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282. Form. We have already studied the form of one kind of written composition of a distinctive type; that is, letter writing. There are certain essentials of form in written composition in general, that greatly help the reader to understand with ease and pleasure. One of these, of no little importance, is a neat and legible handwriting. Many misunderstandings, delays, annoyances, and losses have resulted because this mechanical process has been carelessly done. Subject matter loses force when a paper is faulty in form and arrangement.

It will greatly assist your readers if you adopt the following suggestions for your written work:

1. Write on one side of the paper only.

2. Write the title in the middle of the paper, from one to two inches from the top of the page. (See § 252, 7.) 3. Leave a line blank below the title.

4. Leave a margin of at least one inch at the left of the page.

5. Indent the first line at least one inch from the marginal line. The first line of each paragraph should be indented the same distance.

6. Do not divide a word at the end of a line, unless it is a compound word and you can make the division come between the two parts. If there is not space enough at the end of the line for the whole word, put the word on the next line. It is not necessary that the margin at the right be straight. It may be kept fairly straight, however, if you pay attention to the spacing of your words. Some writers divide a word at the end of a line; in that case the division must come between two syllables. (See § 10.)

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EXERCISE 54

1. Rewrite the following in your own words, paying attention to the suggestions given in § 282.

You know, we French stormed Ratisbon;

A mile or so away,

On a little mound, Napoleon

Stood on our storming-day;

With neck out-thrust, you fancy how,

Legs wide, arms locked behind,
As if to balance the prone brow,
Oppressive with its mind.

Just as perhaps he mused, "My plans
That soar, to earth may fall,
Let once my army-leader Lannes
Waver at yonder wall,"

Out 'twixt the battery-smokes there flew
A rider, bound on bound
Full-galloping; nor bridle drew

Until he reached the mound.

Then off there flung in smiling joy,
And held himself erect

By just his horse's mane, a boy;

You hardly could suspect

(So tight he kept his lips compressed,
Scarce any blood came through)

You looked twice ere you saw his breast

Was all but shot in two.

"Well," cried he, "Emperor, by God's grace

We've got you Ratisbon!

The marshal's in the market-place,

And you I'll be there anon

To see your flag-bird flap his vans

Where I, to heart's desire,

Perched him!" The chief's eye
Soared up again like fire.

flashed;

his plans

The chief's eye flashed; but presently

Softened itself, as sheathes

A film the mother-eagle's eye

When her bruised eaglet breathes;

"You're wounded!" "Nay," his soldier's pride

Touched to the quick, he said:

"I'm killed, sire!" And his chief beside,
Smiling the boy fell dead.

ROBERT BROWNING: Incident of the French Camp.

2. Read in classical mythology the story of "Jason and the Golden Fleece" or "Perseus and Medusa;" then write it from memory.

3. Write a notice to be placed on the bulletin board, stating that you have lost some article — a sweater, a class pin, a watch, or a fountain pen. Tell when and where you lost it, where it may be returned to you, and describe it so that it may be identified.

4. Write a short composition on one of the subjects you have used for an oral composition in Part II, Chapter I. Be careful about form.

NOTE. Consider whether your sentences read smoothly, whether you have so expressed yourself that your readers will understand and whether there is a point to your story.

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283. Sentence Structure. Examine what you have written in the above exercise. Are your sentences for the most part long or short? If you have used short sentences to excess, your composition

sounds jerky and choppy when read. On the other hand, if you have used long sentences altogether, the result is monotonous and not easily understood. Moreover, the long sentence is likely to contain errors, because you have tried to crowd too much into it. A combination of both long and short sentences gives the most pleasing style. This will result if aim to make each sentence express just the thing intended, inasmuch as certain thoughts demand the longer sentences for complete expression, while others require short sentences. Watch your sentence structure to see that it does not become monotonous. Try to make each sentence express one thought clearly and completely.

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284. The Written Paragraph. What was said in connection with the oral paragraph applies also to the written paragraph. Read again § 250 and note what was said there about the necessity of a definite topic and a definite plan in constructing a paragraph. A paragraph, written or oral, is a group of sentences all closely related and all developing a single topic. Revise your paragraphs in written composition when necessary to bring the sentences into closer relation and to make them express your meaning more clearly. Remember that they must all bear directly on the topic expressed in the topic sentence. The length of the paragraphs will depend on the nature of the composition. In this connection compare the paragraph length in the extracts from The Sketch Book (p. 146) and The Conspiracy of Pontiac (p. 155).

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