restrained liberty which all generous souls me shall be. (2) Paragraphs of Deto This is one of the most common typ exposition, consisting simply of the inc preceded or followed by particulars, ex tions. We do not notice the ticking of the cloc streets, or the roaring of the brook near the h of a laundry or factory will not mingle w workers, if they have been there long enough. spectacles, especially if they be of certain curv tions they give of the windows, etc., mixing are very disturbing. In a few days we ignor The pressure of our clothes and shoes, the be arteries, our breathing, certain steadfast bodil tastes in the mouth, etc., are examples from sentence] the same lapse into unconsciousnes content -a lapse which Hobbes has expres phrase, Semper idem sentire ac non sentire James's Psychology, Vol. II. p. 455. 6 ng of the clock, the noise of the city rook near the house; and even the din not mingle with the thoughts of its re long enough. When we first put on of certain curvatures, the bright reflec 5, etc., mixing with the field of view, days we ignore them altogether. . . . d shoes, the beating of our hearts and steadfast bodily pains, habitual odors, xamples from other senses of [Topic inconsciousness of any too unchanging es has expressed in the well-known ac non sentire ad idem revertunt.'455. (b) DESCRIPTIVE AND NARRAT In paragraphs of this kind the pla for in these paragraphs the sequer solely by the logical order of though a measure by the nature of the object narrated. It may have to deal wit particulars. These, however, may b duce a single effect on the mind. A more than foundations, walls, roof, has a meaning as a whole to which capacities contribute. A series of e without significance unless reported ing as a group clearly in mind. In the following descriptive pa (Præterita, II. v.) notice how the c Rhone to a wave (the theme) binds unified whole: : Waves of clear sea are, indeed, lovely to coming or gone, never in any taken shap But here was one mighty wave [The Rho and every fluted swirl of it, constant as the wasting away of the fallen foam, no pause helpless ebb of discouraged recoil; but ali lulling night, the never-pausing plunge a never-hushing whisper, and, while the sun glow of unearthly aquamarine, ultramarin peacock blue, river-of-paradise blue, glass c in the sun, and the witch of the Alps fling forever from her snow. In the following narrative paragra rative details are grouped about the which is here placed in brackets. colored by the writer's evident symp the consciences of his judges, and it was not trial that he was condemned to death as a t and enemy of his country. The popular excit in cries of "Justice," or "God save your Maj on, but all save the loud outcries of the soldiers passed to receive his doom. [The dignity whi serve in his long jangling with Bradshaw and the call of death. Whatever had been the faul "he nothing common did, or mean, upon th Two masked executioners awaited the King a fold, which had been erected outside one of th queting House at Whitehall; the streets and ro spectators; and a strong body of soldiers sto His head fell at the first blow, and as the exec sight of all, a groan of pity and horror burst fr Green's Short History, p. 555. In Appendix C 2 will be found a list of subjects for Ten tion and Narration, with suggestions for impromptus an readings suitable for class exercises is given in Appendix C (1) Portrait Sketches. Two varieties of descriptive paragr attention. These are portrait sketches scriptions. The simplest form of port catalogue of features. A higher form a tion of accessories, as of clothes, and scr A still higher type imputes to the su personal qualities that put a meaning described - makes the face tell the stor various kinds run into one another, and a in the same sketch. The following pa trate: SNUBBIN. raph-Writing. and it was not till the fifth day of the to death as a tyrant, traitor, murderer The popular excitement had vented itself save your Majesty," as the trial went es of the soldiers was hushed as Charles The dignity which he had failed to preBradshaw and the judges returned at ad been the faults and follies of his life, mean, upon that memorable scene."] ted the King as he mounted the scafutside one of the windows of the Banme streets and roofs were thronged with of soldiers stood drawn up beneath. and as the executioner lifted it to the horror burst from the silent crowd. of subjects for Ten-Minute Themes in Descripfor impromptus and reproductions. A list of iven in Appendix C 3. *ait Sketches. ptive paragraphs merit special rait sketches and character de- | orm of portraiture gives a mere igher form adds to this the menthes, and scraps of conversation. es to the subject of the sketch t a meaning into the features tell the story of the life. The nother, and all may be employed 11owing paragraphs will illus in the heads of people who have applied th to a weary and laborious course of study; sufficient, without the additional eye-glass black riband round his neck, to warn a near-sighted. His hair was thin and weal table to his having never devoted much ti partly to his having worn for five-and-tw which hung on a block beside him. The r coat-collar, and the ill-washed and worse-t his throat, showed that he had not foun court to make any alteration in his dress the remainder of his costume warranted sonal appearance would not have been ver Books of practice, heaps of papers, and over the table, without any attempt at furniture of the room was old and rickety were rotting in their hinges; the dust flew clouds at every step; the blinds were yel the state of everything in the room show be mistaken, that Mr. Serjeant Snubbin▾ with his professional pursuits to take any personal comforts. — Pickwick Papers, Vo DANTE. To me it is a most touching face; perha the most so. Lonely there, painted as o laurel wound round it, the deathless sorro tory which is also deathless; - significant o I think it is the mournfulest face that eve an altogether tragic, heart-affecting face. of it, the softness, tenderness, gentle affec this is as if congealed into sharp contradic tion, proud hopeless pain. A soft etherea implacable, grim-trenchant, as from impris Withal it is a silent pain too, a silent scorr a kind of godlike disdain of the thing that slow, equable, silent, like that of a god! Th in a kind of surprise, a kind of inquiry, why t sort? This is Dante: so he looks, this 'voice and sings us 'his mystic unfathomable song.' p. 80. Other examples may be found in Ben Hur, chaps Hall, p. 25; Cromwell at Huntingdon and Naseby, in description of Leonardo's Mona Lisa, in his Studies in the and Lodge's Life of Washington, Vol. II. p. 380. Note strong adjectives in descriptions of this kind. A few p among the paragraphs in Appendix B. Short sketches o students should be carefully written outside of class by class. For impromptu writing in class, portraits of well may be exhibited in class and written descriptions made of (2) Character Sketche Success in character sketches depen power to seize upon the principal trai sessed by the subject of the sketch, characteristic, and to group other tra results of the leading quality, in the deeds of the subject of the sketch a Every developed character has a central other traits group themselves. That w Washington's purity, Lincoln's honest abeth's versatility is unconscious evid central trait, once found, will furnish th Traits should be illustrated by deeds, Epithet, contrast, and figurative langua character portrayal vivid and effecti paragraph, from Green's History of the III. p. 55, will illustrate all these points CHARACTER OF JAMES. |