CHAPTER XVI.

THE PARAGRAPH.

III. The Nature of the Paragraph.

If we analyze an

organized composition we find it made up of parts, and these parts, in turn, made up of smaller parts, a system within a system, each constituting a unit of discourse. The small unit we call a sentence; the next larger, a paragraph. If we remember that the paragraph is the development of a single idea, and, consequently, marks the changes of thought in a composition, the organic significance of the paragraph unit becomes evident, and the laws governing it appear of the highest importance. "Look to the paragraph," says Professor Bain, "and the discourse will look to itself; for, although a discourse as a whole has a method or plan suited to its nature, yet he that fully comprehends the method of the paragraph will also comprehend the method of an entire work." Certain elementary matters in connection with the paragraph which have been treated in Chapters III. and IV., should be fresh in the minds of the pupils. This chapter will be devoted to a consideration of the paragraph as an organic unit of literary discourse, governed by rhetorical principles, and containing essential qualities that give it literary character.

112. Principles of Paragraph-Structure.—In section 19 the paragraph has been defined as a dependent member of the whole composition, and, at the same time, a composition in miniature. From another point of view, we may also say that a paragraph is to a sentence what a sentence is to a word. As a good sentence is formed by grouping words together to the best advantage for clearness, force, and elegance, so a good paragraph is the outcome of grouping sentences in the same way. Under somewhat different conditions, then, the principles that govern one are equally applicable to the other. That this is true may be seen by reference to some well constructed paragraph. Take, for example, the paragraph from Charles Eliot Norton's "Notes of Travel and Study in Italy," page 76. The topic to be developed is stated in sentence I. Sentences 2 and 3 amplify and emphasize the thought in 1. Sentence 4 is the first proof in support of the proposition. Sentences 5, 6, and 7 strengthen 4 and make it more convincing. Sentences 8 and 9 are additional proofs in support of 1. A little examination of the paragraph will show the same structural qualiti s that characterize a good sentence.

a direct bearing on the idea to be paragraph is a unit in substance.

Every sentence has developed; that is, the

The several sentences

are so related in thought that they form a connected. series, showing their relation to one another and to the whole; that is, the paragraph is coherent.

The arrange

ment of the sentences is most effective for emphasis.

Thus unity, coherence, and emphasis are the important qualities to be attained in the paragraph as in the sentence.

113. The Principle of Unity. Every paragraph, whether related or isolated, should be, like the sentence, a unit in substance. As the several words in a sentence should be subservient to a single thought, so the several sentences in a paragraph should be subservient to a single topic and should grow out of it. Unfortunately, we are constantly tempted when discussing a topic to let our minds wander, and then to introduce irrelevant matter. In this way we violate unity of structure. We should use the utmost care to keep to our topic, and subordinate all minor matters to it. At the same time we must preserve unity of tone, which requires that the paragraph shall preserve throughout the level of thought and feeling on which it began. The introduction of a commonplace remark into a paragraph the prevailing tone of which is pathetic, or of the frivolous into serious matter, shocks the aesthetic sense of the reader, and destroys his pleasure in the composition. Clearness and force are promoted by unity of structure; elegance, by unity of tone.

Read the paragraph on page 61, and note how carefully the author has preserved unity of structure and tone in his writing. Note, also, how clearly and forcibly the topic is impressed on our minds. A good summer rain enriches the earth is the topic. Every sentence is intimately connected with this idea. One grows out of

the other. The long, soft rains enrich the land as much as silver and gold. The drops of rain fall to the earth as silver goes to the mint. The roots turn the drops to coined fruits and grains, just as the machinery turns the gold and silver to coins. Thus the rain clouds have hidden gold in them. In this illustration the brevity of the paragraph and the simplicity of the thought and diction render it easy to discern the unity of thought and purpose.

The following paragraph, taken from Macaulay's description of the "Trial of Warren Hastings," is characterized by the same quality. Macaulay was a very careful paragrapher, and we should expect to find his paragraphs characterized by unity. A cursory reading of the passage that follows will illustrate how well he succeeded in this respect. Every sentence adds some detail which has a direct bearing upon the topic idea, and the oneness of the thought is made more prominent by the arrangement of the sentences in the general form of a climax. Note, also, how the tone of the paragraph is maintained.

Neither military nor civil pomp was wanting. The avenues were lined with grenadiers. The streets were kept clear by cavalry. The peers, robed in gold and ermine, were marshaled by the heralds under the garter king-atarms. The judges, in their vestments of state, attended to give advice on points of law. Near a hundred and seventy lords, three fourths of the upper house, walked in solemn order from their usual place of assembling to the tribunal. The junior baron present led the way

Lord Heathfield, recently ennobled for his memorable defense of Gibraltar against the fleets and armies of France and Spain. The long procession was.closed by the Duke of Norfolk, earl marshal of the realm, by the great dignitaries, and by the brothers and sons of the king. Last of all came the Prince of Wales, conspicuous by his fine person and noble bearing.

The real test of unity in a paragraph is the degree in which the paragraph matter can be summarized in a single unified sentence. The illustrative paragraphs in the preceding chapters will furnish excellent examples for applying this test. Let the pupil examine some of them, and explain how unity is preserved in each.

114. Violations of Unity. We have already learned that digression from one's line of thought or the introduction of irrelevant matter is a violation of unity. It requires a well disciplined mind and a perfect control of the thinking faculty to keep our thoughts from wandering. It is, therefore, to be expected that digressions will be most frequent in the work of untrained writers whose minds have never been disciplined by education or experience. The fault, however, is not confined to this class. Our best writers sometimes ramble. Even the prose of De Quincey is marred and the style weakened by occasional digressions from the thought. To understand just how weakening and confusing such a fault is, let us glance for a moment at the following school composition.