Representative Narratives by
Carroll Lewis Maxcy
London: Macmillan, 1914
This book is interesting because Maxcy presents
some interesting analysis of setting, characterization, and plot. I set
this up now, however, because in browsing the book I found some interesting
examples of the use of semicolons, examples illustrate that semicolons
are not only used to imply differences, but also cohesion. Consider, for
example, the following two sentences:
When Pizarro obtained possession of Cuzco, he found a country
well advanced in the arts of civilization:institutions
under which the people lived in tranquility and personal safety;
the mountains and the uplands whitened with flocks;
the
valleys teeming with the fruits of a scientific husbandry;
the granaries and warehouses filled to overflowing;
the whole land rejoicing in its abundance;
and the character of the nation, softened under the influence of the mildest
and most innocent form of superstition, well prepared for the reception
of a higher and a Christian civilization. But, far from introducing this,
Pizarro delivered up the conquered races to his brutal soldiery;
the sacred cloisters were abandoned to their lust;
the towns and villages were given up to pillage;
the wretched natives were parceled out like slaves, to toil for their conquerors
in the mines; the flocks
were scattered, and wantonly destroyed;
the granaries were dissipated;the
beautiful contrivances for the more perfect culture of the soil were suffered
to fall into decay;
the paradise was converted into a desert.
The first sentence describes all the positive things Pizarro found. They
are introduced by the colon and then separated, but held together, but
the semicolons. The second sentence explains the negative things that Pizarro
did. For some reason, there is no introductory semicolon after "soldiery,"
but the negative things are all held together in one sentence by the semicolons.
My other reason for working on this now is
that I'm thinking ahead to writing exercises, and the "Pizarro" essay will
probably serve as a model
Landor's Cottage, by Edgar Allan
Poe |
The Wheat Pit, by Frank Norris |
Happiness, by Guy de Maupassant |
On a Mirror and a Bell, by Lafcadio
Hearn |
The Fall of the House of Usher,
by Edgar Allan Poe |
Francisco Pizarro, by William H.
Prescott |
The Text
|
|
The Great Stone Face, by Nathaniel
Hawthorne |
Miss Esther's Guest, by Sarah Orne
Jewett |
The Proprietor of the Café
Saint-Antoine, by Harry James Smith |
A Liberal Education, by Anthony
Hope Hawkins |
The Outcasts of Poker Flat, by
Bret Harte |
A Coward, by Guy de Maupassant |
Murad the Unlucky, by Maria Edgeworth |
Esther, from the Old Testament |
The Black Poodle, by Frank Anstey |
The Three Strangers, by Thomas
Hardy |
Marjorie Daw, by Thomas Bailey
Aldrich |
The Necklace, by Guy de Maupassant |
The Man with the Blue Eyes, by
Jean Richepin |
La Grande Bretèche, by Honoré
de Balzac |
The Birthmark, by Nathaniel Hawthorne |
On the Stairs, by Arthur Morrison |
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