: OLLEGE CO

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 COLLEGE COMPOS°ITION

Fakhir A. Razzak Helen Al-Has san

Assista nt Profes sor Instruc tor
College of Arts College of Arts
Baghdad Univer sity Mustan siriyah Univer sity

Revised by

Khalil I. Al-Hamash

A Public ation of the Institu te for the

Development of Englis h Langua ge Teachin g
in Iraq
Baghda d
1981

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 CONTENTS
page

Foreword .. . ... •••

5
Chapter One - The Sentence •••
8
Exercises ••• •••
36
Chapter Two - The Paragraph ••• 49
Exercises • •• ••• 70
Chapter Three - Punctuatio n and
Mechanics • • • 90
Exercises ••• • •• 121
Chapter Four - Paraphrasi ng ••• 130
Exercises ••• • •• 140
Chapter Five - Precis-Wri ting ••• 143
Exercises ••• ••• 149
Chapter Six - Planning Writing the
Whole Compositio n
Exercises
165
••• • ••
196
Chapter Seven - Letter-Wr iting • • •
218
Exercises ••• • ••
23
Chapter Eight - Figures of Speech and
Other Useful Liter ary Terms -7
Cha p ter Nine . . Uning th 11.brax-y and
the Dioti n lY •· •
25 3

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 Chapte~ Ten - Common Error s
Bibliography .•.•

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 FOR EWO RD

In this age of. labou r-savi ng devic es it

1s perha ps unfor tunat e that no one has .Y et
come up with a labou r-savi ng comp ositio n cours e.
'!he abili ty to write Engli sh freely and accur -
ately can only be acqui red after month s, if
not years , of really hard work on the ·part of
both teach er and stude nt.

'!he teach er's first task is to so awaken

the stude nts' inter est tha't they w.i ll be eager
to write , for if they really want to write ,
there is a good chanc e that they will write rea-
. '

sonab ly well. In the early stage s at least ,

all writt en work shoul d be prece ded by thoro ugh
oral prepa ration , not only to ensur e that all
the stude nts hav~ enough ideas on the subje ct,
the neces sary vocab ulary, usefu l struc tures , and
so on, but also, by encou raging class discu ssion ,
to get the stude nts inter ested in the subje ct
As well as activ ely encou raging the stude nt s,
the teach er shoul d make sure that he does noth-
ing which will disco urage them: for t his
i t i s advi s able, when corre c t i ng compo si i
t o conce ntrate on major weakn esses
th · tempt ation to ma k v ry ·. n

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 The aim of the comp ositio n cours e 1 s to
crain the stude nts to write Engli sh freely and
3.ccu rately , an aim which can only be reached
Lf they are given plent y of pract ice.

Teac hers faced with class es of between

thirt y and forty stude nts canno t possi bly be
expec ted to give each stude nt much in the way
of indiv idual atten tion. This does not .mean.,
howe ver, that the stude nts are to be _denied the
pract ice they need if they are ever to _learn
to write good Engl ish. It is a good idea to
divid e the class into group s; the members of
each group work ing toget her to produ ce one
comp ositio n. The teach er will then have only
a hand ful of · com·p osi tions to mark, - and these
comp ositio ns~ be-c ause they have been· checked
by seve ral stude nts, will conta in comparatively
few error s. When the comp ositio ns have been
. r
marke d the stude nts can copy their own group s
comp ositio n into their exerc ise books so that,
by the end of the term, they will have a good
selec tion of mode l comp ositio ns.

The teach er- stude nt relat ionsh ip is of

the utmo st impo rtanc e in the comp ositio n cla s,
th ·
and no book can take the place , or do all

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 work, of the teacher. We hope, however, that
this book wi).l help to make the task of the
teacher a little easier by providing him with
material specially geared to the needs of our
own students.

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 CHAPTER ONE
THE SENTENCE

The uni t of wri tten spee ch is the sentence,

A sent ~nc e is a grou p of words tha t makes
complete sen se. The normal sent enc e must
have two elem ents : the sub ject and the pre-
dica te·. The sub ject is the word, or grqup_
of words, abo ut which sqm ethi ng is said .
The pred icat e is the par t tha t tell s us what
the sub ject did, what was done to it. For
example., in the sent enc e "Al i laug hed" the
sub ject is "Al i" and the pre dica te is
"lau ghe d". We may thin k of the sub ject as
the doe r or rece iver of the acti on and the
pred icat e as den otin g the acti on, what the
sub ject doe s or wha t is done to it. Every
sent enc e, no mat ter how sim ple or complica-
ted it may be, con tain s at lea st one subject
and one pre dica te.

We can divi de sen tenc es into four tra-

diti ona l cate gor ies: sim ple sent enc es,
compound sen tenc e s, comp l ex sent enc s,
compound-compl ex sen tenc es .

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 1. The Simple Sentenc e:

A simple sentence consists of only one

independ ent (princip al) clause; that is, . one
subject and one predica te. The simple sentence
may have as subject more than one noun or pro-
noun and as predicat e more than one verb. It
may also have adjectiv es, adverbs, and phrases
as modifie rs. The form of the verb is deter-
mined by the nature of the subject- whether it·
is singular or plural, or first, second~ or
11
third person. Thus we say 11 he speaks but "they
speak"; "I am", "he is", "we/you /they/ar e".
That is what we mean when we say that the verb
must agree with its subject.

The followin g. sentence s have two main

p·a rts-sub ject and predica te:

Subject Predica te
The boy was running.
All the boys were running .
All the boys were running down the
hill.

The first part of each sentence above func-

tions as the subject ; the second part func-
tions as the predica te. Most simple sentence s

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 follo w this patt ern.

2. The Compound Sen tenc e:

A compound sent ence con sist s of two or

mo;-e inde pend ent clau ses. Each clau se con tain s
a subj ect and a pred icat e of its own. Each
part is ther efor e a sent ence whic h is par t_ of
a larg er sent ence . Each clau se mak es good
sens e by itse lf, and neit her of them is infe ~-
ior to, or depe nden t on, the othe r. Ord inar i-
ly, a co-o rdin atin g conj unct ion (e.g . and, but,
or, for) join s the two part s-.

co-o rdin atin g conj unct ion is a join ing

A
word that join s two clau ses of equa l valu e.
The follo wing sent ence s have two co-o rdin ate
clau ses - clau ses of equa l rank :
Sub ject Pred icat e

a) The moon was brig ht and

We coul d see our way
(Add ing one state men t to anot her: the
clau se whic h follo ws is wha t we migh t
expe ct.)

b) The sky dark ened , but no rain fell

f!" 10 ...

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 n two
(E xp re ss in g co nt ra st be tw ee
no t w ha t
st at em en ts : What fo llo w s is
we ex pe ct .)

ha d to ac t im m ed ia te ly or he w ou ld
c) He
ha ve be en to o la te .
lu e to
(Two . st at em en ts of eq ua l va
or po s-
ch oo se fr om : if on e is tr ue
si bl e th e ot he r is no t.)
fo r it
d) He fe lt ti re d an d th ir st y,
was ve ry ho t.
J

de d al -
(G iv es a re as on w hi ch is ad
m os t as an af te rt ho ug ht .)
be d.
e) He fe lt il l so he w en t to
llo w s as
(A dd in g so m et hi ng w hi ch fo
us pa rt .)
a co ns eq ue nc e of th e pr ev io

pa tt er n fo r th e com po und se nt en ce is :
The
t+ pr ed ic at e+ co nj un ct io n+ su bj ec t+
su bj ec
pr ed ic at e.

gh th e 9l au se s, w hi ch ar e co -o rd in at e
A lth ou
ea ch ot he r ar e of eq ua l gr am m at ic al va lu e it
to
es no t al w ay s fo llo w th at we ca n in te ro ha llg e
do
. Th e or de r in w hi ch th ey oc ou r is us ua lly
them

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 impo rtant . For exam ple, if we comb ine the
two simp le sente nces : "'!he stud ent aske d a
que~-t ion. " "The teac her answ ered 1 t." ·To
make a compound sente nce we must make "The
stude nt aske d a ques tion" the firs t claµ se ·
I

becau se that is the even t that occu rred .firs t.

,

The compound sente nce will be "The stud ent

asked a ques tion and the teach er answ ered
it". Sometimes., however., the orde r is not
impo rtant . For ·exam ple, if we want to comb ine
the sente nces : "My broth er live s in Mosu l".
nMy siste r lives in Kirk uk". We can say -
eithe r -
I

I
I I My brot her lives in Mosul and my
siste r lives in Kirku.k.
or
My siste r lives in Kirk uk and my
broth er lives in Mosu l.

In t~is case the .mea ning of the sente nce does

not depen d on the orde r of the clau ses.

3. The Complex Sent ence :

A comp lex sente nce cons ists of one in-

dependent and one or more seco ndar y idea s.
Dep,el:)dent claus es are used as nouns,,, as a.dje ot-

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 ive s, and as adv erb s.
was
(a) The tea ch er sai d tha t the ans we r
co rre ct.
tea ch er
The ind epe nd en t ~c1au se 1. s "Th e·
, and
sai d." The sub jec t is "Th e t.e ach er"
ent
th~. pre dic ate is ·" sai d." The dep end
cla use ans we rs ·a qu est ion abo ut the in-
Wh at?
dep end ent cla use . The tea ch er sai d_ .;.
wa s
The dep end ent cla use ''th at the ans we r
d.
co rre ct" tel ls us . wh at the te_a ch er sai
It is a nou n cla use .

(b) -Th is is the boy who bro ug ht the

pa pe rs.

The ma in -cla use is "T his is the bo y". The

pap ers "
sub ord ina te cla use "who br4oug ht the
def ine s the boy tel ls us wh ich boy . It
is an ad Jec tiv e cla use .

(c) He ran as fas t as he cou ld.

ord in-
The ma in ·cla use is "He ran ." The sub
ls us
ate cla use '' as fas t as he cou ld" tel
how he ran . · It is an adv erb cla use .

4· The Compound. complex Se nte n~e :

A oompound-oom ple x sen ten oe oon tai ns two

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 or more independent clauses and at least one
dependent clause.
,J ~

(a) ''The agent knew . that the roof leaked., but

he did not tell us." The two independent
clauses in this sentence are "The agent ·
knew'' and"he did not tetl us." "That the
roof leaked"is a subordinate noun clause.

(b) Since the day was unpleasant., we stayed

indoors; Ali studied and I watched televis
ion.

This sentence has three independent clause

-·"we stayed indoors;"'Ali studied.," and "I
watched television."

"Since the day was unpleasant" explains why

we stayed indoors; it is an adverb clause.

TI. A sentence is a ·means by which we make

clear tq others- what we think or feel.
But sipce thoughts and feelings vary in
kind., and since the reasons for communicat-
ing them differ, sentences are of different
kinds also. We can classify sentences as
(1) Declarative sentences, (2) Interroga-
. tive sentences, (3) Imperative sentences
and (4) Exclamatory sentences.

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 1. '!he Decl arati ve Sente nce:

A decla rativ e .sent ence is a singl e, com-

plete state ment . It is used to conve y infor -
matio n. to the _reade r. This is the kind of sen-
tence_we use most frequ ently in comp ositio n.
· A decla rativ e sente nce may, of cours e, be sim-
ple, compound, comp lex or comp ound- comp lex.

(a) He was a brave mans

{b) Willi am Shak espe~ re was born in 1564.
(c) Words orten tell us abou t a writ er's feel-
ings as well as abou t the thing s he wants
to talk abou t.

A decla rativ e sente nce begin s with a

capi tal lette r and ends with a full stop.

2. The Inter roga tive Sente nce:

An inter roga tive sente nce is a singl e,

comp lete ques tion.
·T his is the kind of sente nce we use 'h .

we are seeki ng infor mati on or trying t l

~- the :r·e ader into a oonsi de,r t1on of · S· i bl
·, :-_ an were .

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 (a ) Was he a br av e man?
(b ) When wa s .W ill iam Sh ak es pe ar
e ·t1 orn ?
(c ) Why di d Br ut us jo in th e co
ns pi ra cy
ag ai ns t Ju liu s Ca es ar ?

(N ot ic e th e po si tio n of th e su
bj ec t .- an d
ve rb in th es e ·se nt en ce s) .

An -In te rr og at iv e se nt en ce be gi
ris wi th a
ca pi ta l le tt er an d en ds wi th a
qu es tio_n _.
ma rk .

3. The Im pe ra tiv e Se nt en ce.: -

An im pe ra tiv e se nt en ce -is a si
ng le , co ~
· pl et e com~and or a si ng le , co
mp let e re qu es t.
It is us ed fo r gi vi ng di re ct i0 11
s, in ~t ru ct io ns ,
-or commands.

(a ) Pl ea se do n' t to uc h th os
e ca ke s.
(b ) Be fo re yo u le av e th e ro om
, cl os e
th e wi nd ow s an d sw itc h of·f th e
ra ns "
In a command or in st ru ct io n, a
si n . l
ve rb may be a s en te nc e (n o su bj
ec t s n .
e.g. St op ta lk in _· ,
l g:tn .

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 An imp era tive sen ten ce beg ins wit h a
cap ital let ter and ~nd s wit h a ful l sto p.

4. The Exc lam ator y Sen ten ce:

Anexc lam ator y sen ten ce is a sing le.,

·complete exp ress ion of sud den or stro ng .fee l-
ing . You sho uld not use thi s kin d of sen ten ce
too ofte n in -you r com pos itio ns.

(a) How bra ve he wasl

(b) What a jok e it wa~I

(c) Your hou se -is on fire !

Anexc lam ator y sen te_n ce beg ins wit h a

cap ital let ter ·and end s wit h -a n exc lam at-i on
_mark.

The QU alit ies of a .Good Sen ten ce:

The fundamen·t al qua liti es of good sen -

_tenc es are· uni ty, coh eren ce., emphasis., and
var iety . · Uni ty and coh eren ce in the sen ten ce
help to make ide as log ica l and cle ar. Emphasi~
makes therri' ·ror c.e ful . · Var iety makes them mor
e
·int ere stin g. -

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 I
,,
•

1. Unity

;- The first requiremen t of a goo~ sentence

is unity; that is, it must -express one main
idea. All parts of a sentence sh?uld .bear
directly upon the main thought it is intended
to convey.

sentence will not have unity (a) if t~o

A
many details are introduced , (b) if unrelated
ideas are combined.

The following sentence lacks UJ.'"'l.ity be-

cause some of the facts mentioned in it have
no connection with . the main idea:

Uncle George; short of te~per and of

health,eig hty years old at this time
and weighing ninety kilos, shouted
angrily at the children who were play-
ing outside his house.

The subject_of thi~ sente~ce is 'Uncle

George' • The main idea. is -that he shouted
. . .
angrily .at the children. His age and his
wei~t are completely different ideas so they
' ' -

should not be mentioned· here. The relevant

facts are his bad temper and his angel"'• The

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~. •' ..$,"':, ..:~~: ,:~ ~•:~~.. _. ,. ~-"'·1

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 sentence could be improved as -follows:
Uncle George, a short-tempered man,
shouted angrily· at the children -who'
were playing outside his hous~.

·The following sentences are short, but they

lack _u nity ~ecause two entirely.unrelated
ideas are put side by :_side· in ·t he ·same sen ten-
ce:

(a) Selmawore a red dress and she· had- a: good

time at the party.

'rhe two ideas in this sentence are (1)

Selma wore a red dress·, and (2) · she ·had
a good time at the party. There .is no
c·o nnection between ·the~e -· tw9 ideas, so the:
should not be put together in one· sentence

·(b) Yesterday Ali cut his hand, and he could

not find his- grammar book.anywhere. ·

The first part of this sentence states a

fact ·about Ali's hand, while the - second
pa:r,t· mentions his grammar book. These
• totall.Y different ideas sho~ld not be
brought together in one sentence unless
there is an obvious reason for oonneoting

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 them. A sentence should contain only
related thoughts. You should use two
or more sentences for thoughts not
closely related.

Say one thing at a tim~; say it as

simply and cl•e arly as ycu can; say l t ;2;0

that it cannot be misunderstood.

2. Coherence:

A good sentence must be coherent; that

is , ·the parts must be arranged in logic'al order.,
Lack of coherence means l ck of .clearness. A
s ente·n ce may be ambiguous, or obscure in mean-
ing through various causes- (a) faulty arrange-
ment of words or clauses, (b) vague use of pro-
nouns, (c) omission of necessary words, . and
(d) inconsistency~

(a) Faulty arrangement of Words, Phrases or

Clauses:

The meaning of an English sentence de-

pends on the order of the words. If you
put words in ·the wrong order you may give
a . completely different meaning .from what
you intend.

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 some stud ents put qua lify ing word s or
phra ses in the wron g plac e in a sent en-
ce.
All qua lify ing wor ds, phra ses, or
clau ses shou ld. be plac ed as ·nea r as pos-
sibl e to_ the word s to whic h they ref_~r:•
If this ,rul e is not obse rved ., amb igui ty
will aris e.

Noti ce how the mea ning of the- fol-

lowi ng sent ence s chan ges acco rdin g to·
the pos itio n of the qua lify ing word
"onl y" :

He said that he ate only rice . (He ate

not~ ing else ).
I\

He said that only he ate rice . (No one

else ate rice ).
He said only that he ate rice . (He said
noth ing else ).
Only he said that he ate rice • . (No one
else said j_ t).

·rnstan dard wri tten Eng lish. , adve rbs

such as only ., almo st., , just ., ·e ven, hard ly,
rare ly, etc • ., are ·u sual ly plac ed i mmed-
iate ly befo re the word s they mod ify ,

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 I

Noti ce how ambiguous the follo wing .sent ence s

are.:

( a) Ali said in the even ing he would go.

{b) She gave oran ge juic e to the .chil dren
·. in plas tic cups .
(c) The teac her told · us not to throw ston es
on TUesday.
(d) The car was adve rtise d in yest erda y's
·news pape r which is only two year s old
·and is in exce llent cond ition .

In sente nce (a) it is not clea r whe-

ther the phra se 1n the even ing 1 is mean t
to qual ify 'said '· or 'wou1a· go'. The
meaning would be clea ~ if we put 'in the
even ing' afte r 'go';-

Ali said he would go in the even ing.

Now it is obvi ous that the _phra_se

'in the. even ing' ~edi fies ·, woul d go' •

Sent ence (b) _ seems to tell us that

the child ren were in plas tic cups . The
i phra se 'in plas tic cups ' qual ifies
'oran ge Ju1o e'; ther efor e 'in pl stic
cups' shou ld come 1mmediat ~lY afte r

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 . .
'oran ge JUJ.Ce •
'.
She gave . t:t?-e child ren oran ge jui-c e in
_plas tic cups •

As it stan ds,. sente nce ( c) mean s that

stone s can be throw n any day exce.p t Tues day!
'On TUesday' _real ly qual ifies 'the teac her
told us' ; so ' on. ·Tues day' shou ld come immed-
iatel y ,befo re, or imm ediat ely afte r, 'the
teach er told us': -

On Tues day the teach er. told us not _

to throw ston es.

or
The teac her told us on Tues_day not to
throw ston es •

. In sente nce (d), the clau se 'whic h is ·only .

_two year s old. is in exce llent cond ition '
. comes imm ediat ely afte r 'yest erda y ·' s news -
.pape r'; but the clau se is meant' to qual ify
'the car' - not 'the news p~pe r', so
,i t shou ld come irillT ledia tely afte r 'car' :

The car wh~ch · is only two yea.rs

old and is in exce llent cond ition
was adve rtise d 1n yest erda y's ·
newspaper.

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 Alternatively we could make 'was adver-
tised in yesterday's newspaper' an ad-
jective clause:-

ihe car which was advertised in

yesterday's newspaper is· only two
years old and is in excellent
condition.

If a phrase or a clause serves as an ad-

jective, or if its meaning depends upon
its association with a particular noun
or pronoun, it must be attached clearly
to the word to which it refers. A dang-
ling modifier is a phrase which express-
es an illogical or ridiculous i ·dea be-
I

cause it has been separated from the

word on which its meaning depends. ·The
following sentences contain dangling
modi fie-r s.

1. At the age of ten, Ali's mother gave him

his first bicycle.

The phrase 'at the age of ten' grammati-

cally qualifies Ali's mother which, of course,
1s nonsense. It ought to qualify Ali. We can
-correct this sentence by:

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 ( a) ohanging the order of the words in '
the second part, or
(b) transforming the phrase 'at the
a.ge or ten' to a clause:-
(a) At the age of ten, Ali was given
his first bicycle.

(b) When Ali was ten, his mother

gave him his first bicvcle:
2. coming round the corner, a tree lay across
the path.
In this sentence, _the participial
phrase 'coming_round the corner' grammati~
cally qualifies 'tree', and therefore
I
the
sentence seems to be telling us that a tree
came round .t he corner l This is a common
type 9f mistake, called the mistake of the
misrelated participle. We can correct the
sentence by supplying the necessary pro-
noun. immediately fQllowing the participial
-· \.

phrase.

Coming round the corner, we saw

that a tree lay across our path.

Remember ~hat the subject of a par-

ticiple phrase is also the subject of the
verb of the main clause.

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 (b) Vague Use of Prono uns

A prono un gets .i ts exac t mean ing

from the word or words to .whic p .it re-
fers - its antec edent .. If a sente nce
is phras ed in such a way that the ante-
ceden t is not clear , the sente nce will
be ambig uous. A prono un shoul d not be
so place d that -it migh t refer to eithe r
of two antec eden ts.

For exam ple, in the sente nce Ali

met Same er when he was going to the
cinem a - the prono un 'he' could re·fer
t .o ei· th
-..... er J'S."11· or s· a.a111eer: ·-1... ,f-v -f s ""o-f-
..L ...... "'

clear who was going to the cinem a- Ali

or Same er.

The sente hc,e shoul d be rephr ased

When Ali Was·g oing -to ·the cinem a he met
Same er.
)

The inten ded antec eden ts of a pro-

noun shoul d be state d. A p~onoun· shoul d
not refer to a word or idea not expre ssed
but mere ly impl ied. The follo wing sen-
tence is fault y in this respe ct:
My broth er is an artis t, but I
know nothi ng abo :·it it.

'It' ha s no expre ssed .a ntece dent.

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- 26 ..
 The se??-tence coul d be mad-~ clea rer by
usin g a noun. inste ad of a pron oun: -

·MY brot her- is an arti st, but I

know noth ing- abou t - art.

( c) omis sion of Nece ssary Words

A sent ence will not be clea r if im-

port ant words are omit ted. The follo wing
s.ent~ncee are inco mple te, and ther efor e
conf using :~

1-. Ali like s me more than Sa.Dieer.

2. Layl a is as old, if not olde r than ,
seima.
11 .

.:;. He aiwa ys has., -and alwa ys will , work

hard .
4. The qual ifica tion s for a -teac her and
lect urer are not the same.

Sent ence {l) coul d mean eith er -

Ali like s me more than -he· like s Sameer -
or--- Ali like s me ·more than Sameer does .
The s~nt ence - 'Ali _like s me more than
Sameer' 1s not com plete : so the comp · r1-
eon is not olea r. Sent ence (2) 1 _lso
an. inco mple te oomp ari. on, Th r ,
are two phra see of oomp · i _on

Telegram:- R19861
 1n the sen ten ce - as old and old er tha n,
bu t the fir st is no t com ple te. We wo uld
no t say 'La yla is as old Se lm i; We mu st
say as old as. So the sen ten ce sho uld be
- .,La yla is as old as, if no t old er tha n,
Sel ma .

In sen ten ce (3) , the ve rb 'st ud y'

is use d tw ice - once in the pre sen t pe r-
fec t and once in a fut ure ten se; bu t the
pa st pa rti cip le ha s bee n om itte d. To co r-
rec t the sen ten ce, we sho uld in se rt 'st ud -
ied ' af ter 'ha s' -

He alw ays ha s stu die d, and alw ays

wi ll stu dy ha rd.

He alw ays ha s stu die d ha rd, and

alw ays wi ll.

In sen ten ce (4) we must in se rt the

ar tic le 'a' be for e 'le ctu re r' to show tha t
two di sti nc t pe rso ns are ref err ed to -

The qu ali fic ati on s fo r a tea ch er

and a lec tur er are no t the sanie.

1. Do no t om it words ne ce ssa ry 1n a compa-

ris on ..

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 2. Do not omit a necess ary verb or auxil-
iary.

3. Do not omit a necess ary article , pro-

noun~ conjun ction or prepos ition.

(d) Incons istency

A shift in the gramm atical structu re

of a senten ce result s in an incons istency
in point of view, and . makes the meaning
obsecu re. The most common faults in this
respec t are shifts in:

(1) tense,
(2) mood.,
(3) class or person of pronou ns and

( 4) number .

·(l) Shifts .in tense

You should use either past tens·e
l .
or presen t tense consis tently in nar-
rative senten ces. Do not sudden ly
change from past to presen t, or from
presen t to past.

Romeo goes ip disgui se to a .

Capule t feast, falls in love
With Juliet , and marrie d her
secret ly.

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 Rere in this. sentence., the first ~ o 7erbs
are iu ._. cn.e • resent· ~t.rense, bu~
, · ,., ~h
1-, e
t· rd
.I r •

verb is in ~e pas u vense. ., .,

e· have to
cbarrge ., -n:a.rr1.ed to n:a.rries 1 :

Rcmeo go.es in disguise t-0 a Capulet

.feas·, .Pal s in love w:1 th Juliet, and
oarries her secretly.

Or we collld put all th e verbs in past tense-

1

Ro1:eo · ent in disguise to a Capulet

feast, fell in love with J'u.11.e t, and
married h ,e r secretly.

(2) S"n:..~ts in subject or mood:

Ille ~two parts of_a compound sentence

shoU-Ld be built in the same ay. - You
should not suddenly abange the subj,ect or
the voice in a s~ntenoe.

Layla :1kes apples., but oranges taste

better to ~.

In this sentence the subject changes f'ro

a person (Layla),. in the first cla . se,
to a thing ( orang,e ) in the second c a se.
e can 1m rove the entence b a

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 person al noun or pronou n the subjec t or
.both clause s:_- ·

Layla likes apple s, but r pre--f er·

·_ or~ge s.
In the follow ing senten ce, the . subjec t
shift~ from 'M~y' to . 'hours ' , and th_ e ..
vo1c·e shi-fts f'rom active to pas·s ive:
/

Mary took summer cqurse s, and·he r

leisur e hours were devote d to tennis .

We can improv e this senten ce by keep-

ing one subje ct only, and by · making both
verl;>s active ,:

~ary took summer course s and devote d

her leisur e hours to tennis .

· (3) Sbift s 1-n · class or person of

pronou ns:

The indef !.ni te pronou n 'one' and the

person al pronou n.s ·' he_' and - ' they' , are not
interc hange able. I.f you start. off. with
'one' you must keep to it, an.d not sw:l tch
: over inthe middle ot a senten ce to a
differ ent kind of pronoun. I n the f oll ow-

Telegram:- R19861
 1ng sentence, the pronoun shirts trom
' one' to 'you'-
If one tries hard enough~ you ·w ill
succeed.
1
We can improve this sentence QY cQaning
' one ' to ' you' : -
If you try hard enough, you w1·11
succeed.

(4) Shifts in number:

Do not treat a singular noun (or pro-
noun) as if it were plural, e.g.,

Each student in the class was

asked to sign their name on
the 11s·t.

In .this sentence 'each- student', and

'name' are singular: 'their' 1s plural.
We must change 'their' to .' his':-

Each student in the class was asked

to sign his name on the list.

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 , . vari ety i n Sentence Stru ctur e:

s ,e nten ces cann ot be effe ctiv e i _f they

are id,e nti~ al in len_.gth and stru ctur e. A
1ong sent ence is not nece ssar ily bett er than
a shor t one; inde ed, to use too -many long
sent ence s is tirin g. But_ to use noth ing
but shor t sent ence s is mon oton ous. We Want
vari ety, and this is brou ght abou t by -usin g
long sent ence s mixe d with shor t ones . If,
for exam pl_e , two or thre ~ sent ence s have the
same subj ect, they , can o.fte n be com bine d.

Thes e. thre e shor t sent ence s all begi n

with the same wor d- 'he' . This soun ds mono-
tono us. We can comb ine thes e thre e shor t·
sent ence s to make one long sent ence ---

_He flun g open the door , rush ed into

gard en, and caug ht the thie f.
'i

Or we · coul d begi n the sent ence with

1a par tici ple -

Flin ging open the door , he- rush ed

into the gard en and caug ht the thie f.

A give n idea may- 'be expr esse d in sen-

tenc es. of yary ing form • . The f'oll owin g

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 uenten ces al l give the same meani ng:

The j ourney was long and tiring .

Tney arri ved late in the evenin g.

The j ourn ey was long and tiring ,

and they arrive d late in the evenin g.

After a long and tiring journe y, they

arrive d late in the evenin g.

They .hadhad a long and tiring jour-

ney, and arrive d late in the evenin g.

Having had a long and tiring journe y,

they arrive d late in the evenin g.

The form chosen will depend on the

other senten ces in the passag e.

A succes sion of short senten ces or of

senten ces all having the same openin g will
be monoto nous. Varie ty in both the length
and the form of senten ces helps to make
the compo sition more intere s-ting.

To obtain var1e ty . follow these rules:

1. Do not begin a numbe r of succes s-
1 ve senten ce.a with the same word •

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 2. no not place the subject at the
beginning or every sentence.

3. vary the length or successive

sentences.

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 .

EXERCISES

A. In eac h of the f oll ow ing sen ten ces und er-

l i ne th·e s ub jec t and the ma in ver b:

l . Ali liv es in Bag hda d.

2. We bou ght a new hou se las t yea r.
3. They have nev er bee n to Ba sra h.
4. My bro the r's new bic ycl e was sto len
las t week.
5. "Ha s Fat ima fin ish ed her homework yet ?"
6. The tea che r tol d the stu den ts to bri ng
the ir exe rci se boo ks eve ry day .

B. In eac h of the fol low ing sen ten ces a ver b

is und erl ine d. Un der lin e the sub jec t of
tha t ver b:

1. The dog bit the man.

2. The man sit tin g in the gar den is smoking
a cig are tte .
3. What -is he buy ing in tha t sho p?
4. The cap tai n of the foo tba ll tea m~
ver y tal l.

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 • The cost of the repairs seemed high.
5
6. Late last. week he was called· home.
7. How~-.I -excuse his behaviour?
a. iibe results of the voting were announced.
9. From the kitchen came the smell of fresh
bread.
10. How much money do .you have with you? · _

c. Identify the following sentences as State-

·ments~ QUestion~, or Commands.

1. Baghdad is the capital of Iraq.

2. "Give. me some more cake," said the greedy
boy.
3. "Are you still hungry?". replied his
mother.
4. Go home .at once.

5. Let me see your book.

6. Is he attending lectures?
7. Reading novels is a p~easant way or spend--
ing leisure time.
8. Ir,a q exports thousands or ton .. of d _tes
every Y-e ar .

-. -a,..1:7
..} 1 -

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 l

n. Cons truct eigh t simp le sente nces abou t the

Colle ge Libr ary, two to illus trate the dec-
larat ive sente nce, two to illus trate the
inter roga tive, two to illus tr~te the im-
pera tive, and two to illus trate the expla na-
tory sente nce.

E. Join each of the follo wing grou ps of sen-

but, or,so ,
tence s into one by using and, ' ____,
-- -- -
or for. Change the sente nces as ne~e ssary :
--
1. He was in Cairo last year . Now he has
retur ned to Baghdad.
2. Hurr y up. You will be late.
3. · I opene d the door . I looke d out.
4. The door was open . I went in.
5. One side will attac k. The othe r will
defen d.
6. The offic e is shut from 12 to 3. You
must come befo re 12. You must come
afte r J.
7. Ali was thank ed. Jassi m wa s gi ven ,·
r eward. I was not even mentio n ~·ct.
8. I went t o bed r l y ~ Th lo j urn y
had t1r d m.

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 • She fel t ill . She wen t to see a doc tor .
9
10 . Mr. _Smith and Mr. Bro wn had worked
tog eth er· tor yea rs. '!hey knew _e ach
oth er's methods ver y we ll.

Match the foll ow ing to make complex sen ten -

ces:
1. When the stu den ts are hun gry ••• •••
a ••• •• I alw ays wake up_lat e.
2. ~a t is the car ••• •• ·•••
b ••• •• where I had -le ft it.
3. Sin ce my fat her die d ••• ••
c ••• •• so tha t we cou ld all
hea r.
4:. Even 1 r I go to bed ear ly
d ••• •• the y go to the can tee n

5-:. Al tho ugh I am fon d of mu sic, ••• •

e ••• •• which I sol d yes te _
6'. '!he lea der rai sed his voi ce • • • •

t . . . .. unl e ·_ 1 t · _ t · to
rai n.

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 7. I thi nk• ••• ••
g ••• • you had bet ter go home
and fetc q them .

r 8. I fou nd my boo k ••••

h ••• • I hav e live d Wit h my
unc le.
9. As you for got the tick ets ••• •
1 ••• • I can not pl~ y any ins~
trum ent .
10. We sha ll fin ish the mat ch •• .- ••
j ••• ·• tha t thi s is my tra in.

G. Rev ise the :fol low ing sen ten ces so as to re-
move any lac k of' clea rne ss· or eff ect ive nes s
due .to wor d ord er:

1. She tol d me to swi tch the ligh t- thr ee

tim es. Does she thin k I am dea f?
2 . I pic ked up my glo ves and put them on my
han ds whi ch . I had bou ght at my unc le's
sho p.
3- Onl y she dri nks tea : she doe sn 't dri nk
cof fee .

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 . p,y the · tlme we g~t ·hqme almo st it was
4
dark.
. I met my frien d who comes from Mosul in
5
Baghdad last we.~~-·
6. she gave some food to her cat on a tin
plate .
7. we cooked the food in the kitch en which
we bought at the loca l groc ery.
8. The wind . blew jus~ as we were drink ing
tea with incre asing fury.
9. The capta in order ed the men to throw
into the . sea the :good s.
10., That was very dang erous : even you migh t
·have been· k1 lled.

H. In each of the follo wing sente nces there is

a dang ling phra se. Corre ~t each one.

1. Coming round the west side of the stree t,

the bus stati on can be seen .
2. Shini ng brigh tly throu gh the window,
Layla could see · the sun • .
3. Walk1r1g along the top of the .h ill .,
:... ,;' or the dista nt 01 ty o,an b -· ·, 1 •

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 4. At the age of six, Waleed's father
retired from the army and opened a ..
shop.
5~- At last, battered and torn but sti-1 1
readable,_ she found the book.
6. Browsing in the library, a book on
phonetics caught my eye.
7. If left alone with nothing to do, parents
cannot expect children to stay out of
·mischief .
8. To understan d Shakespe are's plays,a good
command of English is .nec_e ssary •.

I. Complete the following in your own words,

underlini ng the subject of the participl e
phrase:

1. Running quickly to school, •••••••• ••

2.. Giving me an ~gry look., • • • • • • • • • • •

3. Thinking he had taken the wrong road,

••••••••••• •
4. Having decided to become a doctor, •••••
5. Not looking where he was going •••••••• •
6. Roaring with pain and fury, •••••••• •••.

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 n.ouns
co rre ct al l er ro rs in the us e of pro
J.
in the fo llo wi ng se nte n.c es :
• Al mo st ev ery on e in the gro up wa nte d to
1
dis cu ss th ei r own pro ble m fir st .
• Ea ch wi tne ss ga ve a re po rt on wh at the y
2
tho ug ht ha d ac tu all y ha pp en ed .
h.
3. Ra she ed met Sameer when he was 1n Ba sra
4. sal ma ask ed La yla if sh e ha d se en he r
br ot he r.
5. My fri en d is a mu sic ian ~ bu t I am no t
in te re ste d in it .
tis e
6. Anyone ca n lea rn to sk i, if yo u pr ac
a lit tle .
7. He too k the bo ok s fro m th e bo xe s an d
pla ce d the m on the flo or .
st
8. It is rig ht th at one sh ou ld do th e be
I

he ca n to he lp ot he r pe op le.

cti ng
Rewrite th e fo llo wi ng se nt en ce s, co rre
the fa ul ty po in ts of vie w:

l. Selma lik es 'M ac be th ', bu t 'H am

let ·' see ms

be tte r to me.
2 • He le t us ch oo se between re ad in g an oth er
ad .
novel~ or we co uld stu dy a pl ay in ste

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 3. The thin ice crack ed, and the next min-
ute Don plung es into the wate r.
4 . The book was iwri tten in India , trans -
lated in Germany, and a company in London
publi shed it.
5. Anyone who can be reall y happy , most
peopl e would envy him.

L. Rewr ite the follow ing sente nces so as to re-

move any lack of clear ness due to the omis-
sion of neces sary words :

1 ·• We like Shake spear e more than Shaw.

2. The paint spots on my face were harde r
to remov e than my arms.
3. This year 's fashi ons are more ridic ulou s
than last year.
4. Ali works as hard, if not harde r, than
Same er.
5. A first and fourt h year stude nt were
asked to make speec hes.

M. Rewri .t e the follo wing sente nces using the

corre ct form of the verb given in brack ets.
Pick .out the subje ct of each verb.
1. Not one of his six answ ers (was, · were)
corre ct.

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 N ei th er m y co at n o r yo ur ja ck et (i s,
2•
ar e) in th e ca r.
e) ev er y on e o f th e h o rs es be en
, :;. (H as , Hav
sa dd le d?
o f ca n d id at es (h as , ha ve ) be en
4. A li s t
p o st ed .
ea.rt, ·t o g et h er w it h h is st af f. , (i s ,
5. The D
. ar e) comi_n g to d ay .
(w as , w er e) ex ac tl y fi ft e e n p eo p ie
6. T he re
se at ed a t th e ta b le .
th er L ay la n o r S al m a ( ca re , ca re s)
7. N ei
fo r c la ss ic a l m us ic .
re (a p p ea r, ap pe ar s) to be se v er al
8. ·T he
fo r h is la ck o f en th us ia sm fo r
re as o n s
h is jo b .
g e o f se co nd ar y sc h o o l g ra d -
9. The p er ce n ta ,

go on to c9 ll eg e (h as , ha ve )
u at es w ho
in cr ea se d .
in g yo u m us t re ad v er y ca re -
·10. The fi rs t th
a te st (i s, ar e)
fu ll y when you ta k e
th e d ir e c ti o n s.
ch th e fo ll o w in g to make co m pl et e
N. Mat
se n te n ce s:
l. Tu rn in g th e co r ne r •• •• • •.
l - · · . n •t
a• • • • b u t th . _p p
v ·r J go o 1,

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 I

2. John and Mary like oranges •••••

b •••• Ali met Yousif.
_3 _.,-The man I met yesterday • • • • • •

C• • • •
we crashed into a _lorry.
4 •. on his way to schoo~, ••••••••
d ..... but they don',t like apples,
5. These pears are delicious ••••
e •••• is my father's f'riend.

o. RewTi te . the ;follo_w ing sentences in another

form, w1 thout changing the meaning. Begin
with the words in brackets:

1. He rushed into the garden, and knocked

the man down. (Rushing ••••• )
2. I am interested in books, I often go to
the library. · ( Being ••••••• )
3- It's getting late, but I think we ought
to finish the exercise. (Although •••• )
4. He suspects something: I can see it in
his manner. (I can see ••••• )
5. The coach was driven by a ,· t oo~~H.,M~.
(A r t co- ohm _ •••••• )

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 6 .. With a little patience, you Will succeed.
(If you have •••• ~.)
.7 • Tbe first duty we own to our fellows is
honesty. (Honesty ........... )
, a. The dam may be destroyed by storms ..
(Storms ......... )

Arrange the following groups of words in

.correct .order to make complete sentences:

1. it is pleasant sometimes - in the library

- an hour - to spend ..
2. pay - I asked him - how much -- : I had to.
3 .. his car - last month - drove - into a
tree - he.
4 . yesterday - a letter - the postman - which
I had been expecting - brought.
5.. our compositions - the teach«:~r - to cor-
. rect - f argot•
6. I forgot-· on the letter - to write - I
sent - the address.
7. from the shelf - someone - had taken -
the book.
8 . by the· policeman - the driver - to stop -
was ordered.

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 Q. Writ e one sent ence on each of the follo w-
ing:

1. Your home
2. Bagh dad

3. A bicy cle
4. Educ ation
5. A flow er
· 6. The moon
7. Your best frien d
8. The Coll ege of Arts
9. Date s
10. Oil
11. The Coll ege of Educ ation
12. The Iraq i Revo lutio n

Telegram:- R19861 j
 CHAPTER TWO

THE PARAGRAPH

In any prQse comp ositio n, the sente nces

are group ed ihto parag raphs . ~ach parag raph ·
begin s on a _new line and is usua lly inden ted.
A parag raph 1s usua lly a gz•oup of sente nces
: .close ly conce rned with one idea. The purpo se .
.

of parag raphi ng 1s to break ·up a comp ositio n

. '. into logic al, inter estin g, and reada ble par~s .
The beg1nn1~g_ of a new parag raph 1s a signa l
to the reade r that. the write r has begun a new
. aspec t of tbe subje ct - a new step in an ar-
gument; a new time, place , perso n, or- thing
in the cours e of a narra tive; or a dl.ffe rent
i.p9in t of view in a desc riptio n • .

· A good parag raph shoul d mani fest these

two featu res: Unity and Cohe rence .
{
I. Unity _ ·
Like a sente nce, a, parag raph must
have · unity . A parag raph has unity when .
·. i

eac~ ·sent ence is clear ly relat ed to ~he

·· contr ollin g idea and· when no impo rtant
infor matio n abou t the cont rolli ng idea is
missing~

l ~ ihe Topi_c ·S enten ce

'lhe ·b est way to achie ve unity is by

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 means of the topic sentence.. It is the
sentence that contains the controlli ng
idea of the paragraph . It is called the
"topic sentence" because it contains the
idea or topi~ that is developed in the rest_
of the paragraph . Although the topic sen-
tence may be foilnd in any position in a
paragraph , it should, whenever · possible, be
placed at the beginning because you will
find it easier to decide what informati. on
to include in the rest of the paragraph
when you begin with a clear statement of
the controlli ng idea.

The topic sentence should give a clear

indicatio n of what the paragraph is about.
That does not mean -.that it should mention
everythin g that the paragraph contains, nor
that it should summarize the full contents
of the paragraph . The topic sentence should
be a generali~ ation preparing the reader _for
. I
more specific details later in the paragraph .

2. The full developme nt of paragraph s

A paragraph will not have unity if the

controlli ng idea is not dev lop d fully;

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 that 15 , if imp orta nt idea s are not men-
tion ed • . The follo Win g para grap h is faul ty
beca use the ·con trol li~g idea has not ·bee n
aeve lope d:

Ther e are many reas ons why I deci ded

. .
to stud y Eng lish . When I was a chil d
I .used to see my olde·r brot her read -
. . .
ing Eng lish· book s. When he f'ini sh·e d
seco ndar y scho ol he wen t to the Col-
,1

lege of Arts to stud y Eng lish . · I was

very prou d of my brot her and I want ed
to be like him so ·r deci ded to stud y
Eng lish , too~

The con trol ling idea in the abov e pa-

ragr aph 1 s "The re are many._.reas ons why . I
deci ded to stud y Eng lish ". However, only
one reas on -is give n-- n1 ·was very prou d of
my brot her and I wan ted . -t o be like him" •
The writ er prom ised _to give us "many rea-
sons"', but., in fact , gave only o·n e reas on;
so -we are · left won derin g what the othe r
reas ons were .

'I'h.e follo wing _p arag raph has been only

· Part ially deve lope d :

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 7
I lik e my frie nd Ali bec aus e he is
tale nte d., int ell ige nt, and kin d. He
is the mos t int ell ige nt stu den t in th.e
cla ss and he alw ays get s .hig h .ma rks .
in exa min atio ns. He is als o ver y kind .
Tha t is why I lik e Ali .

The con tro llin g ide a of thi s par agr aph

is ".:C lik e . my frie n~ Ali bec.a use be is· ta-
lent ed., inte llig ~~t ., and kin d". The· 9nl y
oth ~r fa~ t we _are . told is 11 he alw ays get s
hig h mar ks in exa min a.tio ns" • The wri,ter
has not told us why he thin ks Ali is tale n-
ted. , inte llig ent ., and kin d: he has not. give n
any exa mpl es of .his tale nts ., inte ll~g enc e,
and kin dne ss. The refo re he has not suc ce-
ede d in con vin cing us tha t he has good
rea son s for liki ng Ali . · ·

Now rea d the . foll owi ng par agr aph whi ch

has bee n ful ly dev elop ed:

I lik e my frie nd Ali bec aus e he is,

tale nte d., inte llig ent ., and kin d. Not onl y
can he pla y mos t spo rts wel l, he is al.s o a
goo d mus icia n and act or. H 1 the bes t
stud ent in the cl , d h · lw ·ys get s
hig h mar ks in .x ami n tio n. Alth oug h he

~ 52 -
Telegram:- R19861 j
 i s so intelligent and talented, he 1s not
boastful. In fact, Ali 1s one of the kindest
• p~~ple I lmow. Whenever our friends have
problems, they know they _·can go to _h~m for ·
help. If anyone is sad, he 1-s always very
quick to che.e r him up. It is impossible not
to admire a person Who has such wonderful qua-
lities.

In this paragrap~ the controlling idea

has been developed with t:.~xampl_e s ot'- Ali ' s ..
-talents., intellegence.., .and kindness. The
l paragraph _is therefore more convincing: we
now feel that the writer has good reasons for
liking Ali.

The controlling idea of the following

paragraph is '~My friend Jones is not -a very
practical person". The writer has developed
this idea by telling a story about James which
· illustrates the fact that he is not a practi cal
person.

My friend Jones is not a very pra ctical

person. Driving a long a main road on. d
night he suddenly had a flat tyr. Ev _
wors e, h e d1 ~-oovered that h di not
have a spare wheel 1n th - b ok of

- 5) -
Telegram:- R19861
 hi s car ! Jon es wa ved to pa ssi ng ca rs
and lo rri es , bu t no t one of the m sto p~
ped . Ha lf an ho ur pa sse d and he was
alm ost in de sp air . At las t he wa ved to
a ca r ju st lik e his own. To his su r-
pr ise , the ca r ac tua lly sto pp ed and a
we ll- dre sse d you ng lad y go t ou t. Jon es
was ter rib ly di sap po int ed . How cou ld a
pe rso n lik e thi s po ssi bly he lp him ?
The lad y, how eve r, off ere d him he r own
sp are wh eel , bu t Jon es had to adm it
tha t he had ne ve r cha nge d a wh eel in
his lif e; she se t to wo rk at onc e and
fit ted the wh eel in a few mi nu tes wh ile
Jon es loo ked on in ad mi rat ion .

(Fr om Al exa nd er, 1969)

The inc ide nt ref err ed to · in thi s par a~

r's ·
gra ph su cc ess ful ly ill us tra tes the wr ite
a
op ini on ab ou t Jon es. T.pe co ntr oll ing ide
ha s bee n dev elo ped thr ou gh the sto ry .

3. The ex clu sio n of ma ter ial tha t do es

no t dev elo p the co ntr oll ing ide a.

A pa rag rap h wi ll no t hav e un ity if it

- 54 -
Telegram:- R19861
 contains sentences which do not contribute
to the controlling idea. For instance, if
the controlling idea of a paragraph is "My
friend Sameer cannot keep a secret", irre-
levant sentences a.bout Sameer or about sec-
rets will disrupt the unity. Every state-
ment should pertain to Sameer's inability
to keep a se-cret.

The following paragraph is faulty be-

cause the writer has included information
that is irrelevant.

·The two brothers ·were quite different.

Jas·sim was tall, fair, and slim;
Mahmood was short, dark, and fat.
Jassim was like his mother, and Mah- ·
mood was like his father. Jassim
was never happier than when he had
something practical to do; Mahmood,
on the other hand, was clumsy when
using his hands. Their sister, Layla,
was also clumsy with her hands. Jas-
s im rarely spoke to other people un-
less he was spoken to first; but
Mahmood was always the cent r e of
group. I am sure you h v
l1k thi . . In
fer~n t _t
· _th

Telegram:- R19861
 The co ntr oll ing ide a of the abo ve pa-
rag rap h is "Th e two bro the rs we re qu ite
dit-. :
fer en t". The wr ite r dev elo ps thi s ide a by
giv ing va rio us exa mp les wh ich sho w how dif
~
fer en t the bro the rs we re. Bu t the wr ite r
has inc lud ed two sen ten ces wh ich hav e no-
thi ng to do wi th the co ntr oll ing ide a:
"T hei r sis ter , La yla , wa s als o clu ms y wi th
he r han ds" and "I am sur e you hav e fri en ds
lik e thi sr' . Th ese two sen ten ces are irr e-
lev an t and the y dis rup t the un ity of the
d-
par agr aph . The y sho uld the ref ore be .ex clu
ed.

II. Co her enc e

A par agr aph has the qu ali ty of coh er , -

ce whe n all pa rts cli pg tog eth e r 1n a s
mati c arr ang em ent . '!be fac t s and id es
shou l d be a rra ng ed i n a l og ica l or
t ere should be an eas y
~ nt e c to sen ten ce.

Telegram:- R19861
 A~rarigement of sen ten ces .
J.. 11,i

1be re are sey ~ra l common1 . log ica l ways

to a,rrange_ the se:D-tences in ord er~ y seq uen ce
in a .p ara gra ph. . ~er hap_s the s~m ples t and
most common ord er ·is tim e ord er , whi ch
is usu ally sui tab le for nar rati ve par agr aph s
and tor par agr aph s th-a t exp lain how som ethi ng
~s. don e.

When we tel l a sto ry we wan t to make

sure tha t our rea der s wil l .know whe n, and
in what ord er., thi· ngs ha·p pen ed. When we ex-
plai n how som ethi ng is don e we wan t to make
. .

our dire ctio ns clea ~, so we hav e to make sur e

that we hav e ar-r ang ed the var f ous ste ps in
the cor rec t ord er • ..

The sen ten·c es in the ·fo_llow ing par agr aph s

are arra nge d · acc ord ing to tim e ·ord er:

( a) Our sch ool bus -dr ive r has a ver y .busy

day. He has to pic k all of us up and
get us ·to sch ool by. 8.3 0. The n be spe nds
the res t of the mor ning sup erv isin g th
scho ol stud y hal ls.
At noon he tak es us home for lun ch,

- 57 ~

Telegram:- R19861
 l

and he picks us up again at home to

get us back to school PY 1.00. He re-
turns to the study ·h alls until 3.00,
when he takes us all home again •. Final-
ly, when he has finished his route, he
has to check to see that the bus is in
good repair. Only after that is done
does he go home.

( From Gordon, Burgard _

and Young, A Progr-amin.ed
Approach to Writing) ·

(b) To make. a telephone call from a public

telephone booth, follow tnese steps.
First, remove the receiver and listen ·
for the dial tone. Then deposit i _n to
the slot a coin of the pr~per valu_e.
After you have deposited the coin, dial
the number you want. If the cail is
not complet~d, place the receiver back
on the hook and your coin will be re-
turned.

If the writer of this paragraph

had given the steps in any other order.,
the reader ~ould have diffioulty fol-
lowing direction • For instance_. .i f

- 58 -
Telegram:- R19861
 ~n e numb er fi rs t an d th en
a
0
yo u w ill
pu" ou r co · in to th e sl ot ,
not ge t an y r es ul ts .
de r
se nt en ce s th at h av e no tim e or
can so m et i me s be ar ra ng ed i n
sp ac e or de r,
i n wh ic th e pa ra gr ap h moves
from ea st
fro m th e
t o we st, fr om we st to ea st ,
di st an t
ne ar to th e di s ta nt , fro m th e
th e ri gh t,
t o th e ne ar , fr om t he le ft to
an d so on .
bl e
Sp ac e or de r is some tim es su ita
fo r gi vi ng di re ct io ns . It ca
n be us ed
op le wh at
·when · we wa nt to te ll ot he r pe
th in gs lo ok li ke . So m eti m es
we us e sp ac e
us e, a
or de r to de sc ri be a room, a ho
view, an d· so on :-

Ou r ho us e is on · a hi gh hi ll
ov er -
okirig
lo ok in g m os t of th e ci ti . Lo
ow, · ·
ou t fro m - ou r li vi ng - room wind
n
I ca n se e th e in du st ri al se ct io
l~ ft
of th e ci ty sp re ad ou t to my
ri ve r.
·and ~o in g al l th e ·way to th e
e
In th e ce nt re of th e vi ew I se
op pi ng · ar ea wh ic h fa de s -in to
th e . sh
a re si de nt ia l ar ea .
,I
I

Telegram:- R19861
- 59 -
I
 Another good arrangement of sentences
is in the ord~r of climax. Here the least
importa.D.t idea is stated first, and the
others are given in order of increasing im-
portance:

rt .is a sad sight to see a fine

ship beyond control. r ·t is like· see-
ing someone that one loves gone mad.
-Sad under any circumstances; how· ter-
rible it is when· she is carrying with
her a load of human creatures to an
early deatn.

( From Kings lay,.· Ravenshbe)

Sometimes the movement within the para-

graph may be from the. general to. the parti c-
ular, from the particular to the general,
or_· from the familiar to the unfamiliar. · The
following paragraph begins with· a .general
statement which · is then sup.p orted by partic-
ular examples:

There was never a good workman

without a slight superiority complex.
The motor mechanic who tune . your
engine is just as keen tom ,ke

- 6o -
Telegram:- R19861 J
 his craft a myste ry as the surgeo n who
opera tes on your body or the barris ter
who condu cts your case.

(From Franka w, I am a
Lawbrow) ·

In the follow ing paragr aph the

movement is from the partic ular to· the
gener al:

Many years ago a gradu ate st®en t

_. inconv enienc ed himse lf. great:L y to. come
a long distan ce to see.· me ·to ask if I
could help him secure some inform ation
about the term_"poll tax". He was pre-
paring a _d octor 's tpesis , he told me,
~d .neede ~ ·to ~ow how long this term ·
' .

had been ·1n the langua ge, what its bas-

\
·+c meanin.
g . was and.. what other meani ngs .
. .

it may have had in the course of its

use in Englis h. He was most surpri sed
. wh.eil . I opened the OED to ·the appr.o pria-
te plac·e and showed him that all he
needed to know about this term had been
ava1ia ble within a few feet of his desk
in the schoo l where he was study ing . It

- 61 -
Telegram:- R19861
 7

is not at all likely that any but the

exception al student will ever ne~d all
the informati on about words that the
larger dictionar ies afford, but it 1s
well worth the while of every student
to become acquainte d .with the fact that
such informatio n is available for those
who at any time · need to make use of it.

(From Mathews., The Fresh-

man and His Dictionary )

This paragraph explains how one partic-

· u1ar student learned a lesson about diction-
ary use and then suggests the value of- the
le~son to all students. ·
\

A paragraph developed by cause and ef-

fect involves · reasons; the writer's main
purpose is to clarify the relationsh ips bet-
ween certain events or situation s and their
consequen ces.

The discussio n may move from cause to

effect, or from effect to cause. In the
foll~wing paragraph the last sentence men-
tions the effeot of the situation described
in the rest of the paragraph .

Telegram:- R19861
 The fog grew heavy. Huge waves be-
gan to form way out at sea. As we hur-
ried onward, we noticed that our ga s was
running low:. We heard a report on the
radio that the Coast _Guard had ordered
all boats in. We decided that we'd
better return to port.

Any obJectiv e method of· ordering senten-

ces, is satisfact ory as long as it makes the
sequence of thought clear. The sentences
having the closest inter-rel ationshi ps should
appear_ in immediat e successio n.

2. Transitio ns between sentences

The rel ationship between sentences can

be made clear by (a) using pronouns refer-
ring to. _antecede nts in the preceding senten-
ces; (b) repeating words or ideas; and (c)
using transitio nal expressio ns.

(a) Linking sentence s by means of pronouns

t 1·n the preced-
referring to antece d ens
ing sentence s:

In the following paragraph , the un cter-

lined pronouns serve as links between

- 63 -
Iii
Telegram:- R19861
 sent ence s:-
The grea t ship groa ned. It was
like a whol e town in trav ail. Grea t
timb ers were smas hed like matc hwoo d.
rt move d. Yes, ·it actu ally move d. One
- -
wait ed in suffo cate d exci teme nt • . It
moved more slow ly at firs t, b~t soon -
it gath ered speed ~ The mass ive c~il s
- .

of chai n were sudd enly galv anis~ d into

life and writh ed like worms. They sent
up clou ds of rust like red-b rown smok e.
She knew it was her own . elem ent. Ohl
- She did it beau tiful ly.

(From Pries ~ly~ The Laun ch-

i;ng or the Queen. Mary)
This parag raph desc ribe·s · _the laun chin g
·of a ship , but the word "ship "· is used only
in the firs t sente nce; afte r that·, the pro-
noun s 'it' and 'she~ are used to. refe r to
ship. The prono un 'they ' in the ninth s en-
tence ( 0 They sent up clou ds of rus t like re d--
br own smoke ") refe rs to " th - m_ss iv coil s

... 64 -
Telegram:- R19861
 ·n" in the preceding sentences. In
of cbal '' ; .
elfth -sentence ( She knew it was her
the tW · .
element"), the ~tecedent of the pro-
own •·t' is ,, the wa t er."
noun l

Although the writer has used pronouns

.frequently in this short paragraph., . the an-
. tecedent to which each pronoun . re.ters is
immediately o:b vious. So long as their an-
te·cedents remain clear and their pe_rson and
number remain consistent, pronouns. can pro-
mote coherence in the paragraph. But you
should remember that a faulty pronoun ref-
erence- can be worse than no reference at
all. A pro.noun ·which does not point direct-
ly anq clearly back to an antecedent should
not be used.

-Linking sentences ·oy repeating words or

ideas ·rrom the preceding sentences:

In the folloWirig •paragraph,- the writer

has shown the relationships between senten-
ces by repeating key words and ideas:-

A lot of the world petroleum

comes from places wher e there ar not
mcmy peopl e : f rom deser t s , !or sts ,

- 65 -
Telegram:- R19861
 the cold -north• Petroleum may b
. .e rnac1e
ready ror use ·near the oil-wells
pla,ce · Where i.t is changed and rna~e 'I'he
re·a dy for use is c·a lle.~ a refihe ....
. ~-y. In
many countries -the oil refineries
. are
not ·far from ~he oil•wells . Some C'O\J.n..
hies .with a lot of petroleum have only
· one· .<?r two small r.e.f i~eries _. They re-
- _-,_ -~in~ :only en~ugh _oil fot' - tqe.mselves .
·. >·,A-re\'l _·$mail s;ta.t~s do not yet ~efine
~any· ~t · :_a i'l ~. _- ___ .
--

<_-,,porn_ ·011."
.

11
·__>_: Roland Jo·hn, -Modern
- --: . - • -·-- ;..· · :- __ --z_._- --~=--:.. ~ . -; . --~..:. . _·_ '-· .:._:. _<. _ =-- --; -

,_ -; -. _-_ _- -~ _:_.:-: -.·_--~= English ·Li_b rary)

---- - ...
. -· - .- .
-

~;_ '. '. · ~ The key wOr-dS are "petrolPHm '1,

··: "oil" 1 - "made · ready", ''retire'•, ''refine·
;ries'*. Notioe how the _wr1 tar has re-
po.v.ted the·s-~- words throughou t the para-
graph, thereby s);lowing the close re•
lationshi p eaah sentence has to the
others.

(c) Linking s entences by usi ng tr iti~ 1

expressi ons:
Tran 1 t•1 on l - x--- n
Phras,e s Wh1 ;h m n t1 t h,

Telegram:- R19861
 t that more is to come. They
d 1nd1ca e
an h w the reader the relations hips
to s 0
nelP d as For example., the relations hip
arnong 1 e • ,
continuatio n 1s shown by terms such as .
11
of ·
"in addition , " "text" ., "besides" , r1rstly" ,
·
,
I seCO
nda·ry" 11 in the first place", "finally" •
• , . .

· The relationsh
. .
ip· or contrast is s~own .

bY such t erms as · " o n the_ con_trary" ,._ "however".,.

!'on the other h_and" • Th.e relations h~p of
resul·t or conclusio-n is indicated by such ex- ·
pres s1 ons as -11 thus 11 , -:-11 so" ., 11 then" , 11 conse q-
uently", 11 there:f'ore 11 , - "hence". ·They are ·
usually . placed at or near the beginning of _
a sentence -to show the rel~tions hip Qf this
sentence to what has gone bef'o~e. (You should
not use a transitio nal expressio n whose mean-
ing 1s not clear to you.)

Study the transi t1onal expressio ns in·.

the following paragraph and decide what re-
at1onsh1ps . they show:

. Formerly the earth seemed to m·

to be r lat: 1 t seemed to _re toh to tn.e
ho:rizon and then atOp · ud · nly. B noe
h ·. thoUght O th .- tn huge table
OV :r Whi -Oh
·. h·. -...,n·.,a,
u,

~·, · kJ like a great

Telegram:- R19861
 b o w l tu rn e d u p s id e
d
h o w e v e r~ n o ti c e d th o w n . S ci en t1 st
a t when s,
a p p e a re d o v e r- .t h e h
· . g. S hi
o ri z o n r· · p 'dls .~
..
h u ll , th e n i t s d e . lr s t it s
· . c k s an d r·
m a s ts w e re lo s t to _~ . in a1 1 y t .
- v ie w · th i · 1
sh o w th a t th e e a rt ,
s
s seemed to·
· h was a t an
c u rv e d . T h e n i t .w . Y ra te
a s se e n ·th a t in ec-
li p s e s o f th e moon
- th e . e a rt h 's shadow
w h ic h p a s s e d a c ro s
s th e moon was always
c ir c u la r in s h a p e .
F ir ia ll y ·. .1n ·. th e six-
te e n th c e n tu r y n a v
ig a to r s sa il ~ d round
th e .w o rl d a n d d id ·
- . .. n o- t ~-f .a ll of.t .th e ·· edge.
H e n c e m en c ~ e to - .
th e -c o n cl u si o n th a t .

th e e a r th w a s re a .l
.l y _-: a -g.r e a t- sp h er e.
.
- - -

. : ~- - _:-~-- ~- _.;- - ----

( F ro m' C am p b ~ il ~ :19.?6
- - - -
. -
).
- . -. - -
' -
- . .. - ·- . . .--. - _-_ ~- ~_- .

-
T h e re c a n i·o b v io u s ly
b e n o ri g id ru le
a b o u t th e le n g th o
. . f p a ra g ra p h s · one id
ea
may b e · q u it e e .f f e c . .
ti v e ly s ta te d in fi -
v e or
s ix li n e s ; a n o th. .
e r m ay o c c u p y h a lf a page.
Ycu sh o uld • h o w e v .
, e r, a v o id. v e ry io n s para.-
g ra p h s f o r you. may - k.ee
fi n d d if fi c u lt y 1· n . P-

Telegram:- R19861
- 68 - .
 p

ing the main idea clear and so you may vio-

iate the princip le of unity. On the other
hand~ you should pe . on your guard' agains·t
-writing a series of very short · paragra phs.
If an idea can ·be exhaust ~d in two _or· three
lines, it is not suffici ently importa nt to
be made the theme of a -comple. te paragra ph.

9
Telegram:- R19861
 - .

EXERCISES

A. Read the following paragraphs ·and pick out

the topic sentence of -ea·ch :.

1 • Eating lunch in the _c afeteria ~-s unpleas . .

ant. The line is l~ng.__ S_<?meone is a~ways
shoving ahead of me or dropping his food
and holding up the line. At the table I
have barely enough room to squeeze my tray
........
•

into place. We' re so crowded that I must

_eat --with someone's e~bow _in my eye • . Then
·before I can finish - eating., the bell rings
_ - and . I 1·_m -swept off_in ·_a · sea-· of students.
· _tt'_s alm_ost a :r _e 1ier t~ :get :ba.ck- to class.

- - .
2 .- Mar1-1·y n thinks -_ she .knows everything and
---c~ d-o --anything. . Ac_ c ording>to h·e r, she
_- --~{s · an --- e*per.t ~"b owler, _t~nnis~ player, golf-
er~ and ·_ soft bal-1 playe-r _.
- - - . - . . •.
She tells every-
- -

one she meets that she is ·t he -smartest

---- '

per son in · our class. No mat-t er what the

problem 1·s, Marilyn is sure that she can
solve 1 t because she believes she can 0 °
anything. She is the most conceited
person I know.

- 70 -
Telegram:- R19861
 II

..

,. 'l'tle Ruseei'• kitchen 1a large, p&int8d

white, and 11 Y-l fl 11Sh~ &Jld airy. The·re
are bright curtain, at the .·w1ndows~· '.the
1ignts-are .11~uated over -the stove and
the sink· &f will a1 ·i ,n tbe centre of the
ceiling. ~•- kitchen bu a lot or .c.u p-
board: •pac·e and more th-,i -~n~\llh electri-
cal o~tlet•• ~• wor~ng- iurtaces are
all at just the r1-t. he1-t# and the re-
frigerato r ano store are both in extreme-
·l y convenien t poei t1one. . Pinally, cons-
. .

t-.nt ·aot ·wat•~· 1J .provJ4•~ bJ a very

· dependable g•• n••ter~ VndpubtedlY, th~i
k1t~hen 18 one -ot the pleaa&ntest that I
have ever seen, ·

Write a .t opic sentence. 'for each· _ot the

following paragrapne:
l. on Sunday we had a. Wind that -~lew do-wn
some trees 1n our ne1·ghbour hood. Monday
was so cold that. we
h•d to turn on the
heat~ng and get O\.W 1qnter coat out ,.
Tuesday atayet,t oh1lly, but by W dn sday
t he weath,~ oleU' d and w got -o un-
sh1ne. 'l'hurad&J wu aa hot ..... _,_d

• 71 -
Telegram:- R19861
 an Aug ust day. On Fr;id ay mor ning it be..
ga:n to rain . and it look s as if · we' 11 ha.,,e
cold , stea dy wind ~or two more days.:.

2 • Ther e are · huri dr,e ds of. tube -s and pi.pea in

an oil ·re-f'irie ry·. Big ·-tank s, cyli nder s
and chim neys ri.s e· int.o th.e ·-a ~r. !her e 1s
...
-a:. -s-tro ng sme ll · of .petr<>leum gas. 'lbe-
plaoe i ·s -~ 'ldn d :o f.· f acto.r y-., whe re many
diff eren u -.prod ~-c ts are· s~p arat ed . out from
-~p e.tro1eum~ - _
. ; - - . . -
.. , .... . .

;_--t~· _-·t_..h. -~·e· -f'n- .,,__

. ..'R.~-W1"
..... ' l -1Qtar _ i· ne, ..p
-•:•.-•-o
·-. a.~:·,• .a·.171".'-l'n~~ m4 ~gin ~
0 • -r••-- --1.L- ----o,
..
- -· -·

out any sent ence s -whi ch dq no_t _supp or-t the

. - - -

t ,o pi-c sent eri·c es: . .· -

1. All the .lad ie·s in our-blo-c k . give us . t:r.ou-

ble. Mrs . BroWil call s· th~ : poli ce when-
ever · we try to play footl ;>al.
·,.
l . in the . -

stre et. Mrs-. Smi th inv ites us .in for

lemo nade · :eve ry day. If' we h.a ppen to
· stra y int.o_ Mr.s. Gre en's .g arde n. she
scre ams at .Us. Mrs·. 'lbomas won' t ev •n
let u s whis per wi thou t g tt1n g m d.

2 • I t is easy to und erst and

why Mr •. Smi th
i s alwa y so b y betw een 5 :45 and 7 : 45

- 72 -
Telegram:- R19861
 l
I
I

ill the evening. Her two young boys go

to school at 7:30 in the .morning and Mr.
smith goes to work at 8:00. The boys .
eat 1unch at school and )vlr. -S~l. th takes
·sandwiches to ~erk for his lunch.. There-
fore, Mr. Smith is not _usually__ very busy
at 1unchtime . At about 5 :.45 ~e. Smith .
~as to start cooking ."f;>ecause Mr. -S ~i th. gets
home at 6:30 and wants his dinner soon
after h_e arrives. _ At. the sam_e time she . -_
has ~o keep an eye on. per two -: ~ons to see
that they -do their homework • . At 6:15 it
is time for .the- _·baby to be·r"ed, - bathed,
arid then put to bed. - The two boys ·have
to start getting r~ady for bed at about
"7:15, and if ·'Mrs. · Smit~ ·does _riot watch
them ,c arefully, ·they do not wash ve·ry
well • . Finally she has to ·wash up the
dirty dishes and ·tidy the ·living room and
· .the k.i--tt!hen. Onl.y very rarely does she·
finish this--befo re 7:45.

• Spring is the ·time of flowers and sports.

Some of the flowers that bloom in spring
are crocuses, d~ffo411s , violets and
roses. However, chrysanthe mums are late-

- 73 -
Telegram:- R19861
 summer flow ers. The spr ing flow er
. - s a1 . .
ways loo k bri ght and gay and colo urru i.
The sea son s for suc h .spo rts as bas b. ·
.
ten nis , and swimming are the summere a11 '
, and
. e_a rly autu mn. - I-n · s~r 1~-., f'oo tbai 1 ai d
. hoc key are _
play ed_. ~- Dur ing .the ·spring.,
1

. ·sch ool~ ob1 ldre ii' ·thin k -abo ut noth ing but
the summer hOU day s tha t"wiU Soon begin.
• - . •
. I.
- .

D. Whi_ch -· or.: the · folr owi ng~-. p~r agr~ phs; ·are ar-
·- .

ranged ·i n :.$ pac e ~orde r?- . -:. .. C. - • • • •

I ' ••__..., ... .

1 . .-±
. -
had. _:nf3V
. --
-
e~ $8.e_n :
-:· - -_.
sucq· a : 1.o~ ely sett ing
- ..... ~ -

:_·9~µse ~ .· _-S:t _~~i ng\ ·ar the edg e of

f~,"r ·- _-~_
the road~ . l :look ~:~ _u:p __the . ~en tly winding
driv ew~ y which cli~ be~ ~o = the fron t of
the hou se. .. '!'he h'otise stoo d on a leve l
-

spa ce surr oun de_d · by ~tow erin g oak tree s.

Beh ind .the .hou
.
se the hil l ros e more
- . .

sha rply , end ing in a curv ed sununi t which

seem ed to fram e the .who le sce ne.

2. We had a har d tim e get ting Pet e ou t of

the wel l he had fall en i nto . Fir st w,e
taat ene d a rope by link ing our bel ts
t oge the r. Th n w,e low red it to P te,
tell ing him to, gr · p th . nd. Aft er he

• 74 -
Telegram:- R19861
 had hold of the belt-r9 be, we began .tQ
pull him slowly, inch by inch, out or
the well. During his ascent, no one
dared speak a word~ Finally , we co~id
grasp his arms, and with a shout.o f re-
llef, we pulled him out ·on to the grassy
bank.

3. The bed was on the ~ar wall, _c:o vered· ~i th.

books and papers. A whole s_ection of the ·
rug on the right of the bed was soaked
with green ink which was drippi~ g from an
over-tu rned bottle on .the desk agains_t
the right wall. Immedi ately to the right
of · the · door _wh~re I was standin g .was a
huge .pile of ~rty laundry. - It was the
mes~ies t room I'd ever ·seert~

• Arrange · the :fo1i_owi:ng sentenc es in time

order:

l. Before you begin to paint, wash "the ceil-

ing, walls and woodwork.
2 · Roll the paint on th~ walis care-f ully'
taking care not to spatter the windows.

Telegram:- R19861
- 75 -
 --
3. Do the ceiling first or its wet Paint
will run down the walls·.

4. The woodwork comes last.

5. Paint the tops of the walls before the
lower parts., while the ceiling is still
wet; otherwise you will have a streaked
sec ti.o n just below t _h e ceiling.

-F. U~derline the pronouns used to . linJ{ senten-

ces· in the following paragraphs and pick
out the antecedent of _~ach pronoun. · -

1 ~: Mrs·. -.M11~~ts_/ofte-p <spena~ too->inuch :· money

.on .clothes.- :.·she ·" does .r iot need· ·new clothes,
<but
-

·10-ve·s
. .

·- she- buying- them. ·_ Yesterday

:_·_~ she _saw
a beautif-µ.l -_c oat 1_ri . a shop window.
She· ·w ent in and put it _on~ - It was · just
-t he right size., . but it was v~ry dear. ·
. .

·Mrs. · Mills did.: no.t h~ve enough money., but

she took the · coat home and showed it to·
her husband. He liked it very much., but
he did not like the price. His wife gave
him a bill for 150 pounds!

2 • '!here was once a very bad king who was

hated by all his. people. They were~alSO

- 76 -
Telegram:- R19861
 v afraid of him. One hot day he was
rl'.Jing near his castle in the countr y
when he decide d to have .a ·swim 1n the
river. He was a very good swimmer, but
while he was in the water, he sudden ly
felt very ill, ~d he nearly -d~owned. But
three farmer s who were workin g in the
fields p.ear the ri·ver heard -his cries,
jumped into the river and saved him. They
did not knqw. that he was the king until
-he • was on the river- bank.

ewrite the follow ing paragr aphs replac ing

he underl ined .words by pronou ns:

• Today Jane is sevent een years of age.

Jane is wearin g a pretty new dress • .Her
dress is blue and white. Jane is- having
-
a par_ty today and she is expec ting all
her friend s to come. Her friend s are
going to arrive in a short time. Her ~

f ri~nds ~e going to bring many beauti 1 l

Presen t s Wi th them . J ane ' s mothe r h
Prepar e,d lot of nice thin to
drinlc. The yo ng p pl
game 1ng, d no , 1
'
77 -
Telegram:- R19861
 The youn g peop le will have a wona errui
time toge ther .

2 • I have a frien d in Engl and. My . frien d's

name ·1s Ken Robe rts. I know Ken very .-
well , but ·r have neve r met him. Ken and
! often writ e . to each othe r. I recei ved -
a lette r from Ken yest erda y. • The - lette r ·
made me very ·happ y. Ken· is coming to my_
coun try for a p.oli day -next ·year . Ken and
I are goin g to see each othe r . for the -rirst
......., .. time •

H·. Unde rline the tran sitio nal expr essio n in the .
follo wing para grap hs and state what relat ion-
ships 'they · show:
1.· I decid ed that there were three .. thing s
I

-_
k~ep
.
ing ·me from goin g . to the cinem a • .
-

Ft--r~'t; _I had not done my home ~ork, . and I

knew that _·I -wou ld fail . the .next day' .s
- -
phon eti .c $ t~st i _f I did not stud y. I
remembered, too., _that my pare nts had said
that I c·o uld neve r go out on ·sch(? ol ·: night 5 •
Fina lly, ·r had no money.

2. I took the gold -min e away ·ana prom ptly

rough_-shap ed it for the ;f'ilm . It was

- 78 -
Telegram:- R19861
 -

perfectly easy., without any alteration

of the story. 'I.hen I was raced with the
temptatfon to put his name to it.- -'!he
point was this. If I took it to a f'iim
· company ·as an authorless scen&Z'io., I
should only get authorless terms,· where-
as, if I put his name to it., with a lit-
tle talking r · could double the terms at
least. It was too dangerous, however,
and at last I h1 t on a middle course •. -I
would take it to · them· with -no -_name attach-
ed~ but tell them .. 1 t was by .. a "genius".,
and su~gest that ·the~ should m~e cap;_ta~ _
out -of the incognito.

(From John Glasworthy.,

Ac.me)
3. Most
.
great inventors meet with much oppo-
.

s1t1on to their inv·e ntions from peo-p le

who don't try to understand ~hem. The
steam engine _was no exception. There was
much opposition from Parliament,newspapera,
landlords and even · the general public. So
it was a very difficult matter for George
8t8 Phenaon to persuade people that an
uneducated man could invent th bet
steam engine, tha.t train could go on

.. 79 •
Telegram:- R19861
 smooth rails., could pul-1 carriages
_ ana
wagons full of people - and goods anct t
_ - hat
there was no g.re~t danger · of ,accict.e nts
•
How:ever., he • was -able . to do_~ it, -~d more
than a century ~go the -first train,
driven by -Stephens~n himself, ·showed
that the newly ~~vented st~~ _e ngine was
a complete_ success. _ ·-

r. Read t _h e following _DlOdel _p~Eigrapb.

J:ohn· fQllows :- the·_Sallie routine every

- . .

weekday~ ]le ge-ts ·up · a ~ _s ix~~~ir:t y in the

-.mornillP:.
-
- At se.ven;...:twentv --~he~: •eat ·s ·~bre akfas t
- ~ .
c:

· At ~ight '01 cl~Ck he' goes to. \i~rk. · John

·gets back. from wor1:t at fi ve~°fbrty. In the
evening he watche~ -_ t _e-1 8vision or -v isits his
friends. He usual~y _g oe_s to · b~d ~t about
eleven.

Use thi·s mo:d·e l paragraph as a guide and

j

wr1. t e a paragraph describing ·t he dai· ly rout-

ine of one of y6u~ friends.
Try to answer these questions in yo ur
paragraph:

What ti me doe your friend gt Pin

th e rnorntng?

- 80 -
Telegram:- R19861
 What tim e doe s he eat bre akf ast ?
What tim e doe s he go to wor k?
Wbat tim e doe s he get _bac k from wor k?
What doe s he u·s ual ly do -in the· eve nin g?
· What tim e doe s he usu all y. -go . to bed ?

Read the fol low ing par agr aph :

I · am eig hte en ·y~ ars old , not .v ery tal. 1 ·

and . I hav e lon g bla ck hai r_. I we_a r _ver y un-
-
usu al clo the s and my fat her oft en _get s -~g ry
w1 th me. He wan_ t s -me _to wea r a sui t _and tie .
·[ am a stu den t at Bag hda d Un ive rsit y, .. and I
·
work har d ·b efo r~ - the · exa ms. Ii} my spa re tim
e
- I lik e ~i ttin g in the stu den t·s' uni on and
- ·c hat ting wit h my frie nds . Du ri~g term I
sha re· a fla t wit h thr ee frie nds . I hav e a
lo.t -of bri ght pos ter s on the wa lls of· my bed
-
room.

(1) Wr ite a par agr aph lik

e the sam ple par a-
gra ph to des cri be you rse lf: -what you look
like ~ what you do and where you liv e.
(2) Write a par
agr aph to de s cr ibe one of
your f r ien ds .

- 81 -
Telegram:- R19861
 ead the following - p~ragraph: _
K. R
A friend, who lives som~ distance
from me, . came round one evening with his
cousin. My- friend ,went -to a - m_eeting and
left his cousin with -me;.·'_ TJ:?.f
. .
s man, who--
=

- -

had never met me before; began tal.king about

. .

a _bo.o k. ~ -e - book was -very uninteresting.,

but -he . went -on talkirig _·a ·b out · ·it. ·._ I tried
-_to ~charige <the --·-s\1b_j-ec··f _-_o-f conversation, -~be
but 'i=i-~--:- ke.p t--~;b.-_-~ ta~king; a:b_d ut·---tQiS dreadful
- - - -- --

book~_ · Whe_n -~~ of-fered--hi-rn ~s.oine_ coffee, he

reftu:;ed but-: -I -· ins1s-t e-d --arid -escape·d ln~~ the
. --
ki tch·e n. · I was very glad -· when _my friend.,
who luckily · was no·t -kept -·Ieng -
at the meeting,
. .

returned. They both-- had - some -: c.offee and

left ·quite- early~ . I was very pleased wben
they left.

· Now write, a paragraph of your own t ell-

ing h ow you met someon·e· h
w o was b or1ng
, - 01-
troublesome · Try to answer the f ollow:11
quest i ons in your paragraph.
?
Wh e :r·e
- were. p.~~
o"'S
you rne,.t th
J) I
YOU Wl1 -·
n·

82 -
Telegram:- R19861
 (e.g., at home, in a care ••·.~).• -.

What were yo~ doi~? (e.g., watchi ng

televi sion, readin g •••• )

Wh at d_id_ he want to talk about_? ( e.g • .,

his he~lth ., family , busine ss ..... ).
What did you do? ( e. g_.-., .t ried .to be _
polite , listen ed patien ~ly .,.:smile d •••• ) •
· What did the other perso·n :do? .· (e.g.,
-kept o_n talkin g,refu sed to stop ta~kin g
...•. ) . . . .

What happen ed in_the ·end?.' (-e.g~, _asked

- . ~ .

him : to leave,· :prete-r1~decf ~o .:.b e sick,-

moved _·to -~no.th er se·a ~ •• ~ ~) •

Read the -follow ing. paragr aph:

One of the· most ·- be:a uttful · places I have

visite d is the ancien t Greek city of Cyrene
in Libya. Cyrene is about 300 k~lom etres
east of Bengh azi. There is an excell ent
modern road to Cyren e. When you get there,
You can stay in a hotel, which 1s fairly
cheap and comfo rt~ble . The ruins which are
rouiid there are very beaut iful and 1ntere 5t-
, ing. Not many touris ts -go to Cyrene and ·

Telegram:- R19861
 you can spend a whole . day qUi.et ly by :Your,
1ook at ~
se l f. . _ you can
'!he .main thin.gs
the temple s, the statue s and the cave s. e

( l) Lepti s Magna i- _s. _an . ancien t Roman 01 t

.- . . y
about 50 '_ kilom etre~ : east or Tripol i,
Most · or _wh~t is wr:I. tte~ - in- ~he· sample
p~8.gr ap~- -abou~- Cyrene -·-:'"can· :pe •written
-

·abo~-t - _._Lo;ptt s -~agna excep t there 1-~ no

hotel _· there - an·d _no caves. - But there is
._-
a
cainP sit~·. : _ - - - . .
- _. - - - - - --

Rewri ·t e. -. th~--· iampi-~ ..p~agr aph so that 1

-f
-
s
a~_u t: Leptf ·~:: Magn~~ni~ng -all the
- -- - - -

change !3 -that·~ ~are :_-n-e ce_s ~ary. ·

(2) - ~rite a parag~apll_
of you~ -0wn descri~
ing a place · you ·.kno_w which is . worth
visiti ng. Try to answe r the follow ins
questi ons in_ yo_u r paragr aph:

What is the name 0£ the place Y

are going to write about?

Whe r e 1s it ?
How c n you get th r ?
What happ r1 wh .n y u · t tl 1 -

Who Will _- - ow you oun ?

- .84 -
Telegram:- R19861
 What can you see there?
DO manY visitors go there?
Ho~ long· is it worbh spending there?
WhY do people .go there?

M, Read the fallowing paragraph:

A few weeks ago ·1 dreamed aver~ un-
usual dream. I · dreamed that I was walking
along a street and all the friends I had
ever known_.were walking behind .me ._ I. _was
leading them and telling jokes and singing.
I thought that the other people in the
street would .be ·.angry, but · they started .to
laugh and to clap. Later we all went into ·
a big hotel and I stood up and made a ·speech.
At this ·p oint all my _frfends became- -a ng-r y
and started to c~a.s e me. I ~an up .f .l ights ·
of stairs ~d at the top came to a door which
. .
- I - ~

was locked. I felt very afraid and thought

they would catch me. Ju-s t then I · woke up.

( l) Rewrite this par~graph beginning: _

"A few weeks ago Mahmoo~ had a very

unusual dream".

Make all the necessary changes to the

Pronouns.

Telegram:- R19861
- 85 -
 ( 2 ) Write a paragraph about a d:r-eain lo1.1
have h~d.

N. Write a paragraph explaining how to

car. Use the following details:

1. Close car doors and . wind9ws.

2. Wet the · car down.

~3. Wash the body with soapy

a soft cloth •
._4. Scrub the wheels and hubcaps_~_
5 •. ~nse the soap off. .
.. 1,- , - ~'

_6. Rub _th$ car dry· with a chamois.

7 _. Polish the chrome. _
- - .

8. Clean the windows -·a nd dry ~them.

- - - :. -
Give your paragraph ·a _topic sentence..
. . - :.

O• '.Ihe following paragraph needs one . specit1

example - to make · the meaning clear. ·r1r5t
read the Paragraph cB.ref'ully to under&
What the w:r-1 ter means by "handsome 1 8
handsome doea". Then., · add a Second
example.

- 86 -
Telegram:- R19861
 il l
1s as ha nd so m e ao es • . I w
sandSO1118 pe rs on -
er so n ha nd so m e un le ss h is
ca ll a p - as h is fa ce . A ta ll ,
not . s at tr ac ti ve
al itY iS a nd so m e bo y who - te as es an im al s
d ha 1 1 . . ni
dark, an al ly. ha nd . . n my op i on .
· t re so m e at al
1s no • • • • • • • • •. • • • • • •• •• • • •
• • • • • • • • •
Neither 1 s • • •

ete th e fo ll ow in g pa ra gr ap hs· by · g i_V in g

,. compl
ec ~f ic ex am pl es w hi ch fi t . th·e _· d ef in i-
two sp
tio n be in g made:

u ca n le ad a ho rs e to w at er , bu t yo u
1. Yo
ot m ak e hi m dr in k. A l th ou gh yo u
ca nn
un it y# yo u
may gi ve a pe rs on an op po rt
e him to m ak e us e o f i t .. .. ~ .
ca nn otfo ro

st 1 tc h ln ti m e sa ve s ni ne . _F ix in g •so m e-
2. A
in st ea d of w ai ti ng u n ti l la te r
th in g now
may sa ve yo u a go od de al of w or k · • • • • •

3· Fo ol s ru sh in w he re an ge ls fe ar to tr ea d .
m et im es an ig n0 ra nt pe rs on w il l no t
So
a s1 tu at io n
see th e da ng er s in vo lv ed in
a s1 tu at io n
&.nd W ill ge t hi m se lf in to -
1
I
Which he ca nn. ot ha nd le •• •• •• •• •• •• •• •

Telegram:- R19861 - 87 -
 a pa rag rap h of ab ou t 10 0 wo rds
Q. Wri t e u
of ' 81ng
any One the fo llo wi ng se nte nc es as y
· _. O'U?'
top ic se nte nc e:

1_. A fo ot ba ll _game is alw ay s ex cit in g •

. 2 • Ge tti ng .to · co lle ~e : on tim e is a
problem.
:;. ce rta in- s:f .tu ati oil s alw ay s 8.r ise in cow
.
·b oy -fil ms . J . _

· 4~ Rashi-d St re et ~is :- ~h e mo st· in ter es tin

g
str ee t in .. Ba- .ghdaq.. · __
- - - .. .-- - -·- -- .

on -.orie . of
j

R. Wr ite . a pa rag r-aplj. .

w the fol low ing :
l. A de sc rip tio n .of, a room .th at yo u fee
l
is un tid y.
2. A de sc rip tio n of yo ur cla ssr oo m.
3. A de sc rip tio n of yo ur ga rd en .

s. Wr ite a pa rag rap h on on e or th e fol low ing .:

1. How to dr ive a ca r.
2 • How to
ba ke a ca ke •
,. How to pla y ••• ••. (an y g . you "

88 .
Telegram:- R19861
 a one-paragraph story using one of
wr1te .
• follow:l.ng as the opening sentence:
tbe
could hardly believe my eyes when I
1. I
saw a piano in the middle of the garden.

2. As I was s1tt1µg in the air-terminal, the

loudspeaker· announced that there would
be no more flights •

.3. As I opened the do_o r, I saw a man sitting

in the corner of the room.
4. 'l'he~e was a great deal of trouble in Abu
Nawas Street yesterday.

Telegram:- R19861
 . t THREE
CHAPTER. . .

.. pUNCTU~TI_ON :AND MECHANi CS

I. -PUNCTUATION - ,
.. - . ~ , ..... -.

Wheri ·We speak . w~ can help to make ·our

meaning clear by changin~ the ,tone ._of · oiu,
voice; '~y pausing, or. _b YUsing gest,ures. Ir _
. we spoke ror two _or · three minutes Witho;ut
ever· paUsirig or Changing tfre t _Orie of our -·
voiCe, . no on~-
would unaefsifui~i:\.,,hat_ we Wel:'e .
_.· , trying to. Say. ... SO, -_1n:.~ftfni,., if · we wet'e
. to str1ng 8.il 't h~ ;:worQs :t;og~Jher without ever
.in<Ucating where thep~uSes , ~o\lld be, no
one ·w ould tID.ders't :~d
- . -~-
·the~\t
.
h.o ughts and ideas .
. . . .. . .;~- . . .

we were trying to express.When we write

we have to use signs or symbols to make our
meaning cl~ar-~. ihe_s~ _symbols, _- commonly call-
ed •~pu.11ctuat1on mar~s" . - are v_ery important;
they have . their ,own meanings. and thes:e mean-
ings supplement the mekungs of words. ibe
purpose ·o f punctuation 1s practicai# not
ornamental• 'lbe reason for punctuat ing 1,S
t o make tbe meaning clear.,
Le't us see Whet t would
. moved ll th, punc ·~ uation

Telegram:- R19861
 gr,apj from . "Tue Launching or ,the Queen Mary".
ibe _-paragraph -would--look like this:

• ,. • J: ,,. •
.· th·~ g~ea~ ship ·.iroaned i ·t was iike a
,,. .. .. , • ... ~ • •• _.. • • •• • • • .. • • ~ . l ' •-.. .-

who.le_ ~-own_11)._travail great t.iIQb~rs. were

•• I . •· • • • : :

sn:iasheci ·li~e matcp.w:00<;1. 1t _moved .yes it

; • ~ .... { ,,. "-: • • : • • • • i, •• .. .. • • i • .

actually
. moved .. . one waited
: . in.. . .suffDcated
. .. •. ..

~xc~t~~en~t~
. .. . . . ..
i .~_-mo~ed'"
~ore sl..~wiy . at first
..

•,
b~t - s -opn i'~- gathered · speed· the massive .
~ ,· : ..: :. • J • ••• • • • • ., • · --. • • ·.. . • •• • •

. oo~-ehain were· suddenly galvanised· ~

. . . _into . life_ and writhed like worms they

II • ~ • • • •

s~nt ~..clouds of rust lilce red brown smo-

.k~- -sh~
hri4 :;ea.dh~d·: tn~ water she ltke_d .-
. ·.,.·'th~. . . . . : ~he~ ;. ~
•f.ui~~ 1.t .was
.
her own element . .
. ~·ater ' '.

. ~l{ she· .did °it" beautifully.

. .. .
_:;
. ..

Without the punctuation _. m_~ks ~e -~~ot_~ ·. ·

see the relationships among_ the words and gr~ups
of ~ordS, so ·we camiOt.unQerstand the paragraph .
v~ry ·e~sily~ Now :read the paragraph ~~n wi-t h ·.
the punctuation marks ..inserted and
. .~ee · how eas)· . . . .. ·. . . . .

1 t is· to .u.nderstand . the .·..meaning~

.
- · ·· -:·.
.. " I.' •.
. .; l
. .
"-' The .· g~eat .'~hip ,!·groaned~- .·1t was ..like
' .. ' , :

a .whol.e town . in. trava11 ·. . Great 'timbers

.. ' ; ,~

were smashed .l ike mat_cµwoo-d. -. It .nioye·d·4'

Yes, it actually moved. One tfait~d in
suffocated exci.tenient·~ : -It moved' 'more

- 91 -

Telegram:- R19861
 · .i_ ( · , · it gathered
slowly - at f_irst, but · SO~. . .

. Th massive coils of chai·n

. . speed. .e . · . · -
were . · galvanised in~o
, su ddenl·y . . . .· life
-: and
writhed iike worms• The_y ·sent u~
"c louds of rust like ;·red..;broWil snioke.
. t . -t . She lik~d
· she had reached he wa e~. .:,. .....

the water. She knew· it ·was her own

element. Oh 1 - She· did ·1 t beauti':rully.

Every .punctuat-1on· ma'rk the :wr1te~r use$· means

something.· Some of.the ·symbols ,indicate
that he has reached ..the ~nd
of a sentence.,._ ' .

others separate one part of a sentence,. - ~ ~9m

the next· part.

A. End Puric:t uation .Marks_' ..

!
i
I
.I
I I
'I
!;
, I
I

2 • 1':le que·s~i~ll mark·(;) • ,, - I ,•

3. 'lhe .exclamation
· · - m~rk ( 1)

... 92 -

Telegram:- R19861
 1. The Ful l Sto p

· . -lli e-f ull sto p is the .most imp ort ant

p~ ctu ati on mark. It is use d at ·the end
l •

of all sen ten ces · exc ept dir ect qu~ stio ns
or ·exc lam atio ns~

You sho uld .use ful l fre que ntl y, :-· -

stops. ·-
'

and bew are of ·.pro ion gin g you r sen ten c~s
by r- ..
I . • .

·.
u_s ing-· c·oirunas -where a · new .s eht enc·e sho uld .. .,
be· sta rte d. _. -Do ··no t· ,lin k··t wb :· c6in ple·t~f
· sen:;_ • -·
ten .ces ".(1th ,· .o nly a~·-CODJtila/ or run .two s~n -
.: ten ces ._.:tog ~,t he_r. wit hou t :,· any :~-pu nc.t uat ion .. -~-:
• .,, ·- - ·:. ·- .J"' .•,. ·..
•

.WRONG.:.f:;:bu r;~hottse:_.-i s .~ii{'Ma'.niolir·, i t.; Is ·. ver y .

.
.

.
.BIGHT-~t<oiir
. .- ·house is'- in' 'Mati°so\ri-. It 1 s
' . . - .
: . '

~ ••._ •- • .. • ' ~ ':' •. ~ • _• ,: .• I • :. :- ,.; ,' :-- ' •:•.: : ,

_.
a1

.. · -: · -ve ry bea uti: ful~

0 ••

· · WR~
.
N~... ~· ·niin k . '
wh~t .You if k~' i don' t
. . ·-
c~ e.

.
On the . oth ~r . han d, you ··mu st not put
a ful l
a
· sto p unt 11 · you hav e re·a che d the end of
sen ten ce: no ful l sto p, the ref ore , is pos-..:.
sib le un til ·the -mai n fin ite ver b has. bee. n
wr itte n. Do .not pun ctu ate a •pbraae oi, a
sub ord ina te ci.u se .as ·you would punctuate
a sen ten ce.

- 93 -

Telegram:- R19861
 ,I

' t

t es or. · ,.
rea din g a _few ·y~
WRONG : I en joy
no ve ls. Li ke sc ien ce fic tio n •.. ;'
. g a few
. joy rea din ... .· t:yp e. s· :o•r. ' . . ;_

RIGHT : I en
no ve
. l~. ,
'
i:i..ke
' . en
sci c~ . ri'?:t~. 9~.•
· WRONG : ~e n -th e ch ilq ren ar riy
e-~· a~ ·-:th~_ :.
camp.. S~me we re da nc i·ng• !'o r ·Jo y
,- .
an d oth ers wer.e we e~ ing .: ·. ·:· . .·
HT - : 'Wh en the ch il" dre n ar riv ed ·a t · "the· · -.
RIG
cam p; som e w~ re ~ancing :for. _Jo i· _a.I:id ,.
,
. -

oth ers we re we ep ing .

WRONG : I wa s try i_n g to rea d the
,· di~ ~c tio ns • .
Wh1 ch we re co nfu sin g~ an d. ab su rq • .- . ' .• ' . . -t .. .•

. • . • • . .. . ~.

:9-f•r ~.c tio ns ., .

RIGHT :_~ I .w~s~ try ~n g to. rea. d _th~ . .~· ~ . -;. . ........... .
....
..

wh ich we . bs,·ur-.d. ,.
re co nfu $1. ng . an.d.a . ,
--
,·._-_-.._:·. _ .,
. ,.
' . . '-·- . - . :, ·-.1.::·-:
•
• 4 ~ • • •
-

.Be 1'0 re ·.· ha hd ing in ·a . compos1t1on.,

te:st
• •

kin g
ea ch se nte nc e fo r co mp let en ess by, ~a
~ (1 ) th at it ha s et .le as t one -S Ub
jeo t

an d on e pr ed ica te. , and (2) th at t~

e su bj e~ t
d b . . · .·
an d th e _pr ed ica te a ,r.e no t int ro du ce . Y a ..
su bo rd in ati ng oonJunot1on or by a re
la tiv e
pr on ou n.

- 94 -
Telegram:- R19861
 2. The Question Mark

{a) The question mark has. the ~same force as 1

. . .. . . . . . . . . .

l, tqe full stop · in . marking the . e·nd of a

l - -- ,- . ' '

s_~ntencera It_ i~ - used · at :_.t he end of a

~rect ques.tipn~:·e.g.-_. . _. · .: ...--

• '. t •

:· · -_ .,_ Has_ he arri'ved at ·.; the ~ffi _c ·e ·yet?

- '

(b) -,~O no_t .:us~: ,.a· que_~-t ~oµ . ··mark _!. Wi·th . an ·· in-
-

direct ·q ues-ti· on· -' ·. ., .:. ,. --·. -.·. ~ .

- . :.- - /. · ..'., . ,_ - . ., ' ' .

. ' ,. \ ; . . _,-
An indirect ·qµe.stio~_ is __.,reaily a state-
- ... : . . - .: . \.- .-1 ,· ·--:~ .. ' ~ . .. ..:: ·" -' -

-ment ·a :~o~t·· ~- qu'e stion and ' there.fore -·ends

with a :full ,stop, e. g;

He as~ec(us . whe:pe we -w ~re _gqing -• ..

( c) The quest~on mark may be used to indicate·

doubt.

He was born 'in 1900(?) and died in

1980. ·

). The Exclamation Mar!c

The exo_J.ama t1 on mavk. 1 ·- used aft r ·•

cl amati ons or .. xoltunat ry · _nt· no. .t l--

Telegram:- R19861
 .I

enthusi asm.or. loud

dicates surpris~ J
i t
speech, e.g.
veryone -would ·be °f.~ there
(1) Ho,w happy e : · · · · ·
were no pain 1 .

( 2 ) What a piece of work

fs manl Hpw·nob1e·

in reason!
How infinit e in faculty 1: . In form and
. .

moving h~w expre.ss ~d . admirab le t In . ,

.action how like - ~n angel! ·-I~ :.a,ppreh en~
sion bow like a god.I _ · ---

Use a comma a:rter mild interje ctions and

end mild : .exclam atory ·sentenc es Wi-th · a
period. The wri-t er who tries to stress
everyth ing really emphasi ses notn1~ : If
you want to express strong emotion o~•exci te-
ment try to do it thr~ugh your choice of
words.

Note that the questio n mark and the

exclama tion mark both contain a dot under
them(? i). It is therefo re i noorre ot to
wri te a f ull atbp, col on, ·2em1.o olon ~ ol"
comma att e ? or 1

Telegram:- R19861
 Study tne use of the full s·t9ps, ques-
·. . r

tion marks, and exciamatiori marks in the .

{following p~sSage. · .. . . · · . · · ·. .·

Iti':.- ever·y tire-station, _:there· are always

som~. firemen>"who ._·.a_re· ready. ·t~ go _out . at 0

once · if· they ar.e needed to fight a fire. -

. One ·_n ight; the telephone _. bell in · a -·. ·.

certain fire-station rang~- One of th~-- fire-
• - ! •' • . • ... -

men pi eked '1P the t.eleiflone .atid ·1 iai4, ~-Fire-

sta ti<?r.t ~ ', :, s-.C,an ,I ,h eip_.you4?'! :-
' :-, • - • - 4 . , .. - •

,; .• ,
~
l ,
- - , · ., ·., . • . ,..

- ~.Where is. it?~ asked the·:fireman. _-__·

.. - - -. • • : • • ., • • :, • • : • • : • & - : ~ • • . ...

· ~.I~
- my hoµseln __ c~e the excited answer •.
. - .
ti . . ti
_Come quickly, ._ or :_i:t .-.w il.l -..be··-burnt _
-do~t .

place.is
I • •

~~t
..... . in wpat
- ' . . .
the fire!".. .asked '

the fireman
. •.. -- ... -- -
- ·- ""

"In
::, -
,
the kitchenln answered the excited
voice.

-~~Jes, but
bow can we ge t to your pl .oe
the fir eman conti nued p t1ently.

Telegram:- R19861
 g ot a fire-engin e to
1
"Haven t yqu --
.. s_u rprised ~swe~.
·come in?" was the
.
{From Hi~\ a.J.ld
fopkin, Inter-
-mediate _stories -for eompqsi tioE)
. - ·- .~ . .' '
--. • i~
- ~ ';', 1

. . .

1.. ·The
. ..
Comma(,)

This ·1s the most :fr~quentl y -::u sed of ·

. al-1 the· _m arks. or . ~tops J~m_ p loy~d _in ~~lish
-. .. ....
. . ..,: .. _: ...: :-. _-:. :·:~ --·\ .....·
~~\ -~_,,_::- ·-· . -~ - - ·· ·-·, .

· - .·compos~:tion. · The coniµia~- -~ ndicate_s . _a ·short _

pause~ .· Just as P8:US~~:-: and -v:~iation s in
voice pitch·, help>.to\·c·ori.v·ey .the:· meaning ' of
spoken · s·e ntences, ·..· c·offlm~-s- h~"ip. ·to. .- ;·c lar1fy.
the· ltleaning of- written·
. .
·. sentences • . · The /. .

~ teric~ ·_ when spoken can . -serve

sound or a se_
as . a guid,~ in using commas_. · As a· g~neral
r-ule, a Qomma should be used whenever· a
slight pause is .to be made. A pair of
.
cormnas· encloses parts of. a s e. nt.ence as
well as indicates
· short pauses.

Read th t1 f<?ll,OW1n~_-
Q een-t.en.c es -alou ·,
pausing
-
at the .
•.
"" · · , ,~.
'"' .....
... 98 . -.
Telegram:- R19861
 Al i
( a) when the lig htn ing s1; ru~ k· · Moha.mroed
fai nte d •
., ·. Al i .
.. (b) When the lig htn ing. ·s tru ck MobamJDed
fai nte d •

. No tic~ how - the cqang~ in the po sit i~n

of the co ~a :co mp let ely chang~~ th~ ._"mean
ing
·
of the sen ten ce·. . Sen ten ce ( a) . cou ld be. re-
wr itte n· as: ~ .. . . .. :-·
..
Mohammed Al i fai ned when the 1ig ht~ ng
•·... :: str uc k.
Sen ten ce '(b) has a cqm ple tel y dif fer en t
me ani ng:

Al i fai nte d when the lig~ 1.~ nin g str uc

k
Mohammed.
No te ~he .di rte ren ce bet we en:

( a) The ch ild ren who had bee n laz y we re

ke pt. in. and
. - - . ..

(b) The ·ch ild ren , who had bee n laz y,w er •
,.

Se nte nce ( a) g1 vea the id

1

lf _r oth - r ob il .re n who· ·._ · 1 ·

w :r · no t k . pt 'i1l ·
lazy•• di ·t tl .

Telegram:- R19861
 the children to' a
the others, or limits ,·
cei-tain section - tjl~ ;-azy .ones·

Sentence {b) does·not give the idea

there-•were other · children who. ~ad not
that
been
lazy . ._ The s·entence means:

The children had been lazy, and they

were kept . in. .

Commas are very important, because the

ofu1·ssion -of a : comma or the in_ser~ion 9f a
- comma 1n the wrong place _can gi ye__ an:, ~ntire-
ly different meaning from what you intend.
It is difficult ·to lay dowri. precis.e <ru-ies
a.bout_ the_ u~e of_.tP~ comma, but the main
uses ~f the comma ~e as· follows: · .

. (a) _To separate the ;items in an enumeration.

( 1) Baghd~d, Mosul, . Kirkuk, and. Basrah -

are th~ largest towns in Iraq.

<2 > Shawl 6 Qest pla7s include st. Joan,

M~n and Superman, Hear,t br·ea\c . ff~1use,
and Arme ·and the. ~-
· - "~--
- 100 _

Telegram:- R19861
 (:,) We c_an go. to Basrah by_ rail.,- by
road, or by air. ,..
(4) 1.lhe air was-raw., dark, and grey.
(5) We &rri\Ted., ~looked round, ~d _we.r e
· thoroughly disgusted. ·

(b) ~ mark .off: (1) no~s used 1~ addres~; ,

(2) words or.
. phrases
.'
in
. ~pposi-t ion., (3) · ,

·part1.c 1pi~ phrases (when not used :re-

stri.ctively),

(1) I think, sir, . : that .you ~e wrong •

' \ '

(2) Baghdad., the _capita~ · of Ir~q, _is

.
a very interesting city.
. .

(3) Hav:Lng finished my business, . .1·

' .
returned hom~ •.
( c) To mark of·t words arid ·phrases· like however.,
_indeed., therefore, too,· tor. instance;
.
no . _d oubt~ in t~ct., of cour~e ..~~n ~pey
are used as asides or interpolations .

(1.) Thi·s _.proved, bowever~ to be a

-mistake.
(2)- He '4·a s , 1n fact, the be·s t s t ude-n t
'111 ·the class.

- l Ol ~

Telegram:- R19861
 ('

.·~
, ~ ) :T n o ti c e ·· a t ·
\ / .•'- . , to•o~ th a t he was v ./ '
p o p u la r w it h b e...~J
is c la s s m a te s ,
.. ( 4) He · r e a li
s e d } to r. c o u r s e
, th a t 1 'Waa
··a n g ry .

( d ) I n comple
x s e n te n c e s to
s ~ p a r a te ( l) ' an
.·adverb c la u s e fr o m .a f o ll o
w in g m a in
c la u s e , (2) two
o r ~ ~ re n o u n ~ c
la ~ s e s ;

(1) Although i t
I ·w a s ·a lr e a d y g e
tt in g
d a rk , Tom s e t o
u t th ro u g h th e
f o r e s t.
(2 ) No ·o n e kno
ws ~ h e n h e ~ l
l come, o r
~me th e r h e w il l com
e at all, or
w h e th e r h e i s e
v e n a li v e .
NQt~ th a t s in g le
n o u n - c la u s e s a r
s e p a r a te d by a e not
comma· from th e
s ta te m e n t. m a in

No o h e knows When he w i l l come.

(H e re i t w o u ld
be w r o ~ to u '
comma,, s in c e· th se
e noun-ol u s
th ~ o b j e c t o f is
th v I b 0 k,n ows,.)

- l o .· -

Telegram:- R19861
 (e) In double se~tence13 to.se p~at e (1)
.. • • • •

two co-o rdina te claus es ·wti~n :~he secon:l

• I

subj ect is expr essed ,. .(2) a·non ~det1 n1ng

'
:· ,

rela ti-ve :·clau se from 1 ts ·ante cede nt.

(1) . I asked ., what he was, doin g, and he

answ ered that -he
was writ ing com- a
.. po_si tion . . . . :_ -
(2) My fathe r., who is an old sailor., .
orte n tells me -stor ies abou t the
,·

--e~a-4
(Here· the claus e "who is.an old
.sail or" does not rest rict the re-
feren ce. !lhe clau se mere ly des- -
orib e·s and is · not subo ~din ate to· .
but co-o rdina te w1 th the clau se. 1 t
goes with .) When the adje ctive
de1'1nes .or rest ricts the refer ence
.
commas shou ld not be used .

1ber e is the oar whic h I sol d.

yeste rday • . (nu s i _s rest rict
t ·o the one part ioui ar e
· ao-1 · yest rday .)

Telegram:- R19861
 ..

In dir ec t spe e ch, wh~-~....•i)i bre ak

:·• . . ·.- . .
!
is
(f)
made iti-. the
speech-· to ind_i cat e· _who is
..
._speaidng •
. . . ,,.
,-t
"You c~
. .
she sai d, "ex act ly_ wh at·
say ,
. .
you ple a.s e • ..
".
Note, however, _tha t . if the break
· es a·t the end of
com a .sp oke n sen ten ce,
_ •
the ins ert ion sho uld be fol low ed by a
fu ll sto p • .. .

· · tt She -· is arr ivi ng tom orr 9w , " Tom

rep lie d •

. 11 ! sh all . meet· he r at ·th e sta tio n."

Remember tha t we use commas to he lp

make ou r meam.ng cle ar. Ju st as the omis-
qio n or a ne ces sar y comma. can con fus e .the
'

rea der , un nec ess ary ·or mi spl ace d COffll!'J8S

c·.an
al~ o be co ntu sin g. ihe re are thr ee comnon
err ors in the use of the comma. 'Ibey an
f•

( a) ·'!be Ut'!e or· a conea.· to sep ar~ te

ub je.o·t f ro m ite ve rb.
(b) o a to
i

Telegram:- R19861
 ( c) 1h e us e ot (I. -001nn1a to sei>ara~e a

de fin ing , or re str ic tiv e, re lat iv e

cla us e fro m 1 ts an tec e _d en t. .·

2. The Se mi co lo n( ;)

The se? ttc olo ~ marks a lon ge r pa us e

tha....i is in di ca ted _by a comma.
The se mi -

co lon sh ou ld -be us ed when -you wa nt. the

tai n-
re ad er to s~ e th at · the tho ~g hts -·c on
se ly
ed in tw o ind ep en de nt cla us es · are clo
re .l~ ted . ·"' In . ~ sen se. , the .sem i-c.. o+ on
1s
~ ..

al so a lin ki ng -mark. It ca n s,l).ow

tha t.
ke d
a nu mb er .o-r sh o_r t se nte nc es are lin
in me an ing .
. .

.( 1) n:i e pr of es so r ask ed the stu

de nt to
~

clo se the do or of th e · c1 ass roo m;

th er e was too much no ise .ou t in the
ha ll.
as
(2 ) I wa lke d up be hin d.A li as qU iok ly.
I co ~l d; ho we ve r, he st il l he ard
me.
( 3) We ar riv ed la te fo r th e pa
rty ; in

ta ct , we were so la te th at ev - n·
ha d le ft by th e tim · w · ot ·1 . ~-..

-
Telegram:- R19861
 3. Th e coi on ( : )

The colo!3- ma
· =
--.
rks a lon ge r pau se th~h
·

~i
·
the semi colo}f _o r .·Cf_~rnm.a • The ma.in use s
of the col on are :

(a) to sta nd for " as fol low s"

Lyrf~ poe try inc lud es va rio us typ es:
the ·ode, the ele gy, the so nn et, and
the .song •
. .. - .
..• :

(.b) .t.o ·pr epa re the rea de r . ..fo r .a sec ond

tho ugh t con tra sti ng or ba lan ced
With the fir st· pa. rt of the sen ten ce.
Spe ech is .si lve r: sil en ce is· go lde n ..

4·. , ~e · Das h ( _;_ )

. - ..

, .. The das h 1s :us ed ,to -show .th at a

-se nte nqe 1s bro ken . ott in the . ~d dl e.
IfY ou pe rsi st in fol l ...,. . . ..
.
ma tte r-b. ut .What·
. . ..
i
. On..r..ng Up the
. . ..
. ing ? . · .s .the use o,1:1 .
i - my spe a k -

Th . , . .
e aen
· · ten ce m · ay b
e br0 k
· to expand 0 ...,,. t . . · ~~ of f in ord er
. · . ... o add . · · ·
What has been . .- _ 8
an XP lan at1 on ·of
. 8 a1 d. .

- · 106 _

Telegram:- R19861
 ~s mac~~e is very easy to mani-
p~late_-y.o u merely press . the lever
and turn tq~ ·handle. .

~en 8: P~-r . of dashes_ -is ·used to se-

parate parts of a sentence.:
Schoolday s·- or so we are told-.. are
the happiest· days of our lives.
. .

C. Enclosing ~unctuation Marks

1. Brackets ( ) [- ] .

(a)" Bra~kets, _r o~d ( )_ or._square [ · ]

are ~ed to en~lo~e ·any words which
_._
I > •• •

. . are n9t ~~ati_ca lly necessary_ to .

. the· sentence.i -· bu·t which are added by
. ·'tfay ·.·~f- explanatio n ·or ·as · an asi.de.
ihe . words inside the brackets are
said to be in parenthes is.
. - '

-~ ~ow (at·-ieast~. this is what I

have been told) tpat he lost much
money -in ~he business • .
Dashes can be used like brackets#
one before and one arter a parenthes is

- 107 -

Telegram:- R19861
 I
.. _ at lea~ t ·, this is What I
.knOW. .! . .

. · · to·od ._ that he~lost much

have unders · ·
.. .
·.
'.
·
· . iil the bu·s1ness. . . _.
money . _ . . : _·, . . :.- .:,. .
. . . J t. .
·81 ~ce an nasid.~" necessari_ l y aistracts
attention .from. the· m~in theme, :P~en-
_.,. theses sr.c0uia be . used' as · s?~ingly· as
po~sib~e. ·
. . ,

(b) lliey are used to enclose _ ~ross-re-,, .. .

ference •.· Th~ .-wbrd abti_ctis : rs·ee ·page . ;15]
. .

denotes a ·speci·al educat1·ve toy .. . .

or
. . - .

2. Inverted -Comma·s ('1 1

_~)- ·Q uotat1·9 n _Mark·s
. . .
(a)
. .Inverted
'
ponunas .ar.e
' .
_used to ehclose
. ' . . . .

r ~s -spoken .by som~body,

the exact W<?,_
_eith~ i'n conversation With =someone
else or to himself~- a thought.

llle old gent~eman was very worried.

~I did have a ticket, n he '!,aid.
, ~I'm qUite sure that I bo,,,..1-,, t - . .
. ~ OM
before _I gpt into t he t rail\. it
h ,n...: tt
. .J.'--, a •··. s all
,
right, s11,
·
. "·
J,
,~ 1G'n Q d
t.,1n·v• Y
. the in P .'o to~ ··n · ·, v
., .
.

"I'v got pl, ntv., ot t ·: n - n

108

Telegram:- R19861
 (b) Inverted commas are ~lso·used t~ en-
clos~ q~ptat~on~_fr~m speech or from
books, · and- before. alld after . th~ titles
• • • •~ I ~ • •

of books, plays, ma.g~z.ines., n~~spapers,

etc. \
\

"itie.
. 11
curfew
. . _· - ·. ·
toU,s. -the_~ell. ,of _parting
. . . ,. ' . · ·- - .
day ___.i ·s _the .. opening 1ine of_ Gray's
~Elegy written in a . country chiirch-·
'yard"~ :·: . .
.: . .
'
(·c ) When...some words are quoted in a - sentence
already enqI.osed -in inverted connnas,.
single q-uot.a tion marks may be used· :for
the quotation to _avoid confusion.

~My favourite· book of -poems- .i s Palgrave Is

'Golden Treasurey' , ." said .t he old inan.

(d) These marks are used aroUlld a slang or

technical term when 1 t is in a context ----
in which it is not usually found, or
around . a word to which the wr.i t e,1" wish•
el? to draw ·a ttractoion.
He called· himsel f a 11
ge.ntle01~ 'l11 -

Telegram:- R19861
 mmas round a
. ut 1nverted co .
Note: N~ve~ P name 0 ~ round ~ame of
, s ·rea1 .· ·
pers~n__ xbtpt when they are
a .country, e . ·..
· lays articles,
title~ of books, p . ,
• poems an~ ·so on.
.Milton wrote ''.Paradis_ Los t". •
. . ' . "
. Shakespeare wrote ~'Hamlet , •. .
..
D. J?unCtU~tlon_ Marks·used ·within the Word
1
l. •T he Apostrophe ( ) · ·

(a) . .
· The
.
apostrophe j.s. ·.used to · 1nclicate
.

· that a letter
(or. more .than one letter)
has been ·m 1sseq . out. · ·
t ,.· . . . . .
three o clock= three -of the clock.
rou~re c .you·are
'haven't C h~ve not

·used With the

An apostrophe is
letter a after a noun to .
show p~ss~ss-
ion. When one• person 1 s tn.e owne;r~ .an s
1 a added to , the own1 ._ ·
-ng Word.
the maxi' s hana .

- llo _

Telegram:- R19861
 . . .

Plural s are usu~ly. formed

..
' _by the .
. .. . .

additi on o.r an s'. -

When such formatiollS ~e: to. show.

..

posses sion. an apostr ophe is added..-after

- .

the s • · .- - ·. : ·

I- . . .
~h~ . Smiths ' . home . worke rs . union. ·.-

There are some words., ·;· boweve r.,.-. ~ t _.

do· not become plural by -addiD g _an- ~--- . . ; .
. . With . ·t hese
··-
words-an 's is_. ~eeded. t~ .in-' .., •··

dicate posses sioil.· _·.

• ·- ... '·

. .
men's coats cb.iidr en' ·s ··books .

When a singu lar -noun ends in ans or

z sound add s to such noUDS or one syllab le-
. ,·

but add only the .apost rophe to such nouns

•
of two pr mo~ syil~~ les.

J8.Dles - James•·s Dicken s .:.· Dicken s·•

Use an of-phr ase rather than· .' s to form

the. poEJee-s si ve of a J:lOW1 tha.t . names an
. -inanimate· th1ng.

~ 111 w

Telegram:- R19861
 1b e ha nd of th e .cl oc k (n ot th e
cl oc k' s h~ d)
'.
'Ihe le g of th e ch?J.r (n ot tQ
. J t
e
ch ai r' s le g)

··Note th at th e prono.uns - itS z he rs , hi s,

- -- ~
yo ur s, th ei rs ~ whose? .and ou rs · hav·e no
ap os tro ph e.

( c) An ap os tro ph e is Us ed to 1·n di ca te -.u n-

us ua l pl ur al s·

D on 't if me any if 's .

The word ~o ok ~a s two o' s.
.
.
I wa s ac tiv e du rin g th e 19 6o
's.
· A ll MP' s w ill be ad m itt ed
•

. .,
\ .. ,'.

(a ) A hy ph en .is us ed to ma . .
ke ·compoupd ·
wordse It shows cl os e co nn ec
tio n
;: · · · be tw ee n two wo rd s. or two pa rt
s of a word•
a ba d- .te m pe re d m8.A two- se ve nt hs
a ki nd -h ea rte d woman .tw en ty -s ev en

- 11 2 ...

Telegram:- R19861
 a two-edged sword two~ thirds
a well- ear~e d rest forty ~thre e
_._._a te~-y ear-o ld. boy
. . . . . thre.e - eight s
a secon a-han d car ninet y-nin e

1
(b) It is used to link a _prefi x to~ - base:
prq-S ovi_e t, pan-A rab, anti-N azi •.
.. .·

( c~ -~t.· . is. ..used

. .... ,
to indic ate ·that a P.rint ed
w~ro; . a_t ._the ~nd of a line is not com-
P+ete .,

3" The Abbr. eviati on. Dot _

It resem bles a full stop in shape . It

is· used -

a) At'ter a perso n's initia ls~ cut not alway s .:

:. Mr. J.B. Shaw or J B Shaw

b) No_~ice -~hat w:l.th _'?apit als it is not used:

GB, UN., USA, ~t~.•~ - 'b~t_ us·ea .- in expre ssion s
. . like: i.e.• , _e .g., etc.-, p.m.1 a.m .. _,.. and
. .
so on.

S~udy the punct uatio n.. marks in the

follow fng pa:ssa ges, and .expl ain wtiY they
are used.

- 11.3 -

Telegram:- R19861
 ·"

The progr ess· (I do not me~ the exten -

(A)
sion) of educ atior l~or seVe ~al Centur-
ies has been from o~e aspe ct a cfrif t,
from -anot her aspe ct~ push; ·for it has
· tende d to be dominated by tne·i d0a of
getti ng on. The indiv idua l wants ·more
·eau~ a:tion ,' ·not as ·an· aid to the acqui...:
si tion .: of wisdom ·.but .in orde r :to· ge.t on;
the natio n wants more in orde r to get
the bette ~ of ·other natfons,· ·the class :
wants ·it to get the bette r of other ,
class es, or at least to hold its dwn
•
again st them. Educ ation is asso ciate d
there fore with tec~:ca1· e:f.fic iell.cy ·
on _th~ pne h~d, S?d with risin g in
socie ty on· the.o ther.

T_.s. Elio t
' . . .
n· and. the
.
Mode rn.Ed ucatio
.
Clas sics' ·
('Poetry·&Qd Prose Appr eciat ion tor
Overs ea~ Stud~ nts ~j •
(B) '.Ibey were moving 1 ' · , .1
n upon him quick ly,
. .
gropi ng, yet movin
·
g
rapid ly. It w·s
like Play~ ng blind man• 'b
every on_ bli~ ol ur ~
hold or himt' ' o Xo t o .. Oet
OJl •. H ft>Wld ·

Telegram:- R19861
 - "".· -- ·- · . . . ______ .. ..

him~elf- ih. the arc- of a loose curve

ot· pu~suers. -He ~elt sudd~nly he must
be a·o t1 Ve ·and resolute.
• 1 • • •

. .

"Y9u don't·understand, 11 he cried

in a.Voice
tha.t was mea~t to be great
and resolute,.and which·broke • .

"Yo~ 8.l'e bl:ind, a.pd I can see.

Lea\Te me- ~one!~
. . .

"Bog9taj. Put down that spade, ana ·

come· ott the grass f "

-~~
~ast or~er, grote~que in-its
urb~ _f~liarity,. produce,d a ·gust· or·.
.. anger.
. .

"I'll hurt·you," he said, sobbing

with emotion •.

He began to run, not knowing

clearly where to run. H·e ran from
the .·.nearest blind man., because it.
was a horror to hit him. He stopped,
and then inade a dash to escape from
their closing ranks. He made for
wher-e a gap was wide, and the me~ on
either side, with quick perception

- 115 .-

Telegram:- R19861
 .~ush.e.ci.-:-.,. :
h . of hi s: ·pa ce s.,
ap pro -ac .
of
th
·ra
an oth er .. .
·ge-sp ra ng for.wapd~, ·..anct.
. ,,,, .ht
b e c·a-~ an d-:--wi sh J . .
in 9n e h mu st . . , 4. • .. • . •• •

the n saw _e: · k · · He fe lt th e s; ft

, : ..
the ·sp ad e ba d s _tru c •. .
.. . a. and arm, · an d th e man was
. .
thu d of ba n ye ll of pa
=·1 ·and he was· -~
. ·· ···t h·. a · ·,
,!1,
.
. .. . ,
do~m WJ. .

thr ou gh .
- (FrOm -R~- ~-· wens
'lh e co un t'ry -·- of: ~h e
Bl iP. d) . . .• . ...
.r • ; • •• I •

. : _ .. - .·.

In th .e of fic er s ·• cl;.ub~ a yo un
g ca pt ai n
(C )
·wa s ·pl ay ing · a gafue· o·f · phes~
-·ag~in~t a
·oif_:i.cers . .
g~ ne ra l, ·w hil e s·everal· ·other:
t ·u nt il,
wa tch ed . -· The game wa s ve ry qu ie
s., ..th e
a.('t_er on e of ~h e -g en er al' s mov.e
ld , 11 1 ~
! so~~y., .~1~ .1-. -b~ t th at
. c~ pt ~i n sr
.. . - . . ..

move is n' ~ all ow ed in ch es s. n·

·, . · · ·
. ..
Th~ ge ne ra l .b ec ~e v~ry .arigry.
s
"o f co ur se i~• all ~w ed , ca pt dn
1·11 · ·h.e
sh ~u ted "I •·ve b~~n ma.king th at ·ni;ve
$.

fo l' ye ars _:_ ~i ~c e be:t;or e yo u we

r~- bo rn ,
· · ·
pr ob ab ly I tt . ..

The yo un g oa pta ir~ po lit el y r ef

us ed
to ao ce pt wh at th e ge ne ra l sa i d,
''we' 11

Telegram:- R19861
 l _et. _Ca pta in Jon es dec ide .," s .a id the
g~µ~~ al as thi s of fic
. er. wa lke
'
d ·in to
. . . .

the clu b. Ca pta in j _o nes pla ye d obe s·s

be tte r tha n any of the oth er of fic ers ·
: ·in .th e clu b .

. "Y ou' ~e. wro ng, sir .,'.,..' he ·no~r .sa id

'

. to tl)e ge ne ral wi th a sm i l .e . · "W ron g~

u
,J

0 Wh at do you mean.,
sho ute d the ge ne ral . . .
Ca pta in? ·. You do n't eve n kn9w wh at·
we ' re. _·ta l:k;i.ng ab ou t."

"No, sir " ans we red . Ca pta in Jo ne s ·

cal ml y .

. "B ut al-1 the se gen tle me n· .wi10' ve.

, and
oee n w at c~ you r. gam e pl~ ~ che ss.
~! you ~d p~en rig ht; the y'd a~ l ha ve
suppo~~e<J. you ve ry qu:t ck ly .. ti

(H ill and Po pk in -; Int erm ed iat ~

Sto ri: es Fo r com pos i ti·on)

II. MECHANICS
ce r-
In ad dit ion to pu nct u_ ati on , we use
r mean-
tai n oth er ~~ nv eni ion s to he lp make ou
ing cl· ear ·.

- ') 17 ...
Telegram:- R19861
 1. capital Letters
i t .
. · . t. nee and., in poetry, every
. ( a) Every sen e -, · ·
·. begin with a -cap1·tal letter.
ljne, mus t . _ .
. · nouns , and ~djectives
. ._de;rived.
(b) Proper . ·
rr~m. them,.~ must begin with a capital. A
Pr~p~r noun is t~e ·nam~ of a _particular
person, place, or thing. A-proper ad-
jective 1s ·derived from a proper noun.

.Iraq Iraqi
· Spain Spanish·
Shakespeare Shakespearian

(c) All the . important words in the titles ·of

books.,. plays, etcG must begin with a
.capital • .Articles (a, an, the)~ co-or-
·dinating conjunctiQns; · and short preposi-
tion are not capitalized•. except~ of
course, when they form the first word of
the· title.

11 Romeo an9 Juliet11

"A Men f-0r All Seasons"

· "Mutiny on the Bounty"
"Th
- 111 . . tt
•· 0 ~all ot t~e Houa-e of Ufµle 1' •

- 118 -
Telegram:- R19861
 ----- - ..

( d) The names ·or the days .

of the week and
. -t~e . months . o~ the year .must
. . ized. . .. . . . . be capital-

· ,·Monday
February·
Note, howeve~., that th~_ -harnes o'r the
. .
_s~as?ns do not begin with a capital •
. ·. , .. . ' •
spring · autumn
. . . .

2. Numbers

(a) All n~pers exc~pt those that require more

tran:thr_ee words are writt.en· o.ut~
... .. . " . .
ten, t~r~y-rou r - 156,. 453111
(b) Use ·rfgures· i ·n dates and in reference to
times ·which ·1nclude a.m . . or p.m •
. ,.

10 a.m • . -5:20__ p.m.

('c) . Do. not begin. a

.
sen~e~ce ·with-· figures.
..
. .' .
WRONG
. . .
. 356 p_~_op_le .at~ended the · lecture
RIGHT . 1'bree ·hundred and fifty-six
people ·atte'nded the lecture .··
or
There were. 356 people present
at the lecture.

- 119 -
Telegram:- R19861
 I
.I

.(. d) . · t l i n.furibers frorri t~enty-one

.·
Note tha a . .
mnety-·n1ne are hyphenateq..
through
. . . . . - .· • I •

.:;. The division of worQs in writing

...
'

· , words sometilDes have to · l>~ di vi~ed at

the end of a line aild part :0"3:!'ried over ·to
. the next. line/ It 1s better to av~.t d doing_
.· this .Whenever possible.. If, howev~r~ . words
are d1Vided, it important that they should is
be divided cor~ectly. _Use· .a hyphen only -··
af_ter· the·· syllabl.e ·. t~at comes -at . t};le end of
• _. • ...: • • • • • ~ I

the line. no·not put a... hyphen before · th~ . .

carr1·ed over
-

part or. the word "that· is to the

next li~Ef. - ~- .not put a ~ingle letter of. a
word. at . ~he end or .at_the begj.nping of. a line.
Do -not' :.de put - .
·or -
a.~ other two-letter .ending
. .
at the .beginning of a ·line·. Do -not div1de
one-.s yllable word·s . such as "through 11 ~··. "twelfth11,
!bousett. Do no~ spi1t in· the middle. or a·. .-.
.~.11.~~b_l~~;"e._g~ Jn'lte ~infant~' no-t 11 1~&-ntti.
~ta.word 1s already hyphenated it ·sh~uld be
spl.i t -only after the hyphen.

• 120 ..
Telegram:- R19861
 - ~ ,,..,... ......

EXERCISF,8.
..........
... .. , .
_A.-·Supply :appropriate .:end: ~punctuation:,fo~ the
. follow{ng sentences_·. · ·=S.ta.te : the ·r.eason for
each mark.
, .
.... . .
. -1,.
.. .
i~_-:.whi~h -di~~ctio~'-~~:;e-- t~~ .~{~-~~- fl;ing
. ~ • .: . ; -.. ' . ~ •• . L- . .· ~. .. . . . ,. : •. ./ .; . . .

. : ?• -SlJ.e.-.:Brsked
. . ·Jne . -i-f
.. .
..I::.had. ..ia.. . ~
car~ --~•:_:· •.:· . ··: -.

•3.-·· HOW ral' :fS'-'ft ·rrbm' ~~ci~d--t~'.:~?~µ,:L ..

.. ~- I ·won~e·;~ci W~i..'hi ~a~- r~n.i }i·~wn. the .
• • • • "° • . • • • 'f • ,• • • J/ ""•• ; ,· : • :a ••••-: . ~
..
• • _

.
I :. :

.street . .'
. · · :' ' · :;__~ .· : .. : · . .,. ,·. ,:_·... .:-. · :.::_:~•-: .:- . .: 1:.:-: L. ,;·: .-. ·
5 • . D9 -_y oµ _know· where. ·,r_·:_can~': f.li·na~·=a.= -n.~er·:

•
.. P. ·. ~~ boy ,·;wquld ,•· noti ."say. !:wh~n.':~~--h~d·.'1ast
- - • • •• • • • • • - . • • 1 : • ·< .. -: . :~. • " ••, . . ~ •.1 .: •. "' • ~ - • : . . : . _...• • • .

. . - -· seen "hfs
'"--~ -.: :1. l . ;:,.3,.l•::~;;-:;
fathe?' ' .- .· . . _.-·.. -.
tJ•·; :•:·_ .:~ ·: __-;:_ ·.~:- ~- :~ . .. . . · :. . : ....
.
J.~ . ~E1i1c-a lq~/ g!' l_usg8ge,.You.'-ve•. br.o]Jgb i ·.

' . . . .

B. Begin each sentence 1-n· the .tollo.m:ng groups • • • ➔

!d-th · a cap! tal letter and end 1 t with a full

stop .• ' ..
,,,,, .... ...
.. .....
"' .' ·: : \
"

1. this woman was the:.tstr~st I,;;iiatf·~ever

._-~ , ~-~"ll· ~qe .. ~pokf!q .,_a ~·-;.~~~~ i;~hf' ~~ . ~t
~-.Y.~'~rs\ . , · ~~r f · 11 ·
ha ~ .a -~~~?.~.:rr•.~l~ . f o_
• • 1

··- 121 ..

Telegram:- R19861
 r • •
~ . .
down_ ·he r -ba.ok t_o he r wa i~ t ~-t
di d •not·
.
su rp r.16 8
me to l~ ar n- th at nrany people
- . . .
mi.st oo k h~ r fo r a gy p~ y. .._-_

2• yo u 111us t fo llo w 1:ihe_· pa th ao ro ~s . th e .

.
fie ld s· . ·ro r about· a quart~r-_ of a IDile
soon you.
.
w ill · _se·e ,_
op. yq ur ··.r 1g ht. -a White
ga1;e_open:f:Il$ in t9 _a _tarmyard op po sit
e
1 t :i.s a sto ne sti~-e ·get o_ v er · th e st ile
.·iui·d you·:·wiil 1'1.nd yo~. al'e ill a
i'i dd
on a. hi ilt op . below y~u is th e_· :v all
ey
-·y ou wa nt t _
o:·s ee . ·.
}. he opeile,1- _the .purse··.t he re wc:i:S :nothing
. .
in. 1 t hi s po ok ets :we11e·· .tu rn ed .in
: . sid e ~-
. . .
pu t th ey
,,.-
-were _empty al so.. "ev.ery _.p_enn.y .
' . ' ·. - . •, .,

he possesiied must _have .been le ft

in
- . hi s ·otti~~ , eoat
~:we .·o ffe re d, ·t o·· l~ nd him
1'1ve sh ill in gs 1t was a11-- we ha
-.I. -. • . .
..
. d ·bet-
.
'
-
.
., .

· ween u~ tha~ ·would on ly tak e him _. .

pa rt
or ·th e • ·.home. ·_

C. Re wr ite th e fo llo wi ng se nt en ce s .
,

us i~
co ~a s where n~ ce ss ar y.
. '

l _• Red; ·ru.diilg ~Hood to ok a ·baaket

· oo nt ain..
_i ·ng eggs .bu tte r cake •.and br ea d ·to
he:r
,g ral )dm other .
·
•

·- 12 2 -

Telegram:- R19861
 2. His master called him an idle -sulky
dishonest worthless ri1soa1··.- '._-'·· ·
3. I am ..
afraid Ali that you. wtl_l . .net be
• . a~l~ ..t~. g9 . .to tpe p~_
. . . •.
t y ~" · · ;
. . . . . ·. .
4. They saw ·near. the·
. . entrance.
.. .: t .o ·t he .

p~k -an_ enormous. green tent~-. -

. • . . : ·- • • '. ' .. ·! _: . ·.- • .

5. At that moment without . the_. ~tightest

, '

warning the _st.o rm· broke· .·

•
.. . ·. • • •
,.
• •• - • • I •

6. Because
. you_would not:
. com~ when
. .. . _,., I
ca+_l_e_c:t yo-q. yo~ have mi_s sed ~e~ing ·
·the .·pro-~e~~i~n. · ·. .- · · . -.. ; .: · ·· ; ·:· :
• • l '" I ... . . :,· ~ • I.:·
. 7. ~e. elder bQY walking suddenly at
*• . • • .. • • • ~- ·.-·· - . .. • . : • • ... ••• : . -: •-· ,:.~ f - .: • ..

-the ~usual noise sat 1:;>olt· upright ·

in -~ed: : ·-=·, ,' •.: .. :· .

. _. B, He .hear~ hi:s :father .who 11as evide.nt-

-. iy -a~~e t~~~ s~m~~hi~. ~;~. ~<?~ : ·
· swi ten on :tb~ ~igh~s •.. ~ .. . .:. : · ::.n
9. I't has been decided by · the ·:way: that
we shpuld go ~by:·tra.in~ .. :-:-:·---; 1 .

10.· Having f:fnishEicf his homework Ali

• 4 •• •

went to bed.

1e· following aente~oes contain ~b~ :oom-

ts than they ne ed.· . Copy the sent en6es,
?~ping onl y the 'no oe.EHJary oomtnae . ~t t

·- 1 3 -

Telegram:- R19861
 1
i t. ..
your.r eason tor ornit~i ng or for keepin g
each comma.
1. ihe ~hop on the corner , has been closec
since last Monda.y.
2. He decided, that he·would buy a new
· car·~
3. lie bought~ apple-s ,_ bread, coffee ,
lµl& b~ttei/.. · .·.
. ..
4. The t~~h is~ - that-I forgot to post
the.le tter.
5. TQge~b~~ we· went t~ the place, where
I had la,st· seen the thief. .
.
E. !he 1'~1.l owing passag e needs eight commas
and · two colons or semi colons . Rewri te the
passag e c9rrec t~y, Without malcing any _other
.. ·actdi tions or altera tions. No more than
·:-: · ej.ght cominu. must be used:

_If rou study the histor y or· scienc e

· you will see· tnat 1 t is often very dif-t
ttoul t to decide who· invent ed something.
Le.~ . µi, · ta.lee the steam engine who invent -
ed that?°· Most people I suppose t hi°nk 1 t
was James Watt.· But st eam had been use d

- 12" -

Telegram:- R19861
 in eng ines ·1ong bef ore James ·wa tt was
eve n bor n .a man cal led Newoomen had
m~~e many eng ines for pum pin g.w ater :ou t
·or min es. The fir st steai11 loc- pmo tive
mo~eo.ver was no-t ~ad e by J$e 5 wat t nor
by Geo rge Ste phe nso n but · by·· Ric h·c\rd
Tre vith ick e All we can -say .is tha t·
Jam es Watt. made. the fir st ·tru e .stea m
eng ine · and Geo rge Ste phe
. .
nso
..
n made the
.
.

.fir st suc ces sru1 · loco mQ ti Ve; .

F. R.e wri te~ usi ng sem ico·l ons or cql ohs whe re ·
.ne ces sar y:

1. The doo r -had -bee n lef t uni

. . ..
.o..cked .
.
:this
was bet ter luc k tha n th~ y· had exl} eote
. . _,.
d. ..

2. Lay la plays_ fo~ _ins trut n~n ts the pia no,

the har p, the flut e~ and the .vi oli n.
3- The cha irm an -nre sid
.
ed at
.
eve ry me etin g
how eve r, he did not ~ak ~ p~ t 1.n the ·
vot ing .
4. All kin ds - ~t··peo ple we);'e the r~ -do cto ~s,
tea che rs, .mi ner s, sho}>-as~ista..Ylt , -. d
so ·on .

. l .. ..,,J -

Telegram:- R19861
 ,I

5. Th€Y sat down, ft the table on this

. wa~. hal:f. a. _loaf of . wh;i te bread.
6. ·y~~ could onlY,. lose by Joj_ning . this
· · ent~.~pr i,se ,:r haVE;? . everyth ing to
g a.iJ.l by i ~ • · · : · · · · ·

a·. Rewrite
. .:: . . ,· ..
;utti~ br~ck~~::, rounq. tpe pareh-
theses in· th.e~:· fol.lowi ng. sente~c es:

1. ·:rii: the garden if a tilly s_qU8.r~ of grass

. . ~~t 6aliea·
· coiiid b~. . ·.. , . . a g8.rden. .
Mr~~ White . ,.
- .: .. .
2. From the neat pile of papers on his. desk
, .._. :.. •
he was a t:ldy man·. he. took the receipt ed
: ' ~1 : .. .. :. -: • • ·•• • • : •

bill . .
3. He had roolish ly lent his new pe~f e
· -a ilarge:o ne with two bl~des and a cork-
. · 1 ·sc·rew to· ·the ··b oy' Who sh8.red ·his ae·sk •

. 4; '¥le ·are g6illg · but ·tion' t tel:1 anyone else

tr.; ·a part~y t'onigtit·.-

H •. Pw)c.tu~ t~ - ~~e folloWi ng_ sentenc es. Ea1ch

one requ1~e s a dash:

. l
l o . ' J
0

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 2. I ~ave told the boy that he must be
back within the hriur not' :that it ··will .
make much difference.
I •

3. In one 9orn~~ of _the garret. was

.
a ·. .bed' ,.

if a dirty blanket thrown: pver :$qme

_folde~ ne~spapers coula. be called a
• • - t •

bed. .

4. The .~rofessor is ~~w ·~ri~1ng a · bo;k on

his favo~i~e peri~d in :tnglish History_
the ·Middle· Ages. · ·: •. /
. .

Supply quotation
.. marks
. .
, they
Where_
'• .
-~ e
. . . : .. .

needed in. the

.
following
. .. . . .. .. . e
.-sentenc. s.• .,.,.Use
. '· ...
•,
. .

commas and capi t~l letters where. they ar~

needed. . .. .
.

l. Did you call me? asked Layla.

2. He. said · :th~re is nt> need to~ shout
.
.
. .
3. I am afraid you have
·. .
b~ken .~h-~_
. .
l:_o ck
.
said
. Johnson.
. . . · We. shall.
. have-
.
tQ g~t
.. in
by
. the window.
. . .

4. Could you lend me ypur copt· or ~iying

English· ~-truc·t ur~-'i asked my friend~
5 ~-- Th:e ·tiine is Six o' clo.c k said the ·
announcer. - Hel"e 'is the neus ·

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 . . -') ... . ,'. .( .. ; \....~ '. :·.: ·~> ;' '. I

. ··· · ··· ·
· . , t d ca p it al
J . In
... s.~r· ..·t .·a...po$tpopq.e~s-,~P. le tt e rs
· · · ·.· · ·
where ap pr op r. i a te · in th e fo ll o w in g :·.. ..
'.
1'~ :.·bo···y~tl·i_,;prett~t·:, dicke~
s riovel.'s~_cir .• ·..
tftaokertiys?'•-::..<: . . . .. ·.. .
2. it~·:.~~~Y ~lr'ri~hit ' to PhJtbg~-~~h::·~
ea g le on it s n es t.
:i. ,,.,' -~~-._:! ;_, j
,• •,, •: ,::.,,• : ·• ••~: • ' • .
·-,.~-· .. c~t.' -;:V
- ... .....
?~. ~pok . wpe~~
:.
. ... - . . .. .
I .. ••

:r ou r~.. :g o~ n~ •
, • • , :•. :• • •, !? • ,
~ ·. . . . . . ·: . . .. .
I 4. Yoti ar e ·a lw ay s ge tt ~~
I

,-- e;,. in 01:1-e ~ 9 t) ?e ~ s

way.
5. Ails -66\;l~se··:·oi:'' st ud y·· in cr iu
•• • • ·,
tl es ·:e n'g li s·h ·, •
:.~•·t re n· ch ; ·:g·erman,-:·• :and· sp
• • •• • • ' '\ • •1 • ' '• ..- • • ·- • •

at ds h ·.
• J •

.
..~·~.:.: ·'!.:·:,:-=...! . -: ·
._, ·. • · i:.·, .·.·: ~. -.. : , _:· ···-· .. : ~ ;; :. '•. .,.•. D . ·.. .
K. P u n ct u at e th e fo ll ow
in g pa ss ag e:
• •'I -~ • . ...
•'
\ ·: :: ~
.
.. : • • ~ :. _... : - . ~- - •• ·· : : : • • :

o~~ -~~Y ~-bP~ ~ ~~~pp~

Z•
~
•...,• d at -~ ~1i1ag~_
• • .-. • :-;.,. ' • •~ • ·: • _. • l • ! • • .
an d a· woman go t in whe • • •• : • • : :

n sh e
-~·c·onductor he r· ti ck et· he s:aidga ve th e
• • ·, . • • ; • - .J : • ·... . ... "". • • • - . • • • •

.-~..: -·~bng_. tt ck et· t~s: fo!'· th is is •

ttie· ·trli,- ba ck
to yo ur v il la g e What
·d~~s·· ·t ha t· ·m at te r
:•.:,~_.ailS:wered-·.the ·l'ioman it ·
co ·s ts -th e .- same.
.de:,·e s· nt· ip . Y.e.s :..sa i'd th e
.c Q ~d uc to r b u t
,i m p() t ,9:J,}-.owe d _:_t 9, ··a~
~ t:1, ~)c~ ~;p1; . t·:· .
fr om ~~.~ .,} ?l ~_
?e. y_o ur e, go1n~ to t ~e

Telegram:- R19861
 woman th ou gh t fo r a se co nd an
d th en
sa id if I rid e ba ck wa rd s w ill
yo u be
sa tis fi ed th e co nd uc to r was -ti
re d
o.f ar gu in g he to ok lie r tic ke t
sh e·
sa t down W ith he r ba ck to wa rd
s th e
fr on t of th e bu s and fin is he d
he r
tr ip wi th ou t .an y more tro ub le
.

Telegram:- R19861
 CHAPTER FOUR

PARAPHRASING

To pa rap hra se a ris sag e is to res

tat e in

yo ur qw n wo rds the Jde as in the pa

ssa ge . The
rs is the
me ani ng i-s the sam e. .Al l tha t dif '.fe
of .t ran sla tio n,
wp rdi ng . Pa rap hra sin g is a kin d
ic int o
bu t ins tea d of tra ns lat ing fro m Ar ab
of En gli sh
En gli sh , you tra ns lat e fro m one for m
mp le, you
int o an oth er fqr m of En gli ~h . Fo r exa
er En gli sh
ma y __tµr n ve rse int o pro se. , or old
-fac t, when-
pro se int o mo der n En gli sh pro se. In
in som eth ing
ev er yo u use yo ur own wo rds to ex pla
th at som eon e els e ha s wr itt en you
are par aph ras -
ing ~ If, fo r exa mp le, you ex pla in
the me ani ng
be a kin d
of a pro ve rb, yo ur ex pla na tio n wi ll
of pa rap hra se.

e. g e "A sti tch in tim e sav es nin e" .

Pa rap hra se: A lit tle tro ub le tat ren

ea rly wi ll sav e a lo t
of tro ub le la te r on.

How to pa rap hra se

1. Re ad the pa ssa ge thr ough sever al

tim - un t
yo u are s u1e yo u ha ve und ol' ato od 1 -

Telegram:- R19861
 . ' -. . ..

..· • . ...

.. . ..
. . . ~ cµ.cti9~~Y
meaning... '. . Use
•, ' . -. ... .
to. . find
; .·, . .
.the
.
mean-
.:. .. . . ..

ing of any word that is unfamiliar to . you.

2. Write your paraphrase phrase by• phrase·, ·o r ··

sentence by sentence, restating th~ author's
·· :td~~S in wo~ds thit cU'/
frunuia.r t~ ;ou.
· C6ncentrate ·on th~ thought rather than th·e . · ·
· ·words. Remember. that · 1t" is ·no:t•·necessary · t ·o
. "iind a'syhonYJD
for -' every· ·word ·in the ·or~giila~
. ... .

passage; · somet1·mes the original ·word· i·s the

..
only one possible • .

· 3. When the ori_ginqJ. p~ssage- .con~:ains

. .
long . sen-
tences, ..~reak them up into s-p.orter ones.
. .
4. Do .not b~ afraid of . expanding," f f n~cessary.
. . . :

So~etime~ a _given: idea. cannC)t ..be ~J(pres_Se_d i n

another .f~r~ W1 t-h~~t .the :.u•se ·oi w·o rds . -~~re
5. ·. ~en you have completed your paraphrase ,cb ,e c ,.
·1t· against the original passage to. make
-
_s... ure
.. ·... ~ .

that . your . paraphrase exp~esse s exac_t l th .

Bame t houghts .and 1deas .: - '1~e s~re· t '
have ~9t ad ded any 1:deas _or _tho .t ··
0 n th t you hav no t
..,01 . ·t1 ·
i

•.
I
.

Telegram:- R19861
 . . origina,
. J the 1
react
to
• reference
6. Without h ase and make sure that
· paraP r .
through y9ur . 1·n c e ar , correct .English ,
1
. · tten be easilY understood by
it 1s wri
and that it ~ould
d not read the original.
anyone who _ha
J t

Parapt1ra-sing verse
Poetic style is generally quite di~ferent i

from p·rose style. In poetry l'le find a vocab-

·ulary, an _order of words, and a use of figures ,
1:-· speech that would be _out of place in prose,
0
You should observe ·the fol.lowing points in
.
paraphrasing verse:

(a) For all words that· are archaic or un-

common substitute words or phrases in
common use. for example, in_ the follow- ,
ing .line there are · two words which are
. . not normally used.in modern prose:
11 . rt
Sh~ dwelt among the untrodden ways
For_the word "dwelt" you could substitute
· · · ·-· "·li v~d", and f~r "untrodden" you could
substitute ".µ nfrequentedn.

, - .,_ ,· rearrange the parts

{b) Where necessa~y 0f

s ent~noe a s o a s to aeo~re normal prose--·

order .

- 132 -
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 :,Home Lhey brou etit .hor w~r ior ,lead ''.

Iu proue orde r .- "They brou gnt her dead.

warr ior home: 91 •.

(c) Repl ace hieh ly tiBU rativ e laJlgu age; by

;3irnp1e, cu1,1..cnt cxor cssio ns. It 13
, 4 . • •

sotr.cL irn0s suff icien t to cxpan ~ met·a phors

iu'Lo 3irni lcs.
11
I wux'rncd both hand s befo re the
fire or life ".
I enjoy etl life to the full , like a
✓

man si l ti111:-
_., . befo re a fire with his
' .
ll~d:..i beltl up to ~ut warmed by . the
. 1'lam es.•

Exarr.pl~1s of Para phra sing

l. "our· rc1:1e dicD oft in ours elve s do lie.

Which we ascr ibe to heav en".

Note s: (a) '1 ort 11 is arch aic. Sub stitu te

its mode rn pros e equi vale nt
"oft en".
(b) To 11,a\tc the naeani ne olea i,
chan ce tho or der of th

Telegram:- R19861
 p :J.r ,. p ~i !t , /~\ :~' ~- ,• •. )"l
...
Lh ,)) w,e look t J 11, 11 • v .11 !'·) 1·

1,c lr il Ol;ll ' ~roublr~, ,· tJ,c rem <: dy

or t~·:ll 1l L: ~; with our:..;(.•1 VL 1
~,.

I •
• I f • I

Note: 'I'llc' µ~ct ' is no.·t __t:al~ihe abfi_

uL ·u rc,al
fire.:·. 11 . USC~ 'tile irnr. oi, • J •

WUl"'l/JlJ I['.

lhc ht:.tJ1ds bcfu1,c a fl;·~~ tu !3U~·z.:e~t

c n j o y 11; en t o J? . ·p J. lJ n 3 u r ~ • , . . ·
. .

Paraphra8c: While l 'L 11ia:.; ·poG~i bl(:°, I (::1joyi.:J

" I
lir'e to the full.· · Now lha'L I
, .
I •
-'-can · no' ·10IiEer do -so, 1 : aw ready
to die. · : I •

·· 3. "There 1s a tide in the affair·s of man

Which, taken at the <flood,: leads-. on . to

f'ortune;
Omitted, all the voyage of their life
Is bound :lli shallows' :and - i'n ·m1se'ries. 11
I , ~ , , •

Note: we hcive to relict thi's passa13e VC'ry

carefully to g:e t ·the ·true meani11!..': •
'.l;he poet uses m·any ·words co1u1cctcd
,, '
)ti th th e · sea (''title", 11 ·rlood",
"voy ,, " .
age ·, hho.llo'we '') but he is

Telegram:- R19861
 not really writing about the sea, but
about life. . . . ,
'Ihe words "tide" ,·..· 11. flood'!·
n voyagen, "shallows" are used figurative- ·
ly to· represent abstract· i-deas·: 11 opport;2·
· tt n
unity ,- success"; 11 lifen, "failure"
. .
. , . .•..
. .
.
Paraphrase : .. We all have one ·great
-·
opportuni:t
. - -:
y
in life, an~ if we seize ~~_,.· suc-
cess·· a~ai ts. us; bu_t. if _we · neglect
. . .
.
it, we shall. expe_rience.: not~ng
but f~lure ~d unhappine~ s for
the rest· _or our ·d~ys.
. .

4. On First .Looking Into Chapman's· Ho~er

Much have I traveiled . iI}. the ~·realms· of gold,
. / .
And many goodly ·states and •kingdoms ·seen;
1 •

Round many Western. islands have t been ·

Which bards in realty to Apollo ·hold.
Oft of- one wide expanse had ~I been .told ·
Which deep ·browed Homer +Uled as his deJResne;
Yet
.
did I . never breathe its .pure serene
-

Till I heard (;hapman _speak out loud and bold:

ihen telt I like some watcher or the . -skies.
.
When ·a new planet 'swim~ into his ken;
Or like stout Cortez, when with e~le eye.s
He. stared at ·the Paoifio-:a
. nd
.
~l . his : men
Looked at e a ch id th a· wild s urlPi~se-.
,.
Silent, upon a peak in ._. Darien .• .
( Jo ll K . ~B)\

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 parap hrase :
been like a trave ller
ding I have .
In my rea . h kingd oms: I have
throug h r 1 c t
journ eyinb . thors . r have explo red
· · 1end1 d au
read manY sp write rs, the worsh ipper s
I h I h a. d
most of the Engl1S1 · But thoug
. of Apoll o, of poetr y· . ,.
·5 of the great wort.s of
been told many ti ~e
I had never had the chanc e
Homer, the wise,
. t ·t heir glory and splen dour until
.
to appre cia e
I read th.~m in the trans lation by Chapman.

When r ·aid I felt like an astron omer

when some new. plane t is sight ed for the first
time; or like. the valia nt C?rte z when he
first looke d on the Pacif ic his men stood
round him gazin g .at. each other
.
, wond ering
. ,·

where such a great expapse of water could

lead to.

(From 'Engl ish Comp ositio n for

.Forei gn Stuq.en_ts' -R.R . Cplllp bell).

5. '.lhe ·Danis h. ldng upon his thron e

.
·Is s1 tting on the sand,
'lhe sea is foami ng on ,t he beach ,
His court iers r oundhim stand .

- 136 -
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 They praise his power and majesty; .
0
o mighty king. n they say,
"How great thou_ art t the sea itself
Will thy command _o bey."

He answered nought, but to the waves

He turned: 'o roaring sea,"
I charce thee, keep thy waters back,
And come not nigh to me. 11 ·
But forward still the waters rush,
And on the shore they beat;-·
Foan,ing and splashing as they -roll,
And overflow his ~-et.

Then to those courtiers turned the king:

Let this a · lesson teach,
11

And warn you not to tempt my ears

11
Agai~ with flattering speech . •

(E. Wordsworth)

Paraphrase :

'Jb·e Dani sh king was sit ting n

wt _h h · be pl O d l ch
th~
roun
' n ,

Telegram:- R19861
 the sea would obey
that even
r YH.l nolJl e th
~ swerin~ them, e kin~
Instead of an .
hirn. and said to it, 11 1
to the sea
turne d back your water~ , ana
d ou to keep . .
comrnan Y · " . But' the tide moved on as
come no nearer • t . . ..
. highe~ ·anct higher until it
before , rising
d h.e d agains t the king' s feet. . ~e~,
as to bis . courti·er
turning · s ' the ~ng_ said,
'Let 1;h1s be a warnin g to you never again
. to tempt my ears with your ·rool:Ls h flatter y".

5. WES™1NSTER BRIDGE, 1802

Earth bas not anythin g to show more fair

pull would he be of soul who could pass by
A sight so touchin g in its . majest y:
This City now doth, like a garmen t, we~
The beauty of the mornin g; silent , bare,
Ships I towers , doiiies, theatre s:,. and temple s li t.
Open unto th~_ fields , and to the sky;
All bright and glitter ing in the smokel ess air.
Ne ve r did sun more beauti fully steep
I n hi s f irst s plendo ur., . valley ~. rock)j or h.11
Ne ' er saw I, never f elt, a calm -so d l
Th ,. rlv~:c glideth t · his own w t 1).1:
Dea~i O · 1 h~ v r·y houu ....._ ...,.... - t
And 11 th t m 1t,h t 1 h t t . 11 'Y . t, .1 1

Telegram:- R19861
 Paraphrase:

Nothing on earth is fairer than this,

and anyone who could pass on unmoved by
such a majestic sight must lack all the
finer ··spiritual qualities. The city appears
most beautiful in the bright morning light.
S1!ips, _.an~ buildings of all kinds stretching
out towards toe . fields, stand silent against
the sky, and all gleam brightly in the_smoke-
less air. Not even wild hill and valley
bathed in early morning sunlight present a
more splendid picture than this. Never have
I seen or felt so deep a calm. The river
·r1ows peacefully on, ·undisturbed. Even the
houses seem aslee.p and a11 · that great human
society is at rest~

..... - . . .. . .,

Telegram:- R19861
 EXERCISES

Own words the meaning of the

A. Give in your
following _- ft

1. A friend in need is a friend indeed.

2. Better late than never.

3.,Necessity is the mot~er of invention.
-
4. Every cloud has a silver lining.
5. People who -live in glass houses should
not throw stones.
6. Where there's a will there 1 s a way.
7. Actions speak louder than _words.
8. Prevention is better than cure.
. .

B. Paraphrase the folloWing:·

1. "To every man upon this earth

Death cometh soon or late, (cometh=corees)
And · bow can ~an die better
Than facing fe~rful odds
For the ashes of his -fathers
And th temples of h1 _ 0 . " .

(L r

Telegram:- R19861
 2. nout of the nigh t tha_t cove rs me,
Blac k as the pit from pole to. __pole ,
I than k what ever gods may be
For my unco nque rable soul 11 •

(W. E. Henley)

3. "Bre athe s ther e a man., with soul so dead ,

Who neve r to hims elf has said. , . ·
. .
'Thi.
. s is my own., my nati ve land i:
. .
Whose hear t has ne'e r with in him burn ed
As home his foot step s he hath · turn ed
F~om wand ering on a forei g3-- 'st-and~ "
(sta nd= shor e)

(Sir Walt e~ Sco~ t)

4. "The glor ies of our bloo d and stat e

Are shad ows, not subs tant ial thin gs;
. ..
Ther e is no armo ur agai nst fact ;
Deat h lays his icy hand on
king s. tt

(J. Shir iey)

5. "Giv e a man a hors e he can ride ,

Give a man a boat he can sail ;
And his rank and wea lth, hi str th an\
. h nlth
nn on not' ol ol ohll l f tl.

J, 1 -

Telegram:- R19861
 Give a man a pipe ·h e · 9~ smoke,
Gtve a man a book he can read; .
And his home is brigh.t with a calm delight,
'!bough the roqm be poor indeed.
(,

Give a man a girl he' ' can lqv_e , ·

As I, 0 my love~ t~~~; love
And his heart is great w1 th the pulse of
Fate,
At home, on lanq., on sea. 11
(Janies
. ..
Thomson)
. ..

6. "Ho-me they brought her warrior dead:

She nor swoon' d not utter' d cry:·
All - her maidens., watching, said,
~ She must · weep or she will die' •
Then -they praised him, soft.and low,
Call'd him worthy ~o _be loved~
Truest friend and nob~est foe;_
· Yet· she· neither spoke nor moved.
Stole a maiden f.rom _her place,
. Lightly to the warrior step,
Took
.
the face-cloth-from. the face,
Yet she neither moved nor. w-e pt.
Rose a nurse of ninety years~
'
Set his child upon her knee .
-
Like -·summer tempest .came :h er te&µ's -
'Sweet my child, I 11ve tor the'."
(Alfred, Loi _ 1· IU'Q' ·o n)

- 142 -

Telegram:- R19861
.
CHAPTER FIVE

PRECIS- WRITING

i s is an acc ura te sum. mary ·or a

A pre c_ '

sub sta nc e
.Pa ssa ge. Its ob jec t is to giv ·e the
form.,
of the or fg ina l in a cie ar· an a co nc ise
un der -
so tha t ft may be ea sil y and qu ick ly
~- thi rd
sto o'd . The pre cis ·sh ou ld be abo ut on
e·, arid
of the len gth of the ori gin al pas sag
ex pre ss-
it sho uld c9n ta~ n all the ma jor ide as
uld nor m-
. ed •in the ori gin al~ Th~ pre cis sho
all y be co nta ine d in one par agr aph .

ing
Me t~o d ~o be fol low ed in pre cis -w rit
y, ma kin g
1. Re ad thr ou gh . the pas sag e c·a ref ull
ac t-
su re th at yo u knew all •th e.w ord s and ex
ly wh at the y·m ean .
r wh at is
2. Re ad it thr ou gh ag ain to dis co ve
the ma in lin e or tho ug ht.
3. Un de rli ne the -wo rds and ph ras es ~hi -ch --ar e
is.
es se nti al and mu st go int o the pr ec

4. Dr aw a lin e thr ou gh the wo rds and ph r,

wh ich are no t es se ntl _a l.

Telegram:- R19861
 ,0 1 ds l ft som may be put in, per-
la p!; .in a dif rent form_. oth~ rs will have
to b~ left out .

6 . Write a roug h draf .t ; of the pre.c is. Compare

your ctraf t with t h e ori gin~ l i•.~ ssag e. Make
. ure you have not omi tted· any ~~s enti al
po i nt~ . Coun t the numb er . of wortls you
h ave u se d. If you have used too many word s,
go thro ugh your dra ft to see what can be
e limi nate d or expr es sed more brie fly. If
your. prec is is too shor ~yo.u have prob.ably .
omi tted some poin ts whic h shou ld be in-
clud ed.

7~ Wri te the fina l copy of your prec is. Read

it thro ugh to make sure that the gram mar
and pun ctua tion are corr ect, and that it
wou ld be easi ly unde rstoo d by a read er who
had neve r seen the orig inal pass age.

8. Appe nd at the foot of your prec is a note

of the num ber of word s it cont ains .

Exam ples of Prec is

A .. . . I alwa ys have a diff icul t time choo sing

orig inal birth day pres ents . My imag in-
atio n neve r seem s to get beyo nd ties ,

- 144

Telegram:- R19861
 handkerchiefs, or pairs . of socks. But,
strangely enough, it did not- take - long.
.
to
decide on Tom 1 s birthday presen.t. Fo_r the
I•
first t~me in my life I had a good idea-
I would buy hi-m· a -bot_tle · of champagne. ·
Before the party began, Tom suggested that
I should open the bottle. I put ·it be twee:
my lmees and began to pull., but . .1 t remaine«
firmly ·corked. - Soon a crowd gatqered ·rounc
to watch the fight between me and the bott:
I could hear all sorts of 'helpful'· sugges- ·
tions from the· ·guests like. "Break the top
of'f!". "Use your . teeth!n etc., .but I was
-losing the battle. We were struggling on
the floor together, wheh all of a sudden
there was loud 'pop I ' ~d the cork ·shot up
into the air, while the angry bottle show-
ered everybody with ·--champ~ne I

(From Alexander., A First Book in

Comprehension Precis and Composition)

Notes: First we must underlire the important

..-- . .. . . - -- . . -- .... ... - . . . ..
. ..

points.. We can omit the second sen-

tence because it merely illustrates the
point mentioned in the first s.e ntenoe •
Similarly; we can omit all ex.amplea,
e . g·. " •• • sugges t i ono fl o m th ~ guests

Telegram:- R19861
 like "Bre ak · the to}>[ off!" , ."Use your
.teet h!" . The : deta ils ·or thE:_ stru, ggle
I •
. are hot impo rt8.:1 t; we can u;se . the phras e
"aft er a lo:pg strug gle 11 to ·summarize- ..
·..thes e fact s.

Prec is-: .ralwa ys find it -diff icul t to choo se

·orig inal birth day- pres ents b1Jt I •
bough.t ~ unus ual. one ·for my .frien d.,
. Toni. . rt
was a bott1 e of' cpEµnpagne.
. .
Tom aske d me to open i ~ befo re th_e.
· part y. .The g1:1es .t s looke d on and made
' .h -~ lpfu l-1 sugg estio ns but I.; cou). d not
open the bott le easil y • .Afte r a _long
strug gle I hear d.a loud tpop l' and_
the bott le show ered every body with
cham pagn~ !

(67 .words)
. . . . .. . . .
B. My frien d Henr y has- ~ most unus ual hobb y.
He · l·ike s plan t·ing flowe ~s in st.r ange plac es.
Whe·n sprin g come s roun d, .you oan alwa ys
tell th~t Henry has been abou t beca use the
dir.t y· side s of cana ls; land _cove red w1 th
rubb ish., and railw ay banks ·sudd enly beoo
ru11 · 0~ flow ers. In hi s s pare tlme, we h

Telegram:- R19861
 packe ts full of seeds , Henry goes round
on his bi. c ycle.
. . ..
\ . .
.
_He
.-
has·
.
.a. l.ong
.- .
' .
pipe with ' . . ·. .

him t? blp~ s~~~~ ipto -~pots ~hat ~re; hard

to reach .. . Whe~. hiS . . f. ad.
. . ., . .
.. \
.fl~;e;.~
..
e , . .. goes
' . ' :
he ·
r?und :ag~i .n. -to. cplle ct their
. - .. .. . . .. .
.see~~ . . In
. .. ~

~~-is, way_, he alwa1-s.J1a~ . a_ blg .,~vppl: y-.. .

•' .. . .. .:" .

Man°y ·peop le mak~ fun of 'iiehry, · but· ·he · never

lets ~iri~-~ir g~f upset. Re·ceh tly 1· w·as
having _ ·t~~{ ·w1th' hi~ ·and.·h ~ 'told ·m~ - that
on?~-. .he ·lias· p1aht
.
iilg ~ee'.ds ··1n ~ .
larg·e· .
piece · bf w~ste·:,·iarict when th'e owner · c·ame
alo~g ~ -d ·sent .him away. ·: Henry r)eturrted
some ·aays l~ter ·when· the·~~ was n.6 .one abou t.
You can i ·m agine how ·s urpri sed ·t h~'- o~~r was
1
when, one day, he saw a large lette r 'H
in flowe rs which went right acros s this
negle cted piece of land: Henry took me
round his house and I was aston ished to
see that there was only one small bUhcl1 of
rlow ers in a potJ When I quest ioned hi m
1
abou t this, he answe red. 'They re no t
fresh . They 1 re artif ;icia l. Fresh fl ower
s hould be out there where they belon g.'
And he point ed out of th e window ~

garde n full of flowe ra.

q

Telegram:- R19861
 i t
Prec is: My frien d .Henr y's hobby is plant ing
_flowe rs in s~ran ge place s.. In his
spare time; he·go es round ·on his
bicyc le and takes a long pipe with him
to blow seeds into spots that are · hard
to reach . Peopl e somet imes make fun .
of him b~t ~hey can never preve nt_ him
from plant ing seeds ·1n negle cted
piece s of land. Even thoug .
h he loves
.

~lowe rs so__much, H_en:ry ~as artif icial

ones in his own house becau se he be-
lieve s that fresh rlowe rs shoul d be
left in gard_e ns.

(83 words )

Telegram:- R19861
 EXERCISES

A. Expr~ ss _in one word the me~ ng of .each

~f the follo wing phr_ a ses •· You are given
the .firs t lette r of each .word .

1. not inter estin g (d ••••• •• )

2 .• to ~ e up one's mind (d ••.••• • ~)
3- to be unab le to ·make up ·one' s mirid
(h ••• .' .•• )

(r. ·.• ·.. •)

'-

5. to get . pleas ure from ( e ... _.••. .• _)_

6.· low land betwe en moun tains (v~ •••••.. )
1 . .very big (b ••••• •• )

8. think ing a lot of ones elf or one' s

belon g~ng s (p •• ~ •••• ~.) ·
9. · c anno t be avoid ed (1 • ." ••••• • ~)
· 10. care taken to prev ent some thing happ en-
ing (p •.•.. •.•• )

B. Expr ess ~ach of the fol~o wing qy means of'

two noun s. ·J oin them with a hyph en exce pt
· .i n -(1) Md ·( 6) :·

1. the w'ing of an aero plan e

1 11 9 -

Telegram:- R19861
 2. a storm of r .'a in . : . ·.

3. the water of,4 river

... •,..,
4. the water of ~p.e. s~a ;_~
' .. 5 .···the leg o(. a table~'
6. the station on a railway
. . . .

' Give one _wprd_ .( or a -hyphen -word) · to~

C. ~.ach
.. . . : ..
. . .
9f the following:

1. a man who makes toys

2. a man ··who cleans windows
3. a man who· dri.ves engines
. .. ..

4;·~ Wom8ll wti.o ~ake~ dre~ses.

5. a man wb~.looks after a-garden
6. a man who writes books
.. •. -

· 7. a m·a n who · dreams_ a lot ... . .

8. a · man•who
• f
manages.~.
. .. ..
place ·or_
. . . . ..

· business
I

b. Read· the following passage caretully.

Answe·r the questions· below. using a co~~:
plete sentence for each answer.· :.:Put · · ..
these ~e~tences ·together ·and form · a _~'8h9-rt'
. . be •blO~·
paragraph.. Your. S:Os~er mus_t·· n~t: . .

than 44- words.

Telegram:- R19861
 It is sti ll wi~ ter, but · o~ su~ day the
we ath er was fin e. We dec ide d· to go on
a · tri p to the sea sid e. The sun was
brf ght and warm, but we did not go int o
the wa ter . It was too ·co ld. Ins tea d~
. ·we .walked alo ng the sho re an'd loo ked at
the shi p.s. ·.In - the eve nin g we ret urn ed
hom e. The n a stro ng win d beg an -to blo w
and it began· to ral n. So we· sat rou nd
a warm · fir e. We did . not •mind abo ut the
we ath er at all .

QUESTIONS
1. Is it sti ll win ter or summer?
2. Did we go to the sea sid e on Sun day
or not ?
3. Where did we wal k?

4. What did we wa tch ?

5. When did we rea ch home?

6. What hap pen ed the n?
7. Whe re did we sit ?
., •.

( rom

Telegram:- R19861
 fo llo w in g pa
_ ss ag e _c ar ef ul ly .
E. Re ad th e
sw r
e_ th e qu es tio ns be lo w us in g a comp-
An 'r
le te se nt en ce fo r ea ch an
sw er ·. Wpen yo u
to g~ th er ,
~i nd two or t~ re ~ q~ es tio ns ,.

up yo ur an s~ e~ .s w ith th e co nj un ct io ns
Jo in
se nt en ce s
gi ve n in br ac ke ts . Pu t t4 e
pa ra g~ ap h.
to ge th er to fo rm a co m pl et e_
ou r _:answ er m us t no t be m or e ·. th an 72 w or ds .
·Y . I
• •. •' , •

~A. f'~ er re tu rn in g to th-·-e su rf ac e, th e

.
he ha d at
di ve r to ld th e ca pt ai n th at
th e. su nk en
la st fo un d a m et al sa fe in
.
.

ou ld be im -
s~ ip , bu t he sa id th at it ·w
po ss ib le to cu t~ it Qpen
un de r th e
d th at th e
w at er . · Th e ca pt ai n de ci de
to bl ow th e
be st th in g to do wo ul d be
wn ag ai n
sa re up . ·The· di ve r went' do
w it h a n~ be r of ex pl os iv
es w hi ch he
f'i tt ed to th e do or s of
th e sa fe an d
te ly . A ft er
th en he came up im m ed ia
fe w m in ut e
, s, th e ex pl os iv es w er e se t
d.
o,f f el ec tr ic al ly , se nd in g
up a sh ow er
d
of at er . When th e · ,ate11 se tt le
he di ve ? de sc en de d o
th o, t n

Telegram:- R19861
 _e~ aJn ina~ ion sh.owed tha t the re Were nea t
, · ~i_cles · Of ~ol d bar s · in~ :ide the saf e: · Ver y
·ex e1t ed now , the ·div er too k one of the
bru,s_ and ret urn ~d onc e more to the wa it-
-ing shi p abo ve.

"Q{JESTIONS

. .i_. J~lh at did the div er fin d in the wre ck?

=>-;. .
;,i:✓ . . . .

·. ?~}CQti.ld he ope n it or not ? (bu t)

'f:
..
...l)i. d he go down :aga in or riot 1 What did
.·. _ · . he tak e· wit h him ? ( and )
··3._ ·.:·D id.h e·· ret urn to the shi p abo ve onc e·
more, .:or
•
did -be sta y Wld er the ~_e a?
..
• I

Where did he go· aft er the urid erw a~e r

exp los io~ ? (an d the n)
4.· Wh at did he see ins ide the saf e thi s
tim e?
5. ·wh at did . he tak e? Did he rat rn t
the -su .rfa oe at onc e, ·or did he ~ t i
in the shi p- ,, ec · ? (a! .. 1

Telegram:- R19861
 F·. Read the followin~ f assage carefully,
Answer the questions·· below using· a. comp-
lete sentence for each·answer. When seve" .
I • °'
ral questions a!'e given toge,ther., join up
~o~ ·_an~wer with th_e copjuncti_ons or _
phrases given in- brackets. · Put the sen- ;
ten~es t·og~ther to form a· comJ?lete· para-
graph_. Your answ~r must: not be more than
82 words,.·

. .
As . it c~e n~ar the -corner, the taxi
.s topped suddenly.. The ·d river· got out
looking very puzzled. - A big-lprry
wpich _h ad _been followillg the ta.ti st.o p-
pe~ too. 'rhe taxi d~iver was now st~~d-
- . . ..
ing at. the. corner looking up .
at the sky
.and the ·_ lorry -. driver · went" and joined him.
A number of ·cars behind Were lorced to
stop as well and soon a-large ~rowd · of
people had gathered· at the corner.

ihe cause of all this trouble was _·a very

strange noise. ~t sounded asif thou-_ .
sands and· thousands ·_of birds were -sing-
ing tog~t?er. llie noise was.quite
frighteru.ng, an_d many ·people looked dis-
··turbed. 1he mo.s t extx. . aordin y th1

Telegram:- R19861
 -~ as-., tnat., ,'.apar.t
. .. from one or two . pigeons,
there was not a· bird in sight. No one
.· was able to solve ·the mystery , until
two,poi~ce~~~ arriv~d. They noticed a
' i~!'ge ~dve~tise merit. for a film hi°gh up
. . . ...

on a wall nearby. · As the noise seemed

to be· coming from this di·rectio n; they
. ·c-l imbed ~up ;Blld -fo~d that . a tape-rec .ore-
. .
er· had -beeri:hi
.
dden behl~d the advertis e-
'

m~n~~ The noise· made~by ·birds -sin.ging

_._was
.. : .
b~i~g bro~dca st over powerf~ l loud-
·.. . . ' . . .
.

speaker s so as to attract the attentio n

o-f p~ssers - by. The police a _s ked the
a,d,v~rti
-. sers t~ · take -the recorde r away
bec~use the adver:tis ement had attracte d
so mµch attentio n that - it was impossi ble
f~p_a great.m ~_ par~ and buses to move
fre~iy . in. the -stree·t ..
: :· .. .
.. . . . ~

'

....
!

. ..
, ..

·: 1. Wher·e did• a large. crowd,g

.
ather · after
. .

,.
the..... tr~ffic= stopped ?
' .
. .e loo~
:4• Did .everyon . . pµzzled or not?.
. Could
. .. . . s of
thousand ..
birds be heard sing~
_. : 1ng . or . : .not?. Were
. there many in '

. sight? (because ) (thou · h then w r ·

hardly any ) ,

Telegram:- R19861
 3. What. did two policemen . see 1?-i·gh ·- up on
a wall? ( Th~n) J t
4 •. _Did ~hey clim? up or not? How had the
noise .b een caused? Where was :1 t hid-
. aen:? ;Mf ter :cii~bi~) ( theY> roWla
th~t) . (wnich) _ .
· 5. Wha~ did the p9lice ask the advertisers
to do.? Had the loud ·. noise stqpped the
traffic or not? (bec·a us~) .

(A°lexander 1 .1969)
..
.,
~. Read the followipg
.
passage
. . -carefully:
- .

A SEA. JOURNEY
. .

We were ve_ry S1~prise·d when we ·heard

. . .. - . . ..
that our· ship·would leave fro_m ~a.nchester~
which 1s not· ~n·· the . sea. .- We had f_orgo~t~
. .

-ten that there is .'a wide ship canal which

. ' .
go~·s. :rr_o~_ Manchester . to tne sea.. _When · we·
got to ~anche~te~, ~e discove~e~ that. we ·
w:er.~·-·going to- travel on a ·rather small
boat .which_ tpok on1y·14 passellger~ as.it
···was really· a cargo boat; ·that -is, a'-sh1:p
. -

whi oh ·o arrJ.ed goods. ..We . were . takiug .

.ir~n p:Lpea {o Egypt. and .' on .the re-t urn

Telegram:- R19861
 jour~ey the ship would bring .Egyptian
cotton and fruit to England.
'.
I -t took u~ two days to reach the sea.
It ·was ·s t·ran~e to stand on· the deck of
a. ship and. see the fields anq. ·. villages
~f England· pass : by on both . sides, h~ur
after pour. We lived comfortab ly, ~ac~
, I

· of us had a cabin, the fo.od was good and

. . .
our. fe·llow passenger s were friendly and
·amusing.

When ·we reached the· sea, it was. a cold,

. windy da7 and the b~at l:1~gan to ro·11
fr.om .side to •sideo As we go~ f~ther
and· further s_outh, t _h~ wind became
stronger and
the ship rolled more. In
the ·ramous . Bay of Biscay, 1 t was di f fi -
~ul t to _remain in ~ne' s bed. · _But then,
as we approach~ d Gibralta.r , the wind
dropped:- . the s·e a became calm M d tne
sui1 :Crune out. Once w e had p_a s . ad
Rock ·or Gibra lta r, 1·t as so wa
. .
pl~ sant that e sat on t e c
d Y., _ '&tcti1Tlg th · fr1 ,c co
tt •

Telegram:- R19861
 of s t rong Wl..nd and roug h seas , and then
beau tiful weat her apain ~· -·unt:i. 1 we . reabh ed--
Egyp t. ' "

I•
(Hil l, · 1955)
... :

• • • I • •

Stat e brie fiy, in"'tw o ·or three, sente hces., .

•
1 .... • • • • • • 1.· # • • • • • •

·what effe ct the weat her had ·on the -~i:t er .s

life oh the. ship .· no· not'•·u ~e mor~ ttj:an ·so., .
- . - .-
word s.
• I-•• • :i •t .

. ;. .. _: .
. H. Read the follo wing passa ge care fully :

THE . .COUN
..· ..
TRYSI
. DE. I:N- · SPRING .
.

We nee·d neve r feel dull :1n:·. the:

...
c~~
. .
.
t;y := • . <

No matt er how ·ofte n we -~ialk down the~·s auie

road , o-ier ·the sfune "field s~ o~- thr ~- thEl' .:
s~e woodl.·an~ 'j,ath.s., ther~ · is ·ai~ays·.·~6nie-
s • .. .. .. .. • • • ... • - • .. ; .. ~

thing new," _somet hing f~es~ to see. It may· .·

be a 11 ttlE/ pillttt 'that "has .come up·~sihc~ ·-: •.- •.
last we visit ed th~ plac e;· ·a hedge th~t .· .
was just a· lOt· of bl'O~ -s~ic ics ri.aY D.ow:'. be .
cove red w1 th _flow ers. . We niay find a b1ra.·• s:
t
• . . • . . . • • '• t
nest deep· in a bush , and, :i.f we ar·e car8: rul. i.
.. .. .. \

not to _frig hte'n ·the bi.rd s, as· the days'

pass , see first the littl ~ ;eggs~ 'and' then
the ba~y bird s. ~
.. .

- 158 -

Telegram:- R19861
 We never know what we may see, or
find, when we start out for a country walk.
But we just learn to use our eyes, keep
them wide open, or we shall pass by many
a pretty or.interesting plant, or miss the
. .
sight of. some little wild animal, who sees
us well .enough,. and will keep perfectly .

s~i~l . and quiet so that we should n~t

notice him, until we . are quite out of
sight. The wild children of the woods
and fields are easily frightened, and if
we want to get to know them, we must cfu
-as they do, ·and learn to be quiet and keep
very still when watching them at work or
play. All the year round, from the first
warm breath of Spring till the last icy
wind of Winter, we shall always find some-
thing to please and interest us in the
country.

(L . A. Hi l l , 1955)

. te l ., fl' h
l
. ,.
t

Telegram:- R19861
 I. Read the followi ng passage careful ly:
j t
C .

AN IDEAL HOLIDAY

Of courseJ ·what is ah ·ideal h~liday

for one person may be a very _unpleas ant
one ·for a.no ther. The sportsma11 ·1_i ke s a
' . '

kind of. holiday which his lazy _·rr_i end woulci

find worse than his daily work; while·t he
~azy man's ideal holi_day would leave th_~
sportsm an quite lli~satis fied.

If ·I were -allowe d , to choose my own holi~ .

day~ ·I would have no doubts: I would go ·on . -
a voiage i ·n ·a modern passeng er ship with
a swimmin g ·bath. Everi i ·f my sportsm an
friend and my lazy friend came with me,
they would qoth be happy: one would have
plenty· of -games, swimming and dancing ; th e
other could sit in a comfort able chai r a ll
day, looking at the sea and dri nki ng l e-
mondade or beer. In a shi p, one c an do a-
one like s , when one li kes. If one da
find 'n interes ting book in th
l bra y, I c n .... p nc th -
1 t,. n r ,y
tt .. y ~ l·
.JH

Telegram:- R19861
 s wi .th ot}:ler
W el l, th en I ca n Pl ay game
sw e~ tin g
pa ss en ge rs un t1 1 I am ho t and
an ~ re ad y fo r a ba th . I can go -an d s.l ee p

· i~ ~!' ca ?i n at an y t_i.m~
of ~he da y or
ni gh t·. I. ca n ge t cn ea p dr
in ks .d ur in g
os t of th e da y, an d i ca ri ·ea t as ·I lik e. ,
m
ch oo si ng . rutiong· ~ va ri et y of
fo od s. ·

t a
Bu t what I lik e even more ab ou
meet new an d
se a vo ya ge is th e chance to
co un tr ie s.
in te re st in g pe op le from many
gi ve s us.··s uc h
W ha t·. ot he r _k in d of ·h ol id ay
m al.l th. e du . tie . s. of.
a ch an ce ? Fr ee d fro . .

li r~ at ho me , · we ca n ta lk
.,_ pl ay gam~s,-
ou r .new . :
sw im , dr in k an d da nc e w ith
ab ou t_-.-:the~r
f'r ie nd s. Th ey ca n .te ll us
r .da ily li ve s an d· .
own co un tr ie s, th ei .. .

em en ts. , th ei r ho pe s an d th ei r fe·a. rs .
am us
th em al l ab ou t
And in .re tu rn we can te ll
ou rs el ve s.

But pe rb ap s_ tne gr ea te st pl ea su re
of a se a .h ol id ay is co m~ ng to new po rt s
in st ra ng e la nd s, and g~ iri g
as ho re _f or
ac es , eat
a rew bo ur a to se e st ra ng e pl
ra ng e fo od s · an d he ar a st range la rig -.
st
ua ge ta lk e d ar ' ound us· , Wh en ev e r I

Telegram:- R19861
 th in k o f my id ~·al . ho
li da y. ,._ it is th e
p ic tu re o f a m ts te ri ou
s fo re ~ :~ ~ it y
th at comes to my mind. .! .

(From nr.rrther
...
•
C o~ pr eh en si o"n
J

an d Pr ec ~-s P ie ~e s .
Fp r
O ve rs ea s S tu
. . de
. .nt. s. - L .A .

QUEST!ON
., . . ·. ..
S ta te br ie fl y· , µ.sirig ,.

no t mor.e t1:ian : 9.0

w or ds , th e re a: so ns th
.
ch oo si ng to ta ke -h is
e au th or g i
.
fo r v~·s
ll ol id ay · on a .
m od er n pa ss en ge r sh
ip ., . What ~r e th e
ad va nt ag e_ s of tr av el li ng
- oh · a. s~ iP ?
J. R ea d th e fo ll ow in
,.
g. pa ss. ~g
. ·.. e ca r..e fu ll y :
; :

. .
T E A ~ S . AND ., DOCTOBS
._

· To be a go od te ~c he
r, yo u_ µe ed some·
. of . th e . g;ift of -tl ?, e go od
. .·. ·.
a~to_r: . yo µ im lS t
·b ~ ab.l e to ho ld ..th ~.
at~en~~o~
e st o r your. au di en ce ;.
8:Ild -~_n t_e r-
_you muat be a o~ ea r
spea ~e~; w it h a goo~, ·s tr o ~ ,
pl ea si ng
vo1c~
-
wh1ch · 1 s fu ll y un de r yo
•
I
ur. co nt ro l;
an d yo u m us t be ab le to t \

ac t what you ar e.

Telegram:- R19861
,,.

teaching in order to make its meaning

clear.

Watch a good ·t_eache~," and you will

see that he d_oes n:O:t -~it ~oti~nless .be-
fore hi 5 cl~ss ! . he stands the: whole time ·
he is t_eachi~; h~ walk~ aboUt,. using .
his .arms·, hands alla' riiigers to h~lp. bim
_in hiS ex.P1ari~t1oriS, an.a.
·his -ra~e to :ex~ .,_
pre~~ ~~-eling. List.e~ . to·· him·, ~d yoµ . ·
will heai- the iC?J:ldness, · Fh~ · qU:aii ty ~d
the musical note·. of his voice aiways
cha._11ging according to Wha-: he is talking
about-,

The · fa-ct that a ·good teacher · has some

of -'·tlie· gif-ts· · of a· g·o od ac·t or dQes. not .
mean that ne · wii -1.-· thdeed be able ;t<> ~,)t ·
well on the-: stage; for there· are very··
important differences between the teacher~s
work and the actor'~
.
•. ihe actor . has to
~

speak words which he has learnt by beartj

he has to repeat exactly_ the same words
each· time he plays a· c·e rtain part: ·ev·e n
-.ioh be
his movements and th.e ways 1 n wh. - ·
uses his ~oice. a~e 'uf3ual:\.Y fu:ed befo •
11
What he has to· do is to ma\<e tb
m
careful~y lea.i-nt worila and · otion
na~ural on the at' •

Telegram:- R19861
 . .
The goo~ teacher works in quit~ a
differe nt waY ~- · Hi S ~ud:i. ence lakes an
acti've part 1h his play: they ask a.nct
answer ciue.stionS, 41:t8Y obey orae.t1s, and
if theY un~erst and s_omet~ing, . they .
do not"
say·· so~ ··· The _. te~clier t~erefo ~e ~a~ to suit
hi·s act t ·o . tfie··needs ··or h~s a~diehc e,
which ·· is · his class·. · He · c~not learn his
p~t--by beaft,_: bUt must ·iilvent 1t as he
go~s along.

I have known many teacher s Who were

fine ~-9 .tors in. cla-s~. b'l:J.t were unable to
•
take pa!'t _-in . a . stage-p lay because · their
• I t • • • ~ 0 •

.-. brains wou:l d _not keep - discip1i _ne -: they

· coulp .n?,t ,. k~.ep strict_ly to what another
had ~itten •.
. '

·(From Hill and Fielden )

QUES~ION
- - . .. -
. .
Explain why a good teacher who has som 0

o~·- ·the gifts of an actol' may be unable

to act· well ·on the. stage. You tnust not
I

use more than 75 word~ .

.. 164 -
Telegram:- R19861
 CJ-IAP~ll SIX

PLANNING A.ND. WJUT

.
ING THE WHOLE
.. .

' ' COMfOS:JTION

Wr~ting _a_comP~sition Sbo~id b~ th~~gb£

0

of as _~ ~eri ~s. of step s •.· Good ·Qomp~~:1tions_._· _ ,

are. 'bui l~ grcil-d\-lally. You shou ld -not ·.beg in to
writ e- com posi tion )m.t tl you have worked out a
care ful, plan so that you ·hav e in -your. mi-nd· a
fair idea or· ·wha t ~he fini shed . oomposi tion · will
be like . . .·

Let us supp ose that you have b~~P a~ked

to wri te a com posi t1on on "Im port ant Scie nti-
fic· Disc ove ries of the Present Cen tury ". Your
firs t step wil l be to gath e·r suff icie nt mat eria l
on the sub ject .. 'lbi~ invo
'
lves - m·a .king a list of
. .
any idea s on the. subj ec~ tnat o_ccur.. to you.
_ Idea s m~y·o~me slowly at firs t, but .you will
prob ably find that each item yo~ ~~d to your
list Wil l ·suggest ano.t ner •

If, tor example_, you ·b egin by writ

d~wn the word 11 wire l,ess ", you -wil l ,p r
then think of 61~1l&r 1nv enti on , ..
t l Vis i on &nd th 1n m ·. • Y
11s t •ght . no u ·h

Telegram:- R19861
 I
I
televis"io'n, "the . cinema, radar;· •'the aeroplai{
. : e,..
· radium, atomic ener$i~ · p'eni ciliin., v:( tam1~s·.
. '

. HaVirig . g~ttier~d'. ~~rtic~~t m~·;~~1ai, You

win now b8.ve to find A~S:Y of· arranging the ·
. material .in some sort of logical-r. ':. ,. ' .order~
.. . :. .It
.
. 111\1S t be so·rted ··out under sul>-heaclings~· ali
·, • - ·. ' . ·, ' • J' • • • • ' •• '-• • ..

;th~t~belong·s· ··t·oge·ther .being :coiieoted._tinder _.·. . .

1ts proper,. heading~ · · 'lhese sliJ>:.he'ad:tligs; Wili -
be the top1Cs cfr paragrapl:fa in the'-r1n1shed
composi t~·on--and mu-st·· -.be arrarlged .:in ~the- o~er
!which.-see.m"s ·natural .to_.. th~ -~,u.-m you ·tiave: in
..
inind. For exampie, -yo_u mi~t . link the items·
in the abo·ve list of inventions into , the fol-
.· _lowing groups ·: ·..._ :· ·.. ·· . .: .. · :- .:· ·.. .
. . .•

1·. Discover-;l.~s
.
that have:
. ·. .. . . . - .. -.
~ade· the world..
.. ,, ' ~

sma.11~.r=. 4e_r9plane, -wireless, .radar.

~ •• • .• I • ,' • :',. • "• • •

2• Discoveries t\}at· hS:~e made· ·the· World

·. neaitbier:-·
. radium~ ·fi tamihs"-'
. I ·. pe··.:., - lU
: '
oillin. : · : . ;. .
• • ,• • • J

:,. ·Dfsooveries .th~~- have ·JU..4~-- -tbe· wori; ·

. happier ! oi.ne~, wi~lesS, '41ert:d
t. ·.D1fo~v~rief ~ at ,haVe 'thrtt, \e
- ,Jctnd·
·, f ;
, «,co --....
' .• -~ ~rt.
n► ,, <!lo \4 ....
1 •· .
... ~
:
..,
1- Np
"
.·_ · .·~
' ,
.,- .
, 011· .& Olllh.11 ."- ~ ·

.f

Telegram:- R19861
 N~w you Wi ll hav e to
wr~ t~ .a pa rag r~p h
for eac h_ of the se gro ups . · Yo ~r par
~g r~p ~s
sho uld be un ifi ed ~d cqh ere nt, and~aoh pa ra-
gra p~ sho uld lea d .on .qU ite ~at ura l~Y . t~
the
nex t on e.

Ne xt, You wi ll hav e ·to add a su i·ta ble

int rod uc tio n and con clu sio n, ' :fo r exa
mple·:
, I •

In tro du cti on : Af ter slo w dev elo pm ent

r~r
tho usa nd s of ye ars , rec en t . ·
sc ien tif ic dis cp ve rie s hav e
. .
gre atl y spe ede d up the ·ra te of
cha nge .
Co ncl usi on · : On ba lan ce, hav e we ga ine d or
los t?

. .
When th_
e. com po sit ion i _s w: rit ten you
sho uld rea d 1 t thr o:u gh ve ry ca ref ull
. y wa t.ch -
ing pa rti cu lar ly fo r _m isu sed or ina
pp rop ria te
wo rds an q·r or err or s 1~ sp ell ing , wo
rd ord er~
ant! pw ict ua tio n. . ____ ._. ____ __. __

SAMPLE COMPOSITIONS
l. Na rra tio n:· The mo st ele me nta ry typ e
of co m-
po sit io n is th at · wh ich co ns ist s of a str
a1 .g b.t -

Telegram:- R19861
 forw_a rd', aCc6wit of ·real or .~mab~Ilary event.~.
It is siniple be_~ause·· the arr~~inent . of. _th~
facts· presents _no diff~oulty. · ~ll yo~ have
to do is _t~ pre·s ent th;ef fac.tS in proper _seq-
uenoe~en_era l~y =-.in: or.de~ of ::.-t imej. ~d .gi:-oup
them into p~ragr~phs ~c_cording __to the stages
. .

in ·the narrative.

Here.is a composition based on toe title "A

Gallant· Rescue." • . . ... ,(' ,

c~~~ Clang; ' Jim Bates. had been a fire-

.. '
·man for nine y_ears bu_t · ·still -_the. ri~ing of
• a • • • '

th·e -peli
-
_on the . engir.i°e · made his pulses .race.
,_ . - . . .

What- ~ind of a_ rire were they go_ing to? :~.as·.

1t . a big
. .- .
·outbreak or a small -one?. He. soon
. ~
. . . . .

knew. · He could see ·the· .flames lighting :up the

r.d.ght sky Then the engine swung into a narrow.
e .

·alley an-a
Jim saw what was burnlng • . It was
...a· .r ain~hackle· ware~_o use in--.the .- _-p oorest part of
Malbury ·. nie -whole bui~ding -_s ,ee1;11ed to be
·ihe
;•• l I•

· ·a flanie ~ . . crackl~ of , ,b urning timber_ co~d

~ be ·, he:a rd ·as ·th:e engine drew ,t o a ~t-~dst1ll,
, brakes .sqµea).-ing .. 1

At once Jim and his companions set to

-work. Wi thdn . a · .fe,w minutes hoses were pouring_
' ' ...powerful
: . . . jets of water into the flames. The .
, ,

. escape ladd·er of the engi ne was ~wung up. From

- 168 -
Telegram:- R19861
 the top of .the lad der a fire ma n sen t wa ter
str eam ing int o the hea rt of the fir e. It
• l.

was soo ~ pla in tha t the war eho use cou ld not
be sav ed. The fire me n'~ job ~,a$ to see
tha t
the fir e did no t' sPr ead to.· bU ildi ngS clo se by.
A hoS e was aim ed at the nea res t wa ll. Ste am
ros e f'rom the ho t bri cks wi til wa ter had
soa ked the m tho rou ghl y • .

Two Oth er eng ine s -ar~ ive d. · More fir e-

men att ack ed - the fla me s. :Th en, sud den ly, a
n1an pus hed his · way · thr oug h the ··crowd .
of wa tch -
ers . It was the ·ow ner of .th e warehouse • . He
-

had jus t arr ive d fro m his home and the fir st
-
qu est ion he a~k ed was wh eth er the nig ht wa tch
man wa s saf e~ The fir e off ice r sai d tha t t he
ave
ala rm had bee n giv en by a passer--:-by. '" I h
no new s of' the wa tch ma n," he add ed. "He mu st
st ill be ins ide the wa reh ous e. u
-

At onc e Jim Ba tes ste ppp ed for wa rd . ,

e

ob t ain ed pe rm iss ion fro m t he - f1~ e o,f ic

en ter the wa reh ous .e . 'lben h:e put ,o,n h
mEu3k and wa l~e d to· ·ard s - · ~e bur
Jim .roun . t . e · oo r ooa _
. 1·t • .... .....,_. t, I -

·_·o ve r~ ·.
too ted J:, n ·.--on ,.

Telegram:- R19861
 li~e a d~nse t~g-a.z:id had to search hard to
find the watc~an. _ ~e was· lyi_ng on. the flooii .
·=or one of the downst~rs
. ro_oms.
.
Jim hoisted
the man over·
- .
. his S(loulqetr and.made.'for
..
·the· ·.
. open as f~s~ as .he : could.· - As .J~m .s-tumbled _
~hr~ugh the doorwaY. with hiS burden,· a ragged .- ·. .
cheer went from the crowd •. Two' firem~n up
rushed to help him. .-.From b~hincl-·Jim· came a
. i ~

thwiderous . crash~ as part of ·the .. building fell

'd~wn. .
. . .. .
."Well'
-.
~6n~;.
.
.
Ba·te;,:"
.
said the
.. . .
1':i,re · ~t.t'icer
. '~ ~ .

.when- the w~tchman . h~d.

been
. .
taken.away . ~n .an "' .

. ambularice.. "The ·wa.tchman .w ill soon ·b e· ·a ll

'I, . • - • • • • • • ' ' - - •• •

· ri:ght~; He_·-1.~. olJ,ly. stunned. .-·You. performed a

. ve;.y t~iiant -~ct·~-" ' ' . ' . .
- . - .
-·. ·.~
-.. . (F!om. "Adva?lc~d ·- Plarine~ .~ - .
---. _Composition"- .Rob~rt ·J.
..
• . .r:loa.r~
.. >-~ .

. .Jotic.e that ea·ch par~r.aph ·1n the compo-

. sition · de~e_:}.ops · ortfir p~t'ioµia?'· =stage in the .
• • • • ,t ,;,

naI'rative. 1be four. stages .~n ·-narrative ~he

ar.e =-
I •

~ l :
. ., .
,· '

1. ca11e~
. .ou.t to the• fire.·
... . '

2. ·11aoki1'8 the fire • .· ·. •

.3• Tae in1'3s1ng ·watchman .

Telegram:- R19861
 4 • · llie resc ue. ..
'

~e even ts h~~e been arra ~-ed -1n · ~~e r

of tiDle;. and th e nio_st E!ici ting -iv~~t (the
res.c ue) has been kept ,unt il the end ..
Here is a s hor t s·~ory abou t ·S alah udd in: ·_

Sala hud di~ Al ~ou bi (Sal adi-n) ·1~~ -famo us .

in ·the Arab wor ld. ·He
1s · famo us in E:,;.~pe. _tooa
He was ·a grea t le.ade1, and. r.ule ·r . He=11.~ed in
the ti_me of the __cr~s ades . - · , .. · .· .

Al-Kara.k~ no.w a town in Jord an~_ WaS :at ·.

tha t time in -the :· pow er ·- or.=tne··. crus·a ders . -·The re
. .
was a very stro ng :cas tl~ . 1n· it. ·-'!he Arab s ·
_cou ld not conq uer the- Cru sade rs .in t~e C$s tle.
=;these Cru sade rs used to
. .. . . . tigµ.
t . the . ·Ara bs in. the
.

cow itry arou nd · 't hem .·. Sala.~uddin," of ·c~u rse, .

wan ted to s .t op -tha t. · - He ·said :tha t·__-h e \,ra~ -g~
1ng to· tak~ t~e · cast 1e·.. -He -- ~~t ed .-t~~kil~ the
Cru sade rs iri it. ·
.. ..
On the_day -bef ore the_--battie·~ -t~e- Ar:abs· . .. .. ..

hea rd some mus ic • It was ·c~m ing fro~ .a towe r

! •

in the · c astl e. .Some p·eop:).e . t~~ re were _··si ~~ ·

·. -· · 1ng _ and d~c 1rig . sa1aht1~~Jl:.s,ent ;s~111~ ·~r .M.s.
· ·s 0ld1 er~ to th8 piao8 •.. _~eyi -had. ·to ·fi-nd· _o:ut . .
the reas on for the mus ic.

- 171

Telegram:- R19861
 The· men went to the tow~~· They asked
some important questiOIJ-Et~ Then they retu·rnea
to Salahudd in.

"There's going to be a marriage in that

tower tonight:) ' 1 they said. ·" That is the reason
for the music. 11

:SalahUdd in's soldiers were ready for the

battle. He ordered. them to b~gin in the _morn-
'

ing. They had to take the castle; but he order-

ed. ~hem -ri~t to
'f ight near ·that tower .. ."stay
away from ··1t, 11 · he·· said:· 11 War and marriage do
not · go··well toge:ther. 11
. . .- .-
Jhe battle began in th~ morning. The
sol-d.iers
. .
-~ought in -almost-
.
,
. every part of the
castle; but ··they did· not- go to the tower. Later
they :round · the Crusader and his wife .; but they
killeo neither him nor her.

· sal~hud~ n kept t~em ~~th him for a long

time. They were his guests. He remembe1'ed
their 'marriage; · a·o h·e wa·s aiways kind t ·o tb,em.
Then at last he allowed them to go away.. <Ibey
were both free agai n.

- 17 ~ -
Telegram:- R19861
 1
. .··...
. .

:nie ::f'ollold.~~ ·1 6
1 • ... •

·. ·l • • •• -: ·• · •• • ... . :· •.

.:: -· •. ; • • · :· · ·~_J. ·a short •Sto~y ·abeut Khawla ·

·. ·. . ~-~t.:.Ul:..Azwar: .·. .. . ·
r:.} : . . . . ". .
..
.~::·.-... , ,... . .

:, ·.·_::· ~a:,i;:f:~ \Ibn.;.u1.. wa_l~ea 1 . the famoua A~ab

. .. fEiader,.:·was. ~e·ading ·a Stnau a~y • . · He Was go,-
. f~ .·to · t'ight. tJi:e·: en~mi~s of: -Isla:m the no~th
·ot -Ar bi . . · . .
·in
...· .. ·· a . a. -.l~e ·wo~... a:;i_ot· .
o.f battles .

. -~~? i>i tile ·soldiers. was· D1~~ lbn-ul-

~ ~ar
..
•._. He was one of the br~ve~t
.
men.
... He
fought t,ell.-ror· Isiam.

I
-~;. 81\4_ ·~••~ hat"tl:e., ,he· .fought his wa:y.
' " •

·.deep
. into th~ , enemy
. lines•:. .
!lhere were enemy
~e9ldiers round .him :' on ev·ery side.· They ··won
. -

tthe fight . B.gainst him. ·- ·ue was soon their .

.
·· prisoner.

Arab women u-sed to· go wi~h the -Arab

.
-es. . ibey '1SUally• cooked· the ··. food .tor the
(:Soldiers;·
.
. They also took care
.
of ·their 01-othes . .

. ihf:'Y looked _-arter the Si ck ~e~· :~00.•

i>1rar.' s .s1 ster, ·.Kbaw.l_a, was .Jd. ~ , him.
-..:. ~he: :watoh9d her brot~er in. th.~· battle." But ·
then the ·ene~ oa\lSht him_. ' lie • ' pria• n ~ -
tlis ·sister 'Waw· very ang11J -·bout ·t t - •

,f
r..
r.
.,
Telegram:- R19861
 Khawi.a Qress·ea i:ierself 1n a sol~er' s
. ·. , clothes-• . She · .c-overe_d the lo~er part of her
face ~ ~eri she got· . Ollt ·a horse. She rode
_·agai·nst the ·enemy .
..
,. '

.She·. w~~ed· to .fino.·· h~r brother. . She.

·afd n~t W8:Dt"-·•h i:~ · to · be .a · :pris"oner_. ·-.: . S_~ e· reif
that he :had ·to ·be a· free -~an. She mi~t _lose
·. , •. .
... .. . .
,./ her own lffe., of course . .But sh_~ _had .to free
'

··.·- him. · . ~-- .

··: ·The Arab - -army . -saw a. 'hian'J on a horse.

0
. '.
He 11 · was riding -away ·alone.
......
1.bey thought that
· · · ·he · was a br·a:~e "man"~ .The· battle· continue d;
. . ::.f ·t ... · aid. not . end:- .b-~ fore ·. nlgh-t·. ·. Then · the· Ar.abs
. .. . . . .
-.won~ .- ·,T he--•enemy: ran ·away~
. ; .
Unhappi ly, nirar. was not free. He l.'a.s
j ·,~oing ..to . Damascu s. He was still a prisoner
9f the enemy · soi-diers . · ·

All the Arab leaders

-
and
.
. soldier s. ··.· t
to
know the· ~ame of_ that •~ma~~1 • ·He rod
, alon e. · ·'!ba t was br ~ve ~ But none o1
\
kne~ this . ·s oldier·, 'then t~1ey o _\ct,
. 2.b~y·· too ··h r to
,Kb ·1 d, H 't
• very br av·· •

Telegram:- R19861
 ( .

But Khaw la was a v-ery sad girl. She

did not want to eat any rO~~- She coU1d not

slee p ·at;· any time . She · only wante d Kli~ d and
his men to 1'ol+ow the ene~y ~ She wanted to
•,
·
. save the · priso ner •.
, :~· - .
~ · :.
,~ . .
- -; '4--

At -last Khal id allow ed some ·sold iers· to

go with her. niey foil owed· th~ 81le~ soldi era'. 7

. She: led them "au the ti!De. ·They found ·Dirar , .

amo ~ .some ' .enemy . sold iers . .Aft~r .a: hard figh t .:
__ JChal'.Tla · and her ·sold fe·r s defe ated· them~ 'lhey
save d Dira r. . They·-·.·a.11 :_re~ur n~d with 'happ y··.
hear ts. ·
Khal id rec~ ived Khaw la w1 tq ·fi_n e word s.
· His de~p voic ~ brou ght plea' sure to _her _hear t~
f •
•

,- A lot or -schoo1·s· toda y carry 'the f8:JDOUS name

-of ·Kha wla Bint- ul~A zwar .
' . • It
. (From "Tal es from Arab His~ ory
-Lo ~an s' stru ctur al ·Read&l'S)

~ S • • .. . .. • ...... • ,._ ,. .. f 1 ~ -f" • .._ &

·or1p·ti ve compo - •
• ......... • fl, .. _,

• - · · · -· ·1--,,·· d.·e- ·s· · . · .

Des crip tion : A pur~ ., -.:
tion is a :reoor~ of. o~serv•d taot .•
1
cr1p tion 18 ot var~ o~• ~ · ;
quit e ·1ra pl, I
obJ ~ct, OJ\ 1t . ., b
• 175, -

Telegram:- R19861
 complex, as when you describe a well-known
building, or a person, or ~ piece CJt natural
- scenery._
(t
Generally ' speaking, description r~quires
more oa~eftil . plalll1ing thru:i. na~ratiqn. When
you are wri.~111$ a story -1 t is usually conven-
ien~ to. descriJ:)e the _events in ..th~ order in ·
. ~ . ,' ' ,,

which they occ~r.red. flowey,er:, when yo,µ are

i • \ ' • ,, I t • I ' .. ,, '

writ~n~ a .. description of so_~ ethi~ . stationary,

' • ' • I l ' • • I

you will not. find ·;l t s9 easy ..~o . . deqide where

't ~ • I • I • o .. , • ' •

to begin. and . in what .order .to~:· arrange · the · de-

,. , • ,,, , • '
1
, , , I , ' •- . • t • I •

tai 1~ • .. Obvfausly the . de,ta;+.1 s must ,t,e · arranged

in some .· sort of logical order
• 0 I
•SO that .·.the. ·
•
~

thing., place, . per~on, or, sc.eI?-e.· YP'J . qe:scr:l.be is

, a O • '
1
I • ' f •

clear arid distinct

. to the re~der
. . .•
' .....
Here is a descr_iption -. of ,_Jl. room.: .

·My bedroom 1s·a small but. comfortable

., . .
room facing east. It thus has tb~ advantage
of the early morning sun, though when the wind
is in the east it is rather cold. '!be walls
. . J• ' . '
are painted blue, · as my parents, consid _- · •, ll-
. .

pape:r ·to be both _expenai ve and unhe l tt •

Apart trom the t d th only
wardrobe, a m- 11 t _b , a1 y l d a

- 17 -
Telegram:- R19861
 . sma ll book case .
. ..
I

· Thfs easy chai r is very conv enie nt in

ever y ·way~ It h~s a gent ly ~lop ing back , four ·
· st~ py le~_.
s., not too l9ng., . so that ·the chai r
• • . ! . '

is not ~oo h~gh. _off the

. .
grou nd , . and broa
·, . .
dI
. . ··. . .

flat arms so that I can rest anyt hing ·on them.

I~_my easy chai r· I -som etim es sit duri ng

the win ter mon ths, watc hing th_e . vill age . team
play ·1ng in the irieado~.(
... . . ,
near·
by,° ·for wh~n .I . . am

fobt-ba-11 • . At othe ~ ti~e s,. e·s pec ially· ·on 8:

. summer·., ·s.·afte~noon·, I Sit in th·e -~.b afr· 'a.nci
read · my ·b,.o·o ks ~- : .

.- I -:would- not -cha.Ilge my ·-room for my· brot her

Tom·' ··s:; ·ror - thou gh mine i's not ·larg e .- as lii's ·1 t
is much f:00~ --com fort able ·.

(Bri ght. , 1966)

,
.The wri ter star ts w1 th a ·genez:- l 1
a bout What h e 1 s a -e seri bi ng · ( e ~ g
reom 1·s • ~ • , •• ) ·'ll-li S 1.s o-f ten
w·ord.

....,
·7

Telegram:- R19861
 afterw~rds puts in smaller details. ·He ~orks
· fr(?m· large to small.

1he ·conclusion again reminds us of the

. •. I • • : • •

general tdea with whtch the writer .started

. •

_{Bright, 1966)

Notice__ that the firs_t three parag~aph:s

1
: are linked by the repeti-tion _of_ •~easy cl;lair ~ ,
4 • - • •..

arid the;last
. .
_paragraph
. . is linked to the r1rst . . ..

by the repet:i tion of. ff comfortable." . Thi~

helps to make th~ compositio~ coherent. No-
tice~· too, the unity of ·theme; the main aim
-of. the writ.er 1s/ t.o c;reate an impression · of
comf'ort~. so ~e ..concentrates .on tho~e details
• • ~ ... • • • • 9

which make th~ room comfortabie.

The central ide.a in the f ollowing c'.om-

. pos ition 1s .nA day spent in the city can ·,
qui t ,e as
i ntertts t i ilg ·a s one in the· co -_
. . ,. .
ti.rat, . look a.t .t he pl
you have re
p.l ·M . w1 th :h .

' 1 ~7
1-e ' 141

Telegram:- R19861
 PLAN

A. Intro .duct ion

'.
1 . . Deci sion
to s·pen·q day in city: squar e., .
garde ns, first impr essio
ns.
B.i Deve101~ment

2. 'Arri val at squa re: p~op le, pig~o ns,

statu ~,- 1ncid ent.: -boy and· P.i eeon s. :

3 • Leav e squa re: publ ic · gard· ens: diff'e reri.t

atmo spher e.

4. Pond . most inter estin g~ vario us boat s.·

5. Rest , join crpwd, man, model of ship .

C. Conc lusio n t .

· .6. Midday. · Leav e for _h9me. Surp rise"\ --tha t

c~ ty . coulq. .be so plea sant ..

A Walk on Sunday Morning

~ . '
Though I usua lly go on ~xcu rsion s to
' '
..· the co~t ry durin g the wee~- end, I had -de- ·
- Cided to spend the wbole ~r Sunday in the
:>·, 0 1 ty for a chang e and to vi s1 t the cent ral
:;; ' squa re and publ ic gard en. It was so · arly

- 179 -
Telegram:- R19861
 .f

when I left .home that the streets were de-

serted. Without the usual
.. crowds and trar~ · ..
'~
fie~ everything was strangely quiet.

'. .
~en, at last, I arrived at the square
I was surprised t.~ f~~~ so ~any · peopl~ there.
. :. : "'

Some 'we:re feeding pigeons and .othe'rs were

sitting peacefully at the foot o,f· ·a. .tall ·
statue.· I ·went and sat with them so to as
get a better: view. What amused .me 'niost was
. . .

a _ little boy . who was trying to make pigeons

f ~y _up tc;>._ h~/s sl:ioulder·~· ae wa_s holding. some
bird- seed 1-n his ·hand ··•and - whenever · a pigeon
. ..

~and~d on his arm, h~ la~ed so much· that

he fri,g h·t ened the bird away.

- $owe· time later · I made my way. . to the

.
public gardens. Here there was an e~tir~ly
di:fferent atmosphere. 'ibe sun was now bright
and-warm; the.air was. filled with gay laughter •.

The p·o nd interested me more th&wi any-

thing els~lfor~many people had _come to sail
model ·b oats. · . 'lbere were little yachts with
bright ·red· uai l s; motor boats and won
sailing · shi'ps·~··· .iller mo,ved .g r :·o , , lly c.r o _
the w13:ter oarr· :ed by the wind wl ·l their

.18o -
Telegram:- R19861
 ow ner s wa ited for ~~~~ to r~.a ch the oth ~r
sid e.·

. .
Af ~er r~s tin g fo;r a tim e
•
I
00der a tre e • , •

I we nt and joi ned a number of ·peo pi~ ·whQ .haq

·a , ·
g_a the red rou nd a man wit h· a big mo d~l · of
fam ous sai lin g· shi p cal led "The Cµtity
Sar k1f '. · .

wi_th ·
It was per fec tly made · ana 1 ·..ga zed at: _..:i t
the wa ter
adm ira tio n as its owner ·pla ced it in '
•,'

wh ere • it sai led =maj-e:s ti:c·a lly. ·ani9rig ··th e ·du ck~
and sw ans . . . ..

At mid day , I lef t the gar den s and slo w-

ly beg an wa lki ng home. 1 was not at
· all sor ry
·the
tha t I had not gon ~ 'to the cou ntr y for
. we ek- end . •T her e had bee n much more to
see in ..
,I
• •'
•

eve r
tne cit y on a Sun day · mo rnin g tha n I cou ld
. '

hav e im agi ned .. ._

No t.ic e the con nec tio n bet we en the fir st

.Par<?!g~~p_q. _~~-.tl?:~. l~s t. ~e ~~ ter beg ins
the coi npo siti .ori' by tel lin g us tha t, alth
ou~ h
oou xitr y,
he usu all y spe nds the wee k- end in the
he had dec ide d to spe ~d the Wh?le of, ~\U ld8Y
th ~ las ~ par a-
·in the.. cit y for a cha nge · In
gr~ p~ he rem ind s us o!' thi s by tol lin g us

- 181 -

Telegram:- R19861
 that he was not sorry that he had-not gone
. '

·. to th~:. ;o_~try for _ ~qe weEik-end.

·wri tei!
ThEl
does not, of course, mention everythin g he
saw, only th~se details _which contribut e to
his central·id ea~that his day in the city
was. interestin g •

.. Th~ ·_fo~low;tng is a · typica). o~t~tne_ for

a descriptio n ·o:f a town or city:

·1. Position., si~e, · populatio n. ,· Reasqn

for position.
2. History- survi ~ng µuildings of his-
. .
torical inte~est~
. ( .

. 3~ Public build~ngs.

4. ·Education al institutio ns.

5. Trade and manufactur es~
6. Special features.

If. the Qity ~ou were describing was

.~dad you might develop the outline as f ,o l-
lows: ·

l. -Posit.i on ·.;... on· the banks ·o t th '.ri.g ris.

Size - la1,gest oi ty in Ir _.q . Popul tio.n
- over 3,000,000 R: aQon :f .or posi tttJn-

- 182 -
Telegram:- R19861
 loc ate d, ·at the cro ssr oad s o·f the anc ien t
car ava n rou tes .

2. His tor y - Fou nd ed b Y a1-M~ sou r in A.D . ·7f;2.

3. P~b lic bui ldi ng·s --:- · the . Ira qi Museum, Arm.s
.
Museum, Al- Mu stan siri yah s ·c hoo l-, Mos que s of
Kad ima in and Mua' dham,· etc .

4. Ed uca tio.nal in~ titu tio ns -

. .
sch
.
ool s , uni ver -
·..

· si t1:e s, .(B~ ghd ad and Mu sta nsi ;iy a).

Oil , Dau ra re"f'inery-., .

5 • · Tra de and ma nuf act ure s · -
Da tes .·

6. Sp eci al fea tur es - Shr ine s, Mo squ es, An tiqu e

Ba zaa rs. · ·Yo ur cen tra l ide a mig ht be: Bag hda d
·
is a ~as cin atin g mix ture of anc ien t -and mo der n
thi ·n gs.
3. Ex pos itio n: · Exp osi tion is more dif fic ult
thcUi. ~ither narrative ··or ·•a~ scr ipt ive o~mp~ .
sit ion . It is tbe ord erl y set tin g fo _--th o
.t act.a and ide as. Its pu.r po,s e is to . l -.n;
b r . ·-
1 ts lan gua ge sho uld the ref or · ~ ,
dir.e ct, an.d the :r•e _lati n J1. •. :J b _;,.r · ·n h , fac ts
!

and · idea.rs sho uld ht. mad cl ( ai •;

Telegram:- R19861
 Read the following compbsition:

-M any large books have been written . oh

. . ... . ..

th·e subject of· ants. Men have spen~ their

whole lives studying. thi·s subject. Ants 8.re
inde:ed very small . tpings, bu~ ._ the _ study of , ,

ants is a -v ery·- large subject: you may study

all ·. your .life _ and never lmow .the :wp.ole sub'ject.
The;re are- over o~e thousand diffe_rent kinds .
o·f ants~ - and ·the study . of any one sort. is a
l ·arger subJect.

The most dangerous of all ant·s is-··the· .

blind
. ~·
aht.
-
These blind -an-t s carinot
. . .
see ob-
.

Jec'ts On their way, b'u t they ·find their· way

by: smell. They trav~l by night. in a great
army "1bich kills eve~y living_ object in its · _;
pa._th.

The blind ants kill hens, cows - e.ven

men 0
If they enter a house, they kill every
living thing ·1n 1 t"'. Nothing stc9s them., - not
even water or fire. 'Ibey fill up a stre,am
with their dead bodi es, and th e o-the·rs march
over the bridge made by t h e d,e ad.

ants tha t ar·e no't rou ·, but they destroy

- 184 -·
Telegram:- R19861
 .ever_~ \100den object into which they. ~~-t ·e r.
If _white
.
ants ~et into· any 'woo.d eli ob'jec·t ,
.' .
~uch as a tab~e, they eat out -the inside of
the ;~od comple t~f:y. · 'l!p.e_y .o_an d~st'ro y the
wooden· boards of a house . so.-· ribmple tely that
the. house falls. down. If they enter a box
of boo~s., the ~ompl_e.te b(?~ of boq~s wil~ - soor
be destroy ed.- But- it is. easy to keep these .
. .

ant_~· away, for. they cannot cross water. It

. . '

is e~sy ;to -stand the. 1=egs of a i;;~ble in _cups

of water; and the~ the~ ca.miot reach it.

· :A _n~st of white arits may easily be

. . . . . . . ~

destr~Y .~d
. by. t~ng
. away the Queen . . If a
. . .

h9le is _made. down to the bottom of the nest.,

" • .r I - • • , • , • • t •

the Queen can ,Us'4al:i·y b~ fo~d qui~e 'easily ~

for she is very large~ over an inch iong .
. . . .
. There a.re · ants everyw here. You should"
someti mes watch them, a.:pd try to learn some-
th;ng . of . their way~ ~or yours.e lf.
' . .· . ·' .

· · - Notice -that the infor~ atio~ has.be en~

expres sed · clearl y and simply . The sec·o nd
paragr aph states that the · Blind -Ant is the
·most danger ous of all the ants. The first
senten ce ·1s the topi·c senten ce. Then the
writer explai ns why . they are danger ous,
giving examp les to illust rate this point 4

- ). .,) ...

Telegram:- R19861
 ·T he second paragraph has as the topic sen-
tence "The white ant~ tare ~ot dangerous ,
'
but they' destroy every wooden object into
which_ they enter"~ .

Once
. again ·the paragraph is .developed
.with illustrati
,
ve examples. In the last
two sentences , tne writer justifies ~is
statement that the whi t"e ants are not danger-
ous by explainin g how easy it is to keep
them away.
.
In wri t1n·g· exposition , you must make
sure that what you say is true, and you
I

s~ould,"· where
.
possible., give examples . which
.
.
prove the truth of your statement s.

- Now ~ead th~ - following article about oil:

· T'ne oil.fietd·s began . to form 400 ·m1111on

years ago. P~rts of many countries were then
-u nder · the sea. .Very small animals- ' plankton'
~-~ 11-ved -in the · sha~low aeas~ Every year mil-
11-o ns of these animals died and dropped to
the bottom of the water. ,The rivers then
· · brought . tons of Qe·ad plants and mud down
··. · ·· . on the sea. !I.he plants mixed -with tpe plank- -
· ton~ The mud · and sal ta .t hen .o overed them

· - 186 -
Telegram:- R19861
 and formed a sediment on the bottom. When
the plants.~d plankton rotted, oil and gas
begcµ1 to form in the sediment. 'Ibis was
happening all the time; so the sediment o·f
mud got .deeper and deeper every year.

Water is very heavy. The pressure of

the sea-water on the mud was ver-3 great. 1.he
pressur~ w~s so great that it made ~he mud
hard. After a very long time the mud turned
into rock-'sedimeritary' rock.
-.•..

Sedimentary rock is soft and porous.

It contains milli'ons of little holes and ·
pass~ges-'pores'; it can hold o~l or water
in these pores • . All rock are ei_the·r porous or
impre'Vl ous. Imprevious rock is v·e ry hard.
It has no pores and so it cannot hold oil or
water •

. The sedimentary rocks held the oil and

.. . - - - -- . -
, . - .
·its gases for m11lions of years. But during
that time thick ·impervious rocks slowly formed
above the sedimentary rock. They made -a roof
..

over them and walls around them. 'lhe pressure

or these hard rocks on the ~oft rocks below
was very great.

- 187
Telegram:- R19861
 (,

.' '
The -l owest se_dimeiitary rocks could not
keep. the oil_. in their pores -.because the -pre-
. ~.
esures .above were ·.too great"~ 'Ihe oil flowed
slowly through the holes and . passages, and .
~ose into higher ·rocks. It rose higher and .
higher until it reached the impervious rocks.
The oil could not escape through these ·h ard
rocks; so i t .was ca~t in a trap--an 1·011-
trap'.

Oil is always fu.und in a trap under

impervious rock. The oil-traps have different
shapes • . In some traps all the ·rocks may be
(1at and straight. In other traps the rocks
may curve. There are . f'our chief kinds- of
oil-trap: the 'anticline', the 'salt dome !· ,
the 'fault', and the 'stratigraphic' trap.

When the oil was in the sedimentary

r ook1 1 t contained gas and water . 'lhe oil•
ga.s and water were all toge ther. But 1n tbe
oil• ·t rap they are al l i n se·parate part.s . ot
tbe rock~ Th-e wate.r stay& at tb·e bottow -
ca.use· it ie the beavi B St. '!Ille oi 1
0

·h1gbex and ,lie on th.e - 1

ttle 11.ghteat; Rr>

o.n, tbe oi ).. _.:-

Telegram:- R19861
 · In· this composi'tion, order is very
impor.tant. I.f the detail 's were arranged in
any other orde-r., . we would not understand the
passage. Each paragraph leads on .n~t.ura..lly
from·the preceding one, and the relationship
betwee~ each is perfectly clear • . For example,
the second :par9-graph ends with 11 After a very
long time the. mud turned ·irito ·rock- 1 sedi-
·"
1
mentary rock". . The third paragraph explains
the properties of sedimentary rock. Although
each· paragraph in ·an expository ~omposition
may deal with ·a separate stage in the ·process
being described., the relationship between
each stage should be made clear so that th~ . .
reader .will understand how one ·thing leads
naturally to -another.

-._ 4. Discussion and Argument: Argument is si milar

to exposition but is written wi th the int•e n-
ti on of convinci ng .rather t han simply explai -
ing. There are sometimes two s1· d es 0 ~~ ~ a· ~ tb-
, -_.:,J

Je-0t to consider when you are .,,ri t ' - · a

po~ition~ For e:)(..a!llplei i i =
1notov. c~r s ou - ,i ' tl ' u
P .-1n ·, i .. - ,t,ou , ~t l ,., ,, . ,

Telegram:- R19861
V and, finally, you might give your ·opinion ·as
~o whether :the invention of the ·motor-.car was
a good thing or a bad t9~ng for mankind.
C,

'In the follow~ng compositio n, the w~iter

discusses · the progre·ss we have ·made in the
transmiss ion of news:

THE SPREJl..D ·oF NEWS

To contrast the difference -~etween the

way news was sent in the past and ·how it is
sent to-day · shows us~ better perhaps than
anything else, how far we have progresse d in
the comparati vely short space of a · hW1dred
years • .

For hundreds, for thousands of years,

the .q uickest \ay of . sending a message was to
give it to a man riding on horseback . If the
news t-tas very important he would ride his
horse as hard as he could for about twen~y,
miles., till 1 t was covered W1 th foam and
almost dropping, and then change on to ano ther
fresli ··nor.s e ··a.rid go on for another twenty wle ;
again cha nge horses , and· so go .g al l o.p jn• n
night and day. He wou l d cover th d ' 't
i J.1 a wondor ·u lly short tlme · ·n . •on . e

Telegram:- R19861
p

-~s
pic ture: him arr ivi_ng at jou rne y's end.,
. · nea rly_de~d · wit h _exh aus tion ori a ·pan ting ·
hor se, whi le pe~ ple gat her ed rou nd ' eag er to
hea r what he had to tel l. · Thus wou ld be sen t
the sto rie s of Cae sar 's Vic tori es in Gaµ l,
thu s the res ult of Blenheim, thu s the def eat
of Nap . oleon at Wa terl oo. Nev erth eles s it
. . . .
tak es con s~d era ble tim e to cov er hun dre ds of
mil es on hor .
seb ack .
,
-

To~day news is spre ~d so qui ckl y, tha t

the res ult of the ele ctio n of the Pre sid ent
of Am eric a is known all ov~ r .the ci vili s~d
·
wor ld ver y soo n aft er it is ann oun ced at
Washtngton.. A man stan ds at a mi·crophone and
spe aks the res ult int o it. His wor ds are sen
t
alon g a wir e as ·q uic kly as lig ht, and as qui ck-
ly as ;lig ht, by means of wir el~ ss tele gra phy
,
the y are bro adc ast all ove r the wor ld. They
are pic ked up by sta tio ns in Eng land , Fra nce
,
Chi na, Per sia , or whe re you wil l, and tho se
who und erst and Eng lish may know at onc e: for
tho se who can not und ers tan d Eng lish the ~•ews-
pap er pre sse s are stan din g rea dy, the news is
t ran sla ted ~nd pri nte d; and ~en i n the str eet
are buyi ng the pap er s . As a r esu lt, in les s
than an hour, peo ple haV:e lea rnt who is th 1
·
Pre a1a ent . Mea nwh ile I too " cine m · P' ' t
have bee n tak ing ph >to; ..1,apt1n ·.t ·_ . -

Telegram:- R19861
 film s are qµick ly print ed and are ssnt· off oy .
aero plan e to . all parts , so that the same even-
' .

i!}g in. . Amer i-ca and. a l'i 'ttle la_t er in othe r

_part s, men and women can sit in a piqtu re-
. ' ...
hous e and see tHe actu al ·scene ~-

Ho.w impo ssibl e our. ance stors woul d have

thou ght . it . to be·· able to I earl) in a few· ni1nu tes
the news of a batt le such as Wate rloo., and . .
to·
sit, that. same even ing, looki ng at pictu res of
Napo leon 's men adva ncing again and ag~~- ~!.
agai nst Well ~ngt on's posit ions!

Ther e- are ·:rour parag raphs :

.
1. Intro duct ion- subj ect· of comp"osi tion· '
2~ Tran smis sion of news up till 100
year s ago

3. Tran smis sion of news today

4. Con clus ion- cont rast emph asise d

In the seco nd parag raph , the writ -e r g1 v-e s
one exam ple or · how news was sent in the pas. t-
by a mess enge r on hors.e back . Noti ce that h
begi ns the para grap h with the stat m ·n-t t• .1...
hWld reds, tor U!O-U and of y ar ., th qlvti , - ·
est way of senctJ.ng Jue rr,, a to,

"-
Telegram:- R19861
 - .. '

th at th is method was _us

ed fo r hu nd re ds of .
ye ar s, tp.e wri"ter m en tio
Ro man. tim es , one from th e
i~
ni· -~ D in g · from .
e ig h ~ th _ce nt ur y,
~~ :on~ fro m th e ni ne te
en th ce nt ur y. -'I bi s ' ·
te nd s t _
~ emphasise th e ·sl o~ de ve
. ' lo ~ ~ t. _of
~~ th o~ s of ~~ws tr an sm
..
is si on ·up t~ ll · o~e bu n-
dr ed ye ar s ag o. Th~ th
ir d pa ra gr ap h shows
how ra pi dl y an ite m of ne
ws can be tr an sm it -
te d to da y. In th e co nc lu
di ng pa ra gr ap h; th e _
w ri te r br in gs to ge tp er
. th e pe .o pl e of th ~ m ne
te en th ce nt ur·y ~ .d th e -
1n ve nt 1o ns of _to~ay
to sh o~ th e _co nt ra st .m
or ~ ef fe ct iv ~l y.

R~ ad th e. fol:~.owing
es sa y:
So ce it y ·n ev er ad va nc es .
It re ce de s as
fa st :o n ?n ~· si d~ as it
It un de rg oe s co nt i_n ua i
ga in son th e ot he r • .
ch an ge s; it is . ba r-
bar-ous; i t · is· ci vi li ze d,
it is ch ri st i~ ze d ,.
it -i s ri ch , it is sc ie
nt if ic ; bu t th is ch an ge
is no t am el io ra ti 9n . · Fo '
r ev er yt hi ng th at is
gi ve n· so m et hi n. g is ta ke
n. So ci et y ac qu ir es
MW: ar ts ·and-10s·e·s O
ld in St in C ts ·;·· ···What a·
co nt ra st be tw ee n _.t he w
-
. el l- cl ad , · re ad in g,
w ri ti ng , th in ki ng· A m er ic .
an , ·w it h a · watch, a
pe nc il an d a b il l of e~ oh an ge in hi s, po ck et
,
ah d th e na ke d New Ze al
a. nd er , w ho se ~pr ope1~t.y
i s a cl ub , ·a sp ea r, a
ma t an d a 1 undi vi de l

Telegram:- R19861
 . ·- ____ ,_,,__,

twen tieth of a sh~d ~o sleep unde rt· But .

comp are the heal th of the two men and you

shal l see that ' :the· white man has l.o~t his
.
abor igina l stre ~th. If the trav eller tells
us. -trul y, strik e the · savag e :with broad a
axe ·and· in a · day or tw9-tthe fles~ ·shal ~ unite
and heal as if you · struc k the blow into soft ·
.. .. the white
p~tc h,·an a the same blow shal l send
to his_ grave .,

The civi lised · ·man has built ··a: coach ,·

but ha,s lost ~he
us~ of hi_s feet. ·He·: is
supp orted on · crutc hes, but lacks so much
. .
:supp _ort of · :mus cle. · He has a fine Gen~ va .
watc h, out he ·r-ail s · of the $kil l to tell
..
the
. .
hour by the sun. A Green wich naut ical al~ .
mana c he bas, and so being St\re of the infe r-
. . ... ..
. . . . '

rnati on when he ~ant~ it, the ·~an in the stree t

does not lmow a st_ a r . in the
.
sky.. The sols tice
~

---- he .d oes .not obse ~ve; the equin ox he knows as

11 ttle ; arid the whol e brigh t· calen dar of the
. year · is_ w1 thou t a dial in his mind . His note-
book s impa ir his m~mory; his lib~ aries over-
load his wit; the insur ance · offic e -incr eases -
the numb er of. a9ci dent s; and it may be a
que_s tion whet her. mach inery does not encumber; .
'

have not lost by refin emen t some· ·.-

- . we
whet her· , ,
..

ener gy, by' a Ctwi st~an i ty, entt,e nohe d in estab -

li shme nts and form s, s ome vigo ur of wi ld virtu .e .

Telegram:- R19861
 · · The. writer
..
highl.1ghts. the di~v~tag~s
. .
· of . ci Vi11s·ation by contrast ·and com~son.
In the. secot}d paragraph
. . - he• give&· -se,veral
-
··.
exa.mp;t~s -to supp?rt ~s.argumen~.

-In ·disCussion arid_ ar~nt it is ~ r -

tant that you feel strongly enough about the
subject and really believe wllrit you say, ·
o_therw1 se your argument will riot be convin-
cing. You should ci.lWays be able tO support
Your argument with examplEis . thrit.prove your
point.

Telegram:- R19861
 .EXERCISES

·.. .

DO YOU -~·Ybun:: FIRS~ ·ntY· at college?

I~ag'i ne that ·1t wa~ a __ shoft_ tirn~ a.go., -and
write· a ccimpositlon describillg i t . ·say
a) _what .college. it w~s;
. ·... ·
.

b) ·whe:Q your ~irst day··there· was; - -.

. c) What preParationS You
niade ~or goillg ther~
· · ( ~. g ~- putting (?Il special clothes) -; ·
d) hqw you went there (e.g. by . b~~, on foot);
e) who (if anyone) ~~nt with you;
f) what happened when you ar~ived there;
g) how you began·work;

h) what you did during the rest of the day;

-
1) how people treated you·;
. . . '-

j) what you thought of the place, the work.,

·, and the people;

k) how you ended the day.

- 196 -
Telegram:- R19861
 2..... The bat tle
. . . .
;IMAGINE ~AT YOU ..ARE A WAR CORRESPONDENT, c;Uld
tha.t .y~u
.
l;la~
. e .1u~~ se~n a · ~at tle·.: · ·Desorl be . ·
. .
. ~ ~, fpr the ~ea ders of you r new spap er. You. .
.: an des crib ~
0
a
'bat tle. of any
his tori cai pe.r iod
Y~~ l~_~e~ .··aay_ . .

a). Whe·n· ~m.'. d. whe re. ·the bat

.
~
tle -took ·pla ce;

b) who wer e •fi~ ~in g ·aga inst -wh om;

c) at wha t •time of day .o~ nig ht the bat tle

b~g an;
<·
d) Who beg an the bat tle and ho~ ;

e) ~er e . rou were__dur ing the bat tle;

1') wha t the oth er side did-;

g) -what hap pen ed afte r tha t;

h) how the bat tle end ed.

· Und er (g), desc r-ib e the cou rse o f the

bat tle. •

I r you cann o t t hi nk o f ide a or ( .

t o _(h) , her e 1s an out line y·o u ·. n ..

Telegram:- R19861
 Rur i tan ian arm our ed car s ran int o
. - • I

scr een of Can asti an ~ti: ...ta nk gun s. Two .

arri rou red · ·c ars kpocked out . ·:Ar mo~ ea· ca;~ -
ret ire d. Rti~i ~an ian tM.k arid "a:n ti-ta nk gun s
cam e up. Can as ti an ant i- tank guris hel d them
up un til Can ast ian tan ks arr iv·e d. Tank bat-
tle. - Ar till ery cam e up beh ind
..
t}?.e tan. k; on
. . .
- . . .. . '

bot h sid es and she lled the opp osin g tan ks

arid art ille ry~ Many .tan;l{s. lmoc'l~ed out·. ·
Ru ri tan i ans wi tpd rew beh ind pos itio ns whe re
inf ant ry in tren che s had nidden ant i-ta nk
gun s. Ar till e·ry fur the r beh ind , in pit s.
-
Ca nas tian tan k atta ck-. s_to ppe d. Can .. asti -an .
-
air _f orc e mad e low fly ing ~atta cks on Rur i tan
ian tren che s~ ·· ·The n Can asti ari' .inf ant ry sen t
'
. ..
.

in to att ack Rur i taru .;an inf ant ry. :.

Han d-to..
-
.- . .
.. .. ..

har1 d fig hti ng. · Art ille ry she llin g oth er

side
~ ian_:inf ant ry
beh ind .inf ant ry lin es. · Can as_
thro wn· bac k. Art ille ry on bot h sid es she ll-
ed opp osi ng inf ant ry. . Nig ht·. fell ., . bat tle
..
~nded exc ept . for l art ille ry 't~r e. and nig ht
. .. . . -... - . . ..
.. .
... ... . .. .. ... -

pat rol s by inf ant ry. ·

. '
3. My home

YOUR PEN-FRIEND IN A FOREIGN COUNTRY

has .ask ed· you wha t you r home is lik e. He/

- 198 -

Telegram:- R19861
 she has: never·- be·e n t.
. . : . . o your country·. and h'as
nci :idea WhB:t hollSeS- the;e
to _:him/h_er, . sa.Ying . ~• . ke •. · :write
aret:·l.i
. . .
,·.
··a) ·-~.a~ · sort:. oi-. :h~me l'°Ou
· fiat, lodgfn6:"0
a-i:, .· etc • )··, ·_ ·
-li~~e:. { a house,.· a·.. , ·· .
· ·
. .

1?) 110~ bif it i~; :·.·

'\

C) _h~~. lnaey .room·~-·.it . ~~ri~fs ts. ~ f; .

- ... . ... .

d) Whe~e \ t i·S sftu~t:~d···(in :~'. .toWll, -~n the

· c·oun~I'y_, by ·-~ ·--~1 ver.,.:-.·~.t~.) ; . -·· ~ · .
- .
e) -What the ·wtlls: and roor··oi-·_the house are .
made of;

:f) what colour the walls, roof, -doors, ·

windows, -etc. are;

g) exacti y what rooms _there are in the house

.•

(kitch ~n, .bed-ro om(s); etc.);-

. .
p) whethe r y~u have a garden , . and ~r"--so; ho
. big 1t· is~ -~scri be e~oh room :o~~l Y' ·
(its oolo'llrs, f\lrn1 t~,.- dotlrs, win
_O.~naments,, e·t~ ·. ) ., . ~d say .. · _ ,o \i ~· ·_,
lfbatto~. ,, De o &il -~ t, - ~ ( - :.
one) careru ., l .

Telegram:- R19861
 4 •· Our seasons

. . A FO~_IGN PEN-FRI]j:ND WHO HAS NEVER BEEN .

to your c·ountry has asked you ·about
. .
the season~
·o( .the· year in your co~try. W~i te . a· de scrip.
·t'ion· of . thes~ .sea·s ~n.s for hini/her. Say:·. ...

~)' how many-seasons you have eac~ 1e~r;

b) what- they· . are ·u~ually c•a iied _(e -.g-~ - ,

spri.ng·
.. . .
., ·. s~er., etc.;
.
.or . wet · and
' .
dry·;
or south-west mons9on and north-~ast-
rnons·oon; ""etc.;

·- c) a.}?out .wh~n each begins ai:id ends.;

d) 1=n w~at ~ays each season is different

. '

.from the · others;

e) _i n: ~at _= ways each . season· affects

y9ur life.; .

f) what particular _clothes you wear in

each season;

g) . what particuleJ.•
. . . things you do and do
. do t n each season; ·
not

h) wn'Lob your. favotwi te aea8:on ·1 s,. ·:id ·

Why j_t· is your ravour 1t0 1

- 200 -

Telegram:- R19861
1 • ....!. -
.WWW -

:i) · w~qb_ seas on you ··i 1~e · lea ~t,_ and

-~Y ·. you · like ·it Iea s:t_. _,: · ·

· 5. · A. ~ep ort on: an acc iden t

. . . . . ..

. IMAGINE THAT. You · rurVE· -SEEN ·a. roa d.

:~c_c ide~ i(~~ ~l:·t}i~t" .-tlj~-:-:~-lice .h~ve· ·ask ed. ·you
·rt?~--~{ ti-,-a: ~~P.9-r:f ~~---'it·; ·
--~o-.:-that- -···they · c~ · ·. · ·
·de~i_qe.-:~o- -~a-s _to:i. -bl~~-:-.· ·.. W~ite .·the ·rep or-t ._·
. . . . . .
... . . . .
-stat ing_ :_. ·. . .: .

·. : ·· .: . :

· a) the . date.·,.;·ari.d -,-~j(a~-t t~nie __"of -ihe _

: . · ac!'1. ~en:t ;.· · .
:_bj ·the · pi~ ce Wtie;e: -i . ~ happened. ( draw a·
-~ap,...·~t.-
. . : . . . . .. . . .

· -s1tnp~-~ : you can~.. and ref er .-to

- _. i ~ ...
tn _"y~ur
. .
~---r~port:). ;·. :
: . . . -

~) exac"tly-:where_··you were at--· the time

oi' t~~ '_~coident~ .'and bow rar you· c0u1d
see
..
ln : ·eac
.
h
. . . dir ect ion . from ·the re;
...
. .
.. . ........ ..... -
d). wha t ·c~ si · ~c ks, _mo tor-9 !cyc lesl ·
· · and . peo pi.e on foo t . had · anyth~llg to
· -a~ wit h toe· ·a9c ide~ t~ · · ·· ·

e) e.xao~ly how .it hap pen ed (the pos i-

tion of all the ·oai• s,,, peo ple, ·t o,

- ',. 01 -

L
Telegram:- R19861
 when you first noticed them; what
each did after that; how they finished
up, etc. Show .the positions and move--
men ts of. · the cars, people~ etc. on
your map, if y~u can)-;

f) the speeds of which you think the

. . ..
various cars, etc., w.ere goi}1g;

g) what happened to each of t~em (which

were damaged/hurt, what d~ag~/in-· -
juri·es they_ recei_ved, etc.) ;

h) whose fault you think the accident

--. · was;

.i) how _you think the accident could

have been avoided.

6. Trans.port in my country

WRITE AN. ARTI-CLE FOR A .FOREIGN NEWS-

PA.PK.ll. or magazine on public means of trans-
port (railways, ·buses., hired cars, river or
lake b6ats-~..aerop'lanes, trucks,, carts, ani-
mals su?h a~ camels, bullocks, horses... and
d?nkeye, etc.) in YC)Ur oountt y_. Say :

a) what .~nde of trains the x•e a1'~-

.•
in

- 202 -
Telegram:- R19861
 b) What kinds · of carri ages there are
for passe nge~ s on the railw ays;

c) what kinds of b~ses , hired cars.,

boats , and aerop lanes there :u1e;

d) what the tru~k s, carts , and anim als

carry ;

e) what the advan tages arid disad vanta ges

of each means of trans port" 'a re ( cost. ,
com~ ort_, etc.} ;

f) which of .t hes~ means of trans port._

. you have . your self .. used;

g) what you thoug ht of these .

Desc ~be a journ ey from one plap_e in

. ·. .. . . .
yo~r cpun. try·. to anoth er place in your coun try
. . - ., - . ' .
by -one
. of. these mean s of tr~s port ~ as the
.

· driv er/p ilot would see it.

7. Why I pret er ·the coun try/to wn

DO .YOU PREFER '!HE TOWN TO ~ COUNTRY,
or the coun try to the town? · -

If you pref er· the town, write to a

- 203 -

Telegram:- R19861
 frfeno. or relative who lives in the country
and try to persuade ~m_or.he~ t9_ ~ove to
the town , but mention . also some of the ad-
vantages·of living in t~e -country.
j t

If you . prefer the country to the town,

wri'te to . ~.friend :i. ve :who ·11 ves. in a
~r . relat_ .

to·wn and try to persuade him or her to move

to.the country.,
'
but mention- also
. .. . some - of the
'

advantages Qf liying in a -town.

Here are ·s.onie advantages. ·of t _h e country

(you need not mention all of.these, and you
may add othe-rs .if. you want); _ qµiet.,:{})e·ace.,
.. . . .
.. . . .. ··:
.... ' ~ . ' ; ..

clean, healthy-- a _ir, . cheapness,

. - .·•
fresh t'ood,
plenty o:f space., .pleas~t· _walk ._.anci
. .
picnics,' ~
I • -

· riding, fi~h~ng, shooting, closeness t~ nature,

. beauty of
the .
nature., seeing the . sea.sons····.. ·.. ·. .. ;

· _change~ seeing.- the develoPment of. the ynffiti· :·_

plarits _·and animals, l'i"ving a more leis~b.~'
li~e~ which gives us time to enjoy 1~., ha~~-
friends who are not too busy .to be real ··
friends. ·
' .
are some advantages ot the towu
· •Here
(you· need not mention all or thes· e._
. ··-d y-0.u
· · - '#' ~ .

f acti~1,
• r t,

may 8:~d. others i'f you want)' ; plenty 0

/

·- 204
Telegram:- R19861
 lots of entertainments and.
amusements, lots
or spoI'ts to watch, ·theatres, niusic, art, ·
club$, · ,r estaurants, c.ai'es, places to get· to ·
even late· -at· ·night, good ·shops with a wide.
choice or things to · huy, comfortable houses
.and .flat-s (With· modern ·services- such as elect-
ricity, g·as, wate·r ,: drainage ·and 1}.eating),
bett_er J~obs, better· sh coos~1 co 11 eges, e t c.,
bette~· libraries.

8. ·Hasthe aeroplane brought more

good qr. more harm to the world?

· YOU. HAVE.BEEN ASKED .TO GIVE· some school-

children a talk .on the above · suoject. Write
out what you intend to say, first listing the
' .
.good things the aeroplane has· done in th·e
.

past· and may do in the future; then listing

. ~he bad .things; and finally saying whether
you . th1~ it has done more good'or more harm
.
to the world up .to now. Give your reasqns
for your opinion.

Here are some notes to · help you, if

you want; St?n:ie of the advant~s: speed,
cl:e~ese, e~o1 t~ment, sa'V'ing _the lives of
people Who need rapid tre a tmen t, sending
rapid relief t o viot,t m"' .of ,disasters, .s a vi ng

- 20:, -

Telegram:- R19861
 pe op le in tro ub le in dan ger ous pla ces
. (by
he lic op ter ) , co ntr oll ing tr~ f fi ~ -:1 ~p ray
1.ng
cro ps , ma kin g rai n by dro pp ing . .thi ng s
I•
<;>n
clo ud s, av oi .din g sea -s.i Qk nes s, av oid ing
. J- t .
da ng er~ s co un tri es, . g.r
eat er com for t tha n
ce rta in _ot her me ans of tra ns po rt, the ple
as..:..
an t atm osp he.r e of mo st air poi ::-t s, avq ~d
ing .
cro wd ed rai lw ay sta tio ns and po rts , fre e
me als on ae rop ian es, - the thr ea t of dro pp
ing
nu cle ar bombs pre ve nts wa r. ·.

Some of the dis ad va nta ge s: use in war,

es pe cia lly fo r 'dr op pin g ·bombs~ fo r ato mi
c
wa rf'a re an d for . att ac-l d.n g . civ ili an s,
the fe·a r
th at ma ny pe op le hav e of· fly ing , th·e
da ~e r
of cr~ sh es, the sud den cha ng es ·in · cli
ma te, · ·
les s·. co mf ort and ·sp ace tha n in ce rta
in ·ot her
me ans of tra ns po rt, the ten sio n cau sed by
.·
ha vin g to liv e ou r liv es fas ter ·th an
bef ore ,
n9 ise ., ex pe nse .

9. A Fr uit - sta ll

W.r 1 te a de s or ip ti on o
~ry to an ,w er the fol low i

Wh yo I

Telegram:- R19861
 What was it made of ?

. What di d it lo ok i:i.k e..,

-.
~ at ki nd s of ·r l'U it were ~h.el'e
on it?
.
What co lo ur s. we re the y?
How we re th ey ar r~ ed ?
.

Who was_ se rv 1~ at th e. st al l~

What di d he /sh e lo ok lik e~

Who we re bu yi ng f ram th e sta ff?

W ha t di d th ey lo ok lik e?

10 •
11
Yo\lr Re al Ed uc ati on Be gin s when
11
yo u Le av e Sc ho ol .

Di sc us s:
c
Do yo u th in k th af when ·one
1:eaves

( or. th e un iv er si ty ) on e ha s .le ar nt al l
1
one ne ed s to r on e' s su bs eq ue nt li
t
wh at th in g )la - one no t ye t
v-, t·ho-_ th ·
on e ne ed to .. u

and from whom

Telegram:- R19861
 -
11 ~ . Oo mp os i t1.on ·.·o:u-·, Pa ra gr ap
hs
In st ru ct io ns

W rit e de _s cr ip ti: ve . es sa ys us in g
,each
of th e pa ra gr ap hs gi ve tl be low .
. ( .
The le ng th
sh ou ld ~e be tw ee n 250 an d 350 wo
rd s;· do . no t
in cl ud e th e pa ra gr ap h or pa ra gr
.
.
ap hs gi ve n in
th e· to ta l number of wo rd s.

Yo u sh ou ld sp en d- ab ou t an ho
. ~
ur an d a
qu ar te r on ea ch es sa y. The
be st way to di vi de
yo ~ tim e is as ro ~l ow s: · Pl an
: 10 -1 5 mi nu tes ;
·w ri tin g: 45-50 m in ut es ; re -re ad
. . in g: 10 -1 5
m in ut es . Gi ve ea ch es sa y a ti t.l e. · -

Pa ra gr ap hs·

1. It is alw ay s pl ea sa nt to
lo ok th ro ug h an
ol d ph ot og ra ph alb um . Hund
reds of pe op le
ar e ga th er ed th er e to ge th er ; gr
_,. an dp ar en ts,
pa re nt ~, un cl es ,·a un ~s , co us in s,
an d
fr ie nd s. Fo r a sh or t ti!De, it .
is po ss .lb le
. _to se e .. the m a:11 ag ai n in some
or' th e
ha pp ie st .· -moments of th ei r liv
es .
2. ·A lth ou gh th er e i s a lo t
to be sa i d fo r
•. .
tra V P, l;t1 ng by ~h ip , by oa1· ,
01" by tr ai n,
i1 ot h1 ng ca n . ompa ro w1
1
th an 1 op l ne .

- 20 8 -

Telegram:- R19861
 You do not have to put up.with rough seas;
bumpy roads, o'r long, mo·notonous stretches
·of countryside. An aeroplane gets you to
. . .
your destination quickly ·and•· comr'or-tably ~
What is more, it gives you a most unusual
and exciting ·view of the-wor"id which ·1s ;
far ·superior ~o anything. you can ·see out
of a car·· or a train win,dow or from the deck
of a: ship.
•,,.
3- The man opposite· me in the traii( was pre-
tending to read a newspaper. .
Every time
.
I .look up, I found _that he was looking at
' I ' • • •

me ov~r the _top of the: paper. ~ pretende_ d

not to notice, but the man's · straiig·e · ·e~-
... . , 'i. ":

·pression made me feel nervou~. · In th~ ·

• I I • l • ' •

end,· I could n'o t 'bear· it ·.any longerj so I

. '

got up and werit ·1nto the .c.orridor~

4. It · was some tfme before I <realized tbat I

had been turned into a cat. The first
thing I noticed was that I was sitting on
the floor · instead of on the c~ai;r. - My•·
clothes .-. were in ·a· heap by the. chair as if
I had just stepped out of them.

on the small t _a ble the .glass was. t·tiil

,haif~t,.tll'., of • .the bla~k, · bi t~,e r l t qui d l . .
had drunk.

- 209 ...

Telegram:- R19861
 I tried to stand u~ bn two feet and suc-
ceeded ?P.lY in standing on four. .n ien I
began to walk with a curious springy
motion. Suddenly "the door opened and_·
Julia came in. l tried to say 'Julia 1
and heard ·myself let out a discordant
'miaow' !
12. Free ~ornposition
Instructions

Write essays of between 200 and 250

words on each of the following subjects.
You should. spend about an hour and a quarter ·
on each essay. The best way to divide your
. .
time 1s as follows: plan: 10~15 minutes;
writing: 45-50 minutes, re-reading: 10-15·
minutes. Where necessary, give your essay
a title.

1. Describe the radio or television pr o gra..rn-

... me you enjoy listening to most a nd say
·w hy you find 1 t inter e sting.
2. A tory about two prison,e rs of w
e cape from n my t , r , toy
a · pe nt •

Telegram:- R19861
 3. When you return home lat~· one _night _you .
.'•find tha~. a __ thi_ef .tias .~ntere·~ yo.~ r p_ouse .•
. You are soon led to suspect· -tha.t. he is
. . ,·.. ' .

still hiding somewhere· in the ·h ouse. Des-

·cribe how lie is· .caugh.t.. .-.·

4. our national .c haracteri~tics.

13. Composition on Questions

With the help :or · answers to the questions

below, a composition beginning with:

_John·.areen, :· who · is · a good friend of mine; ·

. -came · ·to visit . Baghdad .••••.·. •.

Questi_OJ?.S:

1. Was it · ele".ie.~1 o- clock

1
in the morning when
. you arrive~ at .- the Gr~d _Hotel · in Baghdad~

2. Did you find Joh.I: Green waiting for you?

3. Did you tell hi~ that you had been sent to

accompany h1·m during his short tour in

Baghdad? .

4. Where did you go dri ving?

'

5- Did he -tell you that he had lw _y·,

9
t o see the Baghdadl MlHlOUl0

Telegram:- R19861
 ... ..
6. Can tt;ie old Baghdadi ways of ·'life be
seen there?
' i
7. Did you see ~he weaver working at his Old
looin? I•

8. Was the barber getting his simple tools

ready? ·

9. What was . Mr., Green_- particular ly interested

in?

10. Did he like the way tea ·and coffee are

served in the Baghdadi coffee-sho p·at the
museum?

11. ·Where ·did Mr. Green ask you to take him

next?
12. Is Shorja the most famous bazaar in Iraq?

13. What did Mr. Green see there?

. .

14. Did he 11-k e the spices a great deal?

What 41,d you sugges.t tor the night?

A river.- trip?
co·~ld this river-trip be made by
th bo ts ino l'. ed at b ·~l.wSh -l~ Y

17 ~ Did :Mr.. ,or· .n .. k

1

at·r Md th
th su r · >c. or ·n

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·-- ·-- . - - .. --··-·-·- ·· - .. .. ' -
.... .. . . - ..._

18. What was the las t .thi ng he ask ed ~for ?

11
19.- Is mas goo ftt are a1 I raq i dis hi ,n

20. Was Mr. Gre~n par ticu lar~ y int ere ste d tn
. the . w.ay uma sg9 of 11 · is coo ked on a fir e in
the ope n air ?
. '

14= Com pos itio n on Guide Words

I

Wr ite a com pos itib n (15 liri es) on ONE of

the fol low ing sub j~_c ts_mak ing use · of the
gui de wor ds giv en:

1 • A Rai ny Day
A. De scr ipti on of the wea the r bef ore
rai n. sky - clo ud - _win d - sto rm -
. .. . ' .. ' '

thu nde r - lig htn ing .

B. Rai n: sho wer s - hea vy - str eet s -

-r oad s _ muddy - poo ls.

c. Tra ffic : dif fic ult - int err upt -

- acc id~ nta .

D. Peo ple : ou·t doo ra - see k .. sh lt 1,~ -

, ... ""
indoOJ"'S _, f. .· re IL tl" •
warm . . oom ro1 'tab l ·•·

21) ..

Telegram:- R19861
 2. A Visit to the· Post Office.

A. For what purpose ·? post., register letter

' f
- send parcel, money _~rder.

,· B. Des cr iption of the Office: small - central

position.

c. People : off ici a ls., sell postage, stamps -

w~ight parcels, write receipts.

visitors: address envelopes, fix , 1

stamps, drop letters in . boxes,

post cards, occasion of New Year.

3. A Birt~day Tea Party

A. Whose_ birthday? People asked to the

party, presents .offered.

B. Description of the cake, the candles,

_.. ·_.- ·, '.· 'sweets - etc~ . .

C. The birthday songi, congratulations,

- ..
tea served, a happy evening, pleasant
company.

15. Composition ort Facts

These. are· some facts abput William Shakes-
. pe~re·: ( 1564--1616) • Write two or three para-
graphs using all the facts., having arranged

- 214
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 them f.1..,:·st . Be ca ref ul th at you wr ite
co mp let e sen ten ce s. W rit e as ma
' . ny di f-
fe re nt kin ds of se nte nc es as yo u
ca n.
.,
I •

Born and die d in St r.at for a:- on ~A vo

n.
Ma ny de ta ils of lif e un ce rta
1·
in . Fa th er
fa irl y ric h mi dd le- cla ss. Ed uc ate
d Gram-
mar Sc ho ol in same town, le ft 15
80 . Pe r-
ha ps worked as a tea ch er 15 80 -92
? By
15 94 ac tor -p lay wr igh t in Lo nd on .
Wrote
pl ay s ,15 92 -16 11 . 1599-1608 gr ea
t tra ge d-
ie s (e .g . King Le ar) ; 1592-1599
co me die s
an d hi sto rie s {e .g. King Jo hn );
16 08 -16 11
rom an ce s ( e • g·. The W int er 1 s Ta
le) • Ma de
much money from hi~ w~rk. Al so
a ve ry
gr ea t po ~t . Ma rri ed 1582:3 ch ild
re n (o ne _
die d yo un g). He die d ag ed 52 .
Po pu lar in
. hi s own tim e: tho ug ht gr ea_t in
th e eig ht ee n-
th ce nt ur y: now pe rfo rm ed ev ery wh
ere , tra ns -
la te d in to most lan gu ag es .·· A_un
iv er sa l
wr ite r .

. . ..
16 . Co mp let ely Fr ee Co mp os iti on

W rit e a sh or t co mp os iti on (15 0-2

00 wo rds )
on ONE of the se su bj e~ ts: 1. My
co un try 's
fu tu re . 2. Games I us ed to pl ay
when I
was a sm all ch ild .

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 ◄

't

17. Choice of Sµbject

' .
Write two compositions on two of 1:.he fol-
lowing subjects. Each composition should be
200-250 ._words.

1. _Why I . 11 ke going to the cinema.

2. Describe an event that you are looking

:forward to very miich •

:;. Old _people as a social problem. What

solution has been found in Iraq.

4. Wri'te a letter of congratul~tion to a

rriend who has won a scholarship.

5. What are · the main differences between the

Iraqis who 11 ve in the towns and those who
live · in the country?

18. Wide Choice

Write a composition of between 200 an ~

250 wo?'ds on one of the following aubJetrts 1

l. BasX'ah: City of Sindbad the S l , ,d

• Veniac of tbe L a.t' •.
n
. t,y y

-
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 l.

4. ·The Greatness that was Babylon

5. Free Education in Iraq

6. What the Palestinians Want

7. Arab Unity

8. The Role of Women in Modern Iraq

9. The Arab Awakening

10. Arab Thought and its Place in History

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 CHAPTER 'SEVEN

LETTER-l'ffiITING

I .
A letter, whether dealing wi-th a.-per~pn--
al or a business ~opic, 1s a kin? of c~,npo-~-:Ji~
tion and :is thus subject to the ordinary- ruies
. .
of' -- composition.
.. All letters, even those. to
close friends,· should be wri tte·n in good, clear.
English; should be sensibly
..
paragraphed;
. -
they
.
should be ·correctly punctuated; and there should:
be no mis-spellings.
There are, _po~ever, two points _which
make the letter different .
from. other types of
composition •. One ·1s.
the
.
formal.setting-out
.
of
the letter; the oth~r is the fact that a letter.,.
unlike most other types ·or composition, 1~ nor-
mally addressed to . a particular person· o~_a par• -
ticular occa~ion., and th~ e:ffect tne le~ter :i~ _;
going tQ. have - ,on the readar is more immediate~
ly important than in less personal writings.

Letters, br·o adly speaking, are. of two

.
kinds: persohal or private letters and b~sineijs
·. - .. . -- -
l.etters. ·

1. Personal l,e ttar ~

When you write a le.tter .you. stio~ld._·.· -·· . _
in . mi~d ttie age and int :1 ost of tt1 _, it ,-~J,"i:,ient

Telegram:- R19861
 an · \ir il,e _a bout t h e t hings he would like to
about .. Your le t ter should·._.resemble a
lrJ101-t'
~ :,.,~
convers~tion on paper and ~hould ~rnake the i .

recipient fe e l that h e is actu~lly· chatting

to you - l i stening to your descriptions,
a nd enjoying your wise or humorous comments .
'Ii1e style of a personal letter will, of
cour?e, be much more familiar than that of
other types of composition, but; al though a
personal letter should be without formality)
i t should not be formless. The. ideas should
.
be given proper sequence and should. bear-
ranged in suitable paragraphs.

The Form of the Personal Letter

1. The heading-The- address from which the ·.

~etter is being written (i.e., the ad-
dress of the writer) together with the ·
date, is placed at the top right~hand
c·o rner .of the _page. 1.be ·order. of the
address is as· ·roiiows:' number of house,
name. of street; .. town or- city, ...country.
{If the letter . is going aqroad the name
of the country sho_u ld also be given) ;
Never .write your name .at the top of the
. ·~
letter.

- 219 .-

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 Example s:

( a) .25 Mansour Street J

hdad.
2nd January , 1974 .
.
(b) 36/21 Damascus Road,
· Baghdad~
· Iraq.

· 30th March, 1974.

(Notice that th.ere is a comma at the end of

o • • I I

each line and _a . full stop at ·the end ·o:r the

· last line. · Th.e date is written .in the order-
day, ·m~nth, ye_ar • . · I.t ·fs · customa ry to put a
comma after. the mo~th and· a f'ull stop after
the year.)

. ~- The Salutat ipn (or· greetin g)~ This comes on

the -l~ft~ha nd side, a little-b elow the date.
It is fo~lowed b! .a· ~omma.

e.g.
·25 Mansour Stree~,
Bagh<:}a.d~
, . 2nd January~ 1974 •

Dear Ali;

Telegram:- R19861
 t •

,._
3. The Body of the Letter - In the first para-
graph you.will probably mention your reason
.for writing. pe~haps thanking Y01-l;r friend
ror a letter you received from him. ~f you
are answering a letter, you should deal
with the point in the letter you are answer-
~ng in the order in .which they -occur. If
rou are ~ot answering a letter:, .the. points
about which you are writing should be · arran-
ged in order of importance. A .separate para-
graph should be devoted to ev~ry separate·
topic dealt wtth.

4. The Subscription and Signature- The usual

forms of s~bscriptioi in personal · letters
are:

Yours sincerely, Yours very siricerely,

Your_ sirioere . friend, Y.ours affectionately,

· Your· affectionate friend, Yours ever~

. .

The subscription should begin ~bout t he

~iddle of the page, and· be follow ed by a
comma. Your si gnature shou ld oonie l.mdex -
neath .

- 221 ...

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 Dea r Ali, 'r
I was deli ghte d to·g et you r lett er • • • •

• • • • •

~·· ···· ···· ···· ··

C

···· ···· ···· ···· ····

. ... . .. . . ..... . . ... . .. .. . . . . ... . . .
• • • • .,lf'• ' •

• • • • . ... . ..
·\·

• • • • • • • • • • • • • • •
•• • • • • • • • • • • • • • • • e • -. .. • • •

... . ... . . .... . .. ....... . • • • • • • • • • •••• •••• ~

• • • • • • • • • •
• • ~ • • • • • • • • • e • ·• • • • • • • • • • • •

.................... . •
• • • • • • • •

• • • • • • e • • , • o • • • • • • •
"' • •

·-· .... •... . .... .... .. ...... . •

• • • • ~ • .• • • •

. . . . . . . . . . . . . . . . . . . . .. . . .. . . . . . . . . . . . .. . • ~ • •

0 •••••
••••••••.•••••••••

You rs sinc ere rrie nd,

Sani eer

2. Bus ines s L~t ters

The busi ness lett er 1s much m,o re !'or-

mal .. than . the _p erso nal ..let ter. Wha tev l'
the purp ose of your lett er·y ou shou ld 1-
way be conc ise, •o lear , aoou "
eou • Men who .r ec 1v '
llY y
day C not t' or ,o .
min ut or 1 ·th ·

Telegram:- R19861
 contents of each. Therefore you should
not include irrelevant information in a
bus~ness lett~r; you should mention only
the facts that the recipient will have
to know. If, for example, you are writ;..
ing a letter to apply for a job as a trans- ·
later, your prospective employer will want
·to know your age, qualifications, and ~x-
perience; he will not ·b~ intere~ted in
your height or weight; or .the colo~ of
your eyes. You should not begin to write
a letter until you have gathered all the
details to be dealt with and have clearly
mapped out the whole thing in your mind's
eye.

7he Form of the Business .Letter

1. Th~ Heading (as for the Personal Letter)

2. The name and address of the receiver

(addr~$see) of the · letter are written on
the ·1ert-hand side. (The. addressee' 8 n ame
~d address aho~ld appear on ·t he l e tte1 in
. 1y the same forni a s the y ~J)oear on
exact
the envelope .)

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 •Example;
, 26 Mansour Street,
f•

' ~ . Baghdad.

2nd Ja~uary, 1974.

Mr . A • K. Ali.,
42 Rashid·Street,
Baghdad.

Dear Sir,

3. The Salutation-If your letter is addressed

. . .
to a single person write Dear Sir (or Dear
Madam if it is to a .woman). If the letter is
addressed ·to a company write .Dear Sirs. If
you know the person reasonably well you can
write Dear Mr. -Smith.

4. The Body of the letter-The first paragraph

wiil introduce ~he matters with which the
lette~ deals. If your letter is a reply to
a previ_ous communication, you might begin
as ..fo1·1o·ws: --
In re1'ly to your letter of the 10th July,
,.
s'tating that the text-book 11 English Grs.mmar
For Foreign Stuc ents", by L. Blank, is out of
~

Telegram:- R19861
 st oc k, I am w ri tin g to sa
y .. .. .. ..
u m ig ht
In ap pl yi ng fo r a po st yo
be gi n as fo llo w s:

I am w ri ti ng to ap pl y
fo r •• •. .

en tio ne d in
If se ve ra l m at te rs ar e m
be de al t w ith in
th e le tt er ~ ea ch sh ou ld
th e le tt er co n-
a se pa ra te pa ra gr ap h. If
st s of se ve ra l pa ra gr ap hs , they m us t be
si
ed in lo gi ca l or de r, w ith a vi ew t.o _
ar ra ng
es en ti ng th e fa ct s in th e be st po ss ib l~
pr
wa y.
y co ns is t .
The -c lo si ng .p ar ag ra ph ma
ra se s of co ur te ou s
si m pl y of on e or two ph
rm , ex pr es si ng a ho pe fo r .a fa vo ur ab le
ro
y, or st .a ti ng ac ti on to be ta ke n.
re pl

bs cr ip ti on an d Si gn at ur e- T he us ua l
5. Su
on to a le tt er be gi nn in g S ir (s )
su b~ cr ip ti
yo ur s tr ul y. If
is Y ou rs fa it hf ul ly , or
yo ur le t_ter be gi ns D ea r
Mr~ •. .•-•. yo ur
cr ip ti on m ay be ei th er Y ou rs tr ~l y or
su bs
th e
Y ou rs si nc er el y, th e la tt er be ing
more fr ie nd ly -

- 225 -

Telegram:- R19861
 Your signature should always be written
by hand, even if the rr,ainder o~ the lette~
is typewritten. ·rt is a common practice for
the name of the writer to be typewritten under
the signature.

Sample Business Letters

(1) Application for a job:

25 Mansour Street,
Baghdad.

· · 4th February, 1973.

The Personne_.:1:- Manager~

·Mes~rs. -Dot_t .~d ~ash,
3 Rashid street,
Baghdad.

De8=r Sir,

In reply to your advertisement in

today's "Baghdad Observer" I am writing
to apply for the post of transl ator in
your company.

- 226 -

Telegram:- R19861
 I am twe nty -tw o yea rs.o f -ag e; l
am a gra dua te in En gli sh- of the .Dn ive r-
sit y of Baghdad and I obt ain ed a 'Very
.Good' in my B4A. exa min atio n.

For the, p~s t six_ months I hav e b6e n

·wo rki ng as a _,· tra nsl ato r for · the Ace
Ste el · Company., · bu~ wis h · to lea ve now to ·
imp~ove .my ' sal ary and pro spe cts .
,.
.
. '
'

' I ·s ha ll be hap py to sup ply you wit h

: f 't . •. • • ' J . I •
•

any fur the r · par tic ula r·s -.tha t you may
' , ·: • ' • ; • '• :- ' J •

req uir e or to .att end for an int erv iew at

•

you r re_q ues t . .

Yours fai thf ull y,
Ali Mohammed

2) Ask ing som eon e to act as a ref ere e

412 Yarmook Str eet ,

Bag hda d.

21s t May, 1974.

Dr. J. Sh iel d,
24 Pa les tin e Roa d,
Bag hdad .

Dea r Dr. Sh ed ,

Telegram:- R19861
 seeki,jlg a post as a teacher in Lebanon.
You will be interested
,. to hear that
.
I
• ,I' •

was successful in t~e final e~nation,

.securing an 'Excellent' ~.A • .in English.
..

I believe
.
I nid; be asked to furnisn.
...
the names of persons to whom I am well
known and to whom reference can be made.

I shall be very glad if you will

give me permission to give. your name for
this purpose. I shai1 be most gra~eful
for any help ·you feel able to give me.

Yours sincerely,
Hussein Ali ·

3) Thanking someone for a reference:

412 Yarmook Street,

Baghdad.
12~h June, 1971J.
Dr. J. Shield, ·
24 Palestine Road,
Baghdad.

Dear Dr. Shield,

You will no doubt be glad to hear

that I succeeded in obta1n.tng the post

- 228 -
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 · · ~;s· ,
I ap pli ed for , tha nks . to you r kin dne
in ac tin g as one of my .re fer enc es. .1
.-,ifli)

· mo st gra tef ul to you .

Yours sin cer ely ,

b\H ?Se in Ali

4) Ap pli cat ion for en try to a sch oo l or

co lle ~e :·

22 White Str eet .,

Mo sul .,_.
Ira q.
5th Ma rch , 197 4.

Tn e Re gis tra r., ·

Up tow n Co lle ge ,
Ma nc he ste r,
En gla nd .

De ar Si r,
I sho uld be ve ry gra te1 u1· .t~ r in-
ror ma tio n ab ou t en try to yo ur C6l1ege.
I ha ve fin ish ed my sch oo l stu die s her ~
and ho ld the .Go ver nm ent Se con dar y School
Ce rti fic ate .
I hav e bee n stu dy ing En gli s h fo
the pa s t e igh t ·ye ars and ob tai n ,cl 80
o
in my En gl lsh pa pe r in my S ll oo · C x~
tif 1c at e . I ho uld k t\ ,cu dy Et 11 - h

- 229 -

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 language and 1~ terature . .

Yours fa~ thfully , ·

Raymond Bla·c k

5) Asking for lists and catalo8;1:les:

27 Rashid Street,
Baghdad,
..
Iraq.

3rd June, 1973.•

The Sales Manager) .

Brown and Smith Ltd.,
2 Black Street,
York.,
Englando

Dear Sir.,

Would you-please. send me a list of

books on English .literature that you
have fn stock or could ·obtain for me.

Yours. faithfully,
Zina Barrow (Miss)

- 230 -

Telegram:- R19861
 .· .
.·-
27 Rashid Street ,
Baghda d.,-
. .. -:..
Iraq·~--

30th June, 1973.

The Sales Manag er, _
Brown and Smith Ltd.,-
2n~ Black Street ,
York,
Englan d.

Dear Sir.,

Thank you for sendtn g me your cata-

logue. I should like to · order the fol-
lowing books:

"Shake s.p eare' s Traged ies", by J. Bloggs

(No. 20XYZ)
11
Milton : an Anthol ogy", by C. Cross ·
(No. 3AB) ·
"Life of Words worth" , by I. Cray
(No. 2RU)
I enclos e a cheque for ~ _in~aym ent.

Yours f ai thf\lll y J
, ( 11

Telegram:- R19861
 7) Letters of complaint: .,

27 Rashid street, , · ·
1 t Baghdad,
Iraq.
4th August, 1973.

The Sales Man~ger,

·Brown and, Smith Ltd. ,
2 Black Street,
York,
Englarid.

Dear/ "..Sir.,
-.

On the 30th June last I ordered

from you a copy of "Shakespeare ' s Tra-
. .

.. g~dies1_1 ~ by J. Bloggs, _w ~ich was de-

li ve_red. to me on tqe -;i.st of August.

· Tne book was apparently 1.n good

condition, but when I came to study it
yesterday I discovered that pages 41-59
inclusive were missi~. It is obvio\lS
. . .
that these pages _were accidentally orrdt-
ted·wtien the copy was bound.
I am •ret 1rning th .book to you

232

Telegram:- R19861
 und er sep ara te cov er, and would ask you
to sen d me a complete· copy in. exch ang e • ·

Yours fait hfu lly,

Zina Barrow

EXERCISES

1. Read the ·rol low ing lett er:

21 Kel vin Dri ve,

Glasgow~
\

Sco tlan d.

23rd Oct obe r, 1973.

Dea r Ali ,

You do not know who I am, so let

me fir st intr odu ce mys elf. I was very
.,
kee n to get a pen -fri end in Iraq , so I
app lied to a bur eau her e whi ch put s
peo ple in Sco tlan d in touc h with pen -
frie nds in var iou s cou ntri es. ~ey .v
lr~n dly gav e me you r add ress , o h
am, · ·wr itin g to you .

My
boy ,

Telegram:- R19861
 class 6 of the Kelvi nbrid ge Secon dary
schoo l in Glasg ow. I ~· 5' 3!! tall and
weigh 8 stone s 11· lb. I enclo: s.e ·_·P. pho-
togra ph of myse lf wi~h my fathe r and
t .

..mothe r. My fathe rJfs a docto r. I have

no broth ers or siste rs, but
.
have
.
a lot
of frien ds. I colle ct stamps and would
be very glad if you would s~nd me ·some
Iraqi onese I shall send. you· some Britis ~·
o~es in excha nge, if you are.in teres ted.

I hope that you will write. to me .

soon and tell me all about yours elf.

Yours since rely,

John.

Now write a reply to the · above • .· Begin

your lette r as follow s:

Dear John,
I was very pleas ed to receiv .e your
lette r and your photo g~aph . I too bad
appli ed to a.bur ea~ for a·pen -fr~en d-
abroa d, b~t hB:d . he~rd nothi ng ._u ntil J .
rece ived your very welcome l -t. ter . .No
. .
.
'

that .we are f p t _ouot;i ,

l
we ·mut1,t ·write .to·.-
; • •~.. ""': • ~ ~

- 2)4 ..

Telegram:- R19861
 each other often.

Thank you for telling me about your-

self. Here is some information about·me.

(The l'·est of ·the letter can be simi-

lar to the second pa1•agraph of John's
letter)

2. Write a letter replying to the following

. advertisement which appe~ed in."The Baghdad
· observer" on the 30th May:

Wanted-young rrian for the post of Tourist

Guide.

Fluent Eng.lish essential . .

Apply stating age, qualification,
and experience (if any) to Mr. J.
Ali; Department of Tourism, Baghdad.

3. Write to one of
your lecturers asking if
he would be willing to act as your referee
in c0nnection with your-appli~ation to the
above post.

4. ·Last week you bought · a watch from nThe

Watch Housen, 23 Banlc street, Beirut. When
you got home you discovered that the watch

- _y -

Telegram:- R19861
 was nqt work ing prop erly . Write to ~~e
man ager 6f the shop , ~ell ing him that you
are retu rnin g the witch, and aski ng him
to repl ace it.
.

5. Wri te a lett er to .a for~ er teac her of you rs

now in Eng land , showing him how you have
spen t the summer and prov ing by argu men t
that the holi day has been much more usef ul
than clas ses and lect ures in impr ovin g
you r edu cati on.

6. You work in the Pers onne l Depa rtme nt of

the Iraq Nati onal Oil Company, Kho lani
S<=iuare, Jum huri ya Stre et.

·Mr. A. Ban dra has writ ten to the Company,

· app lyin g r'or a posi tion · as geo logi st. Writ e
a lett er to Mr. Band ra ,te~ ling him that his
app lica tion has been _pass ed on to the Geol ogy
\
•
# .

Dep .artm ent and th~t you will let him lmow
thei r deci sion ~s _soon .as . poss ible . (Mr.
..... . .
Ban dra' s addr ess is: 20 Ta~·Mahal Avenue,
Mad ras., Indi a) •

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 CH~PTER EIGHT ·

FIGURES OF SPEECH AND OTHER USEFUL

LITERARY TERMS

!igurative L~guage

Words can be used in one of two ways,

either literally or figuratively. In.a
literal sense we use ·them for their ordinary
meanings:

The wall of rough stones that Ali built

was starting to crumble. Here we are talk-
11
ing about a real wall; the word "wall is used
in its literal sense. But" words can also be
that is, for meanings
used :figurati ye_ly -
that are suggested by their literal meanings.

Sameer tried repeatedly, but he could

not break through the wall of suspicio n that.
th ·
had been up in the past few weeks, Here e
word "wall" is used figuratively. The Suspi-
_cion was so strong that it runctioned Ju •\
~ t Of '
q.c ual wall would- to out peop
eatJh otber

We ofte

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 Engl ish witho ut reali zing the ~act~ thus we
11
talk abou t "the hanq.s of a clock , witho ut any
wea.r1ing of real hand s. Ther e·is no idea. of
the liter al · { ordiM .r~) ~eani ng o.f u foot" .,
wher we refer to ,ithE{ tbot of a ~oun tain" .
Figu rativ e langu age is uncon sciou ~ly used by
the majo rity of Engl ish peop le to make ideas
~nd mean ings vivid and alive .

Figu res of Speec h

Figu rativ e· langu age is- comp osed of

figu res of speec h, i.e. forms of speec h in
whic h words - are -not used with their liter al
mear tings .

Thus , the word ttmouthtt in th-e ~xpr essio n

the mout h -of the ri ver is a figur e of speec h
11
0

beca use . i t .p as not kept its or~n ary mean ing.

Ther e are vario us fig\lr es of speec h in the
Engl ish langu age, and write rs often use them
unco nscio usly. They _exp ress ·them selve s in
'
figu res of speec h becau se these terms best.
. conv ey what they are attem pting to exp~ ~$~

Figu res of Spee ch Based on Resem blanc ~ · ·

,,

1. Simi le: One thing 1 oomp ar . <-, .wit · . ·~ othe r

'

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 E re sp ec t
be ca us e th ey ar e al ik e in ON
ts . In
bu t di ff er en t in ot he r re sp ec
m ile th e co m pa ris on is fu ll y st at ed ., ·
si
or "l ik e" :
.fr eq ue nt ly by th e us e of "a s"
ke a· br ig ht
e. g. (a ) The new ca r sh on e li
f-
st ar . He re .two ~complet.. ely di
re re nt th in gs (a ca r, and a
th ey
st ar ) a·r e co m pa re d be ca us e
ha ve one fe at ur e in common •.
a
(b ) nT hi s C ity now do th , li ke
ga rm en t, w ea r. The be au ty of
th e m or ni" ng .• •• ••
11

{Wordsworth)

(c ) "I w an de re d lo ne ly as
a cl ou d
va le s
Th at fl oa ts on hi gh o' er. .,. .
an d hi ll s~ "
( W or ds wo rth )
ed pa t~ hy ,
(N ot e th at "t he -m ou nt ai n lo ok
rl ie rf l would
li ke th e h il l we ha d ·se en ea
a si m il e, bu t m er el y a si m pl e com-
no t be
co m pa re d ar e
.p ar is on , fo r th e two th in gs
m il e is to be
in he re nt ly al ik e. If th e si
ff ec ti ve , th e two th in gs m us t be in he re nt -
:e
e re sp ec t.)
ly di ff er en t ex ce pt in th e on

- 239 -
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 2. Metaphor: A figure of speech in which one
thing is expressed under the name
of another resembling it in one
respec~~
.
It is an implied .
simile,
suggesti~. ta comparison but not
fully expre~-s ing· it, e.g.,

(a) "The key to the myste~y. 11

(i_.e. the solution to the
mystery is like the key to
-a door ,r)

· (b) "Peep through the blanket of

the dark.'~- · ( Shakespear.e) •

·· ( c) "The torrent of his eloquence

carried away his audience".

(Here there is an impl~ed

compa.rison of his words ·with
a rushing torrent.)

3. Personif~cation: A reference to inanimate

<?!?J~.~-t$ as· ff they were persons.
Life 1s attributed to lifeless
obj~cts, e.g.,
0
(a) When the light doth meet
the Noon In a dark consp1 I'P.. cy."

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 (b) "With Le~den foo t Time
cre eps alo ng 1' •·

4. Ap ost rop he: An ~~ dre ss· to an · ab sen t per son

qr- a:p e~ son ifi ed · ob jec t; e.g .~

(a) "o Wi ld West Windt tho u

bre ath of .AutUlIL.'1 s bei ng .
1 11

(Sh ell ey) . .

{b) 11
Mi lto nl tho u sho uld st be
liv ing at th is ho ur. n

(Wordsworth)
( c) "De ath ,_ be no t pro ud , tho ug h
some hav e ca lle d the e Mi ght y
and dre ad ful , for tho u ar t
no t so-."

(Jo hn Donne)

P-l gur es of Sp eec h Ba sed on Co ntr ast or

Su rpr ise
0
1. An tit he sis : When two wo rds or ide as
1n clu .d
op po sit e meaning
,- ·u lt is
1n a sen ten c , _t ,
an ti the 1 · , · ._; · ,

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 (a) He was a good t e ache r but
a poor student.
J t .

(b) - "Prosperi ty doth best dis-

cover ~ice, but adversity
doth -best discover virtue."

(Bacon)

2. Epigram: A .brief, pointed statement , often

showing a con~rast or an apparent
contradic tion. Many epigrams
-are also proverbs, e.g.,

(a) Speech is silver, silence is

. , .. ·golden.

{b) The best way .to learn a sub-

ject i~ to' teach it.

(c) Our enemies are often our

true~t friends.

(d) nEvery man desires to live

long; but no man would be ·
old." (Swift)

3. Pun: The 'ij.se· .o f the same: word (or two

wovds similar- ·in sowid) in differ-
ent senses tor humorous purposes,
e.g., -·

242
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 (a) You say you are stu dyi ng tre es.
What b~anch of the _su bje ct are
you s~~ cia li~ ing in?
tt' . ..
(b) 'Ibey went and tol d the sex ton
..
and The sex ton tol l d the be ll."
1

·( Thomas Hood)

4. Hy per bol e: The use of exa gge rat ion for the
o f em pha sis, e.g .,
sake· _

( a) "a tho usa nd tha nks u

(b) "I .-lov

. .
.
ed Op hel ia: for ty
. .

: . .tno usa nd bro-the rs Co.uld no t,

wit h all ~he ir qua nti ty of
lov e, Make up my sum ."
11
( Sh ake sp~ are - "Ha mle t )

5. Iro ny: A sta tem ent whi·ch me ans exa ctl y the
opp osi te of what it say s, usu all y
to_ convey se~ ere cri tic ism , e.g . ,

(a) Yo u're a fin e goa lke epe r., allo w-

_ing t h e oth er sid to ~cc r ~i--
go t · .

. ,r

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 J· t

(b) "Now get you to my lady's

chamber, and tell her, let
her pain an inch thick, tq
this fav~ur.she must qome;
make her laugh at that."

{Hamlet to the skull

of Yorick, the
jester)

A spe·cial form of irony is .

-dramatic -irony, when the aud-
- ience understand something
·that is ·not ~known by one or
more of the characters on the
stage. i
I

6. I1-1:nuendo: Wnan the writer hints at the

meaning (but does not expressl y
state it), he is using innuendo ,
e.g . .,

{a) You will know when you h -v

made a mist ake .. (1 • . . .:>' n -
on .: 1 t l yo , 01' 1
nl.
y u.)

....

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 ·(b ) In hi s co nv er·s ati on Ma c-
au lay ha d br ill ia nt fla -
sh es of sil en ce .

7. Euphemism: An in di re ct an d more ple as

an t way
~f ex pre ssi ng som ~th ing un ple as-
ant ., e.g . ., .

(a) uHow sle ep the bra ve who

sin k to re st By th ei r
· co un try 's wi sh es bl es tl"

( Co ll~ ns)
(us lee pu an d "~ es t 11 fo r
11 de ath
u)

( b) 11Cl au de · Du ral wa s a ge n-
. tle ma n of the ~o ad ;u
(i. e. a highwayman) .

co nt ra di ct t on ex pre ss-
8 , Oxymoron: A se e mi ng
. _
e d by words pl a ced ne xt to
ot he r, on e word 1 opp o~
1 n - an t n to t -
0

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 (a) ope n sec ret
. · · (b) •i°Re.v... eng~ is ·a kin d of wil d .
.
. .. . . .
!
..

ju~tic_e·~ n _ (Bacon)

( c) "Hi·s · hon our roo ted in dis -

... ... '. . ... hon our Sto Od, . And ra.1 tli-" tin~
. .. .

· fai "th rui · ·kep·t hiin fal sel y tru e. ~

1

. ( Ten nys on)

Cli .ma x: · . A-_.-, ser ies of ide as or sta tem ent

s
gra dua ,lly - .·1n
.
cr~ asi ng
.
-in irit ens i ty
- .. . .

. of . tho u$h t and ter mi na_ting in · the

·mo ~t· im pre ssi ve ide a or stat em P-n t~

,., ..... ;:

( a) The aud ien 9e ~~ led ,-. chu ~kl er:,.

"5~ •
.:
and .fi~ all y· .how .... led . Wi th lau P;h
.
··~•..·, ..: : ,,.···
.. , .

I (b) "S~
.
nie·. b·o oks
.
are to be tas ted ,
-ot her s to· be swa llow ed, and
some few to ·be chewed and
dig est ed" •
, . ' • .
(Ba con )

( c) nAnd, l ike the bas ele ss f bri c

of h is Vis i on., . ' lh . olo ud- -o
tow. r , th g-o r · .ot p •

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 The solemn temples, the
great globe itself.
Yea, all which it inherit,
shall dissolve."
l •

. (Shakespeare)

10. Anti-Climax or Bathos:

' .
spoiling the effe9t of a climax by
~ adding an item of much less import-
ance.· It is often used unintention-
ally~ but may also be deliberate for
a·.satirical or humorous effect, e.g.,
--
( a) "Love your country; tell the .
truth; and· don It dawdl~. l1

(b) "Not louder shrieks to pitying

heaven are cast, When husbands
·or· when lapdogs breathe their
last."
(Pope)

( c) "Here· thou, great Anna! whom

thre·e realms obey,
Dost some times counsel ta · d
-ometime t - ."

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 · ~l. Litotes: Delibe:ria'.te understatement,
(th~ opposi t ·e of hyperbole),
'.
e .g·.,

·Breaking
.
his
.
leg didn't do the .

old man- any _good·. He · described

his
, new job Wi·th no 11 ttle en-
thusiasm.
Frequently
. Litote~
. ..is shown by'

the -~se ~r. two negatives •

. e.g.,. _S he is not unhappy in her
·.-·· preaent _post.

Figures or ~peech Based on Association

1 .•- Metonymy_: -T he _)~'_e ~resentatio~ of an ob-

je_c~ by ~o~th~Ilg closely con-
. nected ·w1th it, esg. ~
"Since the First World War al-
most. every beauty spot has
been threatened.by the· builder.
( 1.-e., in danger ,o f ha vtn
buil(iings erected on 1 t, 1 h
builde . :.tt being u e , ,- o
. ent · h ho
. i. y ' )

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 in g 1-·s ma de to
2. Sy me ch do ch e: A pa rt of a th
re pr es en t· th e -w ho le., or th e
wh~~e ~s pu~ ro r a pa rt, e. g. ,

{a ) "a fle et of fif ty sai l~_ f.

. . . .
11
sa il fo r sh ip. )
11 11 11
(

(b) Au str al ia ha s won.

(ie e. th e Au str al ia n
cr ick et- tea m. )

3. Tr an sf er re d Ep ith et :
m
Th e tra ns fe r of ari ad j ec t~·ve · fro
to an -
wo rq wh ich it no rm all y qu al ifi es
ot he r wo rd to wh ich it do es no
t·· st.r ic tly
g. The po or man sp e~ t a sle ep -
be lo ng j e. . . .
s_on.
le ss ni gq .t wo rry in g •ab o~ t hi s

4. On om ato po eia :
The us e of words to su gg es t th e
is th us an
so un d th ey re pr es en t: th e so un d-
echo of th e se ns e, e. g. J
(a ) cl at te ri ng ho ~f s
(b) th e pi tte r- pa tte r of ra in

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 ( ·Toe bare blac~tcli ff cl~g'd round
him" (Tennyson ). ·
(1.e • , _-Sfr · Bedi vere in his armour des-
cending a great rock) ·.

Other · useful Literary Terms

1 . Allegory:

A story in which the persons and in-

cidents have a symbolic meaning, generally
to teach a moral lesson.

The b~st example in English is Bunyan• s

".Pilgrim'· s Progress" . ·
2. Alliterat ion:

The repetitio n of the same initial

.
sound in two or more words in close suc-
cession. Alliterat ion is a characteri stic..
of poetry, e~peciall y Old English -.poetry,

(a) nFull fathom fiVe thy father lies:11

(Shakesp~ ~~) J • • •

(b) "In a ~upuner season when sort wa~

the sun". (Langlan)

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 ,J. Assonance:

· . . · The rh ~n g · of vo ~e ls bu t no
t of co n-
so na nt s, e.-g. ,
nn el~
fe et , ·be an ; so un d, mo un t; humble, fu
: \ ' ,' :, l •

4. Paradox:
I '
I

g ht se em s·
•
•

at fi rs t si_
I
•

A sta tem en t wh ich

. .. '

rth er ex am in- ·:
. '

t9 be qp ntr aq .ic tor y, bu t on fu

• •• • ~ • t • • • •

or.tant
•

at io n is · fou.p.d to co nt ain .a n :J_mp

trU tb that ~t~dS out all th e ~o re . bY. .re as on ' '

e.g .~•
of un ex pe cte d for m of ex pr es sio n,
ca n be •
"O nly th e man who ha s known fe ar '
·. : ~ ·
trui ly bt'ave n ·• . .·
.
: .. ' . ·•

5. Rh eto ric a1 · Qu es tio n:

A qu es tio n wh ich is re al ly a sta
tem en t
er .~ =I t
and whi~h- does no t re qu ire an ' an sw
is a sta tem en t in ·th e form of a q~ es tio n,
. .
pu bl ic,
an d is of te n used in .sp ee ch es ·1n
e. g. ,
st fri en d? ~
(a) "Do yo u wa nt to ·be tra y yo \ir be

{b) "What is lo ve ? 'ti s no t he re af te r ..... "

(S ha ke sp ea re)

Telegram:- R19861
 i t
So~etim~s the ·question is answered by
tpe p·erson. who asks 1 t.

6. ··:Parody:

Ari imitation of a writer's style, in-

. tended- to mimic or ridicule. A parody of
tl)e· .poem "Dr1~
- . to me only with thine eyes 11
begins nw1n1c to me with thine only eye 11 •

.7. · Sarcas~:
- A lower_·fqrm of irony. When a man who
.
h~ ·ea~e~ - a poo~ meal·_ tells his wife that
-she 1s a good cook, he is being sarcastic
. .
(using -sarcasm).

8. Satire·:
Verse or prose which ho~ds up to .ridi-
cule e1-ther individual people f ai l-
:i!ngs.

2 r

Telegram:- R19861
 CHAPTER NINE

USING THE LIBRARY AND THE

DICTIONARY

l. The Libra ry

When you ~nter a publi c libra ry for

the first ti.me· you .might be amaze d to s_ee
so many thousa nds of books · and you might
perha ps wonder how you· are ever going to
find the books · you want. To make it ·e asy
for the public to find out wheth er the lib-
rary has a partic ular book and, if so,
where to.fin d it,·a ll libra ries have card
catalo gues .. Once y~u have learn t how to
use the card catalo gu~ .you shoul d not have
much diffic ulty in findin g the books you
want. The Card Catalo gue is an alpha betic al
.. . .
list of all the books in a parti
.
cular
. .
lib-
rary, arrang ed on cards in a serie s of draw-
ers. In the catalo gue you can find {l)
wheth er the librar y has a book of a . certtµ .n
title , (2) what boo~ it has by a certa in ·
autho r, (3) what books it has on a given
.s ubjec t, and (4) where you will .f ind a b o:.:
on the librar y shelve s-

Telegram:- R19861
 J· t

; , ,, I ll I
. (.
I /
, f ;,

. . , .,
The catalog ue usuall y :, . contai ns three cards
. . , i
for every book: an author card, a title card,
a sub.jec t card. When you know the author of
a book, you genera~ ~Y look for th~ ~utqor card •
.,_ ... ·~ '. ,. ' ·, :.·,··, •.: J. •.. ~ I I',,, , , '• ;'', , ·,, . / , , .. ·, • . .
This is· riled alphab eticall y by the author ~s
name,
• • ' I ,, , , . • I , • , • • • , ' I . ..

. last
: •
·wh'.fch a'p·pear·s at the top _of . t.he ~ard.
" • • • .. ' •• • •• , •

. When ·.ychf:'knbw the· ti!tie' of a , bool'i' but not the

' "; .. , , • , • l, ..

auth6F , ::you··:1.o'ok fd'r,:- 'to~· 'title ·.It 1s· . ci~rd.

fil~H· ;:alph:abeti'b~Ily ·ac~·ordints ~the., t~:- first
imp~rtaht~· W<:>'rci ·o't the, ti t:le .·: , ,•, , .,
• I • : .. " •. o ,(
/, . ~ I • • I
I : \. : I ,, • ,• j, , •

S~meti mes you- may-wa nt -to find . books ·on· a·

certai n ··sti·bj'ect~ . bU:t 'you , have .~~ auth~r s . ·o·~
ti tt~·s'·1r('lfl1:nit.;.. :.'lheh·· y~~U -lo!~ii· 1~ ~h~ ~atalogue
for :subje:6t";cards~ fll~d · i1~~~~e~ic~i,i; a~~c-o rd-
1ng: t6 '.,- thE;-: sUb;i~c·t ~ .·., Onder ~VerY Subj ec1/ .he~d-
. .. . •, , . . t .• . . : , ' . . ·.
ing~· there . ·are cards for the hooks in the li~.
rary '• dealin g;'with th~t ~~bje~ t.
.. . . . -.. . . ·. , .. ' ~ . .
. :
, ,, .

.. :Moreover; ·: abook may be .listed . under severa l

d1rrer .ent ·subj~c t=~hea dings~ If you ·do not f 'l nd
the fir~st .,~ubje ct · headin g you • look for,, try ·/
rel~t.e d aubJ·ec ta.:.-.-: Here ls a typio· l author
card.

,,J
Telegram:- R19861
 · Jo,ffiS, Daniel

An outline . of ]~nglish_. Phonetic_~·; .

·,9th·ed
Cambridge Heffer ·21/-, Jul~.
1960. xx, 37~p. . .
froht.,· il:lus. ·, diagrs . .)Jibliog. ·
22 cm-.
. \ '. '

. _(86o-12164) ·Pr.eyious ed. (B5&-·

l:;87) 195.6. ·

X 519~i
421~-5-::- PRONUNC:C.A TI ON
.,
--. .
: ·-::·· -

The c·all number in the upper J"'i,tt\t · ior- _.

ner tell~ where , . you .will ·r~nd the :·bqok··.t ~:·tne
library. _412·. 5_1s. the Dewey .·c 1as~iti_catiQt1:· : ·.. :
. '

number. Since this call number 1s also·printet

' ' '

on the spine of.th~

.
'book, it makes it easy for
. ' ' .

rou to find ~he b~ok on the . s~elv~s~

. . I .
· Catalogu~ cards tell you ot~~r- -~hingS .
that you may want to lm~w about a book: t~~
place and. date· 1 t was published; the -·name Clf

255 -

Telegram:- R19861
 the pub lish er; the number of pag es; whe ther .
. ' ' s, app end ices ; a:na.
f'

it has 1llu str~ tion s, map

all the. stib ject hea ding s it ~s list ed·_ und er.
I ,
• . •

Dewey Dec ima l Sys tem : ·To '1:hake it easy ·to find
th~ ava ~la ble mat eri'a_l o·n a· pa~ ticu lar sub je•c t,.
· mos t ·11b rar1 ·es· :·cla ssif y and arra nge the ir 'boo
ks

,.·ac cord ing to the D·ewey ~De cima l Sys tem ~ In

thi s syst em, -all -$Ub ject mat ter is div ide d. in-
·. tq te~ mai-n :· clas ses and ass· igne d · cer tai·n num-
ber s:

000 Gen eral Works .:,· 500 Sci enc e ·

100 P~l oso phy . and · 6ob ·Tec hno lo·g y
Psy cho logy · · 700 Art s ·and · . ·
·- 200._. ·R~)--igion: Reo rea ti-o ns
-390 · ~~=t~ial . S~i ~nc es ~-d -800 L1 tera tur e
_. .Co ~er ce
= .-
900 ·a eog rap hy, Bio -
40O :µan guag e · rap hy, His tory

Ea~ h . ~f tli~ se
.
ten ·cia sse s·· is sul r div ide d into
. -
. . . .

mor e spe cifi c ··gro ups . .( For exa mpl e: lite rat ure·
is o_la ssif ~ed fir. st by nat ion a~i ty: Eng lish
.lite rat ure ~is 820 ; American lite rat ure is
810 ,) .. Eac h of the ten gro ups· is in turn ~~b -
• I
• ' '
1

div id~ d into sma lle r fiel ds. (En glis h poe try
is 821 ; Eng lish drama- 822; Eng lish No vel -
-823; Eng lish Esaay- 824., and on) . sti ll so

.,
Telegram:- R19861
 ..
sm~ller subdivisions are made by:tiJirig deci-
mals. In most small libraries., boolcs ··of
fiction afek·"not·,·gfv~ri -·a ~l-tissificatio~ ·n~ber •.
Instead, they are marked with ·a n F .and are
. '/ '

arranged on the she_lves · alphaqetically by the· last

name of'· the author. Individual biographies
are mar~ed Bin small libraries; in.others,they
are given number 92 or 920 •. The biog~aphies are
arrang~d alphabetically ~y the la~t name of the
• • J •

per·s o~ the book i _s a.bout., The Dewey Cla~sifi-

c_a tion number, which is part of· _the call number,
r I ' ~

is placed on the '. spine of .t h:e'.. book. The cal·l

number is put -.in .the upper., ri:ght co1tE~-t1of the
author, subject, · and title _cards in· the carq
catalogu~. Once you know the qall number or
a certain book, you cari _easily· find it on the
shelves.

Reference Books: Dictionarie_s, · encyclopaedias,

and ·other books especially helpful ·for refer~ ·
are usua lly kept on the_ppen .shelves of th. ··
reference rOom, where you may use tt · m ' 1
w1 thout having to r -e que ~t th t t:l1 )
~
irom the til"oks. ,'iow·_·V - l , ~ m·.
the refer,49nce bo . k ,; "1·" 1 ,t

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 and, if this is the case , you will have to ask
for them . Eac~ of thes e book s is_ list ed in .
the card cata logu e, and the call num ber Will
ofte n . help you to find the ~ook . You shou ld
i t
lear n the gen eral loca tion ~f the chie f clas· ses
of refe renc e book~ in . ord~ r ~hat .you may turn
to them with out los$ of time . The follo win g
are some cf the refe renc e book s you mig ht find
use ful:

Cha mbe r's Enc yalo paed ia 15 .vol s. -

Enc.y ciop aedi a Bri taru uca 24 vols -.
Cas sell 's Enc yclo paed ia of
Lite ratu re (1953)
Tne O~fo rd Com pani on to Eng lish
. Lite ratu re, 4th ed. (196 7)
Lo~gman Com pani on to Eng lish .
~ite ~atu re, .Chr isto pher Gil lie
Il~U stra ted Hist ory of Eng lish
iite rat~ re, A.C. Ward, 3 vols .

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 · 2. The Di ct io ~a ry .
I

An En gl ish di ct io na ry is of th
e ut -
mo st im po rta nc e to anyone who
w rit es
En gl ish ~ 1

You sh ou ld b\l.Y a go od En gl i·s

h-
En gl i sh di c_ tio na ry an d le ar
n how to us e 1 t
w el l. The ex pl an at io n of En
gl ish wo rd s
in te rm s of ot he r, sim pl er En
gl ish wo rd s
he lp s to in cr ea se yo ur vo ca bu
la ry an d
at
th e same tim e pr ev en ts some of
th e wo rs t fa ul ts
of di re ct tr an sl at io n. No tw
o di ct io na rie s
ar e th e _sam e, an d\ th e be st . wa
y to de r·1 ve th e
ut m os t be ne fit fro rp .a di ct io na
ry is to be co me
fa m ili ar wi th it a~ d lo ok up
Words un til us in g
th e di ct io na ry · be co ~e s a ha bi
t.

M es t of. th e -la rg er ~d ic tic 1a rie

s gi ve th e
ro llo w in g in fo rm at io n apout
th e words th ey
co nt ai ~:·

1. th e sp el lin g of wo ~a s
2. th e pr....onune.ra ti .o n
3. th e pa rt o·f sp ee ch o~r fu nc tio
\
n of th e
word

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 . 1
I

4. the chi~f ~eaning, followed by any

other meanings
5. its derivatives (if any).
6. its origin and· format~on
' j. . • ' • .
7. related idiomatic expressions
8 .. ·collocations .and compounds
. . . ..

9 .. (occasionalJy) il~ustr~tions
10. cross reference to related words

Here is an example of a typican entry in

a small dictionary ( 11 The Progressive English
Dictionary" -Oxford• University Press):-
grammar n.study or science of, rules of,
the words .and structu~e of a
language, grammarian n. expert
in ,v grmmatical adj. of; con-
for~ing to the rules of, ~

Here we have the spelling, th~ nart of speech,

the derivatives, and the meanings of the word ,
In a larger dictionary you will, of oourseJ
find more information. The entry for 1'gram.r:ntu~ 1•
in "Th.e Advanced Learner 1 s Di ot i ona1y of
Current Engliah 11 is ae follows-,.~

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 I , , ,

or sc ie nc e
§_rammar /'g ra me / n. 1. [U] stu dy
--
!' 1t f~ 1t -f i. P .r d ~! ~• ~Q ~
1 , . ·, · _: ~(:Wmf8#~n¥!511Mmt<ffl'tr~~.s-·
and . th e form of words (morphology)
' : - . -
.i .. ,, • •
' • • '

o~
.. ?,~.:_ [ Cf bo'oK co nt ain in g . th e rm.~~
~f -~ ~. S~ M ·. ~s ch oo l, (in GB (
typ e of .- second~ri· sch oo l° wh ich
th
pr ov id es ac ad em ic (o nt ra ste d wi
tew lpl ica l) co ur se s • .,v ia n
·_ (~:t'J},' pie ari an / n. ex pe rt in •
. .. .
~ . .

. .
·:. . - .. . . ~ . .
.- :; ; .
wi cia tio n, pa rt
Here we ·ha ve the · sp el lin. g, pr on . .

of spe~.c~ .-.-~ : -~t_yp~_.,o.t. ·.noun, me an ing ~,

·~· ··- . iv,.•,
es
.-:.
an d th e pr on un cia tio n
compounds, de riv at
at iv e •
~d -p ar t of sp ee ch of th e -d er iv
., • .
. • I

I .

.. ,

( '

r .,. Jr.:.,

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 O H A PT ER TE N
0 0 M l\1:0 N : ER R O RS
' ( .
.
spoken and .wrl uett
Th'e following are quite common in both
'

lis h. Co rre ct th~ mistakes, giving reasons for 8!1Y changes ·you
\~g
.make.. .
' ..
1; . I am old .twelve years.
2. . Ali is old than Sami two years.
3.. My ·book is different of yours.
·
4. . I ma ke my homeworks every night.
5.. I too k a good mark in English.
·6. Th e time is six and a half•.
7. This book is to nie.
untain I was very tired.
8. When I ~e d to the top of the mo
9 He entered"into ·the room cautiou
sly.
·
l O He _. is one from·~e b~ students. ·
11. You have wrong.
12. Th e right is·with yv,u.
13. Your book is with me; in my bag.
14. He studies Jµmlly.
15. Th e ship is ,waUdng_fast.
16. They returned back at m1dn1ght.

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 . ,11:·
',i,\
••,
. -.;.
' ' {;
• ,·'l

. . -~~~

·'.

·11. The car was tu

nning down the Mill
1s·. She :is afraid from
dogs.
19.. He waifed .until
the village. ·
1.0. I'walked hdme
21. __ ~ did all my po
un~rthe rain. _
ssiole to ~ s s the exam
.
22. How mucli is th
• I e price ·of these .apples
32. The· chair's·leg ?
. is broken.
24. I opene.a the ~
o to ·hear ~ e news.
'

25 .. ~~osed th e tele
visimi afte
id:• · ·~ e ·tOOk a pemµ8sion r the filni,
from ~tlte teach~r.
27. -I saw him be
. . fo. re two days. .
23. · H e lef~ to Franc. e .
yesterqay.
29 .- rw a s angry ~ :-
a u ~ e -.he was laughi~1
30. T h e news ar e g ~~ me. ·
go od today".
31. T h is is the book
which I bought it yest
31. In the next da erday. - ·
v it rained so .we ha
'
-
•
• • d to stay it boine.
33'. Ue _ran v e' J •
I

fast th at he becaine tir

· 34. I have no any ed.
money.
35. She prafers th~s
book on tha~ one~
36. I wa~ted: him {o
r a long time. :·
'. 37. He said me gooi
•5ye.
38. I want that ,you
~ m e nex~ w~Jc- ·
19 .•:·He told that be ·had ~ n
-in many ~ e re n t co
untries.

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 40. -· It depends-of the weather.•- .:!
41. My work p;n;yonted 11>:e to come.
42. He was migrJ against ine. ·
43. That· old man reminds me 6y biy gt"a!ldfather. ,
\/
I

44. ·Are you ~ted for music? ~

45. Would you •mind to post thik'Ie,ier•.·
46. l congratulate you for your su<XeSS.
· 47. I suggest to go to the cinema..
.48.. I laid down because I was so tjred
· 49. I often do ~ mistake•
.SO. He made me to write it out again ..
:st·. I am so worried for my sister who 1s ill. ,
52. It is worth to see that filni. ·
13.. Wbat means this word?
54• . He· anived to Mosul yesterday.
5S. I enjoye<f: very mucli.the-~
. 56. .I prefer swimming than· playing footoalL
. . .
51. . I am-very i n ~ g ·in poe.try;
58 He felt himself vefy tired.
.S9. That pictu,e wo~ five ~usand dinars.
·.-60. Thieves stole· our ho~ last week
61-~ The sky was· raining ver~f heavily•
.62. My mother did n~t leave ~e to go_ the cinema.
-63. He told· her to don.9t waste time.
·64. He is writing a· letter with ink.
-6S. I promised _her to visit her. · ·
66. I am. ~ry ·happy to see yoti l~ .a gobd condition. .

.r

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 .67. As a ~esult for his laziness
he lost his job.
'68. She wouldn't told me the secr
et
·69. Mr; Smith learns ·US · Engtis
a .
70 . ~ y sister .is:too clever
( . S~e elways gets high m
'
I-.
I 71. He· ~anted to bought a ne arks . .
/ w ·car. ·
·12. She sat ·down to ren ,·
\
.
. ' 13. I aslced him where di
1;,ecause shewas a tired,
•~""
d he -live.

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 · B I B L -1:"O G R A P H Y
~

' (

Allen, W. Staopard . living English Structur~ A Practice Book Ior

·Foreign Students. London: Loogmsos,'._-1967.
. .
Alexander, L.G. New . Concept . English. Developing Skills.· An
lntegraJed Course for !ntennediate Studenis. Hong
Kong: Longmans~ 1968.
Essay and utter WriJing. Hong Kong: Lo~gman·
Group 1972., ·

A First ·Book in Comprehension, ~recis and Comp<r

sition. Hong Kon~ Longmans. 1969.

Poetry and frose App,_r_~ior_t for Overseas

Students~Malta: LQngman Group, 1971. ··
Sixty Steps to P;-ecis. Hong Kong: Longma ns,· 1966.
. Batl, .WJ and Tlie Golden Road to English literature. Books 1-4.
G.C. Thomley . Hong Kong: ~gman_s, Gree~ -1966.
Brigb~ J .A. Engllsh ro~position Course for Overseas Studenls.
HQDg Kont ¥>ngmans, t966.
Burton;· S~ ~ Modern Precis Practice. Hong Kong: Longmans,
1963. .
'Byrne, Donn. Intermediate Comprehension Passages.
_Hoeg _Kcog: Longman Group, 1971..
eam~a RR. . English Comp()Sition .f or Foreign Students.
Hong Kong:_Longm~s, 1966.

266
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 '. ';?:}/:~·
-<·::;)
·,

Candlin, E.F. .Presu.Ji-Day English Jor Foreign _Students. Books 1-3-

London: Univetsity of London. J,>ress,· 1969. . ·
. '

Corder,S.Pit. An lntennediate :'Engfish -Practice Book.

Ho~ Kong: Lo3:1gmans, 19.06. .
Eckersley, C.E. Bright,1r E_nglish. _Ho11:~ _Kong: Lon~ans,. 1965• .·
Frien4, Jewell A. · .=
W~ng Etiglis~ ·ON a-- Second Ulllguage. ·
· Glenview, l114tois: Scott, Fpresttian; 1971.
Graver, B.D. · _Adv(!nced English Practice. London: ·o.U.P., 1972..
~omby,. AS., . .The Advanced Learner's Dictionary of- Curtf~nt -·.
_- E.V. Gatenby, .and English London: _O.U.P., 197L -
H. Wakefield.
::. . ,,.. '

Bills L.A Comprehension and Precis Pieces f9r Oyerseas.

Students.· London: Lo~gmans, Green, .1955.
ElemenJary . Stories for· Reproduction. London:
O.U..P., 1965
intermediate Stories for Reproductio~ · London:.-
·o.U.~., 1967.
Free Co1ffposition Book. London: O.U.P., 1967

Outline Compositio_n -Book~ ~ntion : O. U.P., ·1967

,
.. · Jupp, ,;'.C. and Englis!z Sentence Structure.. London: Heine.mapn~-
John Milne. 1970. .
Guided Course in _English Composifion. London~
·Heinemann, 1972.
• [ti ' .
_ ___.._ _ .,..._ ! Guided P'tuagraph W riling.
London: Heinemann, 1972.
Kaplan, Olarles. Guld«l Co1nposltio11.· A Jfo~~boo cf Writing
Exercises, .New Yo,k: f olt. R,nehart al\d Wins•·
. ton> 1968.

267 .
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 Pink. M. Aldenon,. ·. English Gromniar,
Composition and Corruponduice.. '' f
and S.E. Thomas, . · ·Lopdon.· ~ l l & Co~ 1961. · .. . ·. I,

. .
Th~mley, G.t:r Easier- Bngdsh . Practice. Hong .~ong: Longmans,.
I

1965.. ·

Fur:ther. Pract.ice·
English..in
. Hong·=Kong: ~ ~963.

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 NOTES

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