This rule does not, of course, mean that the writer should entirely discard the passive voice, which is frequently convenient and sometimes necessary. The dramatists of the restoration are little esteemed to- day. Modern readers have little esteem for the dramatists of the restoration. The first would be the right form in a paragraph on the dramatists of the restoration; the second, in a paragraph on the tastes of modern readers. The need of making a particular word the subject of the sentence will often, as in these examples, determine which voice is to be used. The habitual use of the active voice, however, makes for forcible writing. This is true not only in narrative principally concerned with action, but in writing of any kind.
How to, write
More commonly the opening sentence simply indicates by its subject with what the paragraph is to be principally concerned. At length I business thought I might return towards the stockade. He picked up the heavy lamp from the table and began to explore. Another flight of steps, and they emerged on the roof. The brief paragraphs of animated narrative, however, are often without even this semblance of a topic sentence. The break between them serves the purpose of a rhetorical pause, throwing into prominence some detail of the action. Use the active voice. The active voice is usually more direct and vigorous than the passive: I shall always remember my first visit to boston. This is much better than my first visit to boston will always be remembered. The latter sentence is less direct, less bold, and less concise. If the writer tries to make it more concise by omitting "by me my first visit to boston will always be remembered, it becomes indefinite: is it the writer, or some person undisclosed, or the world at large, that will always remember this visit?
6 They undertook to study in the past the physiology of nations, and hoped by applying the experimental method on a large scale to deduce some lessons of real value about the conditions on which the welfare of society mainly depend. Lecky, the political Value of History. 6 Conclusion: an important consequence of the new conception of history. In narration and description the paragraph sometimes begins with a concise, comprehensive statement serving to hold together the details that follow. The breeze served us admirably. The campaign opened with a series of reverses. The next ten or twelve pages were filled with a curious set of entries. But this device, book if too often used, would become a mannerism.
2 Historians then came to believe that their task was not so much to paint a picture as to solve a problem; to explain or illustrate the successive phases of national growth, prosperity, and adversity. 2 The meaning of the topic sentence made clearer; the new conception of history defined. 3 The history of morals, of industry, of intellect, and of art; the changes that take place in manners or beliefs; the dominant ideas that prevailed in successive periods; the rise, fall, and modification of political constitutions; in a word, all the conditions of national. 3 The definition expanded. 4 They sought rather to write a history of peoples than a history of kings. 4 The definition explained by contrast. 5 They looked especially in history for the chain of causes and effects. 5 The definition supplemented: another element in the new conception of history.
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4 A fourth reason, stated in automobiles two forms. 5 you should be as a pipe for any wind to play upon. 5 The same reason, stated in still another form. 6 "I cannot see the wit says hazlitt, "of walking and talking at the same time. 6-7 The same reason as stated by hazlitt. 7 When i am in the country, i wish to vegetate like the country which is the gist of resume all that can be said upon the matter.
8 There should be no cackle of voices at your elbow, to jar on the meditative silence of the morning. 8 Repetition, in paraphrase, of the"tion from hazlitt. 9 And so long as a man is reasoning he cannot surrender himself to that fine intoxication that comes of much motion in the open air, that begins in a sort of dazzle and sluggishness of the brain, and ends in a peace that passes. 9 Final statement of the fourth reason, in language amplified and heightened to form a strong conclusion. 1 It was chiefly in the eighteenth century that a very different conception of history grew.
This can sometimes be done by a mere word or phrase ( again; therefore; for the same reason ) in the topic sentence. Sometimes, however, it is expedient to precede the topic sentence by one or more sentences of introduction or transition. If more than one such sentence is required, it is generally better to set apart the transitional sentences as a separate paragraph. According to the writer's purpose, he may, as indicated above, relate the body of the paragraph to the topic sentence in one or more of several different ways. He may make the meaning of the topic sentence clearer by restating it in other forms, by defining its terms, by denying the converse, by giving illustrations or specific instances; he may establish it by proofs; or he may develop it by showing its implications.
In a long paragraph, he may carry out several of these processes. 1 Now, to be properly enjoyed, a walking tour should be gone upon alone. 2 If you go in a company, or even in pairs, it is no longer a walking tour in anything but name; it is something else and more in the nature of a picnic. 2 The meaning made clearer by denial of the contrary. 3 A walking tour should be gone upon alone, because freedom is of the essence; because you should be able to stop and go on, and follow this way or that, as the freak takes you; and because you must have your own pace, and. 3 The topic sentence repeated, in abridged form, and supported by three reasons; the meaning of the third you must have your own pace made clearer by denying the converse. 4 And you must be open to all impressions and let your thoughts take colour from what you see.
How to, write a ged essay in a right Format
In dialogue, each speech, even if only a single word, is a paragraph by presentation itself; that is, a new paragraph begins with each change of speaker. The application of this rule, when dialogue and narrative are combined, is best learned from examples in well-printed works of fiction. As a rule, begin each paragraph with a topic sentence; end it in conformity with the beginning. Again, the object is to aid the reader. The practice here recommended enables him to discover the purpose of each paragraph as he begins to read it, and to retain the purpose in mind as he ends. For this reason, the most generally useful kind of paragraph, particularly in exposition and argument, is that in which the topic sentence comes at or near the beginning; the succeeding sentences explain or establish or develop the statement made in the topic sentence; and the. Ending with a digression, or with an unimportant detail, is particularly to be avoided. If the paragraph forms biography part of a larger composition, its relation to what precedes, or its function as a part of the whole, may need to be expressed.
Paragraph D would indicate the leading ideas and show how they are made prominent, or would indicate what points in the narrative are chiefly emphasized. A novel might be discussed under the heads: Setting. A historical event might be discussed under the heads: What led up to the event. Account of kite the event. What the event led. In treating either of these last two subjects, the writer would probably find it necessary to subdivide one or more of the topics here given. As a rule, single sentences should not be written or printed as paragraphs. An exception may be made of sentences of transition, indicating the relation between the parts of an exposition or argument.
chiefly remarkable. Wherein characteristic of the writer. Relationship to other works. The contents of paragraphs c and D would vary with the poem. Usually, paragraph C would indicate the actual or imagined circumstances of the poem (the situation if these call for explanation, and would then state the subject and outline its development. If the poem is a narrative in the third person throughout, paragraph C need contain no more than a concise summary of the action.
C omposition, make the paragraph the unit of composition: one paragraph to each topic. If the subject on which you are writing is of slight extent, or if you intend to treat it very briefly, there may be no need of subdividing it into topics. Thus a brief description, a brief summary of a literary work, a brief account of a single incident, a narrative merely outlining an action, the setting forth of a single idea, any one of these is best written in a single paragraph. After the paragraph has been written, it should be examined to see whether subdivision will not improve. Ordinarily, however, a subject requires subdivision into topics, each of which should be made the subject of a paragraph. The object of treating each topic in a paragraph by itself is, of course, to aid the reader. The beginning of each paragraph is a signal to him that a new step in the development of the subject has been reached. The extent of subdivision will vary with the length of the composition. For example, a short notice of a book or poem might consist legs of a single paragraph.
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