Abbey which has during many ages afforded a quiet resting-place to those whose minds and bodies have been shattered by the contentions of the Great Hall, the dust of the illustrious accused should have mingled with the dust of the illustrious accusers. This was not to be. Yet the place of interment was not ill chosen. Behind the chancel of the parish church of Daylesford, in earth which already held the bones of many chiefs of the house of Hastings, was laid the coffin of the greatest man who has ever borne that ancient and widely extended name.”

Short sentences and long we find here, deliberately intermixed. Periodic, every one of them. Artificial, if you please: the nineteenth century is nothing But the free periodicity of if not self-conscious.

Macaulay, frankly recognizing the limits of a language where the order of words chiefly determines the relation of thoughts, is a wonderfully different thing from the half-Latin periodicity of two centuries before.

Of course, these few examples indicate the development of style in a very rough way. They prove nothing, unless very careful and detailed study prove them typical. Personally, I incline to believe that it would. But putting that question aside, these examples certainly show how varied the effects are which can be

ood within the limits of periodic sentences alone,

whose peri

a quiet rest; have been

all, the dust

led with the

to be. Yet Behind the earth which e house of

an who has ame."

eliberately n. Artifi

is nothing Codicity of of a landetermines

- different

two cen

e developrove nothrove them it would. uples cerch can be

ces alone, hose peritoo, with

of the four extracts the sentences are balanced. Th balance of Ralegh's clauses is very obvious and sin ple, as obvious as that of the Psalms. In the passag from Sir Thomas Browne is a clause whose balance to me the most exquisite I have found in the lar guage to see just what is meant by balance, ther we cannot do better than study it for a momen in detail:

"Quietly rested under the drums and tramplings of three conquests.

Not only every significant word in this clause ha one to balance it; but the main consonantal sounds each balancing pair are identical, and yet so subtilel varied that though the exquisite art of the phras is not exquisite enough to seem quite artless, fe would perceive exactly in what the artifice consist Quietly balances conquests; rested balances three drums balances tramplings. An obviously balance style — Dr. Johnson's is notoriously the most so in ou classical literature has the fatal fault of aggressiv artificiality. A style which neglects balance is often in effect, still worse. Take this sentence, for exampl from some newspaper: "As distinctly as W. Rensha is at the head of the men, so is Miss Maud Watso the premier lady player." What makes this so vi is not so much, I think, the barbarous impropriety the last clause, as its utter and needless dissimilarit to the first. In brief, I am accustomed to urge pupil to make style as balanced as idiomatic freedom wi

I have now discussed, as far as time will permit, the first two phases of the sentence which I proposed at the beginning of this chapter: the danger of offending in composition against the paramount authority of good use, and some of the different effects which within the limits of good use may be produced by sentences of different kinds. Our business now is to turn to the principles of composition, and to inquire how far good use will allow us to apply them to the composition of sentences.

These principles of composition, you will remember, are three: The first, the principle of Unity, concerns the substance of a composition: every composition should group itself about one central idea. The second, the principle of Mass, concerns the external form of a composition: the chief parts of every composition should be so placed as readily to catch the eye. The third, the principle of Coherence, concerns the internal arrangement of a composition: the relation of each part of a composition to its neighbors should be unmistakable. The question before us now is how far we may apply these principles to the composition of sentences.

To turn, then, to the principle of Unity,—that every
composition should group itself about one central idea.
In the first chapter I pointed out sufficiently how very
elastic this principle is as our purpose varies, the

idea may legitimately be made the central idea
tor or a book.

ermit, the oposed at of offendthority of ch within sentences o turn to e how far

composi

member,

concerns

position

The secnal form composi

the eye.

erns the relation s should

is how position

at every al idea.

ow very ies, the al idea

book.

dent one; but the question of unity is a perfectly di tinct one. A style in which each composition has demonstrable central idea is a style very different effect from one in which each composition is heter geneous, and for general purposes is by no means serviceable. An example you can all turn to w show what I mean: the paper in the "Spectator" whi tells of the death of Sir Roger de Coverley. It is t long for insertion here; but a short extract will pe haps serve our purpose:

"I have likewise a letter from the butler, who took much care of me last summer when I was at the knight house. As my friend the butler mentions, in the simp city of his heart, several circumstances the others ha passed over in silence, I shall give my reader a copy his letter, without any alteration or diminution : —

"HONOURED SIR, -Knowing that you was my old maste good friend, I could not forbear sending you the melancholy ne of his death, which has afflicted the whole county as well as poor servants, who loved him, I may say, better than we did o lives. I am afraid he caught his death the last county-session where he would go to see justice done to a poor widow wom and her fatherless children, that had been wronged by a neighbou ing gentleman; for you know, Sir, my good master was alwa the poor man's friend.'”

The contrast between the polite style of the Spectat himself and the vulgar style of the butler, proves o analysis to be chiefly a matter of unity of sentenc And this example emphasizes one important fact neglect of the principle of Unity in the compositio

of sentences is very apt to produce a subtile effect of vulgarity. It connotes, in short, a confusion of mind which, in educated people, nothing short of extreme emotion will justify.

The question which naturally presents itself now is whether there is any test by which unity of sentence may be proved. At the risk of seeming too dogmatic, I have come to the practice of laying down a rule as definite as this: When a sentence may be resolved into a single subject with legitimate modifiers, and a single predicate with legitimate modifiers, it has unity. Sentences not thus reducible often lack it. From this, two or three conclusions follow, sometimes laid down as distinct rules. Obviously, a short sentence is less apt to stray out of unity than a long; a periodic than a loose. Short and periodic, then, should, on the principle of Unity, commonly be preferred. Again, a shift of subject in a sentence, or of predicate, or an accumulation of either subjects or predicates, is apt to lead to violation of unity; and violation of unity is apt to mean a missing of the effect which, as educated people, most writers generally wish to produce.

A glance back at the four examples of different stages of English style which I cited a little while

---ill show an interesting fact about this matter of

hundred,