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III. Concord.

IV. Words with
Antecedents.

V. Correlation.

VI. Precautions for Clearness.

29. Do not let intervening words disturb agreement of verb and subject.

30. Make pronoun

and antecedent agree

in number and kind.

31. Treat collectives by sense rather than by grammar.

32. Be watchful of subjects with conjunctions.

33. Make the antecedent prominent enough to be readily identified.

34. Make the reference definite enough to single out the exact idea intended.

35. Be mindful of the office of your relative.

36. Be wise in using coördinate form for restrictive office.

37. Prepare for an important alternative or inference by correlating connectives.

38. Study correct usage in choosing particles of correlation.

39. Follow not. but, not only . . . but
[also] by the same part of speech.
40. Do not leave out any form that is
not accurately implied.

41. In condensing a clause, be wise to
retain particles of relation.
42. Repeat whatever is necessary to

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I. Force.

III. SPECIAL OBJECTS IN STYLE.

II. Emphasis.

III. Rapidity.

45. For vigor of vocabulary, use plain words.

46. To give force to single words, make them specific.

47. For weighty force, cut away modifiers.

48. For abrupt force, cut away connectives.

49. For condensed force, cut down phrases and clauses to equivalent

words.

50. To add emphasis to a principal element, invert its sentence order. 51. To add emphasis to a modifier, place it after its principal.

52. To push expectation toward the end, put preliminaries first.

53. To add emphasis to a conditional clause, place it last.

54. Make successive terms advance from weaker to stronger.

55. For balance and distinction, repeat important words.

56. To touch an idea lightly, express it in comprehensive terms.

57. To make a clause or phrase rapid, give its substance in implication or by epithet.

58. Study how to pass lightly over relative clauses.

59. To make a subordinate clause unobtrusive, bury it within the sen

tence.

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I. Unity of the
Sentence.

II. Punctuation of the Sentence.

III. Organism of the Sentence.

IV. Kinds of Sen

tences.

IV. THE SENTENCE.

74. Make your sentence embody one main idea.

75. Test a composite thought by the relation of its clauses.

76. Test a group-thought by time, scene, or common bearing.

77. Designate expectation by the colon. 78. Set off members of a composite or group-thought by the semicolon. 79. Mark the natural pauses in the sense by the comma.

80. Mark an abrupt change or addition by the dash.

81. Begin with what it is most advisable to think of first.

82. End with words that deserve distinc

tion.

83. Join matters that belong to the same thought; separate what is distinct. 84. Give like form to matters like in significance.

85. Secure exact shades of relation by connectives.

86. For vigor and emphasis use short

sentences.

87. For detail and rhythm, use long

sentences.

88. To maintain attention and interest,

use periodic sentences.

89. For informal ease and naturalness, use loose sentences.

90. For point and antithesis, use balanced sentences.

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