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20. Nothing as important as this has claimed our attention for some time.

21. It is evident that these several senses sustain a certain relation to each other.

22. While he spoke I remained silent.

23. Neither the pupils nor the teacher was satisfied with the work.

24. The press don't create public opinion; it simply gives voice to it.

25. A distinction should be made between the direct and indirect testimony of the senses.

26. These are the same questions I gave you yesterday.

27. The letter's direction could never be learned from the address.

28. The younger is not as well qualified as the older.

29. We will lend you the book, but may call for it to-morrow. 30. The officers objected to him receiving so much salary. 31. I will prepare myself for dinner while you take your walk.

32. Our friend and neighbor were busily engaged in their garden this morning.

33. His speeches should and probably have made some impression on the people.

34. While you prepare dinner I will take a walk.

35. Neither the parents nor the child was saved from drowning.

36. I never have and never shall be satisfied with the arrangement you propose.

37. The rising and setting sun will indicate the east and west. 38. Imagine it to spread out in every direction further and further away.

CHAPTER III.

PARAGRAPHING.

THUS far, we have treated of words and sentences. The combination or grouping of sentences closely related is called paragraphing, and the group itself a paragraph. The object of the paragraph is to indicate to the reader where the consideration of any chief thought begins and where it ends. The paragraph is indicated by beginning the first word a little to the right of the mar ginal line.

Paragraphing requires constant and careful attention, for every new thought produces a new problem as to its arrangement. The subject has been neglected, probably because of the supposed difficulty that attends it. The following rules will be helpful to the student:

1. Make an analysis of the topic to be discussed.

This may be either mental or written, but for young writers the written analysis is preferable. The habit of making an analysis is an important one which aids greatly not only in paragraphing but also in discussing a subject in a logical and systematic way.

2. Make each point in the analysis the subject of a distinct paragraph.

To the writer who has made a good analysis or outline the work of paragraphing will not be difficult. Each division of the outline will indicate at least one sentence

of importance, to which should be added such others as relate directly to the same topic.

3. Preserve the unity of the paragraph.

Let all the sentences have reference directly to the subject of the paragraph. Either of two plans of procedure may be followed: The opening sentence may indicate the subject of the paragraph, and to this may be appended such explanations, arguments, and illustrations as may be necessary to impress the truth of the statement; or it may be so arranged that the main sentence shall end the paragraph as a sort of summary or conclusion. The former of these two plans is the one usually adopted, for the reason that the attention of the reader is assured at once.

The opening sentence should be as short as the sense will permit. It is sometimes difficult to awaken and hold the interest of the reader as he wanders through a long series of phrases to catch the chief thought. If interest be once aroused, the writer may then venture on longer sentences.

The rule for paragraphing does not differ from that of harmony, in requiring that the sentences shall vary in both length and rhythm. Here, as elsewhere, "Variety's the very spice of life, that gives it all its flavor."

4. Make the paragraphs progressive in meaning and sound. The bearing of each sentence on what precedes should be clear. There seems to be no necessity for the addition of such sentences as add nothing to the original statement by way of either explanation, illustration, or argument. If possible, the sentences should grow in strength as the paragraph proceeds, and the most forcible should be placed at the close.

5. Connect the sentences of a paragraph so as to show their relation.

cessor.

Each sentence should naturally grow out of its predeThe stream of thought should flow smoothly. The transition from one sentence or clause to another should be so easy and natural as not to attract attention. To master the art of making the various parts of a paragraph harmoniously smooth will do much toward securing elegance of style.

In making the connection between clauses or members, conjunctions are generally used. These are known as—

1. Cumulative; as, and, also, again, further, besides, likewise, etc., which connect similar statements.

2. Adversative; as, but, still, only, yet, however, nevertheless, etc., which connect consecutive statements that have a mutual relation.

3. Illative; as, hence, accordingly, consecutively, etc., which express a relation of effect or consequence.

Frequently, when the connection is very close or very distant, connectives are omitted and punctuation marks take their place.

Note. The following is a good exercise in paragraphing: The teacher selects a paragraph from a school-reader or some other book, reads aloud the sentences of that paragraph without regard to arrangement, and then requires the pupils to rearrange the sentences in a paragraph and compare with the original.

CHAPTER IV.

FIGURATIVE LANGUAGE.

Figurative Language is an intentional deviation from the ordinary form of expression. These departures from the simple form of expression are known as Figures of Rhetoric. Ancient writers named some of these figures tropes, or turns, because the words are turned from one signification to another; but there seems to be no necessity for this distinction, and it is therefore not made in this treatise.

Figures of Rhetoric occur in nearly all kinds of composition. They are usually founded on the relation of things. The difference between plain and figurative language will be made more clear by illustration.

Thus, when we say, "The warrior's bow lies beside him," we make a statement in plain language; but when we say, "Beside him sleeps the warrior's bow," we represent the bow as sleeping, and the language is figurative.

Thus, also, when we speak of one as being "a fox in the council and a lion in the field," we use figurative language to show his shrewdness in debate and his bravery in battle.

Figures Natural.-Figures are not the invention of the rhetorician. The most illiterate as well as the most learned use figures in their speech. Indeed, it is a difficult matter for either learned or unlearned to discourse for any length of time without to some extent using figurative language.

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