作文之书(一)
The Elements of Style
William Strunk, Jr.
Asserting that one must first know the rules to break them, this classic reference book is a must-have for any student and conscientious writer. Intended for use in which the practice of composition is combined with the study of literature, it gives in brief space the principal requirements of plain English style and concentrates attention on the rules of usage and principles of composition most commonly violated.
William Strunk, Jr. (1869–1946). The Elements of Style. 1918.
CONTENTSI. INTRODUCTORY II. ELEMENTARY RULES OF USAGE 1. Form the possessive singular of nouns with ’s 2. In a series of three or more terms with a single conjunction, use a comma after each term except the last 3. Enclose parenthetic expressions between commas 4. Place a comma before and or but introducing an independent clause 5. Do not join independent clauses by a comma 6. Do not break sentences in two 7. A participial phrase at the beginning of a sentence must refer to the grammatical subject 8. Divide words at line-ends, in accordance with their formation and pronunciation III. ELEMENTARY PRINCIPLES OF COMPOSITION 9. Make the paragraph the unit of composition: one paragraph to each topic 10. As a rule, begin each paragraph with a topic sentence; end it in conformity with the beginning 11. Use the active voice
12. Put statements in positive form 13. Omit needless words 14. Avoid a succession of loose sentences 15. Express co-ordinate ideas in similar form 16. Keep related words together 17. In summaries, keep to one tense 18. Place the emphatic words of a sentence at the end IV. A FEW MATTERS OF FORM V. WORDS AND EXPRESSIONS COMMONLY MISUSED
I. INTRODUCTORY
This book is intended for use in English courses in which the practice of composition is combined with the study of literature. It aims to give in brief space the principal requirements of plain English style. It aims to lighten the task of instructor and student by concentrating attention (in Chapters II and III) on a few essentials, the rules of usage and principles of composition most commonly violated. The numbers of the sections may be used as references in correcting manuscript.
The book covers only a small portion of the field of English style, but the experience of its writer has been that once past the essentials, students profit most by individual instruction based on the problems of their own work, and that each instructor has his own body of theory, which he prefers to that offered by any textbook.
The writer’s colleagues in the Department of English in Cornell University have greatly helped him in the preparation of his manuscript. Mr. George McLane Wood has kindly consented to the inclusion under Rule 11 of some material from his Suggestions to Authors.
The following books are recommended for reference or further study: in connection with Chapters II and IV, F. Howard Collins, Author and Printer (Henry Frowde); Chicago University Press,
Manual of Style; T. L. De Vinne Correct Composition (The Century Company); Horace Hart, Rules for Compositors and Printers (Oxford University Press); George McLane Wood, Extracts from the Style-Book of the Government Printing Office (United States Geological Survey); in connection with Chapters III and V, Sir Arthur Quiller-Couch, The Art of Writing (Putnams), especially the chapter, Interlude on Jargon; George McLane Wood, Suggestions to Authors (United States Geological Survey); John Leslie Hall, English Usage (Scott, Foresman and Co.); James P. Kelly, Workmanship in Words (Little, Brown and Co.).
It is an old observation that the best writers sometimes disregard the rules of rhetoric. When they do so, however, the reader will usually find in the sentence some compensating merit, attained at the cost of the violation. Unless he is certain of doing as well, he will probably do best to follow the rules. After he has learned, by their guidance, to write plain English adequate for everyday uses, let him look, for the secrets of style, to the study of the masters of literature.
II. ELEMENTARY RULES OF USAGE
1. Form the possessive singular of nouns with ’s.
Follow this rule whatever the final consonant. Thus write,
Charles’s friend
Burns’s poems
the witch’s malice
This is the usage of the United States Government Printing Office and of the Oxford University Press.
Exceptions are the possessives of ancient proper names in -es and -is, the possessive Jesus’, and such forms as for conscience’ sake, for righteousness’ sake. But such forms as Achilles’ heel, Moses’ laws, Isis’ temple are commonly replaced by
the heel of Achilles
the laws of Moses
the temple of Isis
The pronominal possessives hers, its, theirs, yours, and oneself have no apostrophe.
2. In a series of three or more terms with a single conjunction, use a comma after each term except the last.
Thus write,
red, white, and blue
honest, energetic, but headstrong
He opened the letter, read it, and made a note of its contents.
This is also the usage of the Government Printing Office and of the Oxford University Press.
In the names of business firms the last comma is omitted, as
Brown, Shipley and Company
The abbreviation etc., even if only a single term comes before it, is always preceded by a comma.
3. Enclose parenthetic expressions between commas.
The best way to see a country, unless you are pressed for time, is to travel on foot.
This rule is difficult to apply; it is frequently hard to decide whether a single word, such as however, or a brief phrase, is or is not parenthetic. If the interruption to the flow of the sentence is but slight, the writer may safely omit the commas. But whether the interruption be slight or considerable, he must never omit one comma and leave the other. Such punctuation as
Marjorie’s husband, Colonel Nelson paid us a visit yesterday,
or
My brother you will be pleased to hear, is now in perfect health,
is indefensible.
Non-restrictive relative clauses are, in accordance with this rule, set off by commas.
The audience, which had at first been indifferent, became more and more interested.
Similar clauses introduced by where and when are similarly punctuated.
In 1769, when Napoleon was born, Corsica had but recently been acquired by France.
Nether Stowey, where Coleridge wrote The Rime of the Ancient Mariner, is a few miles from Bridgewater.
In these sentences the clauses introduced by which, when, and where are non-restrictive; they do not limit the application of the words on which they depend, but add, parenthetically, statements
supplementing those in the principal clauses. Each sentence is a combination of two statments which might have been made independently.
The audience was at first indifferent. Later it became more and more interested.
Napoleon was born in 1769. At that time Corsica had but recently been acquired by France.
Coleridge wrote The Rime of the Ancient Mariner at Nether Stowey. Nether Stowey is only a few miles from Bridgewater.
Restrictive relative clauses are not set off by commas.
The candidate who best meets these requirements will obtain the place.
In this sentence the relative clause restricts the application of the word candidate to a single person. Unlike those above, the sentence cannot be split into two independent statements.
The abbreviations etc. and jr. are always preceded by a comma, and except at the end of a sentence, followed by one.
Similar in principle to the enclosing of parenthetic expressions between commas is the setting off by commas of phrases or dependent clauses preceding or following the main clause of a sentence. The sentences quoted in this section and under Rules 4, 5, 6, 7, 16, and 18 should afford sufficient guidance.
If a parenthetic expression is preceded by a conjunction, place the first comma before the conjunction, not after it.
He saw us coming, and unaware that we had learned of his treachery, greeted us with a smile.
4. Place a comma before and or but introducing an independent clause.
The early records of the city have disappeared, and the story of its first years can no longer be reconstructed.
The situation is perilous, but there is still one chance of escape.
Sentences of this type, isolated from their context, may seem to be in need of rewriting. As they make complete sense when the comma is reached, the second clause has the appearance of an after-thought. Further, and, is the least specific of connectives. Used between independent clauses, it indicates only that a relation exists between them without defining that relation. In the example above, the relation is that of cause and result. The two sentences might be rewritten:
As the early records of the city have disappeared, the story of its first years can no longer be
reconstructed.
Although the situation is perilous, there is still one chance of escape.
Or the subordinate clauses might be replaced by phrases:
Owing to the disappearance of the early records of the city, the story of its first years can no longer be reconstructed.
In this perilous situation, there is still one chance of escape.
But a writer may err by making his sentences too uniformly compact and periodic, and an occasional loose sentence prevents the style from becoming too formal and gives the reader a certain relief. Consequently, loose sentences of the type first quoted are common in easy, unstudied writing. But a writer should be careful not to construct too many of his sentences after this pattern (see Rule 14).
Two-part sentences of which the second member is introduced by as (in the sense of because), for, or, nor, and while (in the sense of and at the same time) likewise require a comma before the conjunction.
If a dependent clause, or an introductory phrase requiring to be set off by a comma, precedes the second independent clause, no comma is needed after the conjunction.
The situation is perilous, but if we are prepared to act promptly, there is still one chance of escape.
For two-part sentences connected by an adverb, see the next section.
5. Do not join independent clauses by a comma.
If two or more clauses, grammatically complete and not joined by a conjunction, are to form a single compound sentence, the proper mark of punctuation is a semicolon.
Stevenson’s romances are entertaining; they are full of exciting adventures.
It is nearly half past five; we cannot reach town before dark.
It is of course equally correct to write the above as two sentences each, replacing the semicolons by periods.
Stevenson’s romances are entertaining. They are full of exciting adventures.
It is nearly half past five. We cannot reach town before dark.
作文之书(二)
书之乐 书之悟
常宁八中 C0904 李 果
喜欢在夜深人静时，独自一人坐在书桌前，拉上窗帘，随手拿起一本书，又点一盏孤灯，沏一杯清茶，就可以在书中自由的畅游了。 读书如松，是生命的坚持；读书如歌，是生命的乐章；读书如花，是生命的美丽；读书如水，是生命的源泉。
读书，是一种享受——
不久前，我们学了《岳阳楼记》，我刚读，就仿佛来到“衔远山，吞长江”的岳阳楼，也体会到了范仲淹的那种“先天下之忧而忧，后天下之乐而乐”的宽阔胸怀及爱国情怀。读高尔基的《海燕》，我深深感受到了高尔基对“暴风雨”的期望，对革命的呼唤。 在散文中，我领悟到了语言文字的独特魅力。
读书，是一种意境——
传奇神秘的小说尤如一望无际的大海波涛汹涌，海浪拍打着礁石，撞击出美丽的浪花，令人惊天动魄。读《红楼梦》，我会被贾宝玉、林黛玉的真情所感动；读《钢铁是怎样炼成》，犹如漫步雪峰，在凛冽的寒风中感受着保尔那青松般的坚强，红梅般的不屈，同时也教会了我在学习上要不断努力，探索永攀高峰；读《平凡的世界》，我仿佛就是孙少平，黄土地的滚滚红尘，萦绕于我的心田；读《羊脂球》，我看到了人们的自私与伪善，同时也教育我尊重他人。 在小说中，我学会了如何做一个品德高尚的人。
正所谓南宋理学家程颐说过：“外物之味，久则可厌；读书之味，
愈久愈深。”意思就是说，书读得越多，便越能体会到读书之乐。不读书可能领会不到这句话的真正内涵，读书之后，读过很多书之后，就会发觉这句话贴切合理。
有的书像走南闯北的旅行家，肚子装满了稀奇古怪的风土人情和天涯海角那诱人的风光。它就像磁铁般吸引我，在我眼里展示出千姿百态，光怪陆离，五光十色的世界。
有的书如陈年佳酿，百读不厌，有的书却像一株被雨淋的小草，雨后天晴后仍然青葱„„书如人生，它让人们尝尽人世间的酸甜苦辣；书如风雨，让我们体会人世间的风雨冷暖。
有人说，读一本好书便结交了一位朋友，是的，它是一位不会说话的朋友。她能在你伤心痛苦时，分担你的痛苦；在你高兴时，分享你的快乐。你可以向诉说，也可以倾听它的倾诉。她能给你关怀，给你温暖，给你勇气，给你„„
书是人类文明的长生果，是全世界的营养品，是引导人们走过漫漫黑夜的烛光，有一句话流传很广：“读你喜欢读的书，就像和一位智者在交谈”。的确，学会读书就是学会品味，学会欣赏，学会思考。朋友们，如果有时间，就请多读书吧！因为在书中有你的“黄金屋”、“颜如玉”，而且，读书的过程就是丰富和充实你人生的过程。难道不是吗？
作文之书(三)
高二优秀作文：书之于我们
高二优秀作文：书之于我们
高二（10）班 柯京悦
书对我们来说，是挚友，更是良师。捧着一本书细细品读的时候，身边一切的喧嚣仿佛不复存在。书中有另一个安宁纯净的世界，值得我们去发现，去寻找。
书之于人，就像泥土之于庄稼。书是人的泥土，人的灵魂就是泥土上的庄稼。灵魂只有深深扎根于泥土中，努力汲取营养，才能成为一个有品位的崇高灵魂。
书之于人，就像翅膀之于飞鸟。如果没有羽毛丰满的翅膀，在广阔的天空中自由自在地翱翔就只能是一个幻梦。把书当成自己的翅膀，在阅读中让自己的羽翼丰满起来，立志高远，展翅高飞。
书之于人，也如弦之于琴。即使有伯牙这样好的琴师，如果琴张而无弦，谁能听到高山流水般美妙的乐曲呢？请多读书吧，在自己的心灵上安上上好的琴弦，美妙的乐曲就会从你的心灵中流泻出来。
人如果不爱读书，生命就会无处生根，灵魂就找不到归宿。犹如辛勤播种的农民，空把种子播撒在贫瘠的土地，即使辛劳一生，也得不到好的收成。
人如果不爱读书，生命就会找不到方向。犹如一个越洋的航海者，手里没有一只罗盘，就会丢失目标，迷失在汪洋里。
爱读书的人，心胸比天空还宽阔；爱读书的人，心灵比白雪还纯净；爱读书的人，情感比泰山还厚重；爱读书的人，思想的脚步无拘无束，理想的天空无边无际。
茫茫的人生路，因为有书，让心由孤单彷徨回到了温暖坚定。让我们远离尘世，远离喧嚣，去寻找生命的另一方净土，欣赏别人不曾看过的风景。
作文之书(四)
读书真妙！
读书真好，有人说：“书中自人千钟粟，书中自有颜如玉，书中自有黄金屋。”也许有的人读书为了千钟粟，也许有的人读书为了黄金屋，也许有的人读书为了颜如玉。但我却在读书的过程中受益匪浅。
歌德说过：“读一本好书，就像是和一个高尚的人谈话。” 我读《水浒传》，当豹子头林冲一招“横扫千军”大败洪教头时，我为他精湛的武艺而喝彩；当花和尚鲁智深大吼一声，把杨柳连根拔起的时候，我为他拍手叫好；当见到玉麒麟卢俊义被奸臣高俅所迫害至死时，我感到义愤填膺、黯然神伤„„
我读《西游记》，伴着孙悟空一路西天取经。当他与二郎神斗法时，我为他呐喊助威；当他三打白骨精，被师父逐回花果山时，我为他鸣冤叫屈；当他与犀牛精战斗，久攻不下时，我为他愁眉不展、坐立不安；当他经历九九八十一难，功德圆满的时候，我为他欢蹦乱跳、手舞足蹈„„
我读《三国演义》，我为刘备为了兴复汉室、统一天下的远大志向，宁肯三顾茅庐，也要请诸葛亮出山的精神钦佩不已；我为诸葛亮鞠躬尽瘁、死而后已、精忠报国的精神而赞叹；我为关羽大意失荆州，败走麦城而扼腕叹息„„
我读《红楼梦》，走进大观园，听着林黛玉凄婉哀伤、如泣如诉的葬花词，我不禁为她洒下同情的泪„„
读书，它使我有了“少无适俗韵，性本爱丘山”的感情；读书，它使我有了“穷且益坚，不坠青云之志”的信念；读书，它使我有了“行贤而去自贤之心，焉往而不美”的做事的准绳。 读书，开阔了我的眼界；读书，增长了我的知识；读书，陶冶了我的情操„„
读书真好！
读书真好
读一本好书，就是和许多品格高尚的人物交谈。
——题记
现在学生厌书情绪难以想象，个个紧锁眉头，比上刀山下火
海还难。请看以下病例。 病例一：
时间：三国
地点：江东军帐