Inspirassion

Pick Elegant Words
13364 examples of  writer  in sentences

13364 examples of writer in sentences

Consequently, his discourse stands to that of the writer described above, much as a picture that has been really painted, to one that has been produced by the use of a stencil.

The best work may, therefore, be tedious subjectively, tedious, I mean, to this or that particular person; just as, contrarity, the worst work may be subjectively engrossing to this or that particular person who has an interest in the question treated of, or in the writer of the book.

A writer must make a sparing use of the reader's time, patience and attention; so as to lead him to believe that his author writes what is worth careful study, and will reward the time spent upon it.

As in architecture an excess of decoration is to be avoided, so in the art of literature a writer must guard against all rhetorical finery, all useless amplification, and all superfluity of expression in general; in a word, he must strive after chastity of style.

A writer should never be brief at the expense of being clear, to say nothing of being grammatical.

If a writer's ideas are important, luminous, and generally worth communicating, they will necessarily furnish matter and substance enough to fill out the periods which give them expression, and make these in all their parts both grammatically and verbally complete; and so much will this be the case that no one will ever find them hollow, empty or feeble.

Therefore instead of contracting his words and forms of speech, let a writer enlarge his thoughts.

A writer commits this error when he thinks it enough if he himself knows what he means and wants to say, and takes no thought for the reader, who is left to get at the bottom of it as best he can.

If he does this, a writer's words will have a purely objective effect, like that of a finished picture in oils; whilst the subjective style is not much more certain in its working than spots on the wall, which look like figures only to one whose phantasy has been accidentally aroused by them; other people see nothing but spots and blurs.

This means just the opposite of what the writer wanted to say, and is nonsense as well.

But this is what is done when a writer breaks up his principal sentence into little pieces, for the purpose of pushing into the gaps thus made two or three other thoughts by way of parenthesis; thereby unnecessarily and wantonly confusing the reader.

The ordinary writer has an unmistakable preference for this style, because it causes the reader to spend time and trouble in understanding that which he would have understood in a moment without it; and this makes it look as though the writer had more depth and intelligence than the reader.

The ordinary writer has an unmistakable preference for this style, because it causes the reader to spend time and trouble in understanding that which he would have understood in a moment without it; and this makes it look as though the writer had more depth and intelligence than the reader.

But this is what is done where a writer interrupts what he has begun to say, for the purpose of inserting some quite alien matter; thus depositing with the reader a meaningless half-sentence, and bidding him keep it until the completion comes.

Love universally taken, is defined to be a desire, as a word of more ample signification: and though Leon Hebreus, the most copious writer of this subject, in his third dialogue make no difference, yet in his first he distinguisheth them again, and defines love by desire.

He was an exceedingly industrious writer; essays, biography, political philosophy, and history all coming from his pen; but in spite of this and of his many distinguished friendships, Godwin was always in difficulties, which he bore with the becoming grace of a philosopher.

And so she added a postscript, which, unlike most women's postscripts, was of really very little importanceor so the writer thought.

He was himself a distinguished diplomatist and an able writer.

"Women talk better than men, from the superior shape of their tongues: an ancient writer speaks of their loquacity three thousand years ago.

Yet an ingenious and learned writer, an able contributor to the Philological Museum, published at Cambridge, England, in 1832; tracing the history of this class of derivatives, and finding that after the ed was contracted in pronunciation, several eminent writers, as Spenser, Milton, and others, adopted in most instances a contracted form of orthography; has seriously endeavoured to bring us back to their practice.

No writer, however, thinks it always necessary to remind his readers of this, by inserting the sign of contraction; though English books are not a little disfigured by questionable apostrophes inserted for no other reason.

The writer has met with thousands that used the second person singular in conversation, but never with any one that employed, on ordinary occasions, all the regular endings of the solemn style.

* * * I believe a writer or speaker would have recourse to any periphrasis rather than say keptest, or keptst.

20.The verb after a relative sometimes has the appearance of disagreeing with its nominative, because the writer and his reader disagree in their conceptions of its mood.

Whence it appears, that the writer who most broadly charges others with not understanding the nature of a collective noun, has most of all misconceived it himself.

If the number be supposed an adjective, referring to the implied term units, or things, the verb must of course be plural; but if it be called a collective noun, the verb only follows and fixes "the idea of plurality," or "the idea of unity," as the writer or speaker chooses to adopt the one or the other.

"That there was in those times no other writer, of any degree of eminence, save he himself.

He is however supported by an other late writer of much greater merit.

Here a ready writer would be very apt to prefer one of the following phrases: "When a semicolon or two have preceded,""When one or two semicolons have preceded,""When one or more semicolons have preceded."

An elegant writer would be apt to avoid all these forms, and say,"for the sake of seeing their business;" and,"for the sake of seeing them;" though the former phrase, being but a version of bad Latin, makes no very good sense in any way. OBS.

The phrase, "the being healed" ought to mean only, the creature healed; and not, the being-healed, or the healing received, which is what the writer intended.

"Much, therefore, of the merit, and the agreeableness of epistolary writing, will depend on its introducing us into some acquaintance with the writer.

"I know of nothing that can justify the having recourse to a Latin translation of a Greek writer.

Here it is obviously not the intention of the writer, to understand the negative in the last clause: and, if this were good English, it would be not merely allowable to employ nor after not, to show the subsequent clause to be negative as well as the preceding, but it would always be necessary.

We cannot call that a grammatical resolution, which makes a different sense from that which the writer intended: as, "A slave would not have been admitted into that society, had he never had such opportunities."

With this writer, and some others, the syntax of an adverb centres mainly in the suggestion, that, "It's propriety and force depend on it's position."Ib., p. 147.

"It is strange how a writer, so accurate as Dean Swift, should have stumbled on so improper an application of this particle.

One late writer, ignorant or regardless of the analogy of General Grammar, imagines this case to be an "objective governed by the conjunction as," according to the following rule: "The conjunction as, when it takes the meaning of for, or in the character of, governs the objective case; as, Addison, as a writer of prose, is highly distinguished.

One late writer, ignorant or regardless of the analogy of General Grammar, imagines this case to be an "objective governed by the conjunction as," according to the following rule: "The conjunction as, when it takes the meaning of for, or in the character of, governs the objective case; as, Addison, as a writer of prose, is highly distinguished.

But when a clause or a sentence is the antecedent, it is better to consider the as a conjunction, and to supply the pronoun it, if the writer has not used it; as, "He is angry, as [it] appears by this letter."

13.A late writer expresses his decision of the foregoing question thus: "Of all the different opinions on a grammatical subject, which have arisen in the literary world, there scarcely appears one more indefensible than that of supposing as follows to be an impersonal verb, and to be correctly used in such sentences as this.

He not only scorns to appeal, for the confirmation of his own assertions and rules, to the judgement or practice of any other writer, but counsels the learner to "spurn the idea of quoting, either as proof or for defence, the authority of any man."

"The writer could not treat some topicks as extensively as was desirable."Ib., p. 10.

"He is a better writer than reader.

"This requires a writer to have in his own mind a very clear apprehension of the object which he means to present to us.

"The first person is that which denotes the speaker or writer.

"Shakspeare is more faithful to the true language of nature, than any other writer.

"I know no other writer so happy in his metaphors as is Mr. Addison."Blair cor.

"Perhaps no other writer in the world was ever so frugal of his words as Aristotle."Blair and Jamieson cor.

"Never was any other writer so happy in that concise and spirited style, as Mr. Pope."Blair cor.

"In the harmonious structure and disposition of his periods, no other writer whatever, ancient or modern, equals Cicero."Blair and Jamieson cor.

Landor's writings have never been popular; they address an aristocracy of scholars; and Byronwhom Landor disliked and considered vulgarsneered at him as a writer who "cultivated much private renown in the shape of Latin verses."

No writer awakens in his readers a warmer personal affection than Walter Scott, the brave, honest, kindly gentleman; the noblest figure among the literary men of his generation.

Byron's literary executor and biographer was the Irish poet, Thomas Moore, a born song-writer, whose Irish Melodies, set to old native airs, are, like Burns's, genuine, spontaneous singing, and run naturally to music.

It is sometimes helpful to reduce a great writer to his lowest term, in order to see what the prevailing bent of his genius is.

Macaulay's equipment, as a writer on historical and biographical subjects, was, in some points, unique.

Our critical time has not forborne to criticize itself, and perhaps the writer who impressed himself most strongly upon his generation was the one who railed most desperately against the "spirit of the age."

The concreteness and the swarming fertility of his mind are evidenced by his enormous vocabulary, computed greatly to exceed Shakspere's, or any other single writer's in the English tongue.

He was a deep and subtle thinker, but he was also a very eccentric writer; abrupt, harsh, disjointed.

It gives one an unwonted thrill to listen to a play, by a contemporary English writer, which is really literature.

The officers of the ship received their different scientific charges, and Prof. Dohrn, director of the Zoological Station at Naples, gave to the writer necessary instructions for collecting and preserving sea animals.

His report, subsequently published under the title of "Memoire sur la Construction des Batiments en Fer"Paris, 1844is probably the best account given to the world of the state of iron shipbuilding forty years ago: and its perusal not merely enables one to gauge the progress since made, but to form an estimate of the great ability and clear style of the writer.

It is scarcely necessary to observe how easily pall might be changed into pull by a negligent writer, or mistaken for it by an unskilful printer.

When a writer outlives his contemporaries, and remains almost the only unforgotten name of a distant time, he is necessarily obscure.

Thus rose the two modes of imitation, known by the names of tragedy and comedy, compositions intended to promote different ends by contrary means, and considered as so little allied, that I do not recollect among the Greeks or Romans a single writer who attempted both.

This fault the barbarity of his age cannot extenuate; for it is always a writer's duty to make the world better, and justice is a virtue independent on time or place.

There must, however, have been always some modes of gaiety preferable to others, and a writer ought to choose the best.

It will be thought strange, that, in enumerating the defects of this writer, I have not yet mentioned his neglect of the unities; his violation of those laws which have been instituted and established by the joint authority of poets and of criticks.

Cato affords a splendid exhibition of artificial and fictitious manners, and delivers just and noble sentiments, in diction easy, elevated, and harmonious, but its hopes and fears communicate no vibration to the heart; the composition refers us only to the writer; we pronounce the name of Cato, but we think on Addison.

The work of a correct and regular writer is a garden accurately formed and diligently planted, varied with shades, and scented with flowers; the composition of Shakespeare is a forest, in which oaks extend their branches, and pines tower in the air, interspersed sometimes with weeds and brambles, and sometimes giving shelter to myrtles and to roses; filling the eye with awful pomp, and gratifying the mind with endless diversity.

This, however, is certain, that he is the first who taught either tragedy or comedy to please, there being no theatrical piece of any older writer, of which the name is known, except to antiquaries and collectors of books, which are sought because they are scarce, and would not have been scarce, had they been much esteemed.

He has scenes of undoubted and perpetual excellence; but, perhaps, not one play, which, if it were now exhibited as the work of a contemporary writer, would be heard to the conclusion.

I am, indeed, far from thinking that his works were wrought to his own ideas of perfection; when they were such as would satisfy the audience, they satisfied the writer.

The faults of all are, indeed, numerous and gross, and have not only corrupted many passages, perhaps, beyond recovery, but have brought others into suspicion, which are only obscured by obsolete phraseology, or by the writer's unskilfulness and affectation.

I have retained all his notes, that no fragment of so great a writer may be lost; his preface, valuable alike for elegance of composition and justness of remark, and containing a general criticism on his author, so extensive that little can be added, and so exact that little can be disputed, every editor has an interest to suppress, but that every reader would demand its insertion.

Whoever considers the revolutions of learning, and the various questions of greater or less importance, upon which wit and reason have exercised their powers, must lament the unsuccessfulness of inquiry, and the slow advances of truth, when he reflects that great part of the labour of every writer is only the destruction of those that went before him.

As it is observable, that all these subjects had been treated by others, the manuscript can be supposed nothing more, than a memorial or catalogue of plays, which, for some reason, the writer thought worthy of his attention.

In an age, in which statues are erected to the honour of this great writer, in which his effigy has been diffused on medals, and his work propagated by translations, and illustrated by commentaries; in an age, which amidst all its vices, and all its follies, has not become infamous for want of charity: it may be, surely, allowed to hope, that the living remains of Milton will be no longer suffered to languish in distress.

Whether people like such a character or not, and whether or not they may think the religion wrong, or distorted and imperfect, if they would fairly understand the writer of the Christian Year they must start from this point.

But for this awful sense of truth and reality unseen, which dwarfed to him all personal thoughts and all present things, he might have been a more finished writer, a more attractive preacher, a less indifferent foster-father to his own works.

The modern writer.

HABER, TOM B. A writer's handbook of American usage.

In the country, if a bitter writer of the time, (Stub's Anatomie of Abuse,) may find credit, every public-house was crowded from morn till night with determined drunkards.

" We could illustrate the conscientious character alluded to by the above writer, with anecdotes of the chancellorship of Lord Eldon.

The present writer happened at that time to be living in America, and concerned with certain political work.

Commenting on my assertion that there are no stories of romantic love in Greek literature, an editorial writer in the London Daily News exclaimed: "Why, it would be less wild to remark that the Greeks had nothing but love-stories."

After referring to the stories of Orpheus and Eurydice, Meleager and Atalanta, Alcyone and Ceyx, Cephalus and Procris, the writer adds, "It is no exaggeration to say that any school-girl could tell Mr. Finck a dozen others."

Another recent writer, Professor Peck of Columbia University, says that "it is difficult to read the fragments which remain of her verse without being forced to come to the conclusion that a woman who could write such poetry could not be the pure woman that her modern apologists would have her.

"The symbol," says this writer, "that beyond all others has fascinated the human mind, THE CROSS, finds here its source and meaning.

In addition to what is said in the text, I add the following, slightly condensed, from the pen of that accomplished writer, Albert Pike: "The initiates in these Mysteries had preserved the ritual and ceremonies that accorded with the simplicity of the earliest ages, and the manners of the first men.

The word "Abif" signifies in Hebrew "his father," and is used by the writer of Second Chronicles (iv. 16) when he says, "These things did Hiram his father [in the original Hiram Abif ] do for King Solomon.".

A distinguished masonic writer of England, who lived in the eighteenth century.

A recent writer thus eloquently refers to the universality, in ancient times, of sun-worship: "Sabaism, the worship of light, prevailed amongst all the leading nations of the early world.

But the raillery and sarcasm of a comic writer must always be received with many grains of allowance.

The substance of it was as follows: The writer came to New York on a ship.

He did very wicked things to the writer.

He was so wicked that the writer made up his mind to kill him.

The man fell, and the moment he fell the writer of the letter knew that he was not the man he had intended to kill.

There was no formal close to the letter; the writer had said what he had to say and stopped.

BRUYรˆRE, a French writer, author of "Charactรจres de Thรฉophraste," a satire on various characters and manners of his time (1644-1696).