"That through his own folly and lack of circumspection he should have been reduced to such circumstances as to be forced to become a beggar on the streets, soliciting alms from those who had formerly been the recipients of his bounty, was a sore humiliation."
On account of its name many are liable to think the loose sentence an undesirable form in good composition, but this should not be taken for granted. In many cases it is preferable to the periodic form.
As a general rule in speaking, as opposed to writing, the loose form is to be preferred, inasmuch as when the periodic is employed in discourse the listeners are apt to forget the introductory clauses before the final issue is reached.
Both kinds are freely used in composition, but in speaking, the loose, which makes the direct statement at the beginning, should predominate.
As to the length of sentences much depends on the nature of the composition. However the general rule may be laid down that short sentences are preferable to long ones. The tendency of the best writers of the present day is towards short, snappy, pithy sentences which rivet the attention of the reader. They adopt as their motto multum in parvo (much in little) and endeavor to pack a great deal in small space. Of course the extreme of brevity is to be avoided. Sentences can be too short, too jerky, too brittle to withstand the test of criticism. The long sentence has its place and a very important one. It is indispensable in argument and often is very necessary to description and also in introducing general principles which require elaboration. In employing the long sentence the inexperienced writer should not strain after the heavy, ponderous type. Johnson and Carlyle used such a type, but remember, an ordinary mortal cannot wield the sledge hammer of a giant. Johnson and Carlyle were intellectual giants and few can hope to stand on the same literary pedestal. The tyro in composition should never seek after the heavy style. The best of all authors in the English language for style is Addison. Macaulay says: "If you wish a style learned, but not pedantic, elegant but not ostentatious, simple yet refined, you must give your days and nights to the volumes of Joseph Addison." The simplicity, apart from the beauty of Addison's writings causes us to reiterate the literary command—"Never use a big word when a little one will convey the same or a similar meaning."
Macaulay himself is an elegant stylist to imitate. He is like a clear brook kissed by the noon-day sun in the shining bed of which you can see and count the beautiful white pebbles. Goldsmith is another writer whose simplicity of style charms.
The beginner should study these writers, make their works his vade mecum, they have stood the test of time and there has been no improvement upon them yet, nor is there likely to be, for their writing is as perfect as it is possible to be in the English language.
Apart from their grammatical construction there can be no fixed rules for the formation of sentences. The best plan is to follow the best authors and these masters of language will guide you safely along the way.
THE PARAGRAPH
The paragraph may be defined as a group of sentences that are closely related in thought and which serve one common purpose. Not only do they preserve the sequence of the different parts into which a composition is divided, but they give a certain spice to the matter like raisins in a plum pudding. A solid page of printed matter is distasteful to the reader; it taxes the eye and tends towards the weariness of monotony, but when it is broken up into sections it loses much of its heaviness and the consequent lightness gives it charm, as it were, to capture the reader.