ElementsofStyle读书笔记(1)----英语写作
The Elements of Style中国学生一般不知道的英文写作要点
Jonathan SiMrs. TheauxBritish literatureJune 22, 12The Elements of StyleThe first principle I learned from The Elements of Style is called “Make the paragraph the unit of composition: one paragraph to each topic.” If I just try to write a subject briefly, there is no need of subdividing it into topics. And if a subject requires subdividing into topics, each of topics should be started in a new paragraph. I think subdivision is a crucial point for the well-developed papers. Because the appropriate subdivision could help readers not only notice they have reached to a new step of the subject, but also understand the main point of whole subject easily.Secondly, use definite, specific, concrete language. This principle could be concluded in one sentence, prefer the specific to the general, the definite to the vague, the concrete to the abstract. For example, comparing with “A period of unfavorable weather set in.” and “It rained everyday for a week. Undoubtedly, the former makes readers feel tedious, ambiguous, and indirectly. Thus, the obscure and perplexing sentences could not make a better effectiveness than the clear and direct sentences. According to the history, both Homer and Shakespeare, results from their constant definiteness and concreteness.Thirdly, in summarizing whatever a story, or novel the writer should better to use the present tense. And if the summary is in present tense, precedent action should bein perfect tense; as for the past thing, the sentence should be written in past perfect. Except the writer exceptions noted, which tense the writerpicks, he or she should use throughout, or the writer’s change would probably confuse the readers. For instance, in summarizing an essay, the writer should avert using the expressions such as, “he said”, “Aristotle stated”.The last element I learned in this book is named, Syllabication. This part is teaching us to cut off a word, which has more than two letters, if there is no enough room for the whole word in the end of the line. Though syllabication looks like a trivial in an essay, it can help us get closer to the perfection. The principles of syllabication are as follow.(A)Divide the word according to its formation:know-ledge, hemi-sphere, meta-bolism, Shake-speare, Frank-lin,(B)Di vide “on the vowel”:edi-ble, awk-ward, classi-fi-ca-tion(C)Divide between double letters, unless they come at the end of the simple form of the word:Cincin-nati, refer-ring, op-ponant, con-notation (but tell-ing)(D)Do not divide before final –ed if the e is silent.treat-ed (but roam-ed, nam-ed)。
The Elements of Style
8. Divide words at line-ends, in accordance with their formation and pronunciation . 10
III ELEMENTARY PRINCIPLES OF COMPOSITION
13
9. Make the paragraph the unit of composition: one paragraph to each topic . . . . 13
13. Omit needless words . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
14. Avoid a succession of loose sentences . . . . . . . . . . . . . . . . . . . . 23
5. Do not join independent clauses by a comma . . . . . . . . . . . . . . . . . . 7
6. Do not break sentences in two . . . . . . . . . . . . . . . . . . . . . . . . . 8
11. Use the active voice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
12. Put statements in positive form . . . . . . . . . . . . . . . . . . . . . . . . 20
The book covers only a small portion of the field of English style, but the experience of its writer has been that once past the essentials, students profit most by individual instruction based on the problems of their own work, and that each instructor has his own body of theory, which he prefers to that offered by any textbook.
the elements of style讲的内容
the elements of style讲的内容"The Elements of Style" is a renowned book on writing and grammar usage, authored by William Strunk Jr. and later revised by E.B. White. This influential guide provides writers with essential principles to improve their writing style. It emphasizes clarity, conciseness, and proper grammar usage. In this article, we will delve into the key concepts discussed in "The Elements of Style."1. Clarity: The book stresses the importance of clear communication. Writers should strive to express their ideas in a concise and straightforward manner, avoiding unnecessary wordiness or ambiguity. By choosing precise and familiar words, writers can effectively convey their message to readers.2. Conciseness: "The Elements of Style" advocates for brevity in writing. It advises writers to omit unnecessary words, avoid redundancy, and eliminate excessive details that do not contribute to the overall message. Concise writing not only saves readers' time but also enhances the impact of the content.3. Grammar and Usage: The book extensively covers grammar rules and offers guidance on common pitfalls writers may encounter. It emphasizes the correct use of punctuation, verb tenses, pronouns, and other essential grammatical elements. Proper grammar enhances readability and credibility, ensuring that the writer's message is accurately conveyed.4. Active Voice and Strong Verbs: "The Elements of Style" promotes the use of active voice and strong verbs to create lively and engaging prose. Active voice makes sentences more direct and dynamic, while strong verbs help express action with precision and vigor.5. Sentence Structure: The book provides insights on constructing well-formed sentences. It cautions against lengthy, convoluted sentences and encourages breaking them into shorter, more manageable ones. Varying sentence structures, using both simpleand complex sentences, helps to maintain readers' interest and supports the flow of the text.6. Writing with Purpose: "The Elements of Style" emphasizes the importance of writing with a clear purpose and target audience in mind. Tailoring the content to meet the needs of the readers ensures that the message resonates effectively and achieves its intended goal."The Elements of Style" has become a staple resource for writers of all levels, from students to professionals. Its teachings serve as a compass, guiding writers towards improved clarity and enhanced writing style. By adhering to the principles presented in this legendary guide, one can elevate their writing skills and effectively communicate their ideas to readers.。
英文写作经典《TheElementofStyle》
The Element of StyleForeword*THE FIRST writer I watched at work was my stepfather, E. B. White. Each Tuesday morning, he would close his study door and sit down to write the "Notes and Comment" page for The New Yorker. The task was familiar to him —he was required to file a few hundred words of editorial or personal commentary on some topic in or out of the news that week —but the sounds of his typewriter from his room came in hesitant bursts, with long silences in between. Hours went by. Summoned at last for lunch, he was silent and preoccupied, and soon excused himself to get back to the job. When the copy went off at last, in the afternoon RFD pouch —we were in Maine, a day's mail away from New York —he rarely seemed satisfied. "It isn't good enough," he said sometimes. "I wish it were better."Writing is hard, even for authors who do it all the time. Less frequent practitioners —the job applicant; the business executive with an annual report to get out; the high school senior with a Faulkner assignment; the graduate-school student with her thesis proposal; the writer of a letter of condolence —often get stuck in an awkward passage or find a muddle on their screens, and then blame themselves. What should be easy and flowing looks tangled or feeble or overblown —not what was meant at all. What's wrong with me, each one thinks. Why can't I get this right?It was this recurring question, put to himself, that must have inspired White to revive and add to a textbook by an English professor of his, Will Strunk Jr., that he had first read in college, and to get it published. The result, this quiet book, has been in print for forty years, and has offered more than ten million writers a helping hand. White knew that a compendium of specific tips —about singular and plural verbs, parentheses, the "that" —"which" scuffle, and many others —could clear up a recalcitrant sentence or subclause when quickly reconsulted, and that the larger principles needed to be kept in plain sight, like a wall sampler.How simple they look, set down here in White's last chapter: "Write in a way that comes naturally," "Revise and rewrite," "Do not explain too much," and the rest; above all, the cleansing, clarion "Be clear." How often I have turned to them, in the book or in my mind, while trying to start or unblock or revise some piece of my own writing! They help —they really do. They work. They are the way.E. B. White's prose is celebrated for its ease and clarity —just think of Charlotte's Web —but maintaining this standard required endless attention. When the new issue of The New Yorker turned up in Maine, I sometimes saw him reading his "Comment" piece over to himself, with only a slightly different expression than the one he'd worn on the day it went off. Well, O.K., he seemed to be saying. At least I got the elements right.This edition has been modestly updated, with word processors and air conditioners making their first appearance among White's references, and with a light redistribution of genders to permit a feminine pronoun or female farmer to take their places among the males who once innocently served him. Sylvia Plath has knocked Keats out of the box, and I notice that "America" has become "this country" in a sample text, to forestall a subsequent and possibly demeaning "she" in the same paragraph. What is not here is anything about E-mail —the rules-free, lower-case flow that cheerfully keeps us in touch these days. E-mail is conversation, and it may be replacing the sweet and endless talking we once sustained (and tucked away) within the informal letter. But we are all writers and readers as well as communicators, with the need at times to please and satisfy ourselves (as White put it) with the clear and almost perfect thought.Roger AngellIntroduction*AT THE close of the first World War, when I was a student at Cornell, I took a course called English 8. My professor was William Strunk Jr. A textbook required for the course was a slim volume called The Elements of Style , whose author was the professor himself. The year was 1919. The book was known on the campus in those days as "the little book," with the stress on the word "little." It had been privately printed by the author.(* E. B. White wrote this introduction for the 1979 edition.)I passed the course, graduated from the university, and forgot the book but not the professor. Some thirty-eight years later, the book bobbed up again in my life when Macmillan commissioned me to revise it for the college market and the general trade. Meantime, Professor Strunk had died.The Elements of Style, when I reexamined it in 1957, seemed to me to contain rich deposits of gold. It was Will Strunk's parvum opus, his attempt to cut the vast tangle of English rhetoricdown to size and write its rules and principles on the head of a pin. Will himself had hung the tag "little" on the book; he referred to it sardonically and with secret pride as "the little book," always giving the word "little" a special twist, as though he were putting a spin on a ball. In its original form, it was a forty-three page summation of the case for cleanliness, accuracy, and brevity in the use of English. Today, fifty-two years later, its vigor is unimpaired , and for sheer pith I think it probably sets a record that is not likely to be broken. Even after I got through tampering with it, it was still a tiny thing, a barely tarnished gem. Seven rules of usage, eleven principles of composition, a few matters of form, and a list of words and expressions commonly misused —that was the sum and substance of Professor Strunk's work. Somewhat audaciously, and in an attempt to give my publisher his money's worth, I added a chapter called "An Approach to Style," setting forth my own prejudices, my notions of error, my articles of faith. This chapter (Chapter V) is addressed particularly to those who feel that English prose composition is not only a necessary skill but a sensible pursuit as well —a way to spend one's days. I think Professor Strunk would not object to that.A second edition of the book was published in 1972. I have now completed a third revision. Chapter IV has been refurbished with words and expressions of a recent vintage; four rules of usage have been added to Chapter I. Fresh examples have been added to some of the rules and principles, amplification has reared its head in a few places in the text where I felt an assault could successfully be made on the bastions of its brevity, and in general the book has received a thorough overhaul —to correct errors, delete bewhiskered entries, and enliven the argument.Professor Strunk was a positive man. His book contains rules of grammar phrased as direct orders. In the main I have not tried to soften his commands, or modify his pronouncements, or remove the special objects of his scorn. I have tried, instead, to preserve the flavor of his discontent while slightly enlarging the scope of the discussion. The Elements of Style does not pretend to survey the whole field. Rather it proposes to give in brief space the principal requirements of plain English style. It concentrates on fundamentals: the rules of usage and principles of composition most commonly violated.The reader will soon discover that these rules and principles are in the form of sharp commands, Sergeant Strunk snapping orders to his platoon. "Do not join independent clauses with a comma." (Rule 5.) "Do not break sentences in two." (Rule 6.) "Use the active voice." (Rule 14.) "Omit needless words." (Rule 17.) "Avoid a succession of loose sentences." (Rule 18.) "In summaries, keep to one tense." (Rule 21.) Each rule or principle is followed by a short hortatory essay, and usually the exhortation is followed by, or interlarded with, examples inparallel columns —the true vs. the false, the right vs. the wrong, the timid vs. the bold, the ragged vs. the trim. From every line there peers out at me the puckish face of my professor, his short hair parted neatly in the middle and combed down over his forehead, his eyes blinking incessantly behind steel-rimmed spectacles as though he had just emerged into strong light, his lips nibbling each other like nervous horses, his smile shuttling to and fro under a carefully edged mustache."Omit needless words!" cries the author on page 23, and into that imperative Will Strunk really put his heart and soul. In the days when I was sitting in his class, he omitted so many needless words, and omitted them so forcibly and with such eagerness and obvious relish, that he often seemed in the position of having shortchanged himself —a man left with nothing more to say yet with time to fill, a radio prophet who had out-distanced the clock. Will Strunk got out of this predicament by a simple trick: he uttered every sentence three times. When he delivered his oration on brevity to the class, he leaned forward over his desk, grasped his coat lapels in his hands, and, in a husky, conspiratorial voice, said, "Rule Seventeen. Omit needless words! Omit needless words! Omit needless words!"He was a memorable man, friendly and funny. Under the remembered sting of his kindly lash, I have been trying to omit needless words since 1919, and although there are still many words that cry for omission and the huge task will never be accomplished, it is exciting to me to reread the masterly Strunkian elaboration of this noble theme. It goes:Vigorous writing is concise. A sentence should contain no unnecessary words, a paragraph no unnecessary sentences, for the same reason that a drawing should have no unnecessary lines and a machine no unnecessary parts. This requires not that the writer make all sentences short or avoid all detail and treat subjects only in outline, but that every word tell.There you have a short, valuable essay on the nature and beauty of brevity —fifty-nine words that could change the world. Having recovered from his adventure in prolixity (fifty-nine words were a lot of words in the tight world of William Strunk Jr.), the professor proceeds to give a few quick lessons in pruning. Students learn to cut the dead-wood from "this is a subject that," reducing it to "this subject," a saving of three words. They learn to trim "used for fuel purposes" down to "used for fuel." They learn that they are being chatterboxes when they say "the question as to whether" and that they should just say "whether" —a saving of four words out of a possible five.The professor devotes a special paragraph to the vile expression the fact that, a phrase thatcauses him to quiver with revulsion. The expression, he says, should be "revised out of every sentence in which it occurs." But a shadow of gloom seems to hang over the page, and you feel that he knows how hopeless his cause is. I suppose I have written the fact that a thousand times in the heat of composition, revised it out maybe five hundred times in the cool aftermath. To be batting only .500 this late in the season, to fail half the time to connect with this fat pitch, saddens me, for it seems a betrayal of the man who showed me how to swing at it and made the swinging seem worthwhile.I treasure The Elements of Style for its sharp advice, but I treasure it even more for the audacity and self-confidence of its author. Will knew where he stood. He was so sure of where he stood, and made his position so clear and so plausible, that his peculiar stance has continued to invigorate me —and, I am sure, thousands of other ex-students —during the years that have intervened since our first encounter. He had a number of likes and dislikes that were almost as whimsical as the choice of a necktie, yet he made them seem utterly convincing. He disliked the word forceful and advised us to use forcible instead. He felt that the word clever was greatly overused: "It is best restricted to ingenuity displayed in small matters." He despised the expression student body, which he termed gruesome, and made a special trip downtown to the Alumni News office one day to protest the expression and suggest that studentry be substituted —a coinage of his own, which he felt was similar to citizenry. I am told that the News editor was so charmed by the visit, if not by the word, that he ordered the student body buried, never to rise again. Studentry has taken its place. It's not much of an improvement, but it does sound less cadaverous, and it made Will Strunk quite happy.Some years ago, when the heir to the throne of England was a child, I noticed a headline in the Times about Bonnie Prince Charlie: "CHARLES' TONSILS OUT." Immediately Rule 1 leapt to mind.1. Form the possessive singular of nouns by adding 's. Follow this rule whatever the final consonant. Thus write,Charles's friendBurns's poemsthe witch's maliceClearly, Will Strunk had foreseen, as far back as 1918, the dangerous tonsillectomy of a prince, in which the surgeon removes the tonsils and the Times copy desk removes the final s. He started his book with it. I commend Rule 1 to the Times, and I trust that Charles's throat, not Charles' throat, is in fine shape today.Style rules of this sort are, of course, somewhat a matter of individualpreference, and even the established rules of grammar are open to challenge. Professor Strunk, although one of the most inflexible and choosy of men, was quick to acknowledge the fallacy of inflexibility and the danger of doctrine. "It is an old observation," he wrote, "that the best writers sometimes disregard the rules of rhetoric. When they do so, however, the reader will usually find in the sentence some compensating merit, attained at the cost of the violation. Unless he is certain of doing as well, he will probably do best to follow the rules."It is encouraging to see how perfectly a book, even a dusty rule book, perpetuates and extends the spirit of a man. Will Strunk loved the clear, the brief, the bold, and his book is clear, brief, bold. Boldness is perhaps its chief distinguishing mark. On page 26, explaining one of his parallels, he says, "The lefthand version gives the impression that the writer is undecided or timid, apparently unable or afraid to choose one form of expression and hold to it." And his original Rule 11 was "Make definite assertions." That was Will all over. He scorned the vague, the tame, the colorless, the irresolute. He felt it was worse to be irresolute than to be wrong. I remember a day in class when he leaned far forward, in his characteristic pose —the pose of a man about to impart a secret —and croaked, "If you don't know how to pronounce a word, say it loud! If you don't know how to pronounce a word, say it loud!" This comical piece of advice struck me as sound at the time, and I still respect it. Why compound ignorance with inaudibility? Why run and hide?All through The Elements of Style one finds evidences of the author's deep sympathy for the reader. Will felt that the reader was in serious trouble most of the time, floundering in a swamp, and that it was the duty of anyone attempting to write English to drain this swamp quickly and get the reader up on dry ground, or at least to throw a rope. In revising the text, I have tried to hold steadily in mind this belief of his, this concern for the bewildered reader.In the English classes of today, "the little book" is surrounded by longer, lower textbooks —books with permissive steering and automatic transitions. Perhaps the book has become something of a curiosity. To me, it still seems to maintain its original poise, standing, in a drafty time, erect, resolute, and assured. I still find the Strunkian wisdom a comfort, theStrunkian humor a delight, and the Strunkian attitude toward right-and- wrong a blessing undisguised.1979The Elements of StyleIElementary Rules of Usage1. Form the possessive singular of nouns by adding 's.Follow this rule whatever the final consonant. Thus write,Charles's friendBurns's poemsthe witch's maliceExceptions are the possessives of ancient proper names ending in -es and -is, the possessive Jesus', and such forms as for conscience' sake, for righteousness' sake. But such forms as Moses' Laws, Isis' temple are commonly replaced bythe laws of Mosesthe temple of IsisThe pronominal possessives hers, its, theirs, yours, and ours have no apostrophe. Indefinite pronouns, however, use the apostrophe to show possession.one's rightssomebody else's umbrellaA common error is to write it's for its, or vice versa. The first is a contraction, meaning "it is." The second is a possessive.It's a wise dog that scratches its own fleas.2. In a series of three or more terms with a single conjunction, use a comma after each term except the last.Thus write,red, white, and blue gold, silver, or copperHe opened the letter, read it, and made a note of its contents.This comma is often referred to as the "serial" comma. In the names of business firms the last comma is usually omitted. Follow the usage of the individual firm.Little, Brown and Company Donaldson, Lufkin & Jenrette3. Enclose parenthetic expressions between commas.The best way to see a country, unless you are pressed for time, is to travel on foot.This rule is difficult to apply; it is frequently hard to decide whether a single word, such as however, or a brief phrase is or is not parenthetic. If the interruption to the flow of the sentence is but slight, the commas may be safely omitted. But whether the interruption is slight or considerable, never omit one comma and leave the other. There is no defense for such punctuation asMarjories husband, Colonel Nelson paid us a visit yesterday.orMy brother you will be pleased to hear, is now in perfect health.Dates usually contain parenthetic words or figures. Punctuate as follows:February to July, 1992April 6, 1986Wednesday, November 14, 1990Note that it is customary to omit the comma in6 April 1988The last form is an excellent way to write a date; the figures are separated by a word and are, for that reason, quickly grasped.A name or a title in direct address is parenthetic.If, Sir, you refuse, I cannot predict what will happen.Well, Susan, this is a fine mess you are in.The abbreviations etc., i.e., and e.g., the abbreviations for academic degrees, and titles that follow a name are parenthetic and should be punctuated accordingly.Letters, packages, etc., should go here.Horace Fulsome, Ph.D., presided.Rachel Simonds, AttorneyThe Reverend Harry Lang, S.J.No comma, however, should separate a noun from a restrictive term of identification.Billy the KidThe novelist Jane AustenWilliam the ConquerorThe poet SapphoAlthough Junior, with its abbreviation Jr., has commonly been regarded as parenthetic, logic suggests that it is, in fact, restrictive and therefore not in need of a comma.James Wright Jr.Nonrestrictive relative clauses are parenthetic, as are similar clauses introduced by conjunctions indicating time or place. Commas are therefore needed. A nonrestrictive clause is one that does not serve to identify or define the antecedent noun.The audience, which had at first been indifferent, became more and more interested.In 1769, when Napoleon was born, Corsica had but recently been acquired by France.Nether Stowey, where Coleridge wrote The Rime of the Ancient Mariner, is a few miles from Bridgewater.In these sentences, the clauses introduced by which, when, and where are nonrestrictive; they do not limit or define, they merely add something. In the first example, the clause introduced by which does not serve to tell which of several possible audiences is meant; the reader presumably knows that already. The clause adds, parenthetically, a statement supplementing that in the main clause. Each of the three sentences is a combination of two statements that might have been made independently.The audience was at first indifferent. Later it became more and more interested.Napoleon was born in 1769. At that time Corsica had but recently been acquired by France.Coleridge wrote The Rime of the Ancient Mariner at Nether Stowey. Nether Stowey is a few miles from Bridgewater.Restrictive clauses, by contrast, are not parenthetic and are not set off by commas. Thus, People who live in glass houses shouldn't throw stones.Here the clause introduced by who does serve to tell which people are meant; the sentence, unlike the sentences above, cannot be split into two independent statements. The same principle of comma use applies to participial phrases and to appositives.People sitting in the rear couldn't hear, (restrictive)Uncle Bert, being slightly deaf, moved forward, (non-restrictive)My cousin Bob is a talented harpist, (restrictive)Our oldest daughter, Mary, sings, (nonrestrictive)When the main clause of a sentence is preceded by a phrase or a subordinate clause, use acomma to set off these elements.Partly by hard fighting, partly by diplomatic skill, they enlarged their dominions to the east and rose to royal rank with the possession of Sicily.4. Place a comma before a conjunction introducing an independent clause.The early records of the city have disappeared, and the story of its first years can no longer be reconstructed.The situation is perilous, but there is still one chance of escape.Two-part sentences of which the second member is introduced by as (in the sense of "because"), for, or, nor, or while (in the sense of "and at the same time") likewise require a comma before the conjunction.If a dependent clause, or an introductory phrase requiring to be set off by a comma, precedes the second independent clause, no comma is needed after the conjunction.The situation is perilous, but if we are prepared to act promptly, there is still one chance of escape.When the subject is the same for both clauses and is expressed only once, a comma is useful if the connective is but. When the connective is and, the comma should be omitted if the relation between the two statements is close or immediate.I have heard the arguments, but am still unconvinced.He has had several years' experience and is thoroughly competent.5. Do not join independent clauses with a comma.If two or more clauses grammatically complete and not joined by a conjunction are to form a single compound sentence, the proper mark of punctuation is a semicolon.Mary Shelley's works are entertaining; they are full of engaging ideas.It is nearly half past five; we cannot reach town before dark.It is, of course, equally correct to write each of these as two sentences, replacing thesemicolons with periods.Mary Shelley's works are entertaining. They are full of engaging ideas.It is nearly half past five. We cannot reach town before dark.If a conjunction is inserted, the proper mark is a comma. (Rule 4.)Mary Shelley's works are entertaining, for they are full of engaging ideas.It is nearly half past five, and we cannot reach town before dark.A comparison of the three forms given above will show clearly the advantage of the first. It is, at least in the examples given, better than the second form because it suggests the close relationship between the two statements in a way that the second does not attempt, and better than the third because it is briefer and therefore more forcible. Indeed, this simple method of indicating relationship between statements is one of the most useful devices of composition. The relationship, as above, is commonly one of cause and consequence.Note that if the second clause is preceded by an adverb, such as accordingly, besides, then, therefore, or thus, and not by a conjunction, the semicolon is still required.I had never been in the place before; besides, it was dark as a tomb.An exception to the semicolon rule is worth noting here. A comma is preferable when the clauses are very short and alike in form, or when the tone of the sentence is easy and conversational.Man proposes, God disposes.The gates swung apart, the bridge fell, the portcullis was drawn up.I hardly knew him, he was so changed.Here today, gone tomorrow.6. Do not break sentences in two.In other words, do not use periods for commas.I met them on a Cunard liner many years ago. Coming home from Liverpool to New York.She was an interesting talker. A woman who had traveled all over the world and lived in half a dozen countries.In both these examples, the first period should be replaced by a comma and the following word begun with a small letter.It is permissible to make an emphatic word or expression serve the purpose of a sentence and to punctuate it accordingly:Again and again he called out. No reply.The writer must, however, be certain that the emphasis is warranted, lest a clipped sentence seem merely a blunder in syntax or in punctuation. Generally speaking, the place for broken sentences is in dialogue, when a character happens to speak in a clipped or fragmentary way.Rules 3, 4, 5, and 6 cover the most important principles that govern punctuation. They should be so thoroughly mastered that their application becomes second nature.7. Use a colon after an independent clause to introduce a list of particulars, an appositive, an amplification, or an illustrative quotation. A colon tells the reader that what follows is closely related to the preceding clause. The colon has more effect than the comma, less power to separate than the semicolon, and more formality than the dash. It usually follows an independent clause and should not separate a verb from its complement or a preposition from its object. The examples in the lefthand column, below, are wrong; they should be rewritten as in the righthand column.Your dedicated whittler requires: a knife, a piece of wood, and a back porch.Understanding is that penetrating quality of knowledge that grows from: theory, practice, conviction, assertion, error, and humiliation.Your dedicated whittler requires three props: a knife, a piece of wood, and a back porch.Understanding is that penetrating quality of knowledge that grows from theory, practice, conviction, assertion, error, and humiliation.Join two independent clauses with a colon if the second interprets or amplifies the first.But even so, there was a directness and dispatch about animal burial: there was no stopover in the undertaker's foul parlor, no wreath or spray.A colon may introduce a quotation that supports or contributes to the preceding clause.The squalor of the streets reminded her of a line from Oscar Wilde: "We are all in the gutter, but some of us are looking at the stars."The colon also has certain functions of form: to follow the salutation of a formal letter, to separate hour from minute in a notation of time, and to separate the title of a work from its subtitle or a Bible chapter from a verse.Dear Mr. Montague:departs at 10:48 P.M.Practical Calligraphy: An Introduction to Italic ScriptNehemiah 11:78. Use a dash to set off an abrupt break or interruption and to announce a long appositive or summary.A dash is a mark of separation stronger than a comma, less formal than a colon, and more relaxed than parentheses.His first thought on getting out of bed —if he had any thought at all —was to get back in again.The rear axle began to make a noise —a grinding, chattering, teeth-gritting rasp.。
the elements of style笔记
the elements of style笔记【实用版】目录1.概述《风格的要素》2.《风格的要素》的主要内容3.对《风格的要素》的评价和反思正文《风格的要素》是一本关于英语写作风格的经典指南，作者威廉·斯特劳斯（William Strunk Jr.）在书中详细阐述了英语写作的基本原则和方法。
本书分为四个部分，包括“词汇”、“句子”、“段落”和“篇章”，为英语写作提供了全面的指导。
首先，在“词汇”部分，斯特劳斯强调了选择恰当词汇的重要性，提倡简练、准确的表达。
他认为，恰当的词汇能够增强文章的说服力，提升读者的阅读体验。
此外，他还提醒作者避免使用过于华丽的辞藻，以免陷入堆砌词汇的陷阱。
其次，在“句子”部分，斯特劳斯阐述了如何构建简洁、有力的句子。
他提出了一些实用的建议，如避免过长的句子，使用主动语态等。
同时，他还强调了句子内部的平衡和对仗，认为这是写出优美句子的关键。
接下来，在“段落”部分，斯特劳斯讲解了如何组织段落，使之既有逻辑性，又易于阅读。
他提倡使用短段落，并确保每个段落只包含一个主题。
此外，他还强调了段落间过渡的重要性，以确保文章的连贯性。
最后，在“篇章”部分，斯特劳斯讨论了如何构建一篇完整的文章。
他强调了文章主题的重要性，并提醒作者始终保持对主题的关注。
同时，他还建议作者在文章中设置明确的起点、发展和结尾，使文章结构更加清晰。
总的来说，《风格的要素》是一本极具价值的写作指南，无论是对于初学者还是有经验的作者，都具有很大的启发意义。
然而，我们也应意识到，随着时代的发展，一些具体的写作规则可能已经过时。
第1页共1页。
the element of style总结
the element of style总结《The Elements of Style》是一本以简明扼要为特点的写作指南，作者是William Strunk Jr.和E.B. White。
本书主要分为五个部分，分别是“Elementary Rules of Usage”、“Elementary Principlesof Composition”、“A Few Matters of Form”、“Words and Expressions Commonly Misused”和“An Approach to Style”，下面将对每个部分进行总结。
第一部分，“Elementary Rules of Usage”是关于语法和用词的基础规则。
作者强调了使用准确和精确的词语的重要性，避免使用过于繁琐或含糊不清的句子。
书中还详细讲解了常见的语法错误，如主谓不一致、排比使用不当等，并给出了相应的修正建议。
这部分的重点在于教授良好的语言技巧和准确的表达能力，以便更好地与读者沟通。
第二部分，“Elementary Principles of Composition”是关于写作的基本原则。
作者认为写作应该注重观点的连贯性和结构的清晰性。
他们提到的一些原则包括避免冗长和复杂的句子，使用适当的主题句和过渡句来组织段落，以及通过丰富的细节和具体的例子来支持论点。
这部分的重点在于培养逻辑思维和优秀的写作能力，以便有效地表达自己的观点和思想。
第三部分，“A Few Matters of Form”是关于常见写作格式和标点符号的准则。
书中详细介绍了引号、括号、破折号等标点符号的正确使用方法，并提供了一些书写格式的建议，如标题、日期、数字等的书写方式。
这部分的重点在于规范写作格式，以便读者更容易理解和阅读文本。
第四部分，“Words and Expressions Commonly Misused”是关于常见错用词汇和表达方式的问题。
The Elements of Style读书报告
海南大学外国语学院研究生读书报告书名：The Elements of Style年级：2014 级专业: 英语笔译姓名：英语笔译学号：**************﹡﹡﹡﹡﹡﹡﹡﹡﹡﹡﹡﹡﹡﹡﹡﹡﹡﹡﹡﹡﹡﹡﹡﹡﹡﹡﹡﹡﹡﹡﹡导师评语：导师签名：年月日The elements of style读书报告2014级英语笔译方雨君 The elements of style是一本短小而精悍的经典英文写作基础教程。
在读完这本书后，我在网上大概查了一下对这本书的介绍：本书第一版作者William Strunk Jr.是康奈尔大学写作老师。
1919年E.B White是他学生，当时，这本书在学校已经广有名声。
1957年E.B White在原书基础，增加一个章节，成为现在的版本。
80多页的小册子，延续了快90年，不减风采。
没有泛泛之谈，书里都是关于写作很细小的问题：标点怎么安排；句子怎么分割；某个词具体要怎么用......作者近乎偏执的相信——英文写作风格就应该是这样，变了就不好。
归根结底，所有这些小问题都是让文字更有力度，更清晰，更简洁。
本书的作者用简短精炼的文字揭示出了我们作为外语学习者在英语写作上常犯的一些错误。
第一是花拳绣腿，而清楚明白的文章是要有话直说。
由于我们中国人的说话习惯，我们通常不会开门见山地直奔主题，通常会拐弯抹角地说一些其他话题作为引子。
这个习惯如果运用进英文写作当中就会给外国读者云里雾里之感。
第二是喜欢用深字，比如几个有同样表达能力的字以供选择，就喜欢选用较深的一个，以为可以此而向读者表现一下自己是个读过书之人。
而这本书向我们传达的观念是应该取其中较浅的一个，因为文章不应用晦涩难懂的语言，应使大部分人都能看懂。
第三是用长句。
以前一直以为句子一定要长才算是好的文章，而本书的作者却说清楚的文字要用短句。
不仅句子要短，分段也要短。
一句说完就用句号或分号；一个小小的论点，说完就要立刻分段。
清楚的文字，是不能拖泥带水地写的。
ElementsofStyle读书笔记----英语写作
ElementsofStyle读书笔记----英语写作第一篇：Elements of Style读书笔记----英语写作•两个句子之间用accordingly, besides, so, then, therefore or thus连接，则用”；”而不用”,”例如：I had never been in the place before;so I had difficulty in finding my way about.注意：少用so,因为so很容易被滥用。
可以用as+句子1，句子2.如果句子很短，而且“对仗”性强，则不用分号用逗号就行。
如： Man proposes, God disposes.• Make the paragraph the unit of compositionone paragraph to each topic.一句话不能单独成为一个段落(除非是过度段)•As a rule, begin each paragraph with a topic sentence;end it in conformity with the beginning•如果是议论文，则每一段的写作框架：1.The topic sentence comes at or near the beginning2.The succeeding sentences explain or establish or develop the statement made in the topicsentence;and3.The final sentence either emphasizes the thought of the topic sentence or states some importantconsequence.(段落结尾偏离段落论点或者不重要得细节是大忌) 段落中支撑段首中心句的方式：1.Restating topic sentence in other forms2.给topic sentence当中的某些用语下定义3.否定topic sentence的反面4.举例子5.Showing the implications and consequences of the topic sentence如果段落是叙述或描写形式，•多使用主动语态切忌使用多重被动语态如（NG用法）：Gold was not allowed to be exported.He has been proven to have been seen entering the bus..切忌使用动词的名字形式作为主语然后用被动语态如Mobilization of the army was rapidly carried out.Mobilization可以直接作为谓语，这里用be carried out做谓语太累赘，应该改成：The army was rapidlymobilized.对比: The export of gold was prohibited.这里用export的名字形式，是因为export没有was prohibited的意味，所以可以这样使用被动语态。
文体指要Elements of style
文体指要Elements of style此书是为英语文学研究与写作课程而编订。
旨在提供英语短篇写作文体的主要要求。
旨在通过关注些许要点、应用法则、和易犯且常见的作文原则进而减轻初学者和学生的任务负担。
此书略述英语文体，而详述作者以往经验所觉之要点、最能有效帮助学生且基于学生写作问题的个别教学指导；况且每位讲师也都有自己愿意在任何课本中展示的理论体系。
再好的作者也有忽略修辞规则的时候，这个现象早就不新鲜了。
但当他们这样做的时候，读者会从句子之中，找到以违规的代价所换取的补偿。
除非确信能做好，否则最好遵从法则。
通过书籍之引导，完全掌握通俗英语日常应用之后，再让学生钻研文学精髓。
法则一：1.名词单数所有格要加“’s”任何以辅音结尾依的名词此规则。
如：Charles's friendBurns's poemsthe witch's malice此用法为美利坚合众国印刷局和牛津大学出版社所用。
以-es和–is结尾的古英语专有名词不在此限，如：Jesus'，for conscience' sake,for righteousness' sake。
但是如Achilles' heel,Moses' laws,Isis' temple之类的，通常做以下形式的替换：the heel of Achillesthe laws of Mosesthe temple of Isis物主代词hers, its, theirs, yours和反身代词反身代词（oneself）无撇号（’）。
法则二：连续三个或三个以上的名词时，除最后一个名词外，每个名词后要配有一个逗号，写法如下：red, white, and bluehonest, energetic, but headstrongHe opened the letter, read it, and made a note of its contents.这也是为美利坚合众国印刷局和牛津大学出版社所应用。
the elements of style中英文版本
the elements of style中英文版本全文共6篇示例，供读者参考篇1The Elements of Style: A Guide to Good WritingHey there, kids! Today, we're going to talk about a book that's like a superhero for writers – "The Elements of Style" by William Strunk Jr. and E.B. White. This book is like a secret code that can help you become a writing master!First things first, what is "The Elements of Style"? It's a little book that teaches you all the rules and tricks you need to write clearly and effectively. It's like having a writing coach whispering in your ear, telling you exactly what to do to make your words shine.Now, you might be thinking, "But writing is so hard! How can a book make it easier?" Well, let me tell you, this book is like a magic wand for writers. It breaks down all the complicated stuff into simple, easy-to-understand rules.One of the most important things "The Elements of Style" teaches is how to use words correctly. You know how sometimesyou're not sure if you should use "there" or "their"? Or maybe you get confused about when to use "its" or "it's"? This book will clear up all those pesky word mix-ups, so you never have to worry about them again.But it's not just about words – "The Elements of Style" also teaches you how to structure your sentences and paragraphs in a way that makes sense. It's like having a blueprint for building a sturdy, well-designed writing fortress!Here's an example of one of the book's rules: "Omit needless words." That means you should cut out any words that don't really need to be there. Instead of saying "I went to the store in order to buy some milk," you could just say, "I went to the store to buy milk." See how much smoother and cleaner that sounds?Another cool thing about "The Elements of Style" is that it's written in a really friendly, conversational way. It's like having a wise older friend explaining things to you in a way that's easy to understand. The authors, Strunk and White, were total pros at making complicated writing rules seem simple and fun.Now, I know what you're thinking: "But I'm just a kid! Why do I need to learn all these fancy writing rules?" Well, let me tell you, being a good writer is an amazing superpower to have. Itwill help you in school, in your future job, and in pretty much every aspect of your life.Imagine being able to write a killer essay that impresses your teacher or craft a persuasive letter that convinces your parents to let you stay up late. With the skills you'll learn from "The Elements of Style," you'll be unstoppable!Plus, writing is just plain fun! It's like painting with words, creating beautiful pictures and stories that can transport people to different worlds or make them feel all sorts of emotions. And with "The Elements of Style" as your guide, you'll be able to express yourself more clearly and creatively than ever before.So, what are you waiting for? Grab a copy of "The Elements of Style" and get ready to become a writing superhero! With this book by your side, you'll be able to conquer any writing challenge that comes your way – from essays and stories to emails and social media posts.Remember, writing is like a muscle – the more you practice, the stronger you'll become. And with "The Elements of Style" as your trusty sidekick, you'll be well on your way to becoming a true wordsmith!篇2The Best Book for Writing WellHey kids! Do you ever wonder how authors make their books look so good? How do they write in a way that's easy to understand and enjoyable to read? Well, there's a special book that can teach you all about that. It's called "The Elements of Style" and it's like a super helpful guide for anyone who wants to be a great writer.This book was written a long time ago, way back in 1918, by a professor named William Strunk Jr. He taught English at Cornell University and wanted to share his tips on how to write clearly and effectively. Years later, one of his former students named E.B. White (who wrote classics like "Charlotte's Web") revised and updated the book to make it even better.So what exactly is in this "Elements of Style" book? It has lots of rules, advice, and examples to show you the right way and wrong way to write certain things. For instance, it explains when you should use long sentences versus short snappy ones. It teaches you about proper grammar, punctuation, and word choices. Basically, it covers all the important elements that go into good writing.One of the main ideas is to omit needless words. The book says we should avoid overstuffing our sentences with extrawords that don't really need to be there. It makes our writing tighter and more powerful when we cut out the fluff.It also stresses the importance of using the active voice instead of the passive voice whenever possible. Active voice is when the subject of the sentence is doing the action. Like "Sally caught the ball." Passive voice is when the subject is just having something done to it, like "The ball was caught by Sally." See how passive feels a bit more boring and sluggish?Another cool part talks about properly using colons, semicolons, apostrophes, and other punctuation marks. Punctuation is crucial for making our sentences flow smoothly and avoiding confusion. The book gives lots of crystal clear examples to help you punctuate perfectly.There are sections on parallel construction too. That's when you structure your sentences in a balanced, parallel way for maximum readability and impact. So instead of "He liked hunting, baking, and he enjoyed gardening," you'd say "He liked hunting, baking, and gardening" for nice, neat parallelism.Other chapters cover stuff like how to form good paragraphs, when to use dialect or foreign words, and plenty more valuable writing advice. The book emphasizes being clear, simple, and avoiding fancy vocabulary for the sake of fanciness.The best part is, even though "The Elements of Style" is quite old, its tips and rules are still just as useful today as when it was first written. Whether you want to write awesome stories, essays for school, or anything else, this book can guide you to expressing yourself more skillfully.It's become one of the most famous and respected resources on the craft of writing over the past century. Lots of English teachers, professional writers, and even regular students have used it to improve their skills. With clear instructions and memorable examples, it breaks down the elements of good style into easy-to-follow principles.So if you're serious about taking your writing to the next level, see if you can get your hands on a copy of "The Elements of Style." With its wisdom and time-tested advice, you'll be crafting cleaner, tighter, and more impressive pieces of writing in no time! It's like a secret weapon to make you a better writer for life.篇3The Super Awesome Book of Writing RulesHey kids! Have you ever read a book that was so boring and confusing that you wanted to throw it out the window? Or maybe you've tried to write a story yourself, but it just didn'tsound right? Well, fear not, because I'm here to tell you about a fantastic book that will make you a writing superstar!This book is called "The Elements of Style," and it's like a magic wand for your writing skills. It was written by two really smart guys named William Strunk Jr. and E.B. White, and it's been helping writers of all ages for almost a hundred years!Now, I know what you're thinking: "A book about writing rules? Yawn!" But trust me, this book is anything but boring. It's filled with tons of fun examples and easy-to-understand explanations that will make you laugh and learn at the same time.One of the coolest things about "The Elements of Style" is that it's short and sweet. It's not some giant, scary textbook that will make you fall asleep before you even get to the good stuff. Instead, it's like a little pocket-sized guide that you can carry with you wherever you go.So, what exactly will you learn from this amazing book? Well, let me give you a sneak peek!First of all, you'll discover the importance篇4The Elements of Style: A Guide for Young WritersHave you ever felt confused about how to write properly? Maybe you've wondered why some sentences sound better than others, or what rules you should follow when putting words on paper. Well, there's a neat little book called "The Elements of Style" that can help you out!"The Elements of Style" was written by William Strunk Jr., an professor who taught English at Cornell University a long time ago. In 1918, he wrote down his advice on how to write clearly and effectively. Years later, one of his former students named E.B. White (who also wrote the classic books "Charlotte's Web" and "Stuart Little") revised and updated Professor Strunk's work.So what exactly are these "elements of style" they talk about? Basically, it's a set of rules, tips and guidelines to help you write in a way that is simple, concise and easy to understand. It covers everything from proper grammar and punctuation to how to structure sentences and paragraphs. The goal is to express your ideas in the clearest, most direct way possible.One of the most important pieces of advice is to omit needless words. The authors remind us that vigorous writing is concise, using no more words than necessary to get the point across. For example, instead of saying "He was a man who wasveryeldery", you could simply write "He was an elderly man." See how cutting out the extra words makes it more straightforward?Another key concept is to use active voice instead of passive voice. Active voice is when the subject performs the action, like "I threw the ball." Passive voice is when the subject is acted upon, like "The ball was thrown by me." Active voice is generally clearer and more direct.There are also tips on how to properly use pronouns, avoid fancy words and clichés, arrange the parts of a sentence effectively, and much more. The guidelines apply to all kinds of writing - stories, essays, letters, reports, you name it!Following the elements of style can make your writing tighter, stronger and more powerful. Of course, you don't have to follow the rules ALL the time. Sometimes it's okay to go a little poetic or break from the standard for effect. But in general, sticking to these principles will seriously improve your skills.The best part is that "The Elements of Style" is a very short book, so it's easy to read and refer back to. Despite its age, the advice still holds true today for anyone looking to communicate more clearly through writing.So next time you struggle with putting words on a page, keep The Elements of Style in mind. Use plain language, cut out the fluff, make it active and straightforward. With practice and by following this trusty style guide, you'll be writing like a pro in no time! Who knows, you might even grow up to write beloved books like E.B. White did. All it takes is a commitment to expressing yourself in the clearest, simplest way.篇5The Amazing Book of Writing RulesHave you ever read a book and thought, "Wow, this is really well-written!" or maybe, "This is a bit confusing and hard to follow." Well, there's a special book that can help make your writing clear, smooth, and amazing! It's called "The Elements of Style" by William Strunk Jr. and E.B. White.This book is like a magic wand for writing. It has all sorts of rules and tips to help you become a writing wizard! Let me tell you about some of the cool things you'll find inside.First up, there are rules about using words properly. Like, did you know that words can be used as different "parts of speech"? That means some words can be nouns (like "dog" or "happiness"), verbs (like "run" or "smile"), adjectives (like "big" or"cheerful"), and so on. The book explains how to use words correctly in sentences.Another important part is about making your sentences flow smoothly. You'll learn tricks for structuring sentences in a clear way, so your reader doesn't get lost or confused. For example, it says to put related words and ideas close together, and to avoid unnecessary repetition.Speaking of repetition, the book also teaches you how to avoid being redundant or saying the same thing twice in different words. Like instead of saying "She returned back home," you'd just say "She returned home." Isn't that cleaner and simpler?Now, let's talk about some of the fun parts! There's a whole section on using words that add color and personality to your writing. These are called "vivid" words. So instead of saying "He was happy," you could say "He was delighted" or "He was overjoyed." See how those words paint a brighter picture in your mind?But you know what's really cool? The book even has tips for writing different kinds of things, like stories, essays, or letters. It's like having a writing coach right there to guide you!The best part is, "The Elements of Style" is written in such a simple and clear way that even young writers like you and me can understand it easily. It's like the authors practiced what they preached about good writing.So if you want to become a writing superstar, you've got to get your hands on this book! With its help, you'll be crafting stories, essays, and compositions that will blow your teachers' minds. Just think how proud your parents will be when you bring home an award for your awesome writing skills!Who's ready to start their journey to becoming an incredible writer? Let's dive into "The Elements of Style" and unlock all its writing secrets! Get ready to amaze everyone with your new writing powers!篇6The Elements of Style: A Guide to Good WritingHi there, boys and girls! Today, we're going to talk about a very important book called "The Elements of Style." It's a book that teaches us how to write clearly and effectively. Writing is a skill that's super useful in school and in life, so it's important to learn how to do it well.The book was written by two famous writers and teachers, William Strunk Jr. and E.B. White. They knew a lot about writing, and they wanted to share their knowledge with others. The book is like a rulebook for writing, but it's not boring at all! It's full of helpful tips and examples that make learning fun.One of the main things the book teaches is how to express your ideas clearly and concisely. That means you should use simple words and short sentences that are easy for people to understand. For example, instead of saying "The individual who resides in close proximity to me is currently engaged in the activity of consuming an apple," you could simply say, "My neighbor is eating an apple." See how much easier that is to follow?Another important lesson is to avoid unnecessary words and phrases. These are called "wordiness," and they can make your writing sound cluttered and confusing. For instance, instead of saying "Despite the fact that it was raining," you could just say, "Although it was raining." See how much shorter and cleaner that sounds?The book also talks about proper grammar and punctuation. These are the rules that help us structure our sentences correctly and make our writing easy to read. For example, you shouldalways start a new sentence with a capital letter and end it with a period, question mark, or exclamation mark. You should also use commas to separate items in a list, like this: "I like apples, oranges, and bananas."One of my favorite parts of the book is when it talks about using active voice instead of passive voice. Active voice is when the subject of the sentence is doing the action, like "The dog chased the cat." Passive voice is when the subject is being acted upon, like "The cat was chased by the dog." Using active voice makes your writing more engaging and easier to follow.The book also gives advice on how to choose the right words and phrases for your writing. For example, it suggests using vivid and descriptive language to paint a picture in the reader's mind. Instead of saying "The sky was blue," you could say "The sky was a brilliant azure, stretching endlessly above us."Overall, "The Elements of Style" is a great resource for anyone who wants to improve their writing skills. It's full of practical advice and examples that you can apply to your own writing. And the best part is, it's written in a way that's easy to understand, even for young students like you!So, the next time you have to write a story, an essay, or even a letter, remember the lessons from "The Elements of Style." Usesimple language, avoid wordiness, follow grammar rules, use active voice, and choose your words carefully. With these tips, you'll be able to express your ideas clearly and effectively, and your writing will be better than ever!。
英文写作经典之作《The_element_of_style》
The Element of StyleForeword*THE FIRST writer I watched at work was my stepfather, E. B. White. Each Tuesday morning, he would close his study door and sit down to write the "Notes and Comment" page for The New Yorker. The task was familiar to him —he was required to file a few hundred words of editorial or personal commentary on some topic in or out of the news that week —but the sounds of his typewriter from his room came in hesitant bursts, with long silences in between. Hours went by. Summoned at last for lunch, he was silent and preoccupied, and soon excused himself to get back to the job. When the copy went off at last, in the afternoon RFD pouch —we were in Maine, a day'smail away from New York —he rarely seemed satisfied. "It isn't good enough," he said sometimes. "I wish it were better."Writing is hard, even for authors who do it all the time. Less frequent practitioners —the job applicant; the business executive with an annualreport to get out; the high school senior with a Faulkner assignment; the graduate-school student with her thesis proposal; the writer of a letter of condolence —often get stuck in an awkward passage or find a muddle on their screens, and then blame themselves. What should be easy and flowing looks tangled or feeble or overblown —not what was meant at all. What's wrongwith me, each one thinks. Why can't I get this right?It was this recurring question, put to himself, that must have inspired Whiteto revive and add to a textbook by an English professor of his, Will Strunk Jr., that he had first read in college, and to get it published. The result,this quiet book, has been in print for forty years, and has offered more thanten million writers a helping hand. White knew that a compendium of specific tips —about singular and plural verbs, parentheses, the "that" —"which" scuffle, and many others —could clear up a recalcitrant sentence orsubclause when quickly reconsulted, and that the larger principles needed tobe kept in plain sight, like a wall sampler.How simple they look, set down here in White's last chapter: "Write in a way that comes naturally," "Revise and rewrite," "Do not explain too much," andthe rest; above all, the cleansing, clarion "Be clear." How often I haveturned to them, in the book or in my mind, while trying to start or unblockor revise some piece of my own writing! They help —they really do. They work. They are the way.E. B. White's prose is celebrated for its ease and clarity —just think of Charlotte's Web —but maintaining this standard required endless attention.When the new issue of The New Yorker turned up in Maine, I sometimes saw him reading his "Comment" piece over to himself, with only a slightly different expression than the one he'd worn on the day it went off. Well, O.K., heseemed to be saying. At least I got the elements right.This edition has been modestly updated, with word processors and air conditioners making their first appearance among White's references, and witha light redistribution of genders to permit a feminine pronoun or femalefarmer to take their places among the males who once innocently served him. Sylvia Plath has knocked Keats out of the box, and I notice that "America"has become "this country" in a sample text, to forestall a subsequent andpossibly demeaning "she" in the same paragraph. What is not here is anything about E-mail —the rules-free, lower-case flow that cheerfully keeps us intouch these days. E-mail is conversation, and it may be replacing the sweetand endless talking we once sustained (and tucked away) within the informal letter. But we are all writers and readers as well as communicators, with theneed at times to please and satisfy ourselves (as White put it) with theclear and almost perfect thought.Roger Angell/---------------------------------------------------------------------------/Introduction*AT THE close of the first World War, when I was a student at Cornell, I tooka course called English 8. My professor was William Strunk Jr. A textbook required for the course was a slim volume called The Elements of Style, whose author was the professor himself. The year was 1919. The book was known onthe campus in those days as "the little book," with the stress on the word "little." It had been privately printed by the author.(* E. B. White wrote this introduction for the 1979 edition.)I passed the course, graduated from the university, and forgot the book butnot the professor. Some thirty-eight years later, the book bobbed up again in my life when Macmillan commissioned me to revise it for the college market and the general trade. Meantime, Professor Strunk had died.The Elements of Style, when I reexamined it in 1957, seemed to me to contain rich deposits of gold. It was Will Strunk's parvum opus, his attempt to cutthe vast tangle of English rhetoric down to size and write its rules and principles on the head of a pin. Will himself had hung the tag "little" onthe book; he referred to it sardonically and with secret pride as "the little book," always giving the word "little" a special twist, as though he were putting a spin on a ball. In its original form, it was a forty-three page summation of the case for cleanliness, accuracy, and brevity in the use of English. Today, fifty-two years later, its vigor is unimpaired, and for sheerpith I think it probably sets a record that is not likely to be broken. Even after I got through tampering with it, it was still a tiny thing, a barely tarnished gem. Seven rules of usage, eleven principles of composition, a few matters of form, and a list of words and expressions commonly misused —that was the sum and substance of Professor Strunk's work. Somewhat audaciously, and in an attempt to give my publisher his money's worth, I added a chapter called "An Approach to Style," setting forth my own prejudices, my notions of error, my articles of faith. This chapter (Chapter V) is addressedparticularly to those who feel that English prose composition is not only a necessary skill but a sensible pursuit as well —a way to spend one's days.I think Professor Strunk would not object to that.A second edition of the book was published in 1972. I have now completed a third revision. Chapter IV has been refurbished with words and expressions of a recent vintage; four rules of usage have been added to Chapter I. Fresh examples have been added to some of the rules and principles, amplification has reared its head in a few places in the text where I felt an assault could successfully be made on the bastions of its brevity, and in general the book has received a thorough overhaul—to correct errors, delete bewhiskered entries, and enliven the argument.Professor Strunk was a positive man. His book contains rules of grammar phrased as direct orders. In the main I have not tried to soften his commands, or modify his pronouncements, or remove the special objects of his scorn. I have tried, instead, to preserve the flavor of his discontent while slightly enlarging the scope of the discussion. The Elements of Style doesnot pretend to survey the whole field. Rather it proposes to give in brief space the principal requirements of plain English style. It concentrates on fundamentals: the rules of usage and principles of composition most commonly violated.The reader will soon discover that these rules and principles are in the form of sharp commands, Sergeant Strunk snapping orders to his platoon. "Do not join independent clauses with a comma." (Rule 5.) "Do not break sentences in two." (Rule 6.) "Use the active voice." (Rule 14.) "Omit needless words." (Rule 17.) "Avoid a succession of loose sentences." (Rule 18.) "In summaries, keep to one tense." (Rule 21.) Each rule or principle is followed by a short hortatory essay, and usually the exhortation is followed by, or interlarded with, examples in parallel columns —the true vs. the false, the right vs.the wrong, the timid vs. the bold, the ragged vs. the trim. From every line there peers out at me the puckish face of my professor, his short hair parted neatly in the middle and combed down over his forehead, his eyes blinking incessantly behind steel-rimmed spectacles as though he had just emerged into strong light, his lips nibbling each other like nervous horses, his smile shuttling to and fro under a carefully edged mustache."Omit needless words!" cries the author on page 23, and into that imperative Will Strunk really put his heart and soul. In the days when I was sitting in his class, he omitted so many needless words, and omitted them so forcibly and with such eagerness and obvious relish, that he often seemed in the position of having shortchanged himself —a man left with nothing more to say yet with time to fill, a radio prophet who had out-distanced the clock. Will Strunk got out of this predicament by a simple trick: he uttered every sentence three times. When he delivered his oration on brevity to the class,he leaned forward over his desk, grasped his coat lapels in his hands, and,in a husky, conspiratorial voice, said, "Rule Seventeen. Omit needless words! Omit needless words! Omit needless words!"He was a memorable man, friendly and funny. Under the remembered sting of his kindly lash, I have been trying to omit needless words since 1919, andalthough there are still many words that cry for omission and the huge taskwill never be accomplished, it is exciting to me to reread the masterly Strunkian elaboration of this noble theme. It goes:Vigorous writing is concise. A sentence should contain no unnecessary words,a paragraph no unnecessary sentences, for the same reason that a drawingshould have no unnecessary lines and a machine no unnecessary parts. This requires not that the writer make all sentences short or avoid all detail andtreat subjects only in outline, but that every word tell.There you have a short, valuable essay on the nature and beauty of brevity —fifty-nine words that could change the world. Having recovered from his adventure in prolixity (fifty-nine words were a lot of words in the tightworld of William Strunk Jr.), the professor proceeds to give a few quick lessons in pruning. Students learn to cut the dead-wood from "this is asubject that," reducing it to "this subject," a saving of three words. Theylearn to trim "used for fuel purposes" down to "used for fuel." They learnthat they are being chatterboxes when they say "the question as to whether"and that they should just say "whether" —a saving of four words out of a possible five.The professor devotes a special paragraph to the vile expression the factthat, a phrase that causes him to quiver with revulsion. The expression, he says, should be "revised out of every sentence in which it occurs." But a shadow of gloom seems to hang over the page, and you feel that he knows how hopeless his cause is. I suppose I have written the fact that a thousandtimes in the heat of composition, revised it out maybe five hundred times inthe cool aftermath. To be batting only .500 this late in the season, to failhalf the time to connect with this fat pitch, saddens me, for it seems abetrayal of the man who showed me how to swing at it and made the swinging seem worthwhile.I treasure The Elements of Style for its sharp advice, but I treasure it evenmore for the audacity and self-confidence of its author. Will knew where hestood. He was so sure of where he stood, and made his position so clear andso plausible, that his peculiar stance has continued to invigorate me —and,I am sure, thousands of other ex-students —during the years that have intervened since our first encounter. He had a number of likes and dislikesthat were almost as whimsical as the choice of a necktie, yet he made themseem utterly convincing. He disliked the word forceful and advised us to use forcible instead. He felt that the word clever was greatly overused: "It isbest restricted to ingenuity displayed in small matters." He despised the expression student body, which he termed gruesome, and made a special trip downtown to the Alumni News office one day to protest the expression and suggest that studentry be substituted —a coinage of his own, which he feltwas similar to citizenry. I am told that the News editor was so charmed bythe visit, if not by the word, that he ordered the student body buried, neverto rise again. Studentry has taken its place. It's not much of animprovement, but it does sound less cadaverous, and it made Will Strunk quite happy.Some years ago, when the heir to the throne of England was a child, I noticeda headline in the Times about Bonnie Prince Charlie: "CHARLES' TONSILS OUT." Immediately Rule 1 leapt to mind.1. Form the possessive singular of nouns by adding 's. Follow this rulewhatever the final consonant. Thus write,Charles's friendBurns's poemsthe witch's maliceClearly, Will Strunk had foreseen, as far back as 1918, the dangerous tonsillectomy of a prince, in which the surgeon removes the tonsils and theTimes copy desk removes the final s. He started his book with it. I commend Rule 1 to the Times, and I trust that Charles's throat, not Charles' throat,is in fine shape today.Style rules of this sort are, of course, somewhat a matter of individualpreference, and even the established rules of grammar are open to challenge. Professor Strunk, although one of the most inflexible and choosy of men, was quick to acknowledge the fallacy of inflexibility and the danger of doctrine. "It is an old observation," he wrote, "that the best writers sometimes disregard the rules of rhetoric. When they do so, however, the reader will usually find in the sentence some compensating merit, attained at the cost of the violation. Unless he is certain of doing as well, he will probably dobest to follow the rules."It is encouraging to see how perfectly a book, even a dusty rule book, perpetuates and extends the spirit of a man. Will Strunk loved the clear, the brief, the bold, and his book is clear, brief, bold. Boldness is perhaps its chief distinguishing mark. On page 26, explaining one of his parallels, he says, "The lefthand version gives the impression that the writer is undecided or timid, apparently unable or afraid to choose one form of expression and hold to it." And his original Rule 11 was "Make definite assertions." That was Will all over. He scorned the vague, the tame, the colorless, the irresolute. He felt it was worse to be irresolute than to be wrong. I remember a day in class when he leaned far forward, in his characteristic pose —the pose of a man about to impart a secret —and croaked, "If you don't know how to pronounce a word, say it loud! If you don't know how to pronounce a word, say it loud!" This comical piece of advice struck me as sound at the time, and I still respect it. Why compound ignorance with inaudibility? Why run and hide?All through The Elements of Style one finds evidences of the author's deep sympathy for the reader. Will felt that the reader was in serious troublemost of the time, floundering in a swamp, and that it was the duty of anyone attempting to write English to drain this swamp quickly and get the reader up on dry ground, or at least to throw a rope. In revising the text, I havetried to hold steadily in mind this belief of his, this concern for the bewildered reader.In the English classes of today, "the little book" is surrounded by longer, lower textbooks —books with permissive steering and automatic transitions. Perhaps the book has become something of a curiosity. To me, it still seems to maintain its original poise, standing, in a drafty time, erect, resolute,and assured. I still find the Strunkian wisdom a comfort, the Strunkian humor a delight, and the Strunkian attitude toward right-and- wrong a blessing undisguised.1979The Elements of StyleIElementary Rules of Usage1. Form the possessive singular of nouns by adding 's.Follow this rule whatever the final consonant. Thus write,Charles's friendBurns's poemsthe witch's maliceExceptions are the possessives of ancient proper names ending in -es and -is, the possessive Jesus', and such forms as for conscience' sake, for righteousness' sake. But such forms as Moses' Laws, Isis' temple are commonly replaced bythe laws of Mosesthe temple of IsisThe pronominal possessives hers, its, theirs, yours, and ours have no apostrophe. Indefinite pronouns, however, use the apostrophe to show possession.one's rightssomebody else's umbrellaA common error is to write it's for its, or vice versa. The first is a contraction, meaning "it is." The second is a possessive.It's a wise dog that scratches its own fleas.2. In a series of three or more terms with a single conjunction, use a comma after each term except the last.Thus write,red, white, and blue gold, silver, or copperHe opened the letter, read it, and made a note of its contents.This comma is often referred to as the "serial" comma. In the names of business firms the last comma is usually omitted. Follow the usage of the individual firm.Little, Brown and Company Donaldson, Lufkin & Jenrette3. Enclose parenthetic expressions between commas.The best way to see a country, unless you are pressed for time, is to travelon foot.This rule is difficult to apply; it is frequently hard to decide whether asingle word, such as however, or a brief phrase is or is not parenthetic. Ifthe interruption to the flow of the sentence is but slight, the commas may be safely omitted. But whether the interruption is slight or considerable, neveromit one comma and leave the other. There is no defense for such punctuation asMarjories husband, Colonel Nelson paid us a visit yesterday.orMy brother you will be pleased to hear, is now in perfect health.Dates usually contain parenthetic words or figures. Punctuate as follows:February to July, 1992April 6, 1986Wednesday, November 14, 1990Note that it is customary to omit the comma in6 April 1988The last form is an excellent way to write a date; the figures are separated by a word and are, for that reason, quickly grasped.A name or a title in direct address is parenthetic.If, Sir, you refuse, I cannot predict what will happen.Well, Susan, this is a fine mess you are in.The abbreviations etc., i.e., and e.g., the abbreviations for academic degrees, and titles that follow a name are parenthetic and should be punctuated accordingly.Letters, packages, etc., should go here.Horace Fulsome, Ph.D., presided.Rachel Simonds, AttorneyThe Reverend Harry Lang, S.J.No comma, however, should separate a noun from a restrictive term of identification.Billy the KidThe novelist Jane AustenWilliam the ConquerorThe poet SapphoAlthough Junior, with its abbreviation Jr., has commonly been regarded as parenthetic, logic suggests that it is, in fact, restrictive and thereforenot in need of a comma.James Wright Jr.Nonrestrictive relative clauses are parenthetic, as are similar clauses introduced by conjunctions indicating time or place. Commas are therefore needed. A nonrestrictive clause is one that does not serve to identify or define the antecedent noun.The audience, which had at first been indifferent, became more and more interested.In 1769, when Napoleon was born, Corsica had but recently been acquired by France.Nether Stowey, where Coleridge wrote The Rime of the Ancient Mariner, is a few miles from Bridgewater.In these sentences, the clauses introduced by which, when, and where are nonrestrictive; they do not limit or define, they merely add something. Inthe first example, the clause introduced by which does not serve to tell which of several possible audiences is meant; the reader presumably knows that already. The clause adds, parenthetically, a statement supplementingthat in the main clause. Each of the three sentences is a combination of two statements that might have been made independently.The audience was at first indifferent. Later it became more and more interested.Napoleon was born in 1769. At that time Corsica had but recently been acquired by France.Coleridge wrote The Rime of the Ancient Mariner at Nether Stowey. Nether Stowey is a few miles from Bridgewater.Restrictive clauses, by contrast, are not parenthetic and are not set off by commas. Thus,People who live in glass houses shouldn't throw stones.Here the clause introduced by who does serve to tell which people are meant; the sentence, unlike the sentences above, cannot be split into two independent statements. The same principle of comma use applies to participial phrases and to appositives.People sitting in the rear couldn't hear, (restrictive)Uncle Bert, being slightly deaf, moved forward, (non-restrictive)My cousin Bob is a talented harpist, (restrictive)Our oldest daughter, Mary, sings, (nonrestrictive)When the main clause of a sentence is preceded by a phrase or a subordinate clause, use a comma to set off these elements.Partly by hard fighting, partly by diplomatic skill, they enlarged their dominions to the east and rose to royal rank with the possession of Sicily.4. Place a comma before a conjunction introducing an independent clause. The early records of the city have disappeared, and the story of its first years can no longer be reconstructed.The situation is perilous, but there is still one chance of escape.Two-part sentences of which the second member is introduced by as (in the sense of "because"), for, or, nor, or while (in the sense of "and at the same time") likewise require a comma before the conjunction.If a dependent clause, or an introductory phrase requiring to be set off by a comma, precedes the second independent clause, no comma is needed after the conjunction.The situation is perilous, but if we are prepared to act promptly, there isstill one chance of escape.When the subject is the same for both clauses and is expressed only once, a comma is useful if the connective is but. When the connective is and, the comma should be omitted if the relation between the two statements is closeor immediate.I have heard the arguments, but am still unconvinced.He has had several years' experience and is thoroughly competent.5. Do not join independent clauses with a comma.If two or more clauses grammatically complete and not joined by a conjunction are to form a single compound sentence, the proper mark of punctuation is a semicolon.Mary Shelley's works are entertaining; they are full of engaging ideas.It is nearly half past five; we cannot reach town before dark.It is, of course, equally correct to write each of these as two sentences, replacing the semicolons with periods.Mary Shelley's works are entertaining. They are full of engaging ideas.It is nearly half past five. We cannot reach town before dark.If a conjunction is inserted, the proper mark is a comma. (Rule 4.)Mary Shelley's works are entertaining, for they are full of engaging ideas.It is nearly half past five, and we cannot reach town before dark.A comparison of the three forms given above will show clearly the advantageof the first. It is, at least in the examples given, better than the secondform because it suggests the close relationship between the two statements ina way that the second does not attempt, and better than the third because itis briefer and therefore more forcible. Indeed, this simple method ofindicating relationship between statements is one of the most useful devicesof composition. The relationship, as above, is commonly one of cause and consequence.Note that if the second clause is preceded by an adverb, such as accordingly, besides, then, therefore, or thus, and not by a conjunction, the semicolon isstill required.I had never been in the place before; besides, it was dark as a tomb.An exception to the semicolon rule is worth noting here. A comma is preferable when the clauses are very short and alike in form, or when thetone of the sentence is easy and conversational.Man proposes, God disposes.The gates swung apart, the bridge fell, the portcullis was drawn up.I hardly knew him, he was so changed.Here today, gone tomorrow.6. Do not break sentences in two.In other words, do not use periods for commas.I met them on a Cunard liner many years ago. Coming home from Liverpool to New York.She was an interesting talker. A woman who had traveled all over the world and lived in half a dozen countries.In both these examples, the first period should be replaced by a comma and the following word begun with a small letter.It is permissible to make an emphatic word or expression serve the purpose of a sentence and to punctuate it accordingly:Again and again he called out. No reply.The writer must, however, be certain that the emphasis is warranted, lest a clipped sentence seem merely a blunder in syntax or in punctuation. Generally speaking, the place for broken sentences is in dialogue, when a character happens to speak in a clipped or fragmentary way.Rules 3, 4, 5, and 6 cover the most important principles that govern punctuation. They should be so thoroughly mastered that their application becomes second nature.7. Use a colon after an independent clause to introduce a list of particulars, an appositive, an amplification, or an illustrative quotation.A colon tells the reader that what follows is closely related to thepreceding clause. The colon has more effect than the comma, less power to separate than the semicolon, and more formality than the dash. It usually follows an independent clause and should not separate a verb from its complement or a preposition from its object. The examples in the lefthand column, below, are wrong; they should be rewritten as in the righthand column.Your dedicated whittler requires: a knife, a piece of wood, and a back porch.Understanding is that penetrating quality of knowledge that grows from: theory, practice, conviction, assertion, error, and humiliation.Your dedicated whittler requires three props: a knife, a piece of wood, and a back porch.Understanding is that penetrating quality of knowledge that grows from theory, practice, conviction, assertion, error, and humiliation.Join two independent clauses with a colon if the second interprets or amplifies the first.But even so, there was a directness and dispatch about animal burial: there was no stopover in the undertaker's foul parlor, no wreath or spray.A colon may introduce a quotation that supports or contributes to the preceding clause.The squalor of the streets reminded her of a line from Oscar Wilde: "We are all in the gutter, but some of us are looking at the stars."The colon also has certain functions of form: to follow the salutation of a formal letter, to separate hour from minute in a notation of time, and to separate the title of a work from its subtitle or a Bible chapter from a verse.Dear Mr. Montague:departs at 10:48 P.M.Practical Calligraphy: An Introduction to Italic ScriptNehemiah 11:78. Use a dash to set off an abrupt break or interruption and to announce a long appositive or summary.A dash is a mark of separation stronger than a comma, less formal than a colon, and more relaxed than parentheses.His first thought on getting out of bed —if he had any thought at all —was to get back in again.The rear axle began to make a noise —a grinding, chattering, teeth-gritting rasp.。
(完整word)The Elements of Style中文版
前言肯定地说，一个人只有知道规则的情况下才能去打破它，这句经典引用是任何一个学生和认真的作者所必须懂得的.这本书的目的是在有写作的练习加上文学的学习中得到应用,它用简洁的话语给出了简明英语风格最主要的要求,在规则的使用时的细致的注意事项，以及最可能共同违反的作文的原则.第一章简介这本书的意图是在英语课上使用,作为英语作文的联系以及对文学的学习。
它旨在用简洁的方式给出简明英语最基本的要求。
它的目的是通过将学生和老师的注意力都集中到(第二三章）一些基本的要素，应用规则，以及人们共同的犯的作文的基本规则,来减轻老师和学生的负担。
节选的片段可能用作修正过的手稿的引用。
这本书仅仅包含英语风格领域的一小部分，但是作者的体验是一旦能够掌握这些细节,学生将会通过基于他们自己自己作品中的问题的个人指导受益匪浅，每个老师都有他们自己的理论，他也会更喜欢这个在某本书中给出的方法。
在准备这本书的手稿时,作者在康内尔大学英语系的同事给与了作者很大的帮助.Mr. George McLaneWood非常爽快地同意在规则11中包含的一些内容来自于他的Suggestions toAuthors.下面的这些书籍可以作为更进一步学习的参考：in connection with Chapters II and IV， F。
Howard Collins, Author and Printer （Henry Frowde); Chicago University Press, Manual of Style; T. L。
De Vinne，Correct Composition (The Century Company）； Horace Hart， Rules for Compositors and Printers （Oxford University Press）; George McLane Wood, Extracts from the Style-Book of the Government Printing Office (United States Geological Survey); in connection with Chapters III and V, Sir Arthur Quiller-Couch, The Art of Writing (Putnams)， especially the chapter， Interlude on Jargon； George McLaneWood, Suggestions to Authors (United States Geological Survey); John Leslie Hall, English Usage (Scott， Foresman and Co.); James P。
英语写作指南经典(The-Elements-of-style)
Elementary Rules of Usage1. Form the possessive singular of nouns by adding 's.Follow this rule whatever the final consonant. Thus write,Charles's friendBurns's poemsthe witch's maliceExceptions are the possessives of ancient proper names ending in -es and -is, the possessive Jesus', and such forms as for conscience' sake, for righteousness' sake. But such forms as Moses' Laws, Isis' temple are commonly replaced bythe laws of Mosesthe temple of IsisThe pronominal possessives hers, its, theirs, yours, and ours have no apostrophe. Indefinite pronouns, however, use the apostrophe to show possession.one's rightssomebody else's umbrellaA common error is to write it's for its, or vice versa. The first is a contraction, meaning "it is." The second is a possessive.It's a wise dog that scratches its own fleas.2. In a series of three or more terms with a single conjunction, use a comma after each term except the last.Thus write,red, white, and blue gold, silver, or copperHe opened the letter, read it, and made a note of its contents.This comma is often referred to as the "serial" comma. In the names of business firms the last comma is usually omitted. Follow the usage of the individual firm.Little, Brown and Company Donaldson, Lufkin & Jenrette3. Enclose parenthetic expressions between commas.The best way to see a country, unless you are pressed for time, is to travelon foot.This rule is difficult to apply; it is frequently hard to decide whether a single word, such as however, or a brief phrase is or is not parenthetic. If the interruption to the flow of the sentence is but slight, the commas may be safely omitted. But whether the interruption is slight or considerable, never omit one comma and leave the other. There is no defense for such punctuation asMarjories husband, Colonel Nelson paid us a visit yesterday.orMy brother you will be pleased to hear, is now in perfect health.Dates usually contain parenthetic words or figures. Punctuate as follows:February to July, 1992April 6, 1986Wednesday, November 14, 1990Note that it is customary to omit the comma in6 April 1988The last form is an excellent way to write a date; the figures are separated by a word and are, for that reason, quickly grasped.A name or a title in direct address is parenthetic.If, Sir, you refuse, I cannot predict what will happen.Well, Susan, this is a fine mess you are in.The abbreviations etc., i.e., and e.g., the abbreviations for academic degrees, and titles that follow a name are parenthetic and should be punctuated accordingly.Letters, packages, etc., should go here.Horace Fulsome, Ph.D., presided.Rachel Simonds, AttorneyThe Reverend Harry Lang, S.J.No comma, however, should separate a noun from a restrictive term of identification.Billy the KidThe novelist Jane AustenWilliam the ConquerorThe poet SapphoAlthough Junior, with its abbreviation Jr., has commonly been regarded as parenthetic, logic suggests that it is, in fact, restrictive and therefore not in need of a comma.James Wright Jr.Nonrestrictive relative clauses are parenthetic, as are similar clauses introduced by conjunctions indicating time or place. Commas are therefore needed. A nonrestrictive clause is one that does not serve to identify or define the antecedent noun.The audience, which had at first been indifferent, became more and moreinterested.In 1769, when Napoleon was born, Corsica had but recently been acquiredby France.Nether Stowey, where Coleridge wrote The Rime of the Ancient Mariner, isa few miles from Bridgewater.In these sentences, the clauses introduced by which, when, and where are nonrestrictive; they do not limit or define, they merely add something. In the first example, the clause introduced by which does not serve to tell which of several possible audiences is meant; the reader presumably knows that already. The clause adds, parenthetically, a statement supplementing that in the main clause. Each of the three sentences is a combination of two statements that might have been made independently.The audience was at first indifferent. Later it became more and moreinterested.Napoleon was born in 1769. At that time Corsica had but recently beenacquired by France.Coleridge wrote The Rime of the Ancient Mariner at Nether Stowey. NetherStowey is a few miles from Bridgewater.Restrictive clauses, by contrast, are not parenthetic and are not set off by commas. Thus, People who live in glass houses shouldn't throw stones.Here the clause introduced by who does serve to tell which people are meant; the sentence, unlike the sentences above, cannot be split into two independent statements. The same principle of comma use applies to participial phrases and to appositives.People sitting in the rear couldn't hear, (restrictive)Uncle Bert, being slightly deaf, moved forward, (non-restrictive)My cousin Bob is a talented harpist, (restrictive)Our oldest daughter, Mary, sings, (nonrestrictive)When the main clause of a sentence is preceded by a phrase or a subordinate clause, use a comma to set off these elements.Partly by hard fighting, partly by diplomatic skill, they enlarged theirdominions to the east and rose to royal rank with the possession of Sicily.4. Place a comma before a conjunction introducing an independent clause. The early records of the city have disappeared, and the story of its first years can no longer be reconstructed.The situation is perilous, but there is still one chance of escape.Two-part sentences of which the second member is introduced by as (in the sense of "because"), for, or, nor, or while (in the sense of "and at the same time") likewise require a comma before the conjunction.If a dependent clause, or an introductory phrase requiring to be set off by a comma, precedes the second independent clause, no comma is needed after the conjunction. The situation is perilous, but if we are prepared to act promptly, there is still one chance of escape.When the subject is the same for both clauses and is expressed only once, a comma is useful if the connective is but. When the connective is and, the comma should be omitted if the relation between the two statements is close or immediate.I have heard the arguments, but am still unconvinced.He has had several years' experience and is thoroughly competent.5. Do not join independent clauses with a comma.If two or more clauses grammatically complete and not joined by a conjunction are to form a single compound sentence, the proper mark of punctuation is a semicolon.Mary Shelley's works are entertaining; they are full of engaging ideas.It is nearly half past five; we cannot reach town before dark.It is, of course, equally correct to write each of these as two sentences, replacing the semicolons with periods.Mary Shelley's works are entertaining. They are full of engaging ideas.It is nearly half past five. We cannot reach town before dark.If a conjunction is inserted, the proper mark is a comma. (Rule 4.)Mary Shelley's works are entertaining, for they are full of engaging ideas.It is nearly half past five, and we cannot reach town before dark.A comparison of the three forms given above will show clearly the advantage of the first. It is, at least in the examples given, better than the second form because it suggests the close relationship between the two statements in a way that the second does not attempt, and better than the third because it is briefer and therefore more forcible. Indeed, this simple method of indicating relationship between statements is one of themost useful devices of composition. The relationship, as above, is commonly one of cause and consequence.Note that if the second clause is preceded by an adverb, such as accordingly, besides, then, therefore, or thus, and not by a conjunction, the semicolon is still required.I had never been in the place before; besides, it was dark as a tomb.An exception to the semicolon rule is worth noting here. A comma is preferable when the clauses are very short and alike in form, or when the tone of the sentence is easy and conversational.Man proposes, God disposes.The gates swung apart, the bridge fell, the portcullis was drawn up.I hardly knew him, he was so changed.Here today, gone tomorrow.6. Do not break sentences in two.In other words, do not use periods for commas.I met them on a Cunard liner many years ago. Coming home fromLiverpool to New York.She was an interesting talker. A woman who had traveled all over theworld and lived in half a dozen countries.In both these examples, the first period should be replaced by a comma and the following word begun with a small letter.It is permissible to make an emphatic word or expression serve the purpose of a sentence and to punctuate it accordingly:Again and again he called out. No reply.The writer must, however, be certain that the emphasis is warranted, lest a clipped sentence seem merely a blunder in syntax or in punctuation. Generally speaking, the place for broken sentences is in dialogue, when a character happens to speak in a clipped or fragmentary way.Rules 3, 4, 5, and 6 cover the most important principles that govern punctuation. They should be so thoroughly mastered that their application becomes second nature.7. Use a colon after an independent clause to introduce a list of particulars, an appositive, an amplification, or an illustrative quotation.A colon tells the reader that what follows is closely related to the preceding clause. The colon has more effect than the comma, less power to separate than the semicolon, and more formality than the dash. It usually follows an independent clause and should not separate a verb from its complement or a preposition from its object. The examples in the lefthand column, below, are wrong; they should be rewritten as in the righthand column.Your dedicated whittler requires: a knife, a piece of wood, and a back porch.Understanding is that penetrating quality of knowledge that grows from:theory, practice, conviction, assertion, error, and humiliation.Your dedicated whittler requires three props: a knife, a piece of wood, anda back porch.Understanding is that penetrating quality of knowledge that grows fromtheory, practice, conviction, assertion, error, and humiliation.Join two independent clauses with a colon if the second interprets or amplifies the first.But even so, there was a directness and dispatch about animal burial:there was no stopover in the undertaker's foul parlor, no wreath or spray.A colon may introduce a quotation that supports or contributes to the preceding clause.The squalor of the streets reminded her of a line from Oscar Wilde: "Weare all in the gutter, but some of us are looking at the stars."The colon also has certain functions of form: to follow the salutation of a formal letter, to separate hour from minute in a notation of time, and to separate the title of a work from its subtitle or a Bible chapter from a verse.Dear Mr. Montague:departs at 10:48 P.M.Practical Calligraphy: An Introduction to Italic ScriptNehemiah 11:78. Use a dash to set off an abrupt break or interruption and to announce a long appositive or summary.A dash is a mark of separation stronger than a comma, less formal than a colon, and more relaxed than parentheses.His first thought on getting out of bed — if he had any thought at all — wasto get back in again.The rear axle began to make a noise — a grinding, chattering, teeth-gritting rasp.The increasing reluctance of the sun to rise, the extra nip in the breeze, thepatter of shed leaves dropping — all the evidences of fall drifting intowinter were clearer each day.Use a dash only when a more common mark of punctuation seems inadequate.Her father's suspicions proved well-founded — it was not Edward she cared Her father's suspicions proved well- founded. It was not Edward she cared for,for — it was San Francisco.it was San Francisco.Violence — the kind you see on television — is not honestly violent — there lies its harm.Violence, the kind you see on television, is not honestly violent. There lies its harm.9. The number of the subject determines the number of the verb.Words that intervene between subject and verb do not affect the number of the verb.The bittersweet flavor of youth — its trials, its joys, its adventures, its challenges —are not soon forgotten.The bittersweet flavor of youth — its trials, its joys, its adventures, its challenges — is not soon forgotten.A common blunder is the use of a singular verb form in a relative clause following "one of..." or a similar expression when the relative is the subject.One of the ablest scientists who has attacked this problem One of the ablest scientists who have attacked this problemOne of those people who is never ready on time One of those people who are never ready on timeUse a singular verb form after each, either, everyone, everybody, neither, nobody, someone.Everybody thinks he has a unique sense of humor.Although both clocks strike cheerfully, neither keeps good time.With none, use the singular verb when the word means "no one" or "not one."None of us are perfect. None of us is perfect.A plural verb is commonly used when none suggests more than one thing or person.None are so fallible as those who are sure they're right.A compound subject formed of two or more nouns joined by and almost always requires a plural verb.The walrus and the carpenter were walking close at hand.But certain compounds, often cliches, are so inseparable they are considered a unit and so take a singular verb, as do compound subjects qualified by each or every.The long and the short of it is ...Bread and butter was all she served.Give and take is essential to a happy household.Every window, picture, and mirror was smashed.A singular subject remains singular even if other nouns are connected to it by with, as well as, in addition to, except, together with, and no less than.His speech as well as his manner is objectionable.A linking verb agrees with the number of its subject.What is wanted is a few more pairs of hands.The trouble with truth is its many varieties.Some nouns that appear to be plural are usually construed as singular and given a singular verb.Politics is an art, not a science.The Republican Headquarters is on this side of the tracks.ButThe general's quarters are across the river.In these cases the writer must simply learn the idioms. The contents of a book is singular. The contents of a jar may be either singular or plural, depending on what's in the jar — jam or marbles.10. Use the proper case of pronoun.The personal pronouns, as well as the pronoun who, change form as they function as subject or object.Will Jane or he be hired, do you think?The culprit, it turned out, was he.We heavy eaters would rather walk than ride.Who knocks?Give this work to whoever looks idle.In the last example, whoever is the subject of looks idle; the object of the preposition to is the entire clause whoever looks idle. When who introduces a subordinate clause, its case depends on its function in that clause.Virgil Soames is the candidate whom we think will win.Virgil Soames is the candidate who we think will win. [We think he will win.]Virgil Soames is the candidate who we hope to elect.Virgil Soames is the candidate whom we hope to elect. [We hope to elect him.]A pronoun in a comparison is nominative if it is the subject of a stated or understood verb.Sandy writes better than I. (Than I write.)In general, avoid "understood" verbs by supplying them.I think Horace admires Jessica more than I.I think Horace admires Jessica more than Ido.Polly loves cake more than me.Polly loves cake more than she loves me.The objective case is correct in the following examples.The ranger offered Shirley and him some advice on campsites.They came to meet the Baldwins and us.Let's talk it over between us, then, you and me.Whom should I ask?A group of us taxpayers protested.Us in the last example is in apposition to taxpayers, the object of the preposition of. The wording, although grammatically defensible, is rarely apt. "A group of us protested as taxpayers" is better, if not exactly equivalent.Use the simple personal pronoun as a subject.Blake and myself stayed home.Blake and I stayed home.Howard and yourself brought the lunch, I thought.Howard and you brought the lunch, I thought.The possessive case of pronouns is used to show ownership. It has two forms: the adjectival modifier, your hat, and the noun form, a hat of yours.The dog has buried one of your gloves and one of mine in the flower bed. Gerunds usually require the possessive case.Mother objected to our driving on the icy roads.A present participle as a verbal, on the other hand, takes the objective case.They heard him singing in the shower.The difference between a verbal participle and a gerund is not always obvious, but note what is really said in each of the following.Do you mind me asking a question?Do you mind my asking a question?In the first sentence, the queried objection is to me, as opposed to other members of the group, asking a question. In the second example, the issue is whether a question may be asked at all.11. A participial phrase at the beginning of a sentence must refer to the grammatical subject.Walking slowly down the road, he saw a woman accompanied by twochildren.The word walking refers to the subject of the sentence, not to the woman. To make it refer to the woman, the writer must recast the sentence.He saw a woman, accompanied by two children, walking slowly down theroad.Participial phrases preceded by a conjunction or by a preposition, nouns in apposition, adjectives, and adjective phrases come under the same rule if they begin the sentence.On arriving in Chicago, his friends met him at the station.On arriving in Chicago, he was met at the station by his friends.A soldier of proved valor, they entrusted him with the defense of the city.A soldier of proved valor, he was entrusted with the defense of the city.Young and inexperienced, the task seemed easy to me.Young and inexperienced, I thought the task easy.Without a friend to counsel him, the temptation proved irresistible.Without a friend to counsel him, he found the temptation irresistible.Sentences violating Rule 11 are often ludicrous:Being in a dilapidated condition, I was able to buy the house very cheap.Wondering irresolutely what to do next, the clock struck twelve.IIElementary Principles of Composition 12. Choose a suitable design and hold to it.A basic structural design underlies every kind of writing. Writers will in part follow this design, in part deviate from it, according to their skills, their needs, and the unexpected events that accompany the act of composition. Writing, to be effective, must follow closely the thoughts of the writer, but not necessarily in the order in which those thoughts occur. This calls for a scheme of procedure. In some cases, the best design is no design, as with a love letter, which is simply an outpouring, or with a casual essay, which is a ramble. But in most cases, planning must be a deliberate prelude to writing. The first principle of composition, therefore, is to foresee or determine the shape of what is to come and pursue that shape.A sonnet is built on a fourteen-line frame, each line containing five feet. Hence, sonneteers know exactly where they are headed, although they may not know how to get there. Most forms of composition are less clearly defined, more flexible, but all have skeletons to which the writer will bring the flesh and the blood. The more clearly the writer perceives the shape, the better are the chances of success.13. Make the paragraph the unit of composition.The paragraph is a convenient unit; it serves all forms of literary work. As long as it holds together, a paragraph may be of any length — a single, short sentence or a passage of great duration.If the subject on which you are writing is of slight extent, or if you intend to treat it briefly, there may be no need to divide it into topics. Thus, a brief description, a brief book review, a brief account of a single incident, a narrative merely outlining an action, the setting forth of a single idea — any one of these is best written in a single paragraph. After the paragraph has been written, examine it to see whether division will improve it. Ordinarily, however, a subject requires division into topics, each of which should be dealt with in a paragraph. The object of treating each topic in a paragraph by itself is, of course, to aid the reader. The beginning of each paragraph is a signal that a new step in the development of the subject has been reached.As a rule, single sentences should not be written or printed as paragraphs. An exception may be made of sentences of transition, indicating the relation between the parts of an exposition or argument.In dialogue, each speech, even if only a single word, is usually a paragraph by itself; that is, a new paragraph begins with each change of speaker. The application of this rule when dialogue and narrative are combined is best learned from examples in well-edited works of fiction. Sometimes a writer, seeking to create an effect of rapid talk or for some other reason, will elect not to set off each speech in a separate paragraph and instead will run speeches together. The common practice, however, and the one that serves best in most instances, is to give each speech a paragraph of its own.As a rule, begin each paragraph either with a sentence that suggests the topic or with a sentence that helps the transition. If a paragraph forms part of a larger composition, its relation to what precedes, or its function as a part of the whole, may need to be expressed. This can sometimes be done by a mere word or phrase (again, therefore, for the same reason) in the first sentence. Sometimes, however, it is expedient to get intothe topic slowly, by way of a sentence or two of introduction or transition.In narration and description, the paragraph sometimes begins with a concise, comprehensive statement serving to hold together the details that follow.The breeze served us admirably.The campaign opened with a series of reverses.The next ten or twelve pages were filled with a curious set of entries.But when this device, or any device, is too often used, it becomes a mannerism. More commonly, the opening sentence simply indicates by its subject the direction the paragraph is to take.At length I thought I might return toward the stockade.He picked up the heavy lamp from the table and began to explore.Another flight of steps, and they emerged on the roof.In animated narrative, the paragraphs are likely to be short and without any semblanceof a topic sentence, the writer rushing headlong, event following event in rapid succession. The break between such paragraphs merely serves the purpose of a rhetorical pause, throwing into prominence some detail of the action.In general, remember that paragraphing calls for a good eye as well as a logical mind. Enormous blocks of print look formidable to readers, who are often reluctant to tackle them. Therefore, breaking long paragraphs in two, even if it is not necessary to do so for sense, meaning, or logical development, is often a visual help. But remember, too, that firing off many short paragraphs in quick succession can be distracting. Paragraph breaks used only for show read like the writing of commerce or of display advertising. Moderation and a sense of order should be the main considerations in paragraphing. 14. Use the active voice.The active voice is usually more direct and vigorous than the passive:I shall always remember my first visit to Boston.This is much better thanMy first visit to Boston will always be remembered by me.The latter sentence is less direct, less bold, and less concise. If the writer tries to make it more concise by omitting "by me,"My first visit to Boston will always be remembered,it becomes indefinite: is it the writer or some undisclosed person or the world at large that will always remember this visit?This rule does not, of course, mean that the writer should entirely discard the passive voice, which is frequently convenient and sometimes necessary.The dramatists of the Restoration are little esteemed today.Modern readers have little esteem for the dramatists of the Restoration.The first would be the preferred form in a paragraph on the dramatists of the Restoration, the second in a paragraph on the tastes of modern readers. The need to make a particular word the subject of the sentence will often, as in these examples, determine which voice is to be used.The habitual use of the active voice, however, makes for forcible writing. This is true not only in narrative concerned principally with action but in writing of any kind. Many a tame sentence of description or exposition can be made lively and emphatic by substituting a transitive in the active voice for some such perfunctory expression as there is or couldbe heard.There were a great number of dead leavesDead leaves covered the ground. lying on the ground.At dawn the crowing of a rooster could be heard.The cock's crow came with dawn.The reason he left college was that his health became impaired.Failing health compelled him to leave college.It was not long before she was very sorry that shehad said what she had.She soon repented her words.Note, in the examples above, that when a sentence is made stronger, it usually becomes shorter. Thus, brevity is a by-product of vigor.15. Put statements in positive form.Make definite assertions. Avoid tame, colorless, hesitating, noncommittal language. Use the word not as a means of denial or in antithesis, never as a means of evasion.He was not very often on time.He usually came late.She did not think that studying Latin was a sensible way to use one's time.She thought the study of Latin a waste of time.The Taming of the Shrew is rather weak in spots. Shakespeare does not portray Katharine as a very admirable character, nor does Bianca remain long in memory as an important character in Shakespeare's works.The women in The Taming of the Shrew are unattractive. Katharine is disagreeable, Bianca insignificant.The last example, before correction, is indefinite as well as negative. The corrected version, consequently, is simply a guess at the writer's intention.All three examples show the weakness inherent in the word not. Consciously or unconsciously, the reader is dissatisfied with being told only what is not; the reader wishes to be told what is. Hence, as a rule, it is better to express even a negative in positive form.not honest dishonestnot important triflingdid not remember forgotdid not pay any attention to ignoreddid not have much confidence in distrustedPlacing negative and positive in opposition makes for a stronger structure.Not charity, but simple justice.Not that I loved Caesar less, but that I loved Rome more.Ask not what your country can do for you — ask what you can do for yourcountry.Negative words other than not are usually strong.。
the elements of style笔记
the elements of style笔记摘要：I.简介- 简述《风格的要素》的背景和重要性II.作者- 介绍作者威廉·斯特伦克和尤金·艾宾浩斯- 他们的写作背景和成就III.内容概述- 简述《风格的要素》的主要内容和结构- 强调该书对于写作的重要指导意义IV.主要原则- 列举并详细解释《风格的要素》中的四个基本原则：清楚、简洁、恰当、经济- 结合实例分析这些原则在实际写作中的应用V.影响和启示- 讨论《风格的要素》对于当代写作和编辑的影响- 阐述该书给我们的启示和教益VI.结论- 总结《风格的要素》的价值和意义- 强调学习和运用该书原则对于提高写作能力的重要性正文：【提纲】I.简介《风格的要素》（The Elements of Style）是一本著名的英文写作指南，被誉为美国英语写作的经典之作。
该书由威廉·斯特伦克（William Strunk Jr.）和尤金·艾宾浩斯（E.B.White）共同撰写，自1959年出版以来，一直广受读者欢迎，成为无数写作者和编辑的必备参考书。
【提纲】II.作者《风格的要素》的作者威廉·斯特伦克和尤金·艾宾浩斯都是美国著名的语言学家和作家。
斯特伦克曾任康奈尔大学英语教授，他的写作课程教案后来成为了《风格的要素》的基础。
艾宾浩斯则是美国著名的散文家、编辑和儿童文学作家，他的作品《夏洛的网》等深受读者喜爱。
【提纲】III.内容概述《风格的要素》内容丰富，涵盖了英文写作的方方面面。
全书分为四个部分：基本原则、语法和用法、文体和修辞、实例分析。
在书中，斯特伦克和艾宾浩斯提出了四个基本原则：清楚（Clarity）、简洁（Conciseness）、恰当（Correctness）、经济（Economy），简称“4C原则”。
【提纲】IV.主要原则1.清楚：文章应以清晰易懂的方式传达作者的思想。
避免使用过于复杂的句子结构和难以理解的词汇。
什么书让我受益匪浅的英语作文
什么书让我受益匪浅的英语作文English Answer:Books That Have Significantly Improved My English Writing.Over the years, I have had the privilege of reading a diverse range of books that have not only enriched my vocabulary but also honed my writing skills. Here are a few notable titles that have left an enduring impact on my English writing:1. "The Elements of Style" by William Strunk Jr. andE.B. White: This concise and practical guide to writingclear and concise English prose has been an indispensable resource for me. It emphasizes the importance of simplicity, clarity, and brevity, providing invaluable advice on grammar, punctuation, and style.2. "On Writing Well" by William Zinsser: This highlyacclaimed book offers invaluable insights into the craft of writing. Zinsser shares his personal experiences, writing principles, and practical tips, guiding readers through the process of finding their voice, organizing their ideas, and expressing them effectively.3. "The Art of Writing" by Arthur Plotnik: This comprehensive textbook provides a systematic approach to writing, covering a wide range of topics, from planning and drafting to revising and editing. Plotnik's clear explanations and practical exercises have been instrumental in helping me develop a more organized and structured writing process.4. "Bird by Bird" by Anne Lamott: This inspiring and humorous memoir offers a unique perspective on the writing life. Lamott shares her struggles, triumphs, and insights, encouraging writers to embrace their imperfections and find joy in the process of writing.5. "Write Like the Classics" by David Remnick: This collection of essays by renowned writers analyzes thewriting styles of literary masters such as Jane Austen, Ernest Hemingway, and George Orwell. By studying the techniques and strategies of these masters, I have gained a deeper understanding of the art of writing.6. "The Writer's Diet" by Chuck Palahniuk: While not specifically a writing guide, this satirical novel by Chuck Palahniuk offers thought-provoking insights into the challenges and rewards of being a writer. Palahniuk's unconventional and often disturbing writing style has challenged me to think outside the box and explore new ways of expressing myself.7. "The Chicago Manual of Style": This authoritative reference work is an essential tool for any serious writer. It provides comprehensive guidelines on grammar, punctuation, style, and citation, ensuring that my writing meets professional standards.中文回答：对我的英语写作受益匪浅的书籍。
艺术风格分析英文作文
艺术风格分析英文作文1. The art style of abstract expressionism is characterized by spontaneous brushwork, bold colors, and emotional intensity. It often conveys a sense of freedom and individuality, allowing the artist to express their innermost thoughts and feelings on the canvas.2. Pop art, on the other hand, is known for its use of popular culture imagery and bright, vibrant colors. It often incorporates elements of mass media and consumerism, challenging traditional notions of art and society.3. Surrealism explores the realm of dreams and the unconscious mind, creating fantastical and often bizarre imagery. Artists like Salvador Dali and Rene Magritte used surrealism to challenge the boundaries of reality and create thought-provoking works of art.4. Minimalism focuses on simplicity and reduction, using clean lines, geometric shapes, and monochromaticcolor schemes. It seeks to strip away unnecessary elements and highlight the beauty of simplicity and minimalism.5. Postmodernism is a diverse and eclectic art style that rejects traditional boundaries and conventions. It often incorporates elements of past styles and mixes them with contemporary influences, creating a sense of irony, parody, and self-awareness.6. Street art is a form of art that is created in public spaces, often without permission. It can take the form of graffiti, murals, or installations, and is often used as a means of political or social commentary.7. Realism aims to depict the world as it is, without idealization or embellishment. Artists like Gustave Courbet and Edward Hopper used realism to capture the everyday moments and struggles of ordinary people, creating works that are both relatable and emotionally powerful.。
推荐写字英文的书籍作文
推荐写字英文的书籍作文英文：I would like to recommend a book about writing in English. The book is called "The Elements of Style" by William Strunk Jr. and E.B. White. This book is a classic guide to writing in English and has been used by writersfor decades.One of the reasons why I recommend this book is because it is very easy to understand. The authors provide clear and concise explanations on how to write effectively in English. They cover topics such as grammar, punctuation, and style. The book is also filled with examples that illustrate the concepts being discussed.Another reason why I recommend this book is because it is very practical. The advice given in the book can be applied to any type of writing, whether it is academic or creative. The authors also provide tips on how to writemore clearly and concisely, which is essential foreffective communication.Overall, "The Elements of Style" is a must-read for anyone who wants to improve their writing in English. It is a timeless classic that has helped countless writers over the years.中文：我想推荐一本关于英文写作的书籍。
TheELEMENTSofstyle读后感
The ELEMENTS of styleBy William Strunk , Jr., and E.B. White To tell the truth, I have not read the book, so I saw its Chinese version. Suddenly understand, this is a book about English writing books.The Elements of Style,by William Strunk,Jr.,and E.B.White,is a prescriptive American English writing style guide comprising eight"elementary rules of usage,"ten "elementary principles of composition,"“a few matters of form,”a list of forty-nine"words and expressions commonly misused,"and a list of fifty-seven"words often misspelled."“Omit needless words. ”In the book, the White tries to explain to us the importance of " simple"," clear" and" bright" in English writing.At the same time he tells the reader to learn how to delete the unnecessary words, and concise, clear to express their point of view, because ambiguous statement is more serious than wrong.In addition to these, the author also introduces some form of the problem, some frequently misused words and phrases.Of course, everything has its two sides, the author also just according to personal preferences to challenge the traditional.For example," the fact that" and so on common grammatical, lexical and other writing rules, the authors think that is wrong, but must know that these are almostpeople use every day.By reading this book, let me know, in any writing should be expressed in "simple"," bright"," accurate", but also should pay attention to some frequent errors and to avoid. However, for the traditional lexical, syntax if not very certain, had better not break easily.。
《英语写作手册：风格的要素》学习笔记：易错词
《英语写作手册：风格的要素》学习笔记：易错词The Elements of StyleASIN: B01N2O81CF作者：William Strunk《风格的要素》也是常被推荐的一本书，推崇语言表达精炼、明确，其中也有很多语法方面的知识。
今天先摘几条词汇用法。
《英语写作手册：风格的要素》是近一个世纪以来流传最为广泛的英语写作手册之一，初为常春藤盟校康奈尔大学英语写作教材，现在美国大学生几乎人手一本。
它包括11条“英语用法的基本规则”，11条“写作的基本原则”，写作格式的注意事项，以及一份“常被误用的单词和短语清单。
本次出版的是这本英语写作手册的全新译本，为英语学习者指出真正的英文写作捷径，不说术语不讲语法，教大家如何删繁就简、字字珠玑，尤其适合参加托福、SAT、GRE等考试的学生以及需要进行简洁的商务信函写作的人群。
（Amazon）Claim可以跟从句，但是claim to be 更简洁，不能简单作为declare, maintain, charge 的替换词。
vb. With object-noun, means lay claim to. May be used with a dependent clause if this sense is clearly involved: “He claimed that he was the sole surviving heir.” (But even here, “claimed to be” would be better.) Not to be used as a substitute for declare, maintain, or charge.CompareCompare to 比较的是不同的事物，重点是相像，compare with 比较的是本质相同的一类事物，重点是区别。
To compare to is to point out or imply resemblances, between objects regarded as essentially of different order; to compare with is mainly to point out differences, between objects regarded as essentially of the same order. Thus life has been compared to a pilgrimage, to a drama, to a battle; Congress may be compared with the British Parliament.Paris has been compared to ancient Athens; it may be compared with modern London.He compared Beijing to the heart of China.他把北京比做中国的心脏。
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?两个句子之间用accordingly, besides, so, then, therefore or thus连接，则用”；”
例如：I had never been in the place before; so I had difficulty in finding my
而不用”,”
way about.
注意：少用so, 因为so 很容易被滥用。
可以用as+句子1，句子 2.
如果句子很短，而且“对仗”性强，则不用分号用逗号就行。
如： Man proposes, God disposes.
? Make the paragraph the unit of composition
one paragraph to each topic.
一句话不能单独成为一个段落(除非是过度段
?
As a rule, begin each paragraph with a topic sentence; end it in conformity with the beginning
?如果是议论文，则每一段的写作框架：
1. The topic sentence comes at or near the beginning
2. The succeeding sentences explain or establish or develop the statement made in
the topic
sentence; and
3. The final sentence either emphasizes the thought of the topic sentence or states some important
consequence.(段落结尾偏离段落论点或者不重要得细节是大忌
段落中支撑段首中心句的方式：
1. Restating topic sentence in other forms
2. 给topic sentence当中的某些用语下定义
3. 否定topic sentence的反面
4. 举例子
5. Showing the implications and consequences of the topic sentence
如果段落是叙述或描写形式，
?多使用主动语态
切忌使用多重被动语态
如（NG 用法）：Gold was not allowed to be exported.
He has been proven to have been seen entering the bus.
. 切忌使用动词的名字形式作为主语然后用被动语态
如 Mobilization of the army was rapidly carried out.
Mobilization 可以直接作为谓语，这里用be carried out做谓语太累赘，应该改成：The army was rapidly mobilized.
对比: The export of gold was prohibited. 这里用export 的名字形式，是因为export 没有was prohibited 的意味，所以可以这样使用被动语态。
?主题句一定用积极语态，不要用否定形式。
如：不要用He was not very often on time, 而应该用He usually came late.
在主题句里，it’s better to如 not honest------dishonest
?注意：Every word should tell and being concise is the key!
例如： The question as to whether 改成 whether the question
There is no doubt but that 改成no doubt(doubtless
Used for fuel purposes改成used for fuel
He is a man who改成he
In a hasty manner改成hastily
This is a subject which改成this subject
His story is a strange one改成his story is strange.
不能用！！就是一个超级搓的词组
“the fact that”
如owing to the fact that 改成since(because
In spite of the fact that改成although
The fact that he had not succeeded改成his failure
The fact that I had arrived改成my arrival
?
不要一连串句子都用which, who, where, and, but, while…
?对应的idea 应该用相平行的句型！
如：Formerly, science was taught by the textbook method; and now it is taught by the lab method。