THE COMBINATIO.N OF SENTENCES

We have now considered the various condition affecting the structure of the sentence. "But it is in the relation of sentences, in what Horace terms their • junetura; that the true life of composition resides. The mode of their nexus,—the way in which one sen¬tence is made to arise out of another, and to prepare the opening for a third,—this is the great loom in which the textile process of the moving intellect reveals itself and prospers. Here the separate clauses of a period become architectural parts, aiding, relieving, supporting one another." * In the progress of a paragraph, two things are neces¬sary : first, that each sentence express some idea not expressed in the preceding ; and, secondly, that the idea have some relation to the preceding idea. Al¬though not necessarily opposed to each other, these two conditions are not always easily fulfilled at the same time, since progress in discourse is a movement away from the ideas already expressed, and yet these preceding ideas must be kept in mind in order to show the connection. Interpreting power is wasted when the connection between successive statements is obscure, and also when there is a full repetition of an idea al¬ready expressed. The highest excellence consists in a judicious yielding to each condition. This may be done in several ways. 1. Progressive Development. All great writers employ a progressive development ir the succession of their sentences. Thus Carlyle does not say, "Nothing dies, nothing can die," and then leap to the conclusion that, since God knows our con¬versation, a Boswell need not shrink from reporting it. He does not leave even so narrow a chasm to cross, but develops his thought by increments : "Nothing dies, nothing can die. No idlest word thou speak- vet but is a seed cast into 'rime, and grows through all Eternity. The Recording Angel, consider it well, is no fable, but the truest of truths ; the paper tablet thou canst burn ; of the iron leaf' there is no burning. Truly, if we can permit God Almighty to note down our conversation, thinking it good enough for Him, any poor Boswell need not scruple to work his will with it." Here the general statement that nothing dies is made to apply specifically to words ; the deathlessness of a word is represented under the image of a seed; the agent of preservation is brought to view by the mention of the recording angel ; the means are ex¬plained by the allusion to the "iron leaf." It is then an easy step to the assumption that God notes down our conversation. 2. Explicit Reference. The explicit reference is a means of economizing interpreting power in the progress of discourse. It consists in a running reference to antecedent state¬ments. De Quincey is especially distinguished for its felicitous use. The following illustrates it : "If we do submit to this narrow valuation of 8t7/le, founded on the interest of the subject to which it is ministerial, still, even on that basis, we English commit a capital blunder which the French earnestly and sincerely escape ; for, assuming that the thoughts involve the primary interest, still it mast make all the difference in the world to the success of those thoughts, whether they are treated in the way best fitted to expel the doubts or darkness that may have settled on them." The explicit references are marked by italics. In this example, they are more numerous than necessary. Skillfully used, they often obviate the ambiguous em¬ployment of the pronoun. When the pronoun is used for reference, the uncertainty of the true antecedent may require a closer attention and a more frequent re¬current movement of the mind than most readers are willing to bestow. 3. Necessity of a Theme. Since the placing of one sentence after anoth( r does not constitute progress in discourse, unless the nexus between the succeeding parts is obvious, it is important that sentences should rise out of each other. True progress in discourse involves a constant move¬ment, either toward or away from some proposition or state of feeling in the writer's mind. Hence, every paragraph should have its theme. This may be stated at the beginning, and from it as a starting point the writer may make an excursion, gathering up facts, illustrations, and arguments, with which to enrich it ; or it may be withheld, and these materials may be first collected, and the theme deduced from them. But, in any case, there must be movement, and movement in a given direction, or there is a waste of interpreting power. 4. Value of Analysis. Not only every paragraph, but every group of para¬graphs should have a theme. A progressive and methodical analysis should, therefore, precede every synthetic effort. " It is from fault of plan," says Buffon, "it is from not having reflected upon his sub¬ject, that a man of mind finds himself embarrassed, and knows not where to commence to write. He perceives. at once a great number of ideas ; and, as he has neither compared nor subordinated them, nothing de¬termines him to prefer some to others ; he still remains in perplexity."