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The Elements of Style - William Strunk Jr · Non-Fiction Library

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  Speaker 1: Section zero one Introductory. This book is intended for use
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  Speaker 1: in English courses in which the practice of composition is
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  Speaker 1: combined with the study of literature. It aims to give,
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  Speaker 1: in a brief space, the principal requirements of plain English style.
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  Speaker 1: It aims to lighten the task of instructor and student
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  Speaker 1: by concentrating attention in chapters two and three on a
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  Speaker 1: few essentials, the rules of usage and principles of composition
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  Speaker 1: most commonly violated. The numbers of the sections may be
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  Speaker 1: used as references in correcting manuscript. The book covers only
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  Speaker 1: a small portion of the field of English style, but
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  Speaker 1: the experience of its writer has been that once passed
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  Speaker 1: the essentials, students profit most by individual instruction based on
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  Speaker 1: the problems of their own work, and that each instructor
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  Speaker 1: has his own body of theory which he prefers to
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  Speaker 1: that offered by any textbook. The writer's colleagues in the
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  Speaker 1: Department of English in Cornell University have greatly helped him
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  Speaker 1: in the preparation of his manuscript. Mister George McLain Wood
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  Speaker 1: has kindly consented to the inclusion under Rule eleven of
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  Speaker 1: some material from his suggestions to authors. The following books
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  Speaker 1: are recommended for reference or further study. In connection with
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  Speaker 1: chapters two and four. F. Howard Collins, author and printer
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  Speaker 1: Henry Frowd, Chicago University Press, Manual of Style T. L.
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  Speaker 1: Devin Correct Composition, The Century Company, Horace Hart Rules for
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  Speaker 1: Compositors and Printers, Oxford University Press. George McLain wood extracts
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  Speaker 1: from the Style Book of the Government Printing Office, United
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  Speaker 1: States Geological Survey. In connection with chapters three and five,
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  Speaker 1: Sir Author Quiller Couch, The Art of writing Putnams, especially
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  Speaker 1: the chapter interlude on jargon. George McLain wood Suggestions to authors,
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  Speaker 1: United States Geological Survey. John Leslie Hall English Usage, Scott
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  Speaker 1: Foresman and Co. James P. Kelly Workmanship in Words, Little
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  Speaker 1: Brown and Co. It is an old observation that the
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  Speaker 1: best writers sometimes disregard the rules of rhetoric. When they
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  Speaker 1: do so, however, the reader will usually find in the
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  Speaker 1: sentence some compensating merit attained at the cost of the violation.
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  Speaker 1: Unless he is certain of doing as well, he will
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  Speaker 1: probably do best to follow the rules. After he has
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  Speaker 1: learned by their guidance to write plain English adequate for
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  Speaker 1: everyday uses. Let him look for the secrets of style
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  Speaker 1: to the study of the Masters of literature. End of
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  Speaker 1: section zero. Section one two elementary rules of usage. Rules
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  Speaker 1: one to four one form the possessive singular of nouns
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  Speaker 1: with apostrophe s. Follow this rule whatever the final consonant.
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  Speaker 1: Thus write Charles's Friend Burns's poems The Witch's Malice. This
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  Speaker 1: is the usage of the United States Government Printing Office
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  Speaker 1: and of the Oxford University Press. Exceptions are the possessives
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  Speaker 1: of ancient proper names in E S and i S,
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  Speaker 1: the possessive jesus j E s U s apostrophe, and
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  Speaker 1: such forms as for conscience sake f O R space
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  Speaker 1: co o n s c I e n ce apostrophe
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  Speaker 1: space s a k E, for righteousness sake f O
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  Speaker 1: R space ri I g h t e o U
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  Speaker 1: s n E double s apostrophe space s a k E.
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  Speaker 1: But such forms as Achilles heel, Moses laws isis temple
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  Speaker 1: are commonly replaced by the heel of Achilles, the laws
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  Speaker 1: of Moses, the temple of isis. The pronominal possessives hers, it's, theirs, yours,
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  Speaker 1: and oneself have no apostrophe two in a series of
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  Speaker 1: three or more terms with a single conjunction. Use a
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  Speaker 1: comma after each term except the last. Thus write red comma,
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  Speaker 1: white comma, and blue honest comma, energetic comma butt headstrong.
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  Speaker 1: He opened the letter comma, read it comma, and made
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  Speaker 1: a note of its contents. This is also the usage
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  Speaker 1: of the Government Printing Office and of the Oxford University Press.
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  Speaker 1: In the names of business firms, the last is omitted
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  Speaker 1: as brown comma, Shipley and company. The abbreviation etc. Period comma.
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  Speaker 1: Even if only a single term comes after, it is
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  Speaker 1: always preceded by a comma. Three enclose parenthetic expressions between commas.
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  Speaker 1: The best way to see a country comma, unless you
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  Speaker 1: are pressed for time comma, is to travel on foot.
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  Speaker 1: This rule is difficult to apply. It is frequently hard
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  Speaker 1: to decide whether a single word such as however, or
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  Speaker 1: a brief phrase is or is not parenthetic. If the
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  Speaker 1: interruption to the flow of the sentence is but slight,
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  Speaker 1: the writer may safely omit the commas. But whether the
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  Speaker 1: interruption be slight or considerable, he must never omit one
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  Speaker 1: comma and leave the other. Such punctuation as Marjorie's husband
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  Speaker 1: comma Colonel Nelson paid us a visit yesterday, or my brother,
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  Speaker 1: you will be pleased to hear. Comma is now in
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  Speaker 1: perfect health. Comma is indefensible, non restrictive. Relative clauses are
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  Speaker 1: in accordance with this rule set off by Commas. The
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  Speaker 1: audience Comma, which had at first been indifferent Comma, became
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  Speaker 1: more and more interested. Similar clauses introduced by where and
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  Speaker 1: when are similar punctuated In seventeen sixty nine Comma when
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  Speaker 1: Napoleon was born, Comma Corsica had but recently been acquired
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  Speaker 1: by France. Nether Stowe Comma, where Coleridge wrote the rhyme
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  Speaker 1: of the ancient Mariner Comma is a few miles from Bridgewater.
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  Speaker 1: In these sentences, the clauses introduced by which, when, and
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  Speaker 1: where are non restrictive. They do not limit the application
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  Speaker 1: of the words on which they depend, but add parenthetically
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  Speaker 1: statements supplementing those in the principal clauses. Each sentence is
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  Speaker 1: a combination of two statements which might have been made independently.
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  Speaker 1: The audience was at first in different period Later it
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  Speaker 1: became more and more interested. Napoleon was born in seventeen
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  Speaker 1: sixty nine. Period At that time Corsica had but recently
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  Speaker 1: been acquired by France. Coleridge wrote the Rhyme of the
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  Speaker 1: ancient Mariner at nether Stowe period. Nether Stowe is only
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  Speaker 1: a few miles from Bridgewater. Restrictive relative clauses are not
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  Speaker 1: set off by commas. The candidate who best meets these
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  Speaker 1: requirements will obtain the place in this sentence. The relative
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  Speaker 1: laws restricts the application of the word candidate to a
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  Speaker 1: single person. Unlike those above, the sentence cannot be split
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  Speaker 1: into two independent statements. The abbreviations etc. Period and jr.
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  Speaker 1: Period are always preceded by a comma, and except at
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  Speaker 1: the end of a sentence followed by one. Similar in
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  Speaker 1: principle to the enclosing of parenthetic expressions between commas is
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  Speaker 1: the setting off by commas of phrases or dependent clauses
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  Speaker 1: preceding or following the main clause of a sentence. The
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  Speaker 1: sentences quoted in this section and under rules four, five, six, seven, sixteen,
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  Speaker 1: and eighteen should afford sufficient guidance. If a parenthetic expression
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  Speaker 1: is preceded by a conjunction, place the first comma before
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  Speaker 1: the conjunction, not after it. He saw us coming comma
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  Speaker 1: and unaware that we had learned of his treachery. Comma
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  Speaker 1: greeted us with a smile. For place a comma before
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  Speaker 1: and or, but introducing an independent clause. The early records
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  Speaker 1: of the city have disappeared, Comma, and the story of
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  Speaker 1: its first years can no longer be reconstructed. The situation
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  Speaker 1: is perilous, Comma, but there is still but one chance
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  Speaker 1: of escape. Sentences of this type isolated from their context
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  Speaker 1: may seem to be in need of rewriting, as they
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  Speaker 1: make complete sense when the comma is reached. The second
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  Speaker 1: clause has the appearance of an afterthought. Further, and is
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  Speaker 1: the least specific of connectives used between independent clauses. It
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  Speaker 1: indicates only that a relation exists between them, without defining
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  Speaker 1: that relation. In the example above, the relation is that
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  Speaker 1: of cause and result. The two sentences might be rewritten
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  Speaker 1: as the early records of the city have disappeared Comma,
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  Speaker 1: the story of its first years can no longer be reconstructed.
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  Speaker 1: Although the situation is perilous Comma, there is still one
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  Speaker 1: chance of escape. Or the subordinate clauses might be replaced
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  Speaker 1: by phrases. Owing to the disappearance of the early records
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  Speaker 1: of the city comma, the story of its first years
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  Speaker 1: can no longer be reconstructed. In this perilous situation Comma,
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  Speaker 1: there is still one chance of escape, but a writer
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  Speaker 1: may err by making his sentences too uniformly compact and periodic,
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  Speaker 1: and an occasional loose sentence prevents the style from becoming
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  Speaker 1: too formal and gives the reader a certain relief. Consequently,
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  Speaker 1: loose sentences of the type first quoted are common in easy,
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  Speaker 1: unstudied writing, but a writer should be careful not to
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  Speaker 1: construct too many of his sentences after this pattern. See
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  Speaker 1: Rule fourteen. Two part sentences of which the second member
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  Speaker 1: is introduced by as in the sense of because four
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  Speaker 1: or nor and while in the sense of and at
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  Speaker 1: the same time likewise require a comma before the conjunction.
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  Speaker 1: If a dependent clause or an introductory phrase requiring to
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  Speaker 1: be set off by a comma precedes the second independent clause,
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  Speaker 1: no comma is needed After the conjunction. The situation is
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  Speaker 1: perilous Comma, But if we are prepared to act promptly Comma,
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  Speaker 1: there is still one chance of escape. For two part
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  Speaker 1: sentences connected by an adverb, see the next section. End
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  Speaker 1: of section one. Section two elementary rules of usage Rules
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  Speaker 1: five to eight. Five do not join independent clauses by
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  Speaker 1: a comma. If two or more clauses grammatically complete and
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  Speaker 1: not joined by a conjunction are to form a single
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  Speaker 1: compound sentence, the proper mark of punctuation is a semicolon.
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  Speaker 1: Stephenson's romances are entertaining semicolon. They are full of exciting adventures.
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  Speaker 1: It is nearly half past five, semicolon, we cannot reach
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  Speaker 1: town before dark. It is of course equally correct to
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  Speaker 1: write the above as two sentences, each replacing the semicolons periods.
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  Speaker 1: Stephenson's romances are entertaining period. They are full of exciting adventures.
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  Speaker 1: It is nearly half past five, period, we cannot reach
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  Speaker 1: the town before dark. If a conjunction is inserted, the
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  Speaker 1: proper mark is a comma. Rule four, Stephenson's romances are
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  Speaker 1: entertaining comma, for they are full of exciting adventures. It
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  Speaker 1: is nearly half past five, comma, and we cannot reach
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  Speaker 1: town before dark. Note that if the second clause is
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  Speaker 1: preceded by an adverb such as accordingly, besides so, then
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  Speaker 1: therefore or thus, and not by a conjunction, the semicolon
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  Speaker 1: is still required, I had never been in the place
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  Speaker 1: before semi colon, so I had difficulty in finding my
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  Speaker 1: way about. In general, however, it is best in writing
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  Speaker 1: to avoid using so in this manner. There is a
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  Speaker 1: danger that the writer who uses it at all may
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  Speaker 1: use it too often. A simple correction, usually serviceable, is
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  Speaker 1: to omit the word so and begin the first clause
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  Speaker 1: with as as I had never been in the place before, comma,
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  Speaker 1: I had difficulty in finding my way about. If the
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  Speaker 1: clauses are very short and are alike in form, a
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  Speaker 1: comma is usually permissible. Man proposes comma, God disposed, the
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  Speaker 1: gate swung apart, comma, the bridge fell comma. The Portcullis
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  Speaker 1: was drawn up six. Do not break sentences in two.
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  Speaker 1: In other words, do not use periods for commas. I
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  Speaker 1: met them on a colored liner several years ago. Period
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  Speaker 1: coming home from Liverpool to New York. He was an
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  Speaker 1: interesting talker, period, a man who had traveled all over
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  Speaker 1: the world comma and lived in half a dozen countries.
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  Speaker 1: In both these examples, the first period should be replaced
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  Speaker 1: by a comma, and the following word begun with a
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  Speaker 1: small letter. It is permissible to make an emphatic word
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  Speaker 1: or expression serve the purpose of a cent and to
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  Speaker 1: punctuate it accordingly. Again and again he called out period
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  Speaker 1: no reply. The writer must, however, be certain that the
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  Speaker 1: emphasis is warranted and that he will not be suspected
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  Speaker 1: of a mere blunder. In punctuation, rules three, four, five,
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  Speaker 1: and six cover the most important principles in the punctuation
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  Speaker 1: of ordinary sentences. They should be so thoroughly mastered that
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  Speaker 1: their application becomes second nature. Seven. A participial phrase at
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  Speaker 1: the beginning of a sentence must refer to the grammatical
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  Speaker 1: subject walking slowly down the road. Comma, he saw woman
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  Speaker 1: accompanied by two children. The word walking refers to the
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  Speaker 1: subject of the sentence, not to the woman. If the
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  Speaker 1: writer wishes to make it refer to the woman, he
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  Speaker 1: must recast the sentence he saw woman, Comma accompanied by
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  Speaker 1: two children, Comma walking slowly down the road. Participial phrases
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  Speaker 1: preceded by a conjunction or by a preposition nouns in
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  Speaker 1: opposition adjectives and adjective phrases come under the same rule
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  Speaker 1: if they begin the sentence on arriving in Chicago, Comma
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  Speaker 1: his friends met him at the station. When he arrived
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  Speaker 1: in Chicago, Comma. His friends met him at the station,
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  Speaker 1: a soldier of proved valor Comma, they entrusted him with
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  Speaker 1: the defense of the city. A soldier of proved valor Comma.
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  Speaker 1: He was entrusted with the defense of the city. Young
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  Speaker 1: and inexperienced Comma, the task seemed easy to me, Young
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  Speaker 1: and inexperienced Comma. I thought the task easy without a
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  Speaker 1: friend to counsel him. Comma, the temptation proved irresistible. Without
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  Speaker 1: a friend to counsel him. Comma, he found the temptation irresistible.
• 22:37
  Speaker 1: Sentences violating this rule are often ludicrous. Being in a
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  Speaker 1: dilapidated condition, Comma, I was able to buy the house
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  Speaker 1: very cheap. Eight. Divide words at line ends in accordance
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  Speaker 1: with their formation and pronunciation. If there is room at
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  Speaker 1: the end of a line for one or more syllables
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  Speaker 1: of a word, but not for the whole word, divide
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  Speaker 1: the word. Unless this involves cutting off only a single
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  Speaker 1: letter or cutting off only two letters of a long word.
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  Speaker 1: No hard and fast rule for all words can be
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  Speaker 1: laid down. The principles most frequently applicable are A. Divide
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  Speaker 1: the word according to its formation, no dash ledge not
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  Speaker 1: no l dash edge shake dash spear not shake's, dash
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  Speaker 1: peer d dash scribe not DEAs, dash cribe at mode
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  Speaker 1: dash sphere not at moss dash fear b. Divide on
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  Speaker 1: the vowel eddie, dash bull not ed dash ibbyl proper,
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  Speaker 1: dash zition, ordi dashneri espe, dash shull, relay, dash jus
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  Speaker 1: a poe, dash NaNs, regue, dash lar classic, dash fi,
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  Speaker 1: dash k dash shun three divisions possible, deco, dash retive, presi,
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  Speaker 1: dash dent see. Divide between double letters unless they come
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  Speaker 1: at the end of a simple form of the word
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  Speaker 1: A penn dash nines, sin sin, dash nati refer dash
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  Speaker 1: ring but tell d. The treatment of consonants in combination
• 25:04
  Speaker 1: is best shown from examples four dash tune, pick, dash chur,
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  Speaker 1: presump dash chu us illus, dash tration sub dash stan,
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  Speaker 1: dash shull either division indus, dash tree, instruct dash shun
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  Speaker 1: such dash jess dash shun in sen dash diary. The
• 25:35
  Speaker 1: student will do well to examine the syllable division in
• 25:39
  Speaker 1: a number of pages of any carefully printed book. End
• 25:45
  Speaker 1: of Section two. Section three Elementary Principles of composition rules
• 25:54
  Speaker 1: nine to ten nine make the paragraph the unit of composition.
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  Speaker 1: One paragraph to each topic. If the subject on which
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  Speaker 1: you are writing is of slight extent, or if you
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  Speaker 1: intend to treat it very briefly, there may be no
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  Speaker 1: need of subdividing it into topics. Thus, a brief description,
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  Speaker 1: a brief summary of a literary work, a brief account
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  Speaker 1: of a single incident, a narrative merely outlining an action,
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  Speaker 1: the setting forth of a single idea. Any one of
• 26:37
  Speaker 1: these is best written in a single paragraph. After the
• 26:43
  Speaker 1: paragraph has been written, it should be examined to see
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  Speaker 1: whether subdivision will not improve it. Ordinarily, however, a subject
• 26:54
  Speaker 1: requires subdivision into topics, each of which should be made
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  Speaker 1: aid the subject of a paragraph. The object of treating
• 27:05
  Speaker 1: each topic in a paragraph by itself is, of course,
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  Speaker 1: to aid the reader. The beginning of each paragraph is
• 27:14
  Speaker 1: a signal to him that a new step in the
• 27:17
  Speaker 1: development of the subject has been reached. The extent of
• 27:22
  Speaker 1: subdivision will vary with the length of the composition. For example,
• 27:28
  Speaker 1: a short notice of a book or poem might consist
• 27:32
  Speaker 1: of a single paragraph. One slightly longer might consist of
• 27:37
  Speaker 1: two paragraphs. A account of the work, b critical discussion,
• 27:44
  Speaker 1: a report on a poem written for a class in literature,
• 27:49
  Speaker 1: might consist of seven paragraphs. A facts of composition and publication,
• 27:57
  Speaker 1: B kind of poem, metrical form, C subject, D treatment
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  Speaker 1: of subject E for what chiefly remarkable? F wherein characteristic
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  Speaker 1: of the writer, G. Relationship to other works. The contents
• 28:20
  Speaker 1: of paragraphs C and D would vary with the poem. Usually,
• 28:26
  Speaker 1: paragraph C would indicate the actual or imagined circumstances of
• 28:33
  Speaker 1: the poem, the situation if these call for explanation, and
• 28:38
  Speaker 1: would then state the subject and outline in its development.
• 28:43
  Speaker 1: If the poem is a narrative in the third person, throughout,
• 28:47
  Speaker 1: paragraph C need contain no more than a concise summary
• 28:52
  Speaker 1: of the action. Paragraph D would indicate the leading ideas
• 28:58
  Speaker 1: and show how they are made prominent, or would indicate
• 29:02
  Speaker 1: what points in the narrative are chiefly emphasized. A novel
• 29:08
  Speaker 1: might be discussed under the heads A setting, B, plot, C, characters,
• 29:17
  Speaker 1: D purpose. A historical event might be discussed under the
• 29:23
  Speaker 1: heads A what led up to the event? B? Account
• 29:28
  Speaker 1: of the event? See what the event led up to.
• 29:33
  Speaker 1: In treating each of these last two subjects, the writer
• 29:37
  Speaker 1: should find it necessary to subdivide one or more of
• 29:41
  Speaker 1: the topics here given as a rule, single sentences should
• 29:46
  Speaker 1: not be written or printed as paragraphs. An exception may
• 29:51
  Speaker 1: be made of sentences of transition indicating the relation between
• 29:57
  Speaker 1: the parts of an exposition argument. In dialogue, each speech,
• 30:04
  Speaker 1: even if only a single word, is a paragraph by itself.
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  Speaker 1: That is, a new paragraph begins with each change of speaker.
• 30:17
  Speaker 1: The application of this rule when dialogue and narrative are
• 30:22
  Speaker 1: combined is best learned from examples in well printed works
• 30:28
  Speaker 1: of fiction. Ten As a rule, begin each paragraph with
• 30:34
  Speaker 1: a topic sentence, end it in conformity with the beginning. Again,
• 30:41
  Speaker 1: the object is to aid the reader. The practice here
• 30:46
  Speaker 1: recommended enables him to discover the purpose of each paragraph
• 30:52
  Speaker 1: as he begins to read it, and to retain the
• 30:57
  Speaker 1: purpose in mind as he ends it. For this reason,
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  Speaker 1: the most generally useful kind of paragraph, particularly in exposition
• 31:08
  Speaker 1: and argument, is that in which a the topic sentence
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  Speaker 1: comes at or near the beginning. B. The succeeding sentences
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  Speaker 1: explain or establish or develop the statement made in the
• 31:26
  Speaker 1: topic sentence, and see the final sentence either emphasizes the
• 31:33
  Speaker 1: thought of the topic sentence or state some important consequence.
• 31:39
  Speaker 1: Ending with a digression or with an unimportant detail is
• 31:43
  Speaker 1: particularly to be avoided If the paragraph forms part of
• 31:48
  Speaker 1: a larger composition, its relation to what precedes or its
• 31:53
  Speaker 1: function as a part of the whole may need to
• 31:57
  Speaker 1: be expressed. This can sometimes be done by a mere
• 32:01
  Speaker 1: word or phrase. Again, therefore, for the same reason in
• 32:06
  Speaker 1: the topic sentence. Sometimes, however, it is expedient to precede
• 32:12
  Speaker 1: the topic sentence by one or more sentences of introduction
• 32:18
  Speaker 1: or transition. If more than one such sentence is required,
• 32:23
  Speaker 1: it is generally better to set apart the transitional sentences
• 32:28
  Speaker 1: as a separate paragraph. According to the writer's purpose, he may,
• 32:34
  Speaker 1: as indicated below, relate the body of the paragraph to
• 32:39
  Speaker 1: the topic sentence in one or more of several different ways.
• 32:44
  Speaker 1: He may make the meaning of the topic sentence clearer
• 32:48
  Speaker 1: by stating it in other forms, by defining its terms,
• 32:53
  Speaker 1: by denying the converse, by giving illustrations or specific instances.
• 32:59
  Speaker 1: He may establish it by proofs, or he may develop
• 33:02
  Speaker 1: it by showing its implications and consequences in a long paragraph.
• 33:08
  Speaker 1: He may carry out several of these processes. One, Now,
• 33:14
  Speaker 1: to be properly enjoyed, a walking tour should be gone
• 33:18
  Speaker 1: upon alone topic sentence. Two. If you go in a company,
• 33:25
  Speaker 1: or even in pairs, it is no longer a walking
• 33:28
  Speaker 1: tour in anything but name. It is something else and
• 33:33
  Speaker 1: more in the nature of a picnic, the meaning made
• 33:37
  Speaker 1: clearer by denial of the contrary. Three. A walking tour
• 33:43
  Speaker 1: should be gone upon alone, because freedom is of the essence.
• 33:49
  Speaker 1: Because you should be able to stop and go on
• 33:53
  Speaker 1: and follow this way or that as the freak takes you.
• 33:57
  Speaker 1: And because you must have your own pay, and neither
• 34:01
  Speaker 1: trot alongside a champion walker, nor mince in time with
• 34:06
  Speaker 1: a girl. The topic sentence repeated in a bridged form
• 34:10
  Speaker 1: and supported by three reasons. The meaning of the third
• 34:15
  Speaker 1: you must have your own pace made clearer by denying
• 34:20
  Speaker 1: the converse. Four. And you must be open to all impressions,
• 34:25
  Speaker 1: and let your thoughts take color from what you see.
• 34:30
  Speaker 1: A fourth reason stated in two forms. Five, you should
• 34:36
  Speaker 1: be as a pipe for any win to play upon.
• 34:40
  Speaker 1: The same reason stated in still another form. Six. I
• 34:47
  Speaker 1: cannot see the wit, says has Lit of walking and
• 34:51
  Speaker 1: talking at the same time. Seven. When I am in
• 34:57
  Speaker 1: the country, I wish to vegetate life like the country,
• 35:01
  Speaker 1: which is a gist of all that can be said
• 35:04
  Speaker 1: upon the matter. The same reason as stated by Haslt. Eight,
• 35:10
  Speaker 1: there should be no cackle of voices at your elbow
• 35:14
  Speaker 1: to jar on the meditative silence of the morning repetition,
• 35:19
  Speaker 1: in paraphrase of the quotation from Haslt. Nine, and so
• 35:26
  Speaker 1: long as a man is a reasoning, he cannot surrender
• 35:30
  Speaker 1: himself to that fine intoxication that comes of much motion
• 35:36
  Speaker 1: in the open air, that begins in a sort of
• 35:40
  Speaker 1: dazzle and sluggishness of the brain, and ends in a
• 35:45
  Speaker 1: piece that passes comprehension. Stevenson Walking tours final statement of
• 35:54
  Speaker 1: the fourth reason in language amplified and heightened to form
• 36:00
  Speaker 1: a strong conclusion one. It was chiefly in the eighteenth
• 36:06
  Speaker 1: century that a very different conception of history grew up
• 36:11
  Speaker 1: Topic sentence, Section two. Historians then came to believe that
• 36:17
  Speaker 1: their task was not so much to paint a picture
• 36:21
  Speaker 1: as to solve a problem, to explain or illustrate the
• 36:26
  Speaker 1: successive phases of national growth, prosperity, and adversity. The meaning
• 36:34
  Speaker 1: of the topic sentence made clearer. The new conception of
• 36:38
  Speaker 1: history defined SC three the history of morals, of industry,
• 36:45
  Speaker 1: of intellect, and of art. The changes that take place
• 36:51
  Speaker 1: in manners or beliefs. The dominant ideas that prevailed in
• 36:56
  Speaker 1: successive periods, the rise, fall, and modification of political constitutions.
• 37:05
  Speaker 1: In a word, all the conditions of national well being
• 37:09
  Speaker 1: became the subjects of their works. The definition expanded. Four.
• 37:17
  Speaker 1: They sought rather to write a history of peoples than
• 37:21
  Speaker 1: a history of kings, the definition explained by contrast. Five.
• 37:28
  Speaker 1: They looked especially in history for the chain of causes
• 37:33
  Speaker 1: and effects. The definition supplemented another element in the new
• 37:39
  Speaker 1: conception of history. Six. They undertook to study in the
• 37:45
  Speaker 1: past the physiology of nations, and hoped, by applying the
• 37:50
  Speaker 1: experimental method on a large scale, to deduce some lessons
• 37:56
  Speaker 1: of real value about the conditions on which the web
• 38:00
  Speaker 1: welfare of society mainly depend. Lecky The political value of
• 38:07
  Speaker 1: history conclusion an important consequence of the new conception of history.
• 38:14
  Speaker 1: In narration and description, the paragraph sometimes begins with a concise,
• 38:20
  Speaker 1: comprehensive statement, serving to hold together the details that follow.
• 38:27
  Speaker 1: The breeze served us admirably. The campaign opened with a
• 38:33
  Speaker 1: series of reverses. The next ten or twelve pages were
• 38:39
  Speaker 1: filled with a curious set of entries. But this device,
• 38:45
  Speaker 1: if too often used, would become a mannerism. More commonly,
• 38:51
  Speaker 1: the opening sentence simply indicates by its subject with what
• 38:55
  Speaker 1: the paragraph is to be principally concerned. At length, I
• 39:00
  Speaker 1: thought I might return towards the stockade. He picked up
• 39:04
  Speaker 1: the heavy lamp from the table and began to explore
• 39:09
  Speaker 1: another flight of steps, and they emerged on the roof.
• 39:14
  Speaker 1: The brief paragraphs of animated narrative, however, are often without
• 39:19
  Speaker 1: even this semblance of a topic sentence. The break between
• 39:23
  Speaker 1: them serves the purpose of a rhetorical pause, growing into
• 39:27
  Speaker 1: prominence some detail of the action. End of Section three,
• 39:34
  Speaker 1: Section four. Elementary principles of composition Rules eleven to thirteen
• 39:43
  Speaker 1: eleven use the active voice. The active voice is usually
• 39:50
  Speaker 1: more direct and vigorous than the passive. I shall always
• 39:55
  Speaker 1: remember my first visit to Boston. This this is much
• 40:00
  Speaker 1: better than my first visit to Boston, will always be
• 40:05
  Speaker 1: remembered by me. The latter sentence is less direct, less bold,
• 40:13
  Speaker 1: and less concise. If the writer tries to make it
• 40:17
  Speaker 1: more concise by omitting by me, my first visit to
• 40:22
  Speaker 1: Boston will always be remembered, it becomes indefinite. Is it
• 40:28
  Speaker 1: the writer, or some person undisclosed, or the world at
• 40:32
  Speaker 1: large that will always remember this visit? This rule does not,
• 40:38
  Speaker 1: of course, mean that the writer should actively discard the
• 40:43
  Speaker 1: passive voice, which is frequently convenient and sometimes necessary. The
• 40:49
  Speaker 1: dramatists of the restoration are little esteemed today. Modern readers
• 40:57
  Speaker 1: have little esteem for the dramatists of the restoration. The
• 41:03
  Speaker 1: first would be the right form in a paragraph on
• 41:07
  Speaker 1: the dramatists of the restoration, the second in a paragraph
• 41:12
  Speaker 1: on the tastes of modern readers. The need of making
• 41:17
  Speaker 1: a particular word the subject of the sentence will often,
• 41:23
  Speaker 1: as in these examples, determine which voice is to be used.
• 41:28
  Speaker 1: The habitual use of the active voice, however, makes for
• 41:33
  Speaker 1: forcible writing. This is true not only in narrative principally
• 41:40
  Speaker 1: concerned with action, but in writing of any kind. Many
• 41:46
  Speaker 1: a tame sentence of description or exposition can be made
• 41:52
  Speaker 1: lively and emphatic by substituting a transitive in the active
• 41:58
  Speaker 1: voice for some perfunctory expression. As there is or could
• 42:04
  Speaker 1: be heard. There were a great number of dead leaves
• 42:09
  Speaker 1: lying on the ground. Dead leaves covered the ground. The
• 42:16
  Speaker 1: sound of the falls could still be heard. The sound
• 42:21
  Speaker 1: of the falls still reached our ears. The reason that
• 42:26
  Speaker 1: he left college was that his health became impaired. Failing
• 42:31
  Speaker 1: health compelled him to leave college. It was not long
• 42:37
  Speaker 1: before he was very sorry that he had said what
• 42:41
  Speaker 1: he had. He soon repented his words. As a rule,
• 42:47
  Speaker 1: avoid making one passive depend directly upon another. Gold was
• 42:55
  Speaker 1: not allowed to be exported. It was forbidden to it
• 43:00
  Speaker 1: export gold. The export of gold was prohibited. He has
• 43:06
  Speaker 1: been proved to have been seen entering the building. It
• 43:10
  Speaker 1: has been proved that he was seen to enter the
• 43:14
  Speaker 1: building in both the examples above. Before correction, the word
• 43:21
  Speaker 1: properly related to the second passive is made the subject
• 43:26
  Speaker 1: of the first. A common fault is to use as
• 43:31
  Speaker 1: the subject of a passive construction a noun which expresses
• 43:36
  Speaker 1: the entire action, leaving to the verb no function beyond
• 43:42
  Speaker 1: that of completing the sentence. A survey of this region
• 43:49
  Speaker 1: was made in nineteen hundred. The region was surveyed in
• 43:54
  Speaker 1: nineteen hundred. Mobilization of the army was rapidly carried out.
• 44:02
  Speaker 1: The army was rapidly mobilized. Confirmation of these reports cannot
• 44:09
  Speaker 1: be obtained. These reports cannot be confirmed. Compare the sentence
• 44:16
  Speaker 1: the export of gold was prohibited, in which the predicate
• 44:21
  Speaker 1: was prohibited expresses something not implied in export twelve. Put
• 44:28
  Speaker 1: statements in positive form, make definite assertions, avoid tame, colorless, hesitating,
• 44:37
  Speaker 1: noncommittal language. Use the word not as a means of
• 44:43
  Speaker 1: denial or in antithesis, never as a means of evasion.
• 44:49
  Speaker 1: He was not very often on time. He usually came late.
• 44:55
  Speaker 1: He did not think that studying Latin was much use.
• 44:59
  Speaker 1: He thought the study of Latin useless. The Taming of
• 45:04
  Speaker 1: the Shrew is rather weak in spots. Shakespeare does not
• 45:09
  Speaker 1: portray Katherine as a very admirable character, nor does Bianca
• 45:15
  Speaker 1: remain long in memory as an important character in Shakespeare's works.
• 45:22
  Speaker 1: The women in the Taming of the Shrew are unattractive.
• 45:26
  Speaker 1: Katherine is disagreeable, Bianca insignificant. The last example before correction
• 45:35
  Speaker 1: is indefinite as well as negative. The corrected version, consequently
• 45:41
  Speaker 1: is simply a guess at the writer's intention. All three
• 45:46
  Speaker 1: examples show the weakness inherent in the word not Consciously
• 45:53
  Speaker 1: or unconsciously. The reader is dissatisfied with being told only
• 46:00
  Speaker 1: what is not. He wishes to be told what is. Hence,
• 46:06
  Speaker 1: as a rule, it is better to express a negative
• 46:10
  Speaker 1: in positive form. Not honest, dishonest, not important, trifling, did
• 46:19
  Speaker 1: not remember for God did not pay any attention to ignored,
• 46:26
  Speaker 1: did not have much confidence in distrusted. The antithesis of
• 46:32
  Speaker 1: negative and positive is strong, not charity, but simple justice.
• 46:40
  Speaker 1: Not that I loved Caesar less but rome. The more
• 46:45
  Speaker 1: negative words other than not are usually strong. The sun
• 46:50
  Speaker 1: never sets upon the British flag. Thirteen omit needless words.
• 46:58
  Speaker 1: Vigorous writing is concise. A sentence should contain no unnecessary words,
• 47:06
  Speaker 1: a paragraph no unnecessary sentences, for the same reason that
• 47:11
  Speaker 1: a drawing should have no unnecessary lines, and a machine
• 47:16
  Speaker 1: no unnecessary parts. This requires not that the writer make
• 47:22
  Speaker 1: all his sentences short, or that he avoid all detail
• 47:26
  Speaker 1: and treat his subjects only an outline, but that every
• 47:30
  Speaker 1: word tell Many expressions in common use violate this principle.
• 47:37
  Speaker 1: The question as to whether whether the question whether there
• 47:43
  Speaker 1: is no doubt, but that no doubt doubtless used for
• 47:50
  Speaker 1: fuel purposes, used for fuel. He is a man who
• 47:56
  Speaker 1: he in a hasty manner, hastily. This is a subject
• 48:02
  Speaker 1: which this subject his story is a strange one. His
• 48:07
  Speaker 1: story is strange. In especial the expression the fact that
• 48:13
  Speaker 1: should be revised out of every sentence in which it occurs,
• 48:19
  Speaker 1: owing to the fact that since because in spite of
• 48:25
  Speaker 1: the fact that though although call your attention to the
• 48:30
  Speaker 1: fact that remind you, notify you, I was unaware of
• 48:35
  Speaker 1: the fact that I was unaware that did not know
• 48:40
  Speaker 1: the fact that he had not succeeded his failure, the
• 48:45
  Speaker 1: fact that I had arrived my arrival. See also under
• 48:51
  Speaker 1: case character nature system in chapter five. Who is, which was?
• 48:59
  Speaker 1: And the like are often superfluous. His brother who is
• 49:04
  Speaker 1: a member of the same firm, his brother a member
• 49:08
  Speaker 1: of the same firm Trafalgar, which was Nelson's last battle,
• 49:14
  Speaker 1: Trafalgar Nelson's last battle. As positive statement is more concise
• 49:19
  Speaker 1: than negative, and the active voice more concise than the passive.
• 49:24
  Speaker 1: Many of the examples given under rules eleven and twelve
• 49:28
  Speaker 1: illustrate this rule as well. A common violation of conciseness
• 49:34
  Speaker 1: is the presentation of a single complex idea step by
• 49:39
  Speaker 1: step in a series of sentences, which might, to advantage
• 49:44
  Speaker 1: be combined into one. Macbeth was very ambitious. This led
• 49:50
  Speaker 1: him to wish to become King of Scotland. The witches
• 49:55
  Speaker 1: told him that this wish of his would come true.
• 50:00
  Speaker 1: The King of Scotland at this time was Duncan. Encouraged
• 50:05
  Speaker 1: by his wife Macbeth murdered Duncan. He was thus enabled
• 50:10
  Speaker 1: to succeed Duncan as king fifty five words. Encouraged by
• 50:17
  Speaker 1: his wife, Comma, Macbeth achieved his ambition and realized the
• 50:23
  Speaker 1: prediction of the Witches by murdering Duncan and becoming King
• 50:28
  Speaker 1: of Scotland in his place twenty six words. End of
• 50:36
  Speaker 1: section four. Section five. Elementary principles of composition Rules fourteen
• 50:44
  Speaker 1: to sixteen fourteen avoid a succession of loose sentences. This
• 50:53
  Speaker 1: rule refers especially to loose sentences of a particular type,
• 50:59
  Speaker 1: those considering of two coordinate clauses, the second introduced by
• 51:05
  Speaker 1: a conjunction or relative. Although single sentences of this type
• 51:11
  Speaker 1: may be unexceptionable, see under rule four. A series soon
• 51:16
  Speaker 1: becomes monotonous and tedious. An unskillful writer will sometimes construct
• 51:24
  Speaker 1: a whole paragraph of sentences of this kind, using as
• 51:29
  Speaker 1: connectives and but and less frequently who, which, when, where,
• 51:37
  Speaker 1: and while these last in non restrictive senses, see under
• 51:42
  Speaker 1: rule three. The third concert of the Subscription series was
• 51:47
  Speaker 1: given last evening, and a large audience was in attendance.
• 51:52
  Speaker 1: Mister Edward Appleton was the soloist and the Boston Symphony
• 51:56
  Speaker 1: Orchestra furnished the instrumental music. The former showed himself to
• 52:02
  Speaker 1: be an artist of the first rank, while the latter
• 52:05
  Speaker 1: proved itself fully deserving of its high reputation. The interest
• 52:10
  Speaker 1: aroused by the series has been very gratifying to the committee,
• 52:15
  Speaker 1: and it is planned to give a similar series annually hereafter.
• 52:21
  Speaker 1: The fourth concert will be given on Tuesday, May tenth,
• 52:25
  Speaker 1: when an equally attractive program will be presented. Apart from
• 52:30
  Speaker 1: its triteness and emptiness, the paragraph above is bad because
• 52:36
  Speaker 1: of the structure of its sentences, with their mechanical symmetry
• 52:41
  Speaker 1: and sing song. Contrast with them the sentences in the
• 52:46
  Speaker 1: paragraphs quoted under Rule ten, or in any piece of
• 52:51
  Speaker 1: good English prose, as the preface before the curtain to
• 52:56
  Speaker 1: vanity fair. If the writer find that he has written
• 53:01
  Speaker 1: a series of sentences of the type described, he should
• 53:06
  Speaker 1: recast enough of them to remove the monotony, replacing them
• 53:11
  Speaker 1: by simple sentences by sentences of two clauses joined by
• 53:16
  Speaker 1: a semicolon, by periodic sentences of two clauses, by sentences
• 53:23
  Speaker 1: loose or periodic of three clauses, whichever best represent the
• 53:29
  Speaker 1: real relations of the thought. Fifteen express coordinate ideas in
• 53:37
  Speaker 1: similar form. This principle, that of parallel construction, requires that
• 53:44
  Speaker 1: expressions of similar content and function should be outwardly similar.
• 53:50
  Speaker 1: The likeness of form enables the reader to recognize more
• 53:55
  Speaker 1: readily the likeness of content and function. Familiar instances from
• 54:02
  Speaker 1: the Bible are the Ten Commandments, the Beatitudes, and the
• 54:07
  Speaker 1: petitions of the Lord's Prayer. The unskillful writer often violates
• 54:14
  Speaker 1: this principle from a mistaken belief that he should constantly
• 54:19
  Speaker 1: vary the form of his expressions. It is true that
• 54:23
  Speaker 1: in repeating a statement in order to emphasize it, he
• 54:27
  Speaker 1: may have need to vary its form. For illustration, see
• 54:32
  Speaker 1: the paragraph from Stevenson quoted under rule ten. But apart
• 54:39
  Speaker 1: from this, he should follow the principle of parallel construction. Formerly,
• 54:45
  Speaker 1: comma science was taught by the textbook method comma, while
• 54:50
  Speaker 1: now the laboratory method is employed. Formerly comma science was
• 54:57
  Speaker 1: taught by the textbook method semiic. Now it is taught
• 55:02
  Speaker 1: by the laboratory method. The left hand version gives the
• 55:07
  Speaker 1: impression that the writer is undecided or timid. He seems
• 55:12
  Speaker 1: unable or afraid to choose one form of expression, and
• 55:16
  Speaker 1: hold to it. The right hand version shows that the
• 55:20
  Speaker 1: writer has at least made his choice and abided by it.
• 55:26
  Speaker 1: By this principle, an article or preposition applying to all
• 55:31
  Speaker 1: the members of a series must either be used only
• 55:34
  Speaker 1: before the first term, or else be repeated before each term.
• 55:40
  Speaker 1: The French comma, the Italian's comma, Spanish comma, and Portuguese.
• 55:47
  Speaker 1: The French comma, the Italian's comma, the Spanish comma, and
• 55:52
  Speaker 1: the Portuguese. In spring comma, summer comma or in winter
• 55:59
  Speaker 1: is spring comma, summer comma or winter in spring comma,
• 56:05
  Speaker 1: in summer comma or in winter Correlative expressions both and
• 56:12
  Speaker 1: not but not only but also either or, first, second, third,
• 56:20
  Speaker 1: and the like should be followed by the same grammatical construction.
• 56:26
  Speaker 1: Many violations of this rule can be corrected by rearranging
• 56:30
  Speaker 1: the sentence. It was both a long ceremony and very tedious.
• 56:37
  Speaker 1: The ceremony was both long and tedious. A time not
• 56:43
  Speaker 1: for words comma, but action, A time not for words comma,
• 56:49
  Speaker 1: but for action. Either you must grant his request or
• 56:54
  Speaker 1: incur his ill will. You must either grant his request
• 56:59
  Speaker 1: or incur his ill will. My objections are comma first
• 57:05
  Speaker 1: comma the injustice of the measure, semi coolon second comma
• 57:11
  Speaker 1: that it is unconstitutional. My objections are comma first comma
• 57:19
  Speaker 1: that the measure is unjust, semi coolon second comma that
• 57:23
  Speaker 1: it is unconstitutional. See also the third example under rule
• 57:28
  Speaker 1: twelve and the last under rule thirteen. It may be asked,
• 57:33
  Speaker 1: what if a writer needs to express a very large
• 57:37
  Speaker 1: number of similar ideas, say twenty, must he write twenty
• 57:42
  Speaker 1: consecutive sentences of the same pattern. On closer examination, he
• 57:48
  Speaker 1: will probably find that the difficulty is imaginary, that his
• 57:53
  Speaker 1: twenty ideas can be classified in groups, and that he
• 57:57
  Speaker 1: need apply the principle only within in each group. Otherwise
• 58:02
  Speaker 1: he had best avoid the difficulty by putting his statements
• 58:07
  Speaker 1: in the form of a table. Sixteen. Keep related words together.
• 58:15
  Speaker 1: The position of the words in a sentence is the
• 58:19
  Speaker 1: principal means of showing their relationship. The writer must, therefore,
• 58:24
  Speaker 1: so far as possible, bring together the words and groups
• 58:29
  Speaker 1: of words that are related in thought, and keep apart
• 58:33
  Speaker 1: those which are not so related. The subject of a
• 58:38
  Speaker 1: sentence and the principal verb should not, as a rule,
• 58:42
  Speaker 1: be separated by a phrase or clause that can be
• 58:46
  Speaker 1: transferred to the beginning. Wordsworth Comma in the fifth book
• 58:51
  Speaker 1: of the Excursion Comma gives a minute description of this church.
• 58:57
  Speaker 1: In the fifth book of the Excursion Comma, Wordsworth gives
• 59:00
  Speaker 1: a minute description of this church. Cast iron comma, when
• 59:06
  Speaker 1: treated in a Bessemer converter comma, is changed into steel.
• 59:13
  Speaker 1: By treatment in a Bessemer converter comma, cast iron is
• 59:18
  Speaker 1: changed into steel. The objection is that the interposed phrase
• 59:24
  Speaker 1: or clause needlessly interrupts the natural order of the main clause.
• 59:30
  Speaker 1: The objection, however, does not usually hold when the order
• 59:35
  Speaker 1: is interrupted only by a relative clause or by an
• 59:39
  Speaker 1: expression in apposition, nor does it hold in periodic sentences
• 59:45
  Speaker 1: in which the interruption is a deliberately used means of
• 59:48
  Speaker 1: creating suspense. See examples under rule eighteen. The relative pronoun
• 59:55
  Speaker 1: should come, as a rule, immediately after its antecedent. There
• 1:00:00
  Speaker 1: was a look in his eye that boded mischief. In
• 1:00:05
  Speaker 1: his eye was a look that boded mischief. He wrote
• 1:00:09
  Speaker 1: three articles about his adventures in Spain Comma, which were
• 1:00:14
  Speaker 1: published in Harper's Magazine. He published in Harper's Magazine three
• 1:00:21
  Speaker 1: articles about his adventures in Spain. This is a portrait
• 1:00:28
  Speaker 1: of Benjamin Harrison Comma, grandson of William Henry Harrison Comma,
• 1:00:35
  Speaker 1: who became president in eighteen eighty nine. This is a
• 1:00:40
  Speaker 1: portrait of Benjamin Harrison Comma, grandson of William Henry Harrison
• 1:00:46
  Speaker 1: period he became president in eighteen eighty nine. If the
• 1:00:52
  Speaker 1: antecedent consists of a group of words, the relative comes
• 1:00:57
  Speaker 1: at the end of the group, unless this would cause ambiguity.
• 1:01:02
  Speaker 1: The Superintendent of the Chicago Division Comma who a proposal
• 1:01:07
  Speaker 1: to amend the Sherman Act. Comma, which has been variously judged.
• 1:01:13
  Speaker 1: A proposal Comma, which has been variously judged. Comma to
• 1:01:16
  Speaker 1: amend the Sherman Act. A proposal to amend the much
• 1:01:20
  Speaker 1: debated Sherman Act. The grandson of William Henry Harrison Comma
• 1:01:25
  Speaker 1: who William Henry Harrison's grandson Comma, Benjamin Harrison Comma who
• 1:01:33
  Speaker 1: a noun in apposition may come between antecedent and relative,
• 1:01:39
  Speaker 1: because in such a combination no real ambiguity can arise.
• 1:01:45
  Speaker 1: The Duke of York Comma, his brother Comma, who was
• 1:01:49
  Speaker 1: regarded with hostility by the Whigs. Modifiers should come, if possible,
• 1:01:57
  Speaker 1: next to the word They modify expressions, modify the same word.
• 1:02:02
  Speaker 1: They should be so arranged that no wrong relation is suggested.
• 1:02:08
  Speaker 1: All the members were not present. Not all the members
• 1:02:13
  Speaker 1: were present. He only found two mistakes. He found only
• 1:02:18
  Speaker 1: two mistakes. Major R. E. Joyce will give a lecture
• 1:02:23
  Speaker 1: on Tuesday evening in Bailey Hall, Comma to which the
• 1:02:27
  Speaker 1: public is invited. Comma on My Experiences in Mesopotamia at
• 1:02:33
  Speaker 1: eight pm. On Tuesday evening, at eight pm Comma Major R. E.
• 1:02:39
  Speaker 1: Joyce will give in Bailey Hall a lecture on My
• 1:02:42
  Speaker 1: Experiences in Mesopotamia period. The public is invited. End of
• 1:02:49
  Speaker 1: Section five, Section six. Elementary Principles of Composition Rules seventeen
• 1:02:58
  Speaker 1: to eighteen seventeen. In summaries, keep to one tense. In
• 1:03:07
  Speaker 1: summarizing the action of a drama, the writer should always
• 1:03:11
  Speaker 1: use the present tense. In summarizing a poem, story, or novel,
• 1:03:17
  Speaker 1: he should preferably use the present, though he may use
• 1:03:21
  Speaker 1: the past if he prefers. If the summary is in
• 1:03:26
  Speaker 1: the present tense, antecedent action should be expressed by the perfect,
• 1:03:32
  Speaker 1: if in the past, by the past perfect. An unforeseen
• 1:03:36
  Speaker 1: chance prevents Friar John from delivering Friar Lawrence's letter to Romeo. Juliet, meanwhile,
• 1:03:45
  Speaker 1: owing to her father's arbitrary change of the day set
• 1:03:49
  Speaker 1: for her wedding, has been compelled to drink the potion
• 1:03:53
  Speaker 1: on Tuesday night, with the result that Bothazar informs Romeo
• 1:03:58
  Speaker 1: of her supposed death before friar Lawrence learns of the
• 1:04:02
  Speaker 1: non delivery of the letter. But whichever tense be used
• 1:04:07
  Speaker 1: in the summary a past tense in indirect discourse or
• 1:04:12
  Speaker 1: in indirect question remains unchanged. The legate inquires who struck
• 1:04:18
  Speaker 1: the blow. Apart from the exceptions noted, whichever tense the
• 1:04:22
  Speaker 1: writer chooses he should use throughout. Shifting from one tense
• 1:04:27
  Speaker 1: to the other gives the appearance of uncertainty and irresolution.
• 1:04:32
  Speaker 1: Compare Rule fifteen. In presenting the statements or the thought
• 1:04:37
  Speaker 1: of someone else, as in summarizing an essay or reporting
• 1:04:41
  Speaker 1: a speech, the writer should avoid intercollating such expressions as
• 1:04:47
  Speaker 1: he said, he stated, the speaker added. The speaker then
• 1:04:52
  Speaker 1: went on to say the author also thinks or the like.
• 1:04:56
  Speaker 1: He should indicate clearly at the outset once for all,
• 1:05:00
  Speaker 1: that what follows is summary, and then waste no words
• 1:05:04
  Speaker 1: in repeating the notification. In notebooks, in newspapers. In handbooks
• 1:05:11
  Speaker 1: of literature, summaries of one kind or another may be indispensable,
• 1:05:16
  Speaker 1: and for children in primary schools it is useful exercise
• 1:05:21
  Speaker 1: to retell a story in their own words. But in
• 1:05:25
  Speaker 1: the criticism or interpretation of literature, the writer should be
• 1:05:29
  Speaker 1: careful to avoid dropping into summary. He may find it
• 1:05:34
  Speaker 1: necessary to devote one or two sentences to indicating the
• 1:05:39
  Speaker 1: subject or the opening situation of the work he is discussing.
• 1:05:45
  Speaker 1: He may cite numerous details to illustrate its qualities, but
• 1:05:50
  Speaker 1: he should aim to write an orderly discussion supported by evidence,
• 1:05:55
  Speaker 1: not a summary with occasional comment. Similarly, if the scope
• 1:06:01
  Speaker 1: of his discussion includes a number of works, he will,
• 1:06:05
  Speaker 1: as a rule do better not to take them up
• 1:06:09
  Speaker 1: singly in chronological order, but to aim from the beginning
• 1:06:14
  Speaker 1: at establishing general conclusions. Eighteen placed the emphatic words of
• 1:06:21
  Speaker 1: a sentence at the end. The proper place for the
• 1:06:25
  Speaker 1: word or group of words which the writer desires to
• 1:06:28
  Speaker 1: make most prominent is usually the end of the sentence.
• 1:06:34
  Speaker 1: Humanity has hardly advanced in fortitude since that time comma,
• 1:06:40
  Speaker 1: though it has advanced in many other ways. Humanity comma
• 1:06:45
  Speaker 1: since that time Comma has advanced in many other ways, Comma,
• 1:06:51
  Speaker 1: but it has hardly advanced in fortitude. This steal is
• 1:06:57
  Speaker 1: principally used for making razors Comma because of its hardness.
• 1:07:04
  Speaker 1: Because of its hardness, Comma, this steal is principally used
• 1:07:09
  Speaker 1: in making razors. The word or group of words entitled
• 1:07:15
  Speaker 1: to this position of prominence is usually the logical predicate,
• 1:07:20
  Speaker 1: that is, the new element in the sentence, as it
• 1:07:24
  Speaker 1: is in the second example. The effectiveness of the periodic
• 1:07:30
  Speaker 1: sentence arises from the prominence which it gives to the
• 1:07:34
  Speaker 1: main statement. Four centuries ago, Comma Christopher Columbus Comma, one
• 1:07:42
  Speaker 1: of the Italian mariners whom the decline of their own
• 1:07:46
  Speaker 1: republics had put at the service of the world and
• 1:07:50
  Speaker 1: of adventure. Comma seeking for Spain a westward passage to
• 1:07:55
  Speaker 1: the Indies as a set off against the achievements of
• 1:07:59
  Speaker 1: Portuguese discs discoverers. Comma lighted on America with these hopes,
• 1:08:07
  Speaker 1: and in this belief, I would urge you Comma, laying
• 1:08:11
  Speaker 1: aside all hindrance, Comma, thrusting away all private aims. Comma,
• 1:08:18
  Speaker 1: to devote yourselves unswervingly and unflinchingly to the vigorous and
• 1:08:25
  Speaker 1: successful prosecution of this war. The other prominent position in
• 1:08:32
  Speaker 1: the sentence is the beginning. Any element in the sentence
• 1:08:37
  Speaker 1: other than the subject becomes emphatic when placed first. Deceit
• 1:08:44
  Speaker 1: or treachery, he could never forgive so vast and rude
• 1:08:50
  Speaker 1: comma threaded by the action of nearly three thousand years comma.
• 1:08:56
  Speaker 1: The fragments of this architecture may often seem comma at
• 1:09:02
  Speaker 1: first sight, comma. Like works of nature, a subject coming
• 1:09:08
  Speaker 1: first in its sentence may be emphatic, but hardly by
• 1:09:12
  Speaker 1: its position alone in the sentence Great Kings worshiped at
• 1:09:18
  Speaker 1: his shrine comma. The emphasis upon kings arises largely from
• 1:09:24
  Speaker 1: its meaning and from the context. To receive special emphasis,
• 1:09:30
  Speaker 1: the subject of a sentence must take the position of
• 1:09:34
  Speaker 1: the predicate. Through the middle of the valley flowed a
• 1:09:38
  Speaker 1: winding stream. The principle that the proper place for what
• 1:09:43
  Speaker 1: is to be made most prominent is the end applies
• 1:09:46
  Speaker 1: equally to the words of a sentence, to the sentences
• 1:09:50
  Speaker 1: of a paragraph, and to the paragraphs of a composition.
• 1:09:56
  Speaker 1: End of Section six, Section seven. A few matters of
• 1:10:02
  Speaker 1: form headings leave a blank line or its equivalent in
• 1:10:08
  Speaker 1: space after the title or heading of a manuscript on
• 1:10:13
  Speaker 1: succeeding pages. If using ruled paper, begin on the first line.
• 1:10:19
  Speaker 1: Numerals do not spell out dates or other serial numbers.
• 1:10:24
  Speaker 1: Write them in figures or in roman notation as may
• 1:10:28
  Speaker 1: be appropriate. August nine, nineteen eighteen, Chapter XII, Rule three
• 1:10:38
  Speaker 1: three five two D Infantry parentheses. A sentence containing an
• 1:10:45
  Speaker 1: expression in parenthesis is punctuated outside of the marks of parenthesis,
• 1:10:52
  Speaker 1: exactly as if the expression in parentheses were absent. The
• 1:10:57
  Speaker 1: expression within is punctuated as if it stood by itself,
• 1:11:03
  Speaker 1: except that the final stop is omitted, unless it is
• 1:11:07
  Speaker 1: a question mark or an exclamation point. I went to
• 1:11:11
  Speaker 1: his house yesterday parenthesis my third attempt to see him,
• 1:11:16
  Speaker 1: and parenthesis comma. But he had left town, he declares, parenthesis,
• 1:11:22
  Speaker 1: and why should we doubt his good faith? Question mark
• 1:11:26
  Speaker 1: and parenthesis that he is now certain of success. When
• 1:11:30
  Speaker 1: a wholly detached expression or sentence is parenthesized, the final
• 1:11:34
  Speaker 1: stop comes before the last mark of parenthesis. Quotations formal
• 1:11:39
  Speaker 1: quotations cited as documentary evidence, are introduced by a colon
• 1:11:46
  Speaker 1: and enclosed in quotation marks. The provision of the Constitution
• 1:11:52
  Speaker 1: is colon quote, no tax or duty shall be laid
• 1:11:57
  Speaker 1: on articles exported from any state. Period end quote. Quotations
• 1:12:04
  Speaker 1: grammatically in apposition or the direct objects of verbs are
• 1:12:09
  Speaker 1: preceded by a comma and enclosed in quotation marks. I
• 1:12:15
  Speaker 1: recall the maxim of larochefo cold comma quote. Gratitude is
• 1:12:21
  Speaker 1: a lively sense of benefits to come. Period end quote.
• 1:12:26
  Speaker 1: Aristotle says comma quote art is an imitation of nature.
• 1:12:33
  Speaker 1: Period end quote. Quotations of an entire line or more
• 1:12:38
  Speaker 1: of verse are begun on a fresh line and centered
• 1:12:43
  Speaker 1: but not enclosed in quotation marks. Wordsworth's enthusiasm for the
• 1:12:48
  Speaker 1: revolution was at first unbounded colon bliss was it that dawned?
• 1:12:54
  Speaker 1: To be alive? Comma, but to be young was very
• 1:12:58
  Speaker 1: heavens exclamation mark. Quotations introduced by that are regarded as
• 1:13:04
  Speaker 1: in direct discourse and not enclosed in quotation marks. Keats
• 1:13:10
  Speaker 1: declares that beauty is truth comma truth beauty. Proverbial expressions
• 1:13:16
  Speaker 1: and familiar phrases of literary origin require no quotation marks.
• 1:13:22
  Speaker 1: These are the times that try men's souls. He lives
• 1:13:27
  Speaker 1: far from the madding crowd. The same is true of
• 1:13:32
  Speaker 1: colloquialisms and slang references in scholarly work requiring exact references
• 1:13:41
  Speaker 1: abbreviate titles that occur frequently, giving the full forms in
• 1:13:47
  Speaker 1: an alphabetical list at the end. As a general practice,
• 1:13:51
  Speaker 1: give the references in parenthesis or in footnotes, not in
• 1:13:56
  Speaker 1: the body of the sentence. Omit the words act, scene, line, book, volume, page,
• 1:14:04
  Speaker 1: except when referring by only one of them punctuate, as
• 1:14:08
  Speaker 1: indicated below in the second scene of the third act.
• 1:14:14
  Speaker 1: In CAPITALIII dot LOWERCASEII, still better simply insert CAPITALIII dot
• 1:14:22
  Speaker 1: lowercase II in parentheses at the proper place in the sentence.
• 1:14:27
  Speaker 1: After the killing of Polonius, Comma Hamlet is placed under
• 1:14:31
  Speaker 1: guard parenthesis capital iv dot LOWERCASEII dot space fourteen and
• 1:14:40
  Speaker 1: parenthesis period two samuel lowercase I, colon seventeen dash twenty
• 1:14:48
  Speaker 1: seven othellow CAPITALII dot lowercase miii two six four dash
• 1:14:57
  Speaker 1: two six seven Comma CAPITALII dot lowercase MII dot space
• 1:15:06
  Speaker 1: one fifty five dash one sixty one. Titles for the
• 1:15:11
  Speaker 1: titles of literary works, scholarly usage prefers italics with capitalized initials.
• 1:15:18
  Speaker 1: The usage of editors and publishers varies, Some using italics
• 1:15:23
  Speaker 1: with capitalized initials, others using Roman with capitalized initials and
• 1:15:29
  Speaker 1: with or without quotation marks. Use italics indicated in manuscript
• 1:15:34
  Speaker 1: by underscoring, except in writing for a periodical that follows
• 1:15:38
  Speaker 1: a different practice. Omit either A or the from titles
• 1:15:43
  Speaker 1: where you place the possessive before them. The italics iliad,
• 1:15:49
  Speaker 1: semi coolon the Italics Odyssey, semi coolon Italics as you
• 1:15:56
  Speaker 1: like it, semi coolon Italics to a Skylark, semicolon Italics,
• 1:16:03
  Speaker 1: the New Comes Semicolon Italics, A Tale of Two Cities,
• 1:16:08
  Speaker 1: Semicolon Dickens's Italics, Tale of two Cities. End of Section seven.
• 1:16:17
  Speaker 1: Section eight. Words and expressions commonly misused all right to most.
• 1:16:27
  Speaker 1: Many of the words and expressions here listed are not
• 1:16:31
  Speaker 1: so much bad English as bad style. The commonplaces of
• 1:16:36
  Speaker 1: careless writing, as illustrated under feature. The proper correction is
• 1:16:42
  Speaker 1: likely to be not replacement of one word or said
• 1:16:45
  Speaker 1: of words by another, but the replacement of vague generality
• 1:16:49
  Speaker 1: by definite statement. All right, idiomatic infamiliar speech as a
• 1:16:56
  Speaker 1: detached phrase in the sense agreed or go ahead in
• 1:17:01
  Speaker 1: other uses better avoided, always written as to words as
• 1:17:08
  Speaker 1: good or better Expressions of this type should be corrected
• 1:17:13
  Speaker 1: by rearranging the sentence. My opinion is as good or
• 1:17:18
  Speaker 1: better than his. My opinion is as good as his.
• 1:17:24
  Speaker 1: Comma or better, if not better. As to whether whether
• 1:17:30
  Speaker 1: is sufficient, see under rule thirteen. Bid takes the infinitive
• 1:17:37
  Speaker 1: without two. The past tense is bade case. The concise
• 1:17:44
  Speaker 1: Oxford Dictionary begins its definition of this word quote instance
• 1:17:51
  Speaker 1: of a thing's occurring usual state of affairs end quote.
• 1:17:57
  Speaker 1: In these two senses, the word is usually unnecessary in
• 1:18:02
  Speaker 1: many cases. Comma, the rooms were poorly ventilated. Many of
• 1:18:08
  Speaker 1: the rooms were poorly ventilated. It has rarely been the
• 1:18:13
  Speaker 1: case that any mistake has been made. Few mistakes have
• 1:18:18
  Speaker 1: been made. Sea would suggestions to authors, pages sixty eight
• 1:18:24
  Speaker 1: to seventy one, and Quiller Couch The Art of writing
• 1:18:29
  Speaker 1: pages one oh three to one oh six, certainly used
• 1:18:34
  Speaker 1: indiscriminately by some speakers, much as others use vary to
• 1:18:40
  Speaker 1: intensify any and every statement. A mannerism of this kind
• 1:18:46
  Speaker 1: bad in speech, is even worse in writing. Character often
• 1:18:52
  Speaker 1: simply redundant, used from a mere habit of wordiness, acts
• 1:18:57
  Speaker 1: of a hostile character, hostile acts, claim verb with object
• 1:19:04
  Speaker 1: noun means lay. Claim to may be used with a
• 1:19:09
  Speaker 1: dependent clause if this sense is clearly involved. He claimed
• 1:19:15
  Speaker 1: that he was the sole surviving heir, but even here
• 1:19:20
  Speaker 1: claimed to be would be better not to be used
• 1:19:23
  Speaker 1: as a substitute for declare, maintain, or charge. Compare. To
• 1:19:31
  Speaker 1: compare to is to point out or imply resemblances between
• 1:19:36
  Speaker 1: objects regarded as essentially of different order. To compare with
• 1:19:43
  Speaker 1: is mainly to point out differences between objects regarded as
• 1:19:47
  Speaker 1: essentially of the same order. Thus life has been compared
• 1:19:52
  Speaker 1: to a pilgrimage, to a drama, to a battle. Congress
• 1:19:56
  Speaker 1: may be compared with the British Parliament. Garis has been
• 1:20:00
  Speaker 1: compared to ancient Athens. It may be compared with modern London. Clever,
• 1:20:08
  Speaker 1: This word has been greatly overused. It is better restricted
• 1:20:13
  Speaker 1: to ingenuity displayed in small matters. Consider not followed by
• 1:20:20
  Speaker 1: as when it means believed to be, I consider him
• 1:20:24
  Speaker 1: thoroughly competent. Compare the lecturer considered Cromwell first as soldier
• 1:20:31
  Speaker 1: and second as administrator. Where considered means examined or discussed.
• 1:20:38
  Speaker 1: Dependable a needless substitute for reliable, trustworthy due to incorrectly
• 1:20:46
  Speaker 1: used for through because of or owing to in adverbial phrases.
• 1:20:52
  Speaker 1: He lost the first game Comma due to carelessness in
• 1:20:58
  Speaker 1: correct use related as a predicate or as modifier to
• 1:21:02
  Speaker 1: a particular noun. This invention is due to edison losses
• 1:21:08
  Speaker 1: due to preventable Fire's effect as noun means result. As
• 1:21:15
  Speaker 1: verb means to bring about, accomplish, not to be confused
• 1:21:19
  Speaker 1: with affect, which means to influence. As noun often loosely
• 1:21:26
  Speaker 1: used in perfunctory writing about fashions, music, painting, and other arts.
• 1:21:34
  Speaker 1: An oriental effect effects in pale green very delicate effects,
• 1:21:40
  Speaker 1: broad effects, subtle effects, a charming effect was produced by
• 1:21:46
  Speaker 1: the writer who has a definite meaning to express, will
• 1:21:50
  Speaker 1: not take refuge in such vagueness, etc. Not to be
• 1:21:56
  Speaker 1: used of persons equivalent to and the re and so forth,
• 1:22:02
  Speaker 1: and hence not to be used if one of these
• 1:22:05
  Speaker 1: would be insufficient, that is, if the reader would be
• 1:22:08
  Speaker 1: left in doubt as to any important particulars least open
• 1:22:14
  Speaker 1: to objection when it represents the last terms of a
• 1:22:17
  Speaker 1: list already given in full or immaterial words at the
• 1:22:21
  Speaker 1: end of a quotation, at the end of a list
• 1:22:24
  Speaker 1: introduced by such as for example, or any similar expression, etc.
• 1:22:31
  Speaker 1: Is incorrect. Fact. Use this word only of matters of
• 1:22:37
  Speaker 1: a kind capable of direct verification, not of matters of judgment.
• 1:22:43
  Speaker 1: That a particular event happened on a given date, that
• 1:22:48
  Speaker 1: led melts at a certain temperature are facts. But such
• 1:22:53
  Speaker 1: conclusions as that Napoleon was the greatest of modern generals,
• 1:22:58
  Speaker 1: or that the climate of California is delightful, however incontestable
• 1:23:03
  Speaker 1: they may be, are not properly facts. On the formula
• 1:23:08
  Speaker 1: the fact that see under rule thirteen. Factor a hackneyed
• 1:23:14
  Speaker 1: word the expressions of which it forms part can usually
• 1:23:18
  Speaker 1: be replaced by something more direct and idiomatic. His superior
• 1:23:25
  Speaker 1: training was the great factor in his winning the match.
• 1:23:30
  Speaker 1: He won the match by being better trained. Heavy artillery
• 1:23:36
  Speaker 1: is becoming an increasingly important factor in deciding battles. Heavy
• 1:23:42
  Speaker 1: artillery is playing a larger and larger part in deciding battles.
• 1:23:48
  Speaker 1: Feature another hackneyed word, like factor, It usually adds nothing
• 1:23:54
  Speaker 1: to the sentence in which it occurs. A feature of
• 1:23:58
  Speaker 1: the entertainment. A specially worthy of mention was the singing
• 1:24:03
  Speaker 1: of miss a. Better use the same number of words
• 1:24:07
  Speaker 1: to tell what miss a sang, or if the programme
• 1:24:10
  Speaker 1: has already been given to tell something of how she
• 1:24:14
  Speaker 1: sang as a verb in the advertising sense of offer as
• 1:24:19
  Speaker 1: a special attraction to be avoided. Fix colloquial in America
• 1:24:26
  Speaker 1: for arranged prepare men in writing restricted to its literary
• 1:24:32
  Speaker 1: senses fasten, make firm, or immovable, etc. He is a
• 1:24:39
  Speaker 1: man who a common type of redundant expression see rule thirteen.
• 1:24:45
  Speaker 1: He is a man who is very ambitious. He is
• 1:24:49
  Speaker 1: very ambitious. Spain is a country which I have always
• 1:24:53
  Speaker 1: wanted to visit. I have always wanted to visit Spain. However,
• 1:25:00
  Speaker 1: in the meaning nevertheless, not to come first in its
• 1:25:04
  Speaker 1: sentence or clause. The roads were almost impassable. Period. However,
• 1:25:11
  Speaker 1: we at last succeeded in reaching camp. The roads were
• 1:25:15
  Speaker 1: almost impassable period. At last. Comma, However, comma, we succeeded
• 1:25:21
  Speaker 1: in reaching camp. When, however, comes first, it means, in
• 1:25:26
  Speaker 1: whatever way or to whatever extent, however you advise him, Comma,
• 1:25:32
  Speaker 1: he will probably do as he thinks best, however, discouraging
• 1:25:37
  Speaker 1: the prospect. Comma, he never lost heart. Kind of not
• 1:25:42
  Speaker 1: to be used as a substitute for rather before adjectives
• 1:25:47
  Speaker 1: and verbs, or accept in familiar style for something like
• 1:25:53
  Speaker 1: before nouns restrict it to its literal sense. Amber is
• 1:25:58
  Speaker 1: a kind of fossil resin I dislike that kind of notoriety.
• 1:26:04
  Speaker 1: The same holds true of sort of less should not
• 1:26:09
  Speaker 1: be misused for fewer. He had less men than in
• 1:26:13
  Speaker 1: the previous campaign. He had fewer men than in the
• 1:26:17
  Speaker 1: previous campaign. Less refers to quantity fewer to number. His
• 1:26:25
  Speaker 1: troubles are less than mine means his troubles are not
• 1:26:29
  Speaker 1: so great as mine. His troubles are fewer than mine
• 1:26:34
  Speaker 1: means his troubles are not so numerous as mine. It is, however,
• 1:26:39
  Speaker 1: correct to say the signers of the petition were less
• 1:26:43
  Speaker 1: than one hundred, where the round number one hundred is
• 1:26:48
  Speaker 1: something like a collective noun, and less is thought of
• 1:26:51
  Speaker 1: as meaning a less quantity or amount. Line along these
• 1:26:58
  Speaker 1: lines line in the sense of course of procedure conduct
• 1:27:04
  Speaker 1: thought is allowable, but has been so much overworked, particularly
• 1:27:10
  Speaker 1: in the phrase along these lines, that a writer who
• 1:27:14
  Speaker 1: aims at freshness or originality had better discard it entirely.
• 1:27:20
  Speaker 1: Mister B also spoke along the same lines. Mister B
• 1:27:25
  Speaker 1: also spoke comma to the same effect. He is studying
• 1:27:30
  Speaker 1: along the line of French literature. He is studying French literature.
• 1:27:37
  Speaker 1: Literal literally often incorrectly used in support of exaggeration or
• 1:27:44
  Speaker 1: violent metaphor. A literal flood of abuse, a flood of abuse,
• 1:27:52
  Speaker 1: literally dead with fatigue, almost dead with fatigue, dead, tired.
• 1:27:59
  Speaker 1: Lose out meant to be more emphatic than lose but
• 1:28:03
  Speaker 1: actually less so because of its commonness. The same holds
• 1:28:08
  Speaker 1: true of tryout, when out, sign up, register up, where
• 1:28:13
  Speaker 1: a number of verbs out and up form idiomatic combinations
• 1:28:18
  Speaker 1: find out, run out, turn out, cheer up, dry up,
• 1:28:23
  Speaker 1: make up, and others, each distinguishable in meaning from the
• 1:28:28
  Speaker 1: simple verb lose out is not most not to be
• 1:28:34
  Speaker 1: used for almost most everybody, almost everybody, most all the time,
• 1:28:42
  Speaker 1: almost all the time. End of Section eight. Section nine.
• 1:28:50
  Speaker 1: Words and expressions commonly misused nature to wood, nature often
• 1:28:58
  Speaker 1: simply redundant, used like character acts of a hostile nature.
• 1:29:04
  Speaker 1: Hostile acts often vaguely used in such expressions as a
• 1:29:10
  Speaker 1: lover of nature. Poems about nature. Unless more specific statements follow,
• 1:29:17
  Speaker 1: the reader cannot tell whether the poems have to do
• 1:29:20
  Speaker 1: with natural scenery, rural life, the sunset, the untracked wilderness,
• 1:29:26
  Speaker 1: or the habits of squirrels. Nearby a verbial phrase not
• 1:29:32
  Speaker 1: yet fully accepted as good English, though the analogy of
• 1:29:36
  Speaker 1: close by and hard by seems to justify it. Near
• 1:29:42
  Speaker 1: or near at hand is as good, if not better,
• 1:29:45
  Speaker 1: not to be used as an adjective. Use neighboring oftentimes
• 1:29:52
  Speaker 1: oft times archaic forms no longer in good use. The
• 1:29:57
  Speaker 1: modern word is often one hundred and one. Retain the
• 1:30:03
  Speaker 1: and in this and similar expressions, in accordance with the
• 1:30:08
  Speaker 1: unvarying usage of English prose from Old English times. One
• 1:30:15
  Speaker 1: of the most avoid beginning essays or paragraphs with this formula.
• 1:30:20
  Speaker 1: As one of the most interesting developments of modern science
• 1:30:25
  Speaker 1: is et cetera. Switzerland is one of the most interesting
• 1:30:30
  Speaker 1: countries of Europe. There is nothing wrong in this. It
• 1:30:34
  Speaker 1: is simply threadbare and forcible feeble. People. The people is
• 1:30:41
  Speaker 1: a political term, not to be confused with the public.
• 1:30:45
  Speaker 1: From the people comes political support or opposition. From the
• 1:30:50
  Speaker 1: public comes artistic appreciation or commercial patronage. The word people
• 1:30:57
  Speaker 1: is not to be used with words of numbers in
• 1:31:00
  Speaker 1: place of persons. If of six people five went away,
• 1:31:05
  Speaker 1: how many people would be left. Phase means a stage
• 1:31:10
  Speaker 1: of transition or development. The phase of the moon the
• 1:31:14
  Speaker 1: last phase not to be used for aspect or topic,
• 1:31:20
  Speaker 1: another phase of the subject, another point, another question. Possess
• 1:31:28
  Speaker 1: not to be used as a mere substitute for have
• 1:31:32
  Speaker 1: or own. He possessed great courage, He had great courage,
• 1:31:37
  Speaker 1: was very brave, He was the fortunate possessor of he owned,
• 1:31:44
  Speaker 1: respective respectively. These words may usually be omitted with advantage.
• 1:31:52
  Speaker 1: Works of fiction are listed under the names of their
• 1:31:55
  Speaker 1: respective authors. Works of fiction are listed under the name
• 1:32:00
  Speaker 1: of their authors. The one mile and two mile runs
• 1:32:05
  Speaker 1: were one by Jones and Cummings, respectively. The one mile
• 1:32:10
  Speaker 1: and two mile runs were one by Jones and by Cummings.
• 1:32:15
  Speaker 1: In some kinds of formal writing, as in geometrical proofs,
• 1:32:20
  Speaker 1: it may be necessary to use respectively, but it should
• 1:32:24
  Speaker 1: not appear in writing on ordinary subjects. So avoid in
• 1:32:32
  Speaker 1: writing the use of so as an intensifier so good,
• 1:32:37
  Speaker 1: so warm, so delightful. On the use of so to
• 1:32:42
  Speaker 1: introduce clauses, see rule for sort of see under kind
• 1:32:49
  Speaker 1: of state. Not to be used as a mere substitute
• 1:32:54
  Speaker 1: for say, remark, Restrict it to the sense of express
• 1:32:58
  Speaker 1: fully or clearly. As he refused to state his objections.
• 1:33:05
  Speaker 1: Student body a needless and awkward expression meaning no more
• 1:33:11
  Speaker 1: than the simple word. Students a member of the student body,
• 1:33:17
  Speaker 1: a student popular with the student body, liked by the students.
• 1:33:23
  Speaker 1: The student body passed resolutions. The students passed resolutions. System
• 1:33:31
  Speaker 1: frequently used without need. Dayton has adopted the commission system
• 1:33:36
  Speaker 1: of government. Dayton has adopted government by commission. The dormitory
• 1:33:42
  Speaker 1: system dormitories thanking you in advance. This sounds as if
• 1:33:48
  Speaker 1: the writer meant it will not be worth my while
• 1:33:51
  Speaker 1: to write to you again. Simply write thanking you, and
• 1:33:56
  Speaker 1: if the favor which you have requested is granted, write
• 1:33:59
  Speaker 1: a letter of acknowledgment. They A common inaccuracy is the
• 1:34:05
  Speaker 1: use of the plural pronoun when the antecedent is a
• 1:34:09
  Speaker 1: distributive expression, such as each, each one, everybody, everyone, many
• 1:34:15
  Speaker 1: a man, which, though implying more than one person, requires
• 1:34:20
  Speaker 1: the pronoun to be in the singular. Similar to this,
• 1:34:25
  Speaker 1: but with even less justification, is the use of the
• 1:34:29
  Speaker 1: plural pronoun with the antecedent anybody, anyone, somebody, someone, the
• 1:34:37
  Speaker 1: intention being either to avoid the awkward he or she,
• 1:34:41
  Speaker 1: or to avoid committing oneself to either. Some bashful speakers,
• 1:34:46
  Speaker 1: even say a friend of mine told me that, they, etc.
• 1:34:52
  Speaker 1: Use he with all the above words, unless the antecedent
• 1:34:57
  Speaker 1: is or must be feminine. Very use this word sparingly
• 1:35:03
  Speaker 1: where emphasis is necessary. Use words strong in themselves, viewpoint, right,
• 1:35:11
  Speaker 1: point of view, but do not misuse this as many
• 1:35:15
  Speaker 1: do for view or opinion, while avoid the indiscriminate use
• 1:35:21
  Speaker 1: of this word for and but and. Although many writers
• 1:35:28
  Speaker 1: use it frequently as a substitute for and or but
• 1:35:32
  Speaker 1: either from a mere desire to vary the connective or
• 1:35:35
  Speaker 1: from uncertainty which of the two connectives is the more appropriate,
• 1:35:41
  Speaker 1: in this use, it is best replaced by a semicolon.
• 1:35:46
  Speaker 1: This is entirely correct, as shown by the paraphrase, the
• 1:35:50
  Speaker 1: office and salesrooms are on the ground floor comma, while
• 1:35:54
  Speaker 1: the rest of the building is devoted to manufacturing. The
• 1:35:58
  Speaker 1: office and salesroom are on the ground floor semicolon. The
• 1:36:02
  Speaker 1: rest of the building is devoted to manufacturing. Its use
• 1:36:06
  Speaker 1: as a virtual equivalent of although is allowable in sentences
• 1:36:11
  Speaker 1: where this leads to no ambiguity or absurdity. While I
• 1:36:15
  Speaker 1: admire his energy comma, I wish it were employed in
• 1:36:19
  Speaker 1: a better cause. I admire his energy semicolon. At the
• 1:36:25
  Speaker 1: same time, I wish it were employed in a better cause. Compare,
• 1:36:30
  Speaker 1: while the temperature reaches ninety or ninety five degrees in
• 1:36:34
  Speaker 1: the daytime, comma, the nights are often chilly. Although the
• 1:36:39
  Speaker 1: temperature reaches ninety or ninety five degrees in the daytime, comma,
• 1:36:43
  Speaker 1: the nights are often chilly. The paraphrase the temperature reaches
• 1:36:48
  Speaker 1: ninety or ninety five degrees in the daytime semicolon at
• 1:36:52
  Speaker 1: the same time, the nights are often chilly, shows why
• 1:36:55
  Speaker 1: the use of wil is incorrect. In general, the right
• 1:37:00
  Speaker 1: will do well to use while only with strict literalness
• 1:37:04
  Speaker 1: in the sense of during the time, that whom often
• 1:37:09
  Speaker 1: incorrectly used for who before he said, or similar expressions,
• 1:37:15
  Speaker 1: when it is really the subject of a following verb.
• 1:37:19
  Speaker 1: His brother Comma, who he said would send him the cheese,
• 1:37:23
  Speaker 1: his brother Comma, whom he said would send him the money,
• 1:37:28
  Speaker 1: the man whom that he thought was his friend, whom
• 1:37:32
  Speaker 1: he thought his friend, the man who he thought was
• 1:37:35
  Speaker 1: his friend worth while overworked as a term of vague
• 1:37:41
  Speaker 1: approval and with not of disapproval strictly applicable only to actions,
• 1:37:48
  Speaker 1: is it worth while to telegraph his books are not
• 1:37:52
  Speaker 1: worth while? His books are not worth reading, not worth
• 1:37:56
  Speaker 1: one's while to read, do not repay reading. The use
• 1:38:00
  Speaker 1: of worthwhile before a noun a worthwhile story is indefensible. Would.
• 1:38:07
  Speaker 1: A conditional statement in the first person requires should not
• 1:38:13
  Speaker 1: would I should not have succeeded without his help. The
• 1:38:17
  Speaker 1: equivalent of shall in indirect quotation after a verb in
• 1:38:21
  Speaker 1: the past tense is should not would. He predicted that
• 1:38:26
  Speaker 1: before long we should have a great surprise. To express
• 1:38:31
  Speaker 1: habitual or repeated action, the past tense without wood is
• 1:38:37
  Speaker 1: usually sufficient, and from its brevity, more emphatic. Once a year,
• 1:38:43
  Speaker 1: he would visit the old mansion. Once a year, he
• 1:38:47
  Speaker 1: visited the old Mansion. End of Section nine. Section ten.
• 1:38:54
  Speaker 1: Words commonly misspelled accidentally A C c I, d E
• 1:39:01
  Speaker 1: n t A l l y accidentally advice A d
• 1:39:08
  Speaker 1: v I c E advice effect a f f E
• 1:39:15
  Speaker 1: c T affect beginning b E g I n n
• 1:39:21
  Speaker 1: I n g beginning believe b E l I e
• 1:39:27
  Speaker 1: v E believe benefit b e n E f I
• 1:39:33
  Speaker 1: T benefit challenge c h A l l E n
• 1:39:39
  Speaker 1: g E challenge, criticize c r I t I c
• 1:39:45
  Speaker 1: I z E, criticize, deceive d E c E i
• 1:39:51
  Speaker 1: v E deceive, definite d E f I n I
• 1:39:56
  Speaker 1: t E definite, describe d s c r I b
• 1:40:01
  Speaker 1: E describe despise, d E s p I s E despise,
• 1:40:08
  Speaker 1: develop d e v E l O P develop, disappoint
• 1:40:15
  Speaker 1: d I s a p P o I n T disappoint,
• 1:40:21
  Speaker 1: dual d u e l dual x sta cy e
• 1:40:27
  Speaker 1: c s t a s y x sta cy effect
• 1:40:33
  Speaker 1: e f f E c T effect existence e x
• 1:40:40
  Speaker 1: i s t E n c E existence fiery f
• 1:40:47
  Speaker 1: i e r y fiery formerly f O r m
• 1:40:54
  Speaker 1: E r l y, formerly humorous h U m O
• 1:41:01
  Speaker 1: R o u s humorous hypocrisy, h y p O
• 1:41:08
  Speaker 1: c r I s y hypocrisy immediately I M m
• 1:41:14
  Speaker 1: E d i A t E l y immediately incidentally,
• 1:41:21
  Speaker 1: I n c I d E n t A l
• 1:41:25
  Speaker 1: l y, incidentally ladder l A t t E R
• 1:41:32
  Speaker 1: ladder lead l E d lead lose l O s
• 1:41:38
  Speaker 1: E lose marriage m A r r I A g
• 1:41:43
  Speaker 1: E marriage, mischief, m I s c h i E
• 1:41:50
  Speaker 1: f mischief, murmur m u R m u r murmur
• 1:41:57
  Speaker 1: necessary n e c E s s a r y
• 1:42:02
  Speaker 1: necessary occurred O c c u r r e D
• 1:42:07
  Speaker 1: occurred parallel p A r a l l e L
• 1:42:13
  Speaker 1: parallel Philip p h I l I p Philip Playwright
• 1:42:20
  Speaker 1: p l a y w r I g h T Playwright,
• 1:42:26
  Speaker 1: preceding p r e c E d I n g
• 1:42:32
  Speaker 1: preceding prejudice, p r e j u d i c
• 1:42:38
  Speaker 1: E prejudice, principal p r i n c I p
• 1:42:44
  Speaker 1: a l principal privilege, p r i v i l
• 1:42:50
  Speaker 1: e g E privilege, pursue p u r s u E, pursue,
• 1:42:58
  Speaker 1: repetition r E p e e t I t I
• 1:43:03
  Speaker 1: o n repetition rhyme r h y m E rhyme
• 1:43:09
  Speaker 1: rhythm r h y t h m rhythm, ridiculous r
• 1:43:15
  Speaker 1: I d I c U l o U S ridiculous,
• 1:43:19
  Speaker 1: sacrilegious s a c r I l e g I
• 1:43:25
  Speaker 1: o U S sacrilegious cs s e i z e
• 1:43:32
  Speaker 1: c s separate s E p A r A t E,
• 1:43:37
  Speaker 1: separate shepherd s h E p h e r D
• 1:43:44
  Speaker 1: shepherd siege, s I e g E siege similar s
• 1:43:51
  Speaker 1: I m I l A r similar similarly, s I
• 1:43:57
  Speaker 1: m I l E similarly two T O O two tragedy,
• 1:44:06
  Speaker 1: t r A g E d y, tragedy tries t
• 1:44:11
  Speaker 1: r i e s tries undoubtedly u n d O
• 1:44:17
  Speaker 1: u b t e d l y, undoubtedly until u
• 1:44:24
  Speaker 1: n t i l until right today. T O dash
• 1:44:31
  Speaker 1: d a y tonight, t O dash n i g
• 1:44:36
  Speaker 1: h t tomorrow t O dash m O r r
• 1:44:41
  Speaker 1: o W. But not together with hyphen write any space one,
• 1:44:49
  Speaker 1: every space one, some space one, some space time, except
• 1:44:57
  Speaker 1: the sense of formerly. As to words, the end