rrupts the natural order of the main clause. This objection, however, does not usually hold when the order is interrupted only by a relative clause or by an expression in apposition. Nor does it hold in periodic sentences in which the interruption is a deliberately used means of creating suspense (see examples under Rule 18).
The relative pronoun should come, as a rule, immediately after its antecedent.
There was a look in his eye that boded mischief. In his eye was a look that boded mischief.
He wrote three articles about his adventures in Spain, which were published in Harper's Magazine. He published in Harper's Magazine three articles about his adventures in Spain.
This is a portrait of Benjamin Harrison, grandson of William Henry Harrison, who became President in 1889. This is a portrait of Benjamin Harrison, grandson of William Henry Harrison. He became President in 1889.
If the antecedent consists of a group of words, the relative comes at the end of the group, unless this would cause ambiguity.
The Superintendent of the Chicago Division, who
A proposal to amend the Sherman Act, which has been variously judged A proposal, which has been variously judged, to amend the Sherman Act
A proposal to amend the much-debated Sherman Act
The grandson of William Henry Harrison, who William Henry Harrison's grandson, Benjamin Harrison, who
A noun in apposition may come between antecedent and relative, because in such a combination no real ambiguity can arise.
The Duke of York, his brother, who was regarded with hostility by the Whigs
Modifiers should come, if possible next to the word they modify. If several expressions modify the same word, they should be so arranged that no wrong relation is suggested.
All the members were not present. Not all the members were present.
He only found two mistakes. He found only two mistakes.
Major R. E. Joyce will give a lecture on Tuesday evening in Bailey Hall, to which the public is invited, on "My Experiences in Mesopotamia" at eight P.M. On Tuesday evening at eight P. M., Major R. E. Joyce will give in Bailey Hall a lecture on "My Experiences in Mesopotamia." The public is invited.
17. In summaries, keep to one tense（时态）.
In summarizing the action of a drama, the writer should always use the present tense. In summarizing a poem, story, or novel, he should preferably use the present, though he may use the past if he prefers. If the summary is in the present tense, antecedent action should be expressed by the perfect; if in the past, by the past perfect.⊕⊕文⊕檔⊕共⊕享⊕與⊕在⊕線⊕閱⊕讀⊕
An unforeseen chance prevents Friar John from delivering Friar Lawrence's letter to Romeo. Juliet, meanwhile, owing to her father's arbitrary change of the day set for her wedding, has been compelled to drink the potion on Tuesday night, with the result that Balthasar informs Romeo of her supposed death before Friar Lawrence learns of the nondelivery of the letter.
But whichever tense be used in the summary, a past tense in indirect discourse or in indirect question remains unchanged.
The Legate inquires who struck the blow.
Apart from the exceptions noted, whichever tense the writer chooses, he should use throughout. Shifting from one tense to the other gives the appearance of uncertainty and irresolution (compare Rule 15).
In presenting the statements or the thought of some one else, as in summarizing an essay or reporting a speech, the writer should avoid intercalating such expressions as "he said," "he stated," "the speaker added," "the speaker then went on to say," "the author also thinks," or the like. He should indicate clearly at the outset, once for all, that what follows is summary, and then waste no words in repeating the notification.
In notebooks, in newspapers, in handbooks of literature, summaries of one kind or another may be indispensable, and for children in primary schools it is a useful exercise to retell a story in their own words. But in the criticism or interpretation of literature the writer should