69. Which do you think I had better (best) read, Shakespeare, Milton, or Byron?

70. I cannot go except (unless) I finish my work.

71. Do not buy the book without (unless) you hear from me. 72. He said that neither business or (nor) pleasure should prevent his (him) being present.

State the difference in meaning when the different forms in italics are used in the following sentences:

1. Whether your judgment in my case be (is) harsh or lenient I know that I must accept it.

2. But whatever may be (is) our fate, be assured that this declaration shall stand.

3. If he come (comes) I shall welcome him cordially.

4. If all other tongues be (are) silent, mine shall speak for that policy which gives hope to the oppressed.

5. Eloquence comes, if it comes (come) at all, like the outbreaking of a fountain from the earth.

6. The truth is, all may (might) be free.

7. If every one did (does) his duty, success would be (is) assured.

8. Though I shall (should) be censured, I must do my duty. 9. If my brother goes (go), I shall go with him.

10. If he were (was) not the thief, where did he get the watch?

SECTION XXI

Rhetorical Structure of the Sentence

In the preceding section you have studied the grammatical structure of the sentence, and have learned the methods by which you may make your sentences correct; but you will find that a sentence must have other qualities as well as correctness to make it effective in the expression of thought. A person writes for the purpose of instructing or entertaining others, and to this end he adopts such methods in the formation of his sentences as will give to his composition clearness, emphasis, or any other quality which he

may desire. Hence the rhetorical structure, which deals with the manner or style of expression, is equally as important as the grammatical structure. The qualities of style were discussed in connection with the paragraph; but as they are essentials of all composition, the sentence as well as the longer divisions,-they must be considered here in their relation to the sentence.

Unity. One of the qualities which is always essential in the sentence is unity, which requires that it contain a single thought. The complete expression of a thought often makes it necessary to state certain particulars; but unless these are so closely related to the main idea that the thought would be incomplete without them, they should not be included in the sentence. Unity requires not only that nothing shall be put into the sentence which does not belong in it, but that nothing shall be omitted which is needed for the full expression of the thought. In the following observe that each sentence expresses an entire thought, and nothing

more:

so she

"I wish the good old times would come again," she said, "when we were not quite so rich. I do not mean that I want to be poor; but there was a middle state,' was pleased to ramble on, "in which I am sure we were a great deal happier. A purchase is but a purchase, now that we have money enough and to spare. Formerly it used to be a triumph. When we coveted a cheap luxury, we were used to have a debate of two or three days before, and to weigh the for and against, and think what we might spare it out of, and what saving we could hit upon, that should be an equivalent. A thing was worth buying, when we felt the money we paid for it.

"When you came home with twenty apologies for laying out a less number of shillings upon that print after Leonardo, which we christened the Lady Blanche,' when you looked

at the purchase, and thought of the money and looked again at the picture was there no pleasure in being a poor man? Now, you have nothing to do but to walk into Colnaghi's, and buy a wilderness of Leonardos. Yet do you?"

- LAMB.

Violations of Unity. The lack of unity in many sentences which we hear every day shows us that this is a common error in sentence structure, and one against which we should carefully guard. It may result from putting too much or too little into a sentence. The first mistake is probably the more common, for in writing long sentences, there is a tendency to add ideas by the use of and, but, and other connectives after the thought is complete. You should watch your sentences, especially the long ones, to see that each is the expression of a single thought.

In sentence (a) in the following there are plainly two distinct ideas, and unity is violated by crowding them into one sentence. In (b) unity is secured by expressing these two ideas in separate sentences.

(a) The coming new edition of "In Convent Days" will contain a picture of "Elizabeth" and the author at the time when the stories were written, and it will be a large edition, for the Christmas shopper's firm refusal to begin buying until "after Thanksgiving" forbids the risk of having to make a third printing for the tardy.

(b) The coming edition of "In Convent Days" will contain a picture of "Elizabeth" and the author at the time when the stories were written. It will be a large edition, for the Christmas shopper's firm refusal to begin buying until "after Thanksgiving" forbids the risk of having to make a third printing to satisfy the tardy.

Avoid Change of Subject. Often a sentence which in reality contains but one thought lacks unity in form through the change of subject. For this reason the subject in a compound sentence should be kept the same, unless the

meaning requires a change. Notice that unity is violated in sentence (a) by an unnecessary change of subject in the second member, and that it is preserved in (b) by making "I" the subject of each member.

(a) I can remember my first drum and my first sword, but my first primer has been forgotten.

(b) I can remember my first drum and my first sword, but I have forgotten my first primer.

Avoid Obscure Construction. Sometimes unity suffers because the main thought in the sentence does not stand out plainly. This may occur when dependent elements are not properly subordinated to the principal idea, or when added particulars are so complicated in their arrangement that the main thought is obscured. In 1 (a) in the following, the dependent element is not made subordinate to the main idea. Notice that its dependence is shown and unity preserved by proper arrangement in (b). In 2 (a) the main thought is obscured by intricate construction; but in (b) it stands out clearly, and unity is secured by proper arrangement.

1. (a) The driver assured us that he could reach the station in ten minutes, and it was over a mile away.

(b) The driver assured us that he could reach the station, which was over a mile away, in ten minutes.

2. (a) The author, who, having written about missionary Hawaii without ever having been in the country, may not unreasonably be expected to have written about Japan from a safe distance, has certainly read all the missionary books on the subject, and some others; she has woven them together into a rather jerky story that still hangs together.

(b) The author, who has written about missionary Hawaii without ever having been there, and who may not unreasonably be expected to have written about Japan from a safe distance, has certainly read all the missionary books upon the subject. She has collected many incidents from various volumes and has woven them together into a rather jerky story, which, however, still holds together.

Exercises

The following sentences, taken from newspapers, lack unity. Rewrite them, making the necessary changes to secure this quality.

1. An exciting story, "The Motor Cracksman," is by Charles Carey, also an American, and so is Mr. Edward Irving, whose book is entitled, "How to know the Starry Heavens.

2. There is much about the other grandees of the court, too; all were interesting, from the king and Mme. de Maintenon to the lowest valet de chambre, and the reader feels that he has been in excellent company when he lays the volume down with a regret that it is not longer, or one of a series.

3. The most conspicuous American name in the list is that of Mr. E. S. Ellis; more than thirty of Mr. Ellis's romantic stories are to be found in the catalogue, where, indeed, there are many American books, including "Tomorrow's Tangle" and "Under the Great Bear," by Kirk Munroe, but there is nothing of very great significance in the list, good as it is, and purely English books.

4. This edition of the noted works of fiction by the noted authoress is printed from large clear type on a fine quality of book paper and bound in an extra finished cloth, stamped with an exquisite design in white leaf and colors, with inlaid portrait in three colors on cover.

5. My memories of Westfield will always be associated with a vision of the historic crane, flapping its wings in welcome and adieu, and if the good people of that place ever desire an emblem for their city, let them select the crane, the crane that brings good luck and that stands for the superlative in paper production.

Coherence. Coherence is that quality of a well-made sentence which refers to the holding or sticking together of its parts. This requires that the ideas shall be grouped in such a manner that their relation to each other may be evident and the meaning of the sentence clear. Since clear