Preface: This article is the reading notes for the second chapter of the book "The Element of Style".

The element of style.
Link to the electronic version of this book: http://www.jlakes.org/ch/web/The-elements-of-style.pdf

Chapter I Elementary Rules of Usage Reading Notes: link

Content

II Elementary Principles of Composition

II Elementary Principles of Composition

12. Choose a suitable design and hold to it. (P26)

Namely: choose an idea that fits well and stick to it

Every piece of writing has a basic idea. Writers will follow this idea to an extent and deviate according to their skills, needs, and contingencies in the creative act. To write effectively, one must closely follow the writer's thoughts, but not necessarily in the order in which those thoughts occur. This requires a procedural scheme. In some cases, the best idea is no idea, like a love letter, just a confidant, or like an essay, a kind of stroll. But in most cases planning must be a deliberate prelude to writing. Therefore, the first principle of composition is to foresee or determine the shape of future content and pursue it.

The sonnet is built on a framework of 14 lines with five rhymes per line. Thus, poets know where they are going, even though they may not know how to get there. Most creative forms are less defined and more flexible, but they all have a skeleton into which the author injects flesh and blood. The more clearly the writer understands this structure, the better the chances of the work's success.

13. Make the paragraph the unit of composition. (P26 - P28)

That is: the paragraph as the basic unit of the article

A paragraph is a convenient unit that applies to all literary works. A paragraph can be any length as long as it is coherent - it can be a single short sentence, or it can be a long text with a relatively large span.

If the topic you're writing about is small, or if you're going to deal with it briefly, it may not be necessary to divide it into topics. So things like a short description, a short book review, a short account of a single event, a brief overview of an action, an exposition of a concise point of view—all are best described in a single paragraph. After writing a paragraph, check to see if it would be better to break it up into several paragraphs.

Generally, however, topics need to be divided into topics, each of which should be dealt with in a single paragraph. The purpose of dealing with each topic in a separate paragraph is, of course, to help the reader (better understand the author's meaning). The beginning of each paragraph is a signal that a new step has been taken in the development of the topic.

Normally, a single sentence should not form a paragraph, with one exception being transitional sentences: indicating the relationship between the various parts of an expression or argument.

In dialogue scenarios, each utterance, even if only one word, should usually be a separate paragraph; that is, new paragraphs should start when the speaker changes. When dialogue and narrative come together, the best way to apply this rule is through a well-edited work of fiction that learns by example. Sometimes, in order to create a quick-talking conversation or for other reasons, writers choose not to have each statement in a separate paragraph, but to string the statements together. However, the usual practice, and in most cases the best case scenario, is to give each statement a separate paragraph.

Typically, each paragraph should begin with a sentence that hints at the topic or helps with the transition. If a paragraph is part of a larger work, its relationship to what precedes it or its function as part of the whole may need to be expressed. This can sometimes be done by adding a short word or phrase (like again, therefore, for the same reason) to the first sentence. Sometimes, however, it works to slowly get into the topic with an introductory or transition sentence or two.

In narratives and descriptions, paragraphs sometimes begin with a concise, comprehensive declarative sentence to show that the details that follow belong to the whole, (that is, what we call the "total-part" structure) Example:

```
The breeze served us admirably.
```

The campaign opened with a series of reverses.

The next ten or twelve pages were filled with a curious set of entries.

But when this (total score) structure is overused, it becomes a style idiom. More often, the opening sentence simply indicates the direction of the paragraph by its subject, example:

At length I thought I might return toward the stockade.

He picked up the heavy lamp from the table and began to explore.

Another flight of steps, and they emerged on the roof.

In vivid narratives, where paragraphs are often short and lack any resemblance of a topic sentence, the writer rushes forward and events follow. Such breaks between paragraphs serve merely as rhetorical pauses, to highlight a detail of the action.

In conclusion, remember: Paragraphs require good visual perception and logical thinking. Large blocks of print can seem invincible to readers, who are often reluctant to deal with them. Therefore, splitting long paragraphs in half is often beneficial for visual effect, even if it is not necessary in terms of meaning, meaning, or logical development. But also keep in mind that frequent use of short paragraphs can be distracting. Paragraph breaks used only for display look like commercial writing or display advertising. The subsections in the text mainly consider moderation and order.

14. Use the active voice. (P28 - P29)

ie: use the active voice

The active voice is usually more direct and powerful than the passive voice, examples:

I shall always remember my first visit to Boston.

The above statement is superior to:

My first visit to Boston will always be remembered by me.

The latter sentence is not as direct, bold, and concise as the previous sentence. If the author tries to make it more concise by omitting the "by me" part, the meaning of the sentence becomes ambiguous:

My first visit to Boston will always be remembered,

Is it the author, someone unnamed, or will the entire world forever remember this visit?

This rule does not mean that writers do away with the passive voice forever, as the passive voice is often convenient and sometimes necessary, example:

The dramatists of the Restoration are little esteemed today.

Modern readers have little esteem for the dramatists of the Restoration.

In passages dealing with Restoration dramatists, the first voice is more appropriate, while in passages dealing with the tastes of modern readers the second is more appropriate. As is the case in these examples, the choice of subject in the sentence is decisive for the voice.

The habitual use of the active voice can make writing more powerful, and this applies not only to narratives that primarily involve action, but to any form of writing. Many bland descriptions or expositions can be made more dynamic by replacing perfunctory expressions such as there isor with transitive verbs in the active voice, examples:could be heard

There were a great number of dead leaves lying on the ground. 应改为：
```
Dead leaves covered the ground.
```
At dawn the crowing of a rooster could be heard. Should read:
```
The cock's crow came with dawn.
```
The reason he left college was that his health became impaired. 应改为：

Failing health compelled him to leave college.

It was not long before she was very sorry that she had said what she had. 应改为：
```
She soon repented her words.
```

Note that in the examples above, when a sentence becomes more powerful, it usually also becomes shorter. So simplicity is a byproduct of power .

15. Put statements in positive form. (P29 - P30)

ie: use the affirmative voice to make a statement

Make clear assertions. Avoid warm, ambiguous, non-committal language. Use notthe word to express negation or opposition, not as a method of escape.

He was not very often on time. Should be changed to:
```
He usually came late.
```
She did not think that studying Latin was a sensible way to use one’s time. 应改为：

She thought the study of Latin a waste of time.

The Taming of the Shrew is rather weak in spots. Shakespeare does not portray Katharine as a very admirable character, nor does Bianca remain long in memory as an important character in Shakespeare’s works. 应改为：

The women in The Taming of the Shrew are unattractive. Katharine is disagreeable, Bianca insignificant.

The last example, before modification, was ambiguous and negative. Therefore, the corrected version is only a guess at the author's intent.
The above three examples all show notthe inherent weakness of the term. Whether consciously or not, the reader is not content to be told what is not; the reader wants to be told what is. Therefore, as a rule, it is better to express negation in a positive form.

not honest should be changed to: dishonest
not important should be changed to: trifling
did not remember should be changed to: forgot
did not pay any attention to should be changed to: ignored
did not have much confidence in should be changed to: distrusted

Placing negativity and positivity as opposites can create a stronger structure, example:

```
Not charity, but simple justice. 
```

Not that I loved Caesar less, but that I loved Rome more.

Ask not what your country can do for you — ask what you can do for your country.

Other negative words usually have a stronger tone than "not", examples:

Her loveliness I never knew / Until she smiled on me.

Declarative sentences qualified by unnecessary auxiliary verbs and conditional clauses sound indecisive, example:

If you would let us know the time of your arrival, we would be happy to arrange your transportation from the airport.

If you will let us know the time of your arrival, we shall be happy to arrange your transportation from the airport.

Applicants can make a good impression by being neat and punctual.

Applicants will make a good impression if they are neat and punctual.

Plath may be ranked among those modem poets who died young.

Plath was one of those modern poets who died young.

If every sentence you write is suspect, your essay will lack authority. Use these auxiliary verbs only for situations where there is no real certainty: would, should, could, may, might, can.

16. Use definite, specific, concrete language. (P30 - P32)

ie: use exhaustive, clear, specific language

Turn the general into the specific, the vague into the clear, and the abstract into the concrete.

A period of unfavorable weather set in. should be changed to:
```
It rained every day for a week.
```
He showed satisfaction as he took possession of his well-earned reward. 应改为：
```
He grinned as he pocketed the coin.
```

If those who have studied the art of writing agree on one point, it is this: The surest way to call and hold the reader's attention is to be specific, specific, and specific. The greatest writers—Homer, Dante, Shakespeare—are impressive largely because they deal with details and report on details that matter. Their words evoke images.

Take, for example, the more modern author Jean Stafford, who in her short story "In the Zoo" shows how prose can be brought to life through the use of words that evoke images and feelings:

… Daisy and I in time found asylum in a small menagerie down by the railroad tracks. It belonged to a gentle alcoholic ne’er-do- well, who did nothing all day long but drink bathtub gin in rickeys and play solitaire and smile to himself and talk to his animals. He had a little, stunted red vixen and a deodorized skunk, a parrot from Tahiti that spoke Parisian French, a woebegone coyote, and two capuchin monkeys, so serious and humanized, so small and sad and sweet, and so religious-looking with their tonsured heads that it was impossible not to think their gibberish was really an ordered language with a grammar that someday some philologist would understand.
Gran knew about our visits to Mr. Murphy and she did not object, for it gave her keen pleasure to excoriate him when we came home. His vice was not a matter of guesswork; it was an established fact that he was half-seas over from dawn till midnight. “With the black Irish,” said Gran, “the taste for drink is taken in with the mother’s milk and is never mastered. Oh, I know all about those promises to join the temperance movement and not to touch another drop. The way to Hell is paved with good intentions.”*
(* Excerpt from “In the Zoo” from Bad Characters by Jean Stafford. Copyright © 1964 by Jean Stafford. Copyright renewed © 1992 by Nora Cosgrove. Reprinted by permission of Farrar, Straus & Giroux, Inc. Also copyright © 1969 by Jean Stafford; reprinted by permission of Curtis Brown, Ltd.)

If the experiences of Walter Mitty, Molly Bloom, Rabbit Angstrom are true to countless readers, in reading Faulkner we almost have the feeling of living in Yoknapatowa County during the decline of the South, That's because the details used are unambiguous and the terminology is specific. Not that every detail is given - that would be impossible and serves no purpose - but all the important details are given, and so accurately and forcefully that the reader can project himself in the imagination into the scene.

In exposition and argument, the author must likewise never lose his grip on the concrete; even when dealing with general principles, the author must give concrete examples of their application.

In his Philosophy of Style, Herbert Spencer explains how to turn the vague and general into vivid and specific in two sentences:

In proportion as the manners, customs, and amusements of a nation are cruel and barbarous, the regulations of its penal code will be severe.

In proportion as men delight in battles, bullfights, and combats of gladiators, will they punish by hanging, burning, and the rack.

To show what happens when powerful writing is deprived of its vitality, George Orwell once took a passage from the Bible and drained its blood. On the left, below is George Orwell's translation; on the right, the passage from Ecclesiastes (King James edition):

Objective consideration of contemporary phenomena compels the conclusion that success or failure in competitive activities exhibits no tendency to be commensurate with innate capacity, but that a considerable element of the unpredictable must inevitably be taken into account.
I returned, and saw under the sun, that the race is not to the swift, nor the battle to the strong, neither yet bread to the wise, nor yet riches to men of understanding, nor yet favor to men of skill; but time and chance happeneth to them all.

17. Omit needless words. (P32-P33)

ie: omit unnecessary words

Powerful writing is concise. A sentence should contain no unnecessary words, and a paragraph should not contain unnecessary sentences, for the same reason that drawings should have no unnecessary lines and machines should have no unnecessary parts. This doesn't require the writer to keep all sentences short, or avoid all details, or only deal with the topic in the outline, but every word counts.

Many commonly used expressions violate this principle:

the question as to whether 应改为：whether (the question whether)
there is no doubt but that 应改为：no doubt (doubtless)
used for fuel purposes should be changed to: used for fuel
he is a man who should be changed to: he
in a hasty manner should be changed to: hastily
this is a subject that 应改为：this subject
Her story is a strange one. Should be changed to: Her story is strange.
The reason why is that should be changed to: because

"The fact that" is an extremely weak word that should not appear in any sentence.

owing to the fact that should be changed to: since (because)
in spite of the fact that 应改为：though (although)
call your attention to the fact that 应改为：remind you (notify you)
I was unaware of the fact that 应改为：I was unaware that (did not know)
the fact that he had not succeeded 应改为：his failure
the fact that I had arrived 应改为：my arrival

The case, character, and nature in Chapter IV are the same. Who is, which was, and so on are also redundant.

His cousin, who is a member of the same firm 应改为：His cousin, a member of the same firm
Trafalgar, which was Nelson’s last battle 应改为：Trafalgar, Nelson’s last battle

Since the active voice is more concise than the passive voice, and positive statements are more concise than negative statements, the many examples given under rules 14 and 15 also illustrate this rule, example:

Macbeth was very ambitious. This led him to wish to become king of Scotland. The witches told him that this wish of his would come true. The king of Scotland at this time was Duncan. Encouraged by his wife, Macbeth murdered Duncan. He was thus enabled to succeed Duncan as king. (51 words)

Encouraged by his wife, Macbeth achieved his ambition and realized the prediction of the witches by murdering Duncan and becoming king of Scotland in his place. (26 words)

18. Avoid a succession of loose sentences. (P33 - P34)

ie: avoid a string of loose sentences

This rule refers specifically to a certain type of loose sentences: those that consist of two clauses and the second clause is introduced by a conjunction or relative word. Writers can err on the side of tight and periodic sentences. The occasional loose sentence prevents the style from becoming too formal and gives the reader some relief. As a result, loose sentences are common in simple, non-academic writing. The danger is that there may be too many.

An inexperienced writer will sometimes construct a whole paragraph of this sentence, using the conjunctions and, but and, less commonly, who, which, when, where, and while to form nonrestrictive clauses. (see rule 3)

The third concert of the subscription series was given last evening, and alarge audience was in attendance. Mr. Edward Appleton was the soloist, andthe Boston Symphony Orchestra furnished the instrumental music. Theformer showed himself to be an artist of the first rank, while the latter proveditself fully deserving of its high reputation. The interest aroused by the serieshas been very gratifying to the Committee, and it is planned to give a similarseries annually hereafter. The fourth concert will be given on Tuesday, May10, when an equally attractive program will be presented.

Besides banality and emptiness, the problem with the above paragraph is that the structure of the sentences is mechanically symmetrical and monotonous. Compare the following sentences from the chapter "What I Believe" in Two Cheers for Democracy by EM Forster:

I believe in aristocracy, though — if that is the right word, and if a democratmay use it. Not an aristocracy of power, based upon rank and influence, butan aristocracy of the sensitive, the considerate and the plucky. Its membersare to be found in all nations and classes, and all through the ages, andthere is a secret understanding between them when they meet. Theyrepresent the true human tradition, the one permanent victory of our queerrace over cruelty and chaos. Thousands of them perish in obscurity, a feware great names. They are sensitive for others as well as for themselves,they are considerate without being fussy, their pluck is not swankiness butthe power to endure, and they can take a joke.*

(* Excerpt from “What I Believe” in Two Cheers for Democracy, copyright 1939 and renewed 1967 by E. M.Forster, reprinted by permission of Harcourt, Inc. Also, by permission of The Provost and Scholars of King’sCollege, Cambridge, and The Society of Authors as the literary representatives of the E. M. Forster Estate.)

A writer who writes too many loose sentences should reshape some of the sentences to eliminate the tedium. Use a simple sentence, two clauses joined by a semicolon, a dropped sentence consisting of two clauses, or a sentence consisting of three clauses (loose or dropped sentences) instead of the original loose sentence - whichever best represents the idea true relationship prevails.

19. Express coordinate ideas in similar form. (P35 - P36)

That is: use similar forms to express parallel ideas

This principle, the principle of parallel construction, requires that expressions that are similar in content and function are similar in appearance. Similarities in form make it easier for readers to identify similarities in content and function. The Beatitudes we are familiar with embody the virtues of parallel construction.

Blessed are the poor in spirit: for theirs is the kingdom of heaven.
Blessed are they that mourn: for they shall be comforted.
Blessed are the meek: for they shall inherit the earth.
Blessed are they which do hunger and thirst after righteousness: for theyshall be filled.

Unsophisticated writers often violate this principle, falsely believing in the value of varied forms of expression. When repeating a statement to emphasize it, the writer may need to change its form. Otherwise, the author should follow the principle of parallel construction, example:

Formerly, science was taught by thetextbook method, while now the laboratorymethod is employed. 应改为：

Formerly, science was taught by thetextbook method; now it is taught by thelaboratory method.

The version on the left gives the impression of a hesitant or timid author, clearly unable or afraid to choose a form of expression and stick to it. The version on the right shows that the author at least made the choice and abided by it.
According to this principle, an article or preposition, when modifying a sequence of words, is either used only before the first term or repeated before each term.

the French, the Italians, Spanish, and Portuguese should read:

the French, the Italians, the Spanish, and the Portuguese

in spring, summer, or in winter should be changed to:

in spring, summer, or winter (in spring, insummer, or in winter)

In certain colloquial expressions, some words require a specific preposition. When these words appear in compound constructions, the prepositions with which they were originally paired must be retained unless they are identical:

His speech was marked by disagreement and scorn for his opponent's position. It should be changed to:

His speech was marked by disagreement with and scorn for his opponent's position.

Like both, and(both); not, but(not…but); not only, but also(not only…and); either, or(…or…;either…or…); first, second, third(first, second, third) This type of associated phrase should also Follow the same grammatical structure as above. Many violations of this rule can be corrected by rearranging entire sentences, for example:

It was both a long ceremony and verytedious. It should be changed to:

The ceremony was both long and tedious.

A time not for words but action. should be changed to:
```
A time not for words but for action.
```
Either you must grant his request or incurhis ill will. 应改为：

You must either grant his request or incurhis ill will.

My objections are, first, the injustice of themeasure; second, that it is unconstitutional. 应改为：

My objections are, first, that the measure isunjust; second, that it is unconstitutional.

One might ask, what if you need to express quite a few similar thoughts—say, twenty? Do you have to write twenty consecutive sentences of the same pattern? Dig into it, and you may find that the difficulty is fiction—these twenty ideas can be grouped, you just need to apply the principle within each group. Otherwise, it's best to avoid difficulties by placing the statements in the form of a table.

20. Keep related words together. (P36 - P38)

ie: put related words together

The position of words in a sentence is the primary means of showing their relationship. When words are placed incorrectly, confusion and ambiguity can arise. Therefore, writers must group together words and phrases that are related in meaning and separate those that are not so related.

He noticed a large stain in the rug that was right in the center. 应改为：

He noticed a large stain right in the center ofthe rug.

You can call your mother in London and tellher all about George’s taking you out todinner for just two dollars. 应改为：

For just two dollars you can call yourmother in London and tell her all aboutGeorge's taking you out to dinner.

New York’s first commercial human-spermbank opened Friday with semen samplesfrom eighteen men frozen in a stainless steeltank. 应改为：

New York's first commercial human- spermbank opened Friday when semen sampleswere taken from eighteen men. The sampleswere then frozen and stored in a stainlesssteel tank.

In the version on the left of the first example, the reader does not know whether it is "the stain was in the center of the rug" or "the rug was in the center of the room". In the left-hand version of the second example, the reader will wonder what "cost two dollars" is -- the phone or the dinner. In the version to the left of the third example, the reader will sympathize with the eighteen poor fellows frozen in a stainless steel freezer.

As a rule, the subject and main verb of a sentence should usually not be separated by a phrase or clause that can be placed at the beginning of the sentence, example:

Toni Morrison, in Beloved, writes aboutcharacters who have escaped from slaverybut are haunted by its heritage. 应改为：

In Beloved, Toni Morrison writes aboutcharacters who have escaped from slaverybut are haunted by its heritage.

A dog, if you fail to discipline him,becomes a household pest. 应改为：

Unless disciplined, a dog becomes ahousehold pest.

As in the left example above, inserting a phrase or clause interrupts the flow of the main clause. However, when the flow of the sentence is only hindered by a relative clause or apposition, the interruption is not always annoying. Sometimes, in dropped sentences, blocking is a deliberate practice to create suspense. (See example sentence in Rule 22.)

In most cases, a relative pronoun should immediately follow its antecedent. For example:

There was a stir in the audience thatsuggested disapproval. 应改为：

A stir that suggested disapproval swept theaudience.

He wrote three articles about his adventuresin Spain, which were published in Harper’s Magazine. 应改为：

He published three articles in Harper's Magazine about his adventures in Spain.

This is a portrait of Benjamin Harrison, whobecame President in 1889. He was thegrandson of William Henry Harrison. 应改为：

This is a portrait of Benjamin Harrison,grandson of William Henry Harrison, whobecame President in 1889.

If the antecedent consists of a group of words, the relative word follows the group of words, unless doing so would create ambiguity, example:

The Superintendent of the Chicago Division, who

The above sentence does not constitute confusion, but the following example:

A proposal to amend the Sherman Act, which has been variously judged

It will make readers confused whether "the proposal" or "the Act" was "variously judged". Therefore, the relative clause must be put in front and become: "A proposal, which has been variously judged, to amend the Sherman Act..."

Similar to this:

The grandson of William Henry Harrison, who should read:

William Henry Harrison's grandson,Benjamin Harrison, who

The apposition of the noun can be placed between the antecedent and the relative word, because such a combination does not produce actual ambiguity.

The Duke of York, his brother, who was regarded with hostility by the Whigs

A modifier follows the word it modifies as closely as possible. If there are multiple phrases modifying a word at the same time, they must be properly arranged to avoid incorrect modifier relationships. For example:

All the members were not present. Should be changed to:
```
Not all the members were present.
```
She only found two mistakes. Should be changed to:
```
She found only two mistakes.
```
The director said he hoped all memberswould give generously to the Fund at ameeting of the committee yesterday. 应改为：

On Tuesday evening at eight, Major R. E.Joyce will give a lecture in Bailey Hall on"My Experiences in Mesopotamia." Thepublic is invited.

Major R. E. Joyce will give a lecture onTuesday evening in Bailey Hall, to whichthe public is invited on “My Experiences inMesopotamia” at 8:00 P.M. 应改为：

At a meeting of the committee yesterday,the director said he hoped all memberswould give generously to the Fund.

The last example on the left shows how quickly words lose their meaning when they are misplaced.

21. In summaries, keep to one tense. (P38 - P39)

That is: When writing an overview, the tense should be unified

Use the present tense when outlining dramatic action. When outlining a poem, story, or novel, also use the present tense; unless the past tense seems more natural, then you can use the past tense too. If the summary is in the present tense, then the actions that occurred before that time should be in the present perfect tense; if the summary is in the past tense, then the past perfect tense should be used accordingly, example:

Chance prevents Friar John from delivering Friar Lawrence’s letter to Romeo. Meanwhile, owing to her father’s arbitrary change of the day set for her wedding, Juliet 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 non-delivery of the letter.

But no matter which voice is used to summarize, the past tense should still be used in indirect speech or indirect interrogative sentence.
The Friar confesses that it was he who married them.

With the exceptions noted above, authors should use one tense throughout. Swinging between tenses will only give the impression of indecision and indecision.

When paraphrasing someone else's words or thoughts, like outlining an essay or reporting a speech, don't overuse these phrases: he said, she stated, the speaker added, the speaker then went on to say, the author also thinks. At the beginning, make it clear once and for all: the subsequent chapters are an overview, and there is no need to waste ink and ink to tell the reader repeatedly.

In notes, newspapers, and literary handbooks, summaries of one kind or another are inevitable; and it is a useful exercise for schoolchildren to retell a story in their own words. However, literary criticism or literary appreciation should be careful not to fall into the misunderstanding of overview. It may be necessary to dedicate a sentence or two to indicate the theme or opening arrangement of the work in question, or to cite a great deal of detail to illustrate the quality of the work. Your goal in writing, however, must be a well-organized discussion supported by evidence, not a general overview interspersed with sporadic commentary. Similarly, if the scope of the discussion covers many works, it is best, as a rule, not to treat each work individually in chronological order, but to draw general conclusions for all of them from the outset.

22. Place the emphatic words of a sentence at the end. (P39 - P40)

That is: put the emphatic word at the end of the sentence

Humanity has hardly advanced in fortitude since that time, though it has advanced in many other ways. 应改为：

Since that time, humanity has advanced in many ways, but it has hardly advanced infortitude.

This steel is principally used for makingrazors, because of its hardness. 应改为：

Because of its hardness, this steel is usedprincipally for making razors.

Those words or phrases that occupy this prominent position are usually logical predicates, that is, "new" elements in the sentence, such as the second example above. The effectiveness of a dropped sentence is that it highlights the main clause, example:

Four centuries ago, Christopher Columbus, one of the Italian mariners whomthe decline of their own republics had put at the service of the world and of adventure, seeking for Spain a westward passage to the Indies to offset theachievement of Portuguese discoverers, lighted on America.
With these hopes and in this belief I would urge you, laying aside allhindrance, thrusting away all private aims, to devote yourself unswervinglyand unflinchingly to the vigorous and successful prosecution of this war.

Another prominent place in a sentence is at the beginning of a sentence. Any element of a sentence placed at the beginning of a sentence, other than the subject, is thus emphasized, for example:

Deceit or treachery she could never forgive.
Vast and rude, fretted by the action of nearly three thousand years, the fragments of this architecture may often seem, at first sight, like works of nature.
Home is the sailor.

The subject appears at the beginning of the sentence and may play a role of emphasis, but this does not depend solely on its position. For example in this sentence:

Great kings worshiped at his shrine

The emphasis on kingsthe word depends largely on its own meaning and its relationship with the context. To place special emphasis on the subject of a sentence, it must occupy the position of the predicate verb, example:

Through the middle of the valley flowed a winding stream.

The most prominent position is precisely at the end. This principle also applies to words in a sentence, sentences in a paragraph, and paragraphs in an article.

References

"Style Elements 4" Chinese translation catalog and links: the century-old classic The Elements of Style (4th) - Zhihu (zhihu.com)

"The Element of Style" Reading Notes - Chapter II Elementary Principles of Composition