deep, then shiver, and break, and spread, and shroud themselves, and disappear in a soft mist of foam; nor of the gentle, incessant heaving and panting of the whole liquid plain; nor of the long waves, keeping steady time, like a line of soldiery as they resound upon the hollow shore, he would not deign to notice that restless living element at all except to bless his stars that he was not upon it. Nor the distinct details, nor the refined coloring, nor the graceful outline and roseate golden hue of the jutting crags, nor the bold shadows cast from Otus or Laurium by the declining sun; our agent of a mercantile firm would not value these matters even at a low figure. Rather we must turn for the sympathy we seek to yon pilgrim student, come from a semi-barbarous land to that small corner of the earth, as to a shrine, where he might take his fill of gazing on those emblems and coruscations of invisible unoriginate perfection. It was the stranger from a remote province, from Britain or from Mauritania, who in a scene so different from that of his chilly, woody swamps, or of his fiery, choking sands, learned at once what a real University must be, by coming to understand the sort of country which was its suitable home.

NEWMAN: Historical Sketches.

1. The plan of paragraph 2 is logical and therefore coherent. By means of the agent Newman describes first in a bare, practical way, giving measurements and outlines; then he describes imaginatively. His method of proceeding builds up coherently in our minds an impression of the place.

2. In the second paragraph, sentences 2, 3, 4, 5, 6, 7, and 8 are of what is called "parallel construction." That is, certain elements of each are in the same form: "He would report"..." He would not tell" . . . etc. This does not mean that each phrase and clause in a sentence

of parallel construction is of the same length as the phrase or clause of the sentence it resembles; it merely means that these are like each other in general, just as a line of soldiers marching forward wear the same kind and cut of clothes though the garments differ in size.

3. Underscore all words which bind together the sentences in the selection from Newman.

C

Then did Christian draw, for he saw it was time to bestir him; and Apollyon as fast made at him, throwing darts as thick as hail; by the which, notwithstanding all that Christian could do to avoid it, Apollyon wounded him in his head, his hand, and foot. This made Christian give a little back: Apollyon, therefore, followed his work amain, and Christian again took courage, and resisted as manfully as he could. This sore combat lasted for above half a day, even till Christian was almost quite spent: for you must know, that Christian, by reason of his wounds, must needs grow weaker and weaker.

Then Apollyon, espying his opportunity, began to gather up close to Christian, and wrestling with him, gave him a dreadful fall; and with that Christian's sword flew out of his hand. Then, said Apollyon, I am sure of thee now: and with that he had almost pressed him to death, so that Christian began to despair of life. But, as God would have it, while Apollyon was fetching his last blow, thereby to make a full end of this good man, Christian nimbly reached out his hand for his sword, and caught it, saying, Rejoice not against me, O mine enemy: when I fall I shall arise, Mic. 7:8; and with that gave him a deadly thrust.

BUNYAN: The Pilgrim's Progress.

I. Note how the conjunctions serve to carry forward,

to render coherent, this simple narrative.

2. Note the few words of reference: "by the which," "this," "with that," "thereby.”

3. What connection is there between the paragraphs?

D

DEMOCRACY.

Gurth, born thrall of Cedric the Saxon, has been greatly pitied by Dryasdust and others. Gurth, with the brass collar round his neck, tending Cedric's pigs in the glades of the wood, is not what I call an exemplar of human felicity: but Gurth, with the sky above him, with the free air and tinted boscage and umbrage round him, and in him at least the certainty of supper and social lodging when he came home; Gurth to me seems happy, in comparison with many a Lancashire and Buckinghamshire man of these days, not born thrall of anybody! Gurth's brass collar did not gall him: Cedric deserved to be his master. The pigs were Cedric's, but Gurth too would get his parings of them. Gurth had the inexpressible satisfaction of feeling himself related indissolubly, though in a rude brass-collar way, to his fellow-mortals in this Earth. He had superiors, inferiors, equals. Gurth is now emancipated' long since; has what we call Liberty.' Liberty, I am told, is a divine thing. Liberty when it becomes the Liberty to die by starvation' is not so divine.

CARLYLE: Past and Present.

1. Observe, in this example, how many of the sentences are bound together by the repetition of words.

...

E

Constantinople has two glories, the glory of the mountains, and the glory of the sea. In every landscape the back-ground is formed by the bold heights of Scutari and the more distant Mysian Olympus, with its snowy summits cutting the clouds like mother of pearl. In the city itself there is scarcely a yard of level ground.

Old Stambouli is built on a long ridge, rising two hundred feet above the waters that lave it on either hand, a ridge whose top indented by hollows and crowned by massive mosques and graceful white minarets, with here and there a pile of ancient ruins, offers a sky-line always changing as the beholder moves, but always beautiful. Then no city has such a sea—a sea deep to its very margin, intensely blue, penetrating everywhere, till you can hardly recognize its arms; a sea that narrows to a river in the Golden Horn and Bosphorus, and spreads into a shoreless expanse in the broad Propontus, studded with shining isles. The central spot of every view is the spot where these three waters meet, Seraglio Point.

It has become a commonplace to say that the traveller ought to admire Constantinople from the sea, and then depart without landing lest the spell be broken. A more foolish commonplace it would be hard to find. Constantinople is just as wonderful within as it is from the outside. No doubt there is much to disgust and repel a stranger: much dirt, neglect, vice and even ugliness. But there is far more to excite his curiosity and touch his imagination. Its mosques, its tombs, its crooked, rugged streets, with their crumbling houses of every tint, interrupted here by a spreading planetree, there by a grand old Byzantine arch or cistern; its bridge of boats over which a many-tongued crowd streams incessantly; its Fields of the Dead shaded by gloomy cypresses; its gardens green with pines and ruddy with pomegranates; above all those majestic walls and towers,' which have stood untouched since the fatal day of Mohammed the Second's conquest, - all these and many more

details of its inner form and life are picturesque; as full of endless interest and charm as the view from the bosom of the sea is noble and inspiring.

JAMES BRYCE.

1. The general order of the preceding selection is noteworthy. The plan is logical. The first paragraph deals with the external aspect of the city: the glory of

the mountains and the sea, announced in a topic sentence; the second, with the interior of the city. The second paragraph is united to the first by three connective sentences, of which the last is the topic sentence; while the plan is further kept in mind by the last sentence, which repeats the central statement of the paragraph, and characterizes each view: the interior is "as full of interest and charm as the view from the bosom of the sea is noble and inspiring."

2. The orderliness of the plan is further apparent in the fact that the descriptive words narrow from the general to the specific. We have "mountains" "heights". . . “Scutari”; “in any landscape" "in the city itself"... "Stambouli"; "sea". "Golden

3. Note in paragraph 2 how the seventh sentence helps coherence by enumerating, and then converging into a summarizing phrase, "all these."

Summary.

The principle of coherence is so important that it seems necessary to summarize and enforce the ideas which have been already presented on the subject. If we study carefully the preceding examples and comments we see that Unity and Coherence must work side by side to produce a good piece of writing. Unity demands that we treat a single subject; coherence demands that we proceed with the subject, develop it in logical order, put side by side those ideas which belong together, make them "cohere," stick together.