Length and Rhythm
In artful prose, on the other hand, length is more deliberately controlled. Some accomplished stylists can write one short sentence after another, perhaps to strike a note of urgency: （在那些巧妙的文章中，句子的长度是被精心掌控的。有些优秀的文体学家可以通过一个短句紧接另一个短句的写法营造出出一丝紧迫感）
e.g. Toward noon Petrograd again became the field of military action; rifles and machine guns rang out everywhere. It was not easy to tell who was shooting or where. One thing was clear; the past and the future were exchanging shots. There was much casual firing; young boys were shooting off revolvers unexpectedly acquired. The arsenal was wrecked. . . . Shots rang out on both sides. But the board fence stood in the way, dividing the soldiers from the revolution. The attackers decided to break down the fence. They broke down part of it and set fire to the rest. About twenty barracks came into view. The bicyclists were concentrated in two or three of them. The empty barracks were set fire to at once.
-Leon Trotsky, The Russian Revolution, trans. Max Eastman
碎片化的语句可以营造出一种迫在眉睫的情绪：
Let us look at this American artist first. How did he ever get to America, to start with? Why isn't he a European still, like his father before him?
Now listen to me, don't listen to him. He'll tell you the lie you expect. Which is partly your fault for expecting it.
He didn't come in search of freedom of worship. England had more freedom of worship in the year 1700 than America had. Won by Englishmen who wanted freedom and so stopped at home and fought for it. And got it. Freedom of worship? Read the history of New England during the first century of its existence.
Freedom anyhow? The land of the free! This the land of the free! Why, if I say anything that displeases them, the free mob will lynch me, and that's my freedom. Free? Why I have never been in any country where the individual has such an abject fear of his fellow countrymen. Because, as I say, they are free to lynch him the moment he shows he is not one of them. . . .
All right then, what did they come for? For lots of reasons. Perhaps least of all in search of freedom of any sort: positive freeedom, that is.
-D. H. Lawrence, Studies in Classic American Literature
Equally accomplished writers write one long sentence after another to suggest a mind exploring an idea in the act of writing the sentence: （同样的，优秀的作者也可以写出连续的长句子以展示出其写作时思想流动的过程）（注意：下面这一大段话属于一个句子）
e.g. In any event, up at the front of this March, in the first line, back of that hollow square of monitors, Mailer and Lowell walked in this barrage of cameras, helicopters, TV cars, monitors, loudspeakers, and wavering buckling twisting line of notables, arms linked (line twisting so much that at times the movement was in file, one arm locked ahead, one behind, then the line would undulate about and the other arm would be ahead) speeding up a few steps, slowing down while a great happiness came back into the day as if finally one stood under some mythical arch in the great vault of history, helicoptors buzzing about, chop-chop, and the sense of America divided on this day now liberated some undiscovered patriotism in Mailer so that he felt a sharp searing love for his country in this moment and on this day, crossing some divide in his own mind wider than the Potomac, a love so lacerated he felt as if a marriage were being torn and children lost-never does one love so much as then, obviously, then-and an odor of wood smoke, from where you knew not, was also in the air, a smoke of dignity and some calm heroism, not unlike the sense of freedom which also comes when a marriage is burst-Mailer knew for the first time why men in the front line of battle are almost always ready to die; there is a promise of some swift transit. . . .
-Norman Mailer, Armies of the Night
