Practical Grammar and Composition Part 50

Definition of Paragraph. How to Secure Unity.

Length of Paragraph. How to Secure Coherence.

The Topic Sentence. Too Frequent Paragraphing.

Unity in the Paragraph. Paragraphing of Speech.

Coherence in the Paragraph. Paragraphing for Emphasis.

Examples of Unity. Examples showing how Unity is Purpose of the Paragraph. Destroyed.

Emphasis in the Paragraph. The Paragraph Theme.

If the topics had been taken up in the above irregular order, a sorry result would have been obtained. Compare the above list of topics with the following arrangement of the same topics in a logical outline.

THE PARAGRAPH

1. Its definition and purpose.

2. Its length.

Paragraphing of speech.

Paragraphing for emphasis.

Too frequent paragraphing.

3. Its essential qualities.

A. Unity.

Definition.

Examples showing how unity is destroyed.

How to secure unity.

The topic sentence.

Development of topic sentence.

Examples showing unity.

B. Coherence.

Definition.

How to secure coherence.

Examples showing coherence.

C. Emphasis.

Places of emphasis in the paragraph.

4. Practical construction of the paragraph.

5. The paragraph theme.

180. USE AND QUALITIES OF THE OUTLINE. The use of the outline is not restricted to an expository composition, as above, but is also necessary in narration and description. Usually, in a narration, the order of time in which events occurred, is the best order in which to present them, though other arrangements may frequently be followed with very good reason.

In a description different methods may be followed. Often a general description is given, and then followed by a statement of various details. Thus, in describing a building, one might first describe in a general way its size, its general style of architecture, and the impression it makes on the observer. Then more particular description might be made of its details of arrangement and peculiarities of architecture and ornamentation.

The whole object of the outline is to secure clearness of statement and to avoid confusion and repet.i.tion. To secure this end the outline should present a few main topics to which all others either lead up or upon which they depend. These topics or subtopics should all bear some apparent and logical relation to one another. The relation may be that of chronology; that of general statement followed by details; that of cause and effect; or any other relation, so long as it is a logical and natural one.

The outline should not be too minute and detailed. It should be sufficient only to cover the various divisions of the subject-matter, and to prevent the confusion of subtopics. A too detailed outline tends to make the composition stiff and formal.

The outline should have proportion. The essential features of the subject should be the main topics. Minor subjects should not be given too great prominence, but should be subordinated to the main topics.

181. THE BEGINNING OF THE COMPOSITION. To choose a method of beginning a composition often causes trouble. Usually a simple, direct beginning is the best. But sometimes an introductory paragraph is necessary in order to explain the writer's point of view, or to indicate to what phases of the subject attention is to be given. Examine the following methods of beginning.

THE INDUSTRY OF LAWYER

Oddly enough, hardly any notice is taken of an industry in which the United States towers in unapproachable supremacy above all other nations of the earth. The census does not say a word about it, nor does there exist more than the merest word about it in all the literature of American self-praise.

MY CHILDHOOD FEAR OF GHOSTS

Nothing stands out more keenly in the recollection of my childhood, than the feelings of terror which I experienced when forced to go to bed without the protecting light of a lamp. Then it was that dread, indefinite ghosts lurked behind every door, hid in every clothes-press, or lay in wait beneath every bed.

THE USES OF IRON

No other metal is put to so many uses and is so indispensable as iron.

The opening sentences of a composition should be able to stand alone; their meaning or clearness should not depend upon reference to the t.i.tle.

Bad:

THE VALUE OF LATIN IN THE HIGH SCHOOL

There is a rapidly growing belief _that this study_ has too large a place in our high-school courses of study.

Good:

THE VALUE OF LATIN IN THE HIGH SCHOOL

There is a rapidly growing belief _that Latin_ has too large a place in our high school courses of study.

182. UNITY IN THE COMPOSITION. Unity is an essential element of the whole composition as well as of the paragraph, and its demands here are in general the same. Nothing must be brought into the composition which does not fall well within the limits of the subject.

In the different subdivisions, also, nothing must be discussed which properly belongs to some other division of the topic.

As in the paragraph, a definite point of view should be adopted and adhered to. There must not be a continual changing of relation of parts of the composition to the subject, nor of the writer's relation to the subject.

A consistent point of view is especially necessary in a narrative.

If the writer is telling of events within his own experience, care must be taken not to bring in any conversation or occurrence, at which, by his own story, he could not have been present. A continual changing back and forth between present and past tenses must also be avoided. One or the other should be adopted consistently.

183. COHERENCE IN THE COMPOSITION. A composition must also be coherent.

Its different parts must be closely knit together and the whole closely knit to the subject. Just as in the paragraph, words of reference and transition are needed, so in the composition, words, or sentences of reference and transition are needed, in order to bind the whole together and show the relation of its parts.

For this purpose, the beginning of a new division or any definite change of topic should be closely marked, so as to prevent confusion.

There should be transition sentences, or sentences which show the change of topic from paragraph to paragraph, and yet at the same time bridge the thought from paragraph to paragraph. These transition sentences may come at the end of a preceding paragraph, or at the beginning of a following one, or at both of these places.

Examine the following parts of paragraphs in which the words or phrases showing transition from part to part are italicized:

(Last sentence of first paragraph)

... The American War was pregnant with misery of every kind.

(Second paragraph)

_The mischief, however,_ recoiled on the unhappy people of this country, who were made the instruments by which the wicked purposes of the authors were effected. The nation was drained of its best blood, and of its vital resources of men and money. The expense of the war was enormous--much beyond any former experience.

(Third paragraph)

_And yet, what has the British nation received in return_ for this expense....