英语语法应用和写作技巧：《英文写作圣经 The Elements of Style》PDF电子版本书籍（With Revisions, an Introduction, . and a Chapter on Writing，FOURTH EDITION，WILLIAM STRUNK Jr.）

NEW EDITION WILLIAM STRUNKR E.WHITE .still a little book.small enough and important enough to carry in your pocket,as I carry mine." -Charles Osgood ELEMENTS STYLE FOURTH EDITION FOREWORD BY ROGER ANGELL

WILLIAM UNKJR. AND E.B. HITE " .5/;/1 a lilfl~ fflmk, .<ffla/l ~"(JuJ(h aJId imptlnlmr e,wu/lh fO ("arr; in your !/(}(.'kn, 11.1 I carf\' mine," - Charles Osgood FOURTH EDITION FOREWORD BY ROGER ANGELL

Contents FOREWORD INTRODUCTION I.ELEMENTARY RULES OF USAGE 1. Form the possessive singular of nouns by adding '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 a conjunction introducing an independent clause. 5 5.Do not join independent clauses with a comma. 6.Do not break sentences in two. 7 7.Use a colon after an independent clause to introduce a list of particulars,an appositive,an amplification,or an illustrative quotation. > 8.Use a dash to set off an abrupt break or interruption and to announce a long appositive or summary. 9 9.The number of the subject determines the number of the verb. 9 10.Use the proper case of pronoun. 11

Contents I FOREWORD . IX INTRODUCTION . XUl I. ELEMENTARY RULES OF USAGE 1 1. Form the possessive singular of nouns by adding's. 1 2. In a series of three or more terms with a single conjunction, use a comma after each term except the last. 2 3. Enclose parenthetic expressions between commas. 2 4. Place a comma before a conjunction introducing an independent clause. 5 5. Do not join independent clauses with a comma. 5 6. Do not break sentences in two. 7 7. Use a colon after an independent clause to introduce a list of particulars, an appositive, an amplification, or an illustrative quotation. 7 8. Use a dash to set off an abrupt break or interruption and to announce a long appositive or summary. 9 9. The number of the subject determines the number of the verb. 9 10. Use the proper case of pronoun. 11

] CONTENTS 11.A participial phrase at the beginning of a sentence must refer to the gram- matical subject. II.ELEMENTARY PRINCIPLES OF COMPOSITION 15 12.Choose a suitable design and hold to it. 15 13.Make the paragraph the unit of com- position. 15 14. Use the active voice 18 15.Put statements in positive form. 19 16. Use definite,specific,concrete language. 21 17.Omit needless words 23 18.Avoid a succession of loose sentences. 25 19. Express coordinate ideas in similar form. 26 20.Keep related words together. 28 21.In summaries,keep to one tense. 31 22.Place the emphatic words of a sentence at the end. 32 III.A FEW MATTERS OF FORM 34 IV.WORDS AND EXPRESSIONS COMMONLY MISUSED 39 V.AN APPROACH TO STYLE (With a List of Reminders) 66 1.Place yourself in the background. 70 2. Write in a way that comes naturally. 70 3.Work from a suitable design. 70 4.Write with nouns and verbs. 71 5.Revise and rewrite. 72 6.Do not overwrite. 72 7.Do not overstate 7 8.Avoid the use of qualifiers. 73 9.Do not affect a breezy manner. 73 10.Use orthodox spelling 74

vi] CONTENTS 11. A participial phrase at the beginning of a sentence must refer to the gram￾matical subject. 13 II. ELEMENTARY PRINCIPLES OF COMPOSITION 15 12. Choose a suitable design and hold to it. 15 13. Make the paragraph the unit of com￾position. 15 14. Use the active voice. 18 15. Put statements in positive form. 19 16. Use definite, specific, concrete language. 21 17. Omit needless words. 23 18. Avoid a succession of Ioase sentences. 25 19. Express coordinate ideas in similar form. 26 20. Keep related words together. 28 21. In summaries, keep to one tense. 31 22. Place the emphatic words of a sentence at the end. 32 III. A FEW MATTERS OF FORM 34 IV WORDS AND EXPRESSIONS COMMONLY MISUSED 39 \Z AN APPROACH TO STYLE (With a List of Reminders) 66 1. Place yourself in the background. 70 2. Write in a way that comes naturally. 70 3. Work from a suitable design. 70 4. Write with nouns and verbs. 71 5. Revise and rewrite. 72 6. Do not overwrite. 72 7. Do not overstate. 73 8. Avoid the use of qualifiers. 73 9. Do not affect a breezy manner. 73 10. Use orthodox spelling. 74

CONTENTS 11.Do not explain too much. 75 12.Do not construct awkward adverbs. 75 13. Make sure the reader knows who is speaking. 76 14.Avoid fancy words. 76 15.Do not use dialect unless your ear is good. 78 16. Be clear. 79 17.Do not inject opinion. 79 18.Use figures of speech sparingly. 80 19.Do not take shortcuts at the cost of clarity. 80 20.Avoid foreign languages. 81 21.Prefer the standard to the offbeat. 81 AFTERWORD 87 GLOSSARY 89 INDEX 97

CONTENTS [vii 11. Do not explain too much. 75 12. Do not construct awkward adverbs. 75 13. Make sure the reader knows who is speaking. 76 14. Avoid fancy words. 76 15. Do not use dialect unless your ear is good. 78 16. Be clear. 79 17. Do not inject opinion. 79 18. Use figures of speech sparingly. 80 19. Do not take shortcuts at the cost of clarity. 80 20. Avoid foreign languages. 81 21. Prefer the standard to the offbeat. .81 AFTERWORD 87 GLOSSARY 89 INDEX 97

Fore心ord by Roger Angell THE FIRST writer I watched at work was my stepfather,E.B. White.Each Tuesday morning,he would close his study door and sit down to write the"Notes and Comment"page for The New Yorker:The task was familiar to him-he was required to file a few hundred words of editorial or personal commentary on some topic in or out of the news that week-but the sounds of his typewriter from his room came in hesitant bursts,with long silences in between.Hours went by.Summoned at last for lunch,he was silent and preoccupied,and soon excused himself to get back to the job.When the copy went off at last,in the afternoon RFD pouch-we were in Maine,a day's mail away from New York-he rarely seemed satisfied."It isn't good enough,"he said sometimes."I wish it were better." Writing is hard,even for authors who do it all the time. Less frequent practitioners-the job applicant;the business executive with an annual report to get out;the high school senior with a Faulkner assignment;the graduate-school student with her thesis proposal;the writer of a letter of condolence-often get stuck in an awkward passage or find a muddle on their screens,and then blame themselves. What should be easy and flowing looks tangled or feeble or overblown-not what was meant at all.What's wrong with me,each one thinks.Why can't I get this right? 议

Foreword by Roger Angell THE FIRST writer I watched at work was my stepfather, E. B. White. Each Tuesday morning, he would close his study door and sit down to write the ((Notes and Comment" page for The New Yorker. The task was familiar to him-he was required to file a few hundred words ofeditorial or personal commentary on some topic in or out of the news that week-but the sounds ofhis typewriter from his room came in hesitant bursts, with long silences in between. Hours went by. Summoned at last for lunch, he was silent and preoccupied, and soon excused himself to get back to the job. When the copy went off at last, in the afternoon RFD pouch-we were in Maine, a day's mail away from New York-he rarely seemed satisfied. "It isn't good enough," he said sometimes. "I wish it were better." Writing is hard, even for authors who do it all the time. Less frequent practitioners-the job applicant; the business executive with an annual report to get out; the high school senior with a Faulkner assignment; the graduate-school student with her thesis proposal; the writer of a letter of condolence-often get stuck in an awkward passage or find a muddle on their screens, and then blame themselves. What should be easy and flowing looks tangled or feeble or overblown-not what was meant at all. What's wrong with me, each one thinks. Why can't I get this right? ix

xFOREWORD It was this recurring question,put to himself,that must have inspired White to revive and add to a textbook by an English professor of his,Will Strunk Ir.,that he had first read in college,and to get it published.The result,this quiet book,has been in print for forty years,and has offered more than ten million writers a helping hand.White knew that a compendium of specific tips-about singular and plural verbs,.parentheses,.the"“that”_“which”scuffle,and many others -could clear up a recalcitrant sentence or subclause when quickly reconsulted,and that the larger principles needed to be kept in plain sight,like a wall sampler. How simple they look,set down here in White's last chapter:“Write in a way that comes naturally,.”“Revise and rewrite,”“Do not explain too much,”and the rest;above all, the cleansing,clarion"Be clear."How often I have turned to them,in the book or in my mind,while trying to start or unblock or revise some piece of my own writing!They help-they really do.They work.They are the way. E.B.White's prose is celebrated for its ease and clarity- just think of Charlotte's Web-but maintaining this stan- dard required endless attention.When the new issue of The New Yorker turned up in Maine,I sometimes saw him reading his "Comment"piece over to himself,with only a slightly different expression than the one he'd worn on the day it went off.Well,O.K.,he seemed to be saying.At least I got the elements right. This edition has been modestly updated,with word pro- cessors and air conditioners making their first appearance among White's references,and with a light redistribution of genders to permit a feminine pronoun or female farmer to take their places among the males who once innocently served him.Sylvia Plath has knocked Keats out of the box, and I notice that“America”has become“this country'ina sample text,to forestall a subsequent and possibly demean- ing"she"in the same paragraph.What is not here is anything about E-mail-the rules-free,lower-case flow that cheer- fully keeps us in touch these days.E-mail is conversation

x] FOREWORD It was this recurring question, put to himself, that must have inspired White to revive and add to a textbook by an English professor of his, Will Strunk Jr., that he had first read in college, and to get it published. The result, this quiet book, has been in print for forty years, and has offered more than ten million writers a helping hand. White knew that a compendium of specific tips-about singular and plural verbs, parentheses, the "that"-C<which" scuffle, and many others-could clear up a recalcitrant sentence or subclause when quickly reconsulted, and that the larger principles needed to be kept in plain sight, like a wall sampler. How simple they look, set down here in White's last chapter: "Write in a way that comes naturally," "Revise and rewrite," "Do not explain too much," and the rest; above all, the cleansing, clarion "Be clear." How often I have turned to them, in the book or in my mind, while trying to start or unblock or revise some piece of my own writing! They help-they really do. They work. They are the way. E. B. White's prose is celebrated for its ease and clarity￾just think of Charlotte's Web-but maintaining this stan￾dard required endless attention. When the new issue of The New Yorker turned up in Maine, I sometimes saw him reading his "Comment" piece over to himself, with only a slightly different expression than the one he'd worn on the day it went off. Well, O.K., he seemed to be saying. At least I got the elements right. This edition has been modestly updated, with word pro￾cessors and air conditioners making their first appearance among White's references, and with a light redistribution of genders to permit a feminine pronoun or female farmer to take their places among the males who once innocently seIVed hinl. Sylvia Plath has knocked Keats out of the box, and I notice that "America" has become "this country" in a sample text, to forestall a subsequent and possibly demean￾ing "she" in the same paragraph. What is not here is anything about E-mail-the rules-free, lower-case flow that cheer￾fully keeps us in touch these days. E-mail is conversation

FOREWORD xi and it may be replacing the sweet and endless talking we once sustained(and tucked away)within the informal letter. But we are all writers and readers as well as communicators, with the need at times to please and satisfy ourselves (as White put it)with the clear and almost perfect thought

FOREWORD [xi and it may be replacing the sweet and endless talking we once sustained (and tucked away) within the informal letter. But we are all writers and readers as well as communicators, with the need at times to please and satisfy ourselves (as White put it) with the clear and almost perfect thought

Introduction* AT THE close of the first World War,when I was a student at Cornell,I took a course called English 8.My professor was William Strunk Jr.A textbook required for the course was a slim volume called The Elements of Style,whose author was the professor himself.The year was 1919.The book was known on the campus in those days as"the little book,”with the stress on the word“little.”It had been pri- vately printed by the author. I passed the course,graduated from the university,and forgot the book but not the professor.Some thirty-eight years later,the book bobbed up again in my life when Mac- millan commissioned me to revise it for the college market and the general trade.Meantime,Professor Strunk had died. The Elements of Style,when I reexamined it in 1957 seemed to me to contain rich deposits of gold.It was Will Strunk's paroum opus,his attempt to cut the vast tangle of English rhetoric down to size and write its rules and prin- ciples on the head of a pin.Will himself had hung the tag "little"on the book;he referred to it sardonically and with secret pride as "the little book,"always giving the word "little"a special twist,as though he were putting a spin on a ball.In its original form,it was a forty-three page sum- mation of the case for cleanliness,accuracy,and brevity in the use of English.Today,fifty-two years later,its vigor is *E.B.White wrote this introduction for the 1979 edition. xi进

Introduction * AT THE close of the first World War, when I was a student at Cornell, I took a course called English 8. My professor was William Strunk Jr. A textbook required for the course was a slim volume called The Elements of Style, whose author was the professor himself. The year was 1919. The book was known on the campus in those days as 'lhe little book," with the stress on the word "little." It had been pri￾vately printed by the author. I passed the course, graduated from the university, and forgot the book but not the professor. Some thirty-eight years later, the book bobbed up again in my life when Mac￾millan commissioned me to revise it for the college market and the general trade. Meantime, Professor Strunk had died. The Elements of Style, when I reexamined it in 1957, seemed to me to contain rich deposits of gold. It was Will Strunk's paroum opus, his attempt to cut the vast tangle of English rhetoric down to size and write its rules and prin￾ciples on the head of a pin. Will himself had hung the tag "little" on the book; he referred to it sardonically and with secret pride as "the little book," always giving the word "little" a special twist, as though he were putting a spin on a ball. In its original form, it was a forty-three page sum￾mation ofthe case for cleanliness, accuracy, and brevity in the use of English. Today, fifty-two years later, its vigor is *E. B. White wrote this introduction for the 1979 edition. xiii

xiv] INTRODUCTION unimpaired,and for sheer pith I think it probably sets a record that is not likely to be broken.Even after I got through tampering with it,it was still a tiny thing,a barely tarnished gem.Seven rules of usage,eleven principles of composition,a few matters of form,and a list of words and expressions commonly misused-that was the sum and substance of Professor Strunk's work.Somewhat auda- ciously,and in an attempt to give my publisher his money's worth,I added a chapter called"An Approach to Style," setting forth my own prejudices,my notions of error,my articles of faith.This chapter(Chapter V)is addressed par ticularly to those who feel that English prose composition is not only a necessary skill but a sensible pursuit as well- a way to spend one's days.I think Professor Strunk would not object to that A second edition of the book was published in 1972.I have now completed a third revision.Chapter IV has been refurbished with words and expressions of a recent vintage: four rules of usage have been added to Chapter I.Fresh examples have been added to some of the rules and princi- ples,amplification has reared its head in a few places in the text where I felt an assault could successfully be made on the bastions of its brevity,and in general the book has received a thorough overhaul-to correct errors,delete bewhiskered entries,and enliven the argument. Professor Strunk was a positive man.His book contains rules of grammar phrased as direct orders.In the main I have not tried to soften his commands,or modify his pro- nouncements,or remove the special objects of his scorn.I have tried,instead,to preserve the flavor of his discontent while slightly enlarging the scope of the discussion.The Ele- ments of Style does not pretend to survey the whole field. Rather it proposes to give in brief space the principal re quirements of plain English style.It concentrates on fun damentals:the rules of usage and principles of composition most commonly violated. The reader will soon discover that these rules and prin ciples are in the form of sharp commands,Sergeant Strunk snapping orders to his platoon."Do not join independent

xiv] I N T ROD U C T ION unimpaired, and for sheer pith I think it probably sets a record that is not likely to be broken. Even after I got through tampering with it, it was still a tiny thing, a barely tarnished gem. Seven rules of usage, eleven principles of composition, a few matters ofform, and a list ofwords and expressions commonly misused-that was the sum and substance of Professor Strunk's work. Somewhat auda￾ciously, and in an attempt to give my publisher his money's worth, I added a chapter called "An Approach to Style," setting forth my own prejudices, my notions of error, my articles offaith. This chapter (Chapter V) is addressed par￾ticularly to those who feel that English prose composition is not only a necessary skill but a sensible pursuit as well￾a way to spend one's days. I think Professor Strunk would not object to that. A second edition of the book was published in 1972. I have now completed a third revision. Chapter IV has been refurbished with words and expressions of a recent vintage; four rules of usage have been added to Chapter I. Fresh examples have been added to some ofthe rules and princi￾ples, amplification has reared its head in a few places in the text where I felt an assault could successfully be made on the bastions of its brevity, and in general the book has received a thorough overhaul-to correct errors, delete be\vhiskered entries, and enliven the argument. Professor Strunk was a positive man. His book contains rules of grammar phrased as direct orders. In the main I have not tried to soften his commands, or modify his pro￾nouncements, or remove the special objects of his scorn. I have tried, instead, to preserve the flavor of his discontent while slightly enlarging the scope ofthe discussion. The Ele￾ments of Style does not pretend to survey the whole field. Rather it proposes to give in brief space the principal re￾quirements of plain English style. It concentrates on fun￾damentals: the rules ofusage and principles of composition most commonly violated. The reader will soon discover that these rules and prin￾ciples are in the form ofsharp commands, Sergeant Strunk snapping orders to his platoon. «Do not join independent

INTRODUCTION [x clauses with a comma."(Rule 5.)"Do not break sentences in two."(Rule6.)“Use the active voice.”"(Rule 14.)“Omit needless words."(Rule 17.)"Avoid a succession of loose sentences."(Rule 18.)"In summaries,keep to one tense. (Rule 21.)Each rule or principle is followed by a short hor- tatory essay,and usually the exhortation is followed by,or interlarded with,examples in parallel columns-the true vs. the false,the right vs.the wrong,the timid vs.the bold,the ragged vs.the trim.From every line there peers out at me the puckish face of my professor,his short hair parted neat- ly in the middle and combed down over his forehead,his eyes blinking incessantly behind steel-rimmed spectacles as though he had just emerged into strong light,his lips nib- bling each other like nervous horses,his smile shuttling to and fro under a carefully edged mustache. 'Omit needless words!"cries the author on page 23,and into that imperative Will Strunk really put his heart and soul.In the days when I was sitting in his class,he omitted so many needless words,and omitted them so forcibly and with such eagerness and obvious relish,that he often seemed in the position of having shortchanged himself-a man left with nothing more to say yet with time to fill,a radio prophet who had out-distanced the clock.Will Strunk got out of this predicament by a simple trick:he uttered every sentence three times.When he delivered his oration on brevity to the class,he leaned forward over his desk,grasped his coat lapels in his hands,and,in a husky,conspiratorial voice,said,"Rule Seventeen.Omit needless words!Omit needless words！Omit needless words！" He was a memorable man,friendly and funny.Under the remembered sting of his kindly lash,I have been trying to omit needless words since 1919,and although there are still many words that cry for omission and the huge task will never be accomplished,it is exciting to me to reread the masterly Strunkian elaboration of this noble theme.It goes: Vigorous writing is concise.A sentence should contain no unnecessary words,a paragraph no unnecessary sen- tences,for the same reason that a drawing should have no

INTRODUCTION [xv clauses with a comma." (Rule 5.) "Do not break sentences in two." (Rule 6.) «Use the active voice." (Rule 14.) '"Omit needless words.~' (Rule 17.) "Avoid a succession of loose sentences." (Rule 18.) «In summaries, keep to one tense." (Rule 21.) Each rule or principle is followed by a short hor￾tatory essay, and usually the exhortation is followed by, or interlarded with, exaUlpIes in parallel colurnns-the true vs. the false, the right vs. the wrong, the timid vs. the bold, the ragged vs. the trim. From every line there peers out at me the puckish face ofmy professor, his short hair parted neat￾ly in the middle and combed down over his forehead, his eyes blinking incessantly behind steel-rimmed spectacles as though he had just emerged into strong light, his lips nib￾bling each other like nervous horses, his smile shuttling to and fro under a carefully edged mustache. «Omit needless words!" cries the author on page 23, and into that imperative Will Strunk really put his heart and soul. In the days when I was sitting in his class, he omitted so many needless words, and omitted them so forcibly and with such eagerness and obvious relish, that he often seemed in the position of having shortchanged himself-a man left with nothing more to sayyet with time to fill, a radio prophet who had out-distanced the clock. Will Strunk got out ofthis predicament by a simple trick: he uttered every sentence three times. When he delivered his oration on brevity to the class, he leaned forward over his desk, grasped his coat lapels in his hands, and, in a husky, conspiratorial voice, said, "Rule Seventeen. Omit needless words! Omit needless words! Omit needless words!" He was a memorable man, friendly and funny. Under the remembered sting of his kindly lash, I have been trying to omit needless words since 1919, and although there are still many words that cry for omission and the huge task will never be accomplished, it is exciting to me to reread the masterly Strunkian elaboration ofthis noble theme. It goes: Vigorous writing is concise. A sentence should contain no unnecessary words, a paragraph no unnecessary sen￾tences, for the same reason that a drawing should have no