Chapter 19

all self-abasement, the other all pride. e. Resume of character of Puritans. 2. Heathens were passionate lovers of freedom. (85.) 3. Royalists had individual independence, learning, and polite manners of the Court. B. But he alone fought the battle for the freedom of the mind. (88.) 1. This led him to discard parties; and (89) 2. To dare the boldest literary services. (90.)

The fundamental principle guiding in the selection of material is unity. It decides what may with propriety be admitted to the essay, and it determines in part what must be left out. Another principle, secondary to this, is scale of treatment. If the essay is to be short, only essentials may be used; if long, many related sub-topics must take their subordinate positions in the essay.

Arrangement.

Following the selection of material comes its arrangement. Here also there is greater difficulty than was experienced in narration or description. Though the same principles of Coherence and Mass guide, they are more difficult to apply. The seat of the difficulty is in the elusiveness of the material. It is hard to picture distinctly the value and relation of the different topics of an essay. Suppose the subject is "The Evils of War." The first paragraph might contain a general statement announcing the theme. Then these topics are to be discussed:--

1. The effect on the _morale_ of a nation. 2. The suffering of friends and relatives. 3. The destruction of life. 4. The backward step in civilization. 5. The destruction of property.

The order could not be much worse. How shall a better be obtained?

Use Cards for Subdivisions.

The most helpful suggestion regarding a method of making the material in some degree visible, capable of being grasped, is that each subdivision be placed on a separate card, and that, as the material is gathered, it be put upon the card containing the group to which it belongs. By different arrangements of these cards the writer can find most easily the order that is natural and effective. It is much like anagrams, this ordering of matter in an essay. Take these letters, s-l-y-w-a-r-e, and in your head try to put them together to make a word; you will have some trouble, probably. If, however, these same letters be put upon separate slips of paper, you may with some arrangement get out the rather common word, lawyers. It is much the same with topic cards in exposition; they can be moved and rearranged in all possible ways, and at last an order distinctly better than any other will be found.

Speaking of cards, it might be well to say that the habit of putting down a fact or an idea bearing on a topic just as soon as it occurs to one is invaluable for a writer. All men have good memories; some persons have better ones than others. But there is no one who does not forget; and each catches himself very often saying, "I knew that, but I forgot it." It is a fact, not perhaps complimentary, that paper tablets are surer than the tablets of memory.

An Outline.

In exposition, where the whole attention of the reader should be given to the thought, where more than ever the mind should be freed from every hindrance, and its whole energy directed to getting the meaning, the greatest care should be given to making a plan. No person who has attained distinction in prose has worked without a plan. Any piece of literature, even the most discursive, has in it something of plan; but in literature of the first rank the plan is easily discovered. How clear it is in Macaulay's essay has been seen. In Burke it is yet more logical and exact. However beautiful a piece may be, however naturally one thought grows out of another, as though it were always so and could be no other way, be sure it is so because of some man's thought, on account of careful planning. And it may be said without a chance of contradiction that when an essay has been well planned it is half done, and that half by far the harder. "We can hardly at the present day understand what Menander meant, when he told a man who inquired as to the progress of his comedy that he had finished it, not having yet written a single line, because he had constructed the action of it in his mind. A modern critic would have assured him that the merit of his piece depended on the brilliant things which arose under his pen as he went along." The brilliant things are but the gargoyles and the scrolls, the ornaments of the structure; and when so brilliant as to attract especial attention, they divert the mind from the total effect much as a series of beautiful marbles set between those perfect columns would have ruined the Parthenon. It was not in any single feature--not in pediment, column, or capital, not in frieze, architrave, or tympanum--that its glorious beauty lay, but in the simple strength and the harmonious symmetry of the whole, in the general plan. Webster planned his orations, Newman planned his essays, Carlyle planned his Frederick the Great. Their works are not a momentary inspiration; they are the result of forethought, long and painstaking. The absolute essential in the structure of an essay, that without which it will fail to arrive anywhere, that compared to which all ornament, all fine writing, is but sounding brass and a tinkling cymbal, that absolute essential is the total effect secured by making a plan.

Mass the End.

The principles governing the arrangement of material are Mass and Coherence. Both are equally essential, but in practice some questions regarding Mass are settled first. _The important positions in an essay are the beginning and the end; of these the more important is the end._ In this place, then, there shall be those sentences or those paragraphs which deserve that distinction. Here frequently stands the theme, the conclusion of the whole matter, that for which the composition was constructed. So that if one wished to know the theme of an essay, he would be justified in looking at its conclusion to find it. In the essay on "Milton," it is evident from the last paragraph that Macaulay never intended it to be only a criticism of his poetry, though he has devoted many pages to this discussion. Here is just the last sentence: "Nor do we envy the man who can study either the life or the writings of the great poet and patriot without aspiring to emulate, not indeed the sublime works with which his genius has enriched our literature, but the zeal with which he labored for the public good, the fortitude with which he endured every private calamity, the lofty disdain with which he looked down on temptations and dangers, the deadly hatred which he bore to bigots and tyrants, and the faith which he so sternly kept with his country and his fame." Notice the last sentence of a delightful essay by George William Curtis; one could easily guess the contents and the title. "Fear of yourself, fear of your own rebuke, fear of betraying your consciousness of your duty and not doing it--that is the fear that Lovelace loved better than Lucasta; that is the fear which Francis, having done his duty, saved, and justly called it honor." Examples of the ending in which the theme of the essay stands in the place of greatest distinction are so plentiful that there needs no collector to establish the assertion.

In a single paragraph of exposition not exceeding two or three hundred words, it is a very safe rule for a beginner always to have the theme in the last sentence; or if he has stated the theme in the opening, to have a restatement of it in different form, fuller and more explicit usually, sometimes a shorter and more epigrammatic form, in the conclusion.

If the pupil should obey this little rule to have at the end something worthy of the position, a vast amount of time would be saved both to teacher and to pupil. It can be safely said that not more than one half the essays end when the thought ends. Instead of quitting when he has finished, the writer dribbles on, repeating in diluted fashion what he has said with some force before, and often introducing matters that are not within hailing distance of his theme. When one has said what he started out to say, it is time to stop. If he stops then, he will have something important in the place of distinction.

The Beginning.

_The position of second importance is the beginning._ If but a paragraph be written, the topic is usually announced at the opening. In short essays this is the most frequent beginning, and it may safely be used at all times. Exposition is explanation; the natural thing is to let the reader know at once what the writer is attempting to explain. Then the reader knows what the author is talking about and can relate every statement to the general proposition. To delay the topic compels the reader to hold in mind all that has been said up to the time the real theme is uncovered; this frequently results in inattention. In the little book by Mr. Palmer, the first paragraph opens with these two sentences: "English as a study has four aims: the mastery of our language as a science, as a history, as a joy, and as a tool. I am concerned with but one, the mastery of it as a tool." So, too, the essay of which the last sentence has been quoted begins: "These are very precious words of Lovelace:--

'I could not love thee, dear, so much, Loved I not honor more.'

And Francis First's message to his mother after Pavia, 'All is lost but honor,' is in the same key."

Instead of announcing the theme at the very beginning, in essays of some length there is sometimes an account of the occasion which led to the composition. Macaulay has used this opening in the essay on "Milton." Second, the opening may be the clearing away of matters unrelated in reality, but which people have commonly associated with the topic. And third, the essay may open with definitions of the terms that will be used in the discussion. Of these three, only the first will be much used by young persons. It makes an easy approach to the subject, and avoids the unpleasant jar of an abrupt start. It is common with Macaulay, Lowell, and many essayists that write in an easy, almost conversational style.

There is one case in which the theme should not be announced at the opening. If the proposition were distasteful, if it were generally believed to be false, it would not be policy to announce it at the beginning. However reasonable men may be, it is still true that reason is subject to emotions and beliefs to a greater degree than is praiseworthy. If a man should open an address upon Abraham Lincoln by saying that he was a cringing coward, he would have difficulty to get an audience to hear anything he said after that, no matter how much truth he spoke. The author of such a statement would be so disliked that nothing would win for him favor. When an unwelcome theme is to be discussed, it must be approached carefully by successive steps which prepare the reader for the reception of a truth that before seemed false to him. In this case the theme will be stated at the end, but not at the beginning of the essay.

Get started as soon as you can, and stop when you have finished; by so doing you will have important matters in those places which will emphasize them. Shun the allurements of high-sounding introductions and conclusions. Professor Marston used to tell his pupils to write the best introduction they could, to fashion their most gorgeous peroration, and to be sure to have the discussion clear, logical, and well expressed. Then he said that when he had cut off both ends, he generally had left a good essay. An essay should be done much as a business man does business. He does not want the gentleman who calls on him during business hours to bow and scatter compliments before he takes up the matter which brought him there; nor does he care to see him swaying on the doorknob after the business is finished. To the business at once, and leave off when you have done. Introductions, exordiums, perorations, and conclusions are worthless unless they be in reality a part of the discussion and necessary to the understanding of the whole.

Proportion in Treatment.

Everything, however, cannot occupy the first and last places. How can other matters be emphasized? To refer to the parallel of the map, in order to make people see that the Mississippi River is longer than the Hudson, the designer made it longer on the map. That is exactly what is done in an essay. If one matter is of greater importance than another, it should take up a larger part of the essay. When Macaulay passes over Milton's sonnets with a paragraph, while he devotes sixteen paragraphs to "Paradise Lost," he indicates by the greater mass the greater value he ascribes to the epic. So again, a very good proof that he did not intend this essay to be a literary criticism primarily, another evidence beside the closing paragraph, is found in his division of the whole essay. To Milton's poetry he has given forty-one paragraphs, and to his character fifty-two paragraphs. The most common way of emphasizing important divisions of an essay is by increasing the length of treatment.

Emphasis of Emotion.

However, there are times when this cannot be done: a point may be so well known that it needs no amplification. In such a case there may be an emphasis of emotion; that is, the statement may be made with an intensity that counterbalances the weight of the larger treatment. It might be said that the one has great velocity and little mass, while the other has great mass and little velocity. By hurling forth the smaller mass at a higher velocity, the momentum may be as great as when the larger mass moves with little velocity. The dynamic force of burning words may give an emphasis to a paragraph out of all proportion to the length of treatment. In one paragraph Macaulay dashes aside all the defenses of Charles. He writes:--

"The advocates of Charles, like the advocates of other malefactors against whom overwhelming evidence is produced, generally decline all controversy about the facts, and content themselves with calling testimony to character. He had so many private virtues! And had James II. no private virtues? Was Oliver Cromwell, his bitterest enemies themselves being the judges, destitute of private virtues? And what, after all, are the virtues ascribed to Charles? A religious zeal, not more sincere than that of his son, and fully as weak and narrow-minded, and a few of the ordinary household decencies which half the tombstones in England claim for those who lie beneath them. A good father! A good husband! Ample apologies indeed for fifteen years of persecution, tyranny, and falsehood." ("Essay on Milton.")

Phrases indicating Emphasis.

Moreover, phrases and sentences may be introduced to show that a writer considers some topics of equal importance to others, or even of greater importance, though they do not demand the same length of treatment. _Of equal importance, not less weighty, beyond question the most pertinent,_ illustrate what is meant by phrases which indicate values. These and many of their class which the occasion will call forth are necessary to give certain topics the rank they hold in the writer's conception of the whole subject. In discussing the temper and character of the American people, Burke ascribes it to six powerful causes. The relative value of these is indicated in the last three by phrases. I quote only the opening sentences.

"First, the people of the colonies are descendants of Englishmen."... "They were further confirmed in this pleasing error by the form of their provincial legislative assemblies."... "If anything were wanting to this necessary operation of the form of government, religion would have given it a complete effect."... "There is a circumstance attending these [southern] colonies which makes the spirit of liberty _still more_ high and haughty than in those to the northward."... "Permit me, Sir, to add another circumstance which contributes _no mean part_ towards the growth and effect of this untractable spirit."... "The last cause of this disobedient spirit in the colonies is _hardly less powerful_ than the rest."[21]

Emphasis is indicated, then, by position; by the length of treatment; by dynamic statement; and by phrases denoting values.

Coherence.

Coherence is the second principle which modifies the internal structure of a composition. That arrangement should be sought for that places in proximity one to another those ideas which are most closely related. More than in composition dealing with things, in those forms of discourse dealing with intangible, invisible ideas,--with thoughts, with speculations,--the greatest care is necessary to make one topic spring of necessity from a preceding topic. And this is not impossible when the material has been carefully selected. The principal divisions of the subject bear a necessary and logical relation to the whole theme, and the subordinate divisions have a similar relation to their main topic. In the essay on "Milton," Macaulay is seeking to commend his hero to the reader for two reasons: first, because his writings "are powerful, not only to delight, but to elevate and purify;" second, because "the zeal with which he labored for the public good, the fortitude with which he endured every private calamity, the lofty disdain with which he looked down on temptations and dangers, the deadly hatred which he bore to bigots and tyrants, and the faith which he so sternly kept with his country and with his fame" made him a patriot worthy of emulation. We feel instinctively that this arrangement, poetry first and character next, and not the reverse, is the right order. To discuss character first and poetry last would have been ruinous to Macaulay's purpose. Notice next the development of a sub-topic in the same essay. Only one sentence from a paragraph is given. The defenders of Charles do not choose to discuss "the great points of the question," but "content themselves with exposing some of the crimes and follies to which public commotions necessarily give birth." "Be it so." "Many evils were produced by the Civil War." "It is the character of such revolutions that we always see the worst of them first." Yet "there is only one cure for the evils which newly acquired freedom produces, and that cure is freedom." "Therefore it is that we decidedly approve of the conduct of Milton and the other wise and good men who, in spite of much that was ridiculous and hateful in the conduct of their associates, stood firmly by the cause of public liberty." No other arrangement of these paragraphs seems possible. To shift the sequence would break the chain. Each paragraph grows naturally from the paragraph preceding. Closely related topics stand together. There is Coherence.

Transition Phrases.

The logical connection between topics which have been well arranged may be made more evident by the skillful use of words and phrases that indicate the relation of what has been said to what is to be said. These phrases are guideposts pointing the direction the next topic will take. They advise the reader where he is and whither he is going. Cardinal Newman, who had the ability to write not only so that he could be understood, but so that he could not be misunderstood, made frequent use of these guides. The question in one of his essays is "whether knowledge, that is, acquirement, is the real principle of enlargement, or whether that is not rather something beyond it." These fragments of sentences open a series of paragraphs. 1. "For instance, let a person ... go for the first time where physical nature puts on her wilder and more awful forms," etc. 2. "Again, the view of the heavens which the telescope opens," etc. 3. "And so again, the sight of beasts of prey and other foreign animals," etc. 4. "Hence Physical Science generally," etc. 5. "Again, the study of history," etc. 6. "And in like manner, what is called seeing the world," etc. 7. "And then again, the first time the mind comes across the arguments and speculations of unbelievers," etc. 8. "On the other hand, Religion has its own enlargement," etc. 9. "Now from these instances, ... it is plain, first, that the communication of knowledge certainly is either a condition or a means of that sense of enlargement, or enlightenment of which at this day we hear so much in certain quarters: this cannot be denied; but next, it is equally plain, that such communication is not the whole of the process." How extremely valuable such phrases are may be realized from the fact that, though the matter is entirely unknown, any one can know the relation of the parts of this essay, whither it tends, and can almost supply Newman's thoughts.

Summary and Transition.

To secure coherence between the main divisions of an essay, instead of words and phrases, there are employed sentences and paragraphs of summary and transition. Summaries gather up what has been said on the topic, much like a conclusion to a theme; transitions show the relation between the topic already discussed and the one next to be treated. Summaries at the conclusion of any division of the whole subject are like the seats on a mountain path which are conveniently arranged to give the climber a needed rest, and to spread out at his feet the features of the landscape through which he has made his way. Summaries put the reader in possession of the situation up to that point, and make him ready for the next stage of the advance. At the end of the summary there is frequently a transition, either a few sentences or sometimes a short paragraph. The sentence or paragraph of transition is much more frequent than the paragraph which summarizes.

The examples of these summaries and transitions are so frequent in Macaulay and Burke that one transition is sufficient to indicate their use. Macaulay writes:--

"There are several minor poems of Milton on which we would willingly make a few remarks.... Our limits, however, prevent us from discussing the point at length. We hasten on to that extraordinary production which the general suffrage of critics has placed in the highest class of human compositions." ("Essay on Milton.")

To conclude, exposition embraces definition and explanation. Definition is usually too concise to be clear, and needs an added explanation. In any piece of exposition there must be unity, and this principle will dispense with everything that is not essential to the theme; there must be judicious massing, that those parts of the essay deserving emphasis may receive it; and there must be a coherence between the parts, large and small, so close and intimate that the progress from one topic to another shall be steady and without hindrance. Unity, Mass, and Coherence should be the main considerations in composition the aim of which is to explain a term or a proposition.

SUGGESTIVE QUESTIONS AND EXERCISES.

QUESTIONS.

MACAULAY'S ESSAY ON MILTON. (Riverside Literature Series, No. 103.)

What makes up the introduction of this essay? Does he use the same method in the Essay on Addison? Take a volume of his essays and see how many begin in similar fashion. At what paragraph of this Essay on Milton does the introduction end? Would it be as well to omit it? Give reasons for your opinion.

Make an analysis of his argument of the proposition, "No poet has ever triumphed over greater difficulties than Milton."

Does Macaulay give a definition of poetry on page 13, or is it an exposition of the term?

What figure of speech do you find in the last sentence of the paragraph on page 43?

When Macaulay begins to discuss "the public conduct of Milton," what method of introduction does he adopt? What value is there in it?

Do the trifles mentioned at the end of the paragraph on page 55 make an anticlimax?

What arrangement of sentences in the paragraph does he use most, individual or serial?

Does he close his paragraphs with a repetition of the topic more frequently than with a single detail emphasizing the topic?

Is his last sentence, in case it is a repetition of the topic, longer or shorter than the topic sentence?

Does Macaulay frequently use epigrams? antitheses?

Find all transition paragraphs.

Find ten full sentence transitions outside of the transition paragraphs.

Where, in such paragraphs, is the topic sentence?

In this essay find examples of the five methods of expounding a proposition.

Which method does Macaulay use oftenest?

Is his treatment of the subject concrete?

What advantage is there in such treatment?

OF KINGS' TREASURIES. (Riverside Literature Series, No. 142.)

Do you think the title good?

Is Ruskin wise in disclosing his subject at once?

In section 3 what purpose does the first paragraph fulfill? What method of exposition is adopted in the last paragraph? What method in section 4?

For what purpose is the first paragraph of section 5 introduced? Is the last paragraph of this section a digression?

Do you think the last sentence of section 9 upon the topic announced in the first sentence? Where does Ruskin begin to treat the second topic? Should there be two paragraphs?

Find the genus and differentia in the definition of "a good book of the hour."

What is the use of the analogy in section 13?

What figure do you find in section 14?

Do you think a large part of section 30 a digression?

What do you think of the structure of sentences 4 and 8 in section 32? Could you improve it by a change of punctuation?

What is the effect of the supposed case at the end of section 33? Is it a fair deduction? Is it at the right place in the paragraph, and why?

Where would you divide the paragraph in section 37?

Is the example in section 36 a fair one, and does it prove the case?

What is a very common method with Ruskin of connecting paragraphs?

Could you break up the sixth sentence of section 31 so that it would be better?

If his audience had been hostile to him would he have been fortunate in some of his assertions? Make an analysis of the whole essay. Does he seem to you to have digressed from his topic? At what point? Should it be two essays?

What led Ruskin into this long criticism of English character?

Could you include all the main topics that Ruskin has included, and by a change in proportion keep the essay on the subject?

WEBSTER'S BUNKER HILL ORATION. (Riverside Literature Series, No. 56.)

Number the paragraphs in this oration.

Why is paragraph 3 introduced?

What method of development is used in paragraph 7? In paragraph 8?

In how many paragraphs is the last sentence short?

In how many is the last sentence a repetition of the topic?

What purpose is served in paragraphs 8, 9, and 10?

In paragraph 12 note the use of contrast.

What kind of development in paragraph 27?

Analyze the oration from paragraph 28.

Does he place the topic sentence near the beginning of the paragraphs?

Does he frequently use transition sentences?

Do you think the outline of this as distinct as that of Macaulay's Essay on Milton? Should it be?

What figure of speech in the word "axe" in paragraph 32, and "bayonet" in paragraph 36?

What figure at the end of paragraph 40?

Does he use figures as frequently as Macaulay?

EXERCISES.

This year, taking up the study of exposition, offers especially good opportunities for exercises in paragraph and sentence construction. During the first eight or ten weeks the pupils will write isolated paragraphs. The unity and arrangement of these should be carefully criticised. Also the exercises should be arranged so that the pupils will employ all forms of paragraphs. Before he begins to write a paragraph, the pupil should know what he is to include in it, and in what order; otherwise the paragraph will fail in unity and effective massing. Paragraphs are made by forethought, not by inspiration.

Following the writing of isolated paragraphs is the composition of the long essay. The first thing is a study of outlines. This will take up six or eight weeks. To secure the view of the whole in different arrangements, use the cards.

When the class has gained some grasp of outlines, the writing of essays should be begun. At the option of the pupils, they may write some of the essays already outlined, or study new themes. Two or three paragraphs are all that can be well done for a lesson. Good, not much, should be the ideal. In this way a single essay may occupy a class from three to six weeks.

It should be remembered that these exercises are written consciously for practice. They are exercises--no more. Their purpose is to give skill and judgment in composition. It is because they are exercises that they may be somewhat stereotyped and artificial in form, just as exercises in music may be artificially constructed to meet the difficulties the young musician will have to confront.

During the writing of these essays special attention should be given to sentence construction. The inclusion of just the ideas needed in the sentence and no more; the massing that makes prominent the thought that deserves prominence; and the nice adjustment of one sentence to the next: these objects should be striven for during this semester.

1, 2. Write definitions of such common terms as jingoism, civil service, gold standard, the submerged tenth, sweat shop, internal revenue, cyclonic area, foreign policy, imperialism, free silver, mugwump, political pull, Monroe doctrine, etc. Five or six terms which are not found in a dictionary will make a hard exercise; and two or three lessons in definitions will set the pupils in the direction of accurate and adequate statements.

For isolated paragraphs write upon the following subjects:--

3. Novel reading gives one a knowledge of the world not to be gained in any other way. Particulars.

4. Novel reading unfits people for the actualities of life. Specific instances.

5. Among the numerous uses of biography three stand forth preeminent,--it furnishes the material of history, it lets us into the secrets of the good and great, and it sets before us attainable ideals of noble humanity. Repetition.

6. It is beyond any possibility of successful contradiction that the examination system encourages cheating. Proofs.

7. Electric cars and automobiles are driving horses out of the cities. Instances.

8. Every great development in the culture of a nation has followed a great war. Proofs.

9. From the following general subjects have the pupils state definite themes. Write isolated paragraphs on a few of them.

Political Parties. War. Books. Machines. Inventions. Great Men. Planets. Civil Service. Coeducation. Roads. Tramps. Boycotts.

10. Place another similar list on the board and have the pupils vote on what three they prefer. Use these in making outlines. Then select more.

Supposing they had settled upon this theme: The tramp is the logical result of our economic system; have it outlined. The result might be as follows:--

A. What is a tramp? 1. Who become tramps? 2. Their number. 3. Where are they? B. Why is he a tramp? 1. Inventions have increased the power of production more rapidly than the demand for products has grown. a. On the farm. b. Transportation. c. Factories. d. Piecework. 2. Women now do much work formerly done by men. a. As clerks. b. As typewriters, stenographers, and bookkeepers. c. In the professions. 3. The result of these causes is that many men willing to work are out of employment. C. What must be done?

11. Fill out the following outline.

Subject: The Thermometer. A. Its Invention. B. Its Construction. C. Its Value and Uses.

12. Outline six more themes.

13. Beginning the writing of long essays, write essays in sections. Using "Tramps" for an illustration, as it is outlined it contains about twelve paragraphs. All of section "A" may be included in one paragraph. "B, 1" may be a paragraph of repetition; "a," "b," "c," "d," may each make a paragraph of particulars. By stating "B, 2" in the following way, it may be a paragraph of "what not:" It was once considered unladylike for women to engage in any occupation outside of the home. Men said that they could not retain, etc.--Go on with the things woman could not do, closing with a statement of what she does do.

"B, 2, a." On account of their fidelity, honesty, and courtesy, women succeed as clerks. Repetition.

b. The quickness of their intelligence and the accuracy of their work have made women more desirable for routine work in an office than men. Comparison and Contrast.