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Would the substitution, here, of a literal prose statement seriously weaken the effectiveness of the passage? Note particularly the selec- tions on pages 208-214 Are these personifications more effective than the ones m the eighteenth century poems? Try it, but be careful to make your figure fresh and convincing 11 What examples of onomatopoeia do you find m ap- pended passages?

Being large, heavy-wheeled, and metal-tired, it went noisily The student may then look up synonyms for noise, and after he has done so, he may reach the conclusion that the big green farm wagon clattered by Now where will the student most readily find the exact word?

Chap I 3 Study several other passages, both prose and verse, write my paper for me in 3 hours with special reference to euphony, cacophony, paraphrasing words and sentences and good taste 4 Reread one or more of your own compositions Can you, without sacrifice of clearness or accuracy, improve the euphony of any passages? How would you characterize the figures of speech on pages 217-218? In fact, there is not a word of genuine description m the entire paragraph Is Miss Pearson large or small? What can be said of her voice, her gait, her gestures, or her apparel? In the passage selected do you help writing term paper consider variety of sensations mdispen- 238 The College Writer sable or merely desirable? Could a painter have handled this scene as effectively as the writer has done? Do the houses stand close to the street or well back? What do the houses show as regards architecture, probable age, and state of repair? What peculiarities do you notice about the grounds? Notice, if possible, two adjacent houses of the same general type of architecture By what peculiarities of windows, doors, chimneys, etc, can you differentiate these houses?

Be sure to take copious written notes for future reference 2 Observe the mam street of your home town Which buildings are of brick? How many different varieties of sensations do you get as you pass along the street or stand at a given point on the street?

How do the fields differ as to vegetation or lack of vegetation? How many flowers can you identify, either with or without the aid of your book on botany? How many birds, either with or without your book on ornithology? Observe closely some obviously peculiar person Just what are his peculiarities? Observe, m the same way, some more conventional person 6 Describe the view from your window 7 write my research paper for free Describe from memory some scene that interested you on your summer vacation trip or on some other recent trip 8 Describe from memory a place that you have not visited since your childhood days 9 Describe from memory a scene m or near your home town 10 When next you visit your home town, describe the same scene from direct observation Do you not find that m doing Exercise 9 you missed some extremely write my research paper for free interesting and important details? It would take years to get acquainted with them all And swell people, tool A big fine gentleman m a new pink shirt with a diamond, and not no washed out blue denim work- ing shirt 4. The Technique of Description 261 Doors, where my heart was used to beat So quickly, waiting for a hand, A hand that can be clasped no more— Behold me, for I cannot sleep. And like a guilty thing I creep At earliest morning to the door He is not here but far away The noise of life begins again.

Comes as through crystal, then again is lost The sun strikes bitter on the frozen pane And all around there is a tingling, —tense As is the wire stretched upon a disc Vibrating without sound —It is the strain That Winter plays, to which each tree and fence.

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Why is the beginning of the description on page 296 particularly effective? Have you— especiallv in connection with Exercises 7 and 8, on page write my research paper for free 266— inadvertently used too much exposition?

Do anv of the ap pended passages contain an excessive amount of exposition?

Make a written or an oral report covering all or part of the investigations which you have conducted m connection with tins exercise 5 DESCRIPTION AS BACKGROUND FOR NARRATIVE The meager , the massed, or the interwoven background? If their appearance demands description in repose, how much more does it demand description when they are in action? If a man speaks at the moment he expects death, what does his voice sound like? If a man is suddenly confronted with a great danger, what is the expression of his face, the look m his eye, or the instinctive gesture?

If he moves toward his enemy, how does he appear when he so moves? The truth of the matter is that description and action are blended so as almost to defy analysis Dynamic description inherent m action— Just what is demanded of a writer when he presents an action? The Description of Action 4 RELATION OF DESCRIPTION TO PLOT Action alone? Are you 4 Copyright Houghton Mifflin Co Reprinted by permission 328 The College Writer expecting him out? Was she to go and sit at the head of that shining table down m the dining-room? If the story is in the third person, is the author 394 The College Writer omniscient with all the characters, or is he objective with some or all of them?

Just what is the relation of the title to the story? Are the names of the places and of the characteis convincing? Am I inclined to sketch happenings write my research paper for free without being vivid? If so, with what characters, m what situations, and how?

Was it natural that they should talk about these things, or do they seem dragged m? Does Grant show any signs of native but untutored oratorical ability? If one or the other prevails, to what extent is the other present? If so, in what do this superiority and depth consist? Third Short Story Assignment Reach a decision as to the following points for the writing of the short story to be assigned after you have studied the next chapter The present decisions, of course, are provi- sional and may be changed whenever you get a better idea Recoid, however, your present conclusions m your notebook a Is my story to be a story primarily of situation or of character? To what extent will occupation or national- ity or intellectual attainment determine their speech? How shall I effectively and truly represent their moods? The answer is easy He certainly might fall m love with her if an uneducated slave girl, daughter of a sordid mother, could possibly be like the wonderful heroine whom Kipling so delightfully portrays But is such a girl plausible? If they begin promptly with scenes, when and how is the necessary exposition introduced? Do the stones by implication illustrate any moral, or social, or 432 The College Writer philosophical truths?

Just what is the reaction pro- duced m your mind by each story?

If I begin with an exposition, can I make that exposition interesting? If I begin with a definite scene, will it be possible for me to interweave or in- troduce at a later point the necessary material?

Can I improve my story by a rigid elimination of some of this material? If so, what phases shall I accen- tuate and what phases shall I subordinate to gam this effect?

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