rule_17.dita

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<concept id="concept_cfx_gt4_z2b">
    <title>Rule 17</title>
    <shortdesc>In summaries, keep to one tense.</shortdesc>
    <conbody>
        <p>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.</p>
        <lq>An unforeseen 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.</lq>
        <p>But whichever tense be used in the summary, a past tense in indirect discourse or in
            indirect question remains unchanged.</p>
        <lq> The Friar confesses that it was he who married them. </lq>
        <p>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 <xref keyref="rule_15">Rule 15</xref>).</p>
        <p>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.</p>
        <p>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 be careful to avoid dropping into summary. He may find it necessary to
            devote one or two sentences to indicating the subject, or the opening situation, of the
            work he is discussing; he may cite numerous details to illustrate its qualities. But he
            should aim to write an orderly discussion supported by evidence, not a summary with
            occasional comment. Similarly, if the scope of his discussion includes a number of
            works, he will as a rule do better not to take them up singly in chronological order,
            but to aim from the beginning at establishing general conclusions.</p>
    </conbody>
</concept>