storms had come, when the gay, sensuous pagan life was gone, when men were not living by the senses and the understanding, when they were looking for the speedy coming of Anti-Christ, there appeared in Italy, to the north of Rome, in the beautiful Umbrian country, at the foot of the Apennines, a figure of most magical power and charm - St. Francis. MATTHEW ARNOLD. Ere man learned ere he framed To hew the shaft, and lay the architrave, BRYANT: A Forest Hymn. In reading the periodic sentence, one notes the effect of climax, and the superiority of this form over the loose in dignity, strength, and weight. Since, however, the periodic form is a departure from the usual English word-order and a device to secure an effect, it would be undesirable to make all the sentences of a composition periodic. Moreover, it would be impossible to make some sentences strictly periodic. We may say, however, that a writer has a "periodic style" when he frequently places the more important parts of the sentence after the subordinate parts, and thus secures the effect of sentence climax. The following sentence is not strictly periodic, because a time clause occurs after the main part of the sentence; yet the main verbs (go and list) are held so long in suspense that the sentence has the power and dignity of one truly periodic. When thoughts Of the last bitter hour come like a blight Of the stern agony, and shroud, and pall, And breathless darkness, and the narrow house, To Nature's teachings, while from all around - BRYANT: Thanatopsis. 2. SENTENCE INVERSION Any element out of its usual place in the sentence attracts attention, and therefore gains force. In the following sentences, the predicates (in whole or in part) stand before the subjects. Note the emphasis given the first words. Down dropped the thermometer! Up you go! There goes the express! Not once was he defeated. Him they loved. Flashed all their sabres bare. Observe the strong emotional effect gained by beginning the following sentences with their predicate adjectives. Great is Diana of the Ephesians. Fallen, fallen is Babylon the great. Fair as a summer dream was Margaret. Great is the mystery of space, greater is the mystery of time. Occasionally the inversion is made to secure coherence between two sentences. His friends took the necessary steps for placing him as an apprentice at some shop-keeper's in Penrith. This he looked upon as an indignity. (Quoted from Genung's Rhetoric.) Thus is the law of progress secured. - CARLYLE: Sartor Resartus. 3. LONG AND SHORT SENTENCES Some writers incline to very long sentences, some to shorter ones; most writers mix long and short sentences, for variety, and as the effects they desire to produce require the one or the other. Statements are often more easily understood when made in a succession of short sentences than when made in one long involved sentence. Short sentences make the style lively and animated. But too many of them in succession are abrupt, monotonous, and tiresome. The short sentence makes a bald statement, without modification, and is, therefore, likely to present a one-sided or incomplete view. See the study of Emerson's Essays in this volume. Long sentences have more dignity than short ones, and give a fine opportunity for climax. In the hands of the most skillful writers they produce a long sweep of rhythmic phrasing. A writer in the "periodic style" generally uses long sentences, elaborately constructed, holding a "flock of clauses" in suspense, and moving with stately rhythm (Minto). See the examples from Arnold and Bryant above. 4. THE BALANCED CONSTRUCTION When the clauses of a compound sentence are similar in form and weight, they are said to be Balanced. The heavens declare the glory of God, and the firmament showeth his handiwork. |