Composition-Rhetoric Part 4

Jean pa.s.sed through the door of the church. He saw a child sitting on one of the stone steps. She was fast asleep in the midst of the snow. The child was thinly clad. Her feet, cold as it was, were bare.

A theme composed wholly of such a succession of short sentences is tedious. Especially when read aloud does its monotony become apparent.

Though the thought in each sentence is complete, the effect is not satisfactory to the reader, because the thought of the whole does not come to him as fast as his mind can act. Such an arrangement of sentences might be satisfactory to young children, because it would agree with their habits of thought; but as one grows in ability to think more rapidly, he finds that longer and more complicated sentences best express his thoughts and are best understood by those for whom he writes. We introduce sentences of different length and different structure, because they more clearly express the thought of the whole and state it in a form more in accordance with the mental activity of the hearer. When we have done this, we at the same time secure a variety that avoids monotony.

In attempting to avoid a series of short sentences, care should be taken not to go to the other extreme. Sentences should not be overloaded. Too many adjectives or participles or subordinate clauses will render the meaning obscure. The number of phrases and clauses that may safely be introduced will be determined by the ability of the mind to grasp the meaning readily and accurately. It is sometimes quite as important to separate a long sentence into shorter ones as it is to combine short ones into those of greater length.

Notice in the following selection the different ways in which several ideas have been brought into the same sentence without rendering the meaning obscure:--

Loki made his way across a vast desert moorland, and came, after three days, into the barren hill country and among the rugged mountains of the South. There an earthquake had split the rocks asunder, and opened dark and bottomless gorges, and hollowed out many a low-walled cavern, where the light of day was never seen. Along deep, winding ways, Loki went, squeezing through narrow crevices, creeping under huge rocks, and gliding through crooked clefts, until he came at last into a great underground hall, where his eyes were dazzled by a light that was stronger and brighter than the day; for on every side were glowing fires, roaring in wonderful little gorges, and blown by wonderful little bellows.

+Theme VIII.+--_Write a story suggested by one of the following subjects:_--

1. School in the year 2000.

2. The lost door key.

3. Our big bonfire.

4. Kidnapped.

5. A bear hunt.

6. A mistake in the telegram.

7. How Fido rescued his master.

(Can you render the meaning more clear by uniting short sentences into longer ones, or by separating long sentences into shorter ones? Can you omit any _ands_? How many of the sentences begin with the same word? Can you change any of those words? Pick out the words which show the subordinate relation of some parts to others. Do all of the incidents in your story seem probable?)

+19. Conversation.+--It must not be inferred from the preceding section that short sentences are never to be used. They are quite as necessary as long ones, and in some cases, such as the portraying of strong emotion, are more effective. Even a succession of short sentences may be used with good results to describe rapid action. In conversation, also, sentences are generally short, and often grammatically incomplete, though they may be understood by the hearer. Sometimes this incompleteness is justified by the idiom of the language, but more often it is the result of carelessness on the part of the speaker. The hearer understands what is said either because he knows about what to expect, or because the expression is a familiar one. Such carelessness not only causes the omission of words grammatically necessary, but brings about the incorrect p.r.o.nunciation of words and their faulty combination into sentences.

You speak much more often than you write. Your habits of speech are likely to become permanent and your errors of speech will creep into your written work. It is important therefore that you watch your spoken language.

Occasions will arise when the slang expressions that you so freely use will seem inappropriate, and it will be unfortunate indeed if you find that you have used the slang so long that you have no other words to take their place. An abbreviated form of _gymnasium_ or of _mathematics_ may not attract attention among your schoolmates, but there are circles where such abbreviations are not used. By watching your own speech you will find that some incorrect forms are very common. Improvement can be made by giving your attention to one of them, such as the use of _guess_, or of _got_, or of _don't_ and _doesn't_.

In making a written report of conversation you should remember that short sentences predominate. A conversation composed of long sentences would seem stilted and made to order. What each person says, however short, is put into a separate division and indented. Explanatory matter accompanying the conversation is placed with the spoken part to which it most closely relates. Notice the indentations and the use of quotation marks in several printed reports of conversation.

+20. Ideas from Pictures.+--If you look at a picture and then attempt to tell some one else what you see, you will express ideas gained by experience. A picture may, however, cause a very different set of ideas to arise. Look at the picture on page 38. Can you imagine the circ.u.mstances that preceded the situation shown by the picture? Or again, can you not begin with that situation and imagine what would be done next? If you write out either of the series of events, the theme, though suggested by the picture, will be composed of ideas furnished by the imagination. In the writing of a story suggested by a picture, the situation given in the picture should be made the point of greatest interest, and should be accounted for by relating a series of events supposed to have preceded it.

+Theme IX.+--_Write a story that will account for the condition shown in the picture on page 38._

(Correct with reference to clearness and meaning. Do you need to change the sentence length either for the sake of clearness or for the sake of variety? Cross out unnecessary _ands_. Underscore _got_ and _then_ each time you have used them. Can the reader follow the thread of your story to its chief point?)

[Ill.u.s.tration]

+21. Vocabulary.+--A word is the symbol of an idea, and the addition of a word to one's vocabulary usually means that a new idea has been acquired.

The more we see and hear and read, the greater our stock of ideas becomes.

As our life experiences increase, so should our supply of words increase.

We may have ideas without having the words with which to express them, and we may meet with words whose meanings we do not know. In either case there is chance for improvement. When you have a new idea, find out how best to express it, and when you meet with a new word, add it to your vocabulary.

It is necessary to distinguish between our reading vocabulary and our writing vocabulary. There are many words that belong only to the first. We know what they mean when we meet them in our reading, but we do not use them in our writing. Our speaking vocabulary also differs from that which we employ in writing. We use words and phrases on paper that seldom appear in our speech, and, on the other hand, many of the words that we speak do not appear in our writing. There is, however, a constant s.h.i.+fting of words from one to another of these three groups. When we meet an unknown word, it usually becomes a part of our reading vocabulary. Later it may appear in our written work, and finally we may use it in speaking. We add a word to our reading vocabulary when we determine its meaning, but _we must use it_ in order to add it to our writing and speaking vocabulary. A conscious effort to aid in this acquisition of words is highly desirable.

A limited vocabulary indicates limited ideas. If one is limited to _awfully_ in order to express a superlative; if his use of adjectives is restricted to _nice, jolly, lovely_, and _elegant;_ if he must always _abominate_ and never _abhor_, _detest, dislike_, or _loathe;_ if he can only _adore_ and not _admire, respect, revere_, or _venerate_,--then he has failed, indeed, to know the possibilities and beauties of English.

Such a language habit shows a mind that has failed to distinguish between ideas. The best way to study the shades of meaning and the choice of words is in the actual production of a theme wherein there is need to bring out these differences in meaning by the use of words; but some help may be gained from a formal study of synonyms and antonyms and of the distinction in use and meaning between words which are commonly confused with each other. For this purpose such exercises are given in the Appendix.

+22. Choice of Words.+--Even though our words may express the proper meaning, the effect may not be a desirable one unless we use words suited to the occasion described and to the person writing. Pupils of high school age know the meaning of many words which are too "bookish" for daily use by them. Edward Everett Hale might use expressions which would not be suitable for a freshman's composition. Taste and good judgment will help you to avoid the unsuitable or grandiloquent.

The proper selection of words not only implies that we shall avoid the wrong word, but also that we shall choose the right one. A suitable adjective may give a clearer image than is expressed by a whole sentence; a single verb may tell better how some one acted than can be told by a lengthy explanation. Since narration has to do with action, we need in story telling to be especially careful in our choice of verbs.

What can you say of the suitability of the words in the following selection, taken from an old school reader?

_Mrs. Lismore._ You are quite breathless, Charles; where have you been running so violently?

_Charles._ From the poultry yard, mamma, where I have been diverting myself with the bravado of the old gander. I did not observe him till he came toward me very fiercely, when, to induce him to pursue me, I ran from him. He followed, till, supposing he had beaten me, he returned to the geese, who appeared to receive him with acclamations of joy, cackling very loud, and seeming actually to laugh, and to enjoy the triumph of their gallant chief.

_Emma._ I wish I had been with you, Charles; I have often admired the gambols of these beautiful birds, and wondered how they came by the appellation of _silly_, which is generally bestowed on them. I remember Martha, our nursery maid, used often to call me a _silly goose_. How came they to deserve that term, mamma? they appear to me to have as much intelligence as any of the feathered tribe.

_Mrs. Lismore._ I have often thought with you, Emma, and supposed that term, like many others, misapplied, for want of examining into the justice of so degrading an epithet.

+23. Improbability.+--Up to this point we have been concerned with relating events that _could_ exist, though we knew that they _did_ not. We may, however, imagine a series of events that are manifestly impossible.

There is a pleasure in inventing improbable stories, and if we know from the beginning that they are to be so, we enjoy listening to them. Such tales are more satisfactory to young persons than to older ones, as is shown by our declining interest in fairy stories as we grow older.

By limiting the improbability to a part of the story, it is possible to give an air of reality to the whole. Though the conditions described in a story about a trip to the moon might be wholly impossible, yet the reader for the time being might feel that the events were actually happening if the characters in the story were acting as real men would act under similar circ.u.mstances. In stories such as those of Thompson-Seton, where the animals are personified, the impossibilities are forgotten, because the actions and situations are so real. In fairy stories and similar tales neither characters nor actions are in any way limited by probability.

+Theme X.+--_Write a short story suggested by one of the subjects below.

Make either the characters or their surroundings seem real._

1. A week in Mars.

2. Exploring the lake bottom.

3. The cat's defense of her kittens.

(_a_) As told by the cat.

(_b_) As told by the dog.

4. How the fox fooled the hound.

5. Diary of a donkey.

6. A biography of Jack Frost.

(Correct with reference to meaning and clearness and two other points to be a.s.signed by the teacher.)

+24. How to Increase One's Vocabulary.+--In your daily work do what you can to add words to your reading vocabulary, and especially to increase your writing vocabulary. In the conversation of others and in reading you will meet with many new words, and you should attempt to make them your own. To do this, four things must be attended to:--

1. _Spelling._ Definite attention should be given to each new word until its form both as written and as printed is indelibly stamped upon the mind. In your general reading and in each of the subjects that you will study in the high school you will meet unfamiliar words. It is only by mastering the spelling of each new word _when you first meet it_ that you can insure yourself against future chagrin from bad spelling. A part of the time in each high school subject may well be devoted to the mastering of the words peculiar to that subject.