Composition-Rhetoric Part 44

Her iron will was broken in her mind, Her n.o.ble heart was broken in her breast.

From the Princess's cry then, "Grant me your son to nurse," it is but a natural result that she should bring the Prince's wounded men with him into the College, now a hospital. Through ministering to her lover, she comes to love him; and theories yield to "the lord of all."

--Copeland-Rideout: _Introduction to Tennyson's Princess_.

+Theme LXXI.+--_Write the plot of one of the following_:--

1. _Lochinvar_, Scott.

2. _Rip Van Winkle_, Irving.

3. One story from _A Tale of Two Cities_, d.i.c.kens.

4. _Silas Marner_, George Eliot.

5. The last magazine story you have read.

6. Some story a.s.signed by the teacher.

+Theme LXXII.+--_Write three brief plots. Have the cla.s.s choose the one that will make the most interesting story._

+Theme LXXIII.+--_Write a story, using the plot selected by the cla.s.s in the preceding theme._

(Are the events related in your story probable or improbable?)

+143. The Introduction.+--Our pleasure in a story depends upon our clear understanding of the various situations, and this understanding may often be best given by an introduction that states something of the time, place, characters, and circ.u.mstances as shown in Section 6. The purpose of the introduction is to make the story more effective, and what it shall contain is determined by the needs of the story itself. The last half of a well-written story will not be interesting to one who has not read the first half, because the first half will contain much that is essential to the complete understanding of the main point of the story. A story begun with conversation at once arouses interest, but care must be taken to see that the reader gets sufficient descriptive and explanatory matter to enable him to understand the story as the plot develops, or the interest will begin to lag.

+Theme LXXIV.+--_Write a narrative._

Suggested subjects:-- 1. The Christmas surprise.

2. How the mortgage was paid.

3. The race between the steam roller and the traction engine.

4. The new girl in the boarding school.

5. The Boss, and how he won his t.i.tle.

(Be sure that your introduction is such that the entire situation is understood. Name different points in the story that led you to say what you have in the introduction. Have you mentioned any unnecessary points?)

+144. The Incentive Moment.+--The chief business of a story-teller is to arouse the interest of his readers, and the sooner he succeeds, the better. Usually he tries to arouse interest from the very beginning of his story. He therefore places in the introduction or near it a statement designed to stimulate the curiosity of his readers. The point at which interest begins has been termed the incentive moment. In the following selection notice that the first sentence tells who, when, and where.

(Section 6.) The second sentence causes us to ask, what was it? and by the time that is answered we are curious to know what happened and how the adventure ended.

On a mellow moonlight evening a cyclist was riding along a lonely road in the northern part of Mashonaland. As he rode, enjoying the somber beauty of the African evening, he suddenly became conscious of a soft, stealthy, heavy tread on the road behind him. It seemed like the jog trot of some heavy, cus.h.i.+on-footed animal following him. Turning round, he was scared very badly to find himself looking into the glaring eyes of a large lion.

The puzzled animal acted very strangely, now raising his head, now lowering it, and all the time sniffling the air in a most perplexed manner. Here was a surprise for the lion. He could not make out what kind of animal it was that could roll, walk, and sit still all at the same time; an animal with a red eye on each side, and a brighter one in front.

He hesitated to pounce upon such an outlandish being--a being whose blood smelled so oily.

I believe no cyclist ever "scorched" with more honesty and single-mindedness of purpose. But although he pedaled and pedaled, although he perspired and panted, his effort to get away did not seem to place any more s.p.a.ce between him and the lion; the animal kept up his annoyingly calm jog trot, and never seemed to tire.

The poor rider was finally so exhausted from terror and exertion that he decided to have the matter settled right away. Suddenly slowing down, he jumped from his wheel, and, facing abruptly about, thrust the brilliant headlight full into the face of the lion. This was too much for the beast.

The sudden glare destroyed the lion's nerve, for at this fresh evidence of mystery on the part of the strange rider-animal, who broke himself into halves and then cast his big eye in any direction he pleased, the monarch of the forest turned tail, and with a wild rush retreated in a very hyena-like manner into the jungle, evidently thanking his stars for his miraculous escape from that awful being. Thereupon the bicyclist, with new strength returning and devoutly blessing his acetylene lamp, pedaled his way back to civilization.

--P.L. Wessels.

+Theme LXXV.+--_Write a short imaginative story._

Suggested subjects:-- 1. A bicycle race with an unfriendly dog.

2. An unpleasant experience.

3. A story told by the school clock.

4. Disturbing a hornet's nest.

5. The fate of an Easter bonnet.

6. Chased by a wolf.

(Where is the incentive moment? Is it introduced naturally?)

+145. Climax.+--You have already noticed in your reading that usually somewhere near the close of the story, there is a turning point. That turning point is called the climax. At this point, the suspense of mind is greatest, for the fate of the princ.i.p.al character is being decided. If the story is well written as regards the plot, our interest will continually increase from the incentive moment to the climax.

In the novel and the drama, both of which may have a complicated plot, several minor climaxes or crises may be found. There may be a crisis to each single event or episode, yet they should all be a part of and lead up to the princ.i.p.al or final climax. Instead of detracting from, they add to the interest of a carefully woven plot. For example, in the _Merchant of Venice_, we have a crisis in both the casket story and the Lorenzo and Jessica episode; but so skillfully are the stories interwoven that the minor climaxes do not lessen our interest in the princ.i.p.al one.

In short stories, the turning point should come near the close. There should be but little said after that point is reached. In novels, and especially in dramas, we find that the climax is not right at the close, and considerable action sometimes takes place after the climax has been reached.

EXERCISES

_A._ Point out the climax in each of five stories that you have read.

_B._ Where is the climax in the following selection?

We spoke, and Sohrab kindled at his taunts, And he too drew his sword; at once they rushed Together, as two eagles on one prey Come rus.h.i.+ng down together from the clouds, One from the east, one from the west; their s.h.i.+elds Dashed with a clang together, and a din Rose, such as that the sinewy woodcutters Make often in the forest's heart at morn, Of hewing axes, cras.h.i.+ng trees--such blows Rustum and Sohrab on each other hailed.

And you would say that sun and stars took part In that unnatural conflict; for a cloud Grew suddenly in heaven, and darked the sun Over the fighters' heads; and a wind rose Under their feet, and moaning swept the plain, And in a sandy whirlwind wrapped the pair.

In gloom they twain were wrapped, and they alone; For both the onlooking hosts on either hand Stood in broad daylight, and the sky was pure, And the sun sparkled on the Oxus stream.

But in the gloom they fought, with bloodshot eyes And laboring breath; first Rustum struck the s.h.i.+eld Which Sohrab held stiff out; the steel-spiked spear Rent the tough plates, but failed to reach the skin, And Rustum plucked it back with angry groan.

Then Sohrab with his sword smote Rustum's helm, Nor clove its steel quite through; but all the crest He sh.o.r.e away, and that proud horsehair plume, Never till now denied, sank to the dust; And Rustum bowed his head; but then the gloom Grew blacker, thunder rumbled in the air, And lightnings rent the cloud; and Ruksh, the horse, Who stood at hand, uttered a dreadful cry;-- No horse's cry was that, most like the roar Of some pained desert lion, who all day Hath trailed the hunter's javelin in his side, And comes at night to die upon the sand.

The two hosts heard that cry, and quaked for fear, And Oxus curdled as it crossed his stream.

But Sohrab heard, and quailed not, but rushed on, And struck again; and again Rustum bowed His head; but this time all the blade, like gla.s.s, Sprang in a thousand s.h.i.+vers on the helm, And in the hand the hilt remained alone.

Then Rustum raised his head; his dreadful eyes Glared, and he shook on high his menacing spear, And shouted: "Rustum!"--Sohrab heard that shout, And shrank amazed: back he recoiled one step, And scanned with blinking eyes the advancing form; And then he stood bewildered; and he dropped His covering s.h.i.+eld, and the spear pierced his side.

He reeled, and, staggering back, sank to the ground, And then the gloom dispersed, and the wind fell, And the bright sun broke forth, and melted all The cloud; and the two armies saw the pair-- Saw Rustum standing, safe upon his feet, And Sohrab wounded, on the b.l.o.o.d.y sand.

--Matthew Arnold: _Sohrab and Rustum_.

+Theme LXXVI.+--_Write a story and give special attention to the climax._