as yet, still, but, however, and, so, while, whereas, even, together, with, since, hence, because, for, etc. (3) Connectives used where they can be omitted: connectives may sometimes be omitted with a gain to force. Thus, it is less forcible to say, "Run and tell your father the house is on fire," than to say, "Run! Tell your father the house is on fire." (4) Transitional phrase or sentence needed: short summarizing phrases or sentences are needed, at times, to indicate the direction which the thought is next to take, or the manner of treatment to be pursued. (5) Illogical sequence.

D.

Condense.

- Bring the MS. to the instructor at the next consultation

See the dictionary.

Note the spelling, etymology, meaning,

and standing of the word or words underlined.

E. - Bad English.

Exp. - Expand.

Fig.

Error in the use of figurative language. (1) Mixed metaphor. (2) Allusion obscure images of things that are familiar are easier to understand than images of things that are unfamiliar. (3) Figure uncalled for.

FW.-"Fine writing." The attempt to give a commonplace idea dignity and force, or humor, by the use of big words and pretentious phrases, is termed "fine writing." Thus, " An individual designated by the not uncommon cognomen of Smith'" is "fine writing" for "a man named Smith.”

Gr.

Bad grammar. (1) Concord in number or tense not observed. (2) Wrong use of Shall and Will.

H. — Heading at fault. No heading, poor heading, heading not properly underscored, etc.

Inv. Involved structure. Simplify.

Kp. - Out of keeping. (1) Tone of the composition not consistently maintained at no point should the composition vary perceptibly from the level of thought or feeling on which it was begun ; e.g. avoid jest or slang in a composition whose prevailing note is earnestness. (2) In bad taste.

1.c. Change of capital to small letter.

MS.

Manuscript unsatisfactory. (1) Form incorrect. (2) Not neat. (3) Writing illegible.

Pos.

Wrong position. (1) Related words separated: related words, phrases, and clauses should be brought as close as possible to the elements which they modify. (2) Important words in unemphatic positions: an important word or phrase should occupy an emphatic position, such as the beginning or end of the sentence. (3) Unimportant words in emphatic positions.

pt. Misuse of participle. (1) Misrelated or unrelated participle: the grammatical relation of the participle to the rest of the sentence should not be left in doubt. 66 Having dared to take up the cause of the abolitionists, his friends would no longer consort openly with him." Does "having dared" belong with "friends" or with "him"? (2) Participle when infinitive or clause is preferable. (3) Absolute construction needlessly used.

Q. Quotation at fault. (1) Incorrect quotation. (2) Incorrect use of quotation marks.

Re.

Repetition to be avoided. Avoid needless repetitions of the same word or sound.

Rel. Relative pronoun at fault. (1) Coördinate for restrictive, relative, or vice versa. (2) Relative may be omitted: the restrictive relative, when the object of a verb, may often be omitted without loss of clearness. Thus, "I am the man you seek" is sometimes preferable to "I am the man that you seek."

Sent.

Wrong form of sentence. (1) Periodic for loose sentence, or vice versa. (2) Monotonous recurrence of the same form of sentence: beware especially of overuse of the “and-sentence," such as "It was a bright, cheerful day and the birds were singing." Sl.- Slang.

Sp. - Bad spelling. (1) Word misspelled. (2) Improper use or omission of the apostrophe. (3) Wrong abbreviation, or abbreviation improperly used. (4) Spell in full. (Also indicated by drawing a circle around the abbreviation.)

Sub.

Subordination faulty. (1) Ideas of unequal rank made coordinate. Subordinate the expression underscored. (2) Expression too emphatic. (3) Wrong idea subordinated. Recast the sentence.

U. — Unity violated. The abbreviations s, ¶, c when used with this sign indicate that unity is lacking in the sentence, paragraph, or whole composition respectively.

Wd. — Wrong use of a word.

used in wrong sense.

(1) Wrong form of word. (2) Word (3) Choose a more exact or fitting term.

(4) Word not in good use.

W.-Weak. (1) Terms too general: use particular and concrete expressions to give vigor and interest. (2) Anti-climax. (3) Hackneyed words or phrases: avoid trite and meaningless expressions.

¶-Paragraph.

No-Do not paragraph.

8 or Omit. (Do not enclose in parentheses, but draw a line through the word.)

A-Something has been omitted.

Vor? Error, not specified.

-Join the parts of a word, incorrectly separated. #More space at point indicated by caret.

/-/- Hyphen to be supplied.

At beginning or end of the MS. One of the above marks placed at the beginning or end of the manuscript warns the writer against a prevailing fault. The general character of the manuscript is indicated by the following letters: A, excellent; B, fair; C, poor; D, very bad, rewrite.

APPENDIX G.

THE RHETORIC OF THE PARAGRAPH.

1. Unity, Clearness, and Force. Method of Treatment. There are three prime characteristics of every good paragraph: (1) Unity, or oneness, by means of which the reader recognizes that some one, particular, significant thing or idea, and nothing else, is being presented; (2) Clearness, or intelligibility, by means of which he understands what is said of that one thing or idea; and (3) Force, or emphasis, by means of which both the thing or idea and what is said of it are firmly impressed on his mind. We shall consider each of these three characteristics, first in its application to the paragraph as a whole, and secondly in its application to the component elements of the paragraph; namely, sentences, clauses, phrases, and single words. We shall notice, also, some of the common errors that hinder the attainment of Unity, Clearness, and Force in writing, and shall state principles for guidance.

Unity.

2. Unity of the Paragraph as a Whole. In a good paragraph we notice two kinds of unity, unity of idea and structure, and unity of tone. Unity of idea and structure has already been discussed. (See pp. 10, 18, 32, 54.) Unity of tone requires that the paragraph shall at no point vary perceptibly from that level of thought or of feeling on which the paragraph began. A commonplace or colloquial remark in a paragraph whose prevailing tone is pathetic, a jest or a piece of slang in a paragraph whose prevailing

note is spiritual, are often ruinous to the effect that would otherwise be produced; and a few words of bad English, or a badly chosen figure of speech, may work irreparable mischief in a paragraph which would, but for that, be excellent in tone. For maintaining unity of tone in a paragraph, a careful selection of appropriate details (see pp. 13– 18, 35, 72-81), and of appropriate words and images by which to express them, is needful. Notice the paragraphs on pp. 50, 53, 61, 78, 70 (last), 73 (last), 77 (middle), 90 (last), and 93, 190; decide in each case what is the purpose and point of view; then decide whether the tone is purely intellectual, emotional, or spiritual; and, finally, mark the words which preserve this distinctive tone throughout the paragraph, and words which in tone fall below the level on which the paragraph begins. Choice of appropriate words is the main consideration in preserving unity of tone.

Construct and arrange sentences in a way to give unity of structure; choose and arrange words and images in a way to give unity of tone. Judicious use of blunt idiomatic expressions should not be mistaken for violation of unity of tone. In the following selection the italicized words do not fall below the general tone of the paragraph.

This instinctive belief, confirmed by every other kind of studious experience, that all serious study must inherently tend toward isolated specialization, seems to me the first difficulty that besets earnest pupils who make a mess of their English in the secondary schools. Clearly enough, a really intelligent teacher can explain it away. The process may involve vexatiously tedious reiteration of good sense; but such reiteration ought to do the business.

In the following sentences the unity of tone is not maintained:

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The sight oppressed me with sorrow, my heart swelled into my throat, my eyes filled with tears, I couldn't stand it any longer, and I left. [Better, I could no longer endure the painful scene, and turned sadly away.]

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