_Narration._ "For a moment the terror of Hans Van Ripper's wrath passed across his mind, for it was his Sunday saddle; but this was no time for petty fears; the goblin was hard on his haunches; and (unskillful rider that he was!) he had much ado to maintain his seat; sometimes slipping on one side, sometimes on another, and sometimes jolted on the high ridge of his horse's backbone, with a violence that he verily feared would cleave him asunder."[43]

_Description._ "In one corner stood a huge bag of wool, ready to be spun; in another, a quantity of linsey-woolsey just from the loom; ears of Indian corn, and strings of dried apples and peaches, hung in gay festoons along the walls, mingled with the gaud of red peppers; and a door left ajar gave him a peep into the best parlor, where the claw-footed chairs and dark mahogany tables shone like mirrors; andirons, with their accompanying shovel and tongs, glistened from their covert of asparagus tops; mock oranges and conch shells decorated the mantelpiece; strings of various-colored birds'

eggs were suspended above it; a great ostrich egg was hung from the centre of the room, and a corner cupboard, knowingly left open, displayed immense treasures of old silver and well-mended china."[43]

_Exposition._ "That perfection of the Intellect, which is the result of Education, and its _beau ideal,_ to be imparted to individuals in their respective measures, is the clear, calm, accurate vision and comprehension of all things, as far as the finite mind can embrace them, each in its place, and with its own characteristics upon it. It is almost prophetic from its knowledge of history; it is almost heart-searching from its knowledge of human nature; it has almost supernatural charity from its freedom from littleness and prejudice; it has almost the repose of faith, because nothing can startle it; it has almost the beauty and harmony of heavenly contemplation, so intimate is it with the eternal order of things and the music of the spheres."[44]

(Notice the use of the semicolon in the last two groups of sentences.

The parts of compound sentences such as these should be separated by semicolons.)

Short Sentences.

Having determined approximately what relations may be grouped in a single sentence, the first question for consideration is whether sentences should be long or short. This cannot be definitely answered.

Since they should be concise, the short sentence is well suited for definitions. Since a proposition should be announced in as few words as can be used, without sacrificing brevity to clearness, short sentences serve best for this purpose. As changes in the direction of the development of a thought should be quickly indicated, a short sentence is generally used for transition. And as at times when the mind is under a stress of strong feeling, or the action of a story is rapid, all explanatory matters are cut away, the barest statements in shortest sentences serve best to express strong emotion and rapid action.

Long Sentences.

Long sentences have the very opposite uses. To amplify a topic, to develop a proposition by repetition, by details, by proofs, or by example, long sentences are serviceable; by them the finer modifications of a thought can be expressed. So, too, a summary of a paragraph or a chapter frequently employs long sentences to express the whole thought with precision and with proper subordination of parts. Again, as short sentences best express haste and intensity, so long sentences give the feeling of quiet deliberation and dignified calm.

Illustrations of definitions, propositions, transitions, and exemplifications are to be found everywhere. Slow movement expressed by long sentences is well illustrated in Irving and Hawthorne. One selection from George Meredith, to show the peculiar adaptation of the short sentence to express intensity of feeling, is given. Richard Feverel has just learned that the wife whom he had deserted has borne him a son. Description and narration are mingled. The short, nervous sentences express both the vividness of his impressions and the intensity of his emotions.

"A pale gray light on the skirts of the flying tempest displayed the dawn. Richard was walking hurriedly. The green drenched woods lay all about his path, bent thick, and the forest drooped glimmeringly. Impelled as a man who feels a revelation mounting obscurely to his brain, Richard was passing one of those little forest-chapels, hung with votive wreaths, where the peasants halt to kneel and pray. Cold, still, in the twilight it stood, rain-drops pattering round it. He looked within, and saw the Virgin holding her Child.

He moved not by. But not many steps had he gone before the strength went out of him, and he shuddered. What was it? He asked not. He was in other hands. Vivid as lightning the Spirit of Life illumined him. He felt in his heart the cry of his child, his darling's touch. With shut eyes he saw them both. They drew him from the depths; they led him a blind and tottering man. And as they led him he had a sense of purification so sweet he shuddered again and again."

Unity.

In a sentence, as in a theme or a paragraph, the first question regarding its structure is what to put into it. The germ of a paragraph is usually a sentence; of the sentence it is one word or but very few words. This kernel of a sentence may be developed through the many modifications of the thought; but always the additions must be distinctly related to the germ words. If this relation of parts to the kernel of the sentence be unmistakable, the sentence has unity; if there are parts whose connection with the germ of the sentence cannot be easily traced, they should be rejected as belonging to another sentence. The pith of the whole sentence can be stated in a few words, if the sentence has unity.

Long sentences should be watched. One thing easily suggests another, interesting too, it may be; and when an essay is to be written, anything,--especially if it have so worthy a quality as interest to recommend it,--anything is allowed to go in. Such a sentence as the following can be explained on no other principle: "Just then James came rushing downstairs like mad to find the fellow who had punched a hole in the tire of his bicycle, which was a Columbia which he got two years before at a second-hand store, paying for it in work at fifteen cents an hour." Plainly everything after "bicycle" is nothing to the present purpose and should be excluded. The following from a description of Cologne Cathedral is as bad, in some respects, worse; for there is one point where the break is so abrupt that a child would detect it. "The superintendence was intrusted to Mr. Ahlert, whose ideas were not well adapted to inspire him for his grand task, under his direction much of the former beauty and artistical skill was lost sight of, but at all events it was a great satisfaction to see the work go on and to have the expenses defrayed by the State." In this case the writer, beyond doubt, thinks long sentences the correct thing. Long sentences are necessary at times; but the desire simply to write long sentences or to fill up space should never lead one to forget that a sentence is the expression of one--not more--of one complete thought.

On the other hand, sentences should contain the whole of one thought; none of it should run over into another sentence. Strange as it may seem, sentences are sometimes found like the following: "James was on the whole a bad boy. But he had some redeeming qualities." "The first day at school was all new to me. While it was interesting as well."

"He said that he was going. And that I might go with him." There is no ground for an explanation of such errors as these except laziness and grossest illiteracy. It is by no device so simple as the insertion of a period that man can separate what has been joined in thought. _And_ and _but_ rarely begin sentences; in nearly all cases it will be found that the sentences they purport to connect are but the independent clauses of one compound sentence. _While_ or any other subordinating conjunction introduces a dependent clause; a dependent clause is not a sentence; it can never stand alone.

The offenses against the unity of a sentence are including too much and including too little. Both are the result of carelessness or inability to think. The purpose, the kernel, the germ of the sentence, should be so clearly in mind that every necessary modification of the thought shall be included and every unnecessary phrase be excluded.

Some further suggestions concerning unity are found in the paragraphs treating primarily of mass and coherence.

Mass.

As advance is made in the ability to grasp quickly the thought of a book, it becomes more and more evident that the eye must be taken into account when arranging the parts of a composition. The eye sees the headings of the chapters; it catches the last words of one paragraph and the first words of the next; it lights upon the words near the periods; so the parts of a composition should be arranged so that these points shall contain worthy words. Moreover, within the sentence the colon marks the greatest independence of the parts; the semicolon comes next; and the comma marks the smallest division of thought.

Following the guidance of the eye, then, the words before a period should be the most important; those near a colon, a semicolon, and a comma will have a descending scale of value. A speaker has no difficulty with punctuation; unconsciously he pauses with the thought.

So true is this, that one is inclined to say that if the writer will read aloud his own composition, and punctuate where he pauses in the reading, always remembering the rank of the marks of punctuation, he will not be far from right. It will be noticed that he has paused in the reading after important words, as if the thought stayed a moment there for the help of the reader. Naturally we pause after important words; and conversely, the places of importance in a sentence are near the marks of punctuation, increasing from the comma to the period.

End of a Sentence.

The end of a sentence is more important than the beginning; and the difference in value is greater than in a paragraph. In a paragraph the opening is very important, generally containing the topic. In a sentence, however, the beginning more often has some phrase of transition, or some modifier; while it is the end that contains the gist of the sentence. This fact makes it imperative that no unworthy matter stand at the end. How important a position it is, and how much is expected of the final words of a sentence, is evident from the effect of failure produced by a sentence that closes with weak words.

In the following sentences, phrases have been moved from their places; the weakness is apparent.

Abstract liberty is not to be found; and this is true of other mere abstractions.

This is a persuasion built upon liberty, and not only favorable to it.

I pass, therefore, to their agriculture, another point of view.

Of course Burke never wrote such sentences as these. However, sentences like them can be found in school compositions.

"Lincoln's character is worthy to be any young man's ideal; having in it much to admire."

"Euclid Avenue, with its broad lawns, and with Wade Park as the fitting climax of its spacious beauty, is the most attractive driveway in the United States, which is saying a good deal."

"Minnesota has many beautiful lakes; Mille Lacs, fringed with dark pines; Osakis, with its beach of glistening sand; Minnetonka, skirted by a lovely boulevard bordered by cool lawns and cosy cottages; and many others not so big."

Such sentences as these are not uncommon. Their ruin is wrought by the closing words. Watch for trailing relatives, dangling participles, and straggling generalities at the end of sentences. The end of a sentence is a position of distinction; it should be held by words of distinction.

So influential is position in a sentence that by virtue of it a word or a clause of equal rank with others can be made to take on a certain added authority. By observing the end of a sentence, a reader can determine what was uppermost in the mind of an author careful of these things. In the following sentence as it was written by Burke the emphasis is on the duration of the time; but by a change of position it is put upon the fact. "Refined policy ever has been the parent of confusion; and ever will be so, as long as the world endures."

Changing the last clause it reads, "and, as long as the world endures, ever will be so." This is not weak; but the stress is not where Burke placed it. The position of the words gives them an importance that does not inhere in the words themselves.

Effect of Anti-climax.

Still, as the tenure of a place of distinction cannot save a fool from the reputation of folly, position in a sentence cannot redeem empty words from their truly insipid character. Indeed, as the imbecility of a shallow pate is made all the more apparent by a position of distinction, so is the utter unfitness of certain words for their position painfully manifest. This is the secret of anti-climax. By reason of its very position in a sentence, the last phrase should be distinguished; instead the position is held by a silly nothing.

Disappointing anti-climaxes, like those already cited, are frequently made by young writers; and they are sometimes met with in the works of the best authors. The following sentence is from Newman: from the point of view of an ardent churchman, it may be a climax; but from the point of view of the general reader who considers the whole greater than any of its parts, in spite of all the sense preceding the final phrase, that is absurd and disappointing nonsense.

"I protest to you, gentlemen, that if I had to choose between a so-called university, which dispensed with residence and tutorial superintendence, and gave its degrees to any person who passed an examination in a wide range of subjects, and a university which had no professors and examinations at all, but merely brought a number of young men together for three or four years, and then sent them away as the University of Oxford is said to have done some sixty years since, if I were asked which of these methods was the better discipline of the intellect,--mind, I do not say which is _morally_ the better, for it is plain that compulsory study must be a good and idleness an intolerable mischief,--but if I must determine which of the two courses was the more successful in training, moulding, and enlarging the mind, which sent out men the more fitted for their secular duties, which produced better public men, men of the world, men whose names would descend to posterity, I have no hesitation in giving the preference to that university which did nothing, over that which exacted an acquaintance with every science under the sun. And, paradox as this may seem, still if results be the test of systems, the influence of the public schools and colleges of England, in the course of the last century, at least will bear out one side of the contrast as I have drawn it. What could come, on the other hand, of the ideal systems of education which have fascinated the imagination of this age, could they ever take effect, and whether they would not produce a generation frivolous, narrow-minded, and resourceless, intellectually considered, is a fair subject for debate; but so far is certain, that the universities and scholastic establishments, to which I refer, and which did little more than bring together first boys and then youths in large numbers, these institutions, with miserable deformities on the side of morals, with a hollow profession of Christianity, and a heathen code of ethics,--I say, at least, they can boast of a succession of heroes and statesmen, of literary men and philosophers, of men conspicuous for great natural virtues, for habits of business, for knowledge of life, for practical judgment, for cultivated tastes, for accomplishments, who have made England what it is,--able to subdue the earth, _able to domineer over Catholics._"[45]

Use of Climax.

From what has been said, it is evident that the parts of a sentence, as far as may be, should be arranged in a climax. The climax should be in the thought, with a corresponding increase in the weight of the phrases. If the thoughts increase in importance, the words that express them should increase in number. The number of words in the treatment bears a pretty constant ratio to the importance of the subject treated. The paragraph quoted from Newman is an excellent illustration of the use of climax,--until it comes to that last phrase. Note in the first sentence the repetition of the condition, three times repeated. Change the second to the third and see how different it is. Then he has "public men, men of the world, men whose names would descend to posterity,"--a steady increase in the thought, and a corresponding increase in the length of phrases. The last sentence contains a fine example of climax. "Of heroes and statesmen, of literary men and philosophers, of men conspicuous for great natural virtues, for habits of business, for knowledge of life, for practical judgment, for cultivated tastes, for accomplishments, who have made England what it is,--able to subdue the earth." Climax is the arrangement that produces the effect of vigorous strength. In arranging a succession of modifiers, so far as possible without breaking some other more important principle, a writer will gain in force if he seeks for climax.

Loose and Periodic.

Sentences are divided into two classes: loose and periodic. A loose sentence may be broken at some point before the end, and up to that point be grammatically a complete sentence. An arrangement of the parts of a sentence that suspends the meaning until the close is called periodic. The periodic sentence is generally so massed that the end contains words of distinction, and the sentence forms a climax.

Not all climaxes are periods; but nearly all periods are climaxes.

The Period.

The philosophy of the periodic sentence has been best stated by Herbert Spencer. He starts with the axiom that the whole amount of attention a reader can give at any moment is limited and fixed. A reader must give a part of it to merely acquiring the meaning; the remainder of his attention he can give to the thought itself. In reading Cicero the pupil has to put a large part of his attention upon the vocabulary, upon the order and construction of the words; the barest fragment of attention he can bestow upon the thought of the great orator. So when the reader attacks one of Browning's most involved and obscure passages, he is kept from the thought by the difficulties in the language. As it is the purpose of language to convey thought, and as it is usually the wish of an author to be understood, he should use up as little as possible of the reader's limited attention for the mere acquisition of the thought, and leave the reader as much as he can to put upon the meaning. In applying this to sentences, the question is, which form of sentence demands least effort to get at its meaning: the periodic sentence, which suspends the meaning to the end; or the loose sentence, which may be broken at several points and gives its meaning in installments? The old example is as good as any: shall we say as the French do, a horse black; or shall we say as the English do, a black horse? for in the arrangement of these three words there lies the difference between a loose and a periodic sentence. Consider the French order first. When a person hears the words "a horse," he at once thinks of the horse he knows best; that is, generally, a bay horse. When the word "black" follows, the whole image has to be changed from the bay horse he knows to the black horse he has occasionally seen. There has been a waste of attention. On the other hand, when the words "a black" are heard, the mind constructs no image; it waits until the noun modified is spoken.

Then the whole image springs up at once; it is correct and it needs no remodeling. The following sentence illustrates the point. "I am wasting time" is the beginning. It would be difficult to enumerate the many thoughts suggested by these words; each person has his own idea of wasting time. When the rest of the sentence is added, "trying to learn my geometry lesson," the whole has to be reconstructed. On the other hand the periodic statement suspends the meaning to the end.

There is no place where, without additions to the words used, the mind can rest. "Trying to learn a geometry lesson is for me a waste of time." Theoretically the periodic sentence is better than the loose sentence; for it economizes attention.

There is another side to the question, however. If the details be many, and if each be long, they would be more than the mind could carry without great effort; and instead of economy of attention, there is improvident waste. The mind will carry a long, carefully arranged period at intervals; but a succession of periods is sure to result in its absolute refusal to do so any longer. There is a limit to the length of a period that economizes attention; and there is a limit to the number of successive periods which a reader can endure.

Periodic and Loose combined.

There is another form of sentence, which combines the loose and the periodic. It generally begins with the periodic form and sustains this until it is better to relieve the mind of the stress, when the period ends or the loose structure begins; and the sentence may as a whole be periodic while containing parts that are loose. This kind of sentence is a common form for long sentences. It gives to prose much of the dignity of the period, together with the familiarity of the loose sentence.

The sentence below may be changed, by putting the last clause first, to a loose sentence; and by placing it after the word "subject" it becomes mixed.

"By all persons who have written of the subject, for the grandeur of its mountains and the deep quiet of its green valleys for the leaping torrents of its foaming rivers and blue calm of its crag-walled lakes, Switzerland has been named 'the Paradise of Europe.'"

The following paragraph from Burke contains examples of loose, periodic, and mixed sentences:--