Graded Lessons in English by Alonzo Reed and Brainerd Kellogg (find a book to read .TXT) 📖

Find the subject noun (or pronoun) and the predicate verb in each of the four sentences above. Does the whistles completed make complete sense? You learned in Lesson 16 that some forms of the verb do not assert—cannot be predicates. Does brook hidden, in 3, contain a predicate? What can you say of hidden? Find a noun in 3 used to complete the predicate and make the meaning of the subject plainer. What group of adjectives modifies place? Tell why these three adjectives are separated by commas. What long phrase describes place?

Find the first verb in the second paragraph of the selection. What is the object complement of this verb? That bore the “Jacks” does what? The pronoun that stands for plant. The plant bore the “Jacks,” standing by itself, is a complete sentence; but by using that for plant the whole expression is made to do the work of an adjective. What conjunction joins on another expression that by itself would make a complete sentence? What are the subject and the predicate of this added sentence? By a piercing shriek of delight does what? Of what use are the phrases at first and toward the brook in sentence 2? What group of words is joined to looked to tell on what occasion or how often? Find in this group a subject, a predicate, and an object complement. What connects this group to looked? What two sentences does but here bring together? Does the semicolon show that this connection is close? Point out what you think to be the leading subject and the leading verb after but. By some exquisite ferns is joined to what? What group of words goes with was diverted to tell when? Find in this group a subject, a predicate, and an attribute complement. Point out in the first part of 3 the leading subject and its verb. What does suddenly go with? What does of shrieks modify? However is loosely thrown in to carry the attention back to what goes before. Notice the commas. Answer the question made by putting what after announced. In this group of words used as object complement can you find a subject, a predicate, and a complement? What two sentences does and here bring together? Point out the subject, the predicate, and the complement in the second of these. Across a large fern is joined like an adverb to what? In a great deal of agony modifies what? Find a compound predicate in 4. What phrase is joined to was imbedded to tell where? The group of words as deeply as Toddie was (imbedded) is joined to what? Find in 5 a compound predicate made up of three verbs, one of which has an object complement.

+To the Teacher+.—See suggestions with the preceding selection. If our exercises on the second paragraph above are found too hard, the compound and complex sentences may be broken up into single statements.

We have indicated elsewhere that this sentence work may follow Lesson 40.

+The Narrative+.—This selection from “Helen’s Babies” is a story and therefore a narrative. But there are some descriptive touches in it. All stories must have such touches. Perhaps it is not always essential to distinguish between narration and description, but it is worth your while to do it occasionally. Try to point out the descriptive parts in these paragraphs. You certainly can find a descriptive sentence in the first paragraph, and descriptive words, phrases, and clauses throughout the selection. What help to the narrative do these descriptive touches give?

+The Paragraphs+.—What have you learned about the sentences that make up one paragraph? Are the paragraphs more, or less, closely related than the sentences of each paragraph? Why? Examine these paragraphs and see whether any sentences can be changed from one paragraph to another. If you think they can, give your reason. Is the order of these paragraphs the right one? Can the order anywhere be changed without throwing the story out of joint? Why?

+The General Topic and the Sub-topics+.—We shall find that every composition has its general subject and that each paragraph in the composition bus its own particular subject. Let us call the subject of the whole composition the general topic. Sub means under, and so let us call the point which each paragraph develops a sub-topic. In the story above we may find some such outline as the following:—

AN EXCURSION IN SEARCH OF “JACKS.” 1. The Place where Jacks Grow. 2. The Mishap to the Excursionists. 3. The Uncle Takes his Seriously. 4. His Attempt at Repairs.

Do you think that such a framework helps a writer to tell his story? Do you not think that each sub-topic must suggest some thoughts that the general topic alone would not suggest? If you keep clearly before you the sub-topic of your paragraph, what effect do you think it will have on the thoughts and the sentences of that paragraph? With a good framework clearly before you, must not your story move along in an orderly way from a beginning to an end? Have you ever heard stories badly told? If so, what were the faults?

ORIGINAL COMPOSITION.

Have you not had some experience that you can work up into a good story? If you have, tell the story upon paper, making use of the instruction we have given you in our talk above.

+To the Teacher+.—Perhaps a reproduction of the story above may be profitable.

EXERCISES ON THE COMPOSITION OF THE SENTENCE AND THE PARAGRAPH.

SELECTION FROM GEORGE ELIOT.

And this is Dovecote Mill. I must stand a minute or two here on the bridge and look at it, though the clouds are threatening and it is far on in the afternoon. Even in this leafless time of departing February, it is pleasant to look at it. Perhaps the chill, damp season adds a charm to the trimly-kept building, as old as the elms and chestnuts that shelter it from the northern blast.

The stream is brimful now, and half drowns the grassy fringe in front of the house. As I look at the stream, the vivid grass, the delicate, bright green softening the outline of the great trunks and branches that gleam from under the bare purple boughs, I am in love with moistness, and envy the white ducks that are dipping their heads far into the water, unmindful of the awkward appearance in the drier world above.

1. And now there is the huge covered wagon, coming home with sacks of grain. 2. That honest wagoner is thinking of his dinner, which is getting sadly dry in the oven at this late hour; but he will not touch it till he has fed his horses—the strong, submissive beasts, who, I fancy, are looking mild reproach at him from between their blinkers, that he should crack his whip at them in that awful manner, as if they needed such a hint! 3. See how they stretch their shoulders up the slope toward the bridge, with all the more energy because they are so near home. 4. Look at their grand, shaggy feet, that seem to grasp the firm earth, at the patient strength of their necks bowed under the heavy collar, at the mighty muscles of their struggling haunches. 5. I should like to see them, with their moist necks freed from the harness, dipping their eager nostrils into the pond.

+The Uses of Words and Groups of Words+.—Notice that in sentence 1, third paragraph, the subject is placed after the predicate. Tell what now and there do. Coming home with sacks of grain does what? Does coming express action? Does it assert action? What is it? What does home do? Put its before home and then read the whole phrase. What other change do you find necessary? A noun is sometimes used alone to do the work of an adverb phrase, the preposition being omitted. What is the office of minute in the second sentence of the first paragraph? What preposition could be put in? In 2, third paragraph, the pronoun which stands for dinner. Read the sentence, using the noun instead of the pronoun. Have you now two sentences, or one? You see that which not only stands for dinner, but it joins on a sentence so as to make it describe the dinner. What does till he has fed his horses do? Omitting till, would this group of words be a sentence? What, then, joins this group, and makes it do the work of an adverb? Notice the dash after horses. The writer here breaks off rather suddenly and begins again, using beasts instead of horses. To beasts are added many descriptive words. You will learn that this noun beasts added to the noun horses is called an explanatory modifier. Notice that I fancy is thrown in loosely or independently and is set off by commas. All the other words beginning with who and ending with hint are joined by who to beasts. Notice that the writer makes these beasts think like persons, and so uses who instead of which or that. Do we ordinarily speak of looking anything? In who are looking reproach, what is the object complement of are looking? What long group of words made up of two sentences tells why the beasts are looking reproach? Read separately the main divisions of 2. What conjunction connects these? Is one of these divisions itself divided into parts by commas? Should, then, some mark of wider separation be put between the main divisions of 2? To build so long a sentence as 2 is venturesome. We advise young writers not to make such attempts. It is hard to write very long sentences and keep the meaning clear. In 3 the subject of see is you, which is generally omitted in a command. You are here told to see what? Break this long object complement up into two sentences. What do the horses stretch? Where do they stretch their shoulders? How do they stretch? Why do they stretch with more energy? What is the subject of look in 4? The phrase beginning with at and ending with earth does what? Find two other long phrases introduced by at and tell what they do. That seem to grasp the firm earth goes with what? Put the noun feet in place of the pronoun that and make a separate sentence of this group. What word, then, makes an adjective modifier of this sentence and joins it to feet? Does to grasp assert action? What do you call it? It is here used as attribute complement. Bowed under the heavy collar describes what? Does bowed assert action? What do you call it?

+To the Teacher+.—If time permits, we believe that such exercises as the above may profitably be continued. This sentence work may perhaps best follow Lesson 50. See suggestions with preceding exercises.

+Descriptive Writing+.—This extract from the novelist who called herself “George Eliot” we have slightly changed for our purpose. It is purely +descriptive+. It is a painting in words—a vivid picture of a very pretty scene. How grateful we are to those who can, as it were, turn a page of a book into canvas, and paint on it a rich verbal picture that delights us every time we read it or recall it! How many such pictures there are in our libraries! And how little they cost us when compared with those that we buy and