wester n win<l, and first :t wave
Ll plifts it ,;e lf, and th e n ag·ai11st tlw land
I h s h es and roars, ancl round tli c lteadla11d peaks
'J'.,,;sL·s 1Jll high and spouts its ,;pray afar,
:-111 111 oved the serr ied phalanxes of (ireccc
To battle, rank succeeding ran k , each ch ief
\;i\·ing- commancl to his own troops.
- 1J 1 1 ~IEH. ( lh:.YJ\N' J"S 'T' 1<1\ N:-. l.ATltJN),

"

Jfi,• f//tld , f/011/.: ///

St •t;,;E, TI• •I' S. - In t hi s exam pk what is the 1kscri]'tion -111<>ti,·c'
the f111ula111c11l.al '{llality ? Whal wurd introduce s the· lir sl meml>L" r
o f the cornpanso11 ? the second?
Exerc ise

\.\Trit e a paragraph d escribing. by m eans of a
scncs of contras ts, the appearance of two peopl e.

Exercise

Write a ckscription of the character of a person,
using a s in gle comparison or likeness.

I

1

I~ ,.

Composition a11rl R/1rlorir

222

147·

Fundamental Device XV. - A SERIES OF
This device differs
from th a t of th e se ries of inngcs (sec § 136) as
the single comparison differs from the fundamen tal
im age. The i mag-e, as the term is used in this book,
resembles the metaphor; th e com pa rison, the simile.
In the image th e worcls like or as arc omitted; in
the comparison th ey arc exp ressed.
C0 1\TPARrsoNs ClR LI KENESSES.

_,. /.

MOI>El.S.

Like the whistling of b irds, like tl1e hummin g of bees,
Like the sough of the south wind in the tree:;,
Lik e th e sin g ing of angels, the playing of shawms,
L ik e O cean itself w it h its storm s and its calms 1
\Vere t he s tra in s o f Shon, when with cheeks afl ame
He blew a bb:;t thro ' th e pipes of fame.

2 23

B.

EX ,\M!'LE FUR ANALYS IS.

You may as well go st:lnt1 lifl<ill th e beach,
And uid the main !loud bate h is usual height;
Yo11 m a1· as well use question w itli the wulf
\Vhv li e-hath made the e 1Ye blc ;t t for th e lamh
Yot; m ay as well furbiLl the 111111111tain pines
To wag· their high tops and to make no noise,
\>Vh en th ey are fr ettcn with th e g-11st s of heaven;
Yon may as well c1o any thing m us t 11 arcl ,
As seek tu soften that-th a n which what's hard e r;His J ew ish heart.
- \Vi1.t.1A\t Sit.·\K sr·i-: i<i-: ,
Jlf,.,, r /J1111t
Suc GESTtt>:-<S. -

In thi s

o/ / ',.,11£·,·,

example of

,. /d J //. , .\1· . 1.

11..:sc ripti o n l> y t h e use

of a

seri es of c11111pariso.n s . what i s ~he. fir:-;l cq.n1pa r~sn n . ? tL c second?

the third? \Vhat 1s the descnplloll-lll<1tlvc· ot tl11 s paragraph '
\\That is th e fu11da111e11ta l qualit y ' \\"hat ru le for paragraph
stru c ture is not o\Jserveu in this pa ragrap h ?
.i··

Like a thousand laverocks singing in tune,
L ike countless corn -craiks under the moon,
Like the smack of k isscs, like sweet bell s ringing,
Like a mermaid's h arp, o r a kelpie singing,
B le w the pipes of Sh o n; and the witc hing strain
vVas the gathe rin g song of the Cla n Maclean.
- ROBERT B1 1u 11\NA N,

Tit<· /l",;ddll!J; of Sho n ilfac!ean.

J\ t the first shrill n11tcs <1f th e pipe,
I heard a sound as of sc rapin g tripe
J\nd putting apples 11· 01Hlrn11s ripe
l n tu a c ide r prc::;s 's gri pc ;
1\ nd a moving awa y of pick le -tu b boarcls,
J\ncl a leaving ajar o f conserve cupboards,
And a drawing- the corks of train-oil -flasks,
J\nd :1 bre:lking: t he hu()ps of butter casks.
-

RuHERT BtW\\'NI:-<<',

T/i,· J'i, ·d Piper of 1-/a me/in.

S1 1f':<:t·:,·1 ·1nr-; s. -\Vha t rlcscript.ion-motin: i ~ used in e ach m odel?
\\1 hat

is Lit e fund amen tal <]uality in ea c h ' \\Th at is th e fir s t com p:triso 11? I !ow man y compari s o n s in c ac·h'
'

llfi11or rlt"z•irr.1 11scd.

sions.

Find and e xplain two allu -

J}fiuor dc<1icc us{'(/.

Find a metaphor.
Exercise

'Write a description of a con ve rsation, book, or
speech, using a series of comparisons.
148. Fundamental Device XVI. - DL\!.Oc;uE.
One of the most important devices in description
is dia1oguL". lt is pcrh;1ps rnure v ivid :11Hl in for 111:tl
than :lny other, ancl may Le

\ISCll

for the pur tray:ti

of any of th e dcscription-mutives e num e rated i n section 96.
A.

MoDEL.

"Yo un g man, I am painting a picture uf Si~1on
d eceiving old Pria m, and I shou ld be glad of your l a ce
for my Sin on, if you'd g ive me a sitting."
.
Tito Mi le ma started am1 look ed r o und with pale
astonishment in his face, as if at a s ucld e n accusation ,
but N e ll o left him no time t o feel at a los:; for an
answ e r.

226

Ornamenta tion i11 fl rscriptio11
The lam p light see m s to g-li m m e r w ith a flicker
of s t1 rp ri sc,
As I tu rn it l1>w t" rest m e of th e d azzle in my.
eyes,
A nd light my pipe in sile n ce, save a sig h that
see m s to yoke
Its fate with my t obacco a n d t o vanish with the
smoke.

Descr ip - 1~ face of lily beaut:-·, wit h a fo rm of a iry grace
t wn
I' !oats out of m y tobacco as th e geni i fro m th ~

vnsc;
An d I th r ill be n eath the g la n ces o f a pair of
azu r e c \·es
A s glow in g as th e s um me r a nd as t e nder as
the sk ies.

I can see the pink s un bonn e t a nd th e little
c heckered dress
S h e wo r e w hen first I k issed h er and she
nnswcrccl the caress
\ Vi th the wr itte n decla rnti on th a t," as surely
as th e nne
G r ew r(lt1 Jld th e s tu m p," she lo ved m e - that
olll swee t heart of min e .
- J 1"'11·:s \\"111r1·.,~ 111

R 11.1-: v,

An O ld .':.·wf!etheart.

l·~v jr·rm i ssion oj Tiu Bmvc n~Alerr i/I Co mp a11y.

Sucr.EsTtoKs.- \ \ 'hal dc~lT ipt i o n -mot i ve

is u sed in thi s rn odell
\Vh at is t h e funda m ental qu a lity of the picture he re g ive n ? H ow
is the. fumla m ental dcv 1l'l.: carried ou t ?
Find the fo ur w 's in the
s1 t uat101 i.

Minor d f1;ices used.
q u ot a tion .

B.

F in d co m pari sons ; a direct

E XA M PLE F OR Al\:1\ L \' S I S.

His. ol d head ha s dropped on h is b r east, and he is
d r eam11:g. Pictu r es a re passing befo re his eyes quickly,
and n litt le cl1sorderly. He docs n ot see th e house in
wh tch h e w ns b urn, fur \\' a r had des troy ed it;

22 7

but still th e v ill age w as as if h e had lef t it ycsterdny,the lin e of cottages w ith li ghts in the win dows, the
m ound, t he mi ll , and the t wo ponds opposite eac h othe r
and thunde r in g a ll night with~ c ho ru s o f froJ;!.·s. .
The ni g h t is calm and cool,-111 tru th , a Poli sh 11 1,.;ht 1
In th e di s tan ce the pi n e -w ood is so undin g w it h ou t wi nd ,
like the roll of the se a .
. Oh, th e on e Janel , the
one land!
- H icNR YK Sn:l'KI EWI L'Z, .')it-/1111/.'a.
SUGGEST IONS.-· I n th is e xample of <lescr ipti on by vision, which
ex pressions carry ou t th e <l e: ice? Wh at desc ri ption- rn o ti ,·e is
used in this e xam ple? Has this p ic ture a t und amental quali ty ?

Jv!inor de11iccs used. Find a s imile; a n exc lam a ti on.
Exerc ise

Write a parag rap h describing in vi s io n the mode
of life of a p e rson o r a community.
15 0. Fundamental Device XVIII. -A 1·oc;T1wr11E.
A post rophe is t h e add ressing nf the dead or in :rn im a te as i f th ey we r e liv ing, an d th e a bsent as if
p rese nt. It gives an i mpass ioned t o ne to a desc ri p. tion, and <li ffe rs f rom pe rsonifi cati on in that it ta ke s
the form o f a direct ad dress.

A . M O D E L.
Situated, as th o u ar t, in th e ve r y h eart of Mirring- and
living co mm c rcc-ami cl t h e fret a nd fever of speculati on - wi t h t he Ban k , and th e 'Ch a nge , an d the I nd ia
H ou se abo ut th ee, in t h e h eycb y of prese nt p ros pe ri ty,
with th ei r im portant faces , as it w e r e, in su lti ng th ee,
th ei r p oor 1ll"tj;!Lbor out of b11 si11css- t o t h e idle and
m e r ely con te mpl ativ e - to such as m e , old h ouse! the r e
is a ch a rm in th y qu iet:- a cessatio n - a coolness from
bu sin ess - an in dole n ce a1 m <1st cl o is tra l - whi ch is
d eli g htful!
S ucr.EsTIONS.- \Vhat <lescript i.rn-rnot ive is u sed in th is m odel?
Wh a t is th e fund amenta l quality of the p ict ure? \Vh a t wo rds
make thi s ll csc riptio n a n a post roph e ?

,·

·'

Onwmc11/alio11 i11 /)1·st nflio11

T>.

E>.:A~ l l' l.E i:n1.: ANAl.Y s 1:--;_

ComL· lia ck i11t11 lllL'lll<>n·, l ike as thou wcrt in the
rl:tyspring· .,f tit\' f;111cics, wi°th Ji.,pc like a fiery col umn
l1l'fc1n: th ee - the <lark pillar 11e1t )'L'I Lt1rncd - Sarnucl
'l'a\·J ,,r C (lkrid,:_:L· - l".:..:·icia11. 11h·t:1plt\·sici:111, bard! l l11w ha\'\.: 1 SCL'll tl 1e cas nal passer t ltrnuglt th e cloisters st.;111<1 still, entranced with acllllira tion (whil e he
11·e ig· h cd lite disproporti1111 het 11'\..'c ll th e S/'i'i'dt and the
.~·,1r/J <if th e young i\l 1randula), to hear tltec unfold, in
thy deep and sweet i11te111:1tiu11s, the m yster ies of Jamlilicill!s, or l'l otinus (f"r eYcn in ilwsc clays thuu waxcdst
1wt p:11c :1t s ul· h pltil11sophic draughts), or reciting! [omer in his CrL!l'k cir Pindar - while the walls of the
cilcl Cray F ri ~1rs r c:-cclioul lo the accents uf the 111spirt'I!
«!ta rt'tj' /1oy /
.
. .
- ( 11 ,11<1 LS L,1 ~ 11 < , / :J .l' rl.1'.I' of f:_/1r1.
i~

~1 1 1: .. 1-., ll•• N,. - . \\'h:i t < it- ~l'riptin11 - 11wti\' C'
tile f1111cla 11 1c·111al '1 11:tlit1· 11f the pidllrl' '

i~

J1 ('rt: used?

\Vhnt

Jh11 t1 r d, ..,.. ;,,-s 11s,-d. Find . i n th e above m odel,
ex:l!11plcs ()f th e mctaphcir, and a c11m panso n. In
the cxa tn pk for ;!lla lysis explain the allusions in th e
pr"pcr n :tml'S. \VIJ:L l is th(; :i llusion in the "fiery
L' CI I ti Jl l ll .. ?
Ex ,\ ~ 11 · 1 .i-:s

T<l

1:1-: 1\:\ .\1. \ ·1.i-: 1•
,\:\I • Alii\'<IJ (

r5r.

l-'\11'

FUNDAMENTAL

J)J:\ ' l< " l·: S

General Qu est ions. fn rega rd to each of
the.: examples of descrip tion -motives given in the
remainder of this c h:1pter, which are int e nd e d to
atTorcl further practice in :tnalysis, answer the fol.
lowing q 11estions :ts tu moli vcs an cl devices:
I.
/V!t11t 1's lite .f1111drw101tal dc11icc? Ifow 11tallJ'
111i11or d1 ·1•1i«-.r rzrc usu!/
2.
IV/1al is !ltc 1110/i7•1 of mr/1 d,-scriptio11?
3. I /?/1al is 1/11 .f1111d11111«11l1tl q11ahlj1, co11u ptio11, or
I ll l<lgl· !

'.' '.'<)

4. Du«s t!te cxa111plc <1iol111t' 1ir .f"ll"'-c' !lu· l1r«1s of
parrrs ·raplt slructur,· -,,.,'t/t ngirrd lo 1/1,· first, lk · /11sl,
a11d lfll· i11l1'!"i'1 '/lfllg SL'ii/i'/IC!'S :I
5. J l o<v do / !tc dd111ls sd1·d1 ·rl r «1 '11.fi1rr1 · I !tr jl111rla mcn!al quality or i111ag1· .'I
6. /. Vit a! expressions c11.fi1rtf I !tr .f1111d11111«11/11/ 1;1111 Iii)'
or image .Y

·.;

I.

If thou wou lJ 'st view fair M cl ruse aright,
Gu visit it i>y thL! p:dc mounlig·l1L;
For th e g a y beams of lig-hts()me day,
G ild but to fl out, the ruins grey.
w11:n the broken arche s are hlad in nig-ht,
And each shafted oriel glimmers while;
'vVhen the euld light's uncerta in sh(lwcr
Streams un the ruinct1 cent ra l lo\\'cr;
·when buttress and buttress, alternate ly ,
Seem fram ed of cbon and iv ory;
When silver edges the imagery,
1\nd the s c roll s that teach thee tu live and d ie:
When dista nt Tweed is heard to ra ve,
1\nd th e owlet tu h ()( •t <,'er th e dead 111a11's gra\'<-,
Then g-o - lrnt go a l11n e the whil<..:Then view St. lJaviJ's ruined pile.
S11< \V111.TE1< S<'<> 'IT, T/11· /.rtyojl lte I .a.I' / .l/in .1 /1,-/.

The fundamental quality is not expressed in thi s
description, but it is irnplic<l. \\!hat is it ? 111 \\Til ing parag-raphs accor<ling to this molkl, lio\\' en.: r.
the student shoul<l express th e fttmlamcnt:d quality
always in the first sentence, whatever fund:un c nt:tl
device is nscd for the harnlling- of details, :rnd should
sm111narize :tt the close the general irnpressi<•ll.
Suc:1;1-:sn 0r-:s. - J\11 s\\'er in regard lo the ah"'"' l'X,llllj>le tl1l'
general qnesti•>ns in sec tion 151 : Find c:xamples ,,f Ilic: \IS<.: •11 !li e·
second person, a de1·icc: !Jy which the liL'sc nµ t1<•<l is acldre "c·d I"
the rc:iukr; .,f the elfcct1vc: re petitwn ol the same c"11 s tn1 l'lt••ll .
of th e s ame \\'uni.

'·'

I

'

230

Ornal!lentat ion i11 Description
JI.

23 1

I V.

L orenz o :

ODE TO J\ UTU l\! N

\\Th '.J h:i.th n o t seen thee oft amid thy sto re?
Th :::i omc
.· trmes
. . .. wh
. oc\·er seeks.· 'a]) r·o·tcl
c
m ay fi n d
;,c s1t t 1ng ca1 ckss on a g ranary fl oor
I hy hair soft -li fted by the winno win'
. 1·
Or on a half-rcap 'cl furrow so un d asl ee )g wm c'
J?ro :'·~'cl with the fume of poppies, Ji~ile th ho k
\ ~pa1 es th e n ex t s wath and all its tw ined ll~wer~ ·
1
11<. sometimes like a g le a ner thou dost ke e)
.
~t~:idy thy lade n 11 cad across a brook . 1
~~1 l.Jy a cyder-press, w ith pati e nt loo k'
l hu1t w:i.tc:hcst the ];1st ouz ings h o11 rs i;y hours.
-

] O ll N K EATS.

. .
Sucr.1-:sn o:-:s -J\nswcr t he
1
lJ n <lc r, h ow irnt~y a spects is a11tfi1~11;1c~'~sc~~~:<\1~ n s jn sec t_ion 151.
\\hat epithets in
t his <ksc n ptwn arc.: c.:specially e ffect ive!

III.
,.· Yon m:i.y almost fancy t hat th is spectral dwellin r
g1v~n Hp to solit ude and darkness m ;o-ht b h ?a•
callmg
al o_ucl_ for
succor · Docs· 1.t rem
, a·.o
·
- ·
.
m s1·1 ene t? em
Do
. ' h ·.
v01ces ind eed issue from it ? 'Vli
~t
·
J• 1 ·
l ·
· 1 " 1)usm ess as it on
i1'm ~. in t i1s lonely pla ce ? Th e mystery of the d k
io tu s r es ts sec urely here. I ts as1Ject is d'. . t' ar
11 0011c1ay . \Vl 1 ,1t
.
1squ1 e mg at
.
•
•
• . mu st it be at midnight? .
'l'h
d1 e:i.mc r asks l11111self - for <lr·e~ nis li ·tvc tl · · · h.
e
.
.
"
·
•
·
i e ir co erence
wl ut thi s l_w11sc may be b e tween the dusk
<>/ eve111ng an cl the tw rligh t of a pproa ching dawn? H
~ ~: ~:i.st supcrnatnra l worlcl so me relati on with tbo/S
. csc1 tell h e ig ht, whi ch so met imes com els i
l.t
it s mo ve ment::; h e re, an cl to clcsce nd ·111lto b _t to arr~ .t ..
blc ? Do the scat te r ed e le m.e n
'
e~~ m e VI Sl· '
whirl a ro un d it? Doc s t he im ):~ J~~ ~he :p1~1t world
substance hnc? In:;olnblc ri clJlesl ,' A }t1a kl e form. anfd
the v e r y st
·
· ·
o Y awe 1 o
1
with the i·n ;~;~ft~ ; J ~~~ ~~~~ - twilight has surely relation

. . ».. .·

1

1 1

- Vi cToH H uco , Toilers of the Sitt.
S u1;c EsTI ONs -Answe r th e IC
.
Find exa mpl es ~f pe rs~ nificati o n . e n~rl·a 1 q~est1ons in section
. e xc amat1on; a comment.

The m oon shines bright : 1n s uch a night
as this,
Whe n th e sweet wind d id gently kiss th e trees
And th ey did m a ke no n oise, in su ch a ni ght
Troilu s methinks m ount ed th e Troyan wall s
And sigh 'd hi s so ul toward the G r ec ia n tents,
Wh e r e Crcssicl lay that ni ght .
J essica:
In s uch a night
D iel Thi sbe fear fully o'crtri p t h e d e w
An d saw the lion' s shadow e re himself
And ran d ism ay'cl away.
Loren:.:o :
In s nch a ni ght
Stood D ido with a willow in h e r hand
Upon the wi ld sea banks aml waft her love
To come again to Carthage.
J essica:
In suc h a ni g ht
Medea g ath e r'd th e enchanted h erbs
That did r en ew old LEson.

''

-\VJLl . IA M SllAK SP ERE,

Jl!le rch a11 / of Ve n ice, Ad V. , Sc.

1.

SuGGESTlO NS. -Answer th e gene ral questions in sectic.n 151.
Explain the a llu sions in T royan , G rec ian tc.:nts, CrL·ssid. Thi s hL·.
Dido , Medea. h: so n , " to come ag-a in to Carthage ." D oes thi s
descripti o n contain two fundamenta l devices?

,,

v.
I have neither the scholar 's melancholy, whi ch is
emula tion , nor the musician's, which is fanta stical, n or
the courtier's, which is proud, nor the soldi e r's, whi ch
is ambiti ous, n or the la wye r 's, which is polit ic, n or the
lady's, which is nice, n or the lo ve r's, whi ch is all th ese :
but it is :i. m ela n choly of mine own, co mpo undcll of
many simp les, extrac ted from m :i.ny olJj ects, and ind eed
the sundry contemplatio n uf my trave ls, in whi ch m y
often rumina tion wraps me in a most humo r o us sa<lncss.
-\.V11.L.JAM S11AK S P E RE,

As You Ld.:e fl, Act J V . , Sc

,,

1.

Succ r·:ST IONs.- An swe r th e genera l q 11 est. i.. ns in sect ion 151.
F ind a m e ta phor. Find exam ples of t he 11 se o f c1>ntrast; of the
repetiti on of the same c;:on struction ; o f the same word ,

.

..

232
VI 11.

VI.

Th e re ;-ir e depths of sormw that abstract the mind
e ntire ly from its fe llowship with man. Th e fo rms
which c orn c and go within yo ur room become con fused
;ind indi sti n c t . Th ey p:-is s by, even tt1u c h you, b ut ne ver
rc:t!ly comc near you . Y ou are u11:ipp1·oa ch ;i.hl e ; th ey
are inacccssililL: t<> you . T he intensities <if joy and despair differ in thi s: in des pair, we take cog ni zan ce of the
\\' <•rid onl y as so m l'lhing dim ;·ind a far off; we are insens ible tu the things befo re <>Ur eyes ; we lose the fee lin g
of our own ex ist e nce. 1tis in v ain, at s uch times, that
we are flesh a nd lilo"d; nu r consc iousn ess of life is none
the mo re rea l; we arc he <.:(JJTJ C, C\'L· n to ourse lves, nothing l111t a drea m .
i\l css L eth ic rr y's gaze indi ca ted that he had reached
thi s s tate of al>surpt ion.
- \ ·H'l •> H ll i 1,;01, / i1ihrs •:f tile S.:11.
~(l t ;1 .J . ... r1 ~• N:-. . - /\11 ~ \\'('J" the )..!"l' 11 L'ra 1 qu es tion ~ in
t "' " J><lra;.:;r:q 1h s f .. 1111cl in thi s de,;,:1·iptio11 ~

\\"hy arc·

Sl!ct ion tSJ.

Wh ich para-

Mra ph co n tains tl1e ge n e ral re llel'lion >

-

\\"," 111 :--0. 1<>:<

J\llS\\'Cl'

Edwin Lan<lsee1~ called ''The ()Id Sheph e rd 's C hief
Mo urner, " which represents a dog lying Ly thL:
coffin o f its maste r, the old s h e pherd:
The c lose pressure <Jf th e do~"s l ircasl against the
w o()( l the convulsive clinging uf th e p :t ws, win c h h:ts
d ragged the blanket 1>ff the trestle, th(; _t"tal p uwc rlcss -.
n css uf the he:1d bic1, c l<1se a nd rn ottonlcss, upon tis
fo lds th e fix e d an cl tearful fall of th e eye 111 1ts utter
hope lessn ess, the rig·idi_ty o f reposL: wlnch 1~1:u:~ s .th~t
th e r e has hc c n no m oll <•ll n o r c hange 111 the ti .inc e .' f
ag'(my since th e last blow w a s struck o.n th : _cu n111 - ~H.l'.
the quil' tn ess and g·loom "f th e _chamhc 1, th e spccLtl. ks
markin l:'; the place where th e B1hk was last closetl, 111cl1 catin:..( ·h"w l1111 e ly has hel'n the lik -:-h<>w_11nwat c h ed
th e dl'p:trturc, of him who is ll"W laid solitary in his
sl ee p.

-

J<• ll N

\{ ll~K I N, ,1/odern /',1 /n/,-r s, I 'of. I.

St i t,c :t·. ~· 11 . ,N. -- J\n sw...:: r th t: gctH:ral <tlH.: stion s in sec ti on 15 1.

VII.

1\ s IL·hahnd jo,t.::,t.::C(l slo wly 011 his way, his eye, ever
"JlCll t o L'Very sy11 1ptnm o f c ulinar y alrnndan cc, ranged
with delight over th e t reas ures of jolly autumn. On
:tl l sides h L' l>c h L:ld \·ast st<> rl's ()f applcs; s<ime ha ng in g
in opprL·ss i\·e o pu lence on th e trees ; som e gat hered
in t" baskets and barrels for the m arke t ; uthers heaped
t ip in r ic h piles f11r lllL' l'idl'r -p rcss.
Far th(;r on he
lil' hcld ;.:- re al ficlds of ln di:m c11rn, with its guld e n ears
!JL'(;j>i11g· from their lc:ify ('11Vcrts and holding o ut the
pr11mise of c a kes and h:i s ty pu dd ing ; and th e yel low
p1 1n1 pki n s ly ing lie1H::ttl1 t he 111, turning up their fair
round bellies to the si111 , a nd gi,·ing ampl e prospecti; of
the m us t luxuri" 11s 1if pies; and anon he passed the
fr:t ,l,!'rant lrnckwhcat fi e ld s, brea thing the odor of the
lice -hive, and as he hchL·ld them, s"ft anti c ipati on s stole
11 vc r his mind of dai11 t y s lapj:1L· k s, wcll huttered, a nd
;.,::trnished with hon ey 1>r tre:iL·lc , by the delica te little
dimplcd hand of l\::t trina \' \tl l Tasse l.
S1 't:i; 1-: , Tl<> N . -

The following- is a c1e:=;cription of a pi c ture l>y

Ji;'·"'"'·

/ It,- Sl.:i'/clt-Rool.:.

th e ge n eral q11e s lions in section 151.

IX.

Th t.: re is swee t mu s ic here that softe r falls
Than p e tals from hluwn roses on th e g rass,
Or ni <,.ht-dews o n still wat ers h e tw c ·n walls
Of s h~d"wy g ranit e , in a gleaming pass;
i\1 ii s ic that ge ntli e r 011 the sp1nt li es,
Than tir'd eyc licls upon ti1"d cyes;
i\lusi c th ;it brings sweet ::;kep down from th e bli ssf ul
sk ics.
- i\1.F><Fl > TF.NN VSO N, Tiu J.olos -h "afrrs.

s 1,. :.:i·:ST l(J N. -

1\n s \\·c r

"!

th e general q11estions in sect ion 151.

x.
;\ ho ve all, tlrnsc in s uffe ralJl e concertos, a ncl pi eces
of 11111 sic, as they are called, du plague and cmh1tter
my appre hcnsion.- \Vo rd s arc sometl_1111g; ht'.~ t o
ex pnscd to an e n d less . batte ry of mc1 t.: sounds_, to he
long- a -dy ing; t o li e stretch e d u pon a rac k of r os_e s;
to pile h o n e y upo n sugar, and sugar upon

h:

I,

234

Compositiolf ant! Rltcloric

Onw111r11 !al ion i11 J)csrript io11

honey, tC? a n interminable tedious sw ee tness; to fill up
sound with feel111g-, and strain ideas to keep pace with
it ; to. gaze on empty frames, and be forced t o make
the pictnrc.s for yourself; to read a book, all slops, and
he <>hl1ged to supply the verbal matter ; to invent
cxtemp.orc t ragedies to ans w e r to tf1e vague a-est ures ·
of an inexpli cable rambling mime-t h ese a~e fa in t
shadows of what I h:1ve un dergo ne from a series of
the ablest executed pieces of thi s em pty instrumental
IJ /l!SlC.
-

C11ARI. Es LAMB,

Essays of Elia.

Suci;1'STION S. -Answe r th e general ques ti ons in section
Fi nd seven comparisons.

ISi.

XI.

0 Caledonia! ste rn and wild
Meet nurse for :i. poet ic child! '
Land of brown heath and s haggy wood,
Land of th e rnoun tarn and the fl ood
Land of m y sires! what m o rtal h a n ~l
Can e'e r unti e the filial band
'J?h a t knits me to thy ntg-gcci' strand!
Sttll, as I view each well-kno wn sce ne
~'hink wh a t is now, and what hath be~n,
S eem s as, to m e , of all bereft
S ole fr iends thy woods and st;-earns were left·
And th us I love them be tter st ill
'
Even in extremity of ill.
'
-

23 5

by day. Solomon w oulll n ot di sobey his p arents and
e at gTee n apples, - not eve n when th ey "·e re ripe
e n o ugh to knock off with a stick, - bu t he hatl such a
longing for them that he pin ed ancl paf;sed away. If he
hatl e a ten the green applc:s h e would h a\·c died of
them, proba bly; so that his exam p le is a di 1li e11lt one
t o follow. In fac t, a boy is a h ard su b ject to get a
n1oral from.
.
Joh n w as a very different boy fr om Solomon, n ot
half so good, nor half so dead. He was a farmer's boy,
as Solomon was, but he did n ot take so much interest
in the farm. If John co uld h ave had his w ay h e wo ul d
h ave discovered a cave full of diam onds, a nd lots of
nai1-keg-s fu ll of gold-p ieces and Spanish dollars, with a
pretty littl e g irl living in the cave, and two be aut ifully
capari soned horses, upon whi ch, taking the j ewels :ind
mon e y, th ey w ou ld have ri dden off t ogether, he dill n ot
know where. Joh n had got thus fa r in his studies,
wh ich w e re apparently ar ithmetic and geography, but
were in reality the Arabi a n Nig·hts, and oth er books of
hig-h and mighty adve nture. He was a simple country
boy, and did n o t know much about the world as it is,
bu t he had one of hi s own imagination, in which h e
lived a good deal.
-

C11 Ain.F:s

D u m.EY

\V A1'NER ,

;1

Bt'ing a /Joy.
J'

S uc: <;EsT10N .-Answer the ge neral q u estio ns in secti on

1 5 1.

Srn \VALTER S CUTT.

, . Suc;<:EsTJnNs.-Answer th e ge neral c1uestions in secti on
f• incl. e.xa mples of the use of interrogat io n a nd excla mation rs~f·
repet1t 1u n.
'

XII.

Of cou rse the perfectl y gootl hoy will a lways p refer
to \VOrk, and to do " chores" foi· his father and errands
for his m o ther and sisters, rather than e nj oy himself in
!\ is .~w n way. I n ever saw bu~ o n e such boy. . . . .
.l his boy, whose nam e was Solomon, before he died
would rath e r .split up kimlling-woud fo r his mother
than .i. :·o a-fishtng : th e conscq11cnce was that he was
kept at splitting kindling-wood and such' w ork m ost of
the t ime, and g-rcw a hct tc: r anti more \1seful boy day

General Exercises on the Fundamental Devices

I. F ind in y ou r general r eading a n d bring to
class examples o f the va rious description-motives
(see outlin e,§ 96) which have a fundamental device
for the han dli ng of detail.
II. Find all the descripti ons of place whi ch are
g ive n in Chapters VII. ancl VIII. vVhat fund ame ntal
device is u sed in each? Make a summary in your
notebook of the different fundamental dev ices which
you find in these examples of place-desc ripti on.
Write several descriptions of place, using in eac h a

"

i'.

different fun cbrne ntal device. The teach e r will
select from the list of f11ncl:unenta1 dev ices those
which the class c:tn use must success fully. An
abundance of material for these desc riptions may
be found in everyday life, for instance: "l\fy
Neighbor's House," ··The 01<1 Sw immin g Hole,"
'"fh c Main Street of Our \'illage."
III. Determine in li ke manner, from a study of
the cxa11.ples in Ch:ipte rs Vil. and VIII., what fundamental devices may be use d in the description
uf personal appearance; and a lso in each of the
other descr ipti o n-motives (:-:.cc ~s>G) . K eep in your
notebouk a sep::lrate list of th<.: fundamenta l devices
used in eac h motive. \ Vrit<..: several p:irag raphs on
each motive, using a c1iffc r<.:nt fund:m1ental device
each time as suggested in the descriptions of pbce
which yuu h:1\·c just been :tskL·d to give.
IV. \Vr it<.: in di:tluguc :1 dcscriptiun on each of
the first nin<.: mutivcs mentioned in s<.:cliun 96.
V. Ex:uninc each of th e par:tgTaphs quotecl in
Chapter VI TL an<l dctc r min<.: wh ich ones obey the
law of p:tragr:iph structnrc in JT)-:':t rd !<1th<.: first, the
last, and th<.: inten·cning sentences.

'!

Cll. 11'/FF /. \'.

TIIE fJE~CI.Zl PTT\'E THEl\'rE
I N ~ iTE

.1 0

Tiii·:

'l'v _. \1 ·111.: 1..:. -- lt

. 111a y

cl 1a p l<.: r w il h all 1...·lc111c11l:lry l.: l:ts~.

sc:ern

ad\·i~al~le

t.u

q111it

this

I

x52. General Suggestions. A piece of pure clesc riptiun , li ke that called fur by th e fulluwing nrncld,
becom es ve ry 1non"tunous nnless the writer. takes
car e t o vary the func1a111L~ ntal qualiti e s used 111 the
different nwli vcs. It is sorn<..:times w e ll, f"r instan ce,
to assign to a pc rson"s appc:ir:rnce a qual ity which
m:.tk<.:s him cnntr::lst oddly with th e place H1 whi ch
h e lives. P:iins shnu ld alsri be taken t o v;iry the
devic1.:s us<.:ll in the h:u1dli11g ()f material. and tn sec
that th e scnte ncL·s differ from un e another in gram matical and rhdoric:tl structure anrl in kng th.
Th<.: fol\11\\'ing thr<.:L: thcme -nwck ls will serve for
exten d ed descriptions of persons, places, etc .
x53.

Theme-model VI. - T111·: D1·:sc 1u 1··r1 <>N ( f f
!!11· /. 'll/11,.<'t"
r·\ P. 1•... 1•c' (l'
1"'.' l 1l111"fcllu\\_.S
:::,
. , /,'/111'i.-.rn11/!t. cornbin cs a number of description-moti ves to g-1ve lts
a picture of a person. These motives arc placcclcscription ---· the furg<.:; the pe rsonal app~arance,
charact<.:r, and mocle of 1ife of the blacksmith; the
description of a n occasion in which he takes part the Sunday service.
_
The particular motives that will be used m the
description of a given person win depend u~on who
the p e rso n 1s. (For 1ist of clescn pt10n-mot1ves, see
,,~

§96.)

~

( '37)

I'

i

I'

I!•

Co111j'os it 1·011 a 11d R ltctor ic

r54. Theme-model VI. in Outline. The following mnclel will show how the outline of the motives
to be used will depend upo n the s u bjec t . In this
case the subject is" Ou r r.Jinister."
First p::tragraph- place-description - the parsonage. (Use Descripti on -rnotin I., ~99 - )
S eco nd paragraph - his pe r sona l appearan ce.
(Use l\loti\·c II., S 102.)
Third paragraph - his mode of life. (Use Motive lV. , 101).)
Fourth parag r aph - his character. (Use Motive
I II.' ~ I 0-t. )
Fifth paragraph -- his se rmons.
(Use Motive

s

VI.. ~ 1 12.)

Sixth p::t ragraph - the' prayer-meet i ng, or at tea
at onr house, o r the donation party. (Use Mo tive

V.,

s

11 0 .)

Exercise

Select any of the foll o \ving subjects describing
a person. Use the clcscription-motives that the
pa r ticular subjec t you choose calls for. The out] i ne must lie ad:t plcd to the sn b jcct, as has been
explained.
Be careful to vary th e fundamental qual ity in
each paragraph of your theme .
Our family physician.
2.
One of m y four-footed fr iends.
\Vrit c about the an imal yo u choose as a s ubject as
yon would if it were a person.
3. A good-naturccl Yagabond .
4. A woman o f fashion.
5. A village reformer.
1.

239

6.

A prominent citizen.

7.

A m oth er's boy.

8.

The teacher's favorite girl.

155.

Theme-model VII. - D1 -:sc 1u t'TICJ:'\ O F ,\
Several of the descriptiu11-rnuti \'t.:S may lJt.:
organized with refe r e n ce to a pl::tce. Lamh"s l!ti·
So ullt-S,·a llons1-, 7/1, · Old 1?01d11"!'S o.f lite !1111a J; ·111f'k,
and Cl1r ist's l!osj'i!al Fi<•c-m1rl-l!1irly )'mrs ,· J.~"il g-i\-c
u s glimpses of sev e ral persons who w e re assnciated
i n Lamb's mind with the pbces mentioned in the
above three titles. The ou tlin e g i ve n below has
been suggested by these selec tions.
PLACE.

. i

156. Theme-model VII. in Outline. The following is an outline for a theme on "The People in
Our St r eet."
First parag raph - Describe the street. (Use Description-motive I., §99-)
Second pa r agraph - the personal appearance nf
some dweller in the street. (Use Motive II., ~ 102.J
Third paragraph-- the mode o f life of anoth er.
(Use 11otive IV., ~ 106.)
f.' ourth paragraph - - the characte r of ano th er.
(Use 1lotivc III.,§ 104.)
F ifth pa ragrapb - a familia r occasion or assemblage in the s treet, such as childre n gather in g and
dan c in g to the mu sic of a hand organ. (Use :Mot1 vc

V., § 110.)
Sixt h paragraph- Describe a con versation, pe rhaps a quar r el, b e t ween neighbors. Do nut give
this in d ialogue. (Use Motive VI.,§ 11 2 . )
Seventh paragraph - the mode of life of the
street as a wh ole. (Use Motive IV., § 1o6.)

'~

}

'

I

l

: .; J

l
' 'l

.:}'l
' -.

!

.

• t•

-'·

\

:

)

...; :

'

J

;; ::j
.. f

,tI

Co111positio11 111/tl R/1t'loric
Exercise

Write upon" The People in Our Stree t," or upon
any of the foll o win g- subjects. As in th e pre ce ding
e x e r c ise the o nllin e must lx: adapted to the subject.
Be careful. hu\\"C\'er, fo r th e sake of pract ice in writin g descriptiun , to use only desc ription -motives , :rnc.l
onl y U11C uf C.'.tCh ki 11<1 . 1 f you wish, )'U\l may \l Se
a situ:ttion f or yo ur first p:tr:tg raph.
1.
The ltalia11, Cer111a11, "r oth e r f,11·c ig·11 q11:trt e r of
:-<0mc c ity \\"ith 11·l1i<: h )'"ll a r c familiar .
2.
A fas hi u nal >lc st1 h11rb .
3. U n der an u111hrcl la. R e prese nt yourself as walking d ow n a ce rta in s treet in a rainstorm, and te ll what
y u n sec of persons . pla ces, etc., usi ng· a para.c:-raph for
each m ot i1· e . Emph asi ze especial !)' th e effect of the
rain o n m ood , characte r, and persona l appea r ancf:!.
4.
Tn W est m inste r 1\ IJbey .
5. In St . P ell' 1"s at R u me.
6. l n th e Al h am hra.
7. At the theat e r.
8. S o rnG noted place y o u v isite d in yu11r travels.
9. In a scl10ol roo111.
1"· l n a s tree t car.
CAU'J' Jt> N. N1·11101t/1,·r lo //S i' /111! 0111 · f>ara. i;·rrrp!t dcsrr ibi11J;· p/a,-,· i11 )'II/Ir t /1on,-. / /11· ol /1,.,- f'll nr_i,:-rap!ts
s!to11/d da rf 7<•itlt /' rrso11.1 or ut o rsiu11s a ssoriall'fl 7, 11/11 !lie
p/aCt'.

157.

Theme - model VIII.- 1>1:su:1 l' TION O J• s~v­
Mou11s, P1.,\ c 1-:s, <11-:. ~!>l i N US. Th e bst two
them e-mod els we re 01-gan ize<l b y gath e ring around
one person or one place, rn oti \·cs of many different
k ind s. Th e m e -mode1 V1Il. 11· hich follows is made
by r e p ea tin g th e s a m e Tn•llivc seve r:ll time s , so as to
El\AI.

Till' Drsaipt i<•c Tltr1111·
des cribe not one but seve ral places, m odes of life,
i11oods, etc. The follu\\"ing s c lcctiun frum B rownin g's Sr111/ sho\\"s h o w the outline for a th e me m:t y b e
mad e hy r epeatin g severa l l im es the same descnption -m .o ti ve, -- in this s ekct ion, thl: dl·scriptiun 11f
111USI C.
(Sec M u ti ve rx .. ~ I 17.)
Th e situation in .\111tf r ep rl' se nt s th e king· as hav in g \\'ilhdrawn into his tent in a flt of d es pllnd e nc y .
Davi<1 h :ts been summoned to tr y 11p<>n h1111 the
e ffect uf his music: and he t e lls lat e r l1> :t li stl' llcr
of th e diffe r e nt kinds of musi c he tried in ord e r l11
overcome Saul's depressiun uf mind. Thi s sce ne is
d e s c ri bed in I. Samu e l xv i. , 14- 23 .
Th e n T tun ed my harp- t ouk ull the lili es 11·c t1ri11 l'
ro11nd it s ch<Jnls
L es t th ey snap 'n ea th the stress u f the nuontidc - -- thusc
sun beams lik e swo rds 1
And 1 lirst played th e tun e all ut1r sheep kn ow, ;1s, u n t:
after un<::
Su dvc ile th <.:y cu1;1 e tu th e pen -d<•()r till f,,Jding- lie d,,nc.
Th e y arc white anJ untor n by th e bushe ,.;, l u r lu, they
ha ve fed
Wh e re th e 1.,ng grass •s s till c th e wate 1· w ithin th e
st.rcam 's b e d ;
And now one aft.er vne see k s its luJ g in g, as star full v ws
star
Intv e ve and th e blue far aliu1·e us,- s11 l>lu <.: and"" far 1
- Th e n the tune, for ll"hi c h quail s oil th e C•Jrnhnd \\'ill
each leav<.: his 111 ate
To fl y after the pl ayer; th e n, wha t make s th t~ cril·kcts
elate
Till fu r boldness the y fi g ht one another: and thl'n , wh :1t
h as w e ight
.
.
.
Tu set the q ui ck j e rbua a-m11 s 111g· u11ts1de his s: lllJ
house There arc non e such as h e for a wond e r, half bird and
half mouse!
16

·,,.
I

;

;,

'. •

CtJlllf/lsil ion a11d R!tdoric

God made all the c reatures and ga\·c them our love and
our fear,
To gh·e sign, we a nd they arc his children, one family
here.
Then I played the help-tun e of our reapers, their· ll'i11esong, \\"hen hand
Grasps at hand, eye lights eye in good friendship, and
great hearts cxpancl
And grow one in the sense of this worlc1's life.-And
then, the Inst song
\ Vhcn the dead man is praised on his journey--" Bear,
h~ar him a lon .Q·,
"\Vi th his few faults shut up like dead flowcn:ts 1 Are
b~llrn-seeds not here
"Tu consule us? Th e land has uone left such as he on
the lJicr.
"Oh, would we mi ght keep thee, my brother! "-And
then, the glad chant
Of the marriage,- first go the y o un g m aidens, next,
she whom ll'C vaunt
As the beauty, the pride of our clwclling.-And then,
th e great march
\Vherein man runs to man to assi;;t him and buttress an
arch
Nought can break; who shall harm them, our friends?
Then, th e churns intoned
.-\s the Levites go up to the altar in g-lory enthroned.
But I stopped here: for here in the tlarkness Saul
gro:med.

Another poem which repeats the same motive as
th at uscc1 in the above quotation is .1I/, ·xa11da's Feast,
by Dryden. Reacl the latter poem if yon have ac-

'i,

',

..
;,

·i.

cess to it.
S11c:c:1-:sT10 Ns .-\Vhal is the first kind of music described in
\ Vh" t is th e secu11<l, ""d so "n ? \Vhat expressions are
used for transiti o n fr·om one de script ion lo the next? \.Vhat is the
fundamental qualit y of l'ach kind of music described? ]Jo you
notice any fundamental or minor devices iu this 4uotation?
.\111tf.t

<.1:

Tltt D1·scrij>ti< ·t· T!lt'1111'

243

158. Theme -model V III. in Outline. The number of the paragraphs in th e followi n g outline is n ot
fixed. Seven paragraphs are suggested, becau se, as
a rul e , we must n ot make descriptive themes v e ry
long.
First paragraph - the situation.
Second paragraph - description of sound, mood ,
place, character, or any other one motive that the
subject calls for.
Paragraphs three to six - repetition of whate ve r
motive is chosen for the second paragraph.
Seventh paragraph - a return to the situation, as
in the conclusion o f Theme-models II., III., and IV.
(§§ 50, 6<), and 79).

'I

.!·

Exercise

Write according to Th e me-model VIII. a descr i ption upon any of the fo ll owing subjects, all of which
re peat a m otive . Introdu ce each with a situation
in dialogue and return in the last paragraph to the
situation , as in the conclusio n of Theme-model II.
Use a different fundamental device in each of th e
d esc riptiv e paragraphs.
Imagin e a small child telling some one of the
mode of life of his father, of h is m othe r, of an olde r
sister or brother, of himself. A theme on this subj ect
describes for us the mode o f life of seve ra l peuplc.
Some of Riley's child poems m ay give sugges tions
for this theme.
2.
Represent a traveler as desc rihing to a listen e r
different places he has visited. If yo u ha ve nu t traveled
yourself, yo n must depend upon books or u pon what
others can t ell you of distant places. Y our pan.: nts can
probably give you some account o f scenes familiar to
them in youth or childh ood.
r.

'

' l' ,,,
I,

..
j
I

Co111j>c1sil 1011 a11rl Nl1dorit-

3. lmag-in c a hoy g-iving rinothcr a series of char:1ctc r sketches of the teachers \\"h"m h e r e m embers
m ost distinctly.
-1.
Ima g ine ynursclf looking 1111t from a window
11 pon a st r eet in wh ich pc<>plc are pass in g. Describe to
a person in the ruum \l"li<> ca n n<•t see the street th e
personal appeara n ce of d ifferent pa sse r s -by . .Introdn ce
the ~h e m e with a situatio n in di:tJqg u e (~it11ation-type
l l. , ~ .H ), ancl use a d11lcre11t fundamental d ev ice in each
paragraph .

Th e foll()wing q11()Ltt i1 >11 frnrn ~c •itt 's l:·1111lt0c may

show y11n hu11· t<> hq~i11 such a desc r iptio n:
"i\n d I mu st lie here like a l.Jcclri cldcn m onk"
exclaime d l van hoc, "11·h i lc th e game that g iv es 1~ e
f re c tlom o r d eat h is played n 11t ln· the hand of o th ers!
- Lnvk fr<1m the wincl"w once ag·ain. kind maiden, but
be ware that you arc 11<•t marked l> y t h e archers
be n eath.- L o<ik <!Ill <mce rnure and tell me 1f they yet
advance t<> the storm.
. .
\Vh at do~t th o u see
R ebecca ?"
.
'

CH /l r TT: R X .
PARALLEL C <) N STl<. l!CT lO N

159. Definition of Parallel Construction. By
parallel construction is m eant the u se o f a se ri es o f
word s , phrases, clauses, or stateme nts in the s::tml'.
constructi on. The fol low ing qu(Jtations will sc n· c l<>
i11m;trale this use. The e le me nts h av in g th e s:t111L·
construction shou ld b e poi n te d ont in e:ich of the sen t e n ces u r par~tgTaphs given below , and th i.:: punctu ation of such series n o t e d.
I.
/11 pnposil ional j>ltrasrs .
1 th o u ..·ht some tim es T s~ 1w th e tla,;li of distal!( ,;pi res .

t h e s 11n11)'.'glca111 of up land pastures, the ,;oft 1111rl11lat1• , 11

of p11r pk liill s.
2.

In i11d1po1rlc11 t

a.

The dal11rati71c s takment .

sla I 011c11 ls.

I hrcathc (dcclara t i1-c st:1kmcllt) t h e soft air (11r1un)
of tli e p ur ple u pLtnds (phrase) whic h th ey shall ncl'vr
tread (ad jec tive clause). I hear (d ecla r ativ e st :1krn<'nt)
the sweet musi c (noun) of th e vuiccs (phra ;,c) they
long fu r in \·a in (:idjc ctivc cl au sl: ).
-

b.

(;E uR<; 1·: \V 1 1. 1.1A ~ 1 C111<. T 1......

l' rur ,111d l

'fhe 1'.rc/11 11111 /111)' statement.

I-l o w that long·, wistful gla n ce annihilated tim e and
space, how fo rms and faces, un k n ow n to any ut h e r ,
r ose in s ud ck n res urrec tion ar(Jund h e r 1
-

c.

GEtHU: I·: \V 11. L1 :\l\I Cl!K rl :-.,

rru(' und I.

The i111l'rrogati7'1' state m ent.

Another chanc e was give n t11 our father s; were they
t u thro w it away a s th ey had thrown away the former?
( .t -t S )

·,.
···,;;

!'aralld Co 11 str11tlion

Cl111tf(lsit io11 a11d Rltdoric

Were th ey again tu be cozened by le R oy le 7!eut .'? \Vere
thL:y ag·ain to athance their money on pledges whi ch had
licen fo rfc:itcd ovc:r and over again?
- T11 \1~1As BAlll1'<'TuN ]\\ ACAI Jl.A \',

d.

Fssay 011 1lfi!to11.

T he i111paal /;.·,- st.:i.te mcnt.
If thou hast any sound, or use of voice,
Speak to me:
If there he any good thing to be done,
That rn:iy to thee do ease ancl grace to me,
Speak t o me :
If tholl art pr ivy to thy coun t ry's fate,
\Vhi ch, 11appily, for e knowing may avoid,
0, speak 1
-

3.

\\' 11.1 .1A\f

S 11AKSl'E1<E, /{<1111/et, A ct I., Sr.

7.

8.
1.

\V11.L1A\1 C u 1n1s, Prue and I.

In t!tc ob;i·rt cla11sr.

Bnt I knew, as I gazed enchanted, tha t the hills, so
purple-soft of seeming, were hard, and gray, and barren
in the wintry twilight; aml that in the distance was the
magic that made them fair.
-Gicu 1tc;E \V1LLIA~1

5.

Cu1cns , Prue and I.

Jn the ad11erbia! clause.

He finds o nly praise in the epitaphs, because the
human h eart is kind; becal!se it yearns with wistful
tenderness after all its bret hren \Yl10 have passed into
the cloud.
-

G1·:flkCE \\"11.1.1 A~I Cck Ti s ,

Prue and/.

If they were unacquainted with works of philosophers and pucts, th ey were d eep ly read in the oracles
uf God. If thL:ir nam es were not fullnd in the r egisters
of heralds, they w e re recorc1cL1 in the Book of Life.
-TlllJMA S BAIJl:<GT\JN MACAULAY'

l::. 'ssay

Oil

Ill tltc i11finilh•e.

- T 11tH!AS BABl1'<'TON MA C AULAY,

So l\'linim goes on thruug·h the ser ies, brandishing
his ancesturs abuut my h ead, and incuntinently knocking m e int o admirati<>n.

4.

6. !11 ! ltc finite ;_1rrb.
But to those who .
. prolectec1 and pitied h e r,
she afterwards reYenlecl herself .
. accompaniul
their ste p s, grnnted all their wishes, fill e d their lwuscs
with wealth, mad e them hap py in lov L: and victoriuus in
war.
-T11 0 \IA S BAHINGTO:-i MA CAl' LAY, Essay 011 ,J!i!ton.
T o know Him, to sen·e Him, to enjoy Him, w:is \\·ith
them the great end of existence.

!11 t/1,· f'tlrlfriplt.

-GEoH G E

.:q.J

Jl{i!lon .

Fssay

<11t

Jlilllln.

!t1 !/1c rclati7·c clause.

Tho~e \\·ho rm1sed the p e ople to r esistanc~~ : wh"
di recte d their measures through a long- series of c\'c llt·
fit! years; who fo rmed , out of the most u npromising
materials, th e finest army that Europe hacl c\-er scc11:
who
made the name· of England
t e rrible to every nation on the face of th e earth,w e re no vulgar fanatics .
-T11 0 ~111s BABIN<;T(IN M11 C AULAY,

I N•!TE TU

Fssay

011

,J/d/,111.

Ti-:11c11ER. - This suhjeel. of Parallel Consl.ructi"11
furni shes an• 1thcr means o( r e vi e win~ English syntax from a nc·w
point uf ,·i e w - one that co nn e cts Cram mar with H hetnric. l t
may be omitted in part if the class does not n e ed such a rc \'ie\\·.]
TllE

160. Parallel Construction and the Law of Repetition. In our s t udy of the sentence ancl the p:iragraph in previous exercises w e have cmphasizcJ
again and again the princip1e of <·ari1·ty or d1a11,i;·, ·.
There is, h owever, another principle, th e opposite of
this, that o f 1110110/011y, which we find used effect iYc ly
not o nl y in the arts but in n.:i.tlirc. In a sentence or
inrag-raph, monotony may h e secured, when it is
d es ired, by the use of par:tllel Cl>11st rnction, the r epetition of the same pattern 1n structure.
The effect of n11motcmy is to g-i ve ·majesty of tun e.
Parallel construction is therefo re most frequently

1;;

!1
'1;:

.'

'i1

I'arallc! Const r 11cl io11

Cl1111j>(ls itio11 all(/ Nlffloric
fonnc1 in exalted passages, c::-:pcc ia lly th ose of oratory.
It slw u ld nut be used in present ing a tho ug ht which
is c1 >mm<Jnpl:tcc.
RL«t(l th e following- sckd inn fr o m Ruskin which
treats of the c1>mbinatio n of tht.: law of monotony
:.m d th e h w of cha n ge. o r \" :Lricly. in a rt a nd n a tu re:
I l 1L·li c:vv th;tt th e t:·u c 1·elati<>11s of m onotony and "'
cha nge: may l >e n1 <>st s impl y 1111<krstuud by observing
thc111 in m11sic. \ Vt.: may therein noti ce, first, tha t there
is a sublimit y and m a jesty in monotony whi ch there i .
not in rap id or frcq11cnt yarialion. This is tru e through.v
out all natun: . Th e gTL'atcr part of the sublimity of ·
the sea clcpe n ds <1 11 its mon<1t1my ; so also that of deso-late rno<•r antl nwuntain sc e nery; and especially th
sul> limit y of m<>Lion, as in the (p1ict, unchanged fall and
rise of an cng·ine lJca m. ~o also there is sublimity
in 1l ark11esS" which there is 1wt in li g ht.
J\g-ain, 11 1onol.1 •11y after a ce rtain time, or beyond a
certa in 1kgrcc, licco m cs cithcr uninteresting or intolcr• ·
able and the music ia n is ulilig·cd to break it in one of ·
twu ~vays : either whil e t he air"il· passage is perpetually
r e peat ed, it.s 1wtcs arc Yari"11sly e nriched a nd harmon izc:d ; or c lsc. afte r a certa in 11u111hc r uf r e peated pn.'l•
sag-cs, a n e n tirely n e w p a ssag·e is in trod uced, which if
murc or le ss delig h tful , a ccordi ng to the le ng th of the ··
pr•:v io11 s 111u11 11 t<>11 y . Nature. o f c<>11rse, ll ses both these
ki1 1ds .. r variati1111 lll' rp ct.ually. The sea-waves, r esem ·
hling· eac h other in g·cn c rai mass , hut none like its.
brother in min()r c1 i\·isions a1H1 c 11rves, are a m onotony
n f the fi rs t k inc1; th e .~Tc:tt plain, broken by an emet;
.1.: · c11t roc k o r cl ump of t rees, is a monotony of thll'
sec vnd.
- ]<11 1 .~ R11si;1r-;, S /(111es of Ve 11ict1.
161.
Use s of th e Study of Parallel Constructio
The s tncly of parallel co 11 strncti1rn h as the follow
1ng- u ses :
1.

Tt t en els lo pre ve nt

cha n ges in construction .

'.!49

2.
It ofte n assists a student to grasp th e llw ugh t
of a lo n g pas sage in hi s r e ading.
3. It cultivates a fee lin g· f()r r h yt hm 111 sentence
s tructure.
4. It is ()ll C me a ns of g i ving co h c rc ncL: t .. ;t senten ce or a paragraph .
5. 1l is an aid lo condc11s:ttio11 of f()rlll o n the
one hand, and amplification of th<it1ghl n n the other.

The study of paralle l construct ion is useful to
the you n g stude nt in his read in g rather than i n his
writin g. H e should be able to fi nd a nd enjoy this
constru ction in a p iece of 1itcratnrc, but sh o nl cl no t
strive for it to any m ;lfk e cl exten t in his own writing.
for fear of making hi s work for ce d a n d artifiL·i :LI. Tt
wi11 be seen that th is chapter deals with the cniirdination of SL' lltcn ce and par:1graph ckments as
Chap t e r II. dealt wi th the problem uf suburcli na-

.j'

tion.

Paragraphs Containing Parallel Con strucIn each of l h c following· qu ota tio ns. t ht.: expressions that arc i n p a rallel cu nstructi u n slw uld be
point ed nut h y the slt1d c nt :
'162.

tion.

I.

To be hmll"st, to he kind - - lo earn a littl e and to
spenJ a little less, tu make upun th e whule a family
h app ie r fur his presence, to re11<1unce when that shall
be n ecessary and n ot he e rn h 11.terecl, to keep a few
friends but th e se without c;tpitulation - ahove all, on
the same g rim conc1ition tu kccp frien d s \.Vitil hilllseJ f ··-here is a task for all that a man has o f fortitude and
delicacy.
-

R~1HF. HT Lo uis ST1·~ VENSON,

SuG<:ESTi< •N.-Show t h a t
occurs in thi,; q u otat i o n.

.A ( "hris/11tllS 5,",· rJ1t 011.

the device of c num cra tiun

(\'<

107)

.

': ~

,·

i'

(0111posilir11t a11d Nl1doric

Pa ralld Co11str11clio11

I ·:1

I I.

Where
vVhen:
\ Vh c r e
'l'J1at ' s

the blackbird sings the btest,
the hawthorn blooms the sweetes t
the n cstli ngs ch irp an d flee
'
.
t l1c way f or Billy
and m e. '
-j A\11·: ~

ll rn0<;, A floy's Song.

I I I.

vVh c r c the heifers hro\\'se \\·here geese nip their foo d
with short iL·rks · '
\Vh crc sundown sliaclO \\;s lengthe n o\·e r th e limitless
and lonesome prairit:;
vVherc h erds of buffalo m ake a cra\\'l ing spread of the
square miles far and near;
vVh erc th e hunllning-hird shimmers, \\'here the n eck of
the !•mg-lived swa n is c11r\'ing and winding;
Wh e r e the laugh1ng-g11ll scoots by t he shore when she
lat1ghs her 11 car-huma n laugh;
W'hcre bee -hives r ange on a gray bench 111 the garden
half hid hv the hio·h wee ds
\.Vherc b:rnd-ncck'~l panri'dges roo~t Ill a ring on the
ground with th e ir heads out.
-\\'ALT \\' 111 ·n 1A1',

Lea11t!s o.f Crass.

Suc;GEST tu1'.-Are th e clctai1' ,,f thi s pi ct ure in any way unu;ual?

an age unw orthy of his tal ents ancl his virtues; t h e
eage rn ess with whi c h we should contest with his daughters, 11r w ith his Quaker friend Ellwood, the privilege of
re a ding· liom e r to him, or of taking· lfown the immortal
accents w hi ch ll o\\'ecl fro m his lips.
- 'l'llc"tA S BABl:'>il;H> N J\ l ACAL' LA Y, L':; say till .1/i/1011.
St;c;,:1·:,Tto:'>/s.-\Vhat fundamental <lcvi cc is use<l in thi s descripti o n ? Explain the allusi o ns. F in d a metaphor.
V.

You shall hear how Pa11-Puk-Kce wis,
llow the hand some Yenadizzc
Danced at Hiawatha's wed u ing;
How the gentl e Chibiabos,
He t he sweetest of musi cians,
Sang hi s songs of love and lo ngin g;
I !01\r fagoo, th e great boaster,
He the marvelous story-tel le r,
Told his tal c s of strange adventure,
That the feast mig-ht be more joyous,
That the time might pass m or e g·ayly,
And the guests b e more eo ntc nted.
-HE NRY \V.
Su<; c;ESTIU:'>i .-Are words as

\\'C:ll

L 1JNl;Fu.1.ow ,

l/iawa/ha .

as co nstru ct ions h e re re peated'

IV.

\Vhilc this hook lies on onr table, we see m to be
cont.cn1pc•rari es ot' the \\' ritc r I i\1ilto11J . 'vVe are transpo rted a hundred and iifty years back. vVe can a lm ost
fancy th at we. are. visiting him in his s mall lodgi ng;
that we sec lllln s1ttt11g at th e old organ beneath the
faclcc1 green. hangings; that 11·e can catch th e qnick
tw111 klc of h1.s eyes, rolling in \·ain to find t he day; that
we a r e reading 111 the lrnes <1f his n ob le co un tenance
tJ:e. proud and muurnful hist11ry of his glory and his
affl1ct1on ! \ \Tc image to c1111·seh·t:s the brea thl ess
silence in whi ch we sh o uld listen to h is sl i~ht es t word·
the passiunate \' •11 c r•tlion \\'ith 11-hic h we ~hou ld kneel
to kiss his h and and weep upc 111 it; th e ea rn es tn ess with
which we shotild encka\'c>r to L'<>l1S<1le him, if indeed
snch a spirit could need co11svlatio11, for the neglect of

163. Amplifying by Means of Parallel Construction. In th L: f()llowing quota tion observe that those
portions enc1osed in par ent h eses a re in parallc1 construction and arc u sed only to amplify a tl1011g-ht
by the addition of one or more coordinate words,
phrases, or clauses. The se ntence would be compl e t e ea ch time if read with th e portions in pare nth eses om itte d.
"Not so long and ,.viclc th e w orld is,
(Nut so rude and ruug·h th e way is,)
Hut my wrat h s hall over take you,
(l\nc1 m y vengeance shall attain you!")

'

I.

Para/Id Co11slr11r lion

Co111fosi1 i(/11 011rl J\fil'lorlc

Like :ln :lntelopc he bounded
Till h e came unto a streamlet
[11 the micltlle (Jf the fore;;t
. and tranquil,
'
~,'I' o a stn.:a m kt still
I hat had n\·crflowcd its mar u in)
, ,o a uam. m~dc by the hcan: rs,)
( I o a ponll of qnH.: t water,)
\Vl,1ere knee -deep the t recs wen.: sta ndin g-,
( \\here the water-lilies floated)
( \\!h ere the rushes wa\'ecl and ~vh i spe red.)
'['

•

......

l

(

164. Condensing by Means of Parallel Construction. P:trallel constructi t>ll can be u sed for condensing· as well as for expanding a thought. lk~tr in
mind the following directions when \\'riling the
exercises in condensation:
1. .'i'11/J,1rd11111/« s!11lt'111oils <.u/1n1 yo11 11111sl r/11 so 111
orrii'r lo !ta1•f' f'ar11/ld co11slr11cl io11.
2.
N1'f'ro! 1111' f'rtjlosi/1.011, s11hr1rdi110/c ,·1!!(/1111,-ti,,11, " r
o!IU'r cr11111cdi<'<, 1, /io1 clt-t1r11tss dt'1111111ds t1 r1'f'i'lilit1!!.
3. Clia11.r;r !lie 'il'o rdi11g '« ·lien ii is 11 ffcsso1)' / /I d/I s1
in ordrr lo 11111/.-1· 1/11· 0>11slrurli/111 para/kl.
1

No one ever shot an arrow

1

1l;tlf St> fa r and high as he had;

( J:ve r c aught S() man y fishes,)
( l~\·cr killt.:d so many reindeer,)
( ~~ver trapped so many beaver ')
Nvne co uld r un so fast :ts he eou l<.l
(None could S\\'im so far as he eu ul'd ;)
(None had matle so many jour neys,)
As tins \\'Olllkrful lag·oo
(1\s this marvelous stor/te ll e r ' )

Exercise

C(muense into o n e sentence the sentence s in c: ich
parenthesis_ Do n ot u se coci rdin:lte st:ltemcnts. Let
th e coi)rdination b e between words, phrases , :ind
clauses, not betw ee n statements:
I.

Hut she said: "T care no t fu r \"\> LI
(;'.t'> not '.<•r yuur !>ci ts o f \\';1;11p t;m ,)
\·tie not f_ur yo 11r pa111t and leathers,)
Care nut tor ~·,,11r .iests and l:i11ghtl'r ;)
am happy 11·1th ( )ssc<> 1 ••

l

-

ll FN l:Y \\" . J, ,,~,;i . ...I

1 .. 11·.

l/1(1w11 tha.

Amplifying by mc:111 s o f par:tlkl construction
is merely :l probl e m in the :tcldJtit> n of e1>i..ircl in a t e
P'.Hases , cbuse s, etc. J\lany other cx.1mpl es of this
kmd of ebboration occur in /fi117,,,1l/1a.
. Suct.:1-:s:r1uNs.- Read the ahu,-c q llula ti ons. om ittin g the porlrvn s \1 tthrn th e paren thesL·s. 1\rc tir e SL' llll'11ccs co mplete?
Exercise

Write five sentences and elaburate each by m eans
of para lie I cunstru ct ion.

("Our r oyali s ts \\' Cre not h ea rtl ess , da ng lin g cn11rt ie rs . They did n ot h"w at eve ry \\'11rd. Tiley rlid lltJt
simpe r at every ste p .) (They were not mere 111ac·hines
fur ckstruct i()n dn:ssed up in 11niform . They were n<>t
ca necl int o skill. They were n ut intoxicated in t" \·:tl"r
Th ey ditl nut dcfenci \\·itlwut Jq\-c. '!' hey ditl 11;.t
d est ro y wit huul hatred .) (There w:ts a fr ecdo 111 in
their s 11l >scrv ie11L·y. There was a n11l1lcness in tlH: ir
very clq.:-radati1 n1. ")

..• i

II.

("These fanat ics brou_ght to c iv il a n d military affairs
a coolness of judgment. They brought an immuta b ility
of purpose. These qt1alitics so m e writers have tht>llght
inconsistent with th e ir r e ligious zt·al. They were in
fact th e n ecessary effec t nf it.) ('l' t:c y went through
the w or ld I ik c Sir 1\ rtegal's iron 111~111 Tai us with his
flail. Like him th ey crushed ant1 trampl e d down
oppressors. They mingle<l wit h human bei ngs . They
hatl neither part n or lo t in human infirmities. Th ey

t;.

.. '
l

1""

l

.'.

254

Co111positio11 r111d R/1t'/11r/c

w e r e i n sensible to p a in . Th ey we re in se ns ible to
pleasure. They were insensible t G fatig-uc. Th ey were
n ot t o h e pi erced by any weapun. T h ey were not t o be
with stood Ly any ba rri er. '" )
Ill.

("Th e Puri t ans were n•l vu lga r fanati cs.
They
rou sed the people to r cs istanCl!. They uirectcd th eir
measures tliro11~·h a 1o ng series o f even tful y ears.
Th ey formed th e finest a rm y that Europe ha d ever
s e_cn. Th ey fo rm ed this arm y o ut of the m ost unprom1s1:ig material. T hey tram ple cl do \\" n king-, churc h, and
an s tocracy . _Th ey m;-id"e th e na:nc of Englan d te rrible
to . ev.c ry n at1<Jn o n. the face o t the earth. Th ey did
thi s 111 the short int er vals of domcst1c sediti o n and
r ebellio n.")
IV.

("The ve ry m ean est of them was a b e ing- to whose
fate a m ysterious and terri ble i mportancl!· belonged.
On lus slightest acti on the sp irits of light and darkness
looke d w it h anxious i n terest. H e had bee n destined to
enjoy felic i ty . II c was so d estined before h ea ven a nd
ea rth were create d. This fe licity w o uld continu e, he
thought, when h eave n a nd ear t h shou ld h ave passed
away.")
V.

("Mi l ton labored. wi th zeal fo r the public good .
He endurccl with fo_r t1 tud c eve r y prt\·atc calam itv. He
ln"k cd down with discbin 011 te111 j1l:cl io11 a nd d a nger.
Jle bore a deadly hatred to l>ig()ls :incl tyra nts. He
s te rnl y kept faith with his eountry and hi s fame.
We envy no man wh o can st1Hly eit her t h e life or writings of th e great poe t and patri ot witho ut aspiring to
emulate th ese vir tues.")
VI.

("Th ey h ave fo und th e ir pu nish m ent in th eir success. Laws have be e n o n : rt u r ncd. Tribun a ls have
been s ubverted . Th ei r in dust ry has n o vigor. Th eir
co mm e rce is exp iring. Their r cvcn t1 e has hee n unpaid .
Yet t h e p eople arc i111 pove r ishL"cl. Th e ir c hu r ch has
hc·e n pillaged, ancl their state not r elieved. Civ il and
military anarc h y have been made tll e cons tituti on of

Pa ra I Id l "011sir11ct iu11

255

th l! kingJom. En; ry th ing· ltuman a11d di\ i11c has been
sal! r ificed t <> tlil! idc il of pnblic cred it. .Natio nal bankru ptcy is th e co nsequence .) . . . .
\V e re a ll th ese dre:1 clf11 l things 11LTl! Ssary?
Nci' n o t hing like it. (T l1e fn:sh ruins ,,f Fr:rncc, \\"hi cl1
shuck <J ttr fc:c lin g·s w h ereve r we turn o ur eyes, an.: nut
th l! de vastati on ·of ci\·il war. Th ey arl! the sad hut inst ruc ti vc mo11 u m en ts uf rash and i;.:-nora 11 t cou n :c;e l in
tim e of profo und pl!:tCC. They a r e th e di splay of in co nsiderate and presumptuous, b eca use unresis te d and 1rrl!sistiblc, auth ority.")

165. Violations of Parallel Construction. The
following sente nce s should be recast so that elem e nts whi ch are parallel in th ou g ht shall be parall e l in form als11:
1.
Sl1 e saw his closed eyes and hi s holly fr oze n.
z. He all'uk c t" fi1H1 the clrn rch ablaze, anc1 placed
on th e altar w e r e t wo candlest icks .
3. I want none o f yl)ur prayers, Lut golL1 only will
suffice.
4. Yu sso nf t old him to take thri ce the gold and th at
his dark th o ug ht would flee with him across the dese rt.
5. H e fo und the church illuminated, and t o hi s s urprise gu ld en c:lllcllcsticks w ere on t h e altar.
6. I was astoni s h ed t o h ea r th e r ush of wi"11<l s and
at fe e lin g a spray o f water in m y face.
7. She t ohl the buy to ope n th e Bible, to place his
finger o n a line, and that lin e was t o d e termin e the cul prit's fate.
8. They entered th e cottage and there sat the
moth e r.
9. H e tho u ght to soften h e r h ea rt, but not a sig n
of pity was se l!n on her face.
10.
H e r hu s ban d entered, severely wounded, hut
was n ot dange rously injured.

;'• ,·,
I~ .

:~ j

:i-l.
.

'

;

~·~

l

I.

·~

...... '
;,

,·, _ l'l.

~

''

Composition and Rildoric
I~· •

'

D1R1·:C Tl<>!'\ S

In your writing h e r e.:i fter observe t h e fo llowing
rules :
J Jo //(// 1•i,1/t1!t' /It« !11w of f'11ra/ld co11s/rudion by
11iolc11t and u1111t'Crssa1)' d1a11J:n· i11 7·o ti-!', f'crson, etc.
., _,;,·e <vltdlh-r or 110/ r1.11y f1rs.w.i:·,. Olll be i111pruvcd
f,y a111plijj1i11g ii tltrrJ/lglt faral!d ro11.1/r11l'li1m.
3. See w !tet!ter or 110! a11)1 passa,1;"£· uu1 be i11tpruved
by conde11si11g it by 1111'a11s o.f tl!is co11str11dio11.
·I·
/),· 01nf11 I 110! /11 11 s1· !liis 01 11S/r111.·ti1m i11 1'.rpressi11g tl11>11Kltt w/1/t-/1 is 110! r·xal!!'d.
!/1o·e is a dang-er
/1rrc of b1·i11;; bo111basl ic.

•:;" \
~·:

PART

I I I.

1.

NAR .R ATION AND DESCR1 PTJUN
COMBINED
CH,1PTER .XI.
THE SHORT STORY CONTAlNIN(~
DESCRIPTION
In this chapter we can make use of the things we
have learned about Description, by writing :1 tl1c111c
of a new kin(l; that is, o ne which cumbirn: s Description and N:lrration. Although it is pussiulc to \\Tile
a theme of pure description (sec ~~ 1 54, 1 56, :rnJ 1 58),
this kind of corn pos i lion occurs al most always in connection with Narration, Ex position, Argu men ta ti on,
or Persuasion; in this chapter we wish to make it
subsidiary to Narration.
166. Making a Motive Analysis. Before atte mpting this new kind of theme containing both Uescription and Narration, we shall analyze a piece of
literature which combines th e two, so that we may
see how the various narr:i.tive and descriptive elements we h ave been studying arc sometimes organized. The selection we shall s tHdy in this way is
Hawthorne's Jl1e Cr-real Stone Face (for the volume,
see ~68), which contains examples of the following
motives:

Co111positi11 11 a11d l\!1doric

'
The s ituation.
,.,
Retrospecti ,·e narrative.
3. Forw:ncl -muving narrative. (T hat is, narrative which carries the action forward from th e time
of th e situation.)
4 . Anticipatory narrative. (That is , n a rrative
which g ives us a hin t o f e\·cnts that are coming.)
5. Description o f place .
6. Description of personal appea rance.
7. Description o f character.
8. D esc ripti o n uf mood.
9. Description cif moc1e of life.
10. Ucsc ripti o n o f an occas io n .
1.

This resolvi ng of a piece of literature into its
com ponent motives we call making a m otive analys is of it.
Exercise

R e ad T/11" Crmt Stt111l· !-irCI" rapidly for the story
only, ancl be ctble to answer the follo win g questions:
\Vh at was the prophecy) How many times did
th e people thin k it :ilmul t() be fulfilled, l fow many
characters arc the re in the story; A re they types or
mere individuals ? Describe each b riefly. vVas the
pruphecy fuHill c d in an unexpect e d manner? \\That
is the lesso n of the s tory? Do yon find a ny touches
of humor o r pathos? \\-h e re, \Vh o is the leading
character? \Vhat is the sce n e of t h e story?

167. A Motive Analysis of "The Great Stone
Face." Before begi nnin g the analysis of this story,
num be r th e paragraphs from 1 tv 7S. Th e n reread
it and verify th e following:

!!tc Sltort Story Co11t11i11i11g l Jcsc njtiu11
A1'AL\'SI S

P ar t I. - The Preparation.
Th e story of Ern o:st.
Paragraphs 1- 12.
Paragra ph 1.
llti: sti11.i tion - Fillll the o:le m c nts.
Parag raph 2.
7i ·1nisilio n - th e d e vice of q11est iun (\; h•1).
Paragraph 3.
Jfurlc of life (\; 106)- that of the p e<>pl c of th e village.
\Vhi ch o f the sitnation clements is thi s connect<.:(]
wi th > \Vhat is the fundamental q nality of th is descript io n ? \ Vha l minor rl cvices do y uu find?
Para g raphs 4 and 5.
f'!tys;i·,r/ a/1ji,;11r11111-1· (~ 1 0~)-that of th e (;re a t Stone
Face. \Vh ic h on e of the situation eh.'rncnts does
this develop? \\"hat is the fundam e ntal qnality of
the appearan ce of th e Gr eat Sto ne Face? P uint out
t he min o r clevices use<l.
Pa ragraph s 6-<;.
.
.
A 1·durn t o t !tt' sil1t11/1illl (?,(11 )-\Vlnch of the l our
w' s are u 'etl in this return? \Vh a t fundam e ntal
de'"ice appears here?
Parag r a ph 1 0 .
.
j \)t!lrosjJel· / 1?1,! uarr11/h1t:

(~

,,,

.;

,.

4r1 ) - the 111 st ory of tlH·

legend of the Great Stunc Face . \\' l1a L k ind ,.(
re trospe ctive na rrat i'"'! is this> Find an c xalll jlk
11f parnlkl con struc·ti11n.
Parag raph s 11 and 12.
.·I rd1tr11 liJ /li e si/1111/iiJ !l - \Vhi c h uf th e fo11r ck ments are m e ntinn e cl here ? \Vhat fundamen tal
dc ,·icc is used in the se paragraphs?
] ' ; 1 rt I I. -The Gathergold st,ffy.
Paragraphs 13-23.
Paragraph 13.
I~ rward-111 1 • 111/1g 1111rral/"·'1" - t h e life of Ern est .
C!t 11ri11·frr-rl< sn·1jil1i 1J1 - that of Ern est.
:lliJrle t1/ /if,;- that of Ernest.
l'aragr:-tph q.
Nt'lrosf edi11e 1111rr11t/;-c - tho: life of Gat. hergold previous t.n his collling to the vall e y. \Vhat kind or
ret rospect ive narrati ve is this? Find four metaphors.
Find and explain an allus ion.

1·

;

'
!'

'I

26o

Co111positio11 and Rlicloric

Paragraph 1 5.
Forward-111011Lltg narrative .
Place-dcsc rip t1rm- c;:-ithergokl's h ouse. \ Vhat is the
fundam e ntal quality ? \ \That minor devi ces do you
find h e re?
Parag r:-iph s 16 -21.
A 11 vccasion - the coming of Galh e rgold . Show that
in t hi s clcsc ript ion of a n occas io n, we ha ve touches
o f pe rso nal ap pearan ce . character, and muo<l. \ Vhat
is th e fund a m e nta l qualit y ? What minor d e vices do
y ou Ii n<I u sed?
Paragraph 22.
,1/v//rl- that of Erne st.
Paragraph 23.
Anhcipa tory 11arraliv,· -This kind o f narrativ e gives
us a hint of what is comin g . All prophecit:s, curses,
threats, an d vi s i•ms , in storie s arc examples of a nt icip at ory narrati ve .
Part III.-Th c General Blood-a n d -Thunder story. Paragraphs
24-36.
Paragraph 2.1.
I -; r w ard- m o1•i11g 11 a rrati11r· - t h e li fe o f Ern est.
Characlcr-d« scnptiv11- that of Ernest. ·what is the
fumlam c ntal q uality> \Vhat min or device s do you
fiml in thi s paragraph?
Para g raph s 25 al1(l 2 (1.
Rdr" s/1r•d h•r' 11t1rra lh1e - th e fate of Gat hergold.
The Jii stor y of Cc1w ral l\l out! -an<l-Thunder before
the tim e of h is eomin g. \ Vhat kin tl of na rrative is
thi s ? Fi nd t ou ch c " o f hnm o r.
Paragraphs 2;-33 .
An occas1i>11-\\'h at is the fu nd am e n ta l quality? ·what
d escriptiv e cl c,·ices are ll >'ccl in t hese paragraphs?
\ Vhat mat eri al is u sed in th is d esc ripti on o f a n occasi on? Do yo u find in it a descrip tion of personal
appeara n ce?
Para g raph 34.
fifood- that o f Ern e st.
Paragraphs 35 and 36.
A ntirij>11/,iry 11rrrrali1H - \\"ith what does the antici·
patory narrative h ere an <l in Part ll. deal ?

T/1 1· .'-;J1r1rl .\tory C 111tai11 i11.t;· /)nrript io11
Exercises

I. Parts I I. and IT!. have the same g e neral plan.
Prove this by noting th e motiv e s 11sed and the o rder
in whi c h they occ ur.
II. 1\fake a m o tive analysis nf th e rcmainck r ,
Part IV. (par:i.graphs 37-3 1 ) , Part V. (parag- raph s
52-73), and Part VI. (paragraphs 74-78). D ocs the
p~t ttcrn obse rved in Parts II. and llI. re peat itse lf'
Determine the fundamental qual ity in each description and the dev ices used in each paragraph.
III. Prove th e follow in g sta tements:
1.
Th e life of Ernes t giv es unity t o the story-- is
the main plot.
2.
The main plot is told in forward-moving narrat ive.
3. The unclerplots, th e stor ies of 1.ath ergol d, Bl norland-Thundcr, etc., arc told in retrospcctiYe 11 arrati ve
and in d esc ripti ons of occ asi eins which connec t th em
with th e m ain pl ot.
4. One untler plot succeeds a n ot h e r ; that is, we h ave
a ser ies eif und erplots in the order uf tim e.
5. The repetit ion , in eac h of th e six parts, of the
same plan of cunstr uction g ives a S(lrt of rhythm to the
m ove m e nt of the st ory.
6. Compare thi s method of working out.a pl1Jt wi th
that of JJ1e Great Carb 1111c!t-. In the latte r story one
nnderplo t is not dropped and anoth er taken up, h ut
they all are carried along simultaneously.

On the sid e of the plot T!tc Creal Sto11 c Faa is of
th e urarn/ar type; that is, it is based on a prophecy
and its fulfillmen t.
On th e side of constructi on it is a scq11t·11a storJ' :
it is m ade up o f a sim ple pattern that r epeats itself

';

Ii
,,'

Co111j>osition a11d Nltdoric

T!tc .\/1orl Stol)' Ll111lai11i11,1,'. !Jts.-rij>tion

:it n :g·u br inte rvals .:i.s do the sect ions o f a Roman
burckr. One man is heraidcd as .:i.huut tu iullill the
prnpheey; he faiis to do so. Another is ht:rnl<led in
like rn.:i.nncr; he also fail.s. And so on. In each of
these sections of the story almost the s ame narrative
and descriptive motives are used.

170. A New Type of Narration Required by
Theme-model IX. An :ttlditi.,n:il 11:trr:1ti'-c 1)!'L" is
called fur by divisiun 4 uf thl: al;<>VC uullinc . Jt 1-;
narrative (either n.:trospectiYe ur forw:tnl-tn<>\·in:-; 1
in dialogue lirukcn lJy ~rnthor·s narration, cumrnent.
or description. \Ye shall study two models f<>r thi-;
type o f narrati ,-e, one d e:tl i ng -vv it h t lie p11ragr11fl1111g.
the other with the 1/1011.i:/tl of thc passat!;cs which
interrupt the c1 ialog nc .

r68.

Theme-model IX.-TIIE

Srn 1zY COi'<TAIN·

Hawthorne's Tiu · Sister Years is
the modd fo r this new th eme. The selection shoul<l
b e read first for .'.l general acq u.:tin ta nee with the
story, then rere ad .:tnd the follu\\"ing motives found
in it: The sit uati o n , description of personal appearance, r e trospective and forward -moving narrative.
!:\<: DEs C iZll'Tl O \'.

169.

I.
!!IC pnra_r;rapili11r; "-f !!tis li11rl of 11arra!i°7.•1". The
portions gi\'en - direct ly \,y the ;iuth<>r in tlw fi1ll"11·in g a r e print ed in itaiics ancl interrupt the dialogu e :

As Fn1tst listc11,-d lo !lt c foci, !11· 111111,r.;1110! //wt t!u·
(,'n·at .\!0111' l-~ 11 - ,· ~,·,rs /Jo1d1111·- !>r;,•,1ril f,1 /1st,·11 !1•e. I/,ga:::;·d (i/1'//1·s//Jo 111!1>t/11· f1'1f s .~/, 1; ,•111g rTr .\.
u \\Thi) ar e ynu , 111 )' stran.~·c·ly .~..:·1t tc·d .:..~:ul·st ~ .. 11\' :--;:ud
Tiff p111 ·t /11id /1is ;i1u;u· 011 //1,- ;·r1 /111111· t/111/ l:r11, .1/ lir1r/
0

Theme-model IX. in Outline.

In order to
show the stud e nt how one may mak e minor changes
in the phn of a pic,·e of li tc r;i_turc whi c h he is using
:i.s .'.l. patte rn ancl yet f<dluw its gencral scheme, the
outline of Thcm c -nrnd e l JX . given below is matle to
differ slightly from the m od e l itself, Tiu: Sister Ymrs.
The two shonld be comp;i_re<l .:rnd the vari.:ttions
nott:<l. The uutlinc cuntains:
1.
A situation according to Situation-type I.

(s2 s-)

..,
Description, acco rding to Description-motive
1 L (~ 102), of the appearanee of charaeter A of the
situation.
3. Description uf the appe:-tr;i_ncc of char:i.cter B
of the si tuation . Use l>csc ript i<>n-mot ive IL
4 . Relruspcctivc narrative in the form of dialo gue betw e en the two ch;1rad<·rc: . hroken by author's
com ment, description, or narr:ttion. (See Si 170.)
5. Forward-moving narrati\·c. (Sec ~ 166.)

f;((I/
-~r~;:r:

_±~~-

Ft'(/1/111 :•·.

"Y<!ll h:;~.l' r l':i<l

t iiL'SC pue111s,"· ,;aid liL·
"Yo11 J..:n , 1\1·
me, then, -- f"r I wr11tc thc·m."'
./l ;;-at11, a11d still !l.'orc <"1lrll<"Slly 1/11111 l11j;1r,-, Fr11.-sr

exa111i111-d 1/11· j>o,fs _(1·at11ro· .- l/11·11 t11n1,-d r o~ 1·11rili 1/11·
(7ro1/ .'>-!0111· F11,·c .- 1/u·11 /1,11 ·/,-_ << '1/lt 1111111111'/"/1111111 '/'···I, / ,1
/us 1•-i11·s/.
1»111 /11s co1111/01111tc1· jdl: /1,· sltoo/,· /11.i /1,·ad.

a11J '.it.~lml.

"\Vherefore are you sad?" inquired the poet_
"Becat1sc;,"' rcplic;d Ernc:st, "all through lift.: I ha\-c
awaited the; fulfillmu1t of a pr"phccy, and, when l r1·:id
th ese: poems, I !1<Jpccl that it might lie f11lilllcd in you_"
"You hoped," ans\\'e re d the p<>ct, faintly smillllg, "l<>

fi.n<.1 in m e the likeness nf the <;re:tt St"n c Fa ce . And
yon arc clisapp<>intecl, :ts f.,rmcrl_1' with :\1 r. (;at!H:r~olli.
and Uici Bluud-:u1d-Ti1111HlL·r, and (J]d St"111· l'iliz ...
··-

//tr.'

:\'.\Tl!.\.". ll·-. !.

.\!ifl7t' lllt <T,t.'f, and

J l .\\\··1

ol!lr-r

!J(iJ '.'.'\ F,

}"tu/~· f ·

Fold f',·rlt ·s.

Tln\\. arc the p1;rtinns \\·iii c h i11tcrn1pt tlic~ di;1logn <.: p;t!'dgrapJ1.,_.d ! i 1r••\'l' tli:1t t lH· i1ih:rn:ptir1:..:· 1H1rti1H1 ~ ;i r e
g iven Ly the author an<l 1wl by th e characters "f the story.
Succ1·::-. 1l• •'\ :-' . -

Tiff Sltorl S t ory Co11 tni11i11,r; fl rsrnft iu lf

Co111posit ion n nd Rlirtor fr
2.
T/1c t/w 11g lt! side of t/1is /.:ind of narrative.
inte rrupting passages contain the fo ll o wing :

The

poverty) i n a blue aprun , ver y wit.le anJ short truuse rs, s h oes somew hat out at the toes, an d a chip h::i.t,
with the frizzles of his curly hn ir sticking through
its crevi ces . A l>o(lk ancl a smal l :-i late, 11nd er his
arm, indicated that lie was on his way to s chool. He
stared at Hepzibah a mom e n t , a s a n clJcr cusl omc r
th a n him self w o u ld lnve lice n lik e ly e 11011 g-h to dn,
n o t kn owing what t o mak e o f th e t ragic attitude and
qu ee r scowl wherewith s h e r ega rded him.
Dinlo.i;11c : "\Vell, ch ild," said shL", tak ing heart at the
sigh t of a perso nage so lit.tic fo rmida ble,- " w e ll, my
child , wh at did yon wish fo r'"
"That Jim Crow tlict"l: in the window ," answered
th e urchin, hcilcling o ut a cent, :ind p o int in g to the
gi n gerbread fi gu r e that lrncl attracted h is n ot ice, as
h e loitered along to sch ool; "the one that h;is not a
bro ken foot."
Aut/111r's 1'..'nrrnti111·: So Hepzibnh p 11t forth h er Jank
a rrn, and, taking- t11c c ifig·y fr\)m Llie slwp \\'ind uw,
cl cl i\·c rcc1 i t t<> her first cu:<tomc r.
Dialo,i:-111·: "Nu matter fo r t he mc1ney," said she, g1v1ng
him a littl e push t ow ard th e d oor; for h e r old g e n tility was cont 11111 aciously squeami s h at s ight of the
copper coin, and, l;csides, it seemed sul·h p it iful
m ea nn ess tu take the child 's Jl"ckct ll l C>Ill'Y in
ex c hange fo r a hit of stale gin.~erlircad. ";\c• matte r f o r th e ccnt. Yon arc w elco m e tu f im ('row. "
Aut!tor's Narrati<·1' : The chiicl . sta ring. with r"11nd
e y es at t his instance or lilivrality, wlrnlly u npren·dentcd in his large exper ience ot cent-shops, took the
man of g-ingcrl>read :rnd quitted the prcrn is("s . N •1
s ooner h ad he reach ed tlw sidewalk (little c annibal
th nt he was) th a n Jim Cruw',; hcnd \\·:ts in his m o uth .

Narrali<x- th e g ivin g of in c id ents o r actions advancing- t he sto r y .
D i'scrip11·011- of place , personal ;tppearance, character, m ood , m ode of life.
A 11t/1or's co111111c11t.
Observe th e author's n a rntivc a nd description
in th e fo11owing qu\)tation:

Aul/tor's JVn rrafruc : l'vf iss Hcpzihah Pyncheon sat in
th e oaken e lbow chai r , w ith her hands over he r face,
g ivin g way t o that hca\'Y down -si nki n g of the h eart
whic h m os t persons have e xperienced, when the
image of hope itself see ms ponderously moulded of
lead, o n the eve of an enterp rise at o n ce do ubtful
a n <l m <lmcntuus . Sbe w :<s sudckn1y startled by the
tinkling alarnm - high, sharp, and irregular-of a
little bel l. Th e maid en lr1 dy arose u pon h er fe et, as
pale as a ghost at cock -c ro w; fo r she was an enslaved
spirit, and this the t a lisman to which she owed obed ience. This littl e hell,- to spc:tk in p lain er terms,h e ing fastened ove r the sho p <ln(Jr, was so cont rived
as to vi b rate by m ea n s of a steel sp ring-, a nd t hus
convey notice t o th e in ner rc1.;io n s of the h o use when
any eustome r sho ulLl ct"<>ss the t h r es hold . Its ugly
and spiteful litt le din (hea r d now for the first time,
perh aps, since Il epz il>nh 's periwigged pred ecessor
had retired fr o m tra fl c ) a t o n ce !-;ct every nerve of
her b od y in respo n s iv e ancl tumultuous vib ra tion.
The cr is is was upon h er 1 Iler first c ustom er was at
th e cl oor! '·H eaven he lp rne 1 ·· she groan ed m e ntally
"Now is my h()u r of 11 ec(1 '"
./ /71t/wr's Dcscnptio11: The clnnr, wh ic h moved with
difficu lty o n its creaking and nisty hinges, being
fo r ced quite open , a square anLl sl u rLly llLtle urchin
b ecame :1DDarent with ch1_·1: k;-; : \s n.-rl :.s :111 apple .
He was cl:1~l rath ~r shahhil y (1>11 1, as it seemed, more
owing to hi s moth e r's carelessness than his father's

·- i\ A T t I.·\:\

lJu .

J/11/1 .r1·

I I· l

of

Jli\ \\.

:_..··

,.

,.

.;

.;

'· ·/-

I l I 1 ) 1\ l\T ,

!ltl' .,, .., ,,. "

,;,,/,/n.

Exercise

,

;

Notice t he p:ir:ig-raphin.I!_" c>f the above sL·lcd1011 .
.,

-~

~:.~~

vVith what motive d<>cS the description clc:1l? J\ re
the narrat ive purtw ns Tl'.lruspcctivl', f<J r\l':trd-m C> v ing. o r a11tie1palury) Is the siltutiun give n /

'"'

•·

206

Co mposit ion a/Id Nl1dor fr

Tl1l' Sltort Sto ry C111t11i111'11g D rsaifl io11

D I RECT l< ) N

Because th e: Ne w Y e:-ir is personified w e m:-iy use
th e k rm ·' person:-il appea ran ce .. with r e fe re nce to it .
\V e s ha ll e m ploy this te rm so m e wh a t loosely in bter
exercises in speak i ng of th e ph ys ica I a ppear:-inci:: of
animals o r in a nimate objects.
I I. R epro <l uce Till' J>icd Piper of J fll1n di11 :-teen rd i n g to Th e m e-m odel IX . Place the s itua t ion at the
point in th e stury whe re th e l\Ltyur, let u s suppose ,
re fuses to give t he Pipe r his money. Dt:scribe the
appearan ce of the .i\·f ayor :-ind of th e P ipe r. Tell i ll
r ctrospecti \·e narrative what h:-is happen e d in the
story u p to the tim e o f th e situatio n. (;i\•e the re m ai n der of the story in f nr\\'ard -moving- narrati\'e.
brok e n by auth or 's descrip t ion o r comme n t .

~Vltc n

rfcscriptioll, 11arrali1111, or co1/llllt'lll by Ilic a uthor
i11terrupts tlir dia lo,r;·11c, tltis d cscriptio11, llarralio11, or
co111 11101t 11111st /Jr p11t in a separat e p arag-raplt and 110 !
enclosed ill q11ola lion 11111r/;s.

17r. Theme-model IX. in Reproduction. \V e a rc
n o w rc:tdy to n .: p rod ucc Tltc S 1-.acr Years according
to Th e rnc-mo<l cl IX. In th e follo w ing exercise the
par:tgTaphs wh ich contain m ate r ial for the diffe rent
m otiv es arc in d icated .
Exercises

l. \ Vrite and give o r:i.lly a re pro<luction of T/ze
Sista Ymrs accordin g t o th e fo llowing p1an :

I

Situalio 11 - Find m:i.terial in paragraphs
and 2 .
Let the New Y ear he B of the m odel.
J),·saiption of tl1 c personal appea rance of t he New
Ycar (B)- Find m :i. t cri al in paragraph 2.
Dt'saipt ion of 1111' prrsollal appeara nce of t/u Old
Ymr (1\ ) - Find material in paragr:i.phs 1 :i.nd 3.
Condense th e mater ial in parag r a phs 4 - 1 2 a nd tell
as auth o r' s n :i.rr:i.tive : i. t., in narrative g ive n d irectly
hy the aut h o r .
\ Vr ite para g-rnph 15 in clialog n c.
\ Vritc paragraph 16 :ts aut h or 's narrat iv e.
\ Vrite parag raph 25 in dialog: nr .
\Vri tc pa r:tgTaphs 26 and 2 7 as au th or's narrative.
Wri te paragraph zS as dialng- u c or m o no log ue.

1.
IV!to1 tltc ro11t'/usio11 of a con ,/ition,z! scn/1·11cc co11tains " <, 011ld lta·i 'c" or " slw11ld /111 <'1", " "1111:i;l11 lw 1•e,"
"to11ld llll« •t " or " m ust lw<'1"," /11g·in tlte condition wz//1
t ltc «1ords "/wd " or " if. . l1ad."
1

" l fac] T hC:1rf] Of )'<>llr Cuming l shou ld ll<•t havt' g<>lle."
" ll adst th em sta yed f mu st ha ve tl ed ."
Are lhc·rc an y L'CJnclitin nal sc.;ntcnecs in y"ur t heme o n
Tltc S/sf<r l ·,·a r >· / l f s0 , cl1Jcs th e <:C!ll<: lus iu n uf a ny co n tain t la: \\· ord~ s/1011/d /t,77 11', 1111~:,r /1/ llf r1 11·, , ·,111/d /111 ·11t'.
1vo11/d h1 1111·,
2.

3.
tc11s1·.

ti r

11111 J' /

/1a 11 ,·?

,, .

/Jo no/ 1tsc "«•1111ld of " i11stnrd r>f "'"'011ld /11r <·c."
Und"rs«ori · i11 )'Ollr last t/11·1111· all i'1 ·rbs i11 t/11· f in!
\Vou ld the p rese nt p e rfect o r th e prog rcssi,·c µ ast b e
bt:tter in any case ?

S 11< :r.1·:sTm1\s.-In what p:ul o f th e aho,·e n11tl i11 c fo r r e producin g
7'/1, • S/s/, ·r )'r ars is rctrosp cti\·c narrati n ; cal k cl fo r ? forward-

mov iniz narrative? Co 11 s11lt lh c te x t of th e story h1:forc answe r i11 g-. In th e d escr ipti,·c parag-raphs (th <: sc·c·•·lld and third) the lirsl
sc·i1te nce shoulc l stale the f11 nd a11H.: 11 ta l <111ali ty . the s11cccedin<'
sente nces enforce this q11ality. and Ihe List summarize. Use a ·
diffe r e nt fundam e nt a l de,·icc in c :w h rl c scriptinn. R e read the
descriptions of personal appearance in Chapte rs \" 11. and VIII.

,

DIRE C TIO:\S

4.

U nderscore z·n yo11r 111.1/ tl11·11u· 1·ad1 preposition.
l s it cn rrec tl y u se d?

5. ~')a Ilia / all f11rlinplcs and rdath•cs re.fa ,/t-fi11ild)'
to som e won/ and stand as near as p ossible l o tlwt 'il'orJ

··'.

'

'·
Co111f'ositi1111

1111d

R/1d1•ril-

172. Theme-model IX. in Subjects from Life
and History. Th eme-model IX . is best :-tdaptecl to
the telling of s tories in which th e re is a sud.den
change of regime. It is not so gene ral :1 form as
Theme-model V., by which , a s we have seen (~ S7),
any imaginative story whatsoeve r may be to ld . lt
is, therefore. not so well suited to r eproduction :1s
to the writing of original stories from life and history, in which we are free to invent ou r cha ract ers,
situations, :-tncl incidents. \Vhcn our material is prescribed, as it is in rep roductio n, we ne ed a more
elast ic theme-mod el th a n the one we are now consider in g. However, this mo<lel is effective in reproducin g stories whose main interest for us is in a
change of adm ini stration which involves the fall of
one man and the rise of anothe r .
If the retrospective n arrati ve is mad e t o deal
with the history of bot/i characters previous to th e
time of the situation , a nd the for ward -mov in g narrative with the story of their li\'es, or some incidents
in their lives, after the time of the situation, this
theme may b e t1scc1 for othe r narrat i\·cs than those
which deal mere ly with a ckrnge of r eg im e. This
plan is followed in Ste\·cnson·s .// Lodging- .for llte
Nigltt.

- --

- - - - - - -- -,

I

~. 1

if'

u.

Exercise

Write a story upon any of the following subjects,
using Theme-model IX.:
1.

The history o f an ohl :incl a new lighthouse

keeper as related to a partic u lar lig-ht h on se . Represent
the old man as discharged by the Government and feeling- resent ful towards his suc cesso r, who tries tu suuthe
his injuretl feeiing-s.

.. '

1
t

!-

!

l

~~

·~

I

-J:

~----"------~-

Titc Sitort Story Containi11g Dcsaipt iun

269

2.
Th e caree r of an old an<l a n ew clerk 111 a
commerc ial house. Rep rese nt th e olcl man as about to
retire on a pe nsi on.
3. Th e s t ory o f two s uccess in: presi de ntial a dministrati ons.
4. An old clergyman ab o ut to r esign his c harge t o
a yo unge r man.
5. The story o f the fall o f ·w olse y and the care er of
hi s su ccessor, Cromwell. (Sec Shakspe re's Kin/; ffcnry
Vff!.)
6. A country doc tor about to give up his practi ce to
a young physician: Use as the situati o n an interview
be t wee n th e two. G ive in re trosp ecti ve n :urative th e
sto ry o f t h e old doc tor ancl in forward-moving narrati\· e
that o f th e n e w.
7. A fa n c iful hi stor y u( th e In d ians and the whi te
m e n in Am e ri ca , sh o win g t h e fa lling fortun e s of the one
and the gl orious ca reer of the o th e r.
8. An inte r vie w b e twee n \Va rren I-Tastings a ml h is
successor in India. (S ee Macaulay's essay on \Varren
Hastin g s for mate rial.)
Tn\-cnt his success•.l r, if you
cannot find out about him in th e Histories to which you
have access.

D I R EC TION S REGARlJ I N(; TH E ME-~ I ODEL

IX.

Ju 1orzh11g upon any of lite . rn/Jj1 ·c/s s11,r;gcsto l in the
Sit11a/ion-ly p e I.
2.
U re as a .fn11da111r11tr1! d c;1lre t.ll 011t o.f t!te descripth-c para,g·r11pl1s, lite cjfff l o.f 1i:i;111; i11 l ite11/ltcr, oln•a se
1:ksrrip!lo11 . ,-/.1s1:i;11 011!/ra sli11g ji111d1u111·11111! q1m!iti,·s
to 1/1c persons described .
3. Emplo)' also in tltcse 1kscriptio11s of p ersons as
ma11y o.f tl1c ///i11 or dc1·!C1·s poi11tcd 011! i11 Clwp!as V!I.
and V 11/. as you can witlzo11/ 111a!.:i11g your composition
.forced and unnatural.
1.

abo1•c

cxcrn~~c,fi;l/01 v

·,'

-

270

C/l lllf/ISili/111 1111d Rltdorit"

·1· !111t"rr11fl tltc f<1r7<'1rrd-111o•·i11g 1111d r/'/ruspccti11c
1111 r ra I i7•c i11 dia log11t·, hy a 11 Il1or's d1·s11 1j>I / {1 11 {If pla a,
11111od, or /l/Od1· of 11/,·, as Ilic sl1J1')' 11wy d/'/cr111i11e; also
/Jy a11/l1or·s 111n-rali<•c 1111d co111111n1t.
5. }Jla ff Ilic si/1111//(111 ah('ays at ll!C toi11t w liere tlie
old1·r i11n1111bo1t of tltc p osition 111ccts l1is s11cccssor, as in
" i/1c ,\islrr Vi·ars."
6. Tlu·f1111da11101!11l 1;1t11!ilics used i11 l!tc l <i'O dcscripli ;·,· j>aragratltS of Tl1 1·1111·-111orld / X. s/111uld j>rtjlare us
f<ir //1 cfassi11g or fall of 011r of !!tr c!taractcrs a11d !l1c rise
{If t!tc otlicr.

Hy inserting in Theme-model \"I. ()i 15 4) the
history u f the person de sc r ibed, we have anoth e r
kind of theme combin in g narrati o n antl descrip ti on.
Theme-m odel YII. ( ~ 1 56) may b e ebborat c cl in the
same way by addi n g a narrati\-c par:tgraph dealing
·with the history of the place or the life uf some
p e rso n eo nncctecl with it.

..

PART

~~·

IV .

'·

EXPOSITlON
i.-

CI!. 1P Tl:" N _\' I/.

EX !'OSI T O R y

i\I()'I'I\T T1~'.-.,
-·'

•

/\NiTJ'J

:\fATEJ..:.L\L

~ 173._ . What Expo sition Is.
In the stut1 y of
Expos1t1on , as well as in that of Dcscr ipti tJn: ()t:r
ma111 co ncern is ·w ith the expository paragr:q >h
rather than the theme, for we me:tn to use this
form of composit ion chiefly as anuthcr acl:es,,"n·
of Narrati o n. I t often happens that we w ish t~>
pause _in the telling of a stury and nuke a ge n eral
refl.ect10n, a remark th a t will cunnl'.ct tlH: inL·idc nt
w e have b e en r e lating with lifl'. in ge neral or ti>
show that,our s tf>ry illustraks snme brgT princip k
nf lift.: . '.: <>ll ha\·c, no l1c •lllJt, lil'.anl p<..·• >plc rc·rna rk
rather tritely, after listening- to a tr~t gie re c ital i>f
some kin d," Such is lift.:,"" Everv one has his tr<>ttble;~"." Riches du not always bring happiness."
I his tenden cy to philosuphize nr generalize :tl)()ut
human experience seems to be natural with all of
us, anJ we therefore enjoy finding it in literat ure
i! Il d()cs nut Ul'.cume tuu oljlrusive. \\-e arc interested in the gener;tl eonc.:1usions to whi c h o ther
people have come in reg-arcl to certain questions,
l>eeausc these sometimes help us tu suh·e p n>l>l ems
( ' 7' )

I

-..:

{.

CoJ11f'11sitio11 and N/11·/orir

of con<luct whi ch have arisen in our relations with
others. \ Ve have seen how <lcscription furni sh es
narration with the e1cment of beauty; we shall learn
how exposition adds that of -vvisdorn . One appeals
to our imagination, to the picture-making power;
the 0ther to the reflective sicle of 011r minds.
Exposition deals with the forms and th e material which our minds naturally use in explaining
the meaning of statements, or of general terms, processes, an<l methods. The motives o f Exposition are
therefore:
I.

2.

/In a/Jstract idta , or /cr111 - -"Truth," "justice."
A prup,1sitio11 or .r;ounrl njl1·rtio11 -"A rt is long

a!1cl time is fleeting."

3. A .r;cncral proffss or mrt!tod - " T h e manufacture o f flour."
4. .·1 1 !11 ::;::; 11a111< -- "Ronk," "hnn se ."
174.

Exposition a Famiiiar Kind of ComposiYour textbook in sc ience, whethe r you are
studying physiography, biology, physics, or chemistry, uses exposition almost exclusively. It consists
largely of tlcfinitions, cl:tssificatiuns, and the expla11:1.tion of general processes. Your English , Latin ,
French, or (;erman gramm:tr :tlso co ntains examples of this kind of discourse '1-vh ieh deal with
definitions, cbssifications, .:rnd en umerations. The
definitions of terms a nd the expl:tn:ttions of mathematic:tl processes found in y•Hir algehrn are also
examples of exposition. You can nuw see that this
form of composiLi"n is nt> l s<>tndliing ve ry new and
difficult . It is, in fact , the form ynn nse more frequently than any othe r in the sehoolroom. The

ti on.

..

rcc1pL·s in liiL· f:uniiy C()<>k -h(•<>k . :111d the dirc·c:Lions
\\·hich acc(imp:rny Buttcrick's p:tttcrn.s. :trL' h••nwh·
examples of e xposition.
N o t only ha ve you studie<1 textbcioks which n1.'1kc
use ()f formal exposit i<>n, but yclll Juve \'cry pruL:1 l;l_y used Lhis lyj>l' <Jf disc"11rsc m:rnv. 11un\· t1:m:.s
i11funnall y in con\·ersalicin \1·iLh yuur-fricnd.~ . 'l'hc·
following is an example of co lloquial expLbitiun:
"~o you h:11-c invented an<>tlie r 'sc1 1p<', li:i1·L· )"<>\I'
Let 111 e s::c '. _there is t he n11LT<>"cn1w, tL·k,.;L·" l"" :111<1
IlU\V \\'ll~lt S llll~ lll'\V

1

'.'- L' UlH_: ?"

"The spc c tr<> SL' <1pe is an i11str11rnent f11r f(Jrlllinc;· and
cxam111_1ng spectra; p:trtic·11larh· th<>s(· pr,,tJ 11c·1·tl 11\·
IL1lllL'S lll whit·i1 diffcrL"lll s11i1sL1nc0teS arc· \"()i:t11 1.cil ,,,, 1:.s
to determin e tile c<.inpu,.;itiun of the sul1stances."
"\Vt:ii, that r.kse riptiun is just <Lbuut as clear tu me
as Y"ur 'scope itself," said the dwarf.
'.' \Vcll, now, you sec this prism 1 hnlr1 in my h;1nd,
which IS I11:1dc o[ L·lcar g·Lts.s, and li:is three l"LTLll1guLtr
pl:un Ltccs . ur ~ides. ;u1d l\\'tJ L'ljlLtl tri~tn~- 111 . tr l'iHL'.
I\c1\\. i 1• 1 1k ;tt :'. ~ i · ;1~~h t tlir1. ;;
it . \r 1L Lt d,·, \· ~ it ! ~ c·1.·:. "
"1\ il the,.,,], ,re-; ol '.iic r:1111 '"\1· ." l"X c·ia1111ul tl1c d\\· :cr t
"Just s" ." s:1id the g-i;int; " a ray .,f li_'..:ht passed
t.hruugn tnc pr1s1n, and f~dlin.~· <Jl1 a \\·hitc sl'.rL·cn, \\'1li
show the scn· n c .. lors of the ·r:1i11buw . Nuw scientists
ll: 1\'e fuund tl1:1l tlir:: ligl 1t fr<>11 1 llic ll:tmcs uf certain
metals,_ p: 1ssing· t l1 r tiu.1.:· ll prisms arranged in a ccrt:1111
way,_ will th row part1c ul nr colors 11 pon a screen; :rnd
pulling· this in practict: tli c_;y ha\·e formed the spcc tro scupc cont:t111i11g· sc\-crai g· i:1ss prisms, wli1ci1, cu111innc·d
w t th ~i_ telescope, enables them to catch the: rays ut light
trom t,11c p1:t11ch, a,nd so d_cuJrnp" s c them as tu get <iil'kr
ent colors l'L'ilccll'CI ; and J..:n1Jwrn~· \1·hat c<ilors the 1Lt111c:.s
o1 Cl'rla1n mL·Ltl s 11·:l l prlld11c.T , Lhc·1· thus tlclL'r111111c what
mct:tis are t" lic l<>t lil;i in tl 11 •sc· t1(-:t:111t \1<>rl.Js."
~- f J\'llJA

rr

F .1\ 1<. .\ILh: , ..,., .1.. :1{11y f,'(l(ll 1:/ .\~r '/t'l{{r'

Ti11s qu() l :tll <l!l ts an cx;1rnpic l!f cxpu~>itiun !Jcc:tusc it exphins :t class-name - the spectroscope.
1ti

.
.

.

~·

274

Cr1111f'i1S it ii111

11

wl Rl1t!oric

175· Scientific and Literary Exposition. Both
scie nce and literature make use o f exposition, as the
twu follow ing illu strat ions ·w ill show. Scientific exposition uses th e s:urn.: motives as literary exposi ti o n,
but <l oes n o t employ the m inor and fundamental
Jcvices which give the ~sthetic touch to writing
or speaking. These two kinJs of exposition may
be distinguished in th e followi ng examples, which
differ in spirit and p ur pose as we ll as in treatment:
I.

Pew people know h o w to 111 :1.ke a w ood fire, but
everybody thinks he or she d ue s. You want, fi r st, a
large backlog, ,,· hich du1.:s nut r es t u n th e andirons.
This will keep you r fir1.: for wa r d, radiate h eat all day,
and late in the even in g- fall in to a ruin of glowing coals,
like the last days of ;1 goucl man, whose li fe is the riches t and must lJcncficent at the close, wh en the flam es
of passion and the sap of youth a re burned ont, and
th 1.: rc only rem ain t h e so lid, bri .t.:ht clemen t s of chara c te r. Then y o u want a forestick o n t h e andirons;
and upon th ese b uild the fi r e of lighte r stu ff. In this
way yo11 have at once a cheerful blaze, and the fire
gTarlually eats into th e solid m ass, sin kin.~ clown with
in c r1.:asing- fervor; coa ls drop b el ow, ancl d e li ca te
tong11 cs uf flam e spo rt along the h ea11ti fu l grain of the
B uild your fire o n top. Let your
fo r estick .
li ght sh in e. - C 11 ,rn1.1:s Dt;11u:v WA1<:-;ER. JJa c!.-lu.i: S tudies .
I I.

A volcano is an opening in the c ru s t of th e earth
thro u g h w h ic h molten rock or lava and other s tones,
al o ng with g r eat quantiti es of s tt:am, arc thro wn out
with g r eat violence into the a ir. This steam is heated
fa r a Love the b o il ing point of \\'a tc r: up. indee d, to th e
mcltill)..!" point of r ock , and escapes '.1·ith sn ch fo r.ce that
it drives the r ocks before it, as by an e xpi osion of gim
powder. Sometimes t hese pi1.:ces uf rock are so pulverlZl~d that they arc but dns t , that flo::its away in the form
of a c lo ud, and h as been known to dri ft m o re than a

thousand miles hcforc it falls to earth; hut t he ;n,,_~ t 11f
this r oc k falls near the m outh , an d makes a hill c;dicd
the V<1lca11ic 1.· "11 1:.
-

NA TllA N l l:: L Soli 'lll c; ATE S11A LEK,

Ii'rs/ l/uv!.- in

(.1c'U{('J. ;)' .

Sl.: t;CEST ! n~s.-- \\l'hich

vices?
differ?

nf these L'Xan1p1l'S l'OllLlins lllill(lr ,j,_._
\\'hat 111 i11nr dl:vi ccs? l lo\\' d()es the l<ilH.: o( tlie l\\·11

176. Expository Motives. In Descri pt irm we
found t e n motives that a re commonly usl'.c.l in litcr:i.tnre; in Exp<>sition th e re arc but four, as ·w e havl'.
seen in sec ti o n 17 3. The illust rat io n s whil'.11 fvlluw
in sect io ns 177- 100 show how these mo t ivl'.s, -- tlic
a h s t ract id1.;a, th e proposi ti o n o r gc ncral rc l1ect ion.
the general process or Jnc thod, and the class name,
-are usl'd in p:n:1graphs.

177.

The Abstract Idea.-?\l11Tin:

r.

The

The quality of mercy i-; not strain\];
it druppeth as the .1.:cntk rain from lic:cv1.·n
Upo n the place hcnL' ath : it is t11·i,T hkst ;
It blesscth him that g ives and him th at takes:
'Tis mightiest in tht: migl1tiL"sl; it tlL'l'<>lllcs
The throned lll<J11ard1 better tl1a n his <T11\\·11 ·
l l is scc:ptrc sli<111·s tlie force ut tcmp"ral 1')<>\\'~· ;·
Til e att. ri hnte to awl~ and ma jest\·
'
\V herc 111 cloth sit the dread an d t'~ar of king,;;
B ut mercy is a bove this sceptred swa1· ·
It is ent hro n ed in the h earts of kings; '
lt 1s a n attribute to l;ud lli111s1.: l f.
- - \\'"111 !.\.\! ~ll. \ 1..,: .... 1·1 · l\ J·.,
/1<111/ ,,;

I

011i ,·,

.·I, I l I". . .V

.

1.

S 1?_l :t;EsT IUl'\ :'. -- 'l'h c 1natcria1 l1St; 1l in t li t · al H•ve q1111l ati•11l t •'
expla111 !Ill abstract id ea COJ llSJslS ul the altnlrntc:s u r 111anifcsta-

tiu ns o f th~ tt idea.

Pr 11 \'l.'

th is

SLtlc!lhr'lll .

.

f11].

lowin g paragr:i.ph is ex pos itory because it cleats w it h
an abst ract idea; namely , llll..:rcy:

/'It< .1 /a·,

'·'~

; ..• . !'.

~

..

Co111positio11 and Rhetoric
178. The Proposition or General Reflection.Mrn1 n: I I. This m otive t akes the form of a stateml!nt to bl! expla ined o r amplified. I n th e example
quoted below t he general statement or proposition
is expressed in the first sentence:

is n ecessary to c 11t a sud of grass, just the si;'.C of the
inside uf the ja ws "f tl1e trajl . :rnd pLt l'l' it <>\·, ·r lll<' p:111,
so tli;it it w ill pr<>icct alH1\·c t he \\'atcr and nlTl·r a
tcmpti11;.; fout -rcsl 11.r t11e animal while h e rc a Ll1e s l"r
the ],ail. wlii l·h i·c·sts in th,; \\'.t! c·r ju.~t 1J c·\·111lll
T"
accomplish tli1s d<..:nn.: witli1111t spri11-.~i11.~· Ll; e tr: qi l iy
the wc1.i..:·ht <1f th e snd, 1t is ncccss:1ry Lu L>r:tl"C ll)J the
p:1n from l•cncalli with a small J>L:r pt ·1Hliu11:tr slit·k, su1l icic11Lly t u 11u1tr:tlizc the pressure i"r t•lll ali11\'c'. The lJ:i1t
m ay be a d ead ral>liit or bird tliruwn on the w:tlcr vlit si(lc of the trap and ahout a fo11t fr»il\ it, being secured
by a st rin g ancl peg. H the fox spil.'s the l>ait lie will he
almost sure tu step 11pun the sod tn r eac h 1t, and thus
get caugb t.
- - \\.11.1.!.\\I Tl ,\ .\ l J l ." !<J:'- <_;11: -... I:", ,

The first thing to be reqllired of a hnilding- not,
observ e, the 111:i;-ltt'sl thing, lillt the first - is that it shall
answer its purposes com pl etc l y, perma n c n tl y, and at
the smallest expense. If it is a h ouse, it s hould be just
of the s ize con yenient for i ts owner, containing exactly
the k in d and number of rooms that h e wants, wit h
e xactly the number of win do ws he wants, put in th e
places that he w ants. If it is a church, it should be
jus t larg·e enough for its congrcg-at ion, and of such
shape anL1 dispusitiun as s]wlJ make tlielll eumfurtault..:
in it and let them hea r ,,·ell in it.
-

J u 11 ;-; Ru sKI:",

Arciulecl11rt'

""d

( ",1111_/J

1

The General Process or Method.- :M oT r\'E

I I I. Either in schrn.J or in conv c r.'< ttion willt yuur
f ri ends yo u have often llotti>lk-ss i1:1<l uccasiu11 Lu
explain genera l m ethods of doing things . The following example of this kind of e x positi on g ives

directions fur trapping foxes :

,..

!.· ., ,./ J> .1f'/1!1:,,

'fhe tr:t\·clcr's spring· is ;t little cup or sauccr -~h ;_t ~ H. .' d
fount:tin sel i11 tliL· l•:lllk li\· the rtJ ad<t1e . T l1L· har\· esler's spring· is bcne:tlh a \\· id e -spre:td111~· tree 111 tlie
hL' lds. The l11ve1"s sp ri ng· is down a Jane under a hill.
Thc: re is a ;..:'"'d sc reen uf r<• cJ,s an d liushc· '< Tl 1c ]1t·r111 it's spri11;..:· is <>11 tile m:1r;..:·111 of a l:tkc i11 thL· \\·,,,HJ s.
T ii L.: 11sI1cr11l:'11 "" s 1' r Ill ,;..:· Is I 'r t I tl. r i \" c r
'I' Ii l '. 111 It l l. 1·
fim1s his spri11g in ti1c lJ<>\Yeis td tile 1n1n111 t ain. 'J'h e
suldici"s spring- is wherever he l·:tn fill l1is L':lllt<·,·11
Th e sprin;..:· w here SL'ht1olbu\·s ,L:" t1J !Ill tl1c: j>:ti! is :1
lung \Yay up ur d11wn :l Jiil:, :u1t1 Ji;1s j1ist hn·n r< >iktl lJ\·
a fro;..: ur mt1s krat . a:Hl th e ]i,,_\·s li:tve to w:1ic tii! !t
settles. 'l'hL·rc is \"t't t)1e m1l1'111:111' s spri1:~: 1li:1t :11·n·:·
d r ies the \\·ater (;(which ts 11111);\· and u1;:1,p1c . :-;,1111c·tirnc~ it Jluws " ul pf a L·halk clit( This Jattcr is :t IL1rd
s1)rinf.!:: :t1! the· i1tl1t.:r~ ~Lrc s{1ft.

'

Som e trappers crnpl(ly the follnw in g- rncthucl with
gr.n<l results: The tr;ip is set, in a spring or at lhc
edge of a small shallow hrook, :rn d ;itt:ichccl hy a ch ain
to a s tak e in t he hank, the ch:1in l>eing· unclcr w ate r.
There sl1ou!d he univ ahn11t :lll in ch nncl a hnlf of
w:itcr O\'Cr the trnp , ~ncl its rli't":!ncc frrim the c; h ore
should he about a loot and a half, or C\·en less. In
onkr to induce the fox to pi:1cc his foot in th e trap, 1t

, 111,/ / /1.- /1 1,

180. Th e Class Name. -\l11TJ\ I ]\ ".
Iliu.-:tr:tti ons of class names are" book ," "paper, " " isbncl, "
"coal,"" planeL." "men." The following- quota\ ion
explains the cl.tss n:une, "spnn;.;<" :

Painh11.:,...

S uc<: 1-:s-r10N s. - Th e proposition is here dc,·clopecl by th e use of
illu st!':1.tiu ns as 1n ~1.tcrial .
that he want,; . "
" 1f it is a hnu se .
hear wen i n i t . ..
If it i~ a church
Thi;; nse nf illustrations is called t'.rjJosit io11 hy e.re111piifira lio11.
\Ye shall hc~lr n1orc v !- ~h i :-: llil'~hncl 1:1~cr.

179.

J.J,·

-

~· ·

jli!IN

] t1 : kl\.1 ~ ULI!:-. , _f>,'Jhll -/tJll .
1

used here :s tliat i•f (li/SS1fi111/1~111.
c1f ub ic cts \':lliL·li art· -111ci11dt·d
in the ~e ll L'r:d tcnll w hi•'.'->C 1 neanin~ <1 r co1ltt.'T1l i:-; !Jeill).!.: s1....·l f<1rtli.
St :t ;L1.:sr 111 .....-.-

or the

'1'il L· 1n c tlHJd

e 11u111 l'ratit1ll 11 ( di11"1..:re11 l kind~

,·

,.
t

~

·-

. ~:

'I

Co 111posit io 11 a 11 d !\ /1 /'/or ir

r8L Expository Motives Combined in a Theme.
\Ve ha,·e seen how narrati\·e an<l descr iptive moti ves ha\·e been used in the theme-models thus far
studied. The following outline will show how a
theme may be made by combining the four exposit ory mot ives which h:we bee n pointed out:
II ON ESTY

First ]Ktr:-ig-raph - thc :-ibstract term . h o n esty. It
may be developed by dcfining- or illustrating· it or
by an :-inalogy which explains it.
Second paragraph - a proposition o r gene r::i.l
r eflect ion. "Honesty is the best policy.'
Third paragraph - a gene ral process. How children may be trained to habits of honest y.
Fourth paragraph - a class of objec t s. Diffe rent
kinds of h onesty.
In studying Description we found that special
kinds of 11wtaia! are used to develop different
motives. The same is true of Exposition . We
sha11 next consider ·w hat kinds of material are used
to <lcvc lop the four motives of Exposition.

182. The Material used in Exposition. The
material used in amplifying or setting for th the
meaning of general terms, processes, etc., is of six
principal kinds, illustrati on s of \\·hi c h are g ive n
below.
1.
JJ«.finitiu11. '-Vt..: may expbin an idea by definin g it.
" History is past politi cs."
Su1;1:ESTI•J1'.- \Vhat

is th<: term 1lc.:fi11et1 ?

'"'
N.rfd ltio11 . \ Ve may explai n :111 id ea by restating it from a s li ghtly different point of view. IL
may, for instance, be restated in more ge ne ral ur
more particular terms.
"Nature is an endless combination and rcpctitir1n of
a few Jaws. Sh e hum s the well-known a ir through
innum er:-iblc varia tions.''
S u r:c: 1-: sT l ll :\. - Ts the thougl1t repeated in a more general or a
mure eunc.:rete form'

3. l ll11strrrti1111s or i11slr111as. \Ve may cxpl:ti11 an
idea by means of illust r ations.
"She [Naturcl delights in startling us with resemblances in the most unexpected quarters. I have seen
the head uf an old sachem of the f(Jrest which at once
reminded the eye of a bald m ou ntain summit, and th e
furrows of the brow suggested the strata of the r ock. "
S1 · ccESTJC1:\. -

f'ind the illustration in thi s quotation.

...

4 . .Analog)' or co111pariso11. One of the m ost effective wa ys of explai nin g an idea is to compare it with
something else.
''Th e Gothic cathedral is a hl0ssoming in stnne s11h d u cd by the insatiable c1 c 111and of harmon y 111 man.
The mountain of granite IJlooms into a n etcrn:il flo\\"l 'I',
with the lightness and delicate Jinish as well as tile
aerial proportions :rnd pe rspec ti ve of vegetable beauty."
S 11c:<: 1·sr111s. -

l' i1Hl lh1.: anal"gy i n this exlral'l.

5. Classijfrt1tio11 . (Scc th e paragraph from Burr o ughs's .\)'ri11J;"s, ~ 1So. \Ve Ji;1ve thcrc a p ~tragTa ph
maclc up by en um e ra tin g th e diffcrcnt kinds of
spring;s.)
6. J\ 't1rr11tio11 ,t;-1·11, ·r11/i x J i-.: 11sct1 s• 1mct i 111es in the
explanation uf ge neral pn>cc-.:scs or 111ctlwcls. ~~<:c
Mo tive I II. , ~ 179.) T h <.: following account of thc

'''
·, ij,y .._

''
\

'

';

"

Co111posi1 i/111 1111d Rhetoric

280

m a nufac ture of flour is :i.n example of n :1rration
generalized used in explaining a pr ocess:

I.

Uur b rain s a r c s c \·e nt y -yL·ar clocks . Th e ,\ng·ci u:
Life winds tlicrn 11p " Ill'<" 1«,r all , tlt,· n ,· ],, ., ,. .., t he c:1,.;l ·,
;111d gives the ke y int•J the han d s ol the ,\nge l "f th<·

"After t h e wheat has bee n clean ed o f \\'hat m:i.y b e
c all ed tic ld im p u r it ies, i11cl11din g cockle, it p:tsscs to
graders, which separate the sm:i.ll, shrunk e n , ur impe rfect kernels from the plum p a nd sot1nd ones; t h us
enab ling the mi lle r t o kee p up his hig her g-r:1des of
fl<iur by t1sing onl y sound \\·hc:-it, whi le the inl"crior
q11a lit y ma y lie k e pt separate and re duced to a lowe r
g-rade fl o t1r. This grad ing is perhaps more g e n e rally
practised in mi l ls u s ing s " !'t wh c :tt excl us ively than in
th ose whi c h use mainly ha n l wh e at, w ith o nly a s ufficient mixture u f s <ift t o expcclite its red ucti o n.
Th e n e x t ope ra t io n is :1 r adi ca l one, co n s isting of t he
p assing o f the ,,·heat tlir(Jug h a mach ine, J,nown as th e
s co ur e r and srnutter. Crease dirt, while hardly p c rccptihic to t h e c:i.sual obse rv e r, is p ee111iar1y abhorrent to
the g«1"d m ille r, :lnd m u s t be t:ikcn out before pure
white flour c:i.n be made."

for e heads.

-· ( l1. 1n.1t \V 1-: >. 1n:1.1. I loun:s ,
? "lt1· ~·! 11/11(-r,r/ r ~ f //11' /,'r 1·11!./o .\' / '/",-!/;/;·

Ii .

!.

Th e.: f,,]],1wing; c •>nv crs: 1lio11 lict wc:c: n ;1 (i sl1, · r11:: ti1
:rnd his pup i l is Ltk1._· 11 f r1 ;1n \\-.t il 1111 :11 111 l' ,, ;t 1.11 ·>
[!1<· l ·ul!l/111'11' .·l u&·lcr:
\\' el l. scli o l:t r.

!'1.fftr/11r:

sec \\' h:tt p:1i 1b I k1 1· c·

\"()ti

Lti..:t: n t() rc c o\·1..:r t he l():--;t c r 1..__'d 11 <ii- ti1L· p ()( jr t!t·.-,i)l'"''~ · d

cil 11h !:t i.:11Hi 1;f f;..;i1 i
:\nil 111 ,11· I 11·1ii .:. :·11-c ,.,,11 . . 111111·
l' JJ l{ ·_.. ; ] J\ I\ \' l (
' .il \. . l 1 l Ji 11 \
>

{

arl, bec:lllse 1t ai111s m e r eiy :tl clc:trncss uf sl:tle1uent.
Compare tl1e d csc ripti()n"f :t hird in :t lcxlhook on
o rni thology wi t h :-lhe! Jc_, ...s Slr/t!rl if yuu wish t o

l 11 l ( . ; i l \ \ . ~ I ; i
\ ,1 ;1:..-·.
hi it (~ ,l :· :-. . .\ ' (1~l \\ ' 1. : t111il . ! ,Li / . l ' !I (;)' l \\'l ·n'\ '
c ltt: \'l ' llS fl,, ; tl 111.~~· llL':t r tl 1c l" i' ,, ( ll1 .- 11·:1lc·r.
<;,.t I\\.,,"'
thr '-T gTas,.;h "J!J' c1·s :1,.; )" «II g• > 11\·c ·1· thl' tn l' ad"w, :i nd ;..:<:l
Sl"l'l"l'tll· li c l1i11 d LliL· \J«: v, a11d s\:L11d ;1,.; i'1«T f 1-. ,111 111,,11,,11

und erstand the differen ce in meth od.

kt yo 11r lt11" k h :t11;..: a q11:L1·k r «i' :t y:1r<l ,_]111r t ,.f

( ~ ' ) t' ) t ; l l.

:-.., : { 11 j l "

ll1;11,Ti:d .

I

I

j

\ \ 'lH..' l' l' , :n : 1111"-;L

as pu .'-'~ ltJ !c .

'Ti1L·11

-~--~

~
,..,~-

·:~
-~

p11L

a .~- i- :t s:-.;i 1 \1ppcr

!~:; ~

\\·a tcr.

"r

'

T ic-tac 1 ti c-tac' !-'." tlie \\·he el,; uf Ll1ut1 .:. : iit : <>ilr
will C: lllll<• t St< •p them; tllL'}' c:tnn1 •t s t op t lwrnseln:<.; :
,,Jeep ca11nol stiil th ern ; 1n:tdnvss r111ly m :tkL' S tlkm .<" '
faster; ckalh :tl une c an hr c ak inl u th e c 1sc, and , SL·i1.ing th e c1·l'r- s w i11gi11g· pcndt1!11m, whi c h \\T t:: 1ll th··
heart, s iktl LT :1t 1: 1.'-' l the c lil'kin g ,,(the tcrril1k ''"'"'ii " m e nl \\T ha\·e carried su l•.. 11;.:- Ji ,·11e :t th <1 llr \\T111klul

fi nd c x::i.mpics o f the exposition of prnccsscs. Scientific cxp()>:.itHJn a s \\'t•1! a:~ ."~{· 1c: n t1f) l· dt· .~ lTi pt inn <1ol'S
not p1«1p1._·r ly b1._·l"1i;; t <> llic sL 1 ·~Y ,,f likr:1Lur,_· :ts :lll

k111ds

.

j(.esu rr( ·ci ion

It i:,; in i..J vu ks un sci1.;ncc that ·we J1l<> Sl (requenlly

183. E x pository Parag raphs to be C la ssifie d for
Material. The m :ttc rial u sed t " dc \·cl11p the fundamental thought in the f"l1" 11·i11g· ,·xlL1ds s l1<>L11 L1 l;c
classified by showing th:t l it is rcpe<.itiu n. delin1ti on,
exemplifi cat ion, analogy, eia.ss 11 icati 1m , 11r narration
gene r alized. The stu1k11t chr<1ild fin<l :rnd br in ~· tn
class other p: tr:1g-r:qilis lh.t<. 1._ •1 i1t,ti11 these.: v:iriuus

\

~: ·~ ~'.:'

·;_,'.•,7'•

~L

1111

l1i1t 1l\ , : t ; id

Ilic ·

,,·ill :--.. i n k
the J,ult11rn uf tf1e \\':1t1._· r, at t!ic tir ,.;~
iS

l ike!\· t LL·

yo ur
l · l1i.1hs

down t O\\'a r t!s
s lndow tJI \"()!Jr rocl
f,q· 1h t· clt11!; 1s til l: fc:tr!'11llcst ,, f
Jisl 1es,- ;111;! \\'Iii tJ,, "" ;( i>t;\ ;i i111·t! il 1cs <1\"l'r lt1111 ;1 11<1
m ak es til e k :t ,.l sh :t ti"\\' " 11 tl1c 11·:Llt' r . J;1;t t hl ·1· 1\ 11 1
1ircs,·nti\- r i,.;" up t" illl· \"]' :1.;..:a 111 :1111i thL·r, · lil· ,.;,",:1rlll :.'.
til l s( 111it..: ~l1 : 1t lt i\V ~ Lil·i·1,;_:- i1t.'-' tl1(_·111 :1 :-:;,· : tlll
I s ; i _, ·, \ \ ' l ll'il
the\' lit· 1111 t lll' lop of titL· 11·:11l"r, l111il; <111\ the· lw~l 1·lt11l1 \\' hich yot! ,

;-.;( ·t ~ i n_'-'.- \' ( ilJL~l· i ( 111 :1 t:t

SC<: . --- :1t1( l Jl\ ( )\ · c · \«1 11 1'

tJt:l[ L·i11 1i1

">.

\ ' <1ll

r 11ll

llJ\ t•J id !"

; i.-..:..

pLtl ·c. 111;1y \ ' l·r~· (·:t '-.11\·
:-, t dtl \· :t~' a :--:.11;l1 l 11111\ ' l · ', t i >

< :1t<·i1.

-

.;,-.

Ill.

To punish a man because he has committed a crime,
or because he is be!ievccl, th ough unjustly, to have
comm1ttcc1 a cn me, 1s not perse cution. Tu punish a
man because ,,.c rnfcr from th e natu re of som e doc tr ine
which he hold s. or from t he cond uct of <Jther persons
wh o h olc1 the sam e doct rin es with him, that h e will commi t a c rim e, is persecution , and is, in every case, foolish
an cl w ick eel
·

-'r11< 1:"\1 /\s H A 1:1 :...: 1;T<1 N J\L\ c A111.Av,

;~·s.ray fill Jla/! a 111' s Consli /11t1i11111/ Jhs / 01)'.

1\-.

The more we study the body and th e mind, the
m o re we fincl both to be gove rned, not II)·, but naordi11g
lo laws, s uch as we obse n ·e in th e large r uni verse.y'.) ll think you kn ow all abou t \\'alking,- don' t yo u, now?
\V cll, how clo yo u suppose you r lower limbs arc he ld to
your body ? T hey are suckecl u p by two cupping vesse ls (" cotyloicl .. _ cuplikc-cavitics), a nd h e ld th ere
as long as you live, and longer. At any r a te, you think
you m uvl.! them bac k\\·arcl and forward at suc h a rate
as your will determines, don't you? On th e contrary,
t.hcy swing JUst as any other p e ndulums swi ng, at a
fixed rate dctc rm111 cd by th eir le ngth. You can alter
this by muscular pmYer, as yo u can take h old of the
pcncJ11] 11m or a clock antl rnakc it 1ll<>Ve fas te r or slower;
hut your ordi nary gait is tim ed hy th c same m ec hanism
as the movemen ts or th e solar system.
'
-

J[uun:s .
!»r,·,rl.j11J/ J(1b/c.

01.1 \ ' EI< l\'i-: r-; 11.: 1.1.

/ Ji,- A 111 0,·ral

'Y t/1 ,·

184. The Next Step in the Study of Exposition.

Vv e Juve thus far stud ied .the m otives o f Exposition
and the diffcre n t ki ncls of mater ia l whi ch may be
used i n ::unplifying- tl1esc motin~ s. Our nex t step is
to learn h 0w to ha1H.1 le exposito r y motives and mat e rial: that is. h<>w tu organ ize th e m :1tc rial intu
pa ragrap hs and the paragraphs int o th e m es.

C/f,l/'J'f:N .\ ' !!!.

THE EXPOSITORY PARAGRAPH
185. Coherence in the Expository Paragraph.
In our study of the descriptive paragraph, we laid
stress upo n th e two grea t principles of un ity anJ
emph as is. In o ur work o n the expository parag raph
w e sh all add to th ese a n othe r fundamental law of
composi ti o n , that of cohe re n ce o r t~1e a rranging of
sentences in a paragraph so as t o indica te th e ir
logical rebtion. In e xpositio n this r elating of one
sentence to a n ot her is more of a probl e m than in
n arration and description. As stateme n t is r e lated
to s tatem e nt by coordinate con j unctio ns in the comp ou nd se nte nce, a n d by s u bordinate conjunctions in
the complex sentence, so th e se nte nces whi ch make
up a n e x pository paragraph, though indepe nd ent in
for m, must in th ou g-h t stand t o each oth e r in either
th e coi5 r<lin ate o r subo rdinate re la tion.
186. Unity and Emphasis in the Expository
Paragraph. T h e law which our d escriptive models
shoul d h ave impresse d upo n us in regard t o the first,
the last, and the interve ning se nte nce s in a paragraph, applies also to this new t ype of paragraph;
that is, th e first sente n ce sh ould express a general
truth or make a statement about e ithe r a class of
ob jects, an abst r act idea, o r a ge n eral process, the
se nte n ces followi n g should explai n thi s statement,
a nd the 1ast sentence sh o uld s ummari ze o r g ive the
r ead er a sense of complete n ess.
( >8j )

I

'

.,'•

l 'i
'
j

j
'

~

'l;

; '

187. Types of the Exp ository Par agraph. From
t~c point of view of coherence there are four types
of the expository p:tragraph . rcprc.sc n tcd by the
rnoc1cls and diagr:rnis in St'l'tinns 1ss r:N:

.·'
ii~'

-~
'$

~w
~-

-~-;:­

Tn rl'ypc I.(~ 1:-:>15) the 1eac1in~tho11'.;iltsare coiirdinate.
This typt.: corresponds t•'> the co111pr>1 111d ~cntencc.
In T ype II.
190) each of th e leading- th o ughts 1s
subordinate to the one immediat ely preceding-. - This

~t!;:..

rn

ty p e C(•rrcspond:-\

tu

tl11....! cu1:Jji~cx

:icilLc:nc c.

w=-!:i;

~~~:~iH~

1\icn o f_t cn rc~nirn]rn1· «f _l'c·ar,, in tlic·ir \\':t)' ,_,[ cuming
to mat11n1\·. ~"me arc r q-,.:· :1t tw1 ·nly, like ln1man
Jarg:-inei les, and rm1st ljC made the mus t uf, for their

<!:ty

JS _s(>o11_n\·1'r:

S<>Tl1C' c11111c int•> tli1·i r ]> tTfl'ct c<in-

ll1llu1t talc , Hke t11c :tlltumn kinds, and they i11.~t hetter

i ~:t-\\':trc

of r:i.~;h c ritil : is111 ~; , tht~ nit1~:h :1n1l

S1 11:1;F ..., TJ11,\."S.- l ' r11ve

lhal this

par:l:<r ~ q)li

unit\· and einpha:-;is (~ qq) _ l'ro\·c abo t ll at
of p[-trall cl l·11nstr11cti11Jl (L'liaptl·r;..: ).

<1l11·\ ·s

;;,b/,._

tl1L·

L1-,,·s

1.J

it 111a kL:-' gc1H.:r1,1i--. l1St:

189. Sentence Relation in Type L The f,,]J11wing- di:1 g- r:-im shows the sentence rt~btion in thL'
paragraph we call Type l. :

sentence.

r88. Type I. l>>••l(!li\.\i!11\ 1.\· 1111:i'.\1;.\1,1; .\PII.
In ti1e Jir.sl type ut' Lile t:.'-'i""~1Lory par;tgT:tpb which
we .shall study , Llie warn tho11g·hts used to amplify
the fundamental icl ea stand t" each other in coi5rdi.
nate relati on. Each is directly rc]atcd to the first
sentence, lrnt 1rnt t u lhe utlicrs. The foliowing
extrac t lJelong-s iu this type:

orcl1 ;l!·ds .

astrin<•cnl f1·u:t 1·,,11 c"111 kmn ni:ty ] ,,_, ;:;1 :1 11t1111111 "r a
wintl'1':' pc:ll', ;rn<f that whil'h yc•11 j~ickc<l 11i1 lwm·:tth the
same 1io11gli in i\11.IC:ust rn:1r h:,1·c l ;L·c;n 1>11ly ib \\'lll'lllcaten windfalls.
- - ()L!\'FI.: \\'1·:'.'\11u.r. Il11t ~u · ·,,
Th,, //ulocrut o/ lite Hrnd•/asl

In Type Il I. ( 8 19 2) some ot the leading- thoughts are
rn cocfrclin:-it e and others in s11l1,,nlinatc relation. This
typ e corre s pon d s to t11l: C<>1llJH•11nd-l·•in1plex sentence.
l n Type IV.(~ I<J.J) the p .'1r:i.c:-ra pl1 consist'-' of a single

The stud en t will find in his readin<Y that there
are ()t l1L:r types 111' t he l·': posi1"ry p:tr:1.:;·~1ph Jwsi rks
tih:: f"llr enu111cr:Ll.n] ]Jere. \\· ,~ siiai1, h "we vcr , confine uur study tu t11e~;e c;implc fn n11 s because thuy are
n1ost easily undcrstnnd and used.
Thl: fo11nwing sectiuns provide examples of each
uf these tyiK:s.

than the snrnrner inut. J\ncl su ml: that, like tlic \V111tc· rNe li s, have b een har d and uninviting- un t il all th e r est
have hat1 their season, g·ct their gluw a1Hl pcrfull<l' ], •ng
aftl'r th e fr<>st anc1 sn<"iw have d<>nc their \\'<,rst \1·1th tlw

·L
' --~ -- - -

~11J
~
~
~:;;. , _

L \. l'L\:--.:,\TIO.\.

'J'l11. ' ltlll.' 11 1:1rk \ ·1\ 1 '..;, ta111

I i]·

J !ii ·

j !i.\ i ,J·: ,\\I

l 1•r 1 i1v ti;-'.,\.

'.'..1 ·11t(' iH ' <·

a11(! 1·:-.:.iir1 ·~·.:--.t.' "'

tlH· f u11•.la1l\l'llLil i(k.'l ••( 1lll· p : tr;1_'....>,T:111l1
\\' ]i:1t. i:~ tlH i1.11·;1 !
'!'lie fi g 11n.~ rn;1rk(·d '2 ~ tan(\~ l1ir lilt_• ~, cc< 1 n<l s1_·111cnlT. wliil·h ;~,
14irect.1y suhnrdinate to the tht 1 U~lit nf the llr~t. l'r11\T thi:---. '.'>late-

mc:nt.
r1'1H ~ fi~:ure t!1ar\..:f'.d 3 S1.'llldS fur llit: third :--;l'lltc11Cl', \\·Jiich is
directl y s1tlH1r'1in:ltc t(1 t.hv t li ou:<h t ~ , f llH_'. tirst:tnd J1()t ln11l1l:11i:ltl·ly
connl-ctcd \\·ith the: ~~t·cnnd ~L'nlci1t_"l' . Pr(•\·c tl1i s :-=:.tatc..:rnc1Jt .
'J'he flg-11re inarked 4 :-:.Lu1d:-; for the fourth :-;enten Cl '. , which 1s
rlirectl y s11lH-,nli11:-th. .' to the tll<lll~~-hl (1f tltL~ Jir....;.t and not l ·n1111 cct ed
\Vitl1 the :-;ccc)nd or the· third SL'tl\l'lH"L'.
Prn\·c tl1i~~ ~;tatCt!11·JJt.
'l'li c li~..:1 1 n: 111~trkcd 5 ~.;1a11 d:-:. l(ir tl11· las t s~ · ntc·lll"l.', \\·li1 cl1 s111n n1ari z1'S tla ~ thn11vl1t of thl'~ \\'hole antl r et urns tn the tlr~t ~;c11lc1i<:e ,
Pru\·c tl11s statc111cnt.

j/1, .

Co mposilio11 and R!tctoric

usual 1~ roporti o n of th e wnrlcl's good n ess. ; ~nd tth~;i ~:;~
·is we have said, li es Jl() . c
.
) :un e o j. 11 "1s·. f·· t1.lt1··e
, , •·
11
with the world.
-'l' 11 o~L' s C A1<1.Y1.F.. Fs .w y 011 Hur ne

Exercises

I. \ ·V rite an exposito ry paragraph .'.lccorc1i11g to
Type I., taking- for y o ur subject the causes of the
American R e voluti o n. Of course the number of sentences should not be limited to five as in the model.
The coordinate re:lation wi11 remain the same no
matter what the number of sentences may be.
II. \ Vritc a paragraph upon the b e n e fits derived
from out-of-door spurts. Follow the first type as
before.
190.

Type

II. -

SuHoRnii\ATI<>i\ IN

TllE

Fxposil or_v f ',1 r11grc1pli

' . .. '1. l th. l! r~~t -..:.t ·ll tl'l1' 't· stat<·s the fu11da S1 1 l;l;E STlu N ~1- l t O\c l l.L
c . ' . . · , .... · u 1J the (othc r~ de\·i..·\,,p
I .
m e ntal .IC Ica, l lH.: \·.is·t "·e ntence ·summ.11p w::s,'
0 ·111 t '-, nt the minor , cv1ces
t h e t h ou).!;ht "i th e first sentence.
used in thi,; paragraph.

Sentence Relation in Type II._ T h e f<•lt he ex pnslowin g is a diagram of the scco!1ll type ot
I9!.

itory par:igr:cph:

------ -

---- --

T'AJ\A-

In Lhc ty pe uf p.'.lragraph n:µn:scnlcu by
the following- qu otation C:1ch sentence is directly
subo rdin ate to the one immcdi:1tely preceding, but
only indirectly t o the firs t se ntence:
<d{ !\ PI 1.

Still, we do n ot think that the blam e o f Burns' failure
lies chi efly with the world. The wvrld, iL seems tv us,
treat ed him with more r.'.l thc r tlun with k,.;s kindness
th an it u s ually sho ws lo s uch men. It has cn:r, vve fea r,
sho wn b ut srn.'.l11 favur to its teachers; hunger and
nakedness, perils and rcvilings, the prison, th e cross, the
poison chali e h :tYc, in m os t times ;rnd countries, been
the markt:t pri ce iL h as ofk rcd fo r \ Visdom, the wekome
with which it h as greeted those who have come to
enlighten and puri fy it. Hnrncr anc1 Socrates, and th e
Christian apostles, be lung to old d:tys ; but the world's
rnartyrology was not co mp leted with these. Roger
Bacon and Gal il eo lan guish in pri est ly d un g-eons; Tasso
pines in the cell of a maclhousc, an d Camoens dies begging on the streets of Lisbo n. So n eglcctccl, so" persecuted" th e y the proph e ts, not in Jud ea only, hut in all
places wh e re m e n h a yc been. \\'c recko n that every
poet of Burns' order is, c.r shnui<1 lit•, a prophet and
t eacher to his age ; that he lL1s n" ri g h t tu expect great
kindness from it, but rath e r is bo und to do it g-reat kindn ess; t ha t lJurns, in part icu lar, experienced ful ly the

I

i

.j

l __
,,
I

I ·-

'

~

~

't

.

7111·
direct ly su lw n linate in thought to th e third. l'ro ve thi s as bc:fore
by indicalin~ the \\'urds de vclope<l.
'I"hL· Lliagr:.t11l \\·ill s !111\\' th<Jt t1a.: :-;a1ne ki nd ui relation continues
thro11gh senten ces 5, 6, and 7. Prv\'C this slate n1 e 11t by st11 dying
the paragraph it,.;t.:lf.

r93.

J:xposilor_J' l'11r1 l,(I11fl1

Sentence Relation in Type III.

Tile: f,,J

lowin\! <1i:LL:T;un r cµ n .:scnts tile: sL·ntcrw~· rc1:1ti<>11 ill
the thinl t ype of tile c:.:;iositor\' p:1r:1~r:qil1 ·

·.

.;.

!

:

t_ ·.:.

The li gu r e marked s sta nds for the las t se nten ce, "·hich summarizes the whole and ret urns to the fi r st sc n tl'llCl' .

2

Exercise

Writ e an expository p a r agraph of the .second
type. Choose y<>n r 0 \\'11 subj ect ancl ohscrve the
laws of unity, emphas is, and coherence ns appl ied
to the ·paragr::tph .

Type III. - Cn1·»1.:.1> J'\'ATE ,\ ;\I> SuBc11.:.n1NATE
RELATJO:'\ .
The following m odel is a
mixed type, formed by the combin::ttion uf the two
pr inci ples cmho<li 1, rl in the fir<..;t :111<1 <..;cconcl types nf
th e exposit o ry pa;·agr :1ph; lldilll:iy, u Jv r dill:ttiu n and
subnr<l i nation:

\~-------·
I

i

i (,
I

r92.

SENTENCE

People, ns a rnle, only pny fo r bei n g a mu secl o r being
chented, not for be ing served. Five tho usand a year to
your talker, and a shilling a day to your fighter, digger,
and thinker, is the nil c. None of th e 1Jcs t head work in
art, litl'r:1 t11i·c , o r st·icnce, is eve :· p:1id fc>r. l low much
d" yu11 tl1 ink J l o 111 c r gut f,,r his lliad, ur Dante for his
Parad ise? On Iy bit lcr bread a nd sal L, and going up
:mcl down other people's stai rs . In science, th e man
who discovered the tel escope and firs t saw lie:wen, wa~
paid with a clunge rni: the man \\' ho invent ed th e rnicrn-

seope and first sa\\' earth, died o f starvatio n, driven from
hi s h ome . It is, i ndcccl, Ye n · c k :11· tli:1t C"d mv:llls all
th orou ghly good 11·,,rk and t~tik lil l 1c clunc f"r 11" th i11g.
-

J u 11 N Rt ', Kl 1', 1111·

c,.,,7<'11

of /V i/d Oli7le.

S uc ci,:s-r1"o;s.- Pro\·(' tha t the· llrst S<'nf <·n r-<' i11 the nhnvc quotation sta t es I.h e funda menta l idc:l, the la,.;t ,.;c n tence s11 1nmarizes ,
;tIHl the in tt:rvelli1 1~· sentenct·s <li:.·\·1._·ln p t he t/Jougill uf U1t: fir~t.
Find the 1uioor dt!\·in:~ l h~: d in thi...; c :-~t ?·: 11: ! .

E x1 · 1 A:--.: :\TI11:': ' 1F ·1111·:

orri.cr

11f

I

)1 .. \1.i.; ,\\l

thl"

~;t ·:;tt.:nl·cs

i:1 ti11.: p :1r:l:.:;:·.1; i! 1

d1:1:...',T:tn1 ~, 11 1d\<...· .tt t· tilv

' i' lit · 1i :·--..t

'-,l·:1\ 1·;n ·1-· ~::th. ·-..,,

the }e;tdin!-.',· thin1g·llt a11d tile i a ~t ~vnt 1. . ·11c 1.: :-;.ui11111:1ri l.t"...:. a~ i1 1 t1 1t·

first and second t y p1..:~. Sentences 4 and (1 arc 111 cui.1rd1nate relat1oi1
to eac h olhcc r, hulh elalmuting se11t e 11ce J. S e n tences 2, .1 . .J,
antl 5 are in sL1bord i 11ate relati <111, eac h de\·eJ,,ping th e thought of
the pn..:ce din~. Pr u \· t; that this di~tgra111 rt: prc:-.cnt~ the Sc!ltcl1>1.. ·
n..: latl 11 n in th e ext r act. q11ut 1..:d l >y sh11\\· i1i.~~- wli:1t Jl:1r1:1.: :1L1r t !1< 1 :1:~·.1:t
o r \\'(JJ'tl c...·1>1 1tai111..·1l in the first S t: lll i..:llLl' i:--. (Je v vl 11 1 h'~ l l1y lllt' :--.\'l't !l1 <1 .
and :-;

1 ;

un .

CA U TJ ON .-

F/ll'

s /11dotl slw11/d 110! hi: In/ (1y //'c duz.

crralll / o t!t i11k t!tat tiff /011rllt a11tl s 1.1/ IL sc11/i'l/it'S 11111.1 !
6
·
ah(•avs (J,· t·o,lrd111a/i' and //;c (1 / /11-rs 11/:, ·ars s11/!orr1111afr
.l:

fill' c otird111a/1u11 or s11!rorr/11111/1011 111111 · 1•1..-11r rtllf:,·!11-rc.
Exercise

Writ e :.i.

par:.i.gr~1ph

on the fnllnwing s 11l1jcct :

"Tile invcntur "fa use ful rn ach inL' i:-; more likely to
re ceive his p 1·0 pcr rc \\·anl 111 iii:-; "\\' Jl day th:ui i,.; the
writ e r o f a great poem .
IV

....

l

'T'he nunihers . as in tll1..: t wo prc ct.."11 111:..;:

t-··
:.. ·'
.....
'~

Tit<' Li-pos itorJ' Farag rrrplt
194. Type IV. - J\ Sr ;-.;r: u : SE i\ TE ;-.; n :. Th e
f<:urth ty pe of t he expos itory parag-raph, con s istin g
of: : L. si ng le sen l L'll cc. g"L' lH:rally c o 11t:1ins : 111 e labo ra te
simil e . l'<> int o u t the words that introdu ce th e two
m e mbe r s of t h e si 111ik in t he fo ll o \\'in" ·

"'.

A s so m e fair fc nw. le 11nac1ornc c1 an d plain
~ccure. tu p'.c a sc w hi h.: yo uth c u n lir n 1s he i'. re ig n,
S hc:hts. ~\: c 1 Y . ho r ru \\Tc1 cha rm tha~ d r ess su p pli es,
1
~ur
sh .1 1es W Lt.h art the tn u m ph o t h e r eyes;
J~ut wh e n th usc charms a r c p ass 'd, fur c ha rm s are
frail,
\V hen tim e ach ·anccs, and wh e n love rs fail
Sh e then shines furt h, soli ci to u s t o b less '
f ~1 a ll th e gla rin g- im po te nce of dress. '
l hu 1; f:lt·c.s th e land by lu x u ry bctra ye ll :
In natures simplest charms at first a rrayed Hut verging to decline, its s ple n d ors ris t:
Its \'1 stas s t ri1'l', its p:tlacc:s sur p1·ise.
'
-

0 1.1 1· 1-: 1< Cu u i,;.11 1·111 .

Tiu: f )esrrlr'd Village.

Exercise

What a r e t he po ints of r ese mbl a nce b e tween the
t\.VO o b jects compa rt:c.l in this pa rag ra p h ? Why is a
th ag ram of the se ntence r e b t io n in thi s paragraph
lll1ne_cessary ? \\Trite an expo s ito r y paragraph b e.
lon g 111 g t o l he fo u rth t ype.

19~.

Examples of Parag raph-types I.- IV. for
Classification. The se nten ce rebtio n in e ach of
tl: e fol1 ow i1: g .extrac t s shoul d be st udi e d by making
d iagrams s imilar t o tl rn.s e in s cct io ns 1 8 , 19 1 , and
9
i 93 , a nd thus dete rminin g to \\'hich type each
b e lo n gs :
I.

, S o m e_t irn es in histo ry , just as in n a t u re, we ar e pu zzled to find a n ct1cct for which w e can see n o ad equate
ca use. O n e wal ks u vcr g re en hill s u r across sunny fields

and co m es s udd e nl y u po n a m a r ked d e press io n in t he
earth; th e g- ro un cl slop es a b ru p tl y d own w ard , th e n
stre t c h e s fl a t a nd leve l a s a flou r; co rn g r o \\' s h e r e as
nowh e r e e lse ; it is th e ri ch e st and b <..:s t soil tha t a
fa rm e r can tind . It m ea n s, of course, th at a body of
wa t e r o n ce stretch e d ac r oss th e b lossomin g expa nse .
The effi·ct is oli vi o us, b n t wh o can g ive an y exact detai ls
of the 0 111 s1·; of t he ri ve r or t h e lake that m ade th e lam1
wh at it is ? vVh o kn o ws an y th ing o f its coursl', uf it s
calm s and s t or ms, of the peo pl e who liY cd bes ide it ,
padd ling- abou t in stra n ge little boats, o r l ivi n g a half .
a m p hi biou s life in i t s shinin g wate r s ? ·w h o can t e ll th e
d et a il s o f it s slow s u bs ide n ce ? Th e cau se o f th e tk t:p
h oll uw a m o ng t he hills or in t he plai n h as v anished
lik e a mi st in t h e s un; hut its effect is as perm a n e n t as
th e w o rld . Hi st ory has lrnnclred s o f la s tin g e ffec ts
wh ose cau ses w e g uess a t, a nd w nn<ler a bu ut , an d
beli e ve in e nti re ly with out k n o w leclg-e .
- M All G AIU:T

D E L AN D , .')!11d1i:s 11/

:1

C r t· 11t / / '11 111 01.

11.

H ow co m es it to pass t hat a captain w ill d ie w ith his
p asse ngers, a n d le an ove r th e g un wale to give the part in g b oa t its co u rse ; b u t th a t a king will nut u s ually die
with , m uc h 1<..: ss .for, his passe nge r s,-- think s it r ather
in c um be nt on his passe nge rs, in a n y num be r, t o d ie f<> r
!tim ?
Th e sea c ap tain, n o t captain l> y divin t:
right, hnt onl y by co m pan y 's ap pc•intrn e 11t ; - n••t a m a n
o f ro yal d esce n t , bu t o n ly a plebe ian wh o ca n st ee r ; n o t with the eyes o f th e wurlcl upon him, lrnt wi t h fee h ie
chan ce, depe nding o n o n e p <ior b oa t, uf his n a rn e be ing
e v er h ear d a bove th e w a sh uf th e f atal waves ; - n <•t
with th e ca use of a n a ti on r es ting on hi s act, l>ut h e lpless to save so m uch as a chi lcl fr o m am o ng th e lost
cr o wd with wh om h e r esolves to h e lost,- ye t goes do\\' n
quie tly t o h is grav e , rath e r than bre ak his faith to th ese
fe w e m igrants . Bu t yo ur cap tai n ])y divi ne rig h t,y o ur ea pt;.Jin with the hu e s of a hundred sh ields (Jf 1-;i ngs
upo n his hrcast,-yu ur captain wh<>se cvt: ry d ccd , hra 1'L'
o r base, w ill be illum inate d u r bran ckd fo r e \·t: r before
unescapabl e eyes of m e n,- yo ur L'a p t a in whose e \·c ry
thought and act are ben efice nt, or fat a l, from s unri si ng

' '

~'

(

,.

Co 111}ositio11 a11d Rltctr1ric

to setti n g , blessi n g as the sunshine. o r s had owin g as the
night,- this captain, as yo u find him in history, for the
m ost p a rt thinks only how h e m ay tax his pa ssengers,
and s it at m ost e a se in his stat e ca bin!
J o 11 N RusKIN , Th e Cro-;u n ,f /Vi/d Olive .
I I l.

There is one ver y sad thin .g- in o ld fri e ndships, to
every mind that is r ea ll y movi n g c nwarcl. It is this :
that on e cann ot help using hi s early fri e nds as t h e seaman uses a log-, to mark his p rog ress. Every nuw and
then we throw an olcl schonimate ove r the ster n wi th a
strin g of thought ti ed tu him, a nd look,- I am afraid
with a ki n d of luxuri ou s and sanc tirnoniuns compa rison,
- to sec th e rate at w hi ch th e strin g r ee ls off, while he
lies th ere bolJbing- up an d dow n, poor fe ll ow ' and we
a r e dashing along with th e wh ite foam and b rig ht
sparkle at onr hows;- the ruffl ed b oso m of prosperity
and progress, with a sprig of diamond s s tu ck in it! But
thi s is on l v th e se ntim ental side of the m a tte r; for
g r ow w e n1us t, if we outgrow a ll that we love.
O LI VE R 'VENDE l.L Hnu1i-:s.
T!te A1tt ocra t of the f /rea!..Jos l Table.

T!te F.xf'ositor_J' f>aragraplt

ohser ving in wha t cases the y have hanged a man, in
what cases th ey have senl h im to jail , in what cases
they h ave se ized his goods, a n d so fo rtlt. These pniceeclings th ey won 't p u b lish th e m se lves, and if anybody
e lse publi s hes th e m, it is what t h ey ca ll a conte mpt of
court, and a man may be se nt t o jail for it.
-

] ERDI Y BE1'TIIAM,

l fl orks, l' ol . / '.

v.
The lun atic, th e lover and th e p oe t
Arc of imaginat ion a ll cumpac t:
O n e sees m o r e devils than vast h e ll can h o ld,
Th a t is th e 1nadman : Th e lo ve r, all as fr an ti c,
Sees H~len's b eauty in a brow of Egypt:
Th e poet's ey e, in a fine fre n zy r o llin g ,
Doth g lan ce from h eave n to earth, from earth t o
h eave n ;
And as imagination b odi es fo rth
The forms of things un known, th e poet's pen
Turns t h em to s h a p es anc1 gives t o a iry nothin g
A local habi tatio n and a nam e .
Such tric ks h at h strong imag in ation .
-

\\Til.l. IA ~ I S llA KS I 'EIU '.,

A Jlidsummer Nt;i; ltt's D r eam, Act //.,

IV.

Scarce an y man has t11e mean s of knO\ving- a twentieth part o f the laws he is bound by. Bo th sorts of
law arc k ept m ost ha ppi ly a ncl carefull y from th e knowledge uf tlic p eo p le : stalutc law by its shap e and bulk;
common law liy its ve r y essen ce. lt is the ju dges (as we
have s ee n) that make the eomm on law. Do you know
h o w th ey m ake it? Just as a man ma kes laws for his
clog. \Vh en your dog dCJcs a n yt hing- yo u want t o break
him of, yo n w a it till h e docs it , and then beat him for
it . Thi s is the \\' a y y<iu mak e laws fo r y our d og: and
th is is the w ay th e judg·cs make laws for yo u a nd m e.
They w on't tell a man beforeha n<1 ,,·h at it is he should
not do - they won't su 11111(.: h as a llow of hi s being told:
they lie by till he Jia s tl<Jnc something which th ey say
he should not ha\'e d(ln e, :1m1 th e n they h a n g him fo r
it. vVhat way, th e n, h:1s an y m a n o f coming at this
dog-law? Onl y b y watching their proceedings: by

2 93

s,·_1.

SuccrsTH•NS .-Find in the first o f th e precedin g- e xample s of
th e 1.:xposi lory paragraph a r hetorical question ; in the second , a n
antithe s is a11 d a simil e ; in the tlurcl, an analogy and an e llec ll ve
u se of c (11J LTt:l e \\·unls; in t he fuurt il , an analo~ y . a11d tht..: ll :-.t..: of
qu e stion and all S\\'c r; in t he fifth , a sc..: ri cs 11f c<1111par isuns.

D 11u-:c T1<1 "1s

V1JR

SECUR I NG

Co llERE NC E

T/11· rdal ion "/ sc11 Icn((S in a f'll ragrap/1 .1/t,,11 Id br
un111is!a l.:ablc.
2.
Test t/1c colun:11ce (that is, th e sent e n ce relo.tion)
of paragraplts ) 'Oii 'L<'rile or study by 111a/..~i11,g· diag rams
w lticlt s!tow sn1/c11cc rd11tio11.
3. Stri/..·c 011t in yo11r ,;0111posil io11 illl)' so1/1·n ce w lttc/1
docs 110 ! fi nd a place in s11clt a diag-ra111.
4. C lassify tile paragraplts you ,, ,rite as bdo11ging to
PamJ;rapl1-typ1·s /., 11., 111., or IV.
r.

I
,i

'

'11
'.

,:
'·

294

'

'

'I

iJ I ~

j•'

,,;.1

1:1
'i

If.
. ...
~

l

Cu111f'osil i/111 a11d Ritt/on«·

196. Summary. \\' t.; ha\"t.; 11«\\" lc~tn1cd tli:tt c xpos iti <>n h:ts f1Jt1r 11l<>ti 1·cs, th:t L is , 1· hssl·.s rif uk:ts,
whi c h it cxpbins . Thc sL: :tre th L· :tl >.s tr: td idc:i, tl1L·
cl:tss nanw , t.hL~ g:c ncr:tl r ct1c cti •rn, and th e ge ncr:il
method •ff process. \\. e lnve als1) bee n told that
th e 111:1.tcr i:tl \\' hich is used in sett ing forth the
mc:1.n i ng of t.hcsc rnnti ves is of six k i 11 ds : deli 11 i tiun ,
rqJctiti()n, exemplification. analogy. chss ificatiun,
:1.ncl narration g ene ralize d. The expository parag raph h:1.s b ee n sho 1vn tll be of fou r types, with sentences in coi.irdi nate, subordinate, or mix <.: d relation.
Th e two probk ms of m atc ri:tl :ind structure,
which have thus far bee n studi ed se parate ly, may
now b e cuns id erecl t ogctlw r.
197· The Two Ways of Organizing Expository
Material. Th e Ya ri ous kin d s of material discussed
in se c tion 1S2 ma y be \lrga niz e d into par:tgTaphs in
l\\"u \l':t 1: s . ( )11c; is th e use o ! m: tk ri:t1 all n f une
ki1H1, as , fllr instance, se 1·e ral r epetitions of the
same id e a; the other, th e use (If m:itc ri:tl of diffe rent kind s . A sing·lc p:tr:tgT:tph org·: rni zc(1 according tu tile sccund u f tl ese methrn1s may co ntain a
<1cfln.it i•)!l of so m e ter m, :tn e x: unplc, an analogy,
:t r e petiti o n t>f surnc th"u.c;ht in other t.crm s,-- all
diffe r ent Y:tric ti es o f expos ito ry m a t c ria1.
\Vhcn p:1.r:1gr:tphs arc studied for material and
n o t for structure tlwy Lt 11 i n t•• either uf these two
cbsscs; that is, t he 11i:-1teri:t! usul is homogeneous
(of the s ame kin d ) o r h etcrogcnc <>u.-; (1)f different
kinds). In writin g- :1 par:t)..?,"r:qlh in e xposition the
fi rst. quest io n is that of rn :tte ri:tl, tlw 11 :tt urc of which
dekrmi n •.'S tl1 e l\·pe of ;;t n wti 1n· t" lw w;c rl.

--~

;

..

':·

....

f,

l/1,· Expository I'aragraf!t
198. The Use of Series in Type I. \Vbil c bntb
of th e methods m cntio n eJ in the prl'eetl in g scet ion
occ ur in paragraphs belong in g to Typ e I., the use
of material of o n e kinc1 is the more C<>mmon . \Ve
may thus have 'a pa ragraph rnatle up of a series,
eit h er of causes o r e!h :cts, or definitions, and so
fort h. S ect ions 199- 208 treat <>f the different ki n ds
of se ries th at th e first type of the expository paragraph may emp loy .
199. A S eries of Instances or Examples. The
following parag r~t ph belon~s lo the firsl type :trn1 i~;
macleup of a ser ies of instances or cx:tmpl<:s. ?ILtn\·
examples of this type may be fom 1cl in literature.
Do y on ]mow that in the gradual p assage from
maturity to h e lpl essness the lwrsh est ch aracte rs sometim es have a pcri<>d in which they arc ge n tle and piacid
as children? I ha\·c h eard it s:1 i<1, hllt 1 c :<1111<> t lie
spo n sor fo r its t rll th, that the fornous chieftain, L<>chicl,
w as rocked in a c radle like a baby, i n his old age. 1\ ll
old man, whose s tu dies h ad h ee n of the scvc n :s t scho l as ti c kind, used to love to h ear little nu rsc ry-s t<1rics
r e ad over and ove r to him. One who saw th e ll11k c
uf \Vc ll in gto n in h is last years <lcscril>cs liirn as Vl·rv
gent le in his aspect and clcm ca nor. I r c m c 111l1c r a pe rson of sing·\llarl y stern ancl loft y hearing- whu became
r e mar kably g-rac ious anc1 easy in all hi s ways in the
la t e r p e riod u( life.
- 0 1.l\' 0.1< \\' 1·:N 1> FJ. I. J] 1>U1': , ,

'

1

•

~7

Tit .: , / 1tl1h'J"11/ of l ite L,'r,·a!.fllsl J',r/1/,-,

Exercises
~ ?-. la ke a
diagTam of this par;l6raph sh <>wi 11g· .sc11k11L·c r cl:Ltio n.
II. \ Vrile an cxposilu r y parag raph .,f the lirst
type, usin g as mater ial a se ri es of inslanc t:s,

I. II ow many e xam ples arc h ere gin·n

.

"

T!tc Expository J,ar11gr11pl1

Compositio11 and Rl1ctonc
200 .
A Series of Repetitions. The following
'luotation is ;tn example of Type J., in which the
leading thouglit is restated in a ntnriber of ways :

Th e l1ahi t of too constant inte r cou rse with spirits
above you, in ste ad of raising you , ' keeps y<>u down.
Too fn.:quent doses of original thinking from others
rest ra in \·: ·hat Ic:ssc r portion of that faculty yon may
possL·ss ot your <>\1·11. You g e t e ntangled in another
ma·n·s rnil)(l, c1·c11 as )«>ll 1.>se yoi1rs c lf in a11ut11cr man's
g r ou nd s. Ynu arc 11·al k ing· with a tall varlet, whose
strides o u tpace yours to I:-tssitude. Th e con stant operation of s u ch putent ag-cncy w o uld reduce me I am
convin ced, to imbecility.
'
-

C11A1<LES LA~l ll,

Essays of Elia.

Exercises

J. \Vh .i.t is the thonght r epeated? How many
times is it repeated? ~b.ke a diagram of this paragraph sh o wing sentence relation.
11. \ \Trite a p;1ragraph following the above
m o<lc1. Choose your own subject, and obey the
la,1·s of unity and emphas is. Pr1i,·c by a diagram
that the paragraph you wr ite belongs to Type I.
201.
A Series of Analo g ies. One of the strongest m e thods of <1L·velc>pin~~ a thn11~·ht into Rn expository paragraph is hy the use of a series of analogies

organized according· to the coo rdinate type . The
following is an example:
Ali lecturers, all professo r s. all sch oolmaste rs, have
ruts an d grooves in th e ir minds in to which their conversation is perpetually sliding-. IJid you never in
riding through the woo.els o f a 'still June evening, ~ucl. ·
clenly feel that yon had p:tsscd rnto a warm stratum of
air, and in a minute or t1\«> strike th e chill l:tv er of
atmosphere bcyo n<l? Diel yo u never, in cleavi11g- the green wate rs of lh<..: Baek Bay .
. tin cl yourself

297

in a tepid streak, a narrow, loc.:al gulf -strea m.
thro ugh which yuur glistening· shoulders srnm ihslicd,
to bring· you hac k to the cold realities of foll -sea tcrnperalurc? J11,..L su, in Lniking 11·i th :lily "f lh·~ c·liar ;1c·ters alJuVc referred to, one !l<•l u11frcq11 cnlly ii11d::. a
sudden c h:rn.~· c in the style c>f th e c <>n\·crsatici11 .
-

} )11'

C.

\ ) UVF!{ \\~F '.'." l~ELI. JJjH . ~ 11-' :-. ,

.rl 11/0,.,- 11/ of I It« l/r ,; ,d/,1.>I J, d ,/ .- .

Exercises

I. I low man y an:tlogics are used in this q11<> t;1 tion? nlakc a c1iagT:t111 of t his p:lr:i;._;r:qih sh<>Wi11g
sentence relati o n. Finll examples of paralld con.
strnction in the above quotation.
IL \\Trite an exposit1iry par;tgraph according to
Typc I. , compose d or a series of :malogic.s. Chrn 1sc
your own subject, anJ obscn·e the la\\·s ui p:t r~t­
graph structure.

~-

202. A Series of Definitions. \Vc 1h-1i11c a term
by giving Jirst the class tu 11·h1ch it ]J,J <>n g.·;; ·· '\ Lt 11
is an a11i1111il" (here the \\·<>rd a11i1n:tl is tlw cLtss
name) ; and, secondly, b y giving the <.:ssenti:1l :tttributc which c1is t inguisl1cs the term dclinerl ft« 1111
o thers <>f the clas.s. ";\ 1:111 is a '"'''''""'·;;· :111i1n;11.··
The class name u sc(l 111 thc del111iti1111 i.s calkd tl1L·

goms .

Th e attributes arc ca lk:1l the dtj};·rm/111.

/\

definition mav lie rqiresc nted by the following diagram:
·- - --

--

-- -

-

1:-.;

2

- -~ ~-- ---·

----

'

I '

\_·

--- -

-- -

1 rt~ pnH.;p nt:-\ the t e rrn '" l)i' d P lilH'il.
Lin e 2 repre se nts til e ~ c n11s.
The J-i~tirc marked J rcprcscn h Lile allri i>utcs o r d i1t«·rc·111.i:t.

l-Tt ·rc 111H·

;,

.

C{l1Jt/'(1Silioll 1111d Rlll"loric
\Ve nuy have a paragraph fo rm e d by th e enum e rat io n of the differe nt ge n era t o which a n obj ect
\lr idea belongs, or by the enumeration of a numbe r
of attri b utes or dilTc rcn tia , or by the u se o f a series
of complete d efi niti ons.

II.

A

SER I ES()!-' D ll·FE l-ZE:\T l :\.

The proposi tion is pc;icc. Not peace th roll gh the
m e dium of war; n ot peace t o be hllnteJ thro ugh the
labyrinth of intricate . ;ind e ndl ess negotiati o ns; not
peace to ;irise ou t of universal disco rd; . . . . n ot p eace
tu depend on th e juridi cal determination of pe rpl exing
q uesti ons, or the precise marking- the shadow y bonnclaries of a complex government. It is si m ple p eace,
sought in its n atural co urse ;incl in its o rd in ary haunts.
I t is p eace sought in the sp irit of peace, and laicl in princi ples purely pac ific.
- EJ>~ I L''"' Bt'J<KI·:, Co 11 oli11 !1(>n w i!lt .·lm erzl"a.

Exercises

I. \ Ve have in the last q notation b o th d irect
defi nit io n and n ega ti\·e o r obve rse defi niti o n . Find
.in it examples of each . How many diffe re ntia a re
h ere give n for the w ord peace) Does thi s quotation C!Ontai n parall el construction) Tllak c a diag ram
sho wing the sentence rebtion in thi s quotatio n.
TT. \Vrit c a p:1ragr:1ph C<\nsist ing of a se ries of
different ia . Chopse your own sul1jcct, ancl fo ll ow
th e laws uf unity and e mphasi s. (See § 186.)
H. A S1-:1~ 11 :s (\F Cn\11·1.FTE J)1:JT\'fTJO'\S.
Fi lial piety' It is the prim;1l bond of soc iety ; it is
that instru ct i\-e principle \Yhich. pantinf.'.· fur its pr11pcr
g·(H.>cl, S(>(> thcs, unl,itldcn. c:1l·h sense :ind Sl'll sib ility of
man' It is a n c111a11atiu11 u f th; it gratitude which,
S(Jftc ni ng un dc:· the sense of rc c\ll1cded g ood , is eage r
to own the vast countless de lit it ne 'e r, aias ! can pay for
so many Jon g yea rs uf un ce asing so1 icitlll1 e, h onorable

The L".1posil ory / >aragraplt

· :·., .•

"'

self -cl cn ial, life -prese rving car es ! It is th ;it part of o ur
p rac ti ce wh e re duty drops its awe ; where reve re nce:
rel in es into lo\·e ' Tt is tl1e s:1cra111cnt of <iur nature ! not only the duty, hut th e indul ge nce 1Jf nun -- - it is hi:-:
lin;t g reat p ri vil ege- it is among his Ltst, !ll (Jst e ndea r ·
ing tlc:l i .~hts.
R 11· 11 AR I> l~ Hl:'\SLF. \" S 11 E l<IP 1\ N ,

· ,\

.'>j1i: ,·c /1 a.:;11 i11s! I Varrcn J/as!/11.i.;·s 1/t IV.·.1·t111i11s! er //,di.

Exercises

I. How many times is pi ety defme<l in thi s paragraph? Make a diagram of this paragraph showing
se nte nce r e lati o n. How many instances of parallel
con s tructi o n does this quo t a ti on contain?
II. vVrit e an e x posito ry parag raph, usrng a
series of comp lete defi nitiuns. Choose yuur uwn
s u bject a nd obey the Jaws of paragraph structure.
Il I. Dev el op th e following sente n ce into a paragraph by the m e t hod o f a series of complete definitions:
"The dandelion has a m a n y -fl owe red head \\·i th
achenes oh lrmg-ovatc to fus iform , th e apex pr"l nngccl
in tu a vc rv s lend e r bc:ak, h earing the cnpi11us s"I L :llld
white cap.illary pappus."
The above sentence can be amplified by defining
1n the second sentence the wurd achene .'> ; Ill t1ic:
third, oblong-ovate; in the fuurth, fusiform; in the
fifth, cap ill ary ; in th e s ixth , p appu s .
203. A Series of Reasons. The q uo tatio n wh ich
follows belongs to the Jirst type :rnd devci»ps tlic
leading thuugiit by means uf a series oi rL·:ts11ns
why the iact staled i s true:
T here arc se\•e rai obvious reason s wi1y the E 11g-lisl1
shoulcl he bc:ttcr o r more halJitual walkers t han we arc
Taken the vear n•und, the ir climate is n1t 1ch m<> rc: l:t\«>rablc t o exercise in the opc:n air. Th eir n•ads are bett er,

.'

'-·

!.
~-·

Tlt f

Co111fosit ion and R/1/'/or/c

300

lnrd c r , a nd sn1 uot h e r, a nd th er e is a p lace for th e man
a nd a p la ce ft•r t he ho rse. Th e r e co 1111try huuses and
c hurc h es :ind vill:tges a r c n o t st r un g upo n th e highway
as t h ey a rc wi t h us, bu t a rc n est led h e re anc1 th e re with
r efe r e n ce t o othe r t hi ngs t ha n co nven ie n ce in "getting
out." H c n cL' t he g rassy lan 1:s an d paths through th e
fields. 1 lis ta n ccs a rc not so g rea t i n tha t co untry; th e
pop u lat io n oc c upic,.: less s p:1cc. A .('.·ai n, th e la nd has
licc n lo n g·cr •>c cu picd . antl is mo r e thon iug·hl y s u b dued ;
it is e a s iu· to ge t a bllut t h e fie lds ; life h as fl u wecl in th e
same chann c ls for cc n t uriL's.
-

j P ll ~ B1 · 1.: l\t ll · 1 :11 ~ .

/' 1.· pacl on .

Exercises

I. How m a n y reaso n s a r c here g i ve n ? Make a
di ag ram o f this parag ra ph s h o win g se nte n ce relati on.
II. \Vri te a par ag raph n s in g as m a t e ri a l a series
o f r easons in cno r din:<te rela ti on . C h oose y our o wn
s u b j ec t an d obey t h e laws in regard to paragraph
structure.
204. A Series of Kinds or Classes.
The material o f t h e p ~ira g-r :tp h q uo tc <1 bc: lo w co n sis ts of the
enumeration o f :L n umb e r of kinds or c la sses. This
p:tLtgTa p li abo l>c lnn gs lo Type l.:
Arch itect ure pro per, then, n a tu ra lly a rran ges itself
u nder fi ve h c;:Hls : l> c\·o ti onal , includ in g all buildings
r:-t iscd fo r s erv ice or 11011ur; memor ial, includ in g b oth
mo n u m e n t s a n d t ombs . ci\· il, includin g every edifice
r a ised by nations or societ ies for p ur poses of common
bus iness o r pleasure, military, i ncl1 1<l in g all private
a nd public a r ch itecture of dcfcn~c : do m esti c, including
e ve ry r a nk :rn d k in d of d11·elli 11g-p lace .
-

}•tl N R vsKJN , ]/,,- S<"7'0 t l. 11111 / ' -' 1f

Archit ecture.

Ex e rcises

I. H ow many cla sses arc e numerated in the
abov e qu o tation? :Ma ke a d iag ram of this quotation

Expositm ~i ·

Parag rnflt

'0
.)

1

showin g se n te nce relation. F ind ex a mpl e s of parall e l con s tru cti o n in it.
IL \Vrite a p :<rag ra ph u s ing a se rie s uf kin <ls
or c la sses. Ch oose yo ur o wn s ubj ec t a nd ob se n· c
th e la ws of unity a n d e mphas is in pa r ag r a p h st ructure.
205. A Series of Functions or Uses.
\V e finrl
a n o t he r i ll n s trat io n of the l1se o f seri es in t he: fi rst
t y p e of th e e xpos itory par a g raph in the c: xce rp t
whi ch follows. The s eri e s here used is that of fun ctions o r uses :
Em e r so n says a weed is a pl a nt w hose v irt ues w e
h ave n o t ye t disco \· c r ed , but t h<..: w ild c rc;tt 11rcs d iscov L· r
th e ir virt ues, if w e do n11 t . Th e ln 1111l ilcl wv l1as disco vere d that the hat eful t(Jad-ILtx, \1·hich 11 .. thin .~ \1·ill
e a t a nd whi c h in so m e so ils will nlll o ut th e g-r:1ss, h a s
h o~ cy a t its h ear t. N ar ro w-leaved plan tai n is r eadily
e ate n b y c a ttle, a nd th e hon l' y bee gathers m uc h pollen
fr o m it. Th e ox cye daisy mak e s a fa ir q11alit y n f h a y,
if c ut b efo r e i t ~·ct s ripe . Th e co w s wi ll ca t tile k: t\""'
of th e bunl ock an d th e stin g in.L:" n et tl e s of th e w uuds.
.. . . \V ceds that yi el d n e ith c1· p : tst11ra .~"C fu1- b ee 1w1·
herd, y e t afford seeds to the fall and wint<.:r bird,.;.
-

j11JI N

11.l ' l{l \ l)I 4 ; 11 ~ .

:

/'1 /1tu ·t o11.

Exercises

I. H o w many uses fo r w eed s a re m en ti o n e d in
the a b oYe q uotati o n ? Make :1 diag nm uf this q uo tation sh o win g s e n te nce relat io n . No t e th e p os iti o n
of th e s ub ject in e a ch se nt e n ce of thi s extract. b
the s ente n ce stru c ture monoto n o u s ?
II. \\Trite a para graph e nume ratin g th e u ses or
fun ctio ns of so me object. Clwnsc: your own subjec t
and obse rve th e la w in regard lo the first., b s t, and
interve n111g sentence s.

. l

,

302

Compos ii io11 1111d R !tcloric

206. A Series of Advanta ge s or Disadvantages.
An idea may sometimes be e xp la in ed by mention.
ing the advantages o r c1i sacl vantages connected with
it, as in t he followi n g e xposition of the "discom.
m oditics of u s ury." This kind of series m ost fre.
q u e ntly tak es the form of the first t y p e of th e
expository p;iragraph:
T he di scomrnndities of usu r y nre : F irst, that it makes
fewer m erchnnts. F or were it not for this lazy trade
of usury, m on ey wou ld not lie still, bu t vvould in g reat
part be employed upon m erchandizing, which is the
11nia porla of wealth in a state. The second, that it
mak es poor m e rchants. F or as n farm er cannot hu ·
band his gruund so well if he sit at a great rent; so the
merchant cannot drive hi s trade so well if he sit at
g reat usury. Th e thi rd is incide nt to the other two ; and
th at is the decay of cnstoms of kings or states, .which
ebb or flow with m crch anlli zin g. The fourth , th at it
b ringc th the treasu re of a r eal m or state in to a few
h and s. F o r the usurer be in g at certa in ties, and others
at u nce rtainti es, at the end of the g ame most of the
mon ey will be in the b ox; and ever a sta te fl ourisheth
when wealth is m ore eq ually sprca(l.
-

P RANC'I S BACON ,

Essa)'S, Civil and 1tforal.

Exercises

I. Make a diagram o f this q u o tati on from Bacon
showing se nte nce relati o n. How many m embers in
this se ri es ? Find e xampl es of parallel construction
in th e above quotation .
II. \ Vrite a parag raph according t o T ype I.,
using as mate rial a series of a d vantages.
your o wn su bjec t and obse rve the laws of paragraph
stru cture .
III. \\T rite an exposi tory paragrap h of th e firllt
ty pe, enume ratin g- the: ol)jections sometimes rais d
against fout.ball in the: high school.

Till' Expositm)' l'ara/;rr1pl1
207. A Series of Contrasts or Antitheses. O n e
of the bes t ways of exp la ining a th o ught di ffic ult t u
grasp is by the use of a number o f co n tras ts t o it.
The following pa r;igraph r e presents s uch a se ries
organize d acco rding t o the first t ype of th e expos itory paragraph:
. Among my daily papers wh ich _I bestow on the pub lic, there are som e w hic h arc written with regul a r ity
and m e th od, and o thers that run out into the wild~ess of th ose cornp o~iti o ns whi ch go by th e nam e of
Essays. As fo r th e first, I have th e whole scheme of
the discourse in my m~ nd be~or~ I se t pe n to paper. In
the oth e r kllld of wnting-, it 1s suffic ient that I hav e
several th on g-ht~ on a subject, without trouuling myse lf
to range th em 111 such orde r , that they may seem to
grow o ut ot on e anothe r, and be disposed und e r th e
proper heads. . . . . \ Vh cn I rcacl an auth or of
genius who writes witl: o ut meth od, I fancy myself in a
\~o.od that ahou n ds with a great many noble objects,
n.sm g am ong on e an other 111 the g reatest confusi on :i.ncl
disorder. \Vh cn _I r ead a m ethodical di scourse, I am in
a r egular plantati o n, and ca n place myse;f in its several
centers, so as tu take a vie w of a ll th e lin es and walk s
that are struck from th e m. You may ramb le in t he
one a whole day t ogether, a nd every m om ent discover
something or other that is new to you ; but when you
have done, you will find bu t a confused imperfect noti on
of the place: m the oth er, y our eye comm ands the
whole l?rospcct, and g ives you such a n idea of it, as is
not easily worn out of the m em ory.
- JosEP ll ADu1 soN , Tire Spect at or.

Exercises

I. How many contrasts a r e made in th e above
extract? Make a diagram of thi s quotati o n showing sentence r e lati o n.
II. Write a paragraph bel o nging t o Type I. and
made up of a series of contrasts.

C(JJ11f'osil io11 rr11,/ Nln! orfr
208. A Series of General Directions.
fn g iving
directions for the making or cluing· of anylhing-, we
s tate firs t wh a t th e process is that w e mean to
cxpbi n. The di rections which fn11ow this statement
a r e in coordinate re b tiun , :ts in the q u otatiu n be1ow:
Th e following s impl e ru les w ill be fo nncl, when
mastered, t o · affonl a p e rfe c t knowledge of sm:ill-bird
sh o u t ing-:
1.
Use l ight,, narro w- fc:it h e red arro ws, with very
b lu nt pt:wlcr heads. Pu intt.:d shafts will st ic k into th e
trees and r e main out of reach.
2.
A bird in g bow sh o uld be li~·h t , ancl of no t over
fift y po un ds dra\\'in)..'. p o w er. ;t s it nlltst !Jc h:rndled
quivkiy and 1111d c r al l so rts of r1ii1i c ulties , s11ch as inll"rfc r in g l>t«ttnh k s a11d li1·11 s h\\·,,.,<J . a\\'k\\';trd p•i s it1(Jns, etc.
.). Th e q11iv e r sho u ld he large enriug·h t o h old at
le ast a dozen arru\\' s , ;rn d shou ld b e so w e ll sec ured to
th e belt th a t it will nn t rattle \\·h ·n yuu walk.
4. Sh o ot s ho rt d1 s t:111 c cs a t lirs t , ;[n d pay strict attent ion to wh e r e your arrow g o es 01· it \\'il l be lust.
5. Gla n c e on~r th e ground 1Jctwe e n yo u a nd your
b i rd b efore shooting, :mcl in y ou r mind meas u re the
prulJal>le di s tan ce in yards. ·w h e n yo u have sho t, n ote
wheth<; r y o u shut o v e r, umkr, or b esid e th e b ird, so that
yo11 may r ectify the fault \\'ith t he n e xt sh r1t.
- :\! 11 •1< 1• ·1·: T11" ''' ''" " · T/t ( /l "i!r ltr'r)' of A rchery.
Exercises

I. Make a c1 i:tgram of the ab O\·e q u otati on showing sentence r elation . I lo yon find a ny sentence
tha t s eems to you pa ren th e ti e:t1? Note the use of
t he imperative.
II. \ Vr ite a paragraph containing- a series of
gene ral d in:ctions f(lr d() in g or m a king somethi ng.
Choose your ow n s ubj ect.
III. Bring Lil cLt ss exampl es u f th i s kin<l of paragraph which :nay be f 11und in lio()ks descriptive of
spo rts, in b bu rato r y manua ls or euok books.

209. Exa mples of Typ e I. to be Classifie d for
the Kind of Seri es. The f1ill()wi11.c; i..·x:t111pk ,.:. "rt lii..·
first t ype of the cxpositury p : tr:t~r;tpli s lwtil d lie
clas s i flc d a c cun1ing- to the series c :tch rq nT s •: nts.
The s tu dent s h oulcl be able to Li..'11 whether they :tre
seri es o f examples, of d e finitions , ()f :tn:tlogics, of
repet iti on s. a nd so fo r th .

\;.°.

'·'
·::"."

I.

Suppose that a m an in p ut t rin g cluwn a glass of clarer
could ,]rink the S<ll t l h 11f Fran ce, tha t: h e c"uld s•; cl 1s intcg r a ti..' t he \\'i!lc ])'," the f«>rcc , ,f im :1;.:·i!l :tt i<>n :t'' 1<>
t;1,.tc 111 1l a ll tli c· ci1; "tc r L·d i>, ·: 11 1t\· ;lll<i J,J, 11•1 11 .. : t i ;, ·
1:.:-r:tpc· , :ill tht · •.i:i11 n : :tn cl ""nl.'.· :1 11<f ,;111 1l1 11r !l t J•· ll1t_\· .. :
lhc ,.t.1 1Lq.~L·. (Jr :-. l 1 p p 1 ~~ l: :. l: .1 l :11 1_ , lL111 .~ l)r l·,td 11 { i..·,. 1 ~::(;
trans1 1l>;;t.;t111.i;tlc it with the 1t:11dc: r liLtde ,,r sprin:::, th e
r,.leam-flitt.c d c"rn ocean ,,f s1 111111 1e r , Lite ruyal ;,uu111111
~vi t h its .'-'.·.,] , k11 IH : :t rd . and t li e i 1\ l' rrv I° 1111,·r;1 ls ,, f l 1:1 r vest.

'l' his is

\V hdt

Lh l..'

gTL·;tt p11L·t:--i

d, ,

( 11r

u:--. ,

\\'i., ·

1..·~lllll 1 l l

t ell h uw , with their fatally c ll •isc n wonls cr"w<ling till'
happ y \·e ins ,,f lang·uage aga in , \1·ith all th e life . and
m e anin g and music that had IJL'en c1 ri l>L>ling <l\\·ay t mm
the m sin c1.: A d a rn .
-

j :\\ tE ~ R c :-i:-, u .1. LcJ\\' l·. 1.1..

l.J11 :• ,·s_(r o111

111y

_/1 11tr11r1/.

St 1 i;1:1-: ~ · 111 1/\ ;-; . -

11 l\: ll11H.: rs ha:-; t hv ah11\'L· sc r il' -.:. ~
l; iii i l i ;1 ii_ :., ix 1: H. ·:;1; d 11) r: .. : )i ;, · 1
e x aill pk :~ cit' 11: l r a llt:I c1 111 :-:.t rt1 L·li 1i11 .
1'1"11\' c l> y llJl..: :tll~ 1•f a 1 l i. q.!_ 1.t11 1
that thi s parag-raph l> e lon~ ~ to T y pe I

\·V ital l\ i1HI

,, f

l l11w n1anv
:--. 1 · 111 ·~ i -..:. i i '.

·-· ..

,. 6·!f.

11.

Th e cow has at least fou r tones o r lo w s.

First, the r e
is ht:r a b rtl l L'cl or dist rc sscc_l i11w \Yh c 11 dcpri1·1_· <1 ,;f h l· r
1·:-i lf, "r separated fr om her mates,- he r 1<1\V ()f affec tio n. Tlt cn t h ere 1s h e r call of hunger, a pct1t1<111 t"r
fou d, so111 1.:times ftill uf impati e n c e, 01· h er answer t n
t h e farrn1.:r 's ca ll, full u f cag· cr n cs~. 'l'h1.:n th,;n .: is th a t
p1.:culiar fr e nzil·d haw ! ~ lw utll'rs <>Jl ,.; m,·lling ] \ ]o , .rl,
which c:tl!Sl'S c\.l' rV lll l'llllll' r of th e h erd t <> lif t i h lw:id
anL1 l1 astc 11 tu Lil e· sput,- llic n at 11T c ry o f t i ll· dan
vVlwn she is g ur1.:d ur in great danger sli t: l•«w l,.; ;ibu,
:w

,;

'··

.i( )j

lrnt t h :tl is dill.t:rcnl. , \ 11Cl lastly, th t: r c is the long-,
s o n oro u s V\lllc y sh e let s " ff o n the hills or in the yard,
n r :ti()ng· th e h i.~· h way, an.J \1·hi c h s cc ms t n li t: exp r essive
of a k i n d u f unn.:s t an d \·: q..:·u e l" n g-ing', - th<.: longing- of
th e impri,;on e d In f"r licr lo,;t id c ntit\' . Slit: s e nds her
v<>i c c fort h s o t hat every goLl o n 1fot1nt Olympus can
h e ar her plaint .
- J.. 11 :-; BL'IUWL'"" " l>'t'rds and Poets.
St ·c1:ESTI01' s.-H ow

w e ll <.:rlt1cate 1l, th e pe w r e n t is not tlw sule .. h jn·t • ,f
their liv1:s. an d th e h a ptismal kc is nu t th e s ul e pu1 ·p•1sc·
of t he b a pl is 111 ; t ilt: ch: r.gy 1n:1n',; 11 li jt:L'l " ' c·s ,.,c1 1t 1a iiy :. ..
ba p tize a nd prc a c il , ll •1t L<> l ie.· 1•:1td l<>r 111·L·:tcl 1rn g-. :-;.,
of d<1l'l<>rs . T ill·\' like fc·c· s 11 <1 tl11 11h t . .. -· <>l l ~" h t l <> likrthem; vet if th~ v arc llr :t\'C :1nd \1·e ll c«l ;;c':l lc' d , t lie·
entire o bj ec t o f t.hcir li ves is not fr es. The \· , "n th e
wh n lc , d es ire to cur e the si c k: and,
1;' t ht·_1· :lrt: ;..:""d
do c t o rs , and Lht: c h oice \\'e r e fair ly p ul l11 th c 111. - \1· .. :1ld
rath e r c u r e their p;1ti cnt an d 111,.;c thei r kv, tiJ;111 kili
him a nd ge t 1t . And sn wi t h a ll 1. t h e r hra vt: and r ig lit Iv
train e d m e n: t hL"ii· 11'< •rk is first . thei r fee "L" "'t 1d ·-- \'\ n ·
important always , b ut st ill Sffo11J
- }111 ;-..: H.L'~ l\.I.'- , f '/1( · ( °'' )~t' J/ 1:l l ! T//d (} / i , ' t '

m e mbe rs has the a b ove series ?
Wh at k in<l o r S<:ri es is i t ~ F in d ::i m \ (' ~ p la i n tli e allu s i<.> llS; puint
n n t th r e e ex am ples or p ~tral lel const ru <:ti«n . Pro ve by means of
a d i:lgr:lm th at t his q11 o tat io 11 be long s to Type I.
rn ~lll Y

I I I.

Hu m,>r is th e dL" scr ih in g th e lu d ic rous as it is in
ibe lf ; wi t is tJ H, cxp " s i n;,: it, by c o m pa rin g u r co ntrast i ng it w it h S<•ll1 Ct h i n g ebc. Hum or is , as it were, th e
gro \\' th o f n at lire and a ccide n t ; ' w it is the p ro du c t of
art an d fancy. liumur, a s it is sh tJ \1·n in hoo k s, is an
in1it a linn uf til t: n a tt 1r :tl o r a c q 11ircd a l1s t1nlil.ics
man k in d, o r of the lud icr() lJS in a c·cid<: ll l , si t u; tt i"n, a ncl
chara ct<.: r; w it is t he illust r at ing a nd h e igh te ning th <.:
se n se u( that a bs urdity b y s o me sudden and un e xpe cted
liken e ss o r op p o siti o n of () JlC thing t" anoth e r, whi ch
sds ., ff th e q ua l i ty l\'c hugh at <>r <ksp ise in a st ill m ore
L'O nt c mpti b lc ur s t r ikin g poi n t of Vil'\\' .
- \\' 11.u."l l l.\1.1. 111. / / 'it <111 .l / ! u111 ur .

S t: 1;<; 1·.... 1 1 0:--.~ --· I f 11 \\" tit a n\·

1

IV.
Su all h e a lthi l y m imk J p eople like ma k in g· mon e y 0 1wht to li ke it . and t• l. e n jo r t he sc ns:-itin n of w i nnin gi t ;"'but th t: m a (n object o f' t he ir· lik is n n t mon ey; it
is s o nll:tl1i 11 g hell e r t han rn<>n c y . i\ g o od s ol dier, for
in s t a ncL' , m ainl y wi s h es tn <lo his lighting w e ll. He is
,, lad uf his paV- \'LT\' p r "p<· rh· s<> a nrl j u s th grn m hlcs
;,h e n y o u h· e 1) h im t e n y ea r s ~vitl{out it-- s t!ll, his main
n o t io n u f life is t o w in battl es, n o t to he paid for winni ng the m . Su uf clergy111 L" n . Th e y like pc: w r e nts a nd
b apti s mal fres, of c o u r s e; lrn t yet , 1f they art: b rav e and

h :L s

t ! 1c

~l'r ics

' ('J;'
. ;'';
'(

c1u ot c1 \

\\'h; t t k i n d u f SL· ri~·s i s i t!
F ill d i11 it l·x;1 111 pk:-- •1 f
parall e l l'"ilst r ucti <>Tl . .:\ rv tht: n:p vtit i1 111~ wiii \·!1 ( Jl T U l" ii i ti 1i....
q uotat ion c ifet..:L i \-l' :' l )1 11_' .. ; t hl.· w ri t e r r ._·pc a l c xprl"'"' '"' i·· ll'"· ) 11 1 :L tl'-..i "
h G i ack~ word s r \.." :t n yu tt j u st ify tilt: t r1..:qu1...:11t ll:-:.1.: 11( til t: d; 1-..:..l 1 i r1
t li1.:. : d>u\·v qu nt a ti• ill :

abo vL!?

ur

S L'< :r: 1·:sT1 <1:->s . - J I <>w m :l n v mcmherf' has th e s er ie s quoted
ai><>v e? \\' lia L k i nd of se r i c·s ; s i L' F i 11 d i n i t examples of the use
.,f paralle l con stn1 l'l i<>11 . l 'r.,n· lly means ,,f a d i:t).'.ra m t.hat th is
11uu t. ati <nl illu s t rat e :-> t lit..: fl rsl ty}JL' uf l11 L· c x p ~_, . . ilt_ 1")' i •ar a graph.

n1c1nl1...: rs

.•

-~--

v
\Vii v <i 1•11 't I 11Ti tl' a 1111 \'<· I
\ \ ' c·ll , Lii<·r,: :tr(· ,;c·1·c·r:d
r c a s<1 11 s a;..:a 111 s t i t. 111 t il e Jirst p l:1cL' , l sl 1<>u l.J t<· ll :d i
111 \' SL·c r ct s , ;u1d I m :1int: 1in th at ve r st: is t il l· p r" i" ·r
m ~ cl1um J"r suc h r cl'l: i:1t11o1is .
:\ .~:;l ! ll , I ;u n
t e rribly afraid r s hou ld sh · >\\' llJl :il l m y fr il'n•:s
N(l\V lam a f r a id a li 111 y i'r it: n ds \\' o u ld 11 .. t I Jl' :tr s!J ,. 11·111;..:
Uj) V<.: r )' \\'t'll ; f!>r t !J L',\' Jia \· t,; an :1 \'e l": l).,:'t: Sll:l r t: ,, j' tire ·
c omrn on \\'L•ak n cs,.; o f ilt1 111 :rnity, \\· hich I a :11 jll'!'lly <T I· tain \1·01ilcl C(l ill e •>Ut.
(l nc·e ll1<> 1c , I il:1n·
s o 111 ct i111 cs tli .. 1 1.~·lit i t p <>ss1l>lc· T m i,;..:· ln l ie· '"' ' , Jul i '"
write s1w h :t st<>n· as I shoul d 11· ish t n \\T it1·
;\ 11d
fin ally, I think 1t \·e n · iik <.: i \' I s/111 // \\'r ik a st"r\· .111c·
"f t l 1 ~· ,.;e da y s.
.
-

( ) U\T li.

\ \" i

:\"JiJ."J.1 .

l /1 1· ,·/ ll / 11, r .d 1'} r /: ,·

Jf,

1J \ 11.:"

/;,-, ., ,;.y ,"' I 'f ', ,(, / ,.,

St11 :l; ESTli •N s.- \Vhat k ind nf se r ie:--; is q uo ted a lJc t\' c? 11(1\\ ' n1a11y
n 1L·n1b L·rs ha ~ it "?
f• oin l 1111t t h e t1111 cl1l's 11! lt11 11 H >r i11 t hi s c:'\tr:1 1· t.
Shu \\' h \' ll h: a n ~; 11f a <ii ;lgTa1 n tl L1 l t l1i~ qt11 d a t ij >J J l1vl •1ll'.k.S 111 1!11 ·
Jirst t\· i)c of t ile t ·xp osi t~ >r y parag-ra pli .

!Kl i' ~d k l L" l d l~ l l" tlLl it>ll .

F ind

111

it in~t~t ll lT S

. 11

~

,.

•'.

~_

210. The Use of Series in Type II.
We should
r emembe r that in Type JI. \?i l <.JO) some thought ·
which occ u rs in the first sentence is c:irricd forward
by th e scc(Jncl scntcnc:c-, and S•J111c tlwugh t in the
seco ncl is den: loped 1Jy the thi r d. and so on . Tn this
t ype, l•1t>, 1n;,kri~ti a;; ,,f () IJC k1mi nt:ty IJt.: used.

/\series of effect.-: rn:ty lit; c11nmcr:tLccl i11 wl1 1cl! o ne
effec t leads tt> a sec• 111d, a sccont1 to a third , etc.
S e ries of definitions, of c aus e s, o f advant ages and

clisadv.'.lnt:tges, are also or g~mizcd into paragraphs
of t he second type .
21 I. A Series of Succ essive Definitions in Type
II. Th e following qu"lation will sho w how one must
sometimes pi oceecl in devclopi ng a paragraph by

successive defin ition:
" S upp!JS(', for ins t:rnce, t li~ 11nkrir11 crl . aftc' r r eadin g
( ; ray 's assert ions ahu11t a d a ndelion, t ur ns tu hi s glossary to sc:c wh at an in\·ul11crc: is. lt p r oves to be a
whor l uf b ra cts :1liu11 t a flU\n:: r. \ Vha t , the n , is a bract ?
He finds it Lu lie a scrilc: fn1m the: axil n f a Howe r.
One h:is. therefore:, to look up ax il."
The f<>llu\\'i11g· is a n cx:llnplc of this method:
There is, then,
only ,,nc pure kind of. kingship;
th e kingship, nam ely , wl1ie h consist-s
in a s trongc: r moral state
than that of others.
Observe that word s tat e.
It means
literally the s t anding and stal 1ilit y of a thing; and y o u
h ave the full force c,f it in the d cr i\·cd word "stat ue " •
-"th e immovable thing-." A kini_:"s m ajesty o r " s tate,"
then, and tl1c r ight .,f his kingd " m to lie called a state,
depe nds () J1 the mon: lc:ssncss of both;- without tremor
without qu ive r of haLtnce: es ta blis h e d a n d en throned1
u pon a fu und ati<in of cter nal la w \\'hich n o thing can
al te r o r over thro w.

Exe rcis es

I. \ VlLtl w<>rd in the fi r s t scntc1H:c " f the :tli< •\T
qnutali<>ll fn 1 111 l..:llcck1n ic-.•kl111ul J,y tl 1c· St• .'-,nd ~
\V b:tl \\'i>nl lll t lie sc'L'•>llll l.S dc:t i11cd ],\. tl1c_ tJ11,1'd'
How t],ll_·s ti1 1<. i:i11d "r p:1r:t .'.'.I:1 ; >i1 s 1111111 >:t1·1 11 · ' 11.,,,.
d oeS t ii e l \ o;c " f d 1._· I; 111 t I1> 11 ] 1c· l'c: • i I iJc· I' f I'" 111 t ii l l 111
sec:l1<m .? o~ ~ .\l:tk c :1 du~r:tlll .si1<>\\·ing tlic_· ...,c 11tcllL'l'
relal iu n in the :t1H1\'e c:x:trnp lc.
TI . \\T r ite a par:t~r:qili :LL'C<lrding to Type Il ..
with the s:tllle kind\>!' 111.1kri,Ll in .tl l the SL:nLL·11 c c' .'-',
- defin it ion s . ca uses , o r effect,; .
212.

T he Use of S eries in Ty pe III.

Th e f.,1.

]owing p: tr:tgT:q11L 11i:1kL·.s llSL' .,f the :-::1111c ki11d "f
rnalcri:tl thn>ug-l1uut; it is a st· r 1cs \I I .:111:d11g1L· :; ,
· c-11
· i ><ll ·«1 1 ·1'.1 1..t • rc· 1,,·1 some in c\Jii:·din:itL: :1nl1 S•>lllc 111
tiim t o c>ach ritlwr. T he p:l r:tgTaph thc:rd<ll'L' hL·lnng·s
t u t h e third t ype. \\·hicii w:ts explained 111 scct11> 11 l<f?.
l.

lksidc s , Lhcrc: is :t11ot h c r thin g· al)()t1L tli1s Lalk i1'.i-'.'·
\\'hiL·h \'<>U f 11 r.l.::l't. 1L sh:Lpcs <itlr th1 1l1:-:·hts 1~~r u.~: 1111_·
waves ·.,f ('<lll\'L:r s: 1Lio11 r" il llklll :ts the su rf l' tJlh t.l1c·
pci>lilcs •lll tli·· sh<>rl'
l , t·l 1111: m <•d >ly thL· 1m:1g._ ,. '.1
l illlc. I l'llll g' II utll 111 y ll\ .. ug·in s 111 Llik as a11 .u 1·'"'
nwu c ls in clav . Spuku1 Ltng u a g c b "'" pl :1,,tJc,---- ) • •ll
ca n p a t and c·oax, . :ind sp r ead a nd shave,.« nd
ot'.t,
and fill up, a n d st ick "n .s o c: 1s 1.1 y, wl_icn. )n ll_ \\() Ik. th "'..t
soft matc:rial that then· 1s 1H>th111.g· l11,c 1t h'.1 m11d( i1 n...,.
C) ut 0 ( i t c\1 11\ c the: shapes which yo u~11rn ll'll" rnarl>lc
or 1.Jron ze i;1 yu11 r irnm,>rtal huoks, tL :.·, n1 l 1 '.qJ1::'. ~. t~
write such . Or, to us e anothe r 1l l11slrat1tJ11, vv11t,.1,.:' ~·. · g· 1s
. l'k
· · \ \ "Ll1
p rintin
1 · cs Il uu.t'·
111~
1
~·t 1· ·f],.
· '-- ·'. _\'11t1
... lll'l)'
: . . h it . \· .-'".i<f
readc:i"s min d, <>r 1111 ss 1t ;- hut t; tlk1n g Is. like pl.t) 111.,
at a m a r k witl1 the: pipe: ,,f an engrnc:; 1t 1L 1s \\'1tl1n1
rea c h, ~llld y 1n 1 have t1111e c:n"u.gh, you c .111 t h c:l p lnt t ing it.
- 0 >.rn:K \\'1·:'.\ t'l· >.1 . JJ,,un:s .
Th e ,../11/ 11<'J'a / <f //1<· Jir,·<1!./11 .l' I J i1/, / e.

,n'.I:

,

..

;-~·-~_~

..

310

Li1111j>osil io11 1111d N/1«/orit

0

,)

JI.

In art, keep the finest rn"d ·ls l>cforc he r I ;t young
girl].
I say the finest nwdels - lhat is to say,
the trul'sl, simplest , usdu llcst.
l say the
tn1L'st, that in \\'hi L· h the n o t es must closely and faithfully express the nH:aning of the \\·ords, o r the character
of inten clcd c111otiu11; again, the simplest, that in which
the mean in g and melody arc attained \\'ith the fewest
anc1 m ost significant notes pus~ihk; and, finally, th e
uscfullcst, that music \\'hich mak es the hest \\'ords most
li cau tiful, which enchants them in our memories, each
with its ()Wn glory of sound, :111d \\'hich applies them
closest to the heart at the m oment we need th L'rn.
-Jii l!;.; R1 · ~K I:" . ...\,1 sa111t.·

and Lili'es

Exercises

\Vhat are the three main analogi e s in Example I.? Shuw lww two of them are developed by
carrying ou t the .:rnalogies still farther. Make a
diap;ram showing sentence Tcl:tt ion in this quotation. J>uint out cxprcssi(Jns which give a co n versa tiona l qu<llity to this extract.
IT. \ \Trite a p:tr:tgr:i.ph using :1. se ri es organized
acc!>nling- to Type I l L You need not cu nfin e yourscH to an : tl!>)~· ies. Trv s<•mc \)f the other kinds of

If hy liberty you mean chastisement of the passi .. 11 s,
discipline uf the int ellect, sul>jcction <>f the \\'ill; 1f yuu
mean the fear of inOi c ting, the shame .,f L'<)llllllitting, a
wrong·; if you mean respect for all who arc in :rntlw rity, ancl consideration f"r all who arc in dependence;
ve neration for the guod, mercy to the e\·il, sympathy
with the weak; if you mean watchfulness uvc r all
thoughts, temperance in all plc:-isurcs, and perseve rance
in all toils; if yon mean, in a wurcl, th:tt Servi ce whi ch
is defined in the litu rgy of the English Chllrch to lie
perfect Freedom, why do yo u name th is L>y the same
wurcl by which the luxurious mean license, and the
reckless m ea n change; by whi ch the rogue nH.: ans
r ap in e, ancl the fool eq uality; hy which th e proud mean
anarchy, and the malignant mean violence'
-

I.

SCJ'ICS.

1 lI . Mak e a diagram of Ex:lmpk TI . showi ng the
sentence rcbtion. \V h:1t is the n:ttllre uf the material used? Find an exam pk of para ll el construction here; of repetition of the same exp ression.
213. The Use of Series in Type IV. Any of the
difkn: nt kinds of series mentioned in sections 199208 may he used in the fourth type of th e expository parag-raph by expressing the reasons, functions,
etc., in a series of clauses instead of se ntences. The
series 11sed in the fullo\\'i ng- is one of definitions:

I I

Jo11N R us K1:->, S<'7h'll

Lamps

1f ,· frc/11/ cc/1trt-.

Exercises

I.

Pind examples of parall e l constrnction. 1 lo\\'
many d efi nitions of liberty occur in this extract;.
II. \\Tri te a paragraph b e longing to the fourth
type . Use some other kind of series than that of
definitions.
214. The Use of Mixed Material.
\Ve have
seen in sections 199- 2 13 how all of the f.,ur types
of paragr:q>h m:ty use honH>gencous matcri:tl. I ':1r:t graphs which u se material of one kind occur less
frequently in conversation and informal writin g
th a n those composed of mixed mat e rial. The following paragraphs arc examples of Types 11. a!ll1
III. made up of miscellaneous sul>ject-rnattc r ; such
as, definitions :cnd exam pl es.

i.'.

:-

I

The hil ls a rc gTcat sponges that do n<•t all(1 cann(J t
holcl the water that is prccipiLtte<l llJ>• 111 tl1ern, l>ut tli :1t
let it filte r through at the h()ttom. Thi s is the w:ty thL·
sea has rubbed the earth of its \·ario11s salts, its p<>l:tsl1.
! •

Colllf(lsiti(l!l and R!tdoric

Tiff !ixpositor)' !'aragraj>I!

its lime, its mag·nesia, and m:my other mineral clements.
It is found that the (lldcsl upheavais, those sections of
the country that ha1·e been lrnigcst exposed to th e
lcecliing ancl washing (If tl1 c rains, an~ poorest in those
sulJstances that.~· ( , to the making- uf the osseous frarn ewnrk of man and of th e :ll1imals. \Vhcat dues not grow
1Ycll there, and the m en h<Jrn and rea red there are apt

sneeeh; tlie round, full-waisted r's of Pennsylvania
~1~1d l )hi<•; th e soft, ind(Jknt \'u11"Cls uf tlie St1•1tli
< >11c
of the !Jest talkt:rs now linn .L'. is a sch()(1l111:tstcr from
Virginia, Colonel Gurdon McCabe. I once cr<lSSl:ll the
ocean with him •ill a stream , ,J· st .. rics that n·:tchl'd fr"111
Li\'t ~ rpo(Jl tu l\L'IV Y11rJ.:
I l e rli.J n<>t \:tlk in the kast
like a l1<1o l;. tlt: t:Llkc·d i1 k•· ;, \·1r~.lll 1 :lll.

312

lo have b ri ttle hon es.
l \il 1111;h1r t a11t pdrt ~Jf thu:-:.c n1en
wc1 1L d"11·n sln::tlll, :tg L·,; i1t.'i <>r c they 11·crL: l>t11·11
The

-flt:'>'! ' \\\~,,;

water uf such sectiuns is now s"lt ancl free frum mineral
substanc es, but n o t nrnrc wl10lcs0111e un that account.
I I.

Ji::

i'iiil --: .

f tl\.._'i ··~ ·

_c;

· 11~ i!~ ; -·

i ll

: iH..'

l "i)! 1 ' -,

t:l \l

i(I

_'. _'. ·1.._·t

Jl)11J\; u 1

thc1n th:m ntlit.·1· :"" 'i'i •: i ·' tli" c:·: ;:n• ·
;\11d the re's no
use in the m o 1H.:y, but to ha 1·c rnure uf it than other
pcupk is the game.
- J n 11 N Rt 'SKI N . /ft, · Crow n of 1-Vild Olt'11e.
I 11.

A brogue is not a fault . It is a l1cauty, an heirloom, .
a distinction. A local acce nt is like a landed inheritance ; it marks a man',; place in th e world, tells
wl1ere he comes from. Of course it is possible to have
too much of it. 1\ man cl"cs not nc1 ·d to earrv the snil
of llis wh o le form aruu nd with him on his ho1)ts. But,
within limits, tile an'<'IH <•I a 11:1ti1·c r cgiun is delight:
ful. 'Tis thc Jla\·"r of hc"tiil·1· in tii<: grouse, the taste
of wild h erbs and evcrgTccn h11rls in tlic veiiison . T like
the maple -sugar tang of the \'crn1ontc1 .. s sharp-cdg-cd

Iur/

Exercises

- Jom; B1·1nwuc 11 s, l't!jJac/011.

The first o f all English games is rnaking money.
That is an .:111 -ahs"rliing g·:-1111•: ; a n d \\'e knock each
other clown oftener in playing at that than at foothail, or any other r<•11ghcst sp,.rt; and it is a\Jso·
lutcly \\'ith ont purpuse; no on e \\·hu e ngages heartily
in that .1.'.·amc ever k 111111·,; wl1y. 1\sk a gre at munt.:ymak cr \\·hat he \\':111 t s t" d" with his n1oney - hc
ncn:r knn\\'s. l[ c doesn't mak e it to cln anything with
it. Il e ~·cts it <J11lv tli:1t he 1111 71' 1.'.L'l it. "\Vhat will
you mak;_; of wlnt )"ou ha1·e g .. t >" ' }·" u ask. "\Vell, I'll
gd 1110,r~,"
say,; . Ju,;L .;' s :tt cnck el yuu .~ct rn ur~

l>\'I\. !·. . { / ' \ /t rflll1{J/,\

J"1'1'"'
.)

-,..-·.

"'~·

.~

~

I. \\That t hought in the first sentence of Exam pie
I. is dcvclupc,1 liy the seL"md? \Vh:tl Lh"ught in the
sccuncl is <lc1·l:lupc,1 by the lhin1? i\nd S<l on. l ><>cs
this p:tragraph 1Jc·l1111g· 1·J the lirst <>r tlH: sn">lHl typt·
of the exp<)sitory par:q..;r:tph) 7'.hk<: a diagr:tm o f
thi s qtwt:tiion showing s1:ntem:e r<:htion. Can y••ll
classiiy the rn~ttuia1 useJ here? F ind lwu 111cl:1ph<>rs. Justify the us e of Liil: curn111:1.
r I. ]>;'()\'e tli;tl. liw lll:tlcri;tl 1lSl'd ttJ r1c1Tlt•p thc
fund:trn< nLtl th"ul--'.iit in Lx;t111;1k 11. is ,, f :t mix ed
ch;1r.\cll'r: th:it. i:-:, Jlml i11sL1n<.TS nf the 11sc • ,f c·x:1111~-dt'. <1!° ;1:1:tl(1~:~' 1)r rc'pt·t1 l i<nl.
\\rh~tl \\·11rd in t:1t·
tlr.l.~t ,~~ l1tl_'lil 'l ' i.'< dl_'\·L·l11JH. ·tl Ly t 11c :--;cL'(1; 1d?
\\'l::tl
wunl in the SL:c•1nd l.Jy the third? :\nd c;o t11L :-lake
a di:tgT:tl11 tJf this q11()tatio11, shuw ing scnlenc<: rcbtion. ls this Type l l. or TIT.?
I 11. \Vrilc a paragTaph usin;;· l·:x:mq1k 11. :ts :t

model.

IV.

Make a diagram of Example II I. showing

sentence relation. Docs this paragr:1ph 11clong tn
the secllnd or lhc third type? Can you cl:tssify the
m ate rial used hen~? Find sever;tl effective epithets.

f:.

T!tc Expository Tltmll'

31 5

have b ee n tak e n from b ook reviews founc1 in mag-azines, or from th e introd uctions to e dition s of T/1!'
JI/ill on tl1l' Floss, Silas l1!11r11a, :l!iddlt'111t1rcl1, N r1111fl/11 ,
Tiu · Iody of I li e Lrdc, T/11 · l

THE EXPOSITORY THE .M E
215.
The Subject-Matter of the Expository
Theme. Th e two forms of th e expos itory theme
with which this chapter expressly deals a re the Book
1Zc:view and the I listorical Essay. These are special.
ized forms of the essay that the student may be aske<l
to write in sch ool outs ide of the English class, an<l
eve n ou t of school if he be lo n gs to a lite rary club.
In both the book rev iew and th e historical essay
narra t ive material may be u sed, but it is thrown into
the expository form.

The Book Review. -T11 Ei\1 E-M O il ELs X.
Onr work in the book revi ew will deal
with the nov el, the play, the epic, the longe r narra.
tive poem, the collection of s hort s to ries, essays or
poems, anc1 the scientif1c book. The writing of literary criticism based on definite c;1.nons of taste is
beyond the scope of the work attempted in this
volume; th e treatment here g ive n is that of the
ordinary brid in the Dial and kindred journals, or of
th e c riti cal intrnc1 nctio ns to editions of the classics.
216.

ANIJ

XI.

/(II/S i'

of I Ill'

,')(;·01

:"

Cafihs,

r<
i
- ~~

::~

and Tl1 c Lay of t/1 c Last 1lli11.ilrd.
First paragraph - th e se ttin g . (S ec ·~2 1 S . )
Second paragraph - th\.: p lot. (See ~2 1 9.)
Third paragraph - the characters. (Sec ~ 220.)
Fourth paragraph --- striking occasions. (See

I

;

§22 1. )

Fifth p:t ragraph - thl.: geog raphi cal ur soc ial
backgro un d . (See ~ 222.)
Sixth paragraph - th e ge n e ral impress io n of the
book. (See ~ 22 3.)

:

Theme-model X.- R 1·:v n :w OF Tl!E Nuvn
The following outline for th e summary
uf longer n :trrati\'\.: bc oks should be studied in connection with th e series of nw<lcls for each paragraph
which follows in sections 2 1 X- 223 . Th ese models
217.

1

;!

.

·~

·,

1' ••

218.
The Setting. A study of the fullu\\;ing
m od els will show that th e re is some resembla n ce
b et wee n what is here eallecl the Setting, and the
Situation which we learn ed abunt in Chapte r 1.
Th e S ett ing is a pa ragraph which s tates (a) the
scene uf th e story; (11) the period to whi c h th e
events narrated belong, wh e th e r modern, ancient ,
mecli ~eva l, e tc., o r whether they are connect e d with
some particular hi s torical event; (<) the general
theme or purpose of th e st ory.
MODELS

I.

"It w as alJo ut 17 83 that the eve nts n a rrat e d in thi s
story happe ned , and the ce nkr of a c tt<lll was New~':"''
during the last year o f .t h e Briti s h. occupat ion .. l h<-:
unity of the narrative is in tilt: matnm<;,111al dcstmy ot
th e dominic's daughter, Miss Montayn e.

• t ., · :·

,.
. •·

1

<>I'- Pl.AV.

t

''

~

'.
i" .

.

I,

IT.

"Th e story deals with a few days only, in the s ummer uf 1862, and with a single ep1smlc of the stru gg-lc.

( _1 14)

,,
' 'il

(0111posil io11 n 11rl R !tf'lorir
The scene <if the lmok is the city "f Cincinna ti , and its
theme the attempted capture of the c it \· l >y a s udden
Confederate raid, abetted l>y till' so uth ern sympa thi zers who fo rm ed a large part of the population of Cincinnat i."
Ill.

"Hostiliti es with the Indians 1m the \\'es tern frontier
durin g the sen•nd war of independenc e against <i reat
Br ita in give i\!r. ) :nn cs Ball Nayl"r the materials for
1!11· .\i;;·11 of !!tr 'ropltd, General I farrison and C h ief
Tecumseh both appearing a m ong- the c h a ra cte r s."
IV.

"There is a humorous side to hnusc-mu\•ing·, for all
Frankl in's ranking it am(Jng the calamities; a nd this is
brou ght out to the full by ;\fr. Albert Big e lo w Pain e in
J/11 · Vim J)wdlas. Thrrngh cunccrncd with New York,
the name is not ·derived from the Kn icker boc kers, bu t
signi fies th ose m ortals wh o spend su much t ime in
chan g ing th eir domicile that they arc saicl t u dwe ll in
th e furniture vans which convey the ir c h at t e ls."

;:c
r:;

~

r.
T-

.,,."'

r.

i

:..

r:
~ u.
"' :::::
Y.
'-'

The tim e clement is not directly stated in the
last example, but i t is implied . \\.here'
SuGt:i-: s TI OI'.-

r:

U-

Exe rci ses

I.

Find the mention of the theme, t11 e place,

:;i
;;

.;

and the per iod in e :tc h of the a lJ1)\·e m"d e ls for the
setting. Find in th e JJ1«7I, or some o th e r magazine
wh ieh devotes space to bunk r e viewing, exa m pl es of
th e settin g . Nute any happy cxp r essiu n s or touches
of humor in the extracts you make .

II. V\Trite a summary of the setting- of some
n ove l o r play familiar to yo u.
III. \ \Trite a sumrn:t r y of some ima g inary book
w r itten ten years hence l>y one of you r sclrnolmat es.
Make th e scene of the stu r y the t own in wh ich you

"
";:;.;:.

..,,_

:::·

~
~

~:::
t--

::1;·

1

both live at present.

"

C)

'.!·

.;,
~~l.

:::

"

-- ··-· -- _ _j

Tit,· !:".rj>ository T/u·m1·

317

219. Summary of a Plot. Th e paragr:t ph u sed
to sumrnarize the incidL::11ts of :L s t<Jr y should not
attempt plot criticism, hut shuuhl be a m ere selling
for th uf th e main c\e nls in the life uf the leading
character. There is :ti \\':tys danger that the young
strnknt \\'ill lie so inlL:r est ed in the details of the
story that 11 e \\'ill all<l\\' himself, in giving a n account
of it, t<J he burdened ,,· ith ddails . and so confuse his
rc:Hlcr or listL·ncr. The story sh<J u! d, th erefore, be
told very bri efly in this summary . The two following .models givc unly thc main points in the plots
of Silas 1Jl11r111T and Jlirlrl/01111rd1.

'',

I

'· !ltc stor)' is 1·x,·ttrli11gly slmj>il'. A weaver, ialscly
a cc use:cl tJf th e ft, is c1ri\·e n from his home and friends in
Lantern Yard. The injustice of his fate cau ses him t"
revolt in his hc;trt agains-t Cucl anc1 t o become a mis.
anthr<>pc. He c111igratc s tn a c1 istan t Yillage, lives in
a h e rmit's solitude, and cente rs his effurts upun the
hoarding of gultl. Then his mu11ey is mystcrionsly
taken frnm him, ancl for a time his life is blank . Une
ni g ht in a st()r lll, a waif, a help less child, co nH: s strayin g l>y cli: u1 cc to his d<H>r. Th e lu n ely rnan tak es he r
in, cares f<>r her and learns t" love h er, and this love .
taking the place ol· his forme r miser's gTccd, re<l ec nb
hi s los t human nature and makes him once more a
man . A j>.1j'd//llog1tf1I s/111(1' tit is, fur it s//{)7c'S tlte dwngcs
w!tit/1, 11111/,·r 7'11ryi11.r.; c1 111rlitio11s, t ake pl11ce £11 tltc smd"
1 r.

" 1l!iddln111rrd1, 11! b/1!!0111 , is a crit1i·is111 011 sOof1l li111itat/011s a11d 01117·01tiu11s. ft shows huw the no ble aim"
and il1cals <.!' th e ardent arc crllshcd and shattered hy
the sordid fa c ts of reality. l> o ruth e a Brooke is a lll•Xl ·
c m St. 'l'hl:rcsa. Lure d hy a Quixotic sense of duty
s h <.: weds a marruwlt:ss recluse , hopin g to rn ak<.: him
'H

.,,

'I

I 11
Comf(ls/I ion a 11d R!tctorir

happy and to h e lp him in his m onum e ntal work of
p<:clantic scholarship. It is a mistake:, and the happini;ss
.,f both is destroyed. J11idt!/011ardt is a lahorious but
jJ 07l'l'T j i t ! 11 07'1-I.
/11 :,pit,· of SO/Il l' drji·(f s it }iJSScSSt!S an
11110.1/oilal io11s solidity <v!tidt lc1i<•cs 11 sl ro11g i111pressio11
Oil I /1,· 111c111or_J'."
Exercises

I. l'rove that th e d etails of each of the above
surnnn ri es enforce the thought of the characterizing
sentencl; with which they begin. Are the summarizin g sentences at the c1ose satisfacto ry? Find in
magazines o r b ooks of critici sm othe r examples
of the summ a ry of plot. Bring several of such
examples to class.
II . \Vr ite a summa ry of the plot of some play
or noYel f:tmiliar t v )'\lll, using· as a model either of
th e p:tr:tgraphs quo ted in sec tion 21<).
III. Summarize th e plot of th e imaginary book
on which yon were askecJ to write in section 21 8.
Introdu ce the loc:tl clemen t into this paragraph as
wel I as into the setting-.
220. Summary of the Characters. The models
give n below sh1iw twu mellwds f()r writing a brief
<if the characters in a book; nam ely, o ne in which
all of the cha racters are rncnLionecl by dividing
th e m into groups, and the other in which a short
account of only the kading characters is given.

I.

r

"T!tc c!wrartcrs i11 lier Ct1i 1x 1· Fliol'sl boo!.:s, as we
/1111•,· 1111/r'rl, ari· 11 0! fl!fl!1~i;.,.,1Jl1s or .d·dd1cs taken in a
si11.i;lc pusi: fir 111r111101! of l i 1111 · ; !!try arc s1111/s dev eloping
a11d lra11sfor111i11g a111id !ltt.' !11r/11rcs fl/ lite inquisitorial

c!tambcr of o·tr rio1c<. Tn .'<ilas ,1!,rn1rr w e c tn cli\'id1·
these p c rsr in,, int" thre e .:. : r<>ups . li r,.;t, the 1:pp,-r ,i ;·ck
of v illa.l te gentle folk. the l' ass f:tmih·, 1he L:1rn111,' ter,.; .
[he l ;u nns,- th c pe,,pic, that is. wil" .l.'.i,·c th,· ,.,,,,·1.d
sta nchrd s; then tlie group (Jr viiia.l.'.e .l.'.· 11,.;s1ps a11d w1 .s cacrcs: the plain fo lk \\·ho haunt the Rain1Jow Tavern,
Mr. Snell, the lan dlnnl, l\1r. l\Tacey, /.Ir. 'fo okcy, anJ
Mr. 1 >owl as; and last of all, Siias l\Ltrner, living i'ur the
m ost p:irt iiy hirn,.;L·if, his sniituric 11r111.:en, ht•\\T\Tr, hy
the cu m i11g .,f l ~ppic and the rcli;...:i11u:; c"11s"i:ttiu11s "(
Dolly \V inthrnp . J/11· ri·a,ft'r sf11111/d s!11dj ' .)1!11s JJarner' s 111is1111 I /1 r/lfj', i\ '11 111)' /_a 111111t!t'r's Jr 11 ,(,·110', l:j /' 11 ·'s
s1111bnr111 , ,•ildto)', / )(J/lj· II 'ml!trt1j's jiu/It 11t !ltc 1111.1/'t'lt
Pro<1idn11·,·, II 11d c;,,,ui·1)''s lad· of ((JI/ rr1g-e Zl'l101 fa cw gt/1e co11sn;11t11(cs of Ins uz. •11 acts. "
I I.

"T!te cllilraclcrs 'if lite 'Lil)'' arr:, « ·illt , 1ntc or t:, •r •
e.xccp!io11s, 111rII' lay-Ji.i;11rts; «•illt lit e dlilr11di:rs of//;,·
'Lady 1'.f //;,· l .al.·1· ' !ltr·casr· ts 7'1·ry d1jji·ro1/. The three
rivals for Ellen's hand are real men \\'ith indi v idualiti es which enhan ce ;rn<\ deepen the j;iCtllrCS'illeIH:~S u f
each ot h e r by contras t. The easy grace and euurlly
chivalry of th e clisg-11isecl king, th e <Jlli ck kindling uf
his fan cy at th e sight of the m ysterious maid of Loch
Katrin e, l1is qui ck g c n ero" ity in re li11qt1ishing his st1it
when h e finds that she lcffes arwthcr, make him on e of
th e mos t life -l ike figures o f romance. l\. od<.:: ri ck J>hu,
nursing darkly his clannish 11atrL·d, his lrnpelcss lo\· c,
and his b itte r jealousy, with a dciicate ch ivalry sending its bright thrcacl through the tissue of his savag·e
natt1re , is drawn with an eq11ally convinc ing hand.
Against his gl()omy figu r e the boyish magnanimity ()f
Malcolm Graeme, Ell en' s brave faithft1lness, made
human lJy a snrfaec play of co qu e try, and the quiet
n obility of th e exiled Douglas, stand o ut in varied
re lief . ./ud,t;cd i11 (·(11111rc!io1t ~ cr i! lt tl11: 111ori! com1c11!io11a!
clurrrrc/1·r -typcs 1'.f 'Jlfar111io11,' 1wd 1,•il!t t!te draped aut omato11s of lllC 'la)' ,' t/1 e clmrarli'rs 1'.f Ilic 'f, aily of tlli!
Lake ' slw<v 1111' grad11al /;-ro« r/11 ill Scott of t!tat dramatic i111a.i;i11alio11 7,•/Jid1 1urrs la!rr lo (ill Ifie 1·as! scrnr
of liis prose ro111a11 ccs 1t•itl1 1111/urg-cttablc figures ."

320

Co 111posil i1111

a 11d

rl1c F ,1posit111J' T!u·111t·

N /1!'/orfr

II I.

"' I V/1 cn a wr/lt'r calls !ti's <eor/.: a r o111,1110·, · writes
f-fa w lft0r11t·, 'ii lll't'd /1arr//j1 /Jt' o/JSt'r'i't'rf ! /1t1 / /11· Wis/tes
l o dt1m1 ~ ct: ~1n111 /r1/ 1!11d1', ho!lt as l o its ji1s/1i1111 and
m a lt'rltl ls .
l /us fas/11(111 1s s/1{1'il'll fly !/1c d1111ly 011 /lw ed
cltarac/,-rs t'11 'lite l/011st· of t !tl' .\c<·o1 (;a/lies .' Th e old
s pin ster, ful l of a dreary family p ri de, yet preserving
111 her withered heart a warm cll!votiu n tu he r u nfor tuna te hruthcr, is th e spi rit of the a ncient fa m ily in its
decay, r:ith e r t han :in act ual inhahita nt of Salem. All
her materia l su 1-r<1111Hlings-the ag·cd elm a nd mu sty
house, wit h its memo ri es of fo rm e r s tateli ness, e ven
the dwarfed hens in th e n eglected garcl en - h:innonize.
Into thi s atmosphere of dreary d ecay e nt1.:rs Ph ocbe,the sp irit of 11 urm al health an d bloom . Ph oebe, also, is
no m or e cl eli necl than t he fa<kcl Hepz ibah ; she is a
beautiful angel nf hnpe 'I ncl joy. ;\lureove r, Clifford
the Jcli catc1 sensitive lover of bl':rn ty, \\·ho, without th~
powe r to resist his a11"f11l fate, brings from hi s impri sonment an enfeebled intellect. is anot h<.: r spirit of cl ecay.
Perhaps J :1ffrcy, th e cmhodimcnt of the e\·il characteristics of his race, is more n<.:al'ly indivicluali zctl th an
any other on<.: of the group. Yet hi s ' sultry ' smile, hi s
gniss sclf-satisf"acti1111 , which the romancer makes us
fe e l wh eneve r he appears, ty pify uni ve rsa ll y th e coarse,
ho.rd so ll l ., f th e s 11 cccss flll sin ner. Of the 111i11 or characters, U n cle Vclld c r is a charn1i11 g- package of h11m ble
philosoph y, ll"hik l [ol gr;.t\'C sta nd s appare ntl y for th e
llC\V Ue111 ocra tic id ea ls in C()l11lict with dec aying- family
pnde_ J!1 s 11mrr111.(·t· ,,.11/1 }'/11 •d11", ll1, · fus!t jlowcr fr om
t lte ex/11111.1/t"d r 1li"I', pro< •!(/i-.1· a 11 n j>j>roj> na I !' c1111clusio11."
Exercises

L I n whi c h of the above m odels a r e all the
lead i ng a nd minor cha r acte rs mentioned ? In which
only the leading ones? Sho w that th e firs t sentence
in each of the abO\-e paragraphs describes, if only
in a genera l way, all the cha rac ters. Prove that the
l:tst se ntence summarizes or gin~s the r ead er a sense
of finality. \ \That expressions in each of th e models

321

e nforce th e th ou g ht of th e topic sente n ce with which
eac h is introd uce d? Find i n the m agazin es anJ
bring- t• 1 the cbss other exampl es of the s ummary
uf the charac t ers in a b ook. Be able to point out,
as Lefore, any clever t ouch es whi c h such paragraphs
contain. Do you n o tice in the m any of the minor
d e vi ces tre ate d of in Chapter VIIL?
IL \Vrite a s umma ry of the characters in some
n o ,-c l o r play y o u ha ve r ead.
llL Write a s umm a ry of the characters in thl!
imaginary n o vel r efe rred t o in sec tion 21 8 . Introdu ce as some of the characters certain people 111
the town kn o wn t o members of the class.

i~ :
"I

; :

!

not use t oo ma11y ad_;i·ctives in a parag rnplt upon till' clwracters in a story.
CAUTT ON .-

Do

22r.
Summary of Striking Occasions. The
pa rt s o f a boo k whi ch we r eca ll with least m e ntal
effo rt lo ng after r eadi ng it are particular occasions
- somet im e s ca lled scenes or situatio ns- which have
impre ssed u s b ccnu se of th e ir inte nsely dramatic
power. Th e se arc the p orti o n s that a playwri gh t
wo ul d u se if he were dramatizing the b ook. The
fo llowin g quotations show h o w to treat these occasi o ns in an exposito ry parag r aph . In the fir st of
th e mode ls th ey a r e m e r e ly e nume rated; in the s econd each is bri e fly d esc ribe d .
M ODELS

I.

"T!t rrc is i11 ' S ilas Jl !artll."r ' a 111odtra ll' ai1w1111t of

d rrrn111tic i11cido1!, the accusation and casting of Juts in
Lantern YarJ, the quarrel of th e Cass brothers, the
dispute at the alc-huuse, the theft uf the money, the
21

)

.

I'
I

Composition and R!tetoric

322

i/11 ·

New -Year party, the coming- of Eppie, the rc1111nciation
of her f ather in ?-Lirn c r's c o ttage , and the rct11r 11 visit
to L :tn t ern \':tnl. ,\.,1 ,,,11· 11_/ //11:,1, · 1111:J, 11/.1 is ·;,.i/,llJ
t·.r r·///!!_r:, il is lr1u ·: l 11rl ,·x,·,./t'!!lr ·!!/ /_\· !I r' / ( I J/t' tJf !lt t
a11//ior 's 11111/iilio11s "
·

I I.

F.1p11sitory

\\ ' ritv such an :tl'C<>\lllt

i /10 11!'
,,j

tlw dr:1rn:1t 1c· •w<. ·: 1-

~1(111 ~ 111 ."- 1 )l nl · h r )( •],.: \ · 1 1L ! lL t\' \ · J' l ·. 11i .

I i I.
-~

', 1 \·1..·

~un1 111:Lr, ·

:t

c

, J-

t1lL'

c

1t· i__· :( ;--:1~ i n .....;

i 11 t h i·

lJ ll: l ~'," 111.lr\· li1H 1k j J ;· L'\ " !tJ lj ;-~J : · !" t l.t ' !Tt ' tl l<i.
r--

l . \ l JTI 11'>: .

11.

" H11t t/1c 1111>st

s i~·111jiurnl

ad;·,111(1'

~ c/; ic /1

222 .
Summary of the Background. l ' 11 i1c ·r t :H
lcrlll iJ:1ckgT"liildwc 1nay incl11dc [\\'<> tl1i11~s:tiic
scene!'\'.< •!' 11!:1c\:- <kscri1•ti"11.s. i11 :t ],, ,, ,k _ iiL·.s1 r1 11 tiuns ,,f citl lt' I' 1nll'rior 11r out-til -<l•"'r s . _·._·11 c s: • •r

Ulrn's boats t o the is lancl, there is a si ngul a r depth of
race fc; e ling. There is i1<>r n c; in lljl• >ll 11s as we read, the
reaiization u( a \\'iid and peculi:tr c i\·il izal i<> ll; we get a
brc; a th uf poc;try keen anci strJ.ll).;l~, iik c th e shriliing f1l
the b ag-p ipe.'> ac r o ss the \\·atL-r. J\;.:·:tin, in th e "l' L' l·din~- "f
t lw fi e ry cross, there 1s a prirn it i,·c d qit h o l p11drv whlC'il
c~t r rlcs \Vllh it a se nse u( ·u id, unh.1ppy, i · ~tr - t 1l f tliiH~.'-' ';
it a µpc a is t ,; b t c nt 111 c111 o r;c ,; lll u :, \\'llI Lil ii :L\ L Leen

c11; \\·n f r11n1 :tn

;tnc·t__·s~ r; d

p:-i.s:.

rf'h t'r t· is

of

lll C' :l11 the Sl>l'i:11 li : 1l·L~T<l\il1d. the <l ' l 1lL l1
1nndt· i1f l1i'.: (J r t· 11st1•ll1S n:' t :l L' , ., ,111 111 t111 1t \ ' i1 1 \\' ]11 1_ h

\\'\: m : t\'

Lhc

'!'he fi 1 ll 1~\\ · 1r1 :-:·

11( Li 1L·sc k;m L-; ••I.

tiJL· .~ 1 lC[ . l~
)j

e:

·~
~

-~

q,

I 11 11· I

·;, ~·/1 , //

! 1 /l1 1.1d 1 d

rnil 11/111 1'.1,/'!t1·n· . /11// o/ /1'1 ·i,; 1f! l1 •r . /, ,,·,ti lr111/1', 1111rl 1111 i1·; ·1 ,/111rl d ,'/ ;11 /s.
111 :<1l11s .lltl/'111'/' t l1c· 1·L· :ire· f:11 t i1111l ;1 11:tur L·:-;

l JI.

L.:t:lll·r11

\':trd,

J\..; t \· cl1i l:,

tl11.._·

;Lll· - r 111 1111

J

<ir:u11a t.tkc J>lacc.
,'-'1 1e·1:tl :1111! r1r1•\·1111·1 :ti
1n the \ 'i1L 1~ c ~t!j 1 t.: r :; t 1l! 1 1 11~ . tl lc· il l_\ · ...: _
tcri1111s rcgard t'<>r :darn e r i> l:l':11 1,;c 11( hi,; Sll )IJ"" "1·1: l_
unnatur:tl ]l"\1·crs o \·cr disc:1s e . the tiis c: ussl<•ll c·u1 1cc·r11in.~· gh us t s , th e; petty ri\·a l rics ., ( t h e \ ili:i ~ e dc ~] " •LS , ;ti l
to11L·hcs arc S L' Cil

1
:

_:;r;

,,r

l !! //t J/r/

111.!.,. /IS l~ /, 1s,· lo /~It·/ , t/;l· 1/lt/J/1 1r .!...'/ ; ·, ." <l I Fll L. / 1' /" / /"11/ / /ll" t' ( ' /
d fFi J;'lJ /( ld/ J:·!l.!:/;s/1 t'r)/(l//_J' /J I //11 · , /r /_J'S / 1,_'/; I/<' /"11//Fr 'r 1' 1/\

cu<:crrrl tit<' k111.i:-rlu111

T'11i11t oul the

c:-:prl·ssi1111s t i1:1t , ·n f••l'l'l' t i1c· t11•H1gl1t

:d tlit.·

]{ai!lJH>W, till' ]1;,]J;.; r1( tJtt• C':tSS J]<>ll SL' , tJ11_• ~l<>Jll_'J•ih,
: l 11 t I t I l l ' l' ( t l. : t .:..:· L' f ) j ' ~ l 1; l '. -) ~ 1: L ! . 1 l 1,_ · I
I l l t I J l' >· l.. t l 1i . ; \ ( t :--. I ) l

ti1L: J1ttic

t h e n c c \ si()n s, :1nll th :1 t t ile List SL' lllcll <.T summ;1 rizcs

tn:1kc-.

11iti< \l · l

h:t L:k <r"u 11 d , t :~L·

11f \vhi c h iuc :tl izc and ind1\·i cl u:t1i: ..c t ]H.. · p l: tct_'_

P r ove that th, fi r st s e ntence ch:i. r adc;rizes all
th~:\·

Ll i d .

"/}1·_,( ·11/1// 11/!.': dr t· JJ:' c 1S/ 1// 11//.- 'i

l>n 1111 tiff ! J L·n111!."

th e g c·nvr:t1 irnpn.:ssi1111

t i( ii ll.' .-...:~,·r \· 1~

). .~:t·11.~·1 ·~ lj ) l 1 ic~ L \ : t11(1

Exercises

I.

:--=, 1.._ ·L' JlL·

u>111h111L·s l1< 1th

1 111t l i i n .~ ·

in c it h~· r /It,· /, 111· ,,/ t/11 · / 1rsl .1!i11s l rd nr ,Jf,11·11111•11 111
cn rnp :trl: f11r ILLtural cl L i i1l~L ll l' {! 1i·c;..: \\· 1th t. 111.. · ~ ll 1 1:tt i(•i l
in / /11· /_ 11 d J1 <'( t /1,· l. 11!-!' w h e n l\ .. 1 kri"1-: I lh1 1 ll'iii,l k s
fur his c lal1sn.i cn t u a ppc ar, <ltld t h e astonished Fitz]amcs secs th e lon e ly m o trn t ain-si<k s u dd e n]\· bristle
\vi th tartans and spc:trs ; and the h~· ht whicli fo llows
al the furd is a n :<Li li.~· Jit, in a sense; n ut al all t u lJc
applied to t h e; t11urnamcnts an d "thcr c on ve n tio nal
l ' ll l'<'1 Jt1t c; rs ot the c arJ1- J>" Cill S.
/Ins .i:a111 111
s11/;t/,·1y flj lr<lllllfi'!tl «•ti/ /1,· 11111di" s lill 111or1· aj>j>rzn·11t /ry
1·0 111f1 1 ri11.~· 7,•i//1 any s11/ •1-r//11/11r1il 1/•isfld1 - i11 1/1r 'Lay'
t/11· 111 ·011111/ /11 /if,· '/.11dr of //1,· /.11 /.-1· ' oj //1,· 1111 tar lli~y
j>ilrt' 11 /ag1·

il / <l _II I '

t/11.1 /•1•n11

['!!IC f,ad_1' (! //it !' l.ak,·'J s/1(!7i'S f!7 '1· r f'ar /1,·r w ork is i11
!ill' g re<ll<"t' .!;'., ' l!lli'l/1 ' 11 ( .\._... <) 1!1t.' p11r ·t i c· <!Ji'r/.
1 n th e tk·scri p ti(;11, for c x:i.n1pl c\ o f th e .l pprn :tl·h of l{.-id c·ri\~ k

} ~n. n dccl

/ r!.:'

,,•1!/1

a cub·,,·,.(l "/ 1r1111."

Exercise s

till' t••pic

se nt ence. Find in the mag·azinc·s and hr i n~ to class
othe r c .' \:1mpi e s u f this kind of summary .

L

Pruvc that the :tbo\·c lll•,,icl t·o11t:111is i•·Pi c' and

s unnnanzrng- sentences .

l'ni,-c tlut it 111c:1ti1•11s

=
'

t;'

,;__,_·~~~

Compos it ion and Rhetoric

both the geographical anll the sucial backgro und.
Point out the expressions which carry out the
thought of the first sentence. Bring to cbss other
examples of this kine! of summary. Mention some
books in wbich the backg-rnund is \·cry interesting.
II. Write a summary of the soc ial background
of some book yon h .we read; of th e g-c:ographical
background o f another.
III. Summarize th e background of the imaginary book on whi ch you han~ been asb.: cl to write
in sections 218- 221. l'se local t•iuches individualizin g places known to the class.
C 1\UT!0>: .-

du not

of

i7l

co1~(use

scc11·011

<l'rili11g t!tc paragraph on bnc!.gro1111d
"place" ,,,//It" occasion," •ulticlt is treated
/11

22 1 .

223. The General Estimate of a Book. Students often resort to vague, unmeaning ge neraliti es
in giving the effect which a hook as a whole has
had upon the m . Th ey shoul<l avoid the hackneyed
remarks which they find in critic:-il essays and histories of 1i t e rat \1 re an cl tc 11 t nt th fu 11 y the impress ion
th e boo k has ma<le upon !lic111 . The w1ml tr11t!t/1tlly
should be emphasized because stude nt s are often
more conccrnccl with the quest ion of what they are
expected to think a bout a book th:-in with what
t~ey do actually think about it.
In writing this
kind of paragraph, let the student imagine himse lf
t~lling a fri end the effect some bonk has h:-id upon
him . The following ;tccm1nt by Lamb of the impression J!1t' ,. / 11<"in1t J1/ari110· m :1clc u pon him cont:-iins the paso11al cln1101t which makes criti cism
sincere and inte resting.

Tltt · Expository Tlinw·
MonE1.
. "F{I~ 111l', I ,,•as 11c•·tr S{I 1~!Ji·rttd b_;1 a11y li1r1111lll talc.
J\(tcr first rcad111 g- 1t I was totally posscsscd with it for
many Jays . 1 d islike all tht: rniraci1Jous sidt: uf it· ln1t
the fct:lings uf the man under the operation uf 'su ch
scenery dragged me along· like Tom Pipe's mag ic
whis tle. I totally differ from the idea that the 1lfarincr shunld hav e had a character and profession . This
is a bt:auty in C'1tlli<•a's Trrl7. els wl1erc the mind is
kep t_ in a placid state of littl e wonderments; but th e
, / 11ootl JJ!ar111t·r nndcrg-oes such trials as CJverwhclm
and bury all iJHli'.'idualit): or llll'mory o[ what he was,
-like th e state ot a man rn a bad dream."
1

Exercises

I. Point out in the above model the expressions
which enforce the thou gh t of the first sentence.
Bring t o class other examples of this kind of summary which you will fin<l in books or rnag:tzin es.
Point out in these examples :-iny minor devices or
any touches of humor that they may con tain .
II . \.\Trite :1 paragraph g iving ymir personal feeling o r views abotit :1 story you Juve n ::1d; another
on :-in i mag in:-iry book.
224. Material for Theme-model X.
In writingthe following exercise on Theme-mudd X. an effo~t
shou ld be made to keep the introductory and summarizing sentences of each par:-igraph from becom ing trite. The student should also take pains with
his expression :-im1 should use the minor device s
di scussed in Chapter VIII. This kind of compos ition sl10t1l<l stimulate an interest in the r ead ing of
literary criticism, not only in the magazines but in
critical css:-iys, sl1ch :ts those of Lo we11, ~1atthcw
Arnold, Birrell, and Mabie.

. ;.
;.~

'

' : 7·.

.,
i·
~·

.

.

..

i'

\

f/11 ·

Co111positio11 a nd R/1ctorz'c
Exercise

Choose any of the fol lowin g subjects:
Irving's R ip hw /Vi11/.:lc or Tfi,. l1:r.;oul uf Sll'l'jJJ

1.

H ollvw.
_. Any 11 0\"<..:l, ep ic, or play in the Iist of college
en tran ce r e q11irc1ncnts.
3. An im :1.i..:·i11ar y 111>vel "r play liy sum c.: \\·ell -known
person, John U. Ruckdelkr or 1\11drew Carnegie, for
insta n ce.
4. An im ag inary 110\·el, us ing f() r th e background,
the Philippine ur Cub:tn wars, th e la bo r tr•iubles in
Am er ica, li fe at a fashionable summer resort, or the
Colo ni al periou in Am e rica.
5. A review co mmending :m imagina ry novel or
play, :i.ml :i.no th er severely criticising tile sam e.
G i-: N 1·: J{AL D1 1u-:cri o:-.-s FUR Tll E

Boor;:

REVIEW

/ Jo not ncgfrct t!t c t ime do11n1/ 1·1t "t/11: sdti11g ."
i!Je11lio11 lite titk of tiff /Joo!.· in" lite .1ctling."
3. JJo 1101 p111 in to t!t1· para.~ raplt on plot, 111alerial
t!tal properly /;dongs in //tc pa ra.~raplt 011 clwracler, or
1.

~

1n ce "iJt'r.sa.

4 . /)o 11ut 11111/.-c / 1111 .fri ·1111n1! 11s1· of //t t' r.rprcssions,
" f l dt·1rls wit /1,'' "fl g i<'t's."
5.
T/1 r' prrsr11/ /(11s1· 11111y f>,· 11snl 1/iro11g /111ut t!tis
t!tcmc.
6.
T!t e panr.r.;n1plis s!to 11/d 11 11 / •·ary 11111clt in le11.i;tk
.)pccial ca rt' 11111sl /!1· 111/.-01 11 t> I I t> 111a!.·1· !Ital 0 11 plot too

!011.i;.

7. T!tc gc11tr11/ / 1111 1· (!/ l!t1· /1011k 1J1ay ht i11dicated in
t!t1· dwrar/,·ri:::in.( st'11/01a of l!t1· p1rragraplt 011 plot . It
111ay b1· slated //111/ t!tr /Joo!.· is so111/lr1· " r 11:~/tt, clc.
8 . /(r1-p 1/1r• /,/or ol (1 111/ra.1/ 1.11 111i11d as J'Oll w rite tile
s11111111ary 1~( d1 1n ·11(/<"1'. (S ec ~ .!2 o .)

f:,"_1-po.1ilor_v fifflllt'

22 5 . Theme -model XI. - T 111·: l< 1·:v 1nv ' >,.. 11
Co1.1.1·:cT11 iN <ll' ST<>J{ I ES. In the following pbn
for n : viewing a book th:-tt consists uf a numlicr (1f
sto1:ies, the paragraphs should b e macle expository
by 1ntroduc111g e ach of them vv ith a ch:i.raderizin ,...
<r
sentence ancl c losing· it with :t su1nmarizing sen tence . e \"Cll wh e n the maleri;d l!sed in t he parag r a p h is narrativ e.
First p aragraph - should contain a stall:m cnt of
the t y pe nf life with which the storil..'.s as a whole
deal (New England life, 1.-:: c ntucky sketches, etc'. ,).
It :-;houlcl also sho w wh:-tt :-;pccial aspect 1>f this life
is cuntainccl in eac h o f tht.: four or Jive most interesting of the stori e s . This ma y be dune b y giving·
the theme o f c:1c h. (Fo r the meaning of the t erm
theme, see s e ction 2 1:-\.) A model for thi s p:tragraph follows in s ecti o n 227 .
Pa r agraph s tw o to fin: - sh()lilc1 e ach ,.,.
n- iH· a brief
accuunt of the plo t of unc (If the stories m e ntion e d
in the first para graph. The characteriz i ng and summari z ing sentences in each p:tragraph s huultl not lit:
forg«1tten. J\ model fu r this series uf plot summari es
is gi\"Cll in se ction :?2X. Th e number of p:tragr:tplis
ncedeLl hcrt.: will vary w ith the hook whi c h is l)l·inl!
r e vi e \l'cd.
.
Sixth paragraph - a s ummary of the characters.
Use the m11dd <if s ec tiun :?! O. Select c ha r:t<.:tc rs for
mcnti .. n 111it fr•im :l sing·lc story, hut spc:tk of th e
le:uling· ch :tr:tcl c rs nf e:1l·h story n.: fcrred t11 li y n :tm c
in t he first par:tg-r:tph. ( Sec ~227 .)
ScYcnth p:ir:1graph ~- a ge n e ral est imate () f the
book, its merits and faults. Use th e m uclcl of sc<.;tio n 22}

,,4

''.
1·
"

;

r
f
t

·'

•''r·

328

Composition and Rl1ct01·ic

A series uf short biographies, such as ThackerJ.y's E11g!is!t r/11morists, jJ.rnes T. Field's Ycslcrdar;
,,,if It /l ulltors, or Thom:i.s \ Vcntworth lI igginson's
Cimtcmporarits, mJ.y be treated in the same way as
a volume of short stories.
226. New Paragraph-types Required in Thememodel XI. The sixth anJ sc\·cnth paragraphs follow the models given .in sect io ns no and 223, as we
h ave se en. The introduct o ry paragraph and those
dealing with plot (paragraphs 1-- 5) r equ ire new modeis, which ar e giYcn in the two follo-wing sections.
They arc but slightly different from the corresponding m odels in Theme-model X.
227. The Introductory Paragraph. Section 225
stated of whJ.t the firs t paragraph of Theme-model
XI. should consist. The following paragraph contains the items mentio ned there:
J\'[ODEL

"ft 1c•as a !tapf')' clw11cc <i'ltirl! !cdllfr. Jlfowhray Morr is to w rit i11g Ins ' Ta Its 1'f I /1 /' .\pa 111 s It JI !11111.' JJ ct ween
t!te cm1crs of a sing /,· /J{lu/; li e /ms /Jro11g/1/ togdlicr 11earlJ1
all tltc incidents w /1iclt 111arlc .)famslt /l 111cnca and tlie
n•a/i'r routes t!tcrclo t/1 r 11111s/ i11tl'rcsti11g part of t!te
world for 11mrly t<uo cc11 !11rfrs. The voyage of Columbus, with whi ch th e volum e opens, is well told; but its
interest and that of the discuvLTY of the Pacific which
succeeds it is suon dimmc<1 by th«; cxploits of that gallant band of S ou th Britons-Drak e , Raleigh, Grenville,
an d oth e rs. Th e immortal story of The R evenge is told
anew, and will be \\'e lcomc, for nll the brilliancy of ~he
writers who have told it before. More than one-third
of .th e hook is occupi e d \\'ith the deeds of the buccaneers, e nding with Morgan, the greatest of them all.
These arc bra<•e stories of lm1 -:·c da;1s a11d briwc!y told."

Till' l :.'.1posilo1J' llll'111t·
Exercises

I. Point \l11t in the alJO\·e model the clwracter1z111g and surnm :.trizing sentences, and th e exprcsswns \\·hich e nforce the lc;1rli11g thought. Bring
to cbss examples of the introductory paragraph
(§ 227) from magazines o r b<)()ks of criticism .
II. \Vrite a p:tragraph introducing a rc\·i cw ur
some collection of stories that you ha\·c read, (ff
may real1, in p reparation for this lesso n. Folio\\'
the abn\·c model.
A volume of J(ipling, Ha\\·thorne, :M ar y E. \Vil.
kins, SJ.r:-th Orne Jewett, Bret Harte, or any other
writer of short stories, may be r ead in this connection .
III. \Vritc the introductory paragraph for ;i
review of ;i n imaginary collecti(m "f short stories
dealing with the life of so me town in which you or
your parents formerly lived.

228. A Series of Plot Summaries. The following snmrnaries of the story of two of George Eliot's
novels will serve as mudcls for paragr:-tphs two tn
five of the theme-model in section 225:
" ' Tlte llh~I 011 lite Floss' is largdy au!o/Jz"(~r:raj>lu/·11/. It
prese nts a v1vH1 picture of chi ld life and ···irllwud and
it solves a m o ral pr(Jblern. Maggi e 'J'ulJit.er is a re:tl
girl ; she plays in the mncl, rips her <lresses, and in her
mischievous nwmcnts mangles her hair ; hut when she
grows older and reads 1111' /111itatio11 of (/iris! her soul
opens ancl she kno\\"S the beauty of i1wral ideals. A
ens1s com es. 1\flcr 11:t\'i11g .~·iven her \\·onl to "ne man
she falls passi o nate ly in love with another; hut he is
pledge d to her d e arest frivrnl. In a moment .,f \\'c:ik ness Maggie yields to selfish impulse, but before it is
too late, r e pentance comes, and the crisis is followeJ

. . ~,·

. :: ....

33 1
bv thL: h e r " ic tr:i.g«:<ly o f sclf- rcn11nciati o1 1. .\dj-ro11111 cz'1111011 / //1is is 1/1,· Clt risliilll .w/11/um ,1.f /It ( 1111< / 11irdttil
17!ti lw r.
"'No111ola' is t/11· rrs11/i , 11 1>! 1f 1•!•s1I7'r7 !ir111t111d 1·.rprriOlff ////I o_f rn11/i11 •r a 11rl rl°so1rd1.
1 t tak cs u s to Floren\·~· an ll the g·" ld~n days " f t h e 1Zc11 :1is,;anc<:, the court
uf lllc ~l1..._·1 ll l'l , ;tiH1tlJc1..·1 1il\'l ·ll l uf ~~L\'! • ; L 1r ~ 1i: l. . .
Tit<> l\ 1c·1·.·m :1, the cl' nt r:tl fi.\.'. 11re , is tl1c :rn thr>r's rnost
! '! '<1!11 111 11!

:--.ill•l}:

1i1

~ •S \' 1 · ]1 ,· i •' -~ '.-- \·

l

!l·

1'~

:l

229.

i l : t •: l H-ii iL: i 11 \·~ 1 11t i 1

)' 1 1tlll .L:- lll: lll

lS

;Li l

g-ou<l alltli o r will scrn.:: he r e . lt k11ds Y:tr1c-ty :1;1 <!
therefore inll:rl·st tu t1 11.: rccit a liun t<J ha vL: c:-1ch
memb L: r of the class writ e on a diff L,r e nt volume.
Exe rcise

;t\\· ( 1iJ

c:-q >r c s s iu ;·1· of tht.: \' 111dii.-t 1\·L' Jl<>l\Tr , ;( i\ 1: ll1csi,.;. U11ce
'r'i t ()' s rt.·al ch :t r :t1.._' Ll ·r i.~ k1111 \ \ ·1 1, h:()n1(1 Lt. 111:--, ; n1n:, n1)hlc
\"L't cs sc nuallv p~t· 1 · ;1n \\·::"c. \';i11ild Ill"\" fr "111 l 111i1 ~ 1 1HI
frnrn .t.hc wick1.:cl11~ss "f Flurcncc. hu t !-)a v"n a ruia a nd

For ong 1n ai wnrk ch("'"'' e ithe r of the folio\\· ing
s11li j c cts :

1

1. J\ rcvi t.:w iJy an anL·icnL (;rn:k ur E~y1 • t i : l!1 "f
s o me 1m:1;;1 1ury culkct i" n "t :;] Hi r t ,;t<> ncs tii:11 11i:1Lt.:
nH:nli<>ll .. f the ap11lia11\.Ts ,,( m11d•· 1·11 lif~·.---- tlw kk-

an a\vakcncd c< 111sc 1c 11cc ci 1 1 · 1 ~U ; l11 i1,l_· h1..·r, sh11\'\' i1 q_~· li er

th e p a th of <111L y , and l> y n1i11i s t c r111;.:-, _a micl a si!i fol

1 1t. l1 l·rL~. l l t'i· tr ··.tli)k·~l St!\l~ f111<ls
:.·11 s d lrl· :'/1 ,·,-: r/1·11s <fl:·r l . tl/ 11 ! __ 1( ;,'d;~
7 1·,- i l/ 1·11 /!J.:,lr ·r 1· / 11 11,/\" 11/ t l /~ .J' i" _\·q ..-: 1/ 1U t rl /, ·r n·,- 1 1/ /1n/u rr'.
pt_1j111l. Li.·c 1
t it.· ;il·t·

~t1 ~lt t.:

Jl Lc d> 111

Exe rcises

--==

~-

par:qi:r:tp h s o f this kind.
i [_ 'v\'ritL: a numbe r of p:1r;1gr:qil1s summarizing
.::;c \ -c r:il shur l slu ri L:s, or SL'\ cr;d 111 >\·L·l s lJy lite same

\\Trite a series ()f p:1rctgrapl!s su1111narizingthe plots in the im:.tgm ar v c •1lk d 1011 "f sto ri es mentione d in an exercise unclcr sediun 227.

I ; t \ · " 1· \ : : 1_ ,

r (_ · \· ;

t: t l

J:;

! ' :---

; [ ',

:·. I !

i · \ ·:

l ·

r. "·.- : , ,

1

~ -; :

1

.i ;

ic 1

' i. ·

1; i

H ;l ·

~, ~

230.

l JI .

·~

•

- ~- ;

t

r' ;

i , 1\

·

"r

;rnim:1I

Review of a Collection o f Essays or Poems.

The handling of a numhc:r of c .s s:tys is an:tl•.)gt•Us
to that uf :t number of short stori e s . The Jirst p::n:1graph slrnll]d g·i\· C t hL: g-c1H:r:d s11hiccl of t he css:tys
as a ·w hole and shilu;d c ; 111 11l lT: ll 1: :1;1d l1r1c·Jly cli:1r:wtcri/. e Ji\· e o ;- s1 :-; <>l Li1L: m1 re 111Lc-rc·c;t1ng (>llL'.c.; . F:tlh
uf the s uee ccd1 11 :.:: p;1r:tgT:qi l 1s .s l111 11 id gin.: ti1c..: gi:.;L
of one of thL: c.s .s :1\-.s rn1·:1t i<> J Wtl i 11 l) 1,· Jir.·;t p :1r:tgraph. T11L: the me s iw1 1id el use \1·itl 1 a p : 1 r: 1~ 1 ;q)h
JcscniJing· the g·cneral 1rn p r v .ssion \1·l1i c h tl1c L·ss:1ys
1

-~

rl

I" \i

2. A revi ew o f an irnagin:1ry cc 1l lcct iu11
stori es ; of Chr is tmas stories; "I !airy storit.:s .

thou )_':hl in L:ach par:q.!,T:tph :ts 1·:-qnL:sse d in Lil e firsl
s e nt enc e . Bring t" el:tss cx :1 rnplcs of a seri es of

auth o r .

)

I : r 1 r l .-'. ~ , l ; t t 11 l_· i 1 l l . r l "1 l t 1 ~

1

· /\ 11 //lt1 !.1 '

l. No t e th e char:1cterizi 11g and sumrnan zrng
sentences in tlw p:1r:q.:;r:1phs quntc(l abnv<:. Po int
Olll tllL: eX]> l'ess llJJ1S wh1ci1 Cili\Ji°CC l ilL: kaJiu g

Sc: \ c:·;t! 11f

I-Iawthurnt.: 's t:tl cs , s omL: u f wi11ch y () u h~tvc :1 i rl· :1ily
r e ad in connect ion wi th Cli:tptcrs V. :rntl :Xi , n1:1y
be r eviL:we<l Ly u s in g- Thcmc-m()<ld XI. Th e na rrative J>Ol' l11 S arn1 p r" sL: st ori<.:S q11 " led in tl1c: fir.st
p art of this Vl!lume rn :ty al s1) bt: tn ::ttL:d as a coll1~c­
lion "r sl ••ri<:s :lilt! rn .1<k \ <J f11r111.s h m.11\r i.d f,, r
'l'hL·m1.: -111,,tJ,_l :'\ l. 1\11y ];,",].; , ,f ,.;J1 <> rt s\,.r 1, ·s i>\·

.l'.iftc d with all the gra<.° L'>' :111tl q11ai1 l t<> tha t i,r 111g· :-;uc ccs>', ln1t he l•>\·L· s 11k:1,. ur ..: :1 i>< >\L: a: i tit111,;s, :u1d :1\·u1Js
any p:1i11f11l se lf-s:1crifiu..: . < hlL' n1i c; t:1L .. -, :1 sli.~ltt im p1il ·
s iv c :1ct of scllish11css, !<:ads tc' a 1wlhl'r and th e n another, and hcf<>JT th l: 111an is aware he is ca u ght in the
to ils oi fatt.: and d1·:1".;..: c •1 tu 111· ,.;t r ll di<>n . 'l'liL· :-;J .,w,
~1lh t1l' i..\ 1. ·:1· r; 1d; 1iiii11 ( d

Material for Theme -model XL

): .

.

(_'r-111posil ion 1111d Rliclorit

T!tc Expository T!t c111c

:is :i who1e m:ike o n the read e r. A collection of
poem s m ay be r cY icwecl in the s:ime .way :is th e
essays, if they :ire re!leclin.: or desenpt1vl:;_ or as a
um 1Jc r of stPrics (~ ~ ~ 5 ). if th ey arc narratl ve . In
11
re viewin g a b1i11k of poe m s a combination of th:e
two rn l: thods uf dca1i ni.; with the story and essay ~s
possible when the s u b j ect-matter o f the p oems is

The treatmen t sugg-estcd in this sectio n is n ot,
strictly speaking, that of the form::i. l b oo k r e v iew.
The su b jects a rc tak e n fr o m lit e rature, but th e for m
is l ess rigidly prescribecl th a n in that of the ot her
th e mes of this ch:tpkr.

332

Iniseclbncous.
A sc ien tilic lJook which treat s o f one s ubj ect, or
a book like Thoreau's IVa/d(ll, or Riis'~ H ow the
Ot!tcr }!al/ Li<HS, may be r evie w e d a ccord111g t o the
p bn for the collection of essays by treating ~he
sep:iratc chapte r s as i f t hey we re essays on particular asp e cts of th e ge n e ral sub j ect o f the book.
E xercises

I. \ \Trite a r e,· icw of so m e h ook of essays 13urroughs's nature studies will furnish ex~~11.ent
rnate ria1. l \ny of the y olum es o f llter:iry :ntic1sm
you m a y have found. and r ead in your earlier study
of th e b ook rc,·icw may 1Je used here . For mo ral
an d cthic::i.l essays, read Ru sk in, Bacon, o r Emerson.
' II. \ Vrile ::i.'n.: vi cw uf s•>llle trea tise whi ch :liscusses, in scvera1 chapte rs, a single soci:il , scientific,
political, or art subject. Mention in t he firs~ paragraph (sec~ ~30) th e sc,·cral chapters_ you intend
to discu ss, ancl trc :i t th ese ch apt e r s as i f th ey were
separate essays. JJoo ks o f travel also may b e handled in this way. Here ::i.g::i.in each stu dent sh ould
write on a different book i f possible.
III. Review any o f th e w o rks o n t h e list of col1ege e ntrance r equi reme nts wh ich co nsist of a number of poems o r ess:iys.

23r.

333

Oth er Suggesti ons for the Bo ok R e view.

E xe rcise

W r ite on any of the fo ll o wing subjects:
1.
A lett er to som e livi ng au th or, telling him wh at
yo u think of the plot, characte r, background, etc., of
some book of hi s th a t you h ave read.
2.
A letter t o so me dead author si mil a r tu that sug gested in the preced ing subjec t.
(See in thi s co nn ecti on Andrew Lang's /, cttcrs to
Dmd // 11/ltors and L t lltrs t o Lh11.11g , / u//wrs.)
3. An imaginary conve rsation between t\\'o auth ors
in reg·a rcl to a book \\'ritt c n by one of th e m.
(S ec \ V ::i lter Sa vagc Lancl ur's ! 111a.i:i111nJ' Co11'i't rs11 t ions for the use of this plan in literature. )
4. An a cco unt o( th e books that yu u have m ost
e nj oyed. Use the foll uw in g plan, licg i11ni11g- with the
earliest hook that made an impress i1111 up1 in Y"li:
A :-;ituation - sh ow in~ the c ircu m stan c<.:s un de r
which you read the liook.
A n account of pe rsons or plac<.:s co nn ec ted with you r
r eadin g- of this book.
Th e rp1alitic;s of the book that made it attractive to
\'flll .

T he seco nd and s ucceeding- books may be treated
according to the sam e pl a n, and th e books sho ul d be
mention ed in th e ord er in \\'hich you r ead th e m. This
theme may be made a kind of a u tobiograph y. (See
Howell s's 11/y lilcrrrrJ' f'assi(J 11S.)

', ~

Co111f'os it io11 and N lid 11 r ic

T!tc E .ipusitut)I Tlll' lll t'

Theme-mode ls XII. -XIV. -T111u~:E TYPES
H 1s T <> 1u C.\ 1. E s s.\ \.. . H isto ri c: tl matt e r i s so
va ri (>u s t h at it i:-; i111 puss iblc t o sug-g es l in a n ou tline
ge n e r a l l "pi cs to he discu:-;sl' d as i n th e case of t he
]J(l( >k r e vi e w. Till~ 11\ ()<lcls f ll r lh e li ist 11 r i, ·;1l ,_.s,:: <y
m ust, th c r ci" r c . h a\·c t h eir 1nsis in struct ure rather
t h :ill ma tc r i :d. (k: tl i 11 I.( w it h t he r e Jal io n of p:i.r:i" T :\ n h s r:1 t hl'r th :rn wi t h t he l h () ug- ht \Yl11c h each

The foll o win g di:ig:r;1111 rcrrescnts t he pa r:q::rarh
rc latwn in t hi s theme :

sh n 11 l d c o 11 L U n.
\V 1..- h:1vc "' ' l'l1 Li 1a l t he s1.:·ntc n ce" w h ich de velop
t11c f umbmc n t;tl idea i n :rn c ;;p"sitor y p: 1 r:1 ~rn ph
in ~ 1 , · s ta111l to c:tc h ulliL·r in ,.,,;; n ]i1i; 1lc u r s u burdi natc
n:1;1ti o n or in cl1ii rcl i11:1tc an d su bu rdinale r e lat ion

'fhl: n t11n i> crs i1H l 11.: .1t t · thL' <irdcT ,,1 t i i t: j ) :tr:t ~·. l:q1l1 :-,
I >;tra:..; L tp li t is :1 p:tra ;.:. r:q d 1 (\ ( p: t rl i tion SL l l in.< t ll L· ~ 1il lj LT
jlc v c..: l( ipl' d l 1y p ar: 1.~~r:t 1 1 h . . : ~' -S

232.

OF Tl 11:

.~

'

c"mb in e d. A t h e m e is m ad e up of paragra phs as a
pa rag ra ph i s m a ck up of scn l cnc c s, a n u these pa ra'._'.T:tphs m : 1v lw rela ted to on e anoth e r in an y of the
t11n ".' w :1 \·s t li: 1t s v n tc nces a rc re lat e d ; tli:1 l is , para;~-r:tphs i;1 an e x pos itory t heme m:ty be m coii n l111;11 <', s 11 hnnli 11 :1t c . n r m ix e d n.:bliun.
l n t l1 <: J1rsl
tlwm c m n(lc1 fo r the h isto r ical c:-;sav t h cv arc in coo n1in :i1•' rc· l:tt io n . in t he s ec" nd in s u b<i rc.linate , and
i n tlw thi rd in rni XL'.<1 rcbtiu n.

233. Structure of T heme-model XII. The memrn1 1..·l >: 11. lw l » ll ~'.·s t•> th <: ui i irJ u1 a t c type . I n l h i~
l\T>C tl 1c li r:-;t p:tr: t'.J:t ph \ t i1:1 l ,,f p a rL iti<rn,
-' ;.+ :llld
~,
·
,
,
0·1·ve<:
tl
w
•
Y(·
n
~·
r:
ll
o
utiinc
uf
the
e
ntire
discus-) 1 ' ~
.
.- ...
,;; o n :. th e S11CCt'C tiin'._'.· par:1 ~T:t p lis :tre in c uu rtlina te
r c b t i n n to c :tc h n t lw r , c:i.c h dc v clupi n g- o n e of the
di v ision s o f t b c s u bject m e n t ion e d in the !li·st para~ r:tph. T he h s t p a;·:q.r, r:t p h ( that which sn mm arizt:s,
·~ :___' ~ r ~\
nnll H' r:l l l·:-: t 11l· rILL i n p ()111 t~ n1ad c 111 the
\ ,. h ~ i l -, ~ h (' 1T1 \ ' .
1

33 5

.1
!_ _ _ _ _

- -- · · -- -- --

(,

Ex 1· 1_ ,\;--.,; ,\ 1 111 :--; 1q

i \ l i .; t .~J' <tp l i--.. '..!- S t ·; t1 ·1i 1l l' \ 1: ; " l ' • • ll ~_·

t t·,f · i; r<1

J 1l.\1:1 c.\ \1

1 111-.

1 ,J .

ll w

l<•J' tl''.'> : :wii! irli ~~ · i!

·"'"·
t...:.

1; :

; 1. t 1·:-1.'. .'. ;· :1 ; ,l 1

l'arag-rapll (, s u mrn :-i ri Z<'S th e m:-iin poin ts of th e wh o l e .

234. N ew T y pes of th e P a r ag r a p h R equire d by
Th eme -mod e l X II. fn 1>11r .'-'l ud y 11( tli 1· l ':L r:1;~r: 1 phs
Wl.: h:1 \· c llSL: ci : 1.'-' :11 •11 kJ.-; 11 1 ' '·' i "'':'1ti1 111 . 11· 1· li . 1\ · (· :tl 11·a\·>
fo u nd t h:tt t iH.: j:r::! S (l t/<111 , · :;t: t lc· :.; 1 l1t: ft11 ll i.111H·n t :; i
p r <)j llJSi t 1<>11 11r id e: L. a nd t l1:1L ll1 c· / 1/1/ .11 11/1·11, ,. s 11111m :1nzc s. 111 til e e .'\ j" >s i[,,r1· t i11·11H : 1\·l' tin<! 1 1,·,, ty1ws , ,;'
p ;1ragT:t;i l 1 a11 :tl • 1::..,:·1>u .. . ; t ~· thl ·:--: l ·

t\\ ' 1 )

' '\1

~: 1. _ · 1 1tt · 1 1 c l · :-~ : 111 1c.

wl 111,c.; t_' il ~ t. · l ~ ~ l 11 i1t Li· 1 11lt !l'L' ! 1ll: tJ11.· 11it· . :--.: t. itt · .-.:.

t i it · ] 11.._ · ,' l<i>;
d 1.-;c 1:.·;>; 1i1 1 · 0.11:1

un der wli ic li tl 11.: \1-rill:r p r11 1>".'-'1·s t »
j ec l; tilL'. <>I JIL· r, li."l.' l i a t. i lit: L'i» ~;e ,,f llit : t l H' ll) <', .'-'l l lll 1naril',l_",-. .: tiit · liL Li : 1 j lfli i l i .'-' j ) r t:11· d i :--; c· ~ 1.. .~ .. . ; H1n . 'i ' ll c_ · : i r:--~
\\'l; :-; !l~ L l l ,_·.l ll Ll lt ' t , r1 ·11_.i.,·
r1/ /il r / ///. 111 ( JI' 1/ J. \(J·; ·/, ,1 1 / .' i ' I/
\Sec ~ .c \ ~I . :t11 d Li l t.: l:tsl li1e .11111111/il ri ; 111,:· f' 1rr11i;'l'1lf' lt

'·"''l"
1l 1•Hl

~ -' .;1» .

l i 1•li 1 " 1· l ii c .'-'e ] ':1 r :1:-'.T 1j >l 1-; .1r1 · 1·1-rv ' " 'i ll-

i n 1 ii 1 ~ •• r :1L1 •>11 ,

SL· rm• •i l,

i,·,· : 11rc , : 111• i ><'iL· 11 t i li <'

treati se . They !Je l()n g e iti icr l< ) Llie Cll i.<1·d11 1alc f <>n:i
()f sl ri1 durt: . 1':1r:t c: 1·:1pl 1-t 1·1 ,.
1 J·: ·'P"'-' 1L1" 11 . :: 1 ·.;:-:i_
• >1
t" th e m ix , ·d ( . .;·111 , l ':1r:1 c.',1 :1pli ; .\ .jl •.· I fl . I l ·~ x p 1 )
s i t H 111. ~ 11 ,. ) ).

~'

.

-•'-.

Co mposilio11 a nd N!t1 ·/ori(

235. The Paragraph of Partition. The first of
t he foll owin g e x am ples o f th e parag ra ph of partiti o n is o f t h e sim plest form p ossible; th e second is
m ore el abora te :
I.

An ger must be l imi ted a n d confin e d bo th in race a nd
in t ime. Vvc wi ll fi rs t speak h ow th e n a tural in clina ti on
a m! h a bit t o be an g ry may be atte mpc re cl and calmed .
Secon d ly, h o w t h e particu lar m o t ions of anger may be
r ep r essed o r a t le as t r e fra in ed fr o m doin g mischief.
T h irdl y , h o w to rai se a ng-cr or appease a nger in another.
-

F1t AN CI S BA CON,

E ss ,zys, Civ il an d 1lfural.

The fo ll owin g conve rsation between a fisherman
a n d a p u p il to wh om h e is teachin g his art, gives
the o utlin e of a wh ole cha pte r in T!te Complete Angler:
II.

P isca tor : Why the n , sir, to b egin m e th od ically, as
a m as te r in an y a rt shou ld do - an d I wil l n ot deny but
t hat I th ink m yse lf a mast e r in this - I shall divide
a n gl ing fur t rout or g ray li ng into th ese three ways: a t
th e t op, a t th e bo t tom , a nd in th e mi clcl le. Which th ree
w ays, t h o ugh t h e y arc a ll of them, as I shall hereafter
e ndea vo r to m ake i t appear, in s o m e s o rt common t o
b o th th ose k in ds o f fish , ye t a rc th e y n o t so gene rally
a nd absolu te ly so b ut t hat th ey wi ll n ecessarily r equire
a d istin ct io n, which in d u e place I w ill also give you.
That whi ch w e ca ll a ng lin g a t th e t o p is with a fly, at
t h e b o ttom with a groun d-ha it, in th e middle with a
minno w o r g ro und -bait. An g ling a t th e t op is of two
sorts, w ith a q uick [live] fly or wi t h a n a r tificial fly.
That w e call a ng-ling a t t he bo ttom is also of two sorts,
by the h a nd , o r with a cork o r floa t . That we call
a n g ling in t h e m idcll c is a lso of t wo so rts; with a minn o w for a t ro u t, or a grou nd-b a it fu r a g ray ling. Of
all whi ch seve ra l s orts of anglin g I will, if y ou can
h ave th e pa tience to hc:ir m e, g ive y ou the b est account I can.
IZ.\ AK \ V111 .TO N J\ ~j) C HA RLE S COTT ON ,
/'lie Com p!de Ang ler.

I

l

I
t

::::

..,c::
0

z

CJ

,..,

~~

Ii.~
n

""
~ ::~

r.
::~

(f;

t'i

r

0

..,

(fl

f

.~

ll

"

"""'..,.

~·

~~

~

...~

·~

<:;

1

..,,.""'

l

~

j

r
f
!

"

/!11· E xfus i/111 )' /!11 ·1111·

337

Exercises

I. Make a diagram of each of th e above m odels.
To which type of s tru cture docs each belo ng 1
(S ee t§ 1SS , l (JO . I ')~. and 194 .) How m:rny headings
are enumerated in each? vVhat a r e th e h e adings
in c:tch?
I I. 'Nr itc :t paragr:1ph of partiti o n o utlinin g a
subj cc t of your 0\1·11 ch., icc.

236. The Summarizing Paragraph. In the writing of e xpos iti•m we mu st aim con s tan t ly t o be economi c:tl in the am o unt o f atte ntion \\'C demand fr om
our r e aders . The p a ragraph which out lin es at th e
beginning of a th e me the le ading h e ads of wh at
we arc to say i:; one d evice for makin g our th ou g ht
easy for o th e rs to grasp. The paragr::iph a t the
c lose , which puts, in a nutshell, th e leadin g points we
have m ade , is an<Jlhcr u seful device, f11 r it isolates
for th e hcarc r o r r c:-idc r a few import ant f:tcts around
w hi l' h he ca n group tlrnsc of min1 lr impnrt:rncc. Th e
following is an e xampl e o f th e summa ri zing paragraph:
Th ese, then, were the two prim e c harac t e ri s ti cs
which sum up th e t e nden cies of Burk e 's a g-e: An
e n rJnnous developm en t (Jf indu s try, a n cl th e fir s t g e rms
uf th e substitution of the gu ve rn111 e nt of a whole 1)eople
by itself, for the expl oded and t<Jtte ring syste m of g ove rnm e nt liy privil eged orders.
-

J () ll N

!lfu1t1.E\',

J:'dmund /j'urlt"· A Jhsl orfral S tudy .
Exercise

How m a ny points are mad e in this summary?
\Vritc a par:t:.,;Taph summar izing a c hapter in some
book of sc ie nce yu u ha\·c read ur st udi e d.
2"..!

Co111posit io11 and R!tctori1·

237. Material for Theme-m odel XII. Th e follow ing hi stori ca l o u tli ne illu st r:i.tes T he m e-model
X II. bec:m se t he m a in to pics a rc in culi rdin a le relation to e:i.c h oth e r. T he m a teria l is g ive n i n this
sectio n; t he w ay in w hi ch it m a y Le org:rn ized is
sh own in th e next. The fol low ing ou tl in e sh ould
be r ead merely for fami li a r it y wi th t h e s ubjectmatte r w h ich the n e x t sect ion organi zes :
TII E l\ARni\ RIJ\ N I N VAS IONS

I.

1f

al th, · / / 111,· oj / It,· i 11 1111s1i1 J1 .\'.
J\. Its imnw<le rate grc:ttn css le<! t •> cu r r up tion in t h e a rm y
a n d t he stale .
11.
T lte di v is ion of th e Em p ire a nc l th e r l' nl! •Va l of t he
capital illlpa irc·d it s s t re ng th and c: u1 sc: cl :t11 e mulation
in l n xn r y h ct \\· ee n th e l·:a s t and th e \ Vest.
C. T he intine n ce uf Christ ian ity .
1.
I t opposed th e m ilita r y s pir it h y t l':tc l1in;.; p:1ssi vc:

7'/tct

1o e 11J..11, ·s s

c )l>c d

T!tr

Th e d /s.1·,,/1t/1i111 <!f l/1 ,- / :'111/1ir,-.
T hose part s " f th e Empire: far t h est a 11·a y a n d last
w e r e: th e ii rst to b rl'ak awa y .

H.

C.
D.

I·:.
IV.

A_•,,,11 t'

f ft r l" <ft "1'.~· t!f

un i vc r s al \\·as a n1c:t 11s o f def't: 11sL· l o 1' 1 lf l 1': .
F'. ' l'h c saw..:li ly q f lll e i 111 p c..: ri.d 11atllc \\'a s al.~ 1) a s o nn ·e of

stre n g th t u h e r.

I l 11 11 s ,

I I 11 11 :..; : ,r1: 111 ,, ,

l\11l ;,; ari:u1,;,

T art ars .
.\'/ ,,,,, -

('.

l'/11·
i\ .
1

f >u / 11 11 .r.

-

(_'!J;1r:1ct C' ri s ti c s ,,f the T c·tt l o:i.
l' l:y,· .'~irl - ' J' / 11 ·y \\. t T t ; L1 r:~l' 1.f
L' TH lurc l' "ilrl'l lll ' '"' 11 ( 11 1111:..:: t'f" a11rl

:--l;ll ll l c . a11d

; d 1it ·

i11t t· in 1H' r a nn ·.

lo

' J' lt t·ir

ftJ<1d \Ll ~ llh. 'dt o:1. nd n 1i:k .
-· _. l!oral - Tlu.:y w e re v incl id ivc, hrntal , b ra ve: , a 11 d
111 '.l l"J>L' Ild t· n t; f >n d <i f su t·i a l c1 1.i() y 111 vnl an 1l ,, f g: l i ri bling- ; li ad r e s p ect fu r \ \'Ol llc ll a n d fi1 r t li 1· d oir1. ·-.. ! j 1·
\' ir tu c:s ; \1·c re l11 y:d to llt c ir c hi e f.
>· . J/ ,111Jt t 'rs a n d , 1t slfl11t .L

S la ve r y pre \'a ile d and the lll icl cll c c la ss h a d bee n
d e s t roye<l.

l\)rnn e's JJl t ' flll S of r r· .\·/s l 1lltl t ' a.t.,.t1t"11 s / / It ,· / 11 11 11d, ·r s .
J\. 'l'h t: kar in s pi red by t he c; c rn 1a 11s lllad e th e R oman s
c xte n <l th e ir ho11rnbri es t <> t h e !{ h ine an d D a nn he , a n<l
t h is r e lllov e< l i111 n1c clial e <!an ger.
B. Th e \\' ar m c l im ate of l{om e alT1>nlc cl an o th e r m e a ns of
r es is tan ce a g ain s t th e irl\·ading ba rba ri an s, w h u were
a ce us tonH:d l o a co ld c· r o n e.
C. T h e h ariJa ri ans w e re :l \\'ecl at t h e s ta lely ce re m onia l of
C hri s t ianity.
D. Th e y w e r e also i mp n~ ssc:c l by t h e e la borate m a chin e ry
of g o ve rnm e nt a nr l a mat ure civilization.
E . 'J' h c: b a r b a ri c co nce pt io n <•f th e ]{o m a n Em pire as

i 11 11 11dt 'F S.

S,: vt I""'"·"-

11 .

i c1 1c '.

nqi ie rL'd

l "· lf/011 s - includ in g ( ;oths, I' r: t1> ks , Van d a l'
1\ 11 g-les, Ju te s , Lo111hanl ..;, Hu rg 1111 tl ia11 :-:.
.'

1\.

V.

L· 11

_Dat· ia w as th e la s t a crp1i s iti n 11 and th e fi rst t i> !Jc "lTll pt e <I hy t h e c; _,:rn1ans . h e in g ;.(!'an ted l 1y t l1e Empe ror
V:d c 11 s t n th e \ 1s1g n th s, 27u.
l\r ilai n ll':t S th e n cxl l" l ie: ].,s [ , 4 1u.
T hen Afri ca , 4 30.
T h en the E:l s l.
Th e n t h e co u ntri e s b ord c ri n " o n Ita ly .
...
L a s t o f a ll, R o me itself . .nr,_

J\.

cnc1nt es .

] I.

3.)<J

I I I.

- · l t cau se d t heol ngical cli sco rcl \\' h ic h affc·clc·d pol it ics.
U.
R mne \\'as ig1 1<1ra n l ,,f th e ex te nt and cl ange r of he r

E.

l:..'.1/ 10 .11/,11 ; · !!11· 1111 ·

1

"·

' i'h vy we re ll 1 J l llad ~. gq in .~- 11urtli i11

:--. t 1111n 1t ·r

;u 1d

S t>ll l li i11 \\· i11l t.: r .

/1 .

'r lH· ir

hnllSl' S

we re t e nts " r 1110,·ah lt.: woodl' !l hilts

, -__ ' l'.h v i r occ u p :tti o n s

Wl' r e

li:-: hi 11 g- , h un t i n g , :u 1d

sea ~

fann g.
A g r icu ltu re wa s canie cl 011 b y lli l· \\' ome n
an d cl isal 1le d warrio r s.
·
Th ey res p c ct c cl li te ri ghts o f h o s pi t ali t y.
\ ' I.

, / , ·,u11jl r1ris1J J! bt.·/ -;vrt'Jt t !t e

f>'arhor i an

1lh.;r11/1(111 s / 11 / /11· U 11t'll'll S / ,1/t' s.

A.

l' nrposc - · lh c sa me'. t o sec ure h ome s.

H.

N u n1 b(-r of r-~1e h

Wh a l eac h hnrn1~h L
D . T h• elia r a cle r u i e a c h .

C.

In v asion s

,111t1

340

238. How to Organize this Mate r ial. The fol lowing pn.rag-raphs have been written t<> show how
the materi:tl outlined in sccti•m ='37 m:ty be organized according to Themc-molkl XlI . :
First pn.rn.graph - nnc of p:utitio n m e nti o ning
the hen.els mark ed T.-V. in th e outline, is as follows:

In discuss ing- the "Ibrhari:m J n,·asiu ns" we shall.
L'< 1nsil1er Ii\'\; l~<lding- topi cs : First, the Wl:akncss of
R o me at the time uf the iin-a s inn I markcl1 L m the out line j; secund, th e strength <il l~"rn e at this tnne; th at
is the means of r esistance sh e p1•ssl:ssed against th e
i;;vatler rmarkl.:d n. in the outline I; tliml, th e orc1er in
which the dilkn:n t p:trts hnike a\\';t}" l r11n~ the e mpire
[marked TTI. in the outl~ne.J; fourth, the rldfncnt r:1c1:~
ut 1n\·ac1ers [rnarkell I\. 111 ~he outline j, .tn~ fifth, ,t
discussion in detail of o ne u t these races, the ft0uluns.

Second p :u· n.g r:tph - dc,·cl1>ps topi cs nurkcd A-E
under I. of the outline, and r e: tds as fol lows:
\Ve shall find that the \\'cak n e ss of H. o m e at the
time of t he i1l\·:tsi11ns \\'as l1ue t<1 fi,· · cattses. In the first
place its i111111mlcr:tt e greatness h:tll lc cl to corrllptiun in
the arm y and in th e state. Jts strl'ngth was also im paired hy th t0 di\·i si "n of thl: c 1'.1p1 rc and the r cnw va l
of the capit:tl from l-.!. 1111ll: t" ( 0 11st :u1ti11opk, ei1-cu1nst:tnces whi c h causl'<l an cm ul:1t1"n 111 luxury between
the Eas t and the \\' est . 1\ third reas1111 f",1r th e clnwn fa11 of Rome was th e influ e nce "r Christianity, causing
as it clicl thcul ot.:·ical d isc"rd \rh ic h affected politics, and
militatin~ agai.nst the war spiri t by tca~hing passive
obedie n ce. J\g·ain, R o m e 's ignorance of tn e exte nt and
d::rn g·e r of her enemies \\-C:tkcncd her, hec:u1se she made
slig-ht preparations to resist them._ The prevalence of
slavery also contrihutccl t" her n1m, for through th1:,:
institution the micldlc class. the 111:1111stay of any natwn,
was made tu dis:1ppc: tr. \ \' hL·ll \\'l' c<1ns icl cr how dcepseat ed were th e c;11iscs <Jf th e fall ()f R o m e, we c;u1 unly
wonder how she \\'ith,.;t1H•cl the elll: tll y su lu ng.

34 1
Thinl pn.r:tgr:tph -- sh1rnld develop in the same

way the topic marked l [I. in th e "ulline. It slwuld
express the rn:ti11 i<lc:t in tile lirsL senle11ce, <k\·el1ip
this id c:t by SL:ntenccs in C<llirdin:tle rc lati1; 11 with

'

.-

each ot!Jc·r, and summarize in the lasl.
Fourth p:tr:t~raph - sho ulr111c,·<'lop in the s:llnl '
way tl1L' t<>pi c rnarku1 I\-' _ i 11 tltL· ot1lli111:.
Fifth p:tra6r:tph - shollld dc\'el1>p the topic
mark ed V . in t h e outline.
Sixth par:1g raph - has 1)(~Cn written out he]O'w.
lt s11mmn.rizes by g1,·ing a series of conclusions in
regard to these invasions, and llrns den:1ups topic
VI. of th e outline.
\ Ve find a mmkrn parnllel to the ]farbanan lnva,.; ions
in the rnigr:1tio11s to the U nited St:ttes in the !:isl
cen tur y_ There :ire rL'SL·i nhlancL·,.; in thL· ]'t1 rp <•Sc·~ :tn.J
the number ,,f th L: t11·11 c·l:t.ssc·s. :ind di!Tcrl:11,·c·s in th L·1r
eharal"tcr a!l(1 in \\·hat thl:y ha,-,, lir11 11ght to th e c1•u1itnl's
to which thev have come. Buth the barbarians and the
em igrants h:tl-L' had ••Ile purp11se; n:tmdy, t<1 sec11re
h orncs_ As t u the l:Olllparative numbers which ha vl:
takl:!l part in these movements, \\'e are told that th e
harharians c:tll1 l: in hordes. Th e emig-rants ha\'C als(J
c<> m c in 1111 nlcs . hi th e las t fift y yea rs o\· e r fiftel'll
1nillio11s h :t\'1· l'l.':tc·hed "11r sli11rcs. fn c·li;tr:tf'\1·r, h"\\·e\·c r, t hl:sc two cl:i sses dilfer_ Th e fo;· c ig 11 crs \1·iH~
L' Ill i,c.:T:llL' (<1 this l'f>llll tr y :1rt' IHit fr .. 111 the '""" 'S t , · l:t ss 1·~
in th e ir O\\'ll c"t 1ntries, while th e liarharians wcrl: 11:trharians in naturl: as well as in name. Again, the
foreign e rs bring· l o this country both mon ey ancl lalH•r.
Th e barbarians \\'h" Lksccntled ti pui1 Rliille ];; · u u'.~-J;t
nothing. 1\lllerica 1s richer because of her emigrants;
Rome wJ.s poorer.
E x ercises
I. l\fakc :1 di:1gr~rn of the sente nce rcbtion in the
summarizing paragT:qih wliicl1 \\'ill show tliat it is
crn1structcd a cc •irding to l':1r:1g-r: 1ph -t ypc TIT. (~ l<J ~) .

c'

~

,.

L

'c

and Rlit!oric

Co111po.fitz'on

240.

Material for Theme-model XIII. The f"l he u sed t<1 illust rate th e thcm em"d cl di;1g-rammcd alJ()vc. !Jivision l\ should be
s ulJ<>rd in; ttc lli 1.; 11 t" 1\ ; a'[., a; 1 l11 11'; 1 ' t11 l.

Prove that the firs t sen tence states the fund a m ental
idea . and the bst se ntenc e sum ma r izes.
IL vVr ite pa r:q.~ r:tphs lI I.-V., using 111 each th e
topic and summarizing sentences.
239. Structure of Th e me -mo de l XIII. Thememodel XIII. correspo n ds to Pa r:1g·r: tph-type IL
(§ 190). In that type of p:tr;"lgraph, tlie developing
sentcncl's are in s u bordi nate rcbtion t o o n e a n other;
in Theme-model XI! 1. the cleveluping paraJ:rr1flts
stand tv one another in the su bord inate n.: laliun .
This kinr1 ()f thcllle m:1y lie rcprL·scnll'd liy tlw
foll owing· lliagT:tm:

j

lowi11g· uttllinl: 11uv

I.

11·

·1 ! ! l·

-

--

---"'"
~!!"'.·'•

.\"/(rus.

1

A\·as1J/ts/or

//11· iJl'i.lilSio n .

]l!t· / •ra , ·/1( ·1.-· (:./ lll.!in_;' !/"-· j',_· 11/( l /iJ / ,1
s, .,..,," i11 //1c.· !1'e111dn £1r1111 t" S «11i1/
ll1r
f~·11 / 111 1s /11

/ 1'1ll ' //

/ft 1· /\'1 1///(/// 1l! · /s 1:/

{t' 1ll-.

24r. How to Organize this Material. The
matc r i:d outlined i n thL: preced ing- scc·tinn sh"ttlrl
be used as f"llci\1·s i n (lc\·cl(•pi11;..:· an histurica l LSsay
according tn Theme-model X llL:

~~:·

I) l .\ 1; R :\.\l

rj 'ilc Lhird dc\· eJ 11ps a l'urlion of tlic s1.:cu 1HL
rrht...• f1.urtl 1 dc\' C l 1 i j''~ ,'l pi1rti•1)] , ,f :i i·· t1 1i; : , ;111·1 :-:.11 (iil.
'l'h<> l:L;-;.i p : u·: t~;T:1pl 1 ~1 11111nari 1( ' ~ :lit• 1n:1 i1i 11ni111 ·~ J,r1q1 g· lit_ 1q 1t in
l lh-· ol lit•r 11;1 r:1t·:r :qtlh and l't · li;rn...; t.-, :!11· r~r-...1

.\1ylh1~111s ,

l>fll t>I/\'
'f/1,· /11 ·; t1 Sl(111 <'_//fl,· /{ ·11/1ll/S .

~~.__::

~­

i

i11 7 1rrs1(111s.

1j i1r;1 i1d'-·rx- 'l >11ttJ11s,

1 /, -, /

~­

-~~~

A N .'\ I I 1 ~"

r'

1 '.

.1

i•: x l'I

1

I .

·1

'The nun1be 1·s indicat e tli L· ~1 r1lt · r ~ 1f tilt· p:l L lf..',T:lph s i11 tlit· tlwnw
'!'he f-i rst par:t~-r:q1h ~ t:it~- ~ ~ tl1•.· -~ _:,t · nt ·ral jl•1in1 4,f "· it· w, 11r tlic
gt.. TH.: ral qu e stio n 11 nd<'r i.._·n n~idc rati on
' f'hc second dev e lops a p11rlit 111 <1i- t li c first .

l /.
tl ,

i

,,

'l!h· rlf< ·,·s
tT .

_~
I!

'l/"· /Jar/1a rioJ1
1\ .

~-

-~ o.i:

~·

First p;trag-r:i.ph - Tiu· /1<!rlhrri1111 1·1/ ,- rasz.011s (t. (lpic
rn:nked 1. in the outline , ~ 2_io1 . Th is rni 1.;ht he
cbil1>ratctl by dclinin~- the nH::Llling <•f the term <1r
telling ol thl: i m pnrLLncc of the nwv c mcn l.
Sccnntl par agraph - ~ !k· rt1(1'S (I/ i11:·11J,,-, (topic
mar ke d/\ in the ouliinc). This mi~;iit be <lc1·c l"pl:cl
by t elling who they were: where c:tclt c:Lmc fr"lll;
what were the su bdi vis iuns of each; wh:Ll w:ts the
im portance of the Teuto n.
Third paragTaph - - lite !/·11!011s (l<Jpic nnrh·il a
in Li ll' untiillL'i . The m:d.c:ri;1] l ., lie usc·d tlw pl1_1·s
ic:tl :trn1 moral ch: tr ;tcll:rislic·s, :lilt! p () l itic:tl ideas
which impL·llcd them to i1l\·aclc 1'. 11 111c.
F"ttrth p :1r:1gr:qi h --- T/11· z"11i't1_1i(l1t o/ tlu· J;111ons
(t .. pic m:1rkcd a' in the outline). This mit-':ht dc:ti
with the dli"fc·rcnl atl:lt'ks 1.>\' lhl: in\'a1lt-rs.
F ifth paragraph -- /\.caso11s jl1r I lie lm110 io11 \ t< •pie

=:·

...

Co111posil l(l ll n11d Nltr/(lri1·

Tltt · F.xposit orJ' Tl1011c

marked 1 in the outl ine). The T e uton s n cc cl c tl more
Janel b c c:rnsc they lncl in c.:rcasu l in populat io n, ancl
w e r e pressed upon by Sla \·s. T hey felt able t o take
what they w:u1 tcd, fo r th e y \\-e n .: al rc:.Hly familiar
with the Roman :nts of wa r. These thoughts might
be furth e r amplified in wri ti n g this p:trag r:tph.
S ixth p:tr:tgrapli --· l!1t f'rt1d/,·,· (If /1iri11g Ili c h1t/011s, , ·fr. (t•>pi c mark e d 1 ' in th e ou tlin e) . 1 leve l<>p
this by ex:unplcs of the hi r ing o f T eutonic S<>lclicrs.
Seventh p:tragr:1ph - ;\ summary showi ng that
these i11\·asi nns \\. LTC a natura l outg rl) wt h of t he
b :ubarian characte r and th e circ umstances o f t he
times.

the third is to develop as its fundamental iclca. The
sam e s h uulcl b e tru e o f th e firs t sen te n ce in e a ch of
the oth e r p:tr::tgraph s. Th e las t se nten ce in c::teh
should summarize th e p o ints nu d e in th :tt par:-1gr;1ph
o r draw a gc n e r:tl c o nclusio n in r l!gard to the subject di sc u ssed in it.

344

345

243. Structure of Theme-model XIV. 'T'hc 111cmodcl XIV. is made up o f paragrap h s in hoth cuii rdi1ntc and Sll b or cl inate r e lati o n. It co1Tcspo nc1s to
Pa ra~raph -t ype III. (§ I ~)2) .
It h ::ts a m o re in t ri ca te
p la n th an the t wo preced in g th crnc.m ock1s, and is
therefo re harder fo r the r cad c r to fv llow. In our
stucly of thi s k incl o f th e me \\·e sh: 1ll cons id e r first
some historical material wh ich i sst1ilL'<l toll1i .-.; f.,1111,
a ncl sh:i.ll t h e n sec how the r c btio n of t11 c di,·isi.1n.-.;
of the material m a y b e in d icated by a d i:tgr:tm.

Exercises

I. C onsult the encyclopedia o r some w o rk on
m cd ix\·al history fo r inform :tt io n in r eg:trd lo th e
Ba rlnrian 111\·asinns and write thl! th e m e o utlined
in the prcec cling- Sl! ction .
IT. Makl! a s imi br outlin e upon smn...: ot h e r hist o ri cal subject.

244. Material for Theme-model XIV. 1fater ia l
fo r s uch a them<.: may be found in th l! ful lo\\·in _:.:; o u t lin e, in \\· h ich divisions A and B a r c cniirdi11 :1tc; r ,
2, 3, anc1 4 a rc e()iircl inatc with eac h other and .s ubnrdin:ttc to A; ll :rnc1 /J arc suborc1in :ttc V> '.' ; ,;' :ln<l
f/ t o b.

242. The Parag raph Structure in Theme-model
XIII. Th e pa r:tgT:tphs usecl lo clcvcl1 >p thi s kind of
t heme rn:ty belong to T ypes I., 11. , 111., or IV.
(~~ I SS, l<)O , l <)~. a nd 194 .)
Th e first sentence of the fir st par:tg-rap h shou ld
s la te th e fltnclam c nlal i1 lc:t •lf th: tl paragraph. The
firs t se n te n ce of th e sc c1>11<1 p: 1r: 1g-r:tph shotlld r efe r
b ri efly to th e p:trli cul:tr ll1"u~ht in t li e first which
the s~con(l is t o de\-cl1i;i, ;111d \\·!ti Lli is lu lA· the Ju ndaml!n tal idea in li1 e SLC< JiHl 1 > :1r;1~T:tp h. The fi rst
se ntence f the third p:tr:i;~r:-t p h should r e fe r backward t o the p:i.rticubr thou ght in th e second which

'•.

TER RITlHUi\ L EXl', \ NS I ON I N 'l'll J·; LJ N ITEIJ ST :\TI ·:s
( 1 8 1 5 · 1 86 ~)

A.

il)t:aso n s _/o r ii.
1.
/ ;1;,.·r( ' llS r llj f "'fiulal; ;JJI.
,.,
N ,·11101_10/ r~f dt1Jt_~·· t ·rj're1/l t /11 · Indian.
11.
Fasl of th c: l\ li ssi ~s ippi. l~ y t h 1· v i cti·rie ~
/, _

\Ve~l
£! '.

/!' .

qf

· · f Jlarrl s iJJl

\.li(· :'\l i s si~~ ~ i 11 1 'i

\V ars \\· ith the l\'loducs and Siut1 .\. . t.'1 1:-ilt.:1
'1'lic c staiiiisfn1H·11t. (> fan i11di;t11 h'.i_L:,lit ~ ~ ~.\:·<;q .

c iation during C ranrs adm ini s t ra ti<> n.

-· ~

-..::··

'~' .

:,.

C.J111j>11sition r//l d R!tdor ic

T !tc Expository T!tmte

/cJ [O lllt 1 11~ 1 JI

245. Diagram Showing Paragraph Relation
in Theme-model XI V . The foll o wing diag ram in d icates by lines instc:ld of b y fig ures and le tters
som e uf t he r elatio ns o f th e main and s ubc1i ,·is i1>11s
of th e mater i:-tl g ive n in outl in e in se ction ~ '"H:

/n t / >n 111 , ·1111 ·11/ in

a.

.

Fu ll 1111's s l L'an1hual in 1Su7.

I mpr.,,·c: 111 c11 t,.; in the: s t e am boat.
J\n l1 1raci tc C(lal bc~a n to b e u 8eC\ in pro-

11 · •

11 ' '.

d11 c i 11~ stea m .
/, " . Th ~ sc'l'e \\' propeller in v ·n ted hy Ericsson
re q11i n:1l lc ss fu e l than th e p;1cld l<.: \\' hcd.
·" .
Sk:im s hips crnssc1l th e o cea n a111l 111cr cascrl
1
th e i11tl<1" uf E11r"]'l':tl1 J:t\J.,rc rs.
/1 . c; v() q .::c Stl.'\" (• Jl Sfl t1 ill\" Cllh.: tl th e }qc o 111 o tivc .
1 ·11,· ill t ft'tlJt.' in /a /Jo r- J tl 7'ill,:.,,. 111 c1chin ,: ry dnn1t· !ttllorers

._i .

inti>

J1 1" ii 1

f i ,·/ds.

H.

I.

I_·___
l

Th e ;..1cc.. r mi ck reape r. 1S3 1.
/!. Th e Nasrnyth steam han11rn.: r . 1S)S.
I'r o/1/,· 111 s / 11 7,,, ;,,,·d in /,_·rril v rial ,._lpa n siou .
11 .

l

'!

·l

-----

l__
s

11,

} '11/i/1i ·1rl.

'"

The ko.:cpin~ uf th e ha!:t ll L'C in c .. 11~rc:ss. lJctwe e 1,i_the
sla\'c: a11d frl'c: Statc·s in thc: nc:\\· tc: r nt .. r y.
I ht s
in vulvc:d 11 ·.
Thc: q u est ion nf the l imit of the author ity of the
ce n tral :.:;uvc:rnment.
.
,, .. . '!'he qnc:o<tinn . I las C(l n~rcs,; th e . ri g h t to
pr., h ib it s la very in th e Nati(l na l domain?
.
b' ' . 'fil e qu e stion, S h ou!t l interna l 1rnprovemenb
be m ade by the N a t i1111al Gm·ernmen t ur by
pri ,·ate e n t erpr ise a id c:1 l by State ~uve rn mcnt s ?
, .. . 'l' hc: question. i'-f:ty a S la t e d ecla re a n A ct
of C11ngTL'::OS ll tu·onsl i tut io n a l ?
" . T he Null i fi catiu n A c t.
,( " . Th c: qu cs t iu11 , Shon Id th ere h e a N ational
hank>

347

/_7_

I~

EXl ' L ANATION O F THE lJIA C l\ AM

Thi s diag ram 11f ni n e p aragr ap h s h as c:i r ric: <l t h e th e m« ""I Y
a s far a s topi c 3 u nde r A - th e improvc rn c: nt in l11L·on111li •>ll.
Th c: fir st par:tg-raph is o n e of pa r lit i"n, 111enti .. ni11g i\ and 11111'
th e ou tlin e.
The seco nd g ives the reason s bri e fly , u s in g to pi<'s 111arkecl 1.
2 , 3, ·I · of th e 011tline .
Th e th ird paragraph tlc:vc lops t o pic 111ark«d J. t i>, - 1... ., tl o,
topi c z .
Th e fifth a111pli lies topi c: 11; the s ix t h , topi c /1, til e Sl: \'('llth .
topi c 11' ; the• c:ig hth, topic /,-; t.h c ninth . topi c 3.

Exercise
Exercises

I. Poi n t ou t t he coiirdinate and subordinate elem ents in th e above outline .
l r. }.lake a si111ila r o utlin e on some histo rical
subj e ct of yo ur own cho ice.
.
.
.
111. vVrite a th e m e u pon som e h1stoneal sub3ect,
firs t making an outl ine uf it showing the m ain a nd
minor hcallings.

Com pkte the d iagTam of this m a te rial, 11 s 1n g·
1nragraph for e a ch t op ic .

;1

246. The Paragraph Structure in Theme-mode l
XI V . Th e par;1graph nf p:-trti liP n a nd the s 11m mari zin g pa rag raph slwul<l b o th be u se d in t hi s
kind of them e . The oth e r p a ragraphs ma y be of
a ny of thL: fou r ex pository types. (~ee ~~ 1~/ - 1 <.J-!·)

·,.

3-t<)

There is :rnother kin<l of paragraph which is very
conn.:nicnt bcc:rnsc uf th e complic::i.te<l form of this
theme. It is the transiliun;il ]X tr:tgraph which is used
lo recall the mind of the re:tdcr, at vari()us p\iinls in
the c1.mrse of the thcnw. to the main b>pics already
d iscusscd, and lo IH ii n t forw:-trd to w lnt r c mai ns to
be done .
The following is :tn example of this type:
I hav e been trying, t1111s far, tu show yo n what should
be the place and what t he po\\'cr of \\·oman. Now,
secondly, \\"l.: nsk, \V hat kind of educatio n is to fit her
for th ese?
-Jo11N RL' SKI:-.:, Sl·sa m c 1111d Lilies.
S ntis mihi multa vcrhn fec issc viclcor, qua re
hoc bell um gcncrc ipso ncccssarium, magnituclin e
c11losum. I<. cstat Ht de im pc r ature ad id bcllurn
gendo ac t a ntis rchns practic ic ndo dicendnm

esset
perideliesse

vidcatur.
illAR C llS

Tu1.1.1us C 1c u ui, 1-i>r the .J!andian La w . Chap. X .

247. The Scientific, Literary, or Moral Essay.
The three types of the exposito ry th eme which
have 11cre been prcsenlc<1 under tlie historical essay
may scrn: ;is outlines f"r themes using ot h er kinds
of m;tterial - tht.: facts of science or art. These
111 uclels art.: gene ral f"rms l11at m:iy h e 11 sed for any
e xposito ry matcr inl in \\·hich th e c1ivisions of the
thought sta n d in sub1HJinate. coUnl inate, and mixed
relation.
Exercises

I.

R c.'.ld and mak l: an outli ne of an essay on a
literary subject. such :ls Low ci l's C!t1rnca; of a moral
essay, such as Emerson 's on l'r11ik11ff.
I I. vVril e a th e mt.: on sume scientific subject
which interests Yul!.

. 248._ Subjects for Expository Them es.
The
follow111<Y suh3'c:cts ar··· l ] I.,cl\\··11 i· rum l llstury,
·
·
SCll:ncc,
ancl
the gTeat
s11t1rccs of rn:ttcri·t! 1· 111 . c·
,.
- ., • mor:1ls,
f
.
'
(J 11 ' I )(/SJ LJ<>Jl o
an CXj)<1s1ton·
n·t
t\11·
·
'1'1·
·
1
·
'
J
•
c.
1c su Jjccls rn ust
be nan:ow ed to some special ph:1.sc, ancl it should he
borne 111 m111c1 that .narration and d es cripti1111 are
not t~ enter rnto this theme.
\\Th e n one i.s told
to w.nte a n e x posi.tory theme on th e American navy,
for 111 s tance, a hist o ry of it sh1nilcl n o t ht.: given,
but one sho11l.d speak of its m e thods, departments.
an cl other top1 cs of th is nature.
,.,

•

L

'-

Exercise

Write upon a:1y of the following subjects, using
Them
. e-m
. oclcls XII. ' XIII ., or •XIV . So n1e o f th ese
topi cs w111 n·q ni re r eacl i ng :ind others p e rsonal i nvest1gat1on. Th e student should first make a d eta ile d
outlme of the subject-matter h e int ends to u se.
i:

H ow

t()

e ntert a in a 11\tmlJcr of small children on

a r :u11y afternoon.

\\' hy some people enjoy fishin•,.
The training of a sol~l i cr at ·wZ~t Point
.J. Th e \V c:tt he r Bureau.
.
J ·
:\ni:t tcu r phuto.c :Taphy as a re c rea tiun.
( 1.
\Vliat I shu u.ld du with :111 acre (If grouncl.
1 [ow to fur111sh a ho11se tnstcfully on s mall means.
The managem e nt of n department store.
9· \Vays in wh ich a gi rl may cam a Jivin g.
i o. Huw one may work his way through col lege.
i i . \ Vii.it one may lea rn about laccmaking.
1 2 · ·w ays of wasting time.
13. Old -time sports.
-.
3.

L

' 4· Some things whi ch I dislike about vacations.
'5. H o w etc h rngs, wood c u ts, an cl half tones are made.

i ...

1 r,.
The mcthilds (Jt some in d ustry in which yon are
in tt_:1-c...· st ( ' (1 .
17. The work of the college selticmcnt or so me othe r
philanthropic m ove ment.
18. The .~· arn c of g-o if o r uthcr nut-of-door spo rt.
ro. Ex p lain h o w to make a hnx . hnw to m :tke hay,
how chocolate is mad e, the ca nti icvc r bri d g e, tilt.: gam e
o f fo<Jtball , lH>\\ ' sug <tr is made .
20.
Explain th t.: following things: 1\ 11 is land, th e
wh ccl harrow, th l: refri g erator car, the threshing ma-

PART

V.

NAR HATION . DE:-.;C!\lJ>TlON. 1\\: l>
EXPUS lT!U J\ co:--.J l:>l :-\ l~U
CH.ll l'Tl:R XI·.
Tiii·: TR:\\-l·:LEJ<. 'S

Tt i s su ggested tii:Lt th e student ch<l<> SL: sul>jc c ts
.,f his n \\'11 , the m :Llc ri:tl for \\'liiL·h he nuy g e l from
Ji is 0 \\' 11 olJscn·:ttion nm1 c:-:pcricncc ra ther tha n from
i>Oi>ks.
V e r y often diag rams and pi c ture:-; arc useful in
111:tki11g the rn can in g cic:tr. Ln()k in y•>llr tcxt-b(>oks
un physics, b •>tany. :rn d gcog r;qiily fur cx:llupks.

Skl·:Tc'll,

1\CTl ·: lZ SJ(l·:TCil. Tl!!·:

TllE

,\:c\Tl~ l,1:

( ' JL\1~

:-1Tl i i \

AND TlIE Bl OG Ri\.l'llIC :\L E SS:\ \"
249. Outiine of the Chapter. \V e :; lLlil iin d 11 1
this c h :tptc r v :lJ"i ()US tli c rnc -m<Hicls tli:tt <·,,:nbi11<·
N:trr:tlion. J lesenpli <Jn. :u1d l·>;p11si t i"11. Tli o.· st· :L r t·
tile tr:t\'ck r·s sketch. the l11 :1r. tdl·r skdl Ii . t l1t · ti:Lt 111 ,.
stttdy, :tnd till'. in " g-r:qliiic·a i c "s:1 v . l·::wl: ., f tlw lir >t
thrvl: 111.,,lL·ls t.:<J11t:ti11s liul <>Ill' 1•:1r:1g1·:1J>lt ,,f i·> ·l"'s 1t.1011 -

the g-c ner:tl rclkctil)n: the last lh<·ll1l'

<• •ll -

.";'.\"

Lt i w; Sc \'Cr: 11.
250.

Theme - model XV. --

'1'111·:

T1, .\\ 1 11 1;'s

lt may ~Lb t 1 Lie used
to n.:pn>du cc portions nf h1><iks <>f .tr:\\·l·I. ,,;1<·l1 :1>;
Hawthorne's 011r Old JJ0111r', \Vintcr·s .'>/111!.-s('a, .. .,

o f visit s tu pi :tn;s uf interest.

.. .,,

~

. r.rn

~

•7' .

[.'·'

l:n,;i,r11d, 1ir t«1r 11 1i:1g·111:1r y v1sih l< > iitsl<•ll<' j> i: tu·.'-.
Thcme-m"dcl .X \-.is dcr1\·ul fn.im 11. t\\ Lilurne 's I!/,/
Tiu 111do·o:.,·"tr. T he student shn11l<1 l ll·t · .. :n,· f:i111ili :1r
wi th thisscl<Tti1111 t>L'f< •rc ii l · :tlkmp t.s l•• o;lT l1<1wtl1<.'

outlin e i.s<kdttl·cd fr<>lll 1t.
~~;r.

I

l~

I I

~!~f!_

)'··
-~/:·

:.f

352

Co111posil ion

11

/Ill N/1dori(

25I. Them e -mod el XV. in Outline. It \\'ill h e
n oticl:cl th at thl: outline below <kviat cs slig-htly
fro m th e sclccti<>n u sed as a model f<>r it. Reread
Old Fii"c111daogt1 \\·ith the followi n g moti ves in mind :
Chapter I.
Slt ua I ion - the first Yisi t to th e place desc rib ~cL

(On e
of the ch:tractcrs is the narrator," I." Thi s type of
story in \\'hich th e narrator is o n e of the a ctor s, ts
call ee\ the " I story .") Use Situati o n -type I.
Drsrn°f't101t of pl11ff - in a clialog·ue . hc t\\' ce n th e .. tw°.
v is it o rs m en tione d 111 th e s it ual! 1>ll, these v1s1.t.o rs
feeling different interests in the place . ( Sec§§ 99
aml 14 ..1-)
Chapte r II.
Sit nation -the sec()ntl v isit to th e: place ckseribed.
(The c haracters a rc " J." :t~Hl a ddkrent pe rsu n _from.

t h e o ne ap1w:iring in tn e hrst s 1 t u;t l 1u11 -u n ~: wl~ o is
famil ia r with the h isto r y of the pbce ). Use Situation-type I.
Rt'/r(!spcc ti·;·,. 11arratfrr-g i,·ing the hi s t o r y of the place
in a dialogue be tw een "1 " anti U1e o th e r v1s1tor or
an o ccup:int wlw is con\-crsant \\'1th Lh c his to ry of th e
place , and who is characte r B uf the scc< nd s 1tual!un .
(Sec ~so)
0

Chapkr Ill .
Sit 11 ation- :t thi rd \'ic.it to th e pl::lcc. 1\!cntiun h ut o.ne
character, th e na rr ato r . Use S ituation-typ e J. with
c ha racte r B om itted.
Jl.foodoftli e 1111rralor, " !." (S cc~ 1 14 .)
..
N drosfali·;·c 11 1 1111.r /i·;·,. ~in the form o f \' 1s1nn b~ th e
nar r a tor-dcaltng ,,· 1th the more r e m ote h1 st o1y of
the pl:tce. (S L·e ~ 7'J -)
Cc 11 1-ra l rt"j/ ,·d/011 - s1 1:c:·l.'.·L·s tcd 1iy th e p lace o r t h e narrat u r "s experi e nce in i t. (Se c SS I 7 3 and I 7 ~\.)
Point out the 11 :1rrat in.:, de s cr i ptive. ~1n<1 exposit o ry mot.in.: s in the :tbu \·c <>11tlin e .

l
l

3:;3
252. Theme-model XV. in Reproduction. Befo r e attempt ing u riginal skdc he s of tr:tvcl, we s h :tl l
n.: prod uce Old J"i,-011il«r1.'. I,;" i n u rdcr that we may master th e form of thi .s kind of th e m e- b efore w e a r c
ob li ged to se ek fo r materi a l of o ur o wn.

"',-·

Exercises

1. R eprodu ce llawthurne 's Old Ticoml«roga :tceorcli n g t() the o utline below. Use Situation-type 1.
Chapter I.

Sit111ltion-the firs t visit to th e p lace described.

t,,

F 111d

rna te r i:ll in paragraphs 1 and 2.
D,·scrifltun of place - in a dialogue betwee n two pcrsu ns wh<>se in ti.::rests in th<.: pluc<.: differ. Fmd material in parag ra ph 2.

,•

'

,..

C hapter II.
Sit11atio11- t h e s e cond vi si t to th t: place described.
F ind ma te rial in par agraph 3.
R etrospcct i<:·e 11arr11li'i•,·- in a dial og ue b et wee n the pe rso n wh o is telling t h e stury a n d a n o ld soldier. Find
m ate ri al i n paragraph 3.
Chapter III.

S ll11atiu11 - thc third v isit t11 t he place d esc ribed. Find
material in parag raph s 4 and 5.
Jl!food of t/1e 11a r ra lor- d r eamin ess. Pind mater ial in
pa ragraph 5.
Rrtrospccth •e 11arrative - in t h e fo rm of \'isi o n. Find
m at e rial in par agr:iphs 6- 8.
Ge11a,d r1jlt-ctio11- FinJ material in pa rag-rap h 9. Use
as th e t hought of t he g-cnera l rcl lec ti un, " N<.!ture
n .:t11n1 s, 1n1t lll a n r et urn s n"t" Shuw th a t the g r a~s
and f1,, 11·L-rs r enew tlicmsL·h·vs yc: Lrly , 1rnt tl u t the
11 1c 11 \ \ "Ii\ > t1 ll L"C \\·ere t!J e r<.: li :t \·c fur e\'e r passed :l\\':1 y .

11. l(L·p1«1d u cc acc.:unlin g to the <lircct inn s in
Ap pe ndix JI. , sL·ction G, lI:.iwtliorn c 's 1/11 · ()/, / .1l1t11st".
~:I

;~

.

~'

354

Co111fusit io11 and Rl1doric

253. Theme-model XV. in Subjects from Life
and History. The s lu denl should r egard th e subjects mentioned in the fullO \\·ing exercise merely as
sug-gestions. It is hoped th a t h e will find more
interesting ones in his own experience.
Exercise

Describe accorcling- to the m()(lc ] for the traveler's
sketch (5i ~s 1). three visits to any of the fullowing
places:
Sume public build in;..:· in the ti >\\"11 "r city in which
yo11 live.
" Some hi stori c huilcli11g· <•r hattklicl<l ,,f \\'hi c h you
h ave r ead or h eard .
3. The home of st>llle Jl"d "r statcs lllan, o r great
S(lldie r. (If yo\l h ave not vis ited any s 11 cil pl ace, pe rhaps y ou ca n g-ive th t: desc1·iptiu11 frum a picture.)
4. A factory.
5. l\n interesting- piece nf n;it ural scenery; s11 ch as,
N iag-ara Falls.
6. l\n cxpositit>ll, s11ch :ts, the "\Vorlcl 's F:1ir."
7. f\ n uld hom esll'acl.
I.

254.

Theme-model XVI. - T111·: C ll /\I,/\CTER
' I'heme- 1nrnlc l X\-1. enmhin es narration,
description , and cxp<>siti"n. and will answer as a
lll<><lcl f, •r cli: tradcr sketc ht·s fn >tn ]>, •l h houks and
life. This sketch gin:s Ill<He "PJlortu11 it y f<>r a<.:liu n
and \'a ri cty t11an docs the ch:tr:tclc r study in sect ion
153 , b ecause it adds to it n:irr:ition an d the ge ne ra l
rcflecl i<> n . Any ll<>v c l or pby in th e list of co llege e ntran ce req11ircmc11b rn:t y he m ade l o furni sh
subject-matter f(lr this th e me by selecting fr om it a
character t u bc di sc u ssed :tcconlinf::" to thi s plan.
SKI·:Tl: ll.

255. The Selection Used as a Mod e l. Thcme mod e l :'\VI. is tlcri\· ·d frnrn l!awth<>rn c 's Jl1c OM
.- l ffl 1 • / J, ·,1!.-r. Hd(>re w e anal yze this selection it
s h <> tild hc rc:ul r:ipidly', ancl the f<Jllo wi n g question s
ll]><>ll it :tllS\\"crcd: \V hcre did I L1wll1ornc sec tlJL'
(lid J\ pplc I >c:ikr, \\'hat arc the autlw1"s L'<>ll jt;ct llrL'S in rL·g:ml t o the p:ist .,f th e J\pp le l>c:tl-u;.
\\"l i:tl gencr: tl tlwug-hl is s u g· .~·cslL-d h y his life :ll1<i
L'h:tr:tclcr;,
256. Theme-model XVI. in Outline . l/1, <J/1 (
. lff/, · l>i·11/ir shriulll lJc re re:t d with the f1>lluwin g
<>tllli n e i11 111i11d.
Th e st11dc11t will 1dJ.servc tlut
1u1-rati"11 is ll.'-'cll in the: fi rs t :tnrl Jift11 p:tr:ig-r:1pl1 .'-' .
d esc ription in the secon<l, th'inl, four t h , a11d sixth.
:llH I cxposi ti <>n in lhc sevent h. The JXtr:tgraph nu111hcrs h e re du not refer to the pa ragr:iphs of tlie
sc lu :ti<>n, lrnt l<J tho:-;c of thc th eme t o lie written
o n thi s model.
First p:tr:tgraph - th e sit uation .
S eco nd paragr:tph - the description of pl :tce.
Thi rd paragraph - th e d esc ription of per.sun al
:t ppe:t r:lllcc.
Fourth p:trag-raph -- the description of ch :tr:tdc r.
Fifth p:tr:iv.r:tph -- rctro.specl iv c narr:tlivc.
Sixth paragraph ·- lhc descr iption <Jf m<Jde of life .
Sen; nth p:tragr.::iph- a gene ral refl ect ion.

257. Theme-model XVI. in Reproduction. C:trc
should lJe t :tk e n to m:tkc the d c:-;c riplinns in til e
fo ll owing exerc ises effective hy using the minor
devices alre.::i<ly studied, wh e n this ca n be done
with o ut making one's work seem forced.

•,

Composit io11 rr 11d R!trtoric

357

Exercises

258. Character Sketches from Life. In se lec tin nsuhJcds ,f''.r charader sketches according lo Tlie1111::~

I. Write and give orally a reproduction of Tiu
Old Apple Dmltr according t.o Thcme -mnclcl XVI.
(~ 256) . Observe tint this, like th e traveler' s sketch
in section 25 r, is a n "I story." Number t he paragraphs in y our text and use Situation-type I.

m odel X \ I., :t\«>td tl1c sentirnent:tl, tl1c "Tu tes1_"1 .
' 1 lt 1
.
b
jlL .
ell c le scnsa'.1onal. People who h :Lvc m:rnv am iable

pecul1anl1es
Jurnish the 1Jcsl
J. 1
- t <l
. nntc1·1"Ll
•
• 1- U r· -tl.
llS ..:int,
0 1.

Situation - Fi nd mate ri al in paragraphs I and 3.
Dtsrription ()/plan· - Use Fun cl:tm cntal Device VI.
(S 138), showing the effect of light. Find material in
par agraph 3.
Dcscriptio11 of pcrso11rr! rrf'f'rrrnmcc - Use Fnmlam en tal
Ucvicc 1 x
L\ I). ()h\"erse clcscriptinn. Find ma-

Ex ercise

\Vrilc a character sketch upon any unc uf the folu. 1. upon one o f yo ur- own choict::

luw1110"" ·sllbj"t:c t s·,

Thl' boy

rn

terial in paragraph : .

.)·
-I·

Description ojc/1orrrcla-\Vrite two paragraphs, takin ~r
for the fun<lament<ll quality in one, eolor1cssness; in
the oth e r , restlessness. F in d material in paragraph:-;
1 , 4 , 10 (first part), and r ~ .
(Sec§ 1 04.)
Rttrospccti<·c uarrati'i·c in dialog11c - betwee n the narrator" I" of the sto r y a n <l the J\pp1c Dealer. Invent
details merely sug ..;estcc1 by \\'ii:tl is hen: ;..:i\·cn . Find
material in pa1«1g1·:lphs :, s, :111 d 9·
Dcscript ion of 1110Jr r>f h/t-F im1 material in paragraph s
6 and 7. (Sec~ l06.)
Cn:rraf n:f/,-,·tir111 - Find ma ter ial in paragTaph 13. (See
sci173and 1/ ·".)
II. Reproduce according- to th e directions given
in Appendix 11., scctilln 7. };u rr11llgl1s's , J 1irsl« of

Maine JJirc!t.

y.

s u

5·
6.
7.
S.

. '> .. ·t·
\ l , C, l l

'i'he
The
rrhc
The
The
The

stairs.

oi l n1an .

c uri<> c1ealer.
prt"ifcssur.

seamstress.
org:rn g rin de r.
tcrrr>r "f t he nL·i:.J1hr>rl1ond -

\' ·\ . .
.. , . ll rich S
l I 11:0-. S lllJ jCd. )
;

t1'1Wl1

.

"·/

.

) 1111110·
'
1·
·"> /Jt'1f1I1/
-·
'/' 1 iii

·1

'

snn'"1 1·

.

I0 .

S o me rncmlicr of th e compoo-;1Lion class.
s () ll1 c 111 l' Ill I il ' r "r y" \i r f; I Ill I l y .

I

•

9.
J •

i' ] 1 l .

' '

-

HJ} .

.
.
;-.;ug_L:l'Slli111s

1Jtl

j Ji J ~~ t i 11 ; l J1 .

~
J.

T.
!n <l'riti11g t/r,.sc f>ara,r;roplis ji1llow t!tc 111 «' '-'° ui
r<Krn-J lo t!: r first . /rlsl, fl}/(l i11ln"i't ·11111g sc11tc11ffs.
- · h'1f1 •r1· lt1n11lin·:· i11 .J'r'llr //i rmc u11di'rS£.ore t!te pnpusili111rs i11 it r111J !.·:· s1 rc //,11! t/11~J1 arc C/lrr«t l ly usc:d.
3. Try / 11 11/({ki' till' dl°S1T!Jfi,111 s 111 t!tl' ai>c'i'( cxrrri.''
1

1j/i·cti1-c by 11si11); t/ic ·;·anu11s

di'i'IUS 1i!r1t1rl)' st11dioi.

\'

.......

260. The Selection Used as a Model.
Tho
p1an for thL: Liog-r:tphical essay w:ts sug-g<.:stcd by
porLi()ns of C:irlylc 's F ssay "" /J11r11s. Th e outline
in the n ext se ctio n m:l y he u se d fo r sh o rt ske tches
uf the lives of authors by dcvclup ing in a sentence
one o r murc (If the topics suggested, inste ad of g iving a paragraph to each as the outline directs.
26I. Theme-model XVII. in Outline. For the
first s ix paragraphs of this outl ine the model which
follows in section 262 shlll11(1 lit..: usecl, f1>r th e tenth
paragraph the model in section 178, am1 for the elev.
c nth t hat in section 223 or 227:

First p:tragrap h -- parcn tage.
Second paragraph - edueat ion .
Third paragraph - travels.
Fourth paragraph-friends.
Fifth parag raph - professions.
Sixth paragraph -clos in g years.
Seventh paragraph - perso nal appearance.
Eighth paragraph- cha racte r.
Nin th p:trag-r:tph - n1otk of life.
Ten th parag raph - a ge n eral · r e llecti on
person's 1i fe.
Eleve nt h paragraph - his literary works (if he i ·
:t m:tn uf letter;;) .
262. New Paragraph -type Required in Thememodel XVII. The follo win g paragraph dev lop.!
t he first top ic in the ou tlin e of Theme-model XVII.: '
namely, parentage. It makes in the first sentence a
g-eneral statement about Uurns's parentage, explain
this statement in the sentences which fo llow, and

summarizc..:s in the last.
kind of matc..:rial used.

Its only new feature is th e

Mrn>i-:1.

/11 liis I /:11n1s'sl /•1rro1l11.~1', d1·d11cl111~· ,1111 7<'1 11 · d1 · irn1111s/1111c<'s, !tc· llild Ci'")' r1·11s1J1t lo ,,, .,.;.."" /11111sdj . ji1rt 11111z!t".
His father was a 111an uf thoughtful , intense, ear n est
character, as th e liest of our peasants :u·e; valuing·
knowlcdg·e, possessinL:· Sllme, and what is far b e tter and
rarer, "]K 11 -n1i11Ll e d fur mure; a m :lll with a keen insight
aml devout l1L·:1rl; reverent toward God, fri endly thl'refure at oncL·, an<l fL.arkss toward all that Cod has made;
in o ne wurd, lht>ugh hu t a hanl -ha11cled peasant, a com plete :u1d fully unfulded man . .\11d1 a ji1ll1t'r is sddo11t
ji11111d 1.11 //II_/' r r111!.· i11 soo/l_J', 1111rl 7Ut!S .,,.,,rift dt".\t 1·11t!111,i.;·
far in sor it'ly 111 srt'I.·.

-)

- 'J ' 11\1 .\I:\ ~ \ ':\ h:l.Vl.J·. , f,.\Jtl_)' c•ll J,·lflliJ.

The fllllowi11g· qw• tati•>n i ilust rat cs annll1cr (If tlic
par:tgr:1phs of the outlint..: in sccli<>n :G 1; n:t111el y, tl1c
topic," Fri L·nds."' ll is :1n ac('ll\!Jlt <>f !{urns's Edin burgh patr1111s in their rcbtion to the pucl:
//tt' /:'i/i11/111r,:;fi /, 0 1r11t"J
er, 1! 1111ir,· 1111/,·(/

1; ,r

1~/

(-/,·11r ;1, ·ss

lfi1rl f'<'l'I"',/ 7,.,.,.,.

Ill ,:,'t'll·

(JI- /t,·t1,/ /l·ru1

j;:r ·i\'t1r;;1//1
g""d <•Id .l~lack­

".
'·

of /1t"111·1: wilh .tile eXCL'Jlli11n. of the
luck \\'hflse l1 L· lp wast"" i11L·ifc cl11:tl scarn_·ly <>11 e a111,,11g·
thl·1;1 SL'c llls (11 ila\·e lt111kl'll at !:urn~ with :tl1v tl'lll' sv111 pa t Ii y, "r i 11 d L' L' ti Ill 11 l' h (/ t Ii c r w i sc t Ii a 11 as it t a h i ~ Ii I y
curi1111s 1/1111.;... By the gre a t also h e is tr c :1 ted in tlic·
cust<>1nary f:1sl1i"11, . enlc rLtinnl at their tal>lc;s :u1d dis misse d : ccrlai11 Illt>d iL·a of 1•11dd i11g· and prai se :11·c, fr.,111
time t" time, g l:tdly cxch:lllged lt1r the fas c inati o n "f
his ]JrL·se lll'e ; whil·h L'Xcha11ge effcl'tul, th e liarg:1in is
finishL·d, and each p:1rt\' g"1cs his SL·vcral way.

/I njlt'dS tit"di! ( !// 1/1,· //Nlilllt t'SS i llltl s111111d SOI.It' of
H11n1s, l ltrrl /1t" _f,·/1 .I'(! t'l ll"il' on 7." ltt1 I gr .1111/il It<' ' ""·'
s/1111,/i11:;·; 11111/ f'rrI'/"r, ·d st!/~ltdf', o il 1/t,· /i11111/11"sl .1111/, ·,
/tJ d1'f'i'!tdi'!l r't ' rlllrl i11r1r·tio11, l/11•11,!;/t 'it'illt ltr•f'I' 1:/ j;t/'
l!lOrc sp!, ·11d11l /ossi/iilil ;, ·s.
- 'l'1111~JA :-,

C :\1\1 \'!I·,

1:.· \ .\il)' rill

h' 1tt t / 1 ,
~-

·. ·, 1

•

C<1111j>osit wn and Rl1Ctoric
Dnu:c -r10 Ns
1.
The first sn1/,·11a of 01dl ft1ragr11p!t s/1011/d hr
short, s/11111/d c!wr11ctcri:::c, sho11/d ro11tt1i1t t/1c 11101/iun of
/mt 011e q1111hty, s//011/d be i11ta,-sti11g-110! ro111111011pl11rr.
2.
l/1 e last sn1tn1tc s/1(111/d f1 1i11t l111d.: to t/1c tl1011f;ltt
rif th e first; s/!(111/d s1111t111ari:::r or J,,ri<·e a co111111c11t, cit!tl'r
general or tartio tlar; s/1011/d he made strong b311111 imag1·,
a compar iso11, or ! lie use o.f t lu rr111r ri"I c, or a 11y of ! Il e ol lier
111i11or d n1i({·s 11101tio11ol in t/1c st11dy of dn;criptio11.
3. Th e ot/11r sc11/c11trs daboralc llll",t.;·ound state111nrt
mil de rtg 11rdi11g· t/1c person's parc11!11gc, tducation, etc.

CA UTION s.- f l o 110! u se "lie fwd" or "lie was" too ojlrn
in tlus theme. Do 110/ attempt t o 111r1/.:,· transitions bctwrc11
the sucrcssi<·1· fllragraplis in y our firs t tlic111C.
263. Subjects fo r the Biographical Essay.
Them e-model XYII. gin~ s 11s ;in r; p p11 rtunity to
write v ery fu ll y about th ose whom we know well
either by p e rsona l a cq u :i i1-.tance o r through our
read in g, as is indicated in th e l ist uf s uggested
subj e cts g ive n below. Orlcl, impossibl e , or m e rely
imagin a ry characters ~houlc1 n o t be ch osen for the
biographical theme.

-I·
Ci,·e a sh<•rl bi11g-raph y 11f an authur, <ine <Jf whose
wurks y"u ha\·c r ead this yea r. In this ti•> ll<>t dc\·11tc a
paragraph t" each top ic. Sumctim cs t\1·11 or mo re ,,f
th e t<>pics g·iven in the outline can lie trr: att"cl in <in c
para ;..:-raph .
5. Gi\'c the biugraphy uf su mt.: st att.:sman, so ldier,
or phi Ian th rop ist.
6. \\'rit e a hiug-raphical ske tch of some \\· ell kn own
characte r in fiction.

264. Narration, Description, and Exposition in
Nature Studies. W e have seen h ow these thre e
kin d s o f compositio n - Narrati o n , Description , and
Exposition - may be use d in writing about places
(Th e me-m odel XV.) and p e rso ns (Th e m e -m odels
XVI. and XVII. ). From a study o f a few of Bryant's p oe ms we shall sec h o w they may al so express
th o ught about min o r objects in nature - a flower, a
bi rel, a stre am. The motiYes fo r which we sktll find
mate rial in the following p oem s are: The situatio n;
descripti o n of personal appearance , character, m ood.
and pla ce ; n ; trospective and an ticipatory narrativ e .
ancl the g-cneral rc fle c ti()n .
Exercises

Exercise

Write a th e me upon ()J1C of th e full<lWing subjects
or upon any o ther of th e same kind whi ch may
interest you :
1.
Give a biography uf som e 1n e ml1c r of your
family, or some fri~·n<l \\"hose life will furni sh ahumbnt
mate rial fo r th is outline.
" Gi\'c th G lik of S(Jt!le 1\111erica11 aut hor, somt.:
En g li sh a uth o r.
3. " ' ri te your own biography.

J. G ive a prose r e produ cti o n , o ral o r \\"ri tten, of
each of the following- selections, a cc11rding lo the
outline f11r each. In th e r ep roduction repeal n o
express iun found in the poe m.
I.

ROBERT (JI' LIN CO L N
l'l'hi s skdch shows c hara cte r d eve lopm e nt.]

Ch a pter I.
Sit1111tio// . (Stanzas 1 :in d 5.)
/h ·s111111/ <1j>fmr1111tr n.f Nolicrl 1',f / ,//101/11.

\S t:rnza 2.)

l'1 ·rs1111 1rl

11/!1>1 ·11r,1111·,·

Nd,, ·rr

of

11(

/ _i11u1/11's

wif,' .

(Stan za ;.)
(_ iuir,11'/1'!'

of

(,,Jwrarli'r
a11cl s. )

fl/

Nu/10 !

1:/ / ,i11 co/11.

(Sta11 z a s

N oh<r l 1i/ J, i 111 0/11 's

1. ·1); »

'.! , 3, 4, and 5.)
(Stanzas 3, 4,

Chapter ll .
.).il11nl1011.

1.

(St:111 ;1.a (1.)

(SLt11 L.. t 7.)

C /11111,i,:·1· i111 /1 1 1'111 1rc1, ·10- 1'f 1"11/10·1 ' './ l.1111:11/11.

(Stan za X.)

C h;q itc r lll .

(,-,.n,ra/

(Sta11 ;-,;1 K. )

1,j/,.11 ,•11.

(Stan 1.. 1

/ 1/ 11{1'.

(St:rn z a

/'11111'.

(St :111za 3.)

ry

,'.f /,'1 1/1 1·1I1'f / . 1111, 1/11.

( !11111,<;1' i11t /111'/1 ,11 ,, , fir

Sil11al1c111.

Fi11d c111t \l'il<'rc .:.:« ·11ti:111s )_'.T<>ll'. .11 1<i 111:iL·
11sc of t his f :tL' l in \\'ritin;..: tl w s il11 ;1ti.,1 1. 'J'l1i s \1·i li
111:1 k L: tlw J' L" " ' l'l<.·111<.·11! 111 .. 1·,. c· :-;i>l11 :t

.\'i11111!ifl 11 -

~·I

2 .)

3. l/111r'1" !" "'. - tltc· i "'L'l and tl1c ;J ,, l\· L·r.
.1/ J,·s1I1fl1 0 11 o/ l/11 · 1r('('1·11u1111·1· o/ 1/11· .//,,,-.. 1 1
(St . 1111.. 1>
I :tnd 4.)
S l 'l ' lll <«kJ ft•J' the dc C' L'l'ipti"il <1( i H ' I-S<1J1:1i
app e :lJ'; l llC C, Si..' L'l i(Jn

I O:!.

Coffr1rl 1·1·/!1·" /io 11 - - tl lL' l ess< >ll wl1i L·h th<· i' "'

l«:irns.
( ;11«..: t i1 1C' tiH•ll c'.ltl 111 111"11" l" :. :11o_· i." th "
pnct ;1s lv : r c tllrns fr " m h is ll': 1il.:

(St a 11;-. ;1 ~ .:;)

:-; )

S111 :t :F ~T!l1 ""· - I J1 ·li1 1l' tht · f1.Jl11wi 11y, w1 1f! b
i\ l t· ad , l1ril' r , c rest .
~J.uakcr , l n·o11(l_.. ;. ,\_
: li1rp. lJT"a.~. :--~: art . ll 1.. ·tLc 1l , r 1 lilic , l'l" llll C. S v 11.. ·l l <u1 y
L·:--:pn...: :-:. :--. i111 1~ \\·lii1. : li >1..Yl!l l
y 1i11 t· ~ p ....... i.dl y 11111~i c ; d t;r 11llH ~ nvi i.:.t~

I\'.

11

1: fle d

i \'l'.

'f() I\ \V/\TEl-'.Ft >\.\' !.

Sit 11t1! io11 .

(St:111 z: 1
1, 1..,J :lllt! 111 , !'" "'

II .
Tiil< \\T\J 1 .\ :\I > :.:. Tl\i·: .\\I

( h_ "(_';[~j(

!Jl

1. 'l''ht· r c; t~n n f<1 r th e· P' fl·l·s 1H.' in:.--:· i n tli ;1t ll: t r
ticula r pl:tl't'. ('l'o 111.· in\.l' ill( ' tl h\· tli <' p11pil ·· r 1.1 h:t ·n

Ch;tplcr I.
.'>.il111r lin 11

1.)

11·.,111 the :1 \'l11:d c1r c 11111,.;L1llt:c·'' 1111,it:r ll' l11 1_·li li1e· l·""- 111
w : 1,; II' r it t" 11 )
Th e rt:: tso n ft1r th e h1ni' s l1 t · 111 ~ in tl1;1t p!;i,.,._

(S t: 111 ;-.:i 1. \

,Vfeut! 1:/ 1/11· slr11llll.

(S Lll l L.: I l .)

ry

(Stanza 3.)

C hapkr 11.
Si11111!in11.

DL·so -1('/WI! 1•/ /•/,111· -

( St ;i 11 ·1. :i

1/o(ld 11/ I !11· sl r<t1111 .

1

(~·la

111g.

11 L.:1C' ~ a !id 3.)

(Sl: IJ\'/:i'-'

.-l 1i110/>1 rl e r_J'
(St :u1 1.a 1,)
1111r nr li'i '1'.

(St:111 :': l

1)

'l'hL· wind for-

sak es lh L· stn·arn
S1 i cc:1·:ST! n~ s . 1:1111, :--ll : lJh'J"IJl·<

<>f

lJ...: flnc the f, ,Jl ,win . .:: wo r d . .; ·
1

[· iJ H! 111 i. i ! C

jl'

ll

ii!

rcp c llt1011 ol tile s ;lll H.: cx _11n..::-- ~:. i1 111.

l!i.">l . lih.. \.

I 'i:l"id,
! I( ' I

lllll't' ill C·

~;~: :, ~
-· ;,

~~~ -­

~~?r-·

-~ -'-------·;-- •-

11 111111!1;., · -

tl 11 ·

l jl~

.

,

.

i )l l

.

!
(I,

i·:·.

{_,'n1o·aL r c/ffrl/011 - til e iessnn 11( the p<><'lll . (SL1 11 1.:1s
.1, 7, anLl :·>.) Ci1·c 111 1t1 1111"l";..:t1c liy tl11_: !J"cl , a > !i,
r t·r11r 11 s ( r 1i111 his \\·; : lk . c)r t· "1 1l 1111:t·~ his 1·~11 r1H.. ·y. tlf
l'L'l1 1r11s t" t he t;,,;i;s ,,( !1( ,_. w1lii :1 tll'\\' il1• j •l '
·

~' ' I i I 11l l ' l t 11 'J l '

Suc;(;F ~TJ c J0. -- I h ·Ji 111· tl1c f~Jl ](:i\\ ·i 1! 1.. ,. w nr1 \s
!;1 1\\·) , 1
··l 1: t 1 · ~·,I. , ]1· .... ··11 1\J; 111 1! :1 l1 I. ;iJ. ,.~ .... . l1•• 11111ll ··~. -~

n1;11··..

- -~-·

c )

}(.drosf1 ·t'li'iJ1.' m1rral1<·1· -- tltc j>:1 s l 111111·11 "'.\' "I t iw inni
( S t:rn1:1 5.)

Cktplcr l l l.

A'c!r 11sf1·1 'fi~·c

tlic· sJ.: \· in \1·iiic ·li lh L· l 1i rd 1\ :1> 1iv -

1 :iJJrl

:· t.

11!:1...;il '.' .

TI. 'Nri te an origin :-i l account <1 f some flowt:r.
b ird, stream, u r ot her natural object , employ in g- in
you r th e me n:trr:1tiu11, lleseriptiun, a n tl exposition.
For further s uggestions in trc:tting· the nature stuth,
read some of Hurruu g·hs's cssays:uthers u[ Br ya nt's
poems, Burns 's li1 a ) f o 1111!11i11 ])111'.1)' and Tu a j)f(JllJI'.
Y()11 ca n scarcely open a volume of poems by any
a utho r and fai l to find the nature study. The nu mb e r uf r ecent books in prose Je:tl ing \\'ith the same
subject is a lso very brge.

AH.Gl l l\ Il~:N TAT[ON, PEl~SUASION,

NAl\RATIO:\, DESC!\livl'iU:\ , 1\:\D
EXPOSITION CCH\'f BIN I ,~D
C/f ,. / PTI:/\ _\Tl.

TifE

~'
.~

lJi~J; , \TE,

Tl II·~ ()J{ ,\THl:\, Till: lJl<.\\l.\

265. Argu mentation. The f,,Jl"win;..: disc11s_·,i11n
of 1\r:..:.·umcn t:tl1011 ancl l'crsu:t.c;i1111ic;11••t ·"' ' '-"• i11pktc;is th:tt of the three kinds of dic;c"ursco prL·\·1,,t1_·,]\·
eonsitk r e<l. Tlw trc:tt111cnt i.c; m:tinly i11t 1.·111 kd t11
enable the st u de nt t o rec()gnizc these types uf compos iti o n wlic n he meets them in litcr:t\t11T , and i~;
espcciaJ! y <les1gne<l to aid in the an:d)>'i.s () f J/i.
,1hrdt1111/ o/ / roti(I' , for which :tll 1Jl1tli11c ic; gin; 11 in
S(;ctiuns 2~J 1 297.
266. The Colloquial Origin of Ar g ument ation .
Arg·u111 e11Lttion, like all the oth e r form,; .,f wr1t1ng .
arises out of soc ial iifo and S• •cial nccdc;. J 11c;t ac;
narr:tlii•ll ;11Hl c1cc;cript i1111 t :tke tli1·1r "ri::-'.·in "lit 11f
th e n eed of co nveying o ur expcric:nces to others,
so arg-umc11t:t t111n bc:-;·ins ,,-hl'll ,,-c exprl'''" <1\lr
upinwns :111d tn· li1 induce i>tlll·r.s t" :1cc·\·1it :li1·J:J.
But the p1«1 baliil it1 c: c; arc tl1:1t tlic pcr.sutJS li> wli1dll
we are talking- havc upi;1ions aic;(), :t1111 it ()ftcn
( .\6 5 )

l.

t,
~

"

;

.

7 111· [), f!t r/1 ·, Orrrtio11 , t111d f)rt1111 ll
lt ~tpp c n.-:

th : tl tll L'SL' <>pi11i<>ns arc dilTcrc n l fro1 11 ours,
and ~; u in C<>ll\'L'l'S: tl iu11 \\' l: ofkn :trg· u c.
I lcn cc
:irisL· s J\r~11111L· 11t:tli••I1 \1·lii c h li :ts t\1·0 a s pL:ds: flrs.t,
direcl Jll'<>ll f, tl 1:tl i11 \\'l1i c h :l Sl'L':lkLT J! l'LSLllh 111"
()\I'll Yi e \\'S; :llld, SL'L' •>lldly , l'L'illl: Jtic•ll , tktl i11 wl1ici1
h e ans\\' e r s the ul>jccti .. 11s <>r t11Hlcr111i11cs th e posi.

evening, w c: don't h a 1·1..: t h l! : 1 dva11t:i.~-c ,,( st11111I Jli11 g O\'<'r

ht1m111 <>cks, and sinking· i11 thL· rn1 1.J

olJjecticlllS :1l e\·ery slL:p.
-Tli v f"ll"win:~- is :rn t' \: 11111'1 1· .. r i\ q~· urncntation
,

..

t:t ~l lt!;-,:lit:.

-

\" 1111 111 11st li 11d it \-en· a11 n11 ying to he lied
ti> cx:ict l11•11rs .. f t r ;i i11" :ind l111:1ts ." . s:1_1·~ ll ri is tu h'. 11~ .
··~u id i t i s 11 ~~L LI!•_· ;)!~_·: l-.. .11 1 lt :..: ;_ 1!1111_~ 111 l :: ·-· \\··11·1'1\111 1l ·
ol>li:._: •..:d t 11 pid: y••lll' \\':11· tl1r <> 11_,'.h tlic • l'I V<'I' s trL·c·t s '."
th. -fc-rr)', 11r \\'ail :1 L st:1li<>11S_ I J.,11'L'\'L'l', )' •• I I prohah1 y
c: 11,., 11:t:;-,11li 1· 11·:1'-'t•· .. r ii111<· :ind tl:c lnn1hk hcfun: y11 11
d1..~L!dt..: d t1i i1·:c 1:1 1:r 1 t:-.', i' ' ''-i1 . ·
; \· 11 _, _.
.. J·:\·Lr\' t · lH•i\._·t....! iii1 :"' it·. 1'111\·t·11i1·11t 't· ......:, 1111d~>til)t · ' 1'
1_·d:y , !JlJI I l 111~1 .-:J:1[1·1j
, l).\t• l 1
'. • : :·,·r r1 d frc :~ h :1ir fi 1r inv
l·hildrc11 to t lic: at m 11sp hcrc ul sc 11T ~s <Lillig.ts Llcto '.1cs,
a nd J h:t\T a p r ciudil':.: (,"- l>r•_· :1kt: 1st1ng liy s1rnligl1t
rather th a n l>y .'-'.· : , ~ . Th e n 111)' \\'ifc ~ 11j11 y:-: t he s in g-ingo:' !Ji r<l s in th<~ 1n .. r :1i ;1 ;._: 111<> rc· th. 111 ttic· lTI' <>I tl1L' n1ilklll:tn , :i :11l tlw sik 1w c· :1t· 11i.1 :· iit scctll' <-:s a swcdc r slc.:<>p
ti1:1 11 the rattk ,,( tl1t· 1J.,r,_,,._,·:1r,.;_
It. is lr:J L: tlut \\T
havc: 110 brick h !"L'k <Jf!j!"Si t ·, a11d 1111 11·11Hl1J1\·:; ul l1uuscs
h t.: hind curnma11di 11 ;..:· IJ\11' 0\1'11_ . Hut to sd nlf snch
dcp r ivati"ns th c rL· :t rc p k .1,.,:tlll .1111l--. .~11H l 11»1<><1 L_'.1 _:l"f'l";
a 11 cl .1..:·arde11s . • Th ey a r t.: n ot ::1(l1,_·1\·:11"s, [<J he S1l1L, lint
th ey :-<lt1sfy ns.
r
( .' ,- I•\ · "\",__.,_, \-'<'S
f :;cc ." ;;:1\·:. ('r ],:; . •· \\ (' :11'(' 1llllfl'
t o lie ~-;iti cll t l1 a1; - l t!\ought. Ii- \\'c lllll s t W' () lit in the
( r,-/1s

..

i

•r

'

·,

'

•

d11,;t i11 thc.: li:1rk ,

<>rchl· s (ra :1 1111 tli 1· ••J•l·r;i ;111cl 1l1l· i>l'l'.•111 l1ttlc- tli1· :111·r 111
consule lls f11 r the l<;ss ,,f Lile: fr,,_:.; ;1n;i trc1,_·-tu:i<l c"nccn
and tlic: lent-circus_ In stead of pl•1cltli1 1;..:- t.: 1·cryw!ic re
upon <>tII" <>11·11 fed, \1-hil'h is s " jll1':1s:111t :iftc'l' r111111inl!
nn111 d 11pon thc111 ail chy i n t • ·11·n, 11-L! il:i\'t.: 11• ·lh11 1g· ln1c
cars :-t n<i s l: 11_!·t·s :i t lJ:t11d lo l':ll'J'V llS t o <Jlll' <>\\'11 <i<><•r.s_ f
sccc i1·a rly lhL·rc :ire gr.·:tt di ,,:11-! 1·:1111:1.'-'.L·s i11 1·i1y l11 ,- I :
a friend :ulll his 1Y ife dn1p i11 s 11dck11I_v i11 tlic: c1·c11i11g· or
to dine· it· is 11111nstr<>11slr i11u>111-L·niu1t t<> h:11· c :m <•\-."ll'r
shop rc'n111c1 the ct1r11vr ,-,-hL·n c c t<> i111pr111·isl· a s 111•1•-··r «r
a dinn e r. I t 11·,,uJcl ill' 111111 ·h lictkr t" li:1-.·c 11"1lii11 .. J111t
t h e Vi il:t ;_:·c gT11l'L' IT :t 111 ilt; cir l 11'1> :t\\':1y. 'i'iIL· :1."l1·:111 ta1..:·c· s :ire t·11n spiL·11.,1 1s_ I 11·11n1lt-r 1h1: cntir.· i'"j>lil:1ti <> 11
of lit e city dcJt·s11't :...:_·1; u11t t<> i1\.{' 111 l·'r-11 _~·t 11\\· n . . ,

ti<>n of hi s "l' ]h•llL'11L Th e li tc r :u-:v f.,n11 uf aq.:-ulllelll whiL·h is 11e:HL·s t the c<>11\T r s: ttinnal form is
dcb:tl1.:, the u11ly ditlcrc11L·e h ci11g- l1 1:t l in lilt.: del>atc
e:teh spe:tker J;l" L'SL'Ilt s his ll'h11lc c :tSL'. i n an orderl y
m :llln er, \1-ith c>ut iJci11:-; i11 tcrrn p tcd by th e oth er,
wh e reas i n ad i:t111g;1e h e m u st m e d his o ppo n u1t 's

111

<>I'

w e c:t n only g·1 i dry -sli"d 11p1 111 cl<-;1n 11 : 1 _~-.l.!- in~· aln1n da nti y 1 i .~.::iJtL'< 1. 1 ' hcll \\·~ JJ:l\'L'. Jliithi11 .~· }1Jll rJ'hr1JlJ:t :, · ~~

(;F1111: 1;f·. \\.IJ.L!.\ :\ I l

t'EI J>..;,

/.1 .\11)'\· _/1,1 111 /1>,

/, , 11· I

·•·.,i-

!

.;

/,1 111
1

S1 11;1 : 1·s TJ 11:-,·:
F11r \\"il:tl i,i:-:rl fJf ii fi· ;. ~ 1·:wli '-jl{ :11.:t-r :1r .~~11i111..•.
fT n\\. d1 1t:S 1·:11 ·iJ :\!h\\·vr 1.J1Jt·1 llt1lts io ! fll.: 1>i i t\ l ·, )'" ~·lll<1 !1 (

1

' J'ennyson ..s /Ji. · /,-,,,1 I ;11,-,._.. :11111 L' l:1t .. ·s /!1,1/1:i.11 •.1
co n tain examples ()r :11 ·.'-:·urnc11Ltl11111 i11 di :llo_l.!·11L·_

,.

--. i!R_
.<;'Jjl

...;~~

267_ Fo r mal Arg um entation _ 1:, •r11 1:1 I :1 r1..:·11 111t ·n t:1ti1111 ~·.Te>\\' '-; 1·1·1·y ll:li llJ'.t l J1· <>Ill .. :· t J1 :1 l l l"1·il i11 ,·.,11 VL: l'Salion, as th e [c>l lu11·111g cx a111plc \\'ill .'->l1ow. This
cx: un pk 111:1y lw t 11r1wrl i11i1 • :t di.11 • .,~111 · l ,,·t 11·n·11 .\l.1
cu1l:iy:111cl !iis11pp••Il l'lll s<>l 1l l11· 111 1t· <;ti 1•Jl11· h1·t l11-r1>1·
n11t the rq_~-iL·ici,-s 11·c· rv _j11,.;tilivcl i11 j> lltli11;~ ( 'lJ:11J..s i.
t <' d<•:ti h _
The advoc;1f l'S o i' Ch a ril's, likc: lli1· ;1d1·• ·l·: 1tt·s oil ••i i1c· r
mak-i':w1 .. rs :r.:._:: 1i11st \\'il " 111 11\'t'l'l'.-iic·l111111.:..:· c·1·1,Jc.n\'\' 1...
prcid 11 L·cci , .:..:·cllL'l'aih- <ic·c ii;ic :tli '"111r.,1·c·;s1· :1 l1 .. 11t tlic·
tacts, :111d C11 !lft• 11i tii1·Jlhc ·l1T-.; 11· itli c ·:tli111,~ 11 ·'.11111 ••1 11· 111
c li:1r:1c1l'r.
\\- c· 1·i1: 1r~,- i1i11 1 1ntl1 li:11·1:1.'.~· Jq·.,i;v!l
his c 1•n •T1:ltJt •il 11;1ih : :1r11l \\1 :t r t' J,.!,j th:1I 111. · k1·1it 111:...
marri :1;..:·e , .., ,,. 1 \\' c :1,·1· 11,.,c '1 11 11 .,( '1:1\· i11.~ ;..:i1·L·11 II)> Iii,.,

I.

i-

·t

l

~1111j>osi1 i,,11 1111 il

R/1t'l/lri1·

peop le tu the nH.: rc ikss i nflictio n s of th e m ost hotheaded nnd li:ncl -hc a rtecl of p r l·la tcs ; and t h e d efe nse
is, tha t li e t11<> k his litt le son 011 liis knee and kissvll hi rn !
\V e cen s llrc him fo r k l\·i n.i..:· Yi11latcd th e articles of the
P<.:titi o n o f Righ t, af te r h a\·ing-, fur ;..:·tH id an d v:dllal.Jlc
co nsid e r a ti o n , prum ised tu obsen-c th e m; and we arc
inform ecl th a t lie 11·as acc usto med t o h e ar praye rs at six
o 'cloc k in t he murning- ! It is to su c h c<> n s id e ratiuns as
th e se, togethe r ll"i t h hi s Vamh·kc d ress, hi s handsu rn c
fa ce, and his p e a ked beard, that lie Oll"CS, w e ve rily
b el ieve, m os t of h is p() p ular ity with t he pn.:sent ge neration.

This example r e ;;e mblc s conver;;at ion in th e on] e r
i n whi c h th c a rguments arc prc;;c nte c1. In co n ve rsation w e ha\·e dire ct proof, r efutation; dire ct proof,
refubti o n; an<l so on . In th is qu o tati()n, t oo, the
o ppo;;in g Yi e w,; :ire prese n ted in sentences, ctnd n11l
in defi nit e ly org:111 izc d p a r :1gT:1piis nr series of pa r:1graph s .

268.

Direct Proof an d Refutation. The n ext
stcp wh ich wc may takt.: in th e dcvelop m e nt o f an

T/1" /),-/Jtrt1·, Orr1lio11 , a11t! Ora111a
smashing- the 1Jea11t if11I wim1()11·s (Jf c:t th cd r :tls; Q uakers
ridin g n aked tlir n 11g·h the marLt:t-pl :"". ; fift li -n1· 11.tr«li1·mcn s litn1t in g· l" •r J,:.ing _Jc· s11...; ; :t _i_:it:it .. rs k ·. · t1 1 1 · 1 11 .~ ~ tr .. 111
the t .. p ...; of t11l1s C1!1 tile fat e uf "\ i_:·:Lg; :tli tl lL:SL', th Ly
tell u s, \\·ere th e o ffs p ri ng u f lli e C rc:1 l R d>c lli c; 11.
Be it sn . \Ve :ire nnt carL·f11l t<> ans\\"c·r in this
matte r. Th ese ch arg:es, were thq' in fin ite ly m o r e i111 pCJrtant, Wt>lll<l n"t altL·1· 1>11r npi11i"11 "f :Lil ev 1·1 it wil1.-l:
alo n e has 11i:1lle 11s tu di ffer frt i:n Ll1e sb\·es 11·1t" c: l <' \I L· li
beneath d espo t ic s c e pters. M a n y e v i ls, 110 d<>11ilt, 11-erl·
prod11 cul liy t he c i1·il ll" :L r. T l: cy 11crc t h e ; ,;· i,_c ,,f
o ur libt:rty. I Lis the acq11isitiu11 i>ccn wurlli tlic s :t•~ ­
rifi ce ? [t-is th e nat11re of th e J >e v i l "f tvr:rnnv l" te:1r
and rend the h<> <h · 11·ii1Cl1 li e 1"a1 vs . .'\r e Lil l· rni-s c riL"': ,, :
continued pt>s scs ~ it)n le s s Ji.,rr ilii c than t he str11,:..;;~k s
of the tremen d ous ex o rci s m?
0

-

'f11 t i .\IA:-i BA1:1;..;( ;T1J:--.; ~fACAl ' J _ ,\Y ,

l:.ssa_J'

1.,1

11 1i!ill o11.

S.1 11; c1·: "T i i ) N S . Pru \·c t 11a l thl! lirsl p: u- ~ l ~·.Taph deals w i tl1 di ree l
proof ; t \11.: ~c c q n d . ,,·i t h r cfuLt ti 1111
I ~ tlic rt_·t 11t: li. i1· 11 1 11 : t · ~ ·
1y
1k'.ni ;d i1r c:;...: p ia :1.1Lir ,:1? t.. 'a il \" •i ll ri nd :1n c x: 1n1 j1 ~ l· 1.1 1 l1 i.' n~~ c· () 1
anai ogv in the r l'iul a t inH ?
1

269.

Types of the A rgumentative Paragraph.

Th e en e mies ,.1· th e J>;t;-li:1m c 11t, intkL·tl, rarely ch .,o«e
to take issue un t il e ;_:Te a t jl <> i:lls ,, f til e q11L·st1.,11. T hq·
c .. 11t<.;11t th c ll1sL·ll· cs with exp••.-. ing Si •llle " f the c;·irn cs
:uH l f(l l li e s t <) w h ich publ ic e< imnwtions necessarily g ive

Arg umcnl:tt ive par:tgraphs :tr<.: ()f the ;;.1.me t yp t'. S
as t he exp1Js itory; tlnt i..; , th c c< >i irdi11:1k , tl1 c ;;u l 111 r clin:tl t.:, the rni .'\ cd. a nti titL· "t lL' -S<: ntcncc type"" · 'l'l1L·
only differencc in org:ll1iz:1tiC!!l i.Jctwcen the l' XP•-•sitory a nd th e ar ~umentativc parag-raph is that in
the l:ttt c r th e re is a l' L' llll·11ti11~~- 11·,,1·cl t' .' \j >rL· s.sl"l or
irn;da :d \\"hi c h 11 n itcs tli <.: p ru.,fs t" tl 1c i' r'' il " ~it i•·t l
which t lH, \' L·s~ :L l > i 1 s h. T h is is th e wurd ;, •r o r sr Jrnc
of its syn o ny1ns - brrmr sr, ,rs , sniff .

b irth. T hey hc w:1il th e llllllh:rit c cl fat e (1t. S t r:t ff,,r d.
The y exe c rate th e Lrn·lcss Yi olence of the arm y. 'l'h cy
lallgh :tt tl1e scriptllr:tl 1tarncs <>l th e preachers. M:tjorg·c 11c ra ls lk e ci11,i.!· t he ir d is trill s ; sulL1 icrs r ev cli11g ull
the sp .. ils ., fa rt 1in1.:d ]'C:t>:tlllr y ; llJ,,;Larts, L' 11richc·d liy
the p11hlic p lun de r, taking P"ssessi "n () f the l1"spitahle
lire ::; ides and h e redit :try trn ·s <>f til e ()ltl g en try; IJ11ys

270. Argumentative Paragraph-type I. Tli1 ·
followill).;" 011llilll.: (if a porti"il or Hu r kL-'S S)H"lTlt I ' l l
Co11olltl l11111 ~.;/!It ,//m ,·n <a illustrates th e p:1r : t~~T:Lj > i1
in which the various proufs :tr<.: i11 c()iin1i11atc rch tion t .. u!J<.· :t;i u lhc r :

arg umt.:nt:it i\'t.: them e is tc) g :tth c r a11 tnir (\ppnncnt
l1as t o say into on c p:i. r :1g·r:qlh, and all w e ha ve to
say in disproo f uf his p ositi o n into a n other p a ra.
g raph . The foll o wing i;; an c x:.nn plc of this m et h o<l :

~-I

~:.

370

!lit f), ·/,r1/1', (!r11lio 11, 1111d nr1111111

C11/l/fositt"o11 and R!tc!oric

Exercises

Proposit1'nn.-Tlic librrly-fo< 1i11( c!taractcr of tlie Americans do11r111rls tl ft1lil)' o.f <'illlrif1r1!1u11:
For (a), T he American idea of liberty, d erived as it
is from the English idea, ce nters a\Jout Lhe principle that taxation must he levied by th e r epresentatives of the people.
Fur ( /, ), In the A mcrican form of government the
power of the representatives uf the people is either
supreme o r very \\'eighty.
For ((') , The spirit pf liberty in America is fost ered
hy the Puritan rcligiCJn \\'hi c h prevails in the
North.
Ii1r (d), lZace prid e in th e Squthern sbve owners
mak es them je alous uf th vi r l i i>erty, for wherever
sLivery Jll'c\·ails fre e d<>m is t•> till: slave owner
"n"t only an e11joy111e11t 1J11t a kind of rank."
For ( 1'), The st11dy of l:t\\' in i\meri ca enables its
lvgislators, the greater 11u1111ier uf whom arc
l:t\\'ycr.s, to au g 11r 111isg••\·c1·11mc·11l al a distance.
The following paragr;tph also illustrates the coordinate type:

Tt is v ehe mentl y maintain ed by ::;o mc writers of the
pn..:sent day that Eli zalic th persee utccl rn..: itlicr Papists
nor• Puritans ;<s su c h, and that the severe measures
which she occ;<sionally adopted w e re dictated, not hy religious intolerance, l>t1t l>y ['<llitical I1 eccssit.y.
The title of tlic Q11ce n , they say, w a s annu11e<l by th e
Pope; her t hron e was gi\·en to nnother; her subjects
were incit ed to rebelli o n; her life was menaced; every
Catholic was hn11n(l in c()n scic n ce to he a traitor; it was
therefore a g·ainst trait<>rs, not against Catholics, that
the pc1ul laws were enacted .
-

'l'11< 1MA S B .\t:I N (:T•1N

lVlAc'Allf .AY,

Fssrry "" J /,,;/all/·., c( 111slil11tziJJ1al 1 /islory.
Suc•:ESTlu N>. - \Vh at are the "";inl in ate elements in this para·

grap h ? l'r•>v e thot th e wonl/or is implied each time.

I. \Vrite. an:onling lo the l1rst type of the argu .
m e nlati1· e p:1r:tg-r:tph, on an y <>Ill: of the following
sn lijects:
I.

3-

l nte r-scll<>ol debates ;ire b enc ft c ial.
Girls' athletics sho11ld i>L! cncrntragcd.
! ~\'cry l>oy sh•>Ltld learn a trade .
An cditurial for the schoul p :l]>L'I'.

II. \Vrite a par:1gTaph on each of the above
subjects refuting c\·cry p<Jint that yuu make in your
direct proof in the first exercise.
271. Argumentative Paragraph-type II. The f(/1luw ing <>lltlinc .,f :rnothcr put'tiun of Burke's spccL·lt
un Co11o'fi11liun <1 1il!t A 1111 ·rica illuslratL:>; the sccu1Hl <>!'
sulJOn1inate type uf lhc argu n11.: nlativc paugr~t)Jh
J'ro;1osit io11 - ~I :·11.~la 11d slio11 Ids,'( 11 ri' /'L'il(1' hy (r1 11olit1 t io11:
Fr •r
< !( the tltrc·e jl•Jssihk incth11d,.; .. r <k:t1i11 .~ \\'itlt
.A meri c a - removing till; causes of the l<1\'e <1 f
freedom, prosL·cuti11~· it as crimin:il, or C( •lllplyin)..'.·
with it as n ecessary - the last is the <inly one
prad icali le, ji1r
i\. It is difficult to remove the causes of the love
of freellom, .for
1.
It is ha rel to change the conditions which
exist in America, for
a. It is impossible to check the growth rn
populati o n, .for
a'. There is plenty of unsettled land.
S1H ;1;1-: s TH 1Ns.-T t is, , >f C'llll'Sc:, nr 1l. 11 1_T1.."·;~~ary lo cxp r e:-.s thf~
'I'hc 111ind can oitc 11 n1ak o the cunuccl1on

\vord lor cvcrv tinH.:.

betwe'en tw" ~;c11lc'11cl·s in causal rL·lalion without having the
ca usal word ex pressed .

Co111fosit ion and Rlidoric

!!11· /Jdl(7/t, Oration, a11rl l>n111u1

272. Argumentative Paragraph-type III. An
example o f the third o r mixed type of the argurncnU.tivc paragraph. in \\·hich the proofs of the
propositi<m st:tnc] in both thl· suh .. r<lin:t!L' :Ln<l c<ii\1-.
clinatc rclatinn to one another as in the corresponding expository p.'.lragraph (s 192 ). is g i,·en in th e followin g outline :

II. \Vrite a paragraph on each of tlH: s1!1Jjccts
suggested in the fir."t c:-:L·rc·i.,L:, rdut in:-'. t lie first
paragraph y<>tt wr"lc.

372

I.

Englam1 should yi e ld to th e demands of the
J\mcrican colonies, ji1r
A. Comliti nns 111 America r equire this policy, for
1. A na1-row policy is unwise in clc:tling with
so br.~c a population .
B . England 's policy in de alin g with America, up
to this time. l1as lieen th:tt of a wise and salutary
ne g! ·ct. This policy is hcst for A merica , for
1.
S11c has pr11spc:n: d in cnmmercc:.
2.
Sh e has prospered in her agri culture.
II. Engbnd should not use force in dealing with
J\ m crir·:1 , for
J\. The 11 sc of force is temporary.
B. The use o( force is uncertain, ji1r
1. Force C:Liling-, 110 h<>pl: uC C<>l1Lili•tliun is left.
C. The 11SC or f<lrc e is wasldtil, /i1r
1. It consumes th e strength 11f both countri<:s.
l )_ Eni:;·land has no prct"cdcn t for the use of force
in dealin g with her c1J lon ies.
Exe rcis es

I. vVrik a 1ur.'.lgraph on each uf the fulluwing
subjects according to the third type discussed :.ibovc:
1.
Cnrnrncrcial cou r ses should he introduced into
pu h lie high sc l10ois .
~
The ekclivc syste m in scconclary schools is tu be
commended.

373

273. Methods of Stating an Argument. We
have learned t hat an argument consists of a proposition t o be provcJ, log-ether with a statement of the
proofs of the proposition. Thus:

J(11111
For

is a mortal - t lie propos1! l/111.
John is a man, and
I !. .
2.
.A il n1 e n are inurtal, ) 11 '· ri't1sot1.1 .
1.

Then; arc other ways of stating an :trgumcnt.
1.
The r easons may be g·ivcn as hypotheses:

!/

J\ll

tll L'll

:nc rnur t al, an<l

l
l

//;,·

r, ·,rso11,-.

If J11h11 is :1 1n:t11,
\
Tlte11 John is mortal - tltt' propositio11.

2. The rcasnns may lx: g·i\'L'll :ts st:ttemL:nt.s and
the conclu si()n t1rawn from tl1un introduced hy the
word I lfl'rtji,,-,.:

1\11 men arc n1unal,
John is a rnan ;

( ! ft!"

I

TUl.l'tJllS.

It can be seen th:1t the bst t.wo methods uf statem ent c;tn be reduced t<i the first , :incl th:tt. \\·Ji.ct is
true of th e first type in rc~anl lo mutives, nnkri:Ll.
and str ucture is true also of the other two.
The last two forms which pul the cunclusiun :tt
the cluse arc uo-:L·d 1Juth in the p:tr:L:-.'.T:tph :rnd in the
theme when we fc:1r tl1:1t uur listeners will dis:tg-rec
with us in regard tu the cunclusiun if we slate it
before g iY ing rrnr re:isons.

··,1.•

Tk · /Jd11rl1'. O rntio11, a11d nr1111111

374

Co 111pus ition and N/1d oric

274. The Material of Argumentation. The
esse n tia1s of an a rgnm e n t :tre tlw c"nclu s ion that
the speab.: r <•r wri te r h :ts reac h ed in his thought,
and th e reasons fu r th e cuncl us iun .
Th<.: materials whi ch rn :ty furnish reaso ns for a
cun <.:l usio n m ay be L1crived from:
1.
f1larr11 /1011 . \ Ve may a r g· uc th at :Lman accused
of a crime is inn oce nt, bcc:rn sL· su c h a e rirn t; woul<l
be in eu n s islcnt wit h hi s p: Ls l li fe, t he d eta ils of
whi c h we sh o n1<1 g·i \·e ,- th e method which Cice ro
USL's in his /J1folf"C 1'./ 1"t1s(i11s. < lr 11·e m :ty arg nc
fr o m prc ccc1e nt, and also use narrati u n.
2.
J), ·.1·cnj>lio11 . \ Ve m:ty :ug;ue t hat Baco n's
ch ar acter would han; m:tde it imposs ible fur him
to write Sh:t kspere's pl:tys. Cicero uses th is m ethod
in !Ill· .ll1 111/li1111 l.11 <0' where h e :Lq.~ucs th:tt P o mpey 's
c haracter e ntitle s him to the co mm ~tn Ll u f the army
a gai nst l\Ii th ri dat c s.
3. Exfusil io11. \Ve may establi sh a conclusion
by usin g general princ iples forour mate ri a l-- "John
is a 1no rtal , fur nil 111cn nrc 111orta/," or 1Jy the u se of
analogy am1 oth e r kinJs of expos ito ry m ate rial.
(::)cc~~ l S:?-- 1S.).) In h is speech on L~J 11oli11tiu1t, Burke
argues from ge n e r al pri 11 cipks :ig: Lin s t the e mploymen t u f force .

275. Th e me-model XVIIl. - T11E D 1·:11xrn. Th e
argumentative portion o f the debate d ocs not differ
in o r ga nizati1Jn fr om the <.:xposito ry th e m e (~ § 233 .
239, ancl 24 5). It 11:ls , ho\\'cvcr, two parts, d irect
proof and rdu tation , c:tch with its own plan of
urgan izat io n. lt is, thercfurc, c4 ui valent in form to
two separ:.itc themes.

.)7 5

276. Argu mentation and Exposition Combined
in the Debate. In debates il is oft e n n ecessary for
the spea ke rs t(J d e termine , fi rst o f all, exact ly wbat
th<.:y m ean by the proposition <>r subj ect t o be
debated. This se lling f1Jrth o f th e m eani ng- o f th e
p 1"< >posit ion in\·1ilv c s <.:xp1 >s iti o n. F'or in sta nce, in a
de b: ttc on th e qu es ti o n , '' Rt.:solvc cl , th:1t Eng·li s h rule
in for<.:ig-n bn ds ILLS b ee n b <.: n c fl c i:d, " th e fi rs t parag r:qih shou l<1 state what is und e rs tood by fu rc i'.-(n
l:tnll s, wheth e r t11 c te rm would in c lt1<1 c Ircbnd,
W ales, :-3cotlanc1. lt s h<>til d defi ne al so U1 t.: n ppliu.:ttion ()f "licnt.:flc ia l," sh ow ing- wh e th e r th e speake r
m ea n s IJeneflc i:Ll to l ~ n g l : rnc1, 11c r co loni t.:s, or the
w orld in g-cncr:Ll.

277. The Debate in Outline. Observe.: h u w, in
th e f"ll nwi ng outline, th e dire c t proof a nd r d u tation
may he d eve loped a cc un1i ng to th e plan of Th c rne mmlc l :X l I. (~ 23:)), that in whi c h the parng- r :-iphs
ampl1fy 1n g th e lead in g- tho ught are in coi'i rclin<1.tc
rc bti11n to one another. The tw o differ on ly in
m a teri a l - th e arg um e nta ti ve th e me u s in g ,-,·asons.
R Es111.vF. 1>,

llllll

s/11d1 ·11 1 J;"O'i'1-r 1111101/

i 11 111:i;lt sd/()ols i~~

/lc111jicial.
I N Tl.:< Jl l\ I CTI ON

( J i{

I -: X<>RUill~I

. Fi~·st p: Lr:1g-raph -- an e xpository parag rap h se tttn g- i(J rth the mc.::u1i11g of tlt c t e rm stud l: nt gov e rn ment, and the ap p li cati o n o f th e word be n efic ia l.
l>I RECT l' IZOUF <>R COl\FI RM J\'J'! O

S ec1m tl parag raph -· a pa rag raph of partiti o n ,
s tat in g- the m:-iin r easo n s for b e li ev in g tl1at st ude nt
go vern m e nt in hi g h schools is beneficial.

Co111pos1"t irill a 11d R /11'/oric
Stuclen t government i 11 hi.~· h schools is beneficial, for
1.
It prom otes self-control on the part of the
st nden t .
2.
Rcli c H~s the teacher of many disagreeable
<111ties.
3. Is in harmony with ou r democratic ideas.
4. l\fa],es tile student sensitive to publ ic opinion .

T!tc Debate, Oration, and Drama

377

Second paragraph- must show eithc1· of two
things:
Student government dues 110! umkrrninc aullwrity,
or, it is not d es irable that stmlents should have res pect
for authority.

Third paragraph -

must show either:

Third p:i.ragraph - develops the first r eason,
namely, the pr•>moti o n of self-control, by giving
reaso ns wh y self-government nnkcs for self-control.

Th:i.t the machinery required by student government is not n ecessarily elaborate, or at any rate Jll)
more so than g-ovcrnmcnt by a faculty ; or, that this
elaborateness is n o t objection:i.blc.

Fourth paragraph - deve lops the second reason
in the same way.
Fifth paragraph - develops the third reason in
the same \\·ay .
Sixth paragraph - develops the fourth reason in
the same wa y.
Seventh paragraph-summarizes. (Compare this
whok m odel with Thcme-rnoclcl XII.,§ 233.)

Seventh paragraph - should smnmarizc the main
points of the affirm;itive as well as those of the n egative side.
Of course the subordinate and mixed forms of
Theme-models XIII. and XIV. may be usl:d for
direct proof. The refutati on will generally, however, have the coi.irdinate form indicated above.

REFUTATION OR CONf.'UTATIO

The refutati on of an argument may also be
organized on the plan of Theme-model XII. by
usin g argurnenLttivc instcatl 1it· expository material.
Every statement us ed in pure argumentation must
be of the nature of proo f.
First par;igraph - a paragraph of ?artition stating the main reaso ns for disbelieving in student
government in hi gh schools.
Stn(lcnt government is no t hcn cfic ia l, for
1.
It lessens the stmknt 's respect (or authority.
'
It r equires too e laborate a machinery.
3 . ft puts t< 0 much e mphasis npon discipline.
4. It promotes jc:i.lousies :i.mong students.
1

278. Subjects for Deba tes . In writing upon any
of the subjects suggested in this section the student
should remembe r that all the material used should
give r easons for the main or minor propositions, or
conclnsions.
Exercise

Write an argumentative theme on any of the following subjects, giving direct proof and refutation.
The direct proof may be of the coordinate, s ubordi nate, or mixed types:
1.
In c<1ncation, the study of hooks is more important
than the study of things.
2. A college education is undesirable for a business

career.

i~

37~

["""/'''·'·i1io 11 1111,/ N!tctoric

Tlte D e/late, Orn t ioll, n 11d Drama

011<..: should r cal1 th e la tes t novels.
·I·
PillJncli c spel li ng- is (lt;s irahk.
5. S l·h11o l 1H1ildi11gs shC1uld 111J t l w tl 1r"w n open as
,.,uL·ial CL"nt <..: rs fur th<..: pe .. ph.:.
6. The Rhod e s beq ue st to J\ rn cr ican st ude nts will
he of ~T L':t l alh·: 1nt a~<..: to our co untr y .
7. T he State shu11ld provide free t ex th"<Jks.

379

3.

S1 r 1;1:1· ···: ri l) :'\ .- ~l'L'

H:tkc1"s

. ·I F.!..,'lll!/1 ' 1//f(/1 (1 11

and l~r 0 11 k in gs Bl

1..:.i 11 gwa\t ':-. 1~·r ir:fs ./1 1 r /)r/Ja/1', f11r a ful l u ·..: at111cnl of arg nn1enta t iun and fur a list 11f subjec t:-; for dL:halt.:.

279. Persuasio n . The following- di scussio n of
pcrst1:tsi"n dc:tls only wi th th e p:trag-raph alll1 docs
nl!t attempt tP org·:rnize th e co mplete th e m e . It is
wit h pcrs1 1:\si n n o nl y :1s it c n ll: rs int o narration that
w e :tre cvnc<..:rncLl. J'crst1asiu n is u scll as an aiLl to
narrati () n whe n the write r ·w is h es l\ S t o see how o ne
character in :l st nry can c.1 e krmine th e aclil >l1 of
another lJ y pL·rst1ading· him to do a th ing- to whi ch
h e m :1y be naturally disinclined .
2 80. Info rmal Persuasion. That form of compos iti<>n which ;tims directly o r indirect ly lo affect
th e fn ·li n gs or t h e wil l of :t1111 l h c r is ca ll ed p c rs uaSl<>ll.
Lil;e lli c other four f11 r 111s of <li sco t1rse , it h as
its o r ig·in in di: tl<>g·t1c. The fullow in g ex t ract co nLtin s p c rs u:ts i1m in di:tl<>guc:

_).il11r1li1111: \V ithin a s1111 irn·l's le:1p of it [th e wood] an
old 11·oma11 w:is s Ltlllli1 1g· at th e d uor of a m11d house,
listu 1ing for the ap p rt1 a c h (•f the trap that was to
tak e her tu t he po11rh o11se .
[It was Nanny
\ Vehstcr.] Nanny was ll l!l cry i11 g-. She had rcdd
11p hL"r h<JllS<..: fur the last t im e and put on he r black
m er ino. H e r m o uth 11·;1s wide ope n whil e she list e n l'cl . If yo u had addre ssed her yo n wo uld have
Th at is
t hought her poli tc and stupid.

all th e stor y ·save th a t wh<..:n Nann y h eard th e dog-ca r t s h e sc r eam e d.
J>/a a- d 1·sr.,-1flio11: Th e <111111· s toocl open, anc1 Nanny
was c ro uc hing aga in st th e op posite wa ll of the r oom,
sli :.:: h a p oor, d11l l ki tchl' n , tha t y o u would ha1·c
th o ug ht th e furniture h ad st ill to he !Jr1n1ght into it.
The bl:rnkct and the piece " f old carpet that \\' as
Na nn y 's cove r le t w ere alr<..:ady packed in h<..:r hll x.
Th e pla t e r:i.ck was empt y . On ly th e ro1111d tal 1lc
a nd t he two c hairs, :i.n Ll th e stuol a11d some pan s
w<..:rc being ldt behind.

l ,crs11asion : "\Vcll, Nann y, " th e ])(Jc tor IM cQ ucen I
sa id, tr y ing- to bluster, "l ha ve come, and Y" t1 sec
Mr . 1Jishart is with me ."
Nanny r ose Lr:1vcly. She kn ew th e d octor was
g-ood to h e r , anLl s h e want e d to tha nk him .
" Thank y o u k indl y, sirs," s h e s:1id; a nd th e n
tw o pnirs of eyes dropped befo re hers. " P lease tu
take a cha ir."
Both m e n sa t d1 ,\1·n .
Th e d octo r thong-ht it bes t that th ey sh \)u ld d e part
at once. He r ose.
"Oh, n o, d octor ," cri ed Nan n y in alarm .
"But yo u a r c read y? "
"J\y," she said. "r h av<..: hec n r e ad y thi s twa
hours, but y o u mi ch t wait a minut e. J! e ndr y :'lr 11nn
an d J\nd re w J\llard yce is co ming yunl th <..: r u: 1d , and
th ey wo uld sec 111 <..:. "
"\Vait, <l• 1ctor," c:avin saicl.
"Than k yo u kin d ly, sir, " a nswcrc <l Nanny.
"H11t Nanny," th e d octor said ," you mu s t n :m t.: mbe r what I t ulLl yo u a!Jo nt t h e poor- , al>o11t the pl:icc
yuu arc going to. It is a fi n e h o use, and yon will be
v e ry happy in it."
"J\ y, I'll be h ap p y in 't," Nan n y falt e re d , "l>u t,
doetor, if I co uld ju s t h :i.c b idden o n h <..: re thuu;..:· h I
was na h ap p y!"
"Think of th e food yu 11 will get ; l>roth nearl y
every Llay ."
"lt--it'll be terrible cnj11y:1hh:," Nanny sa id .
"J\nd th ere will he pleasant co mp:iny fu r y<>1 1
alw : 1 y~, " co ntinu e d the doctor," and a ni ce roo m t"

Tiff nd/fltc, Or11 tio11 , a11d nr111111T

sit in. ·why, after y ou have bee n there a week, you
won't he the same woman."
"That's it," cried Nanny with stH.lden passion.
"Na, na; T'll be a woman on the poor's rates. Oh
rnither, rnith e r, you little thocht when you bore m~
that 1 w•rnlc.1 co me to this!"
" Nanny," the docto r said, ri sin g again, "I am
asham ed of you."
"I humbly spcir y our forgiveness, sir," she said,
"and you mi cht h id e just a wee ye t. I've bin ready
to i.;ang these twa hours, but n o w that the machin e
is at the gate, I d inna ken h o w it is, but I'm terrible
swcer to come awa '. Oh, Mr D ish art, it's richt true
what the doctor says about the - the place but I
canna just t ake it in. I'm - I'm gey auld." '
"You will often get out to see your friends" was
all (; av in cou ld say.
'
. "Na, na, na," she cried , "dinna say that; I'll gang,
tJut you rn::iuna b id me eve r . come o ut, excep t in a
hearse. Dmna let onybody 111 Thrums look on my
face again ."
"\Ve mu st g-o," said the doctor firmly. "Put on
your mutch, Nanny." . . . .
She took th e bonnet fr om her b ed , and put it on
slowly.
. .
- J A~tE S 1\1 . i··)J\K JUE, 7·1
11 e L. z., t I I! 11''inusleY.
St rt:t:r-:sT inNs.-\\"ho is being persllade<l in this quotation? Whu
an; p e rsuading ? \Vhal is the resu lt ? \Vhat tlo tl10se who are per.
s llad111g Nanny <lcsire'

28r. Formal Persuasion. The <1ial ogue quoted
above is informal or colloquial persuasion which we
use in ordinary conversation and find in th e n ovel
and th e play. In the oration occ urs a more formal
kind of persuasion, which is of two classes:
1.
Direct persuasion - by m e ans of e xhortation.
2.
Indirect pcrsuas io n -- making use of narrative,
desc riptive , expository, o r argumentative mate rial.
The follc)\\·i ng sections treat of the direct and
indin.: ct t ypes of pers uasi on.

282. Paragraph Illustrating Direct Persuasion
or Exhortation. This form o f composition is used
in praye rs, petitions, and in the peroration o r cl ose
of the oration . It is a direct appeal to th e will. The
materials u sed to develop a h o rtato ry parag raph arc
commands, wishes, adjuratio ns, warnin gs, thre ats.
In s tructure the h o rtatory paragraph is ge n era lly of
th e coordinate t ype already discussed under Exposi ti o n and Argum e ntati o n.

A.

A

SERIE S O F COMM,\ NDS .

Quam ob re m, nt saepe jam dixi, proficiscere; ac, si
mihi inimico (ut pr::tedicas) tu o conHare vis in vidi am,
r ec ta perge in exsilium: vix fcram scrmoncs h ominum
si icl fc ce ris ; vix m olc m isti us invicli ae, s i in exs ili11 lll
juss t1 co nsnli s ieris, sustin c Lo. Sin autem serv irc mca c
laudi e t gloriac m a vis, egrcder e cum im portuna scelc r: t·
torum rnanu: cCJnfcr tc ad l\Ianlium, concita p c rditos
civi s, SCL"t:nl e t e a 1.Jonis, infer patriae bclJum, CXSl11t;c
impio latrocinio, nt a me non ej cctus a d ali enos, scd in vitatu s ad tuos issc videaris.
- l\L\1<Ct 1s T u r.1.1t 1s C 1c i-:1< n .
A.if11i11s/ C11td111<'. Oration I., C it.

H.

X.

A SERIES r>F \iVISIIES .

Note that the appeal is here n o t to the will b ut
to the feeling s.
Dani e l Webs ter uses in his oration o n th e occas ion
of th e lay ing of the corner-stone of th e Bunker llill
1fonument the following appeal:
"Let it not be supposed that o ur object is t o perpetuate nati onal h ostility, or e ven to cheri sh a m ere
military spirit. It is high e r, purer, n oble r. ·w e c" nse crate our work to the sp irit uf national indcpcndcncc,
and we wish that the lig·ht of p eace may rest upon it
furcvcr.
. \Ve wish that wh osueve r, in all coming tim e, shall turn his eye hither, may behold that the

T!te Debate, Oration, and D rallla
jll:t'-·e is 11ul u mlistiuguis h cd \\' he re Lh c fi rst g- rc::il battle
ur the Re\' ulul i<JI I \\';LS ft>l lg"lll. \V e w is h Lhat th is Stl'lll' ·
Lure 111ay procLtim the rna:-,: n it udc a n d importance of
th :tl C\'L' Ilt Lu C\'L•ry L'laSS a nd C\'Cry age. vVe wi s h t hat
int':uH·y ma y lear n th e purp"se of its ercc l iun fr(J m 111at<:rt1 :t1 lips, and tli :t l wea ry a n d. \\· ith cn:d uge m ay lJchol<l
it, an d lie ,.; .. laced liy Lh c nT11llccli1rns wh ich it s uggests.
\\"c \\·i sh th:tt blior m ay l11uk up he re, a n d he protHI, in
the midst of ils Lui!. \ Ve \\·ish t h at, in t h ose days of
d isa s te r, which, as th e y Cll lll C lipo n a ll n a ti ons, mu st he
e:-;pc L'lL'll to c<>lllC upo n lIS a lSl>, tlcspo!l(ling pal riut ism
nu y t11rn its eyes hithcn,·anl , :rnd l,e a ssu red that t he
foundat io ns o f u ur n atio na l po\\'er arc s till strong."

c.

A s u , 11·::-; ()\"

,.\ 11_1 111,AT l\l NS.

,.\ ft c r sh 1m ing Lhal Lile ll n iu n cannot lJe <.1issol ved
"·itl10u l a ter r ible war, llcn r y Clay conclud es on e of
his spcc'-· h cs \\' ilh the follow in g appeal:
" C: tn Y"u l i.( h tl y Ct>ntcmplate the co n seq ue nces ? Can
y o1 1 yiclll yo11rsl·lf t" a torrent o( pass io n, amidst dang ers w hicl1 { Jia,·c clcpictccl in culors fa r sh o rt of w hat
wolllcl be i n rc :tlity i f. the c n.~ n t s hould eve r h a ppen?
I conjure ;.:-c11 tk rn c11 . \\'hcthcr from t he Su 11 th o r t he
i'!°"1·th, hy a ll they ho>l cl dea r in the wurl<l -· hy all t heir
:m ·e of lilinty -- liy all thei r vc11 c r a ti o11 for t hei r an ccst\lrs - h y all th e ir re:.,:·anl f11 r li<>Stcr ity ---- Ly a ll th eir
g-ratit11clc t11 lii1 11 w h11 has l1 cs t11\\·,·d llp<> n th1:111 sll ch
11 11n 11111ile r ,d l1kssi11g·s - liy a ll t h1,; d uti es tha t th ey o\\'C
t o m a11kind, and :tll the dtl t ie s \\'ltic h they owe to t hc111seh·cs - hy all t hese co n si cl e rations 1 i mplor e t hem to
pau se - su le mnh· tu p:u1sc - at t h e cc1 ~c of t h e p recipiC'e,
hcfure the fe a rf ul a n d dis:1strous 'le a p is taken in t he
y:1wning ahyss helm\', \\'hil' h w iil in ev itab ly 1ead to
ce r tain and irrct rie\·alilc destructio n ."

D.

A

P1z ,\ \'EJ-t.

0 Thou 1 who pour 'd th e patr iotic t ide
Tl1:1t stream'<! tln·11u;.:-h \ Va l lac e' s 11ncla lln tecl heart;
\\'ho da1"d t" nobly stem ty ra n nie p r ide,
Or n" b ly di e, the second g· lo ri ous part:

383

. (Th e pat r iot'~ God peculiarl y th ou a rt,
Hi s f n e n cl, 111 sp1 r e r , g u ardi a n, and r ewar d !)
0, n eve r, n ever, Scotia's r eal m dese rt;
B u t s t11JU1 c patnot ._aml t !1e p a t r iot-ba rd ,
1n b n g h t succession n u se, her o rn a m en t a n d g-uanl !
-

R O BERT

BURN S ,

lite Cotlr r'.1· .\'a / urday N 1:i,r/J / .

283. Paragraphs Illustrating Indirect Pers ua s ion. Th e p a r .'.lgr.'.lph s t r u c ture h ere fo ll ows th e
laws of t h ~ desc riptive, n ar rati ve, an d exposito ry
p .'.lr ag r .'.l ph 111 reg.'.l r d to th e fi r st, las t , a nd i nten·e nin g se n te n ces:
,- /.

P 1 ·: J~SU :\ S I ON lN \ ' 0 1.V l NG DESC IUl'T l ()N .

Ireland 1 Poor first l o ve of th e Cel ti c race ! So far
fro m Fran ce, yet its siste r who m i t cann o t s u ccor a c r oss
t he wavt:s 1 Th e I s le o f Saints, th e Emerald Is le-so
fr u itfu l 111 m e n , so br ig]1t in gen iu s ' The country of
B uc kley and Jolancl, o t l\1norc a nd O'Co nn el l ! The
lan d ut· hng h t t h o u g ht s a nd th e r ap id s word, whi c h
p rcse::ves, amidst the old :1g·e of_ t hi s worl d , its poe t ic
111s p 11 .1t10 n . . Let t h e E n g li s h s mil e wh en pass in g· s1 1mc
h ovel lI1 t h e ir tow n s, th ey hea r the I rish w i d<l\\~ c hant
the co ro n ac h f, r h e r hll sban cl. \ Veep! m o urn ful co \l n t ry; a n cl let I• r a n ee w eep too, fo r cl cgTa d a t ion w hi c h
sh e can n ot p r ev e nt - cala mi t ies w hi c h s h e ca nn ot a vc r t.
- J 11 1.1·:s M w 1n :1.1-:T .

//.

P EJZSU :\ S JON lNVU l. V I Nl ; NA RR J\ TI UN.

Note t h .'.lt t h e .'.lppe a l he r e is r .'.lth c r t o t h e fcc lin g-s
th a n t o t he w ill.
T h .'.lt is, th e w ill is a ppeak:cl t u
th ro u g h t h e fee lin gs :
']'h ere is in t h e fate o f t h ese llll fu rt1m a tc h e in gs rthe
I ncl 1ansl mll ch to awa k e n ou r sympathy, a n d mn c h to
d 1st 11rb t h e sob n e t y of o ur j u cl g·m e nt ; mn c h th at m ay
be urged to ex c use t h ei r at r oc it ies. vVh a t can bt: m o r~'
rne la n c holy tha n th eir histury? By a law of thl'i r
n at ll re , they see m c1cst 111 cd t o a s low 1> 11 t s ure ex t i n e t ion.
E vnyw he re a t th e app r oac h of t he white m an, t h ey

Co111j>osilio11 a11J Nliduric
fade awav. \Ve h ear the rustling· of their footsteps, like
that of the withered ka\·es of autumn, and they are
gone foreve r. They pass mournfully l.Jy us, ancl ret11.rn
no m ore. Two centunes ago the sm uke of their wigwams and the fires of their councils rose in eve1·y valley,
from Hudson's Bay t o the farthest Florida, from the
ocean to the Mississippi and the Jakes. The shou ts. of
victory and the war dance rang through the mountains
and the glades. The thick arrows and the deadly tom~­
hawk whistled through the fo rests; and the. hunters
trace and the dark encampment startl ed the wild beasts
in their lairs. Th e warriors stood forth in their glory.
The young listened to the songs of o th e r clays. The mothe rs played with th e ir infants, and g·azcd on the sun with
warm hopes of the future . The aged sat do~n, but t.hcy
wept not. They sh?uh1 soon .b e at res t m fairer rcg10ns
where the Great Spmt dwelt 111 a home prepared for the
brave beyond the western skies. Braver men never
lived. Truer n1cn n 2vcr drew bow.
But
where are they? \V 11ere arc the .villages and warriors,
and youth; the sachems and th e ir tribes; the hunters
and their families? They have perished. They are
consumed . . . . The w ind s of the Atlantic fa n
nut a single reg-ion which they may n o.w call their own.
Already the last feeble remnant of tne. r~ce .are preparing for their journey beyond the l\1iss1ssipp!.
The ashes arc cold on their native hearths.
-

c.

J usE l'll STOKY.

PEl~SUASION lN\'OL\'!N(; E>.:l'OS!TION.

Do you know how empires find th e ir end ? Yes, the
great states cat up the little. As with fish, so with nati o ns. Aye, hut ho w du the gTcat slates come to an end?
By their o wn in ju;; t icc,. a~1d no other cause. .. . . .
Curne with me in tP the 111tern o of the nat10ns, with such
p<•or guidauce as m): lamp can IL:nc1. Let us ~1isquiet
a nd bring up the awful sh:tdow s uf empires bunecl long
:l."'t' ancl learn a lesson from the tomb.
.... Come, old J\sS)Tia, \\'ith the Nincvitish d ove upon
thy cm<..Tald cro11· 11 ! \Vha t laid thee low? .
"T fell by m y 01\·n inJu;;ticc. Th ereby N111 eveh and
Babylon came with m e also t o the ground."

Oh, queenly Pers ia, fL.un e uf the nati ons 1 wh c rctu rc·
art thou so fallen, who trodd est the people und e r thee.
briclgcdst th e Hellespont with ships, and poureclst thy
templ e -wasting millions on the \V estc rn world' .
"Because l trod the pcuplc under me and bridged
the Hellespont with ships, and poured my temple-wasting millions on the \Vestcrn world. I fel l by my O\\'n
mistl cc ds 1 "
Thou mu se-like, Grecian queen, fairest of all thy
classic sisterhood of states, e nchanting- )"L't the wurlcl
with thy swee t witchery, speaking in art and mus t
seclllctiv-e song, why liest thou there ~ with the beautL·r1us
yet c1 ishonorecl brow, reposing on thy broken harp'
"I scorned the Jaw of G od ; banished and poiso ned
wisest, iu stcst m e n; I loved the luvcliness of flesh, embalrnecf it in Parian s ton e; l loved the lovelin e~s of
thought, and treasu red that in more than Parian
speech. But the beauty of justice, th e love lin ess of
love, l trocl them down to earth! Lo, therefore have I
becom e as those barba rian s tate s - as o n e of them '"
-

/J .

'1'1tEul1fJRI·'.

P ,\Hl-:E R .

PEIZSUASION IKVOLV!NG ARGUMENTATION.

It was as the founder of an e mpire, which threat e ned
for a time to comprehend the world, and which demanded ot h e r talents besides that of war, that he
Na po Icon l challenged unri \·a le d fam e . And h~rc
we qu es ti on his claim - h e r e Wt: cann ot award him
supremaey. The project uf uni ve rsa l e mpire, how eve r
; m posing, was not origin a l. The revolutionary gove rnm e nts of Fran ce had adopted it before; nor can we
consider it as a sure indi catio n of greatness, when we
r eme mber that th e weak and vain mind of Louis the
Fourteenth was large enough to cherish it. The qu es tion is : Diel Napoleon bring to this design the capacity
of advancing- it by bold and orig inal concept ions,
aclaptccl to an age of c ivilizati on, ancl o f singular intt:llcctual and moral excitement? Did he di seover new
foundations of form? Did he frame ne w bonds of
uni(ln for subjugated nations? Did he breathe a spirit
whi ch could supplant the old national attachments, or

r

:.?5

Co 111pos ii z'o 11 a 11 d !\It ti oric

7'!11· ! Jd1a t 1·, Oration, a/Ill nn1m11

did h e inve nt any substitutes for th ose vulgar instrum ents of force and corruption which any and every
usurper wou1d have used? Never in the re cords. of
time clicl the world furnish such material to w ork with,
such mean s of m odelin~ nati ons afresh, of building up
a new power, of introd~1cing: a new e 1~a, as did Europe
at the period of the French Revo1ut10n. Never w~s
the human mind so capable of n e w impulses .. And did
Napokun pro\·e hims e lf eq ual. to the conchtwn ?f th.e
worll1? Do we detec t one ong-111al conc:c pt1 on 111 his
m eans of universal empire? Diel he sei ze on the e nthusiasm of his age, that powerful principle, m ore efficient
than aims or policy, and bend it to his purpose?
He did n othing but follow the beaten track, ~ut
apply force and fraud in th e ir c.oarse.st forms. With
the sword in on e hand and bnbes m the other, h e
imagined himself absolute master of th e human mind.

discunrsc --- narrati o n, description, exposition . argumentation, and pt.!rsuasion . l'erh:lps th e most systematically pbnncd deliberative orati on of antiquity
is Cicero's speech, For t!tc .ll!rn1ili'rnt lm1 one of th e
best modern r epresen tatives, Burke's speech o n Co111;

cili11t i1>11 ;, 1//1 A mrrira.
1

285. The Deliberative Oration in Outline . We
sh:lll confine ou r study of the orati on to the deliberative t ype b ecause it is the most complex a n<l
it is closely allied to the d ebate. Th e o utline for
such a n oration in its complete form is as fo llows :
r.

-\VILLIA~I ELLERY CHAN N I NG.

Exercise

Study the above examples as mod els for imitation in y our own writing an<l speaking, whenever
y ou have occasi on to make use of p ersuasion.
Fin<l other examples and n otice th e special means
by which persuasion is effected in each example.
284. Theme-model XIX. -T IIE ORATION. The
oration may make use of all the forms of persuasion
that have been pointed ou t; nam ely, pure persuasion or exhortation, and those involving narrntion,
description, exposition, an<l argumentation. All orations are not so elaborate as t o employ all of these
forms. Bruce's acl<lress in l3urns 's J>a1111ockb11rn contains only exho rtati on; Lincoln's Gct!J'Sburg Address,
only narrati on and exposit ion use d with a per suasive
purpose. The deliberat ive oration is the one that
m ost frequently combines all of the five forms of

~

3.

4.
5.
6.

T!te Exordi11m o r Introduction (sec ~ 287). This
g1,·cs, as 111 t~1e debate, any explanations that m ay
be necessary 111 r eg-a rcl to the nature 1>f the subject,
the presen ce of the speaker, the speaker's att itudc
to the suh1cct, etc. In the introduction the ora tor
mu st contrive to create prejudice ag-ainst his opponent, \\'111 fa\·o r for himself, and mak e the audience
bclie\'C the subject being discussed is important.
T/11· JVarralio. This gi,·es a hi sturv o f the case
that is b e ing· considered o r uf the sp:akcr's experi e n ce \V1th or relat1() 11 to the case. In pleading for
the c1t1zcnsh1p of J\rchias, Cic e ro takes occasiun to
sketch brief1y t he life uf his client. The narrati\·e
u sed in this division is of co urse retrospective .
lite Farlilio (sec~ 235 ). This e num erates as in th e
clehate th e main headings of the direct proof which
is to follow.
T/1c Co11fir111alio or Di r ec t P roof is the same as the
corresponding division of the tkbate. (Se c ~ 277.)
Tiu: Co11f11!11ti,1 or Refutati on also is id ent ical \\'ith
th e corresponding part of th e debate . (Sec s ~;7.)
T/11' Paoralio o r Conclusion. This part of the
speech consists generally of pure ex h orta ti on o r
appe al .(sec ~ 28 2) for action, in view of what is pre.
sen ted m the speech.
·

T /1,· !JdJafr, O r11lio11. 1111rl !Jr1111111

286. The Deliberative Oration Combines Narration, Description, Exposition, Argumentation,
and Persuasion . It will be see n from the abov1:
anal ysis that the dt:libcrati\·e type of the oration is
deriv t: d from th e dt:batc by adding two new motives,
the 1\'11rrrrli11 ;rnd th e Pl'roralio. Th e Exordium is ex ..
posil()ry; th e 1\'arr11tio of course narrati ve; the Pnrlitio expository. Th e Co11jir111atio and Co11f11tatio arc
argumcntati\·c, and in th e m descriptive, narrative,
or expository m.'.ltcrial may be used ;is proofs. The
Paoratio belongs to Pe rsuasio n. It is ev id ent , therefo r e, tha t thi s type of the oration e mploys all o f the
fi \ "C forms of cl iscourse.
287. The Exordium. \V e may ga in some notion
of the cxpbnatory nature of the first par;:igraph of
the kind of o rati on we h:n·e been studying, from the
follow in g statemen t of the introt.luctions to a munbt:r of Cicero 's orations as summarized by Allen
a nd Grce n oug-h. Cice ro begins his speech on the
:\hnilia n bw by explaining \\·hy thi s is his first
:q>pc:trancL: bdc>rL: a pcilitic:tl asscmlJly; his speech
in defense of J\rchias 11y sl:l ting forth the claim of
Archias t o hi s :-:cn·iccs, both fo r personal r easons
and bec~n1se he is a man of le tt e rs ; his defense of
Roscins by staling his reasons for und e rtaking the
case and sho"·i n g- the political aspect of the trial.
Burke introduces his speec h o n Conciliation ·wit/1
A m erica by showing ( 1) that th e politi cal situ;:ition
\\'ith reference to Am eri ca calls fo r a speech on
the s ubject of Engbnd's p olicy ; (2) that Burke is
quali fied to speak: (3) that th e plan h e is about to
prnpuse has ad,·ant::i.gcs uYl' r t ha t of bis opponent.

288. Subjects for the Deliberative Oration.
Q uestio ns which are prope r subj ects fo r the deliberati ve oration arc th ose whi ch have tw o sides and
therefo re provoke an an s wer wh e th er th e position
taken by a speake r o n th e question is affirmative or
nega ti\·e .
Exercises

\Vritc o n a ny of the following s ub jects or choose
on e of yo ur o wn :
1.
Some aspect uf tariff kgislatiun tha t is being
now or has recen tl y been discussed in the Cong-rcss of
the United States.
2.
J\n an swe r t o Burke's speech on Co11oliat1//11 7, •1"t!t
/ / 111erien.
3 . An im aginary speec h by Nathan l £ale, on the
occasion of his trial, in vindi cation of th e "\nwrican
ca nsc and hi s p a rt in the conflict.
4 _ i\ speech in defe nse of so me muni ci pal measure
in whi ch yon arc interested.

289. A Drama Combining Narration , Description, Exposition, Argumentation, and Persuasion. ST U llY <•F "T 111·: l\h:RCIL\i\"T <•F V 1·: '.'.IC1·: ."
The follo\\"ing study o f a Shakspcrean play will show th at
th e t.lrama is a very comple x fo rm, makin g use of :tll
o f the fi,-e kinds o f discourse. The sug-~· cs tions fo r
themes based on T.lt e Jfcrc/{(l11t of I 'mice may b e m:tdc
use uf according to the degrt:e of ski ll th l.: cbss has
attained. Th e m et h od o f 1ite rary a n alysis here outlined is th e s;:i me as that for the stud y of 711£' Crm t
Stone 1-~ne in section 167; nam e ly, th e m cthod ''"hich
requires the st ud e nt to separ:-itc ea ch scene into its
component m otin:s.

Co111posilion a11d Rlte!oric

390

290. The Motives Used in the Themes on "The
Merchant of Venice, " and in the Analysis of the
Play. The theme-models on !!1r Jfrrd11rn l of Vc11ia
in th e s tudy in secti ons 29 1- 297 combin e th e following m otives: The s it uation , t h e gen e ral reflection,
r etruspecti ve n :urati n: , forwanl-muv i ng narrative,
place-deseri pti un, <lcscr i ptiun of personal appearance,
of c h ar::tctcr, o f rn ou<l. of m ode of li fe, of audible
thol!ght, of an asscm bbg-e, and of a speech. In additi o n to th ese m o t ives the foll o wing will be found
b y analy sis in T!tc 1llac/w11t fJj I 'n11ff: Description
of climate, argmnentation in dialogue, persuasion in
d ial ogue.
29r. Study of Scenes in "The Merchant of
Venice." Jn th e analysis of t h e vari ous scenes
(~~29 2-2 97) th e f'1 rst topic is tl1e r e production of the
sce ne a ccording to th e following ou tlin e:
Sil11 rrlit111 -- T hl' sit uat io n sh o uld h e s o plal'cd that pa rt
of th e sc L·nc may be g-i\·e n in r etrospe ctive and the
r e main de r in i'<1rwanl -111ovin.1..:· narrati ve.
R1'/rosj1·tti-; ·,· 1111rra/i-; •,· - o f th e e arlie r part of th e scene
or of c \· c n ts which k1\T ti·anspirecl between the
sce n e tli:1t is bei ng rcpniduccd and some previous
sce ne.
Fonl'nrd-11101 ·i11.i.:· 11arrali'i't' - dca ling- with th e events fo llowin g the time uf the sit uati o n.
D1RE CT IO '> S
1.

'i. V/t i,·!t

!n tltt' J,·srnflio11s (If f'1Tso11t1! nppcarm1ct, etc.,
sdt'l'I , 1/ (1 /1' 'i.<'itdlz l'r:

) 'Oil

'' ·
/1 .

'i'ilL· pe rson <l l'sc r ihc s him se lf .
i:-; dt:::.l' rili l' 1i !Jy inH.: lo w ho 1n he is

'l'll L· p er:-:.•111

t :tlki n ~·

,·.

'l'h c

pcr~o n

d t·....;1..Till1..·d is prcsc 11t.

Ilic f)tbt1 I c, 0raI1·011, "//(/ ]) ra 111rr
z.

J)d rr 1111.11c for

ca cit dcscr ipl io11 :

rr. Th e funrlamcntal quality.
/,. Th e: c]e,·iccs Shakspcrc uses to make hi s desvripti"n s
dkcti\·e.

3. l 'ri ·so"i.'1' t1!/ ll1l' fara.£;·rnflu yo11 an· a.l"/.-,·d !<1 -;,•rile
1111/i/ lite study t1/ llll' flay is Ji11is!to l.
..i. In 'i.c•riti11J;· ft1rt1graf!ts 011 clwrnrlt'r ro11sidcr:
,, .
/1.

c.
ii.

\Vhat the person clocs.
\\Th at he says.
\\.hat o thers say abo u t him.
H ow others treat him.

5. I f"/101 i11 a parapl1ra.1·1· yo11 arr askt'd lo 11s1' bot It
11arrali11c 1·11 dial,;g11c and by tl1c a11lltor, put i11lt1 t i:.·
"d11bor11lio11 o/ tlt c rlialoJ;11t," and 1·11101111! forli<111s '"l.·1~ ·/t
i11lan1fl lltc rlial11~~'11c (sa §~59 and 170), you r zdm .i o/
llte '"'')' lltc flay 1·s prrsn1lcd on tlte sla,::·r, as ;•1111 i111a:_:·1·11<'
ii. Ji-/! -;,•/wt l o11t s, .t:rsl11rrs, 1111d /an·,,; rxpr,·.i·sio11s 1111·
actors 11s1 · 11s ll11y ·'"'Y t/11·ir lino·: <t•/11111/tc sto1ny is, rh.
6. / /11,,~r.-::1 · l/1 1· lu1111oro11spass11g1·s.
D<:t c rminc in eac h case wh e the r the humor lies i n tht:
u se nf irony, a p un , repartee, ridi cul e, stupidity, n:t·l \·<.:tc·.

7. /11 all .f"r;,·ard-11101 1/11,r; 11arra/h11· i11l!tc 1!1r 111c 011/li11n-, /Jrr11l !/11 · 1111rrali7•c oo ·r1sio11al~.1 · /Jy dialo,r.;11,-.
8. Note t/11· al!t'r11alion 1~/ lite scntcs z·n t/1c play/Jt/1110111, 1·,·11it't·; !>'1·!1110111, Vt'l1irr.
Th ere arc in this pby t wo main p l<1ls -thc P ortia story
ancl th e Shylock-Antonio story. The scene of the Jirsl is
Be lmont; of the second, Venice. Th e main pints arc
woven toge th e r by the transfe rence o f certai n minor characte rs from \"en ice t o Bcl111<J11t (Bassanio ancl his fri end s).
an<] th e tran <;fcrence from Belmont to \:1.:ni ce "(the j'.,t·t1a
circle. At th e close uf the pby all the charac krs :tre :tt
Be lm o nt except Shylock. Th r.. u~h lla ssanio a11c1 Je s,;iL·a.
Po rt ia is hrt•ught in tr) r e lati1 111 wit11 i\ntnnlo a nd ~hyloc k.
The twn main pl"ts arc lm•11ght t <•gc lhL•r in tl1c· trial scc nL·

:i,

,.

Co111fos il1 u!I 1111d Nltdoric

392

292.

S(( 11 c .IJ!.

S tudy o f Act I.
:-..;rmr I.

'll1t' S/1ylock-..rl 11/onio

_\10 1')'

r . See general suggest io n s, sec ti o n 29 1.
..,
Find examples of the d esc ripti on of muocl.
p e rso na l appearance; of gene ra l r eflection , pe rs uasion, n .: trospcc tin:: n:nratin~. anticipation .
3. \ \Trite a parag-raph o n Antonio's character.
us i n g as a fundamental quality , p r ud e nce b lin ded by
a ffe cti o n.
4 . \\Trit e anothe r paragraph un Antonio's character, usin g as a fundam e ntal quality, melancholy,
:rncl con n ect the t\\' o by a trans iti onal sente nce .
5. P in d examples of humo r.
\ l'\••TE .,,, TllE '1'1·: ,11 ·11 ..:K.- lt is rcco111111e 11cl ed that the l ~ach e r
select a ee rtain number ,, f word s and cxp ress1011s 111 each sce ne to
b e defined or cxplainc'<l. .J

See genc r ;:il s u ggesti ons, sect io n 291 .
. 2.
Find exa mp les o f the clcscrip ti un uf flTl in g :
of r etrospective narrative:: uf pcrsuasiun; "f til e
g e n e ral r e fl ect io n .
3. \ Vrite p:tragraphs o n th e chanct cr "f Shyloc:k , u s ing- as a fund am c: n tal quality in o n e:, sh :trpn c:ss
in busin ess ; in a nother, patience un ll c r pcrsec11tio11;
in anoth c: r, untruthfu l ne ss: in anothe r. fa ithf uln ess
to his r c:l igion. Connect th ese paragr:q>hs by tran s iti o nal se n t cnces.
• 4. F in d examples o f humo r .
5. \ Vrite a paragraph on the eln ractcr <>f A nto ni o, u si n g :ts a fu n damental qual ity . frankness.
J oin t h is l>y a transitional sc nkn cc t" the p:1r:1 g raph s already written on 1\ nton i<> s c har:tdn .

Study of Ac t II.
.\(I'll/'

Sec ge n e ral s uggestio ns . scction

'.!9 1.

Fi n d examples of the desc ripti on of charact e r: u f th e: gcneral rcfkction: of r e trospcc ti \'C
n:urati\T.
.). \ \Tha t spe ec h con n e<..:t.-; th e: plots of Scene I.
an d S cene: I I.;
4. \ Vh:lt characte r co nn ects th e P o rtia story
with the Shyl oc k-Anto nio sto ry?
5. \ \Tri te a parag-raph on the characte r of Po rtia,
using- as a fnnd :unental qu ali t y th e ability to read
c h:t ract c r.
6. \ \Trite another p a r etgra ph on the characte r of
l'o rtia, using a s a fumbme:ntal quality, satirical.
.
Firnl examples nf lrnmnr.
1
2.

~

. '

1.

293.
1.

Tiil· S ll)'lork-.·l nto!I iu 5101: 1·

I.

! !11 · !'or/ itr .).lo!)'

t.
~ c<..: general suggesti •ms . section '.? <J I .
°
Find exa mpl e s of the: d esc ripti on of ch:tr:tct e r: of kcling-; of r e trospcct ive narrati\'l·: of f1•r\\·a rd-111 0\·ing· narrat i\·e; of pe rs uas ion .
3. llc>W d id Sce ne II ., Act I. , prepare: fur this
sce n e 1
_t.,-rn11· II.

S ce n e II. co nnects th e: Portia ancl Sh ylock-Anton io s to ri es by the tran sk rc n ce of (;o1Jbo fr, )Jll Sh\·lock t o l bssanio.
1.
Sec gcn e r :-tl suggestions. sec ti on 29 1.
2.
Find ex:tmplcs •>f " aucli hlc thought .. : , ,( pc: r·" llnsinn : nf t h e c1csc ripti n n of cha r:ictn.

~-;·

(~1 111j>usitio 11

394

3.

n11d R ltctoric

i l1c J)dlfl !c , Orali1111. a11d /Jrn 111a
Srm1· 1'f.

W ha t passage conn ects this sce n e with Scene

I., A ct II . ?

395

l /11· Jessicn S t ory

Sec ge n e ral stl gg-cstio n s , sec ti o n 29 1.
Fincl examples of h:tckwanl rcf<..: rc ncc ; of the
ge n era l r e fl ec tion ; of fo r wa rd -m ov in g n a rra tive .
1.

4. Write a parag ra ph on t h e cluracte r of La uncelot Gobb(\, using for a funcla m <..:n tal qu ality hi s
l iking- fo r fi n<..: l:rn gu;tgc. vVri te a lso a parag-raph
on old Cobbo, with se n ility as a fnn dam e ntal q ualit y.
5. Find cx;i,mplcs of hum or.

2.

.':;<'(111' 1·11.

Tl!1 · P,1r/ ia .'i-t ory

Set.: gene ral su ggestio n s , sec ti on 29 1.
Find ex a mples u f "a u d ibl e th ou g ht "; n f l h c
ge n e ral reflection; of back wa r d refere n ce; of ant icipat ion; of fo r ward -m ov in g n a rrat ive.
3. Reproduce Act I. , Sce n e II.; Act IT ., Sce n e I. ;
a nd A ct I I., Sce n e VII. , accord in g t o the following
1.

2.

(C1lnnecti11g the m a in pl ots.)

S ec ge n eral suggest ion s, section 29 1.
2.
'\Vritc a paragraph o n Jessica a s a type of th e
undutiful <laughte r.
3. Paraphr;i,sc t hi s scene accordin g to th e ge neral
plan, section 29 1.
1.

Scene fl '.

7/ii" Jrssi((r Sto rJ' - Vc11icc

(Connecting the mai n plots.)

r.

Sec gcner;i,1 suggest io n s, secti on 29 1.
Finc1 examples uf a nt icipa tio n ; of for wa rdmo ,·ing n: tr ra li n .: . Th is wh ole sce n e is a ntic ipatory
of S ce n e \ T
\ Vhy;
2.

p bn:
T/in11c -0 11lli11ejo r l l1 e

(?>l a in plot anrl unde r plo ts m ee t.)

Sec gencr;i,l suggest ions, section 29 1.
F in d c x ;i, rnplcs of ;i, n t icip;i.tio n ; of for wa rd2.
111 0\' ing narrati,·e; of desc ri pt ion of ch a racte r.
3. '\\T ri te a paragraph o n th e ch a racte r of Sh ylock, u s in g as a fund am ental qu alit y , au ste rity .
4. F incl examples nf humor.
5. Sh o \\· in \\'hat way the m:ti n a nc1 unde r pl ots
arc bro u ght t oget h er in t h is sn.: nc.
1.

S//lrJ'

C ha p t er I.
Sd11ali1>11- Fi ml 111:.lerial in A l't I !., Sce ne V ll. -Th e openi11gnf the scene bet \\Ten I 'urli:< a ntl J\lo r occo.
/ \'t·/ rosj>1.-·cl h.1t: 11 a , .,-a / i"i 1t· - ( ; i \T i 11 an i 111agina r y dialogue l1ct w een
Port ia ancl i\ !11roc·co , th e iden l it.y o f Po r t ia; t he story <>f till'
ca s kc·ts an cl l'urt ia 's l'X pcricn ce wit Ii the m hef11re l h e opc'!l in;;
of this scene" Find matcrial in ,\ ct I. , ScL' ll <.: II : Ac·t 11 ,
Sce ne I.
I J,·y , r1/1 / / 1J }/ t!/ / 11TSOl!i f l t1 /1jJ1·1u· ,,,,, .,. - t l i:tl of l'11rt ia . H.t•pn·...;vnt
l\l11rocc o a s telling- i 11 n 1011 <,J11g11e

.\ro1,. I ·.

P/lr / 1~ 1

how fair J•o rlia i s .

F ind

m:tlerial in ,\ c t 1., Sce ne I ; 1\ct II .. Scen e VI I.
f),.s,.,.1/1/1;1 11 1:/ r /111r1lf'l1T-lhat ,, f P " rli:t. l ;sc the p :t r:t;;raph s
:tlrc·:tdy wriltc:n . (Sec\; 21p.)
/)r s1.,-1/1 /1~ '" of ,·/1tlr11 t.·/cr - thal 11f i\ f1, rucco.
l :se a ~ a tr ~ ll 1~iti1 • 11
t h e fact th at h e is n ut m ore plcas in" t o Portia tkm li e r ot ll\'r
s11it11rs. i\l ake th e fundamental qi:a l it y o( h is c:haraclc:r Or iental ardor. Finc1 mater ia l in J\c t I T.. Sce ne I.
Fo r1,·11rd- 111011i11,'," narr11/i11 ,·- Fi nd m a te r ial in 1\ ct 11.. SL'l'llC
VlT.
(i1nd11u;111 - l'••rti:r 's !'ate still u1Hlccidccl.

Ch :t pte rs t\1· " t r> fl ,·c , ·0 11 \\·il l wr ill' l:ttcr.
se r ve C h:q >tcr l. ti ll t h t.: t h e m e is cr, m pll'lc.

!'re-

l/1( /)cu11lt', Orat i!llt, 1111il nn1111rr
.\(m,· [ 'ff!.

.'-i((I/(

!. \ -.

!!ti· P ortia

S/11t)'

Sec g-cncral suggestio n s, s<.:ction 29 1 .
Find examples of "aud ibl e th ought" ; of the
g-cncral re flecti on; of anticipati on; of forward-moving narrative.
3. Find examples o f humor.
4. Add to th e first chapter of the Portia story
\\·hich yuu Jun: already written a reproduction of
1\ ct JI., Sce ne IX ., according to the plan which is
g·i vc n be low:
1.

2.

J!1011c-011 lli11<

/c1r

1111' Porl1i1 Slurr .

(Con tinu ed from p . J95.)

Ckiptcr II.
.'...-il11 c1 l 1im - Pnrtia allll Arra>;on.
.·I 11di/1/ ,- I /1,111,: /!/ - that oi J\ rra>;"n i 11 rc>;ard t .. th e caskc·t he
will ch(lo S l'.
/·;1 ,- 1,•o rd~ o 10-;• /11.i:· 11arra//·; •1· - 1\rra g 1111· ~

failure and cleparture.

.·I 11t1~1/>1 tl1~ 1 n - of thL: co n ling· ut' Bas saniu.

294.

F/i,·111c-cJ1ttlinc fur th e.· jcSS l~. <1 S t ury

T!tc _Jessica Story - ..--/ lllo11io .)'tory

1.
See general suggestions, section 291.
" Find examples of the report of a speech; of
anticipatiun; of retrosp ec tive narrative; of forwardmuv111g narrative; of t he descripti on of charncter.

Chapter J.

Sit11alicJ11 - Shylock and Tubal discussing- J cssica·s fli g ht. Find
material in Act 11 I., Scene I.
.lfc1ud n/ Sliylucl- his feeling toward J e ssica. Find material in
A ct III., Scene I.
R «lrc>sj>i:cli< 1 r. 11crn ·,r/i7,,. - Tell the story of:
"- Th e th..,ft.
It. T he e lope m ent.
,._ I ts effect on Shylock.
d. Th e spe nding of the mon ey. Find mate rial in Act 11.,
Scenes II l., IV., \" l. , an d \"Ill. , and Act I l I., Sce ne I.
Trcr/l S dl{Jll.

Jfodc of life- of Shylock 's h ouseh olcl. Find mat e rial in ,\ct
I l., Scen e Il I., Scene V.
Ch arncfr r of _/11ss1cn - Act I I., S ce ne l l l. and S ce n e \ '
J\ dcl
a seco nd paragraph to what you alreacly h<l\'c writte n on the
character of J essica. (S ec § ~<JJ.)
Clwrac frr of Shylocl.: -Sh ow h o w he was unc; wh o would not
attract Jessica. \\'rit e two paragraph s , on e on his a va rici ousn ess ; the other on his austerity. Find material in 1\ ct I I.,
S ce ne JI., Scene V.; Act Ill., S ce ne I.
Cu1u·/11siu11- r e turn to the si tuation. Use as a general reflectinn :
Sh yl11ck's inrli>;nat io n as expre ssed in his \\·ords in th e situati .. 11, i ~ justifiable .

Chapter IL of the Jessi ca story you will write
later. (Sec ~ ::?96.) ]'res<.: r ve Chapter 1. of this story
until you have written th e second chapter.

Study of Act III.
l!tt S/1y/11d..·-;J 11/011i11

Sane J !.
SIOI)'

Sec general suggestions, section 2 9 1 .
2.
Find e xamples of retrospective narrative; of
the c1cscriptilm of moocl-- the change of m oo<l; of
humor.
.1· Rcpr()duce this sce ne according· to the follow1.

ing pl:tn:

)<)7

Sec ge n e ral suggestions, secti on 291 .
Find examples o f" audible thought"; of retrospective narrative; of forward -moving narrative: of
deseri ption of mood; of <:haracter; of personal appearance; of humor.
3. Reproduce Act III., Scene 1I., according to
the follow ing o utl ine:
1.

2.

f!
Ci>111positio11 1711il

7/ll' f )d1alt', Or11lio11, 17/ld /) ra 11117

R !tdorir
295.

C hapter 11 1

(Th e Portia sto ry and S h yloc k s to ry are fuseJ in tl1is ad . )

5;/1ualio11 -P()r tia
.lfuod of /'orti.r.

~ u H l B~ l ~sa11i11.

J!oc}(f f1_/ }." a ssaJtio .
. ·I utl/11/e / /wu,i;·/i/ - that of Ba ssani<> in n.:;!;anl to the diffe re nt
c=l:-:.kcts.

f".

d.
r.

Srrnc I.
See general suggestions. secti o n 291.
Fincl e x amples of p ers uasion; of arg-urncn t atinn ; a ge neral truth; of d esc ripti on uf charac ter.
o f feeling.
3. Find examples of humor.
4 . Reproduce the S hyl()ck-Antonio story accur<l in g t o the fo l1 0\vi n g plan:
1.

2.

/· U ; ·-;t• , 11 · ,l- 111 ,1 11 1·11.~·· 11,11 · 1·1 11 1·7 , ,· -

"·
/J .

Study of Act IV.

'T he choice.
Th e ring.
The hetr ut h a l .,f i\'e ris,;a a1H1 C ratiano.
N..:ws fnllll i\n to nii•.
Portia's offe r.

l/1 1' .'ill)'lot"!.·-,·i 11/01111> .':i.101)'

Sec bo·ener:tl suL'.·L'·cstiuns, section. 29 1.
I.
.
..,
Find examples of for\\'ard -m ov mg n arrative:
of th e description of character.
~"

Sec gener: tl suggcstiuns, section 291.
.
Find examples uf forward- m oving narrative :
uf th e d e scription o f character : of personal appearan ce.
3. Fi ml cx:un plt:s cif llllm o r .
1.

2.

_\cott' 1'.
I.

2.

T /1c' _/t'sSi(tz _\I m)'

S ec gc n c r:cl sugg-estions, sect io n 29 1.
Find an e xam ple of the d e scription of char-

act er.
3. Find e xampl es of hum or.
4 . 'Wri tc a paragT:t p h o n th e c k1 racter o f L~:rn­
ce lot, using as a fundamental qua lity . wit. } 111c1
mate rial in all the sce n es in which Launcelot appears.

l'hnn<.·-Ou t /in e for tl: e S/1; ·/oc!.- St01y

' •'

~.

::f

Chapte r I.
S i111 11 t1'o1t -the signing of the bollll at the nut:uy 's . Fillll :na terial in Act I., Sceue ll l.
R etrospective 11arrali<1e-t he identity uf Shyl<>ck an d Antonio;
t heir re lations b efore this s ituatinn. Fin •l n1ateriai in Act I.,
Scen e I. , :rnd Sc<.:ne III.
,l[ot!t' of l~fc-in Ven ice . Tht: antip:tthy l> d\\'L'c'JJ Jl'\\"S nild
C hri stia n s . Fi nrl ma ter ial in Act 1 .. Su·m· Ill.; i\ct II. Sc c·iw
!!. , Scene III., Scene V., Scene Vl I !. ..\ct I 11., Scene 1. , Sec· Il e·
I I.
In g iv in g mn<le of life ge n e r a li ze ; t'. ' · ·<lo not m en ti o n p:1rli c·:i·
Jar na mes (Shylr1ck, Antonio). lrnt SJH:nk o f th <: J• ·11·s as ' ' ,1:. ,, ;t11d
lik ew ise of the Christians.

i..·,.

J·

Chapter I J.

Silualz'on -th e tr ial before th e Duk e prcccdin"' the curn i11.c; of
Port ia. Fi nd mate rial in Act I\- . . Scl' llc• 1.
.lfuod of A 11/om 'o- quie t de spa ir. Find mat er ia l in J\ct I\·. ,
Sce ne I. Use di alogue.
Tli c charact er of A 11/0111i1 - a goo d fricncl. Fin<l material in Act
I.. Sce ne I., Scene Ill.; Act II., Sce ne lll., Sc·L·llco \" l. C:. cem·
VIII.; A c t III., S ce ne I!., Sce ne Ill.; ,\ct JV .. Scenco J.
J'h e c/iarrrclt:r of .')/1ylocl.: -- a good hater. Find m atcri;tl in J\ ct
I., S ce ne III.; A c t II., Scen e Vlll.; Act Ill., S cene I., Scene
JI., Scenco Il l. , 1\ct l\"., S c<.:nc· I.

~- {:i

Th e D ebate, Oration, a1ld Drama

.j OO
l\', ·/1 11,·,11,, / /1 ·'- · J1 r1r 1 11/i:·r-11l i.:

i\ ntonio. Find
.\,1 I l l. S cene !.. Scene 11. .

in 1-..t'· ·rl111H.·:-.

11 1.t l1·ri al in J\ c t 11. Sc:e ll l' \'lll.
Sn•11 e lll.. Scc·nc: IV.

uf

(~(J 11 cl usi11 n - return to t he ~ itu ~ t t 11111- a11noutH.'e ir1 c nt o( the arr i-

l·cd .,f lla!Lhasa r
Clt:q1t c· r l 11.

,,·ith hi:-; :1 pj >L'~tr;u1c e in ear lier ~L' L'l lcs.

S 1·, ;.;1-:,;r1 .. :-;.- l ~L'llh.!lllbcr in writing tlti s chapter that Shylock
Slljl]H•Sl'S Portia t" be a jnclge . and kn <>ws no~hin g of th e real
J.>cir t i; L.

(Cunt inu ccl fron t \;§

~9 3

th e cn11rt scc 11 c- ShyloL·k prep ares to lake the pound
Fi nd 111;tlL'ri;d i111\ ct [\· . . Scl' ne I., Scen e 11.

N rl r t1 ,\'jJ1·1 ·t /-; 1 , · 11 111 1 11 /i-;·<·-( 1) l 1 1Jrli:t':-; di :-;~u i sc.

Find n1at erial

i n J\ct l 11 . , S cl'llc I\'. ( ~ ) Tlt e p r»g ress of the tria l t u the ti111 e
of the situat ion. F i111l materi al in i\ ct ! \'. , Sce ne I.
1:;Jr 7t · ,r r il· 111 0; 1 i11.~· 11 , 11.,.a / /1•,· - frutn til e ti1n c <J f th e ~ ilua t i o n to
th e cl"se of Act I\".

296.

Portia's disguise ; the re turn of the argosy .

Conclusion - a return to the situation .
Tlz eme-Outline for tlze Jessica Story.

(Continued from § 294.)

Chapter IL

Situation- Lorenzo and Jessica sitting in the moonlight at Belmont.

Find material in Act V ., Scene I.

Description of personal appearance-that of Jessica as you
i mag ine h er in the moonlight.

r;,.n,.r1il r1 j/,-t"11i1n - ~light Sl11·l11ck ha\'c been a h ero if, in stead
.,f i>nll'in g !ti s ill';ul and s uhrnitt in g. h l' h ad d efi ed his opponents ?

.,f tk sh.

Find material in Act V .

D escription of place- Belmont by moonlight, music in the air .
Si'tuation- Portia and Nerissa welcome home Bassanio. Gratiano,
and Antonio.

•\.t/1t<1/1i111-Shvl1".: k alon e in hi,; h o nse "ft er th e: t rial, after ha vin;(
sig 11l'd lit e dc<:d.
R d r 11sj>trl i71,- 11 <1 1T11//<1,- - th c re s u lts of lite trial g ive n in monoi<>gttc by Sh ylock .
/ ),- ,,·,·ujJl/1111 1
:/ 11 J1 11s s,- /)/hl1'-tlt c trial scene g i1·en in v isio n i> y
Shyl<1ck.
f),-srnjil1i111 1>/ m ood- Shyl ock 's cles pai r.
n,·st ·r 1fi / 1{111 rf f t' r .'i1IJl(fl app, ·ara11 Cr' - l hat I 11· Shy lock. Cq1npare

.\it11 11!1i111-

Chapte r V.

(Continued from § 295.)

F or ward-moving narrative-the ring episode; the revelation of

l'i1Hl ma terial in ,\l'l I\· .

l k ·111,.-( i !l! /1)1,· f, 1r ! hr /'1>rli11 S l 1•! J'.
ancl ~'J.J.)
Clt:tpter l \ ' .

Th eme-Outline for t lze Portia Story.

401

Study of Act V.

1.
Sec ge ne ral s ugges ti o n s, sect ion '.?<) I .
"'
Find examples of desc ri pt io n of place; of
mu s ic ; of mood; o f anti c ipati o n ; o f persuas ion; of
the genera l n.: fkction.
3 . F'inu cx :unplcs of humor.

Retrospective n a rrative in dia!og u e a. P ortia's supposed retirement. Find material in Act III.,
Scene IV.
b. Bassanio's departure.

Find material in Act III., Sce ne

IV.
c. Jessica's view of Shylock's conduct toward Antonio.
Tr ansition-the music and the m oonlight (Act V., Scene I.)
brin gs to J essica's m ind thoughts of the past.

Description of place by visrim -Sh ylock's house.
Retrosp ective n a rrative in v ision - Jessica's arrival in Belmont
and her subsequent life there. Find material in Act III., Scene
II ., Scen e IV., Scene V.
Audible tlzoug M-Jessica seeks to justify to h e rself her desertion of her father and his religion, and her lack of sympathy
with his actions. Find material in Act IIL, Scene II., Sce ne
IV .. Scene V.
Forward-moving narrative-Find material in Act V .. Scene I.
The arrival of Portia and Bassanio; the explanation of Portia's
absence; the report to Jessica of the proceedings at the trial ;
the gift to Jessica. (Give part of this in dialog u e .)
Conclusion-return to the situation - Jessica enters the house
with the others, apparently with no feeling of pity for her
father, who is left alon e in Venice. Find mate rial in Act V . ,
Scene I.
General reflection - the lesson of the play.
26

;"

'

I'

402

Co111posz'tion and R!tctoric

297. Reproduction of "The Merchant of Venice " as a Whole.
Chapter I.
Sit11atio11- Portia and Nerissa talk in g about t he caskets.
Transition in dialogue.
Forward-moving 11arrativc - the: stor y of the caskets ::ts
far as Portia·s resolution to go in disguise to the trial.

Chapter II.
Situation- court scene.
Transz"tion in dia logue - Shylock and P ortia.
Forwa rd-11zov i11g 11arrative- to close of tria l.

',·

THE APPENDIX
The Appc nclix has two cli\·isions, Part I. clcaiing
with the rules for punctuation, and Part II. w ith
p ieces of lite rature that may be used as alternates
fo r the selections in the b oJy of the book, \\· hich
furni sh mate rial for th e more important th e mem oclcls.

Chapter III.
Situation - the return to Belmon t.
Transztr.on in dialogue - Portia a nd Jessica.
Forward-moving narrative - th e question of the rings.

I.

R ULES FOR PUNCTUA TIO:--J
In conn ection ·with the study of th e se ntence it
will be n ecessary for us to mak e use o f th e chief
rules for English punctuati on.
The Comma. Its leading uses are:
To sepa rate from each other the cbuses in a
compound sente n ce, when the conn e ction is so close
th at a se micolon w ould indicate too great a bre;ik.
I.

1.

E.ramph: •• He was known throu g hont the country as
a charitable man, and we are certain that his rep utati on wa s
deserved."
2.
To separate w ords, phrases, ancl clauses in
p;ir;illel con struction, unl ess the conn ecting co0rdin ate conjunctions are expressed .

Example : " But to those who protected and pitied her,
she aft e rwards r e ve aled h erself, accompaniccl th e ir ste ps .
granted all the ir wishes , fillecl th e ir houses with wealth .
made them happy in love and victorioug in war." (F or other
examples o( parallel construction, see Chapte r X.)
( 403)

'··.

Composition alld Rhetorfr

The Appendix

3. To separate the members of a series when
no conjunction is used.

7. To set off adverbs and adverb phrases which
have a connective force.

F:xamjJ!e :

a, b, c, and d.

In the case where the l:i.st member of a series is
connected to the others by and, usage differs. Thus:
a, b, c, and d; or, a, b, c and d. Logically, the first
way is bes t, as it shows clearly that there are four
members in the series. According to the second
method of punctuation, we cannot be certain
whether there are three or four members.
4. In a complex sen t ence to set off the dependent clause when it precedes the independent one.
Exa111p!r:: " If she went into the world, it was under
the guidance of elders ."

5. T o indicate that a clause is merely modifying,
not restrictive; that is, that it is not required to
identify the thing spoken of.
Exa111jJles: (a) The Americans, who are very progressive , succeed in foreign marke ts; and,
(b) The Am ericans who are very progressive succeed in
foreign markets.

Note that in the first form all Americans are
spoken of. The clause only adds a fact. In the
second, only the progre ssive Americans are spoken
of. The clause tells us wlwt Americans succeed in
foreign markets.
6. To set off adverb phrases when they open a
sentence or are not closely connected with the context. When the phrases are short the comma is
frequently omitted.
E.:rnmpl.:: Upon h is coming of age, he was given full
freedom of action.

Eramples: This, then, is why I have come.
In the first place, Shakspere is the greatest of our poets.

8. To indicate that certain words form a distinct group in the sentence and are to be regarded
as one member.
Example : "I took down this dwelling the same m orning, drawing the nails, aud removed it to the po nd-side by
small cartloads. spreading th e boards on the grass there to
bleach and warp back again in the sun."

This rule is similar to Rule 3, section

2,

page 4o6.

To introduce a direct quotation.

9.

Example:

He said," Give me the book, John. "

A long formal quotation is generally introduced
by a colon.
IO.

To separate the parts of dates and addresses.

Example:
Illinois .

October 18, 1901.

Mr. James Jones, Chicago .

.

~

: j
•j

''
' l

When the address is written on an envelope the
punctuation is frequently omitted.
CAUTION.-Do uot use too mauy commas.
Always
omit tlu com11la when z"t is 11ot necessary to make y ou r
meaning clear.

2 . The Semicolon. The chief uses of the semicolon are:
1.
To separate the principal clauses in a compound sentence, when no conjunction is used.
Example: "We beggars are the very fond lings of Nature ; th e rich she treats like an arrant stepmother; they are
pleased with nothing."

'
''

C11111positiu11 n11d Nlid or ic
2.
The semicolon is used with th e co njunction
w hen comnus occur in e ithe r or both of th e cbuses,
and "·hen th e break is too great t o be indicated by
a comma.

E.r 1111;p/,· : ··It was a contest. not bet\,·een eng ineers, but
1.Jet \\'een nations ; and the victo ry remained w ith the natton
whic:lt . th<iugh inferior in number, was superior in civ ili za1 ion, i 11 t.::t p:ccity f<ir self-go\·crn m en t , and in st ubbornn ess of
r~ su luti o n."

3. To separate .'.l series of similar phrases 01: subordinate cl:t usc s, wh en commas w ould n ot suffice to
set off the members of the series fr om o ne another.
Ernmj>I<' : " \\'e holtl tl1c sc truth s to be se lf- cv ide nt:-That
all men arc created eqnal; that th ey are en d owed by th eir
Creati,r with inh erent and inalienable ri ghts ; that among
the sc are life. li l.Je rty. an d the pursuit of happiness. That, to
secu re these r ights, gm·ern ment s arc institutetl among me n,
dcri\·ing thei r j ust po\\'er s from th e cuns<.:nt of the governed;
th:1t, \\'henever an y form of gove rnment becomes destructive
of these ends, it is t he ri g ht of the people t o alte r or to abolish it , and to in stitute a rn: w governm ent, laying its foundations o n such principles , atlll organ izi n g its p1Jwc rs in such
form, as tu them shall see m mos t likely to effect th eir safety
and happ iness."

3.

The Colon. Its ch ief u ses are:
T o separate the cbuses of a compound sentence when they arc 'n ot stri ctly coordinate, but are
not wholly ir:c.kpendent.
r.

407
It is m ore forma l than the comma, or th e com ma
an d dash. Sometimes th e colon is fo ll owed by a
dash .
J:~ rnmjili:s: My clear S ir,-: :\ly tlear Sir :- ; or, ?.I yrlcar

Sir:

4.

The Period. Its chief u ses are:
Tu mark the en d of a sentence.
2.
T o indi cate that the fo rm of a word or express ion is a bb reviated . (See sect io n 16 of th is .Appendix fur a list of th e m os t comm on abbreviations. )
1.

5. The Interrogation Point. T he inter rogatio n
point stand s a t the e nd of eve ry quest ion . F or this
r eason it is ofte n called th e qu estion mark.
6. The Exclamation Point. The excla mation
point s tan ds at th e e nd of exclamatory words.
phrases, and se ntences.
ExamjJl<"s: "To arms!
· · Behold th e man 1 "

T o arms ! "

7. Parentheses. J\farks of parenthesis enclose
that which is of an explanatory nature, and which
Is put in, as it were, by the way.
Examp l e : "I assum e (and all my hearers will al so take
it for granted) that th e law of g ravitati o n h"Icl s."

E.ramj>fr: The hanke r woulrl n ot co n se nt t o leml him
tlte money: the nature of the spec u lati on made th e ri sk too
great.

8. Brackets. Brackets enclose m atte r which IS
introduced into the n arra tive by a second p erson ,
as by an editor.

2. To introduce a long quotation or series. This
is more formal t han the comma. (See Rule 9 for the
Comma, and Ru le 3 fo r th e Semicolon.)
3. In le tt ers, after Dea r Sir, Dear Mr. Jones, etc.

~IcKay] came to m e early in the m orn in g (-la. m.J and

Em mph· : "It was now th e 22d (of Au g ust].

H e [Mr.

add ressed me in the following words [here the account breaks
off]."

Composition and Rhetoric

408

9. The Dash. The dash indicates a sudden
change of thought. Two dashes are frequently used
as marks of parenthesis.
Example: •·I shall now tell you at some length- but
there is the dinner-bell."

The dash is also used to denote a summary.
Example: "Saints, heroes, warriors, statesmen -all are
here ."

The Apostrophe. The chief uses of the
apostrophe are:
r . To mark the omission of a l etter or letters
within a word.

I2.
1.

H e is z1e ry old.
I am so sorry .

l o".rn111p!n· :

.,

F oreign words.

3. The nam e of a book or magazine instead of
quotati o n ma r ks .

10.

Examp!t-s:

Ch"go, o'er.

As a mark of the possessive case.

2.

Examples: Man"s, men's, writer 's, writers'.
All nouns (including th ose ending in s in the singular)
add the apostrophe ands to form the possessive singular.
'Nhen the plural ends ins the apostrophe only is added to
form the possessive.

3.

To form withs the plural in certain cases.
E x ample:

Italics. Italics d e note :
Emphasis.

F .r111J1ji il' :

J !111·f!1-r's , )foJ1thly.

Hyphen. The hyph e n is used:
Tu con ncct th e members of a co rn pound
word. The t e n den cy n o w is to use as fe w hyphe ns
for this purpose as p ossible.
2.
It is used t o divid e a word at th e e ncl of a
lin e . 'l'he rules for such division vvill be found in
\ Vebs tc1"s !11t<"n!t7lio1111! Dirtio11ar.y, page lxxii, and in
Teall's Fng hs!t Co111p111111d // 'ords 1111d Fltras1·s.
3. To se parate t\\'O similar vowels which an: tu
be pronoun ced separately.
lJ.
1.

Cross your t's and dot your i's.

L .1amj! l<" s :

Co-o rcli11at c . pre -e m ine nt.

;:j

l,

II.
I.

Quotation Marks. These m arks indicate:
That the words they enclose are a direct quo-

tation.
Example : Peter said, "I go a-fishing ...

See section 54 for the "broken quotation," with
examples.
2.
They a re used with the n ames of books or
magazines.
Examples : "Scribner's Magazine," " T he Dial,"'" The
Spectator."

14. The Di~resis. The cli~re sis is often usccl to
indicate th e separak pronunciatio n of t wo v u \1Tb,
and is most often u sed when the vowels to uc separated arc differe nt.
F .ra111fl<'.<:

Co iinlinate. preeminent, aerial.

15. Capital letters. The rules fo r the use of c:lpital lette rs :trc:
1.
The ftrst word of a sentence, of a line of
p oetry, or of a direct quotatio n , b e gins with a capital.
/

)ij

:.!i

(",1111j>os it io11 t111d N !tdt>ric

410

411

'
Th e pronoun I :lllcl the interjectiun 0 arc
ah,·ays eap itab.
3. The nam e.~ of th e Deity, and pronouns a nd
posscssin: adjectives which refe r to Him.
lc-.r,1111j>/,·:

1;0<1. thl' 1\lmi ghty, in lli s name.

Propl:r nouns, arnl u s u:tll y adjectives derived
from proper nouns, begin with cap ital letters.
4.

1:·.r,1111jil<.< :
~[ ctho<list,

J ohn Jones, C h icago, January, R e publican ,
English.

Note th:-it the names of the seaso ns are not capitalized.
Titles which have the \·alu e of prope r nam es.
)·
F .rt1111j>f,·:

The J\mba ssa<lo r is a great fa ,·o ritc \\·ith th e

Kin~.

G. The important wo rds in the titl e of a book or
theme.: shoulcl ha n : ca pi ta ls.
F.r,1111/J!,·:
/·

The \\' ors t Hoy in the To\\'!l .

I'crson ifieJ nouns.
Framj>lc s: " Ll'l nut J\mliition mne k tlll·ir u sef ul t11il..,
" Fair S1.:i c n cc fr<•\\'ncd n ot oil l1i s hu1nli k i>irtli "

I6. Abbreviations . Th e foll o win g are some of
the abbreviati o ns in common use:
. I . Ii. or R . .·I. ( Lat in . .·lrtiu111 f!, 1< ·,·,r/11ur1· 11 s), H:1ehclor of
Arts.
.·I. D. (Latin, .·/11 11 0 f),,1111 /ri ) , In t h e year of o ur L orcl.
.·I . .ll. or .J/ .. I. ( Latin .. ·I rti11111 .J/,rgi.1/,-r). ~[a ster nf Arts.
t1<!. (Latin , t1<!11 /,· ), :t~'.ed.
11. 111. ( Latin. 1111!t: 111,·ni/1;·111), befo re 11011n .
/!. ( ·., He fore Christ.
//. .\·. or /). .'\·,. , Bachl'l•1r of ~ ciL' t H · 1_·.

<'. F. l ' i1·il Eng-incl'I'.
•/.( Latin . ,·,111/o'). c.,111pa re.

DU: Ii. , col lect on deli\·ery .
· L. L. • Doctor of Ci \'i I I
/J. JJ. Doctor of !-.). · ·
all'.
4

d·!
. .
l\'llllly.
' . ( L atin, d,-/, ·) , re111111·e ( . , I
IJ. / '. ( l,atin /) ·
llsu "'J>n•<>lrc·arlin").
. I
1 " ""! ·) <. I . .
.
,
u
·"
t' . ,r ( I . ·
'" • iu{ \\· 1/ l1ng·

.... . .....dtln' l'Xl'JlljJ/i t r
I. ) f
, .
,·/,-,(Latin ,•/ . .
·' ra 1' 1 • ., ,. example.
1<' rrr), and so f.,nh
r ..
I
.
'
''
J < 1 - ( -a l 111 r ·c I) I
(
·
· J'· ' , ie or she) made i
r.
nnd sc ulpturl's .)
l. ( l ~ed on pa inting.;

::~ ;:-J:

~-

lisl· l(o.r JI e r) l\fajcst (or \f aj es t v's).
.,
is (.. r !fer) !{
I 1r ·
.
.
..
·
oya
I g'/lllcSS
.' '. ,at1 n, id est), th:.it is.
•
...
lit.>/. (Latin, (llll'l/S ,') IJIS/11)1/ . .
.
/..!... ll. (Lat in ,r , ,,
,
') . 111 the present m o nth
I I I
, -<., 1tm 1,,1<01la1tr ' 1t<) ll I
.
· .. J. (Latin, J~ ,·i;1tm /Joct "r) ' · • a c; iclC! r of l.a 11·s.
1>oeto r II[ La \I'S
lo,·. o l ur I
(r . .
'
_·
· c . .at111 , lo 1 ·u o/a / ) ·
_
··
111.: /orc cited.
"' in th e place (<>r \\'Ork)
.1/. ( f,a tin, 1111: nd1i·s) noun
,If. ( Fre n c h, .l/{!11s1~· 1~r) ~I··
.1/. j)
.
.
• I I .
. (Latin, , )/,·d10/if1· /Jw t ·)
,1!,·r. (French If,
...
'" ' 1.>n<:t<•i· of Medil'ine.
.
•.
O J1 .111 1r11r11r)
'l l tl
LatlJ,, lie Churl'h
·'
' · 1 " ' "L'd in lhl· h'.umaa
.I///,·. ( l·'rl'nch 11 .I
.
Ill/
: .
' . "' ,·" 101 ·'· ·1/,') . ;\) i,.;s .
· · · ( l 1 cneh Jl. . .. ·.
II
• ' 1.1.1;, /fl' .1') pl11l"ll f \J
· 111 , · (Fren /
11 _,
'
' " · · ( .l / i1J/ .•·1i·11r ).
I
.
L' I, .
'''lllllft•} ,\I I' S
· f. /'. · M1.:n1l>t·r of p ., 1.11·. , 1'
..
11 .,
•
• 1ll'n t.
' · · • .\f 'lll llS<Ti pt,
.I/SS., Manu sc ri pt.;
1 \1 I:. (L a tin . . \ ' 1,·. '.
.
.
0
1
111 ) , Note well
/'h /) ( T
/,,
. ..1t111, l'lt!l,1sojJft1(e /Joe10 .
P///.1'. ( La tlll, Pl// i·i/) I .
' ), l>octor of Pl11i os,.p hy
/>.Ill. ( l. at111, />0 1/ Ill.' · l>(ur sh~) Jlcllllted It
/> /> ' ( ! '
' 'It lt!llt), alter n ou n
/

' (f

·rcncli,pr>11rp1"'"lr'c

'

.

0
f>ro !1·111. (Latin ;., 1 11 • ,.,
c
"<• ), t o tak e lea\·e
'F '
'"'rOrr') f
J
·
/ " " 1 . (Latin (llh' !I J ·) ~
' or t lC t11nc being.
I' \' r
'
{
.1''
•'
lllllU) Ill the
· ( -at1n, j>o ..-t s cr/'t
'
. ·n ext mo 11 1/1.
I/ " • ( I . t'
i' 11111), postscnpt
. , .
,. , 111.1f11otl11 1~ /,·) \1·/11· ·l .
.
N. \' I · /' ,
•
c 1 sec.
. . . . (l· n : neh, /,','/>011de " s' 1/
)'<>u please.
~.
· 7' 0 1ts filaft ). 1\11 s 11 ·c:r, if
-•Ot!j!. ( Latin . .<c 1tlfis;/) 1
it. (UsC'd <•11 Sl' l!)
, . le (or she) se1tlptu red, ,,1- e ngr:t1·1.:<1
·
ptu1es •JI' l'ngra,·ings.)

Tlic Appmd1x

C{llll/'{1Stlio11 and R/11'1orir
S. !'. Q. 1". (Lalin . .'i.:1111/11s !'t1/J11/11.r1;111' R u11111J11ts), The
Senato.: and the Roman people:.
11id. (Latin, 7• /1fr), SC('.
1·i~· . (Lati n, 71 /i/,·lird) . namely.
11s . (Latin. 7'<'rsus). again s t.

4.

According to Tlu·111c-111odd ! / '., srd ion 79.

The Prisone r of Cltil/0 11, Byron.
Sil1111/1i111 - f ' inc\ material in the first anti last sta n zas.
th e c le m e nt s that arc Jacking.

!-~ npply

R 1' /rt1 .\'/JPt"lh 1 1! 11arr11/h1e in 11ision-lhe li fe of the pri ~ "ncrs.

Find material in the remainder of th e poe m.

I I.

5.
SELECTIONS FOR REPRODUCTION
R ead each of th e selections ref erred to in the following before looking for material 111 it to elaborate
the outlin e:
r.

/I tcordi11,r; l o T/1on1·-111odd !., salio11 5.

of //1,· Jf, ·sj>o· 11s, L o ngfe llow.
T h e starting Ollt.
The storm.
Silu11h1m I I!. The m orn ing following th e storm.
F/1,· 11·,-,·, ·!.·

S tluat1i•11 !.
S ilua/1(1n JI.

2.

.According lo 7!1m1r-inodd I!., stcliun 50.

..- lm o11.; t he //ills , Whittie r.

Fit1(1 matc:rial in stanzas 1- 27. Do nnt elcthorate the
pLtee dernent more than the others, an<l d11 not atte mpt lo use
all th e m;tleri:d th ese stanzas contain. Take only what yo\!
ne ed, - th e situation clcrnenls.
/\,,.,,- ,,sp,·c /i-; t ' 11 arr11/;°;1,• 1/l d/alo.:.,,. 11L' - F'ind. n1aterial in stanzas
2 ~ - 55 . Let the farmer's wife t el l the story in answer to the
visitor 's qu estions . Th e rctllrn to th e sitllation is mafl e in the
la s t seven sta111.as of the poe m .

Si/11<1/1im -

1

3.

Accordin,i;- lo T'/1011c-111odd ! I!., sccli{lll 69.

...l n lndi.z11 S111111n1·r R ,.,,,.,.,,., Lowell.
Fintl mate rial in stanzas 1-3 1. Supply any of the
ekmenls that arc lacking, ancl Jo not e laborate the place elem e nt mor e th an the othe rs.
.·111//u•r·s r,·/r/!s/>N/i;•,- J111J ·ra/i71e- Find material in stanzas
3_1- .1.; ; J S- .io . ( l nci<lcnts in Lowell's life.)

Stl11a!1i1 11 -

.// rcording to l!1ollc-111odd / '., Sffl ions SS and S<) .

R o. ~r;.,-

.l!t1h1i11's !1'11rit1!, llawthm·ne.

C hapter I.
Siluahun-the parting of R oger and Reube n . Fintl mat er ial in
paragraphs:?, :?9- 3:?.
R elrosj>,:di7 1r 11arra/i7.1c 1)1 71ision-As R e uben journ e ys through
the forest, let him review his re lations with R o~cr . " ·h ic h kd
ll]J to the situatio n . Find material in paragraphs 1 . 3- :? R.

Chapter I l.
Sil11t1/1i111 -th e sick-betl of Reuben.

Find material in paragraph

3G.

R e /r /!sj>ccti vc na1-ra!h 1e in d1i1 Jox11e - between l lorcas and
R c \lhe n. Find material in paragraphs 33-35, 37-.i 2.

Chapte r III.
Si111t1/1im -lh c death of Cyrus. Fiml mate rial in paragraphs (11(,3 , (,5, GG, (18.
Be careflll to mention only one place.
Author's 1·1·/rosj>,•c/i7 1c 11a1-r,1/i711·- Fine! material i11 para!':raphs
<I J - (>I , (>7 .

6.

A rcordin,£;· lo !!tt lll,.-lllfJdd . r

v ' sec/ i1111

.!.) I.

lit,· Uld .lfr111u, Hawthorn e.

Jn this th e m e the narrator visits three diffe rent places in ste ad
of visiting th e same place th ree times. Retrospecti,· e narr:tti,· c is
added to Chapte r I., and m oocl -clescription is tran sfe rred from

Chapter UI. to C hapt e r I!.
Chapter I.
Situa / 1011 - the \•isit to the first place. Pl ace the narrato r an <l lhe
poet Lowell on the river brink near Conconl Bridge. ( ;i,·c as
the occasio n a visit to the batll efie l<l. Supply th e time ele m ent. Find material in paragraph 5.

--,..

.

,,~---

. <;..~-:-.

J/1,.. lf'f>mdix
J'l<1 1«·-d,·so·ij>t1;!/1 i11 di11/11_1., .. 11 c - l lt.:scribe Lile appearance of t iJ c
rin:r . lett i ng the narrato r s peak a gai nst aml Lowell fo r th e
ri\·cr. Find mate r ial in paragTaphs 5-; .
/,',:l rc1sf><·,-ti7•1· 1111rr11//7•, · - tl1e h istnn· • ,f the place (author's narrati\' e).
Gi,-e an a cc n11n t of t he 1>:1ttl e nn t h e Cu n cord River. Fintl
mat erial in p:tra g-raphs -+· S- 11 .

/' /, 1(<' -d1'.r,: rif>l/u11 - t h e ca mp in t he e \·cning. l" sc a s a fun dam e ntal device the effect th e cam pfire had un th e d et a ib of th e
pi ct ure. l"ind mat e rial s in portions of paragraphs 11 a nd 2 .0 .
and add cll'tails enoug-h from your own imag inat ion to make
th e pidure complete.
/! ,-.1·,·n/1 /1ill! 1/ p1·rso111rl 11f>/11·1ir111/l·,,_ t hat of l'nclc :'\athan.
Find mat e rial i n paragra phs J, 10 , q .

C1J1d11 .\'/(1J1 - a ret urn t u the s it11ati on.

I' ind
tl13tcri :tl in

Chapte r If.
.... 'il11i1/1;•11 - the ,-isit tn the second placL'. l'laL·e th e narrator and
J·:m c· r snn in the garret of the < lLI ~lans c .
I' ind material in
paragraph ~ o .

. J/,10,/ •!f th,- 1111rr11/c1r-pensi,·e ness cl ue to th e rain.
i11aterial in pa ra!-;'raphs 1S, llJ.

Find

A1 ,~ /,-, Jsf1 ·rti-:·c 11t1rral/';1t.' in dial1>~!..,..11e·-thc histor): nf the :-;eco nd

place . Let Eme rsnn an<l l la \\· t hornc gi,·c the h istory of the
Old }.f:rnsc in a discussion nf the fui]m,·i11g : The saint' s c hamber. the lihr:1ry. the ghost , Eme rson 's O\\'ll r esidence the r e, tiJc
portrai t o f th e clergyman. l' sc othe r topics c" 11n ecle1l \\'ith th e
hi st <iry of Lile house. Find mat e rial in p:1ragr:1phs 1-3, ~0-2 -1.
C.111,·/11s1illl -

a r et urn to th e s ituation.

Chap te r I I I.
-'>il11a/1{111-the ,· isit to the third place.

Place th e narrator in the
I ndian \' illagc.
Fi ntl 111aterial in paragraph 1 2. Supply th e
t im e c lemen t fro m pa ragra ph s 33-35 .
/\• 1·/r11sp1·1 ·//; 1,· l/<71'/'fT/ i't•t' 1/l 71/i1/1J l f - h y th t: ll:t r ral11r (" f ") . 'fh t:
histor y of the thi n! plan:. Ll'l this be " 'ggL·stvd h y t he e rror
Fin rl matcri:tl in p:nagrap h 1~. J\dd tn this f1-.J1n your own
itnag in ation or infonnatilln.

1.;t'11,·nt! ,.,//,·,·/1{111 - a s umm ary .,f th e impressions mad e J,y the
thre1..· pla1.:l':-; ,·i:-:.i tL·cl.

.'I J;u11· <{ .l!ai111· /!ir ,·/1, Bur roughs.
:\ chara cte r skct ·h ,, f l nc le l\atlt:rn . (Th e " I $tory · again.)
l'se a,; ck1racters l ' nck Nathan and t h e narrator
('' I ") . l'i11>! matcrial in par:1:.:;raph s 11 , 15.

.\i/ 11.r/1(1 11 -

-J.I 5

paragraphs

lo, 1..i - 20 , z~ . ~J.

l;1·110·1t! r1//,.,-t1i111 -the in fluence u f e n,·i ro nm ent on charact<:r .
~<1pplv material fro m your ow n th ought.

A LIST OF T HE READINGS

T H J;: JNDEX
;,.,

Class i(s 011tli11td .for R{t1·od11ctio11
PAGE

Th e Kin g uf t h e Colrl en R i,·c r
H orat iu s at th e Hrid;re
Enoch Arden
The Great Carhuncle
The Cre al St<>nc Face
The Siste r Years
Th e Pi e d Pipe r of Il amelin
R ip Van 'Yi nklc
Th e L ege nd uf Skepy I l ollow
Old Tico nd e roga
The Old App le Dealer
Robert o f L incoln
The 'Y irnl :-t tHI Stream
To :1 F r in ged Gentian
T o a " 'a terfo \\'l
Con c iliation \\' ilh Ame r ica
The lll e rchan t of Venice

john R 11 s/; in
Tl111J1111s !Jahi11,t.;lo11 :lfaca11!11y
.. / /frrd l .11rtl J i· 1111yso11
.\ 'at!ta11id l/a 1,1/ h11n11:
,\·a1l1a 11i1·/ I la 1,1/ /1ort1<'
,\-11//11111/(' / !la1i'l!tur11c
R uh,.,·/ Hr11 1i111i11.i:·
/l ',15/1i11,:.;·t o11 / r711'11.i;
// 't1s!t i11g /11n /n 1 i11.~"
N 11/ !t11111i· I I /a1, 1/ !t11n1 1·
,\-11 t!ta11i1·! //11 1<' l hon11:
lf 'illia111 C11/le11 l1'1 ya11 /
11·i/li11111 C11//,·11 l>'1 ya 11/
ll'il//11111 C 11//,·11 1»1 ya11 t
//.il//a111 ('11//, ·11 / ,'ry1111 t
f :i/1111111r/ /,'II rJ.-1•
fVillia111 S l1 11J· .1j>t! rt:

i 12

12 5
137
140

257
~62

~67

326
3~6

35 1
35 5
36 1

cs,.;ay s and p<)Cnb,

Il l!

page

:)} 1.
(41 !t )

,\m it.: I, lf e nri Fn"d 0 r ic, 43-.q .
1\ na\1 )g- y , betwcen the sit11ation and
pi c t ur e s, 53 ; use d a s a d escr ipt j,·c

d 1.: ,·i ..:c , 22 1- 2..i3 j as expos it o ry mat erial. 2 79 , 2cf>- 297.
,\n alysis, o f th e situatio n , 16 -1 7; of
Them e- m ode l 1. 1 19 ; <1f Si tn a tio nty p e I. , ,11••.n; of TIH.: lllL' -111•JLkl I l.,
7 9 - ~o ; n f T he mc-m o d t·I 11 I. , 1 16 ; ,, [
Th cnH.:- m n dt~ l l V., 1i r 130 ; of 111 1.d e l
fo r dt:~criptinn <d pl:u.:e, 152 ; o f p e rs o nal a p p c a raJH..: c, 156; u( c llara cl t:r. 1y 1; of lll •H.le ()f life , 161, d. 1; of
an occasi o n 11r ; L SS c1lllll : q.~L' , 16() ; o f

w o r ks . d iy ; of n1n o <l, 17<•; of clim all '

412
4 12
4 1 ~

41 3
413
413
414

A s th e li st o f colle):;e e ntran ce r cquire rn e n ls is a var iable o ne.
t h e t rcatmc nt (1f t hc,.;e hu"ks in this ,·olum c is general, inte nded
to furni s h a m et hod for handling cert ain t ype s .,f buoks w hi ch
rna y b e scl,•l'lcd '"' 111aterial for c;rn11p<>s ili<1n. An o utlin e fo r
rL·,·ie 11·in g tlt c no,·cl, play, nr th e ,·p ie i,.; s itg)' c s ted ""page 3 q;
pa.~ L' J ~ 7 :

169 .

11arba rian l n\·•c. . i •·n ~, Th e .
cif Lhe111c, :. u8 - JJ9 ·

J. :'\ I , 3 78 - 380.
HL'. llt h;tm 1 J(·re 111 y, ,.: ,,2 - i •.H ·
Bih:Cl as. l k11lL·tri P:-., 17,1. 17 =,.
R/.l h of's ld.1 11 .!, / / 11', t: rilHn.

uf 1n iscL'll a11 cous

o r st·as<111, 17L ; o f 1n11 sk, 17J ; n [
s<1t1 ntl, 17.1 ; ~1f 1> <l• 1r , • 74-1 75 ; 11[ a 11d i.
ble thoug-ht, 17l•; mi"iti\· c anal~·~ i s
11f Th,• (,·,.,.;// .)'tune F11 0! , -i57 -2 f .! :
0

of Tlt 1· .ll1 -rd11111/ of

f 'c:n frr , 3911-4 t

0

i .

And, u se of, Jri- .17 .

1·1dl L"l' t i•111

a lksc ripli \·c <l c \·i <.: L'.
r11 1C' f p r the sig-n . _. u8 .
:\rg-um cn ta titJll , cnllu q11 ial 1>fig-in or ,
J 6 5 - _:, f~ 7 ; f o r 11t a l. 3 6 7 - 1GS ; t 11 c
arg-umcntati,·c paragraph , 3f.~l - 3 7 1 ;
matt:ri al uf , 37 .1 ; ('11mbin e d wi1h
l.'xpusit ion, i 75; th e a rg- u111 t:"nt ati ' ' \'
t licllH:, _; 74 - .178 .
2Lj-.u 8 ;

An l ril•l. :\ l a 1t ltL· W, 1<•7, 18 7.
t\ -.;~;l· Jll lil a g- t".

dL's t: ripti o n 4)f , 1' < 1- 1t" • i
p i<" t II l' \ 'S 1 11,(, .
Au dible tli ou~ht. dcscript i11n <•f. 175.'1 .!- .! l ; .

p1•t'.lll " . l .~ 1 ·

Hr a c kets, ru k f11r. '1 ' '7·
H r11fcldl 1 J oli:111 i1p:-;cuLi. J11 ltan i :\ h ni,
8 1 8 .t.
Hr<iw nin g-, J<.11hert, •n . ~n . .q 1- .q.t, 2fi7 .
H rya n t , \\'illia111 Culkn , 3 11 1 - 1 '·-~ ·

Bu c ha n a 11, J<. ,.lJc rt,

H.

.l .!. .!..

t ' ., 1 2i -1 i 4 .

_; f.rr

17.:..

Ht1r ns 1 R1 >bert , J8.t - _.~S3 . :--; ~·e ( 'ur lyk .
BurTo u g- hs, J1.J1 n, 173 - 174, i. ..:>J . lf ~· '!.fly ... J , J O I , JO l;j -J')fi 1 3 1 1 -~ 1 .t.

Hut k r, C harles. i
Hyr. 111 1 L o rd , 41 3 .

1tr . i i o .

Ca pital ktt e r s, 1· u\ e~ for. ·l' ";-.p o.
Carl y le, ' f' h o 1na s , 711- ;1, 1' ..; . , ,...,"

2 ·~r••

~! 8 7,

359 .
Ca t a\11 g- uin g- nf 1kta ils. •·17- 1 .~..
( ·,111•cltt'sJJ1 , I hr' , :...t11tl~· .. f th t' pict11 r 1·,

i1l

17(·,; n o,; :l dl' -.;LTip Li\" t.: de\'it'L',

11f L"'-; :...a y ..; • •r

1_1 .z.

Burk e, E d1n11ml, l<J t'i .

Ap11 s tr o plll.•,

11 ) -1 2 i .

Ht1 <1k , tlL-~l Ti p ti11 n 1o1.: a , ,r, 7 , 1r.S - 17. •.
Ho1•k n ..· \· ic w, Til e , ·11.1 ; the S L'l ti n g-,
315- 316; s umma ry ,,f pl .. t., ; 17 - 1 18 ;
of c hara cte r, 3 18 - 3 2i; 1•f ~ t nking­
lH.:ca s io ns , J'2 1- J2 .l ; of t h L' ba d ;: .1-( ruund, 3i, - y 4; the g'f · J1L'l" :tl P ..;li llla le •if a })4 •1 l k, J .:. .1- .11 5 ; l"L' , - i ~· w 1 ·f :'\
colle cti o n 11f :...U•l"iL·~ . J 27 i-·S ; .. ( a

Hun11t· r 1

An t ki p at or y na rrati\·e , :.?58, .d o.
Ant ig-.. n L., Slq ry o f, 14 3.
Anti t h r s is, lljl .

ou t line

l ~arriL',

\"t·r sa ti11n 1 1f18 ; nf a hoo k 11r aut h11r "s

T/1,· Ct> llrgc F11tn111({· Ncr;11irc11101ts

ut' t he L'tJiicc ti,,11 1lf shor t st (lr ie s , <•! l

11

a st·r1111 11 1 t1 r SJ)L'l't: h , d .7 ; .. r a t'nlJ.

Addi/101111! ,)'datio11s 011 1/i11{'({ i11 tli l' ; /f'f' cndi.r
Th e 'V rcck of the I lcs pe rtts //01 ry II '. l .M1Kf,· I!""' .
Among the I! ills
john C ra11 !1·1 1J /I '!t:'t/1i·r
Au I mlian Summ t: r R c ,·c ric j11111<·s Russ,·// L uwcll
The Pri suncr o f Chillon
L ord l 1'yn•11 .
Roger Illalvin's Bmial
1V11t!t 11111i· / I /11 ;,•t/1,1nu·
Th e Old Manse .
J\.11/ha111!·/ !!t1 11• / /1o n1 c
A Taste of :llain e Birch
john J.'11rru11J;"l1s .

J\ 11th 1fr ' s narratin·. 11 .~ 1 ~ " ·
Au t J11.r' s w or k s , d eSL"ripti··~i ,.f . 1'·8 -

Ahhrt.'\· i:d i<• ns. li ...;t f, ,p o -,p .·.
Abstra ct id e a , 27i., L75·
Add ison , Jn -.;e ph. L.q-.?25 1 303.
Aldri c h, Th11mas Ha ile r, 56.

J •J,o! -J n \ .

l' id..t·n ·~. 1 ·;- 11 r.
C hannin g, \\' illia111 E lk r ;.- . ;<3 - 3 8 1 ~ .

l 'lta11;.,.,.eu b/1• Ch orhr'.

( 4' 7 )

·i

t~
"'

fI

e·

i'

T /1c ! }/(ll'x
Charactc·r,

d1.:si.: r iptin 11

of,

1::;>-l -1 :..· 1 ;

s ketch, JH -JS 7
Charactc1·izing- se nt i.:nn_·, 7'." 1 16 , 1 ,1, , 1-

Cutt 111L L harlL" :-. wnd 11.ua k \Vall o n ),
i<... ,, '.\Y"
C u rtis, Gcorg-e \\' ill ia m , 3fi6-367.

13().

Cila rnct crs <1 f t he sitHati1'11, 16, 17,

-1 '' -

D ebat e , _{74· 378.

'7 ·
t."i l ·e r1 1, :\ lar c u :. Tu ll111:-. , ,u . .,

11"1 1

C1r. ·11s .·lla .1·1·11110· , Fh,., st11dy ,, f llH·
p i-._·t ur e . d ·fi.
C\. 1s si!h.:a t io11 11 s 1.: d a ..;, 1·xpo.-; i t1>ry
ma teria l. -= N ·
Class t1a1111..·. 277 .
Chy, ll cnr y . iH .! .
Cl em e n s, Samuel L. t :\lark Twain 1,

:-ice

1

Thonr-mudel

.\Tl//.
IJL"finitiun:-i, 11f 1wrra t i1m, 2u i of narrati\·e, .1. v ; 11!' a parag-raph, 2uj of
the situal10 11 1 ;io; o f th e si tuati o n
t: kmcnts, .? r ; o f a th L· lll l·, :u ; of a
thot11L"- model, 21; <d d c~ c npt io n ,
q ( , ; uf em p ha si s i n dL: sL ripti o n,
150; ,,f uni ty i n d csc r ip tiu n, 15015 1; uf fu n d am e n t al qu a li ty, r5t; of

118 -r o 2.

C li m: ltt: , d c sc riplii>ll 11f. 17 1-i ;i..
C lt !ll:IX, 11) , ' "' ' ·Lt:') , I I' ' · 13 I·

L1 1!11.: r 1.: lh" l'. in the c xp11sit1 •r y paragr: 1ph, 28 3 .

Tay I• 1r. 17r;- 177, ~ 1 ; .
C .J kg-e cntrancc rl'C1u i r l'lllCllts . V ' '•

C11kridg'e.

I >a ~ h. rul es f v r t h e, 4o8.

:-..;,~ll1lll'l

1

.1P • 31") 4, 4 i 6.

(' .. l\11quia l o r ig-in 1,f l itl·rary f1, rm s .
in the si tua tit •ll, 15-.r.; n f Tlll"mclll1 HIL' l I. , 5'i-r ~J ; of rdr us pl'L'li\·c
na rrati\· e , 7;. - 77 ; of the d t·sc ription·
lll •lli\'C S, 147- 1., ,,; • • f l'Xp11siti1 •ll. 27i :.in; l•f aq,.(llllll'l\t;ll flqi. 365 -:/•7.
C11l(ln, ru k~ f.,r thL·, 4,1,- -4(•7 .
t...' •llll!lla, r111L· ...

!'1 >1 '

t lu: , 4"J ·4 0 5.

l'11m111a fau lt, ; .•- 14.
C·1111n1(111pla ce . L' harm

~.f

the, 70-7 1.
l'n111pari ...;,•)1l, a :-.ingk 1·n rn p ari~11n cir
ana J, , g-~· . .! .t i ; a :.e r i ~· ~ ' " L" •llljlaril 'u11 \'\11 si u11, i n T lie1 11 e-11 1• .. kl II ., fi, .,
•17 , w7 ; in 'l' hL' ll \ L·-mnd1 ·! 111 ., 115,
11 rl ·, in T IH:lll l.: -m1 •1h·l I\'., l.! • i -1 3u .
CotH.Tc LL· , ~ : u Tifici n g- th e c"tll.: rctc in
cu ndl'nsatic111 . 4 l : \'a l uc ,,f l' Pll·
cn: tc \\"l 1rds in d escription , 186- 18. 1.
Co nj irm a//u, 375- 376.
Co nj utat/v, 37 6- 377.
Cont ra s t, a s i ng-l e cont ra st, 21 (, - l 19 : a
seri es of contrast~ in desc ri ptiri n.
:21 9-220 ; in e x posit ion , 30J.

Conversation, description of a, 1' ·7·
168.

Co{i r d i natio n , in t he expo:-:-i tvr y p:tr Agraph , 2µ1-2 8 6 , 2.RR - 2R·1.

a udible

tl\ ~)Ug' ht

a s a m1)L i ·.• e 1 175;
r 1.·llt!ction 1 20 1 i o f
a udibl e th oug- ht a:-> a dc\·ic e, 2 12; of
~: xp11sition. 27 1; u sed a s e xposito ry
m a tL·rial, 27 8 , i:n - ~99 ; su ccess ive
definition in the expository parag'r aph, :w8-3t19 .
l>l'iand, .\l aq.:-ar et , 2iJ0-l9 1.
l>e la l{ amCL', L ouis t' \Ouida) , 18i.

,,f t lic g-cncra l

/J,,parlun: fJ r .:; ,1 i11l t> - f:7.·rt te , The,
stud~·

o f t h e piL'fHrc,

u~ -1 i3.

D e sc r i pt io n , U:.l·d in cl abural i ng dia lt •g-uc, ')J · <J4 ; r el a tion hctween na r ratio n an<l dt•scr ipt i1111, 14 5- 146 ;d c fi 11i tio n ti f , q f•; t:oll11q11ia l , q 7-q9;
u u LI inc of dc~ L: r i p t ion- m oti vcs , q 9 ~
15u; l'lllpha~is i n J csl·ription, 150 ;
unit y in. 150 · 15 1;o f place , 1 5 1-1 y 2 1 155;
~tf p t.: f ~t lll:tl a p pearalh'e, . _,5 - 158 ; of
l' l1arat:te r , 1::;H- 1w j of 111o t l t! of li fe ,
of an o t.:t: asi~)H o r
16 1- 1t 1h , of a . . : onv e r s at i11 11 1 ~t· r1111 1 11 , h1111k, vr L'ratio n , 167H ~ i; u f 111 '"" ' · 170- 17 1 ; of c lilnate or
Sl·as1J11 . 171-17,1,; uf mu:->i c, so und,
or 11d o r, 171 -1 75 i of audib l e th o ught,
175 -1 76 ; m et h o d
in descrip tio n,
176 - 177: descriptivn g-eneral ized,
179 i obverse dt: sc ripti o n, 211 -212.
11 ... . .

u •.: ,

237- 239; of a p la ce, 239 -2,.0 ; of m od e
vf life , ett: ., 2 4•)· 2-H·
D e\'it:cs, o f question, 11 6 ; u se d in
d t:sl'ripli un, 152, i 53 · 155. 156, i(.... ,
do1- 163 , d 1G , 16 7, d 8, 16(J· 170 , 173 . 17.1.
175. Sc1.· a \..;o Fu11d11111 c:11lal Drz ·fr,·:;
and .l/111o r D ~·t:h 1• s.
D i:l'rt.: s 1s , r 11lc f n r, 4"9·
D iagr:un, 11f ~c !l tcll c L· r e latit •ll in Lil l'
exposit o ry pa ra g-r a ph , 285 , 28 7 , 2t1._, ;
of <li!Tcre n tia, 2 _17.
lJ ialL•ct, use of. <1 7·
Diaio g- ue, PU ti inc of the study o [. 8.. 8 1 i pa ra g raphing- of, 8 1-84 1 p 11n c t11 a ti r111 o f 1 84·87 ; Yaryingthe in trqt lll ~"
tor y v erb, 87 -88 ; varying th e sub
jed uf t he introducL0ry Yerb, 8._1;
\ "a.r~·ing- tlie p ositio n 1 1( the i11t r 11c.l11 c tury v erb, 90- 9 1; the cl a h()ra t ion u f Ui a log-ue, 9 l - 96 ; g"t:lle r•tl
dir L:cl.inns, t) 7; diaJ .. g-11<.: a s a dc\'iL'L·
in dL:"-. lTiptio n, 2.? 3 - 2~5.
Oi r c l.'l iqns 1 f, 1r scnil' ll Ce rt!\' is ion.
41 · .12 ; f•>r Si tuatio n - type I. , 47 ·,. 8 i
fqr T lit!111e - mu d e l I. , t.u - (11 , ! •J ; for
Llia l •1 g 11 c. 97; r11:- ~1ral n :l rrati •• l1 ,
11 ~ - 1 1 1 1 ; f<1r(ks...:ripli •1n i n f.:"L'llL'r al ,
1 5 4-1 ~:; ;
f,. r <..lt:s c ribing- pL·rs .. 11al
a ppc: 1ra11 c l', 15(1- 157 ; gi\·ing- o f d ir ect inns as a dl·s e rip1 i\·1~ dc\·i c~.
2 (')\J 21'1;
SL'riL'S of ~cn e r al direc ti \1 n :-. in exposit inn, 3<).1.
O i n :<..' t pr11o f, 368· \69 • .Ps · ..170.
nirl.' l' I q 111, t a t i•i n, p 111H:lnati• 1n 11f,
k.1-P:; ; a ~ a r l11·L .. ri c a l dcvi t: c , , if1 .

1r. 4 ;

a 's c 1nbl;q.~ l".

F or o rnamentati o n in desc riptio n,
J .'u11dam en /a/ i)t•1,fres and
il/1'11or Devt'ct!s.
~ec

D esc ri ptio n-m o tives. 1., 9 -1 50.
IJ e scripti\·e th e m es, )£tneral s ugges-

ti o ns, '1J 7; de sc r ipt ion of a p erso n,

() 11!1 "-.•Hl, t\ 1t !'-i l ill, II •)·
f) i1dg"sn n 1 C harle s L . ( !.t·wis l':1rT11 ll),
111 1

J) r ama ,
f11rlll ~

11r

cr .ml>in cs all
of di :--..; Hll\"Si.: , 381).

!lit·

fl\·e

D r ytk11, John, 18'1 .
Dun b ar , Pa u l Law r e n ce, 16;.
Effe c t of li gh t, ~ to rm, e t c ., used in
d esc r ipri11n, 205 -20 7 i effect on o b-

ser\·c r , 20 8 - 209.
Elal w rati o n, of dfrtlog-ue, 9J -11C. ; u f
a funda m ental ima g-e 200 - :!, ·1.
E l in t , Gcorgc 1 '...! J , fi5, 83, 9 1, t i) - · J ~· 197,
!l.!J · 2.!.4.

•

J·:mpha:.is, in c.ltst.:r iptiun, 15· · ; in e xp 1•si1io11, .! ~ _; .

Enu1n i-: ra1 i011, 1 t ot · 1t , ~ , 1'..17 - •'f·..
E~say, The , rtc\'iL· \\. .,fa C• d k c l iil n IJf,
33 1- 33 .l; the h1 :-.l 11rl1 ·al. _; i .1. 1 11. ~-1 ~ :
~c i enlifi<.:, Jik rar~· , u r mor.d. ; 1 ~ ;
hir1g-raph ic al, J 'l 7· -ir ir.
l·::xda ma tion p11 i11t, n1k ft •r . .i" i ·
l!'.\·urd111111, in t!it· LlL"I J a~i.: . J 7S i in tilt·
()rati .. 11 , 338.
E xpq~ition,dcfiniti•• n

l)f. ~ 11 - 272; col -

lt \quial, .!. 7 .!. - .!.1J; M'iL"nt i tl c and l i tt.:r ar~', 2; 4 - 27 5 i mnti\· cs ,.r. 2 7 5 -~ 7 8 ;
mat e r ia l 11f, :.?78 - 28 i.
Exp11si tnry paragTaph, t:xamplcs fol'
clas~ific ati1111, 28·•-.!. b.:,

.! i'' L i\ :

herence i11 1 .!.8_; i Ullity and L'lllplla t> i s i11, 28 J , t ~ ·pes td, .: 8 .i -.> •i;
Ex p r cssi1) Jl, Yaril'ly iu, .tri - y• .
Farmer, L ydia, 2n.
Fi g-u r es uf spt'.l.'l·i1 1 J H.: r~··nilil' ali .. n.
t 'i ~ ; simile, 153- 15.1; 11Jl·lap h •1 r. tr i.! Jf 'J , allu ~ ion , 1$,1 , antitht:!'-iiS, !!J I ;

onomalupt.ei <.t , l •JJ. - l •J3 ·
F o rwar d -1n ov in g- na r ruti\'e n -..,L' d t•1
e lab o rate d ia log u~ . •.H; in i ht'
<;r t'd/ _')'/ Oll t' J-',i ,·t,, 2 58·.>' i ; in /J1 e
.lfc'l' <'/1'11// 1 1/ I .t'll t'Ct'. . ff • .!.
h H1r \\' ·s, T ile. i1 1 tliL· ~i111a li • 0 n . 1;.
Fundam ental 1k\·icc..;,. d c !1n i t1 1n1 . 18;, .
tt)5 · 196; outl in e 11i, 1°;11-11 17 ; th('
l' atal11g-ui11g td' .Jt:ta i l:-'.1 •J;- 1•J 8 ; l• >Cal·

izi Ilg"" of detai I..;, 1 9 ~ - i · ~' ; l: la burat ii in
u f an i1na g-c 1 2d', -.!.., , ; a SL·ril.'S 1d
im a ~· es, 2•>2-.! "J ; pt.~ rs o ni t·i L'ati< •n of
•kla i ls, .iu 1 -.~ ...1 ; 1.·ffL'l ·t , ,fli g ht . et c .
.' . ,· .t"7 ; t:ITL't· l 11 11 u h:-.L: r \·1.·r , 2"tt -2•..-J i
g i\' lllg" ui t\ il'L"~ ' I i• •ll S. ~ '~ 1 ~1 11 ; oh ·
\·crse . kscripti •• ll, .? 11- .: 1.t; u11d il1l1 ·
th1111 g-ht , 2 1.!* .n l; a ).;'L'llcra l r L"lhTtitt11 Lu i n trud\I L'C dL" Sl-r iptinn, iq i 15; a sin gle t:nntra:-.t, J. t6-J.HJ i a
series of Lf1tl! rasts, 2 19-no ; a sin,g-l e

an a logy , 2i 1 ; a scrie~ of a nalo,l::'it.:s.
222-223; dialogue a s a {.k~t:ripli,·L·
d ev ice , n3-n5 i visinn a s a d t• s c r ip ti\· e <lc\-icc, 215 - 217 ; np1 \St roplle.
227-uS ; ex am µk ." f u r an:tl~·si:->, u8:t35.

Fundam e n tal qua li ty in 'lcsc r ipt io n.
1 ~ 1 . t 5 2, 1s 4 , 1 55 , i s''• 158 .
1f. 1, 11\5 , 167 , 17•., r7 r , 172.

159,

1A.,,

i

f.

7111· !l/(kx

T!tc !/T(lcx

4:?0

Genera l process or me t h od , 276-277 .
General r eflect io n, definitio n o f, :201;
u sed t o introdu ce n d e scription,
2 14-215; in e xp o:-;i t io n , 2 76.

\.i bson , \Vi lliam H amilto n , 276-277.
( i o ld smith 1 Oliver, 290.
G riffin , Ge r ald, 11 9 -122 .

H awthorne , N at h a ni e l, 57, 83- 841 8687, sa, 90, 11 5 , 1.i o - 1..12 , 180, 1 99 -200,
2 q , 258-.l 6.?, 263 , 264-2 65, 266, 267, 35 1,
353 1 355- 356, 4 I

j

·4 14.

J/aymt1kers Tire, stud y o f t he pic-

Landsee r , E d win, desc rip ti o n of his
paint ing, r;,,. Old S/i,p!ierd's Clu °'f
1'/ournl! r , 233.
L 1:srllts of Lo11dv 11 To7''"' Tiie, S im s,
18-1 9.
Localizi n g o f deta ils, 198 -200.
L o ngfe ll o w , H e nr y \ V. , 171 211 23- 24,
2,5 1 26 , 65 1 66-671 03, 128- 129 1 l 32·1 J.4 1
151, 169 , 18 1, 183, HJO, 202 1 :?37, 412.
Loo s t: s e n ten ce, The, 30 .
Lost lllusi011s, study of th e p ic ture,
IH ·

L(1w e ll , Jarn es R u=-- sell , 241 79 1 2022 10 , 305 , 41 2.
2•·13 ,

w,. ,

1

tu re, 53.
Ha 1.litt, \\Tilliam , 3o6.
ll o lm c s 1 Ol in: r \Ve n dell , 179 , 28 1, 282,
284- 285 .

.ll)2 ,

i9 5, 21;6- 297, 307, 309·

H omer, Tiit' ! had,

u r.

Hu K h e s, Th o ma s. r• .6.
ll 1q.,:-o , Vi cto r, 2 0 1 , 205 , :n i - 2 13, 230 ,
·: n-i.

llym n t o S1'/r11 cr, s tud y of t he pi c tur e, 17 5.
H yphe n, ru le fo r , 4·-..J·
Ill ustrations u sed as ex posit o r y ma t e rial, 279.

Images, c o nfu s io n o f , 1fl:; -1 6 4 ; f urH1am e nta l, 200-20 1 i a se ri es of, 201-:i" J·
In te rr1 )gat.io n point, r l1le fo r, 407.
Irrclent nt p nrt in l\ars. 11 7.
Ir v i ng, \V ashin,;rto n, 155-1 56. 172 -1 7.;.
18 1, un -1 98 1 :toS, 2 11 , ::13 1.
Ita lics, r u le fo r, 109.

j(la N of Ar c, study o f th e pictures, &),
1.p.

J o hn , 196 1 207, 230.
Kil l ik c lly , S . H. ., CuriOus Q u t's /J(111 s,

K ei'.tt s ,

K i n gsl ey, C 1Htrl t.'s, Tiu Tltr1·t" Ft'.r/1-

ers, 6_. .

l .a.s:-l1011t1t , Sa lta ra .4~~rtr/r11 , st ud y <1f
the pictun.! , 16,.-1 ri5 .
La mb, C harles, 18 2-1 8;1 . i.2 7. 2.z8 , 233 23 ,., :; a 39, 296 .

~i ac aulay,

Th o m as Ba b in gt o n, 125 126, 216- 217 , :?8i , 367-368, 368 - 36<), 370.
Maete rl inck, Maurice, 1 8.
Alc11l l·Vt'tll tire /foe, The , stu dy nf the
pi c tur e , 158.
M at e r ia l u sed, fo r se n t e n ce -stud y,
3 1 i i n d e s t.: ri ptiu n of place, 152 i o f
p c rsim a l u p p eu rnn c e, r55 ; of c h a ra c t e r , 159 ; o f m o de of li fe , 16o , 16 1;
o f an o ccasion or asse m b lage, 166 j
o f n s e rrn o n , co nvcrsati11n, o r book ,
16 7, 168 1 16y ; of 1n nod , 17u; of cl imate o r sea~on , 172 ; o [ mu s ic,
s1) und , o r ndor, 173 , 174 ; o f audible
th o ught , 176 ; u sed i n cx p us iti(ln,
:t 78-280; in ari;11mcntuti1111 , 374 .
~k taphor, 1fo -1 63 ; m ixed, 163-1 64.
:\1 et h o d , in d e sc r iption, 176-1 77 ; of
s t ating- tt.n arg-u n1 e 1H, J73·
M ic il dct , Jul es , 383.
~!ill, J o hn ~t uart, 188-1 89.
!\T ilton. J o hn, 1&J, 18u, 188 .
J! t'llo n Dt"claling Puradise Lost,
st udy of th e pi c tu re, ' ~ ·

Min o r devkes, 15::,,, 153-1 55 , 156, 16o,
16 1-1 62, 166, 173, 17 5, 185- 19 4.
Mr>d c o f Life, desc ription o f, 16o- 162,
16 4 - 165.

M o d e l, fo r Situat io n-t ype I., 45-47;
fu r 8 it unti o n-t y pc 11. , 56-57 . S e e
also 7Ju: me-m odels flll d A-Ju11·ves.
Mood , d e s c ri p ti o n of, 93 1 170- 171.
f\I o r ley , J u hn , 337.

.1for111.11g 1 stu d y o f th e pit..: t 11re, 52 .
Motives, d esc riptiv e, 1 .. 9-1 76 ; e xposit o ry, 275- 278.

Nar r a tion, d e finiti o n o{, 20 ; u s ed tP
e labo r a t e d ialogue , 94 j o r al. 11 81 1t1 i r e lat e d t o <lesc ri pt io n , 14 5- q 6 i
g-e n er ..di zed, 279-2 Bo, 294.
Narrati\·c , defi ni t io n of, 20 ; r et r nspect i\·e, 75- 144; fo rw ard - m ovi n g-,
94 1 258 , 262 ; a n tic ipa t o ry, 258, 26o.
S ee al so Re trosp~c live.
Nat ur e S tud y , T he, 36 1-364.
N e wman , J o hn Hen r y, 217-:21 9.
Nigl1 f- >Vatch , Tiie, s tud y o l the pi c tur e , 155.
Obve r se d e sc ri ptio n, 211- 212.
Occasion, e le m e nt in th e s itu a ti o n ,
16- 17, 23- 26 ; desc r iptio n o f, 165 -1 66.
Oen u s, R ope of; ex e rci s e based o n
t h e sto ry o f th e pi c t ur e , 73.
Od or , d e s c ri ptio n of, 174 .
O r ation, Th e, 386- 389 ; o utlin e of th e
d t: l i bera t ive orati o n , 38 7 ; co mbin i n g all f o rms o f disco urse , 388.
O r<l cr , vari et y in, 28j of time in nar - ·
r atio n , 11 7-1 18.
O rnan1 e n ta ti o n, in de s c ripti o n. See
Fundam ental Del •t't:es and Afi11or

De1'1"res.
Ouida . tie e De la R tlm !e.
O utl in e , o f s e nten ce stu d y, 3 1-32 ; of

42 1

P c rs on ifn:atinn, 153 j nf details in rks1.: ri p t io n, 203 - 20 4.
P e r suasio n , 378· 389 ; info rmal , 378-38o:
f o r m al 1 38o-386 ; d i rect, 380-383j in d ir ec t , 383- 386 ; inv u lv ing- ll t"sc ri ptio n,
383 ; in v o lvin g n a rr a ti(/11 1 383 - 384;
in vo lvin g ex positi0n, 38..i- 385 ; in vo l v ing argu m e 11 t ati o n , 385- 386.
Pkk t! ns, An d rew , 11)7-111.
P la c e, e lcme:nt in th o t-iitua t io n , 16- 17,
23· 26 ; d escr ipti o n of, 119, 151-1 52, 155 .
P ope, Akxan dt: r, 191.
Pvrtraif of .1/y Alutlirr , st udy of t h e
pic tur e, r 59.
P repa ra tion, The, in T h e m e - m o dels
I.-V., 19 , 106 1 125, 135, 138.
Prese nt te n se, in n a rration, 6o.
Primary S c!tcJol of /Joys, Tire, s tudy
of the pict u r e, t 7 1.
Punctuat io n , rul e s for, oi o3 -.p2.
Q uestion , r h e t o r ic al , 175.
~uotation,

punctuation of th e dire c t ,
84-87; as a rh e t o ri ca l de ,· ice. ~126 ;
rul e fo r, 1o8 .

P nn: ntheses, r ule fo r, ,.07.

Refutati o n, 368-36').
R epe titi o n, fault o f , 68 -6') i u sed in
expositio n , 279 ; series o f, 2 1) 6.
Reprod u c ti o n, at...: co rdi ng- to Situ at io n - type l. , 51-5..1; gene r a l u ses of ,
62 . S ee 'l'hl' m t'-lll1 }dr/s.
}{ c trospcctiv c ).iarruti vc, d efiniti o n
a nd fo rm s of, 75 ; in dialogu e , 75-80,
98 -11 3 i by th e auth o r, 114-11 6 1 11 9 ·
126, 1 38-1 44 ; in Y1si o n. 126- 13 t.
R ev iew , of Eng-l ish g rammar, 94-96.
See also /l ook Re1·it'H•.
R e writin g of th e m es , 73 -74.
Rile y, J anH! S Wh itco mb, 36- 37, 117,
129 , 225-226.
R o gers, Sarnue l , a n ecd ot e o f, 72 .
l<uskin, J o hn, 11 2-11 3, 16o-1 6 1, 198 ·1 99,
2o6- 207 , 233 1 276, 288 1 291- 2•)"2, 300, 3r.6307, 3u8 , 310, ) ll1 J l il.

P arke r , Th eodore, 38,.-385.
P eriorl., rule fo r , '4 0 7·
P ersonal appea r a n ce , de sc ripti o n of,
155-1 58.

S t. Mark' ~ G o spel, 37.
Sard o u , Vi c tori e n, '4 9·
Sco tt , !Si r \Vatter , 85, 86, 229, 234.

desc rip ti o n -mo t ive s, 1.49-1 50 ; o f f u n<l a m e ntal d ev ices , 196-1 97 . See also

Theme-models.
Parag raph, defi niti o n o f, 20; in narr at io n , 97, 11 6, 12(rt30 ; in c.l escri p t io n1 149-1 76; in expositio n , 283- 3 13 j
o f partiti o n. 336- 33 7i summari1.ing,
33 7; in a r g uinentation , 36q-373 i in
pe rsuasi1m, 380- 386.
Parall e l co n st ru ct io n , 245-2 56; d e finiti o n of, 245; r e p e t iti o n in, 247-248 ;
u ses o f 1 248- 249; i n paragraph s , 249251i in e la bora ting. 25 1-25 2; in c..:u n 1
d e n s ing, 2 53 -::,, 55 i v io lations of, 2552 .c;6.

,,,
4- )
S,easo n, de sc ripti o n o f. 171-1 7.:.
s ~ m ico l o n, rul e s f u r I 405 -406.
~ e ntcn c e, pcr ioJ.i c 1 30 ; loose , JC• ; str 11 v
tur e, 3..i -39. 6-... , 157 ; unity, 4 i ; rt.· la .

t io ns in th e pnra g- ra p h , 286 - 21)0.
Seq u e l , in Th e m1.:-m 11c\ cl I., 19.
~er ics 1

\ ,f i11d 1..· p 1.: n 1IL·nt

s t at L' !J\ l'lll S.

3:; ; ,Jf s tat C' m 1..• 11ts 1.. : onn ec tt:d by
u nd. 311- 37; o f s itu :tti uns , 18-1 9. 5S- 7.1;
11f in1:"l g- t.· ~. 2HL - 2<J3 ;

nf

t: ••nt r a ·~:-.: ,

2 11) · 2 Ld ; 11f :::u1al 11 ~ it: s. n:'.! - 2.q ; in !ht·
ux p osit ( •r ~·

p ar:q.:- raph,

.tr1 5- 3 11

;

in

pers11 a '-' i1 1n , 38 1- 382 .

S e t ti ng-, Th L·, in a h11Pk n.·,·ie w. 3t<;] 1f1.

Shakspt'rC', \\" illiam. f18 - ("J • ' "• 117-1 18 ,
2 11,

~ ..! J

. .l.( I , 2/ 5 • I •) _\ , 31)0-4 11.!.

S.hak:r. N'at hanil..'1 S ., .:1 4- 17 r., .
Shc'/J/1rrdf .\·.1 , J/J, ·, :--t u d y of th e p ic t 11 r c.
4.
Sherid an , J.:. ic h :nd Hrin s le y. L 18- ..!')'J·
Sicnki e wi c z . llcnr~· k . S 4 , .: .:•1- .: .:; .
0

,r.

S i m ile , 1 53 - 1 ~ 4.
Si m s, Gl··q· .~ L' R . , 18 -H1.

~-i y nrrnyms,

\'isi o n,

._>n 4' .! I 5·
T hen t...·. d efinit ion .. r . .: 1.
T hL'lll e -m n d(: l:.:. , I. -X I X .- L , 18 ,

p ict un· ~ , f:, .J ; in s u hj...: L' I S fr11m
l ife , 711- n : I I.. 77 -H" ; in Pll tl in t" 7'r 8u;
pa r a .1-:"raphi1 q{ o f, c,7 . , ~ ; in r t· pro duct i• )ll, •i">- 1.. .!; i n dl· ... 1Tihing- p ic t u re s , t•H- lnl ; i n s1 1bjl'l:ts from l i ft._· ,

inR'

103- 10 5 ; 1 11. ,t h c 111 n d l' I, 115 ; in• Hll-

lin c , 11 6 ; in r eprodu c ti o n, 11 9- 1.:.! i
in de sc rib ing- pi ct ur e s, 1.1.2 -1 13 ; in
sub jL·c ts fnHll life , 123 -1 2.1; 1\!.,
1.!f,.1 '..!•l ; in n11tli !l \.", 1LtJ -1 io ; in rc produ t: ti(ln, 1 1.: - 13.1. 1 {7; i n dc ..;cr ihi11 g
p ic tnrl·:-O, 1 1.1 ; in s 11 hjL' l'IS fr111n l ifl·,

Sla ng-. 9 7.
S t> ll.i." ,~/!hr· l .arl. s t ud y 11f t he pi c t url-' , 2.1 .
S• l und, l.k .:.c ri ptio ll , ,f, 173 ·174 .

ft1rms of.' N ; in r e pr1 •d u c t i11n, q n1.1.: ; i n d l..'sc rib i n ,l!' pi d1 1n·s, 1.1.:; i n
su hjl·ct sf r 11m l i f\.', 1 4 .! q -1 ; Yl., t17 -'.l' ;; in u 11tli!l l',.: .;X ; \ " 11. , .! J•;-.! 4.. ; in
i illll i n l ', ~ p; - t -1"; \r ill .. 24•1 -.:.H ; in

i11t\ l' p1 ·11 d~ · 11 1 .

1

\I"

t~ · 1(, ;

.. r d i n : it~· . 1'·- i 7 ; s 11h.. 1.\ i 11 11 11·, 17 1.,.
l'••h t·rt J,,) u is, f •.!-'• 1.

S te\' l.'11 ~ •'1 1,

how t 11 h\.· g- in a, •'i -' 7 ; s l111rt
s t11 ry c., ntain i ng tk sc ri pti 1t11 . .: ;. 7-

~tor y ,

270 .

Sto r y, J<v·.:.l· p h , 3R; - 38 4.
::. t r l'lt <•n , I l l'~b :t. 171- 17.:.
Su b j ec ts fr n m ll l1.• and hist n r~·. 54- 5'i ·
70 - 73, 101 · 11•5 , l .!;- 1 .! 4 1 1 .1 4 -1 y; , 14 1 -144 ,

23'1 , 238 - .t_19 , 2 4<1, 2 4 3-.i-1-1 . :!r ,h - .'< · 1, .H ·J·

35n, 35-1· 3c;7, 3('1.."1 - 36 1 • 1 77 - 37~ . ;Hi 1.
Sn h11 rdinal c el 1·m ents i n the se nt e n c e, 37- 3•J ; in tlil'

panq.~ra p h

. .t Mi -

28 7.

Sunimary in a hntJk r e \'i L' \\', n f th1 ·
p lot , 317- 318 ; u f t h e ch aral'l \.· r :-. ,
3 18 - 3 n i ()f ~t r i k i n g oc c :1 si<1 n s . ; .1 132 3 ; of the ba c k l!T Oll tll l. ; i1 - .u .1.

1 1s : in 1111tline 1 1 _1~ -1 y ) :

ll SC S C1f ,

difft._· r c 11 t

1111t l i1h " .: 4 3 -.q4 ; l .X . , Ai.:-.•711 ; in t• \lt l i n l· . .•' •.: ; in rl· p1·11d th· ti1111, i(f'i - .!t·7 ;
i n -.1 !1 11 •·· ·1 ... f r .. 111 l ift · 1111.J Ji 1... 1.. 1· y ,

.:' ·'.'i· t' •i; X . , p

1 - 11 •,;

i 11 " n ! li111 ·, 111 -

:i 15 ; 1i1 :1t cr i; tl f i• r, l .!. ) · 3 :r• ; X l .. 3.:7 328 : ll l'W pa r: l ~~T a p h r1..·q 11 irt._· d in,

J .tS- 1.1" : matl'rialf,,1· , 3_; 1 ; :'\l l., :n 4Il l ' \\' t y p t:S pf para .l !T:q 1h r l· -

3-l .!;

qu irL'd in, .u s- u 7; ma teri a l i••r, )';H341 ; :'\ 111 .. 342 - "1 5 ; 111:1l t._·ri ;tl f t1r, 343:H -1; X[\p.• 345- l 48 ; m :it 1..· r i al r.. r, 345:; -1 6 ; X \ p. . 11 1- 35.1; in o u t !i n l'. p; 2; in
r c p r• 1d u l-·ti 1m , 353 i in s ul J jt ·L·t~ fr o m
I i f c, 154 ; :'\ \ " l .. JS·l- 357 ; i 11 ou t Ii n e , JS Si
in r e prndu c ti o n, 355 - i5fi ; Sl1 l1j ee 1s
f11r, 357 : X\"JI., 35 7- 36 1; in ou tl i11 e ,
t'.8 ; new typ C'S o[ parag-rap h r cq uir c.;d 111. 358 - 3f>0j mat t: ri<d fo r. Jf\\) 1' •1; X\-III ., 174- 178; in outlint.'. 17i;li7 ; s ulij t·d s f11r, 377 - 378 ; XIX .,

158 -1 5c.11 16o, 16 5 , 16 7. 1r• , r 71, 1 7~ -1 71 ,
175; in exp o siti o n, 283.

1

J•) ,. .

"'

_

U s e s, o f T h e me - m o d e l 1. 1 2 1, f.-:J; • •f
The me-mod e l V . , 138 i nf d c scr ipl io n-m oti\·cs, 176 ; o f par ;illl'l c o n ·"' ru c ti o n. ·~q 8 - ! 4' J·

61 - 6 2.

s~ - 7 4 ;

in r l·p r 1,du cl i11 n 1 f ,.l 117; i n t k:-;c r i h-

s nh .il' c t'-'

T ill otson , John , 188 .
T im e , element i n th e sit u ation, 16 - 17;
tim e sche m e i n Theme-mode l I..

T e nn yso n, Alfrc::d, 1 u , 2 33 .
T er r it or ia l c x p a nsiu n in th e U ni ted
S t a t1..·s . o utl ine 1d' th t: llll'. 34 c;- q ll.
Tlia c k<'ray , \ \lill ittm .\ l <tkL' p L·a c c, :!n 3-

l .l 4-1 35 ; \·. ,a Sllllllllilf'~·, 138 ;

S t a l e11h· 11 t s,

for, 389.
Tho mpson , ?\tauri ce

1 3 1.

Si t ua t iun , T h e . 15- Jv . 45- 57 ; c 11m h inl· d
wi t h n·U-•>~fJ ed i,·c narra t i\' 1..' , 75.

S1J\1th c y, J..'.. olx ·rt, ·•'J• 77 -78.
Spel l i n g-. r 11 ll's fn r, r,:; , fi7 .f,S ,

386- 38., ; in 1) Utlin c , 1R 7;

fo r vcrh introdu c i n g l he
di re c t qu n ta t io n 1 $7; o f the n .: r h o f

I

Tra ns it in n ,i n Th e m e -m o d t.: l If ., 77, ,,.,,
97 110 7; in Th eme-m o de l 111., 11 5,
116 , 125, t '.26 ; in TlH! llll..'·lll OJ r·I I , .. ,
n8 , 1 2 •), 132 , 1.14; b e t w ee n d e s c r ip t i \'C parn~raphs. 39.?, JI) ) ; bet Wt: L' n
expo sitor y pa r;i. g r aphs, 3·H-J 45·
Tra\' e le r ' s F.kct c h, Th e, ~~51 - 35 .,..

Twain, :\lark. Se c Clc.·men s.
T ype s , o f the s it uatinn, 45-48, 56-57;
o f the desc r i p ti ve para~raph, 1491501 152, 178 j of the exp o sit o ry para .
g r aph, 284-290; o f the hi stnri c a l
e ssay , 334 i o f the a r gurne ntati\'e
paragraph, 3 69- 37 2 .
Unity, in the se ntence 1 42; in r e trospec tive nn r r nt i vl', 79, 80 1 11 6, 12 ·) ~
130 ; in description, 150-1s:2 1 155 - 156,

\· an Dyke, ll e nry ,

3 1 2 - 3 1 I·

\'arie t !', in th e situat i~ln 1 '1fi - .t •) · 39· .f'I,
5n- 51: in til e S t.' n t cn c~ 1 2.1- r . 3 1-1~ ;
in dial o g-u e , 87 -1) 11 97.
V ision, i n n arrati o n , 75. tz6- 1i •J, r t;;
in d es c ri ptio n , 2i.5 - 217 .

\Va1t o n 1 haak. 1f-.. . . . 28 1. :; 3r,.
\Varner, Charl es D udl e y. d' :;; , 167-1 68 .
18 4, '2 ) 4- 235, 2 ]'4.

\Veb:..tter, Daniel. J 8 r - 38L.
\Vh itti e r, J ohn Crce n k af, 98, '41 2.
\Vi gg in, K at e D•• ll Kla . . , 158- 159.

Wilkins, Mary E .. 25 .
\V o rdsw o rth, \Vi\liam,

•) 8 ·

Zola, Emile, 15 1-1 5 2.

·1

'Che Canterbury Classics
The Story of the Can t e rbury 'Pilg rimJ. R l·t o lJ h ~· Ka t h :tri nc f. t· c lbt e s ,
l'r1J)c'.l'S() r o/

l:.'11.~·hsh L1 !t'l"11 / ur(.· 111 11 'd/r'J· /e·y C l1/ k,,,·,·.

ll lustr a tctl.

Rab , and Hi's .F ri e n ds~ o.nd Other. 'Dog St.orie.s lH · J) r. j .i h_11 H!'" \'' n.
h d 1tcd l;y Cli: 1rlcs \ \ . J· r t> rn..: h , /-'r111 1 1f 11I ti} /h r:" /JyJ1• / 'll r k //1,4:i1 ...'l d1011/ ,
( "/1ic a_,•.,,_

l ll 11 -..tr:ttcd w i1 t1 :1 p1 ir trait ,, f IJ11 1..·\11r lfr •1w11, o l 11l \ -pa ~ c a1 11 \ .:. 1
uf n r i~i nal

l t.:xt d raw i1q. ~~ b y :\n ~ u . .:. ;\k lh •na l l. an d 11 rt: pru d 111..:t io11s
skctd l L'S h y tilt: :1ut lh•r. Clo th , 15•J pa g'cS; .:. 5 t.:l.! lll S.

h y E dg"a r :\llan J',•c. Ed it e d b ~· ' l'h 1..•d a t ~ i ldcnh.: i !'> t c r. Tra1 ·11 I
hr'r 1·11 / /11• Sta /1• • \ 'or 11141/ .":lc:h1>t1/1 J1 ·1"11 0 11 11 , .l/ 11111. 11111 -,t rat l·d wit h
t hv Z 11\ 11a ~· l >1 1SL "' l 'oc a s f n11 11isp it.: n ·, a map of SulliYan 's Is land, and 11
full-po q.~c dra w ings b y li ustn ,· 11s C . \V 1d nt-·y .
Cl ut h, 111 jH.tg-cs; .~5cc nt::' .

The Gold 1Jug,
in ,1.,'"

,·;1,

The Cric1(e t on th e Hearth, !Jv C ha r les Di c k e ns . E d it e d h y (~ t· o r g-c H.
:\ ltull, .'i'/a / ,· Jn s fc 't l o r u/ J/1:1..~h ._'fr!J, 10/s / or .1!i J1 nrso / 11 . l llu s tr: 11e1 l w it h
~ t f r ,1 1111 .... pi L·ce p 1•rt ra it o f

by

l.~u~ta\'US

C. \\.i Jncy .

IJi l'kt-• n s, h y Lawrence , and 1, flli l - p ;1gc d r awings
C lvlh , 1 7!~ pa ~t-· S ; j u c<.: n t s .

Th e King of the Go lden RitJ~r, In· J11h11 H.u s k i n .

Edit e d h y Katharin e
l .ec Hah: S , /'rc1/1 '\.1 1rr 11/ 1:"11.1;/i.1/1 l. 1! 1-r1J/11 r1! 111 l! "t•lfr ~ lry (·t1!/1·.~·1 · . I ll u s tr a te d with a fr•)Jl! is p i1..· cc p •1 rt ra it o l J..:u s k i n, li y llllll :-.t· lf. and l:i ! 11 \\ .pagc
draw ings b y _1 .. 1i11 C j1.J 1a !l~ l'll. Cl 1• t h, i:IJ p ages ; ~ v 1.: c n ts.

A lic e 's A dve ntures in Wo nde r la n d . h\• L e w is C arroll.

Edit e d hv F lu rt-•n L· c .\ \ iJ l\ l" I' , 11} f"/J, • {'11n ·1·r .11/\• .'·;(//(J(I /, /J1· /r t1 t/ , .Jfid t. \ \. i t Ji a ir .. nt is p it: l' C portrait 11f t..'a1-r1d l. M fu l l -p; q.~c and ;:; t t.·xt il\11 :-. tra t i1111:-. b y Fann ~·
Y . Ct>ry , and ro dr a wi 11 g-s by t h e a ut h o r. C lo th; 25 t: t.: nt s.

Orea.sure Island. lJ \' H.t•h crt L ouis S tt: Yc n so n.

Ed itl" d ll\· 'l' lt t.:· da l~i\J e ­

/'r 11 111in.~; 7~·.1 d11 -r 1'11 1111· .':) t .1/r' ,\·orm al Stlto1>/,· lf .1 11 1JJ1 11, .ll t'1111 .
\\.11li a po r trait .. t :--; t 1.; \"L·nso 11. a t' I L'r .\nh u r ~m i th , a m a p , and 13 f111l-pa~ t:
i tl us1.r a ti11 n s by l;ust a n 1s C. \\.1dnc:y . C l ut h.
lll t·1stl'r ,

Ghe 'Dog of F lander.s , h!· T.1n1:s1· dr: la H.a m1"·c . Edi tt:d by Ro s1.· l' . S w a rt,
t1 Ji1 ·1·; ·1s, u · ,1/ l'r ,11 ·/t', ,. 1 ~·. h h/ns.,~, Sta / ,· .\ .orm ril Sd11Ji J/ , lh'ltk1JJl1. It ·is.
0

. ')

ll\11 . . tr a t l·d with a fr"nli'-'pit-·i.: c· p ••l'l rai t .. f l lll· a1l11J.,r 1 :tn d 1., draw ing s h y
: \11 gus ;\LH·I ) p11al\. 1..."\ ,,tl l.

Ghe S t o ry of a Sh ort L ife, l,y Juli ana ll ti ra ti a E wi n g-.

E d i tL·d IJy S ar a h
I. '. H n 11 1k'-' , ,\ 'n f1 '!Ti.11ir 11) / 'r i 111 111 T S «/1(1,1/s, .~·1. / ~11tl, .1/ 11111 . ll ll 1st 1·atl.'.d
wi th : l 1r 11n1i -; p ie l· t: JH•r t ra it 11 f \fr s. Ew in g-.' " ( ul \ -pag-c and .! t ex t illu s t r; l tit>ll~ \,y R . ,\ I. Hall ttl'.' k.
C lot h .
. 11111 ' -;-,

1

,·

c> //1 1'J"

.!..,.,7.,. _l ' rJ/t

i1~/o r111 1 1 /io11 a/1011 /

--;10/ 1n11rs i n / 1r ,·f11ratiu11 :?

JC\ :'-JIJ, '.\k N ;\LL\' & l'O'\IP 1\ N\'
1. Jll'l .\' I I • 1:". \ I.

l 'l' HI . I "> I I

LI .:~

J.011 du 11

.
'

'

