Segment

“ Frontal limb broad and strongly concave in large cephalons, becoming less so in smaller; in front of the glabella it slopes rather rapidly downward and then upward with a gentle curve to the thin, rounded edge. Free cheeks gently convex, but become slightly concave toward the outer margin in the larger specimens. The genal angles are extended into short spines.
Thorax with eleven nearly transverse segments; axial lobe convex and a little more than one-half the width of the pleural lobes. It is strongly defined by a sharp angle where the segments pass into the pleural lobes. ”

“ An exception may be made of sentences of transition, indicating the relation between the parts of an exposition or argument.
In dialogue, each speech, even if only a single word, is a paragraph by 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.
10. 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. ”

“ A sett is a piece placed upon the head of a pile for striking upon, when the pile can not be reached by the weight or hammer.
Set—Sit. Blunders in the use of these words are amongst the most common we have. Set, as we shall first consider it, is a transitive verb, or one in which the action passes over to an object. Present tense, set; imperfect tense and past participle, set; present participle, setting. Sit is an intransitive verb, or one which has no object after it. ”

“ Body of the Story.—In writing the body of the story, the first thing to strive for is proper coherence with the lead. This caution is worth particular heed when the lead contains a single-sentence quotation, an indirect question, or a paragraph of direct statement from somewhere in the body of the speech. Few things are more incongruous in a story than a clever epigrammatic lead and a succession of quoted statements following, none of which exhibits a definite bearing on the lead. ”

“ Two Kinds of Leads.—The story, technically, is [Pg 69] [A] made up of two parts—the lead and the body. The lead is easily the more important. If a reporter can handle successfully this part of the story, he will have little trouble in writing the whole. The lead is the first sentence or the first group of sentences in the story and is of two kinds, the summarizing lead and what may be called the informal lead. The summarizing lead gives in interesting, concise language the gist of the story. ”

“ I try to take in the scene before me with my eye—to seize all its beauties, and on the spot I love to cover a whole sheet with scratches, which represent nothing exactly, but which, nevertheless, possess an infinite value in my eyes, as serving to remind me of the happy moment, whose bliss even this bungling exercise could not mar. ”

“ It is exceedingly amusing to see the prompter, when, from the general forgetfulness, a scene threatens to fall into confusion, labouring away, and stretching out his head like a serpent from his hole, hurrying through the dialogue before the different speakers. ”

“ The thorax is composed of eight segments that, with triangular-shaped pleurons on each side, clearly separate the thoracic segments from the four cylindrical segments of the abdomen. The two expanded rami attached to the posterior abdominal segments were thin and readily distorted by compression in the shale.
Appendages.—The first pair (antennules) appear to be short and blunt as they project beyond the anterior end of the head (fig. 13, side view; fig. 9, top view) . ”

“ They were altogether free from that vulgar habit of comparing scene with scene which so poisons the eye to all true perception of natural beauty,—as though the one great end were to graduate all the various scenes of nature in the list of a competitive examination. ”

“ Every place, like a bit of tapestry, has its right side and its wrong side; and both are true and real,—the wrong side with its rags and tags, and seams and knots, and thrums of worsted, and the right side with its pretty picture. ”

“ Having, by these divisions, given an order and arrangement to our objects, we may now apply ourselves to consider, with the more accuracy, their qualities and relations. The first circumstance that strikes my eye, is the great resemblance betwixt our impressions and ideas in every other particular, except their degree of force and vivacity. ”

“ The methods of developing the paragraph topic will naturally form a part of the work of paragraph construction, particularly in the second semester, when the principles of exposition are studied. The application of the same principles of unity, emphasis, and coherence to the whole theme, where it consists of a number of paragraphs, may also be developed, for in the second year it is desirable to have the students write longer themes, as well as the short ones. ”

“ Teach you line—the infinite variety of line—the tremendous responsibility of line—the humour—the severity of line. Teach you nature—the goddess from whom all beauty is drawn, and whose lightest touch has more mystery in it than all the creations of man. ”

“ When the presentation of a picture is our central purpose, we attempt to present it as it appears to us, and select details that will enable others to form the desired image; but if we desire to set forth how a scene affected us, we must choose details that will make our reader feel as we felt.
+137. Necessity of Observing our Impressions.+—In order to write a description which shall give our impression of an object or scene, we must know definitely what that impression is. ”

“ The most fundamental division which rhetoric considers is the division made by the difference between two intentions men have in writing: instruction and delight—to convey the truth or to create beauty. ”

“ Sometimes, in a scene which employs the ‘Let us in!’ formula, or on other ground looks like a threshold scene, we are suddenly pulled up either by a suggestion of the host that we are ‘in’ his house or under his roof, or by an indication that persons outside are to be brought ‘in’. ”

“ Why a curve is more pleasing to the eye than a straight line may be too deep a question; but none the less may one safely appeal to the universal experience that there are certain lines, certain forms, certain colors, certain sounds which give us pleasure. ”

“ Our Conceptions often Complex.—If we examine attentively the various notions or conceptions of the mind, we find that a large part of them are in a sense complex—comprising, in a word, a certain aggregate of properties, which, taken together, constitute our conception of the object. Thus, my notion of table, or chair, or desk, is made up of several conceptions, of form, size, material, color, hardness, weight, use, etc., etc., all which, taken together, constitute my notion of the object thus designated. ”

“ Position and proportion are the means of emphasis in a sentence. By placing the important words near the major marks of punctuation, by arranging the parts in a climax or a period, by forcing words out of the natural order, and by subduing unimportant details, a sentence is massed to give the important elements their relative emphasis. Last, the parts of a sentence should be arranged so that their relations shall be clear and unmistakable. Proximity of related parts, parallel construction for parallel ideas, and connectives are the surest means of securing Coherence in a sentence. ”

“ So far we have established relations only to ourselves. We now compare the acts of extension one against the other, and we also measure the adjustment requisite to pass from one to another, continuing to refer them all to our own axis and centre; in everyday speech, we perceive that the various lines are similar and dissimilar in length, direction and orientation. ”

“ In the writing of the lines of the face, in the motion of the lips, in the indefinable tones of voice, in the air and manner, there comes out constantly in all characters an atmosphere of the truth, which the words spoken, whether intended or not intended, do not convey. ”

“ All literature, then, may be separated into five classes,—narration, description, exposition, argument, and persuasion.
Narration tells what things do; description tells how things look. Narration deals with occurrences; description deals with appearances. Exposition defines a term, or explains a proposition; argument proves the truth or falsity of a proposition; persuasion urges to action upon a proposition. Exposition explains; argument 4 convinces; persuasion arouses. These are the broad lines of distinction which separate the five forms of discourse. ”

“ And because I must continually base upon them that which I shall say, I have desired to set them down here together, to the end that all the substance of that which is to be written may be seen and comprehended together; although it will be fitting to set down each stanza separately before expounding it, and likewise the lines of each stanza, according as the matter and the exposition require. ”

“ Skill in division is valuable not only as a method of exposition but it is linked closely with an effective method of proving to be explained in the next chapter—the method of residues. Can you recall any extracts given in this book in which some form of division is used? Is this form of material likely to be more important in preparation or in the finished speech? Explain your opinion—in other words, present a specimen of exposition.
Definition. One of the simplest ways of explaining is to define a term. Dictionary definitions are familiar to everyone. ”

“ She knows that, not only in the work as a whole, but in each part of it there is a beginning, a middle and an end, and that each of these divisions has its own character, its appropriate pace and intensity. ”

“ But the truly significant division of the short story into types, the division which it will be most directly profitable for the writer of fiction to realize, is twofold, not triplicate, and is the division into the dramatic short story and the short story of atmosphere or unity of emotional effect on a reader. ”

“ In association by contrast we may distinguish two layers,—the one, superficial, consists of contiguity: all of us have in memory associated couples, such as large-small, rich-poor, high-low, right-left, etc., which result from repetition and habit; the other, deep, is resemblance; contrast exists only where a common measure between two terms is possible. ”

“ The Theory of Multiple Sense Appeal is carefully applied. Every avenue of approach has been taken—the eye, the hand, the ear—all are used to make the appeal broader and more interesting. No sound psychological precept has been omitted. ”

“ A true perspective demands, on the part of the reader, the nicest sense of the relative values of successive and involved groups or sections of thought—those belonging to the main current of thought being brought to the front with a fulness of expression, and the subordinate groups or sections according to their several degrees of subordination, being thrown back with a corresponding reduction of expression. ”

“ In literature, as to structure, it is the relation of parts: as to form, it is the succession of events, the movement, combination and resolution of separate ideas and emotions, which give us aesthetic pleasure or the reverse. As action must follow excitement, or despair satiety, so the relation of parts, the order of presentation, must be adapted to mutual reinforcement. ”

“ In our opinion, the generalizations happen by the homophonic working of different pictures of the same face which we have come across in the most different conditions and situations, once pale, once reddened, once cheerful, once earnest, once in this light, and once in that. ”

“ Mass, the second principle of structure, demands that those parts of a composition, paragraph, or sentence which are of most importance shall be so placed that they will arrest the attention. By coherence is meant that principle of structure which, in sentences, paragraphs, and whole compositions, places those parts related in thought near together, and keeps separate those parts which are separated in thought. ”

“ In form, simplicity and long, unbroken lines give dignity, while complicated and short lines express vivacity. Curves, particularly if long and sweeping, give grace while straight lines and angles indicate power and strength. ”

“ You observe there are no divisions between the words. Had there been divisions the task would have been comparatively easy. In such cases I should have commenced with a collation and analysis of the shorter words, and, had a word of a single letter occurred, as is most likely, (a or I, for example,) I should have considered the solution as assured. ”

“ The proper world, into which the absurdly ill-fitted is here pitchforked, is but a background, rendering the valuable service of backgrounds by throwing into relief and so sharply defining the form for which the spectator’s eye is accommodated. ”

“ It must have a beginning, a middle, and an end. It is constructed with regard to Unity, Mass, and Coherence. And as a whole composition treats a single theme, so a paragraph treats one division of a theme. It has been defined as a composition in miniature. A paragraph is a sentence or a group of sentences serving a single purpose in the development of a theme. The purpose may be simply to announce the theme-subject, to make a conclusion, to indicate a transition; but in the great majority of cases its purpose is to treat a single topic. ”

“ Sometimes focus and margin change places. Sometimes, again, abrupt alterations of the whole field occur. There can seldom be a sharp description. All we know is that, for the most part, each field has a sort of practical unity for its possessor, and that from this practical point of view we can class a field with other fields similar to it, by calling it a state of emotion, of perplexity, of sensation, of abstract thought, of volition, and the like. ”