The sentences given under I. are more idiomatic and more agreeable to the ear than those given under II.

In the CHOICE, in the NUMBER, and in the ORDER of words in a sentence, study the reader's EASE.

Chapter VI.

UNITY

SECTION I.

IMPORTANCE OF UNITY

A WELL-CONSTRUCTED sentence contains one and but one leading thought, and presents it from one and but one point of view. Being free from heterogeneous matter, it does not confuse; being complete in itself, it is easily grasped. Words ceasing to be individual words merge their separate existence in the life of the sentence, and the reader, instead of toiling from word to word, takes in the whole thought at a glance.

The importance of unity can hardly be over-estimated. Other qualities are useful to a writer; but without this he can never achieve the highest success. With it, he will certainly be clear, and he may be effective.

Unity in expression grows out of unity in thought. A writer who is in the habit of keeping together in his mind things which belong together is more likely to form his sentences on a similar principle than one whose mind is a scene of confusion. He, then, who would secure unity in his language must have it in his thought.

SECTION II.

UNITY IN POINT OF FORM

A sentence that contains but one leading thought, and is therefore a unit in substance, may be so arranged that it seems to contain more than one leading thought, and is therefore not a unit in form.

Change in Point of View. Sometimes a sentence lacks unity of form because it is so arranged as to force, or seem to force, the reader to change his point of view.

This sentence as originally written suffers not only from redundancy, weakness, and clumsiness, but also from lack of unity caused by a change of construction in the "as if " clause. Up to this point, the writer, by making Darcy the principal subject, has kept him before the reader's mind; but when, after mentioning Miss Bennet, he begins to speak of a "sacrifice," it is not at first clear by whom it is to be made. When the reader gets to "his," he finds out that Darcy is to make the sacrifice; but the momentary perplexity destroys the unity of impression which a writer should produce.

Other Forms of Incoherence.

- A change in the point of

view is a serious sin against unity of form; but it is not the

only one.

I.

Rosalind carries out her part to the very end, — to the scene in which she declares that she has love "for no woman."

II.

Rosalind carries out her part to the very end making her apparent refusal as to marrying in her reply, "And I no woman."

In the last example, by beginning the second clause with "to the scene," we carry on and explain the idea of the first clause. In the sentence as originally written, the connection between what precedes and what follows "end” is far from clear.

I.

Salmon and trout abound, - a fact duly appreciated by several

of our party.

II.

Salmon and trout abound and this fact was duly appreciated by several of our party.

In this example, by omitting "and," and by putting “a fact" in apposition with the clause "salmon and trout abound," we show that "a fact" sums up this clause.

I.

Going nearer, he was astonished to find that the ghost of his father-in-law was restlessly wandering up and down.

II.

He went nearer and was astonished to find that the ghost of his father-in-law was restlessly wandering up and down.

In this example, the principal idea is expressed by "was astonished to find," etc. "He went nearer" is subordinate in thought, but not in form; "going nearer" is subordi nate in both thought and form. A sentence in which a subordinate idea is treated as if it were on the same level of importance with the leading idea is deficient in clearness and force, as well as in unity."

1 See page 214.

2 See page 232.