1828 printing, the second edition, copyrighted 1827. Short book focusing on exercises etymological and syntactical parsing that grow in difficulty over each chapter. The work attempts to make the study of English grammar easier through classification of the forms of English construction. It is to be used after students have committed the rules of grammar to memory. There are forty lessons in all. Some use quotations by distinguished authors. The Schultz Archive's copy is roughly the complete text.
The original was published in 1762. This American edition was based on the 1823 abridgment published in London. An American 19th century abridgment of 18th century textbook on literary criticism by the Scottish Enlightenment scholar Henry Home, Lord Kames. Explores the role of human nature in literary composition and criticism, particularly the emotions and passions. It also covers aesthetic concerns and forms such as beauty, sublimity, risible objects, congruity and propriety, dignity and grace, ridicule, wit, comparisons, narration and description, epic and dramatic composition, and standard of taste. Includes review questions. The Schultz Archive copy includes the TOC, the introduction, and the chapter on narration and description.
1855 printing of the 1854 copyrighted text. The author is credited with a Master of Arts degree and as Associate Principal of the Collegiate School in New York, and as the author of First Lessons in Composition. Based on the same plan as the author's book for younger students, First Lessons in Composition, this text is meant for students in colleges and higher academies. The preface boasts its merits are its clearness and simplicity, its variety of subjects and their connections, and the practicality of its exercises. The sections cover the history of the English language; punctuation; rhetoric--with sections on taste, the imagination, the sublime, the beautiful, wit, humor, figurative language, varieties of style, and criticism; prose composition--with sections on invention, amplification, metaphorical language, climax and anithesis, paraphrasing, description, narration, letters, fiction, orations, etc; and poetical composition. Collection of rules and exercises, beginning with history of English language and punctuation until building up to poetry. It credits the influence of Blair, Burke, and Alison. Illustrative textual examples are used throughout. The Schultz Archive's copy is roughly the complete text.
1844 printing of the 1844 copyrighted text. The title page says the book is designed as a sequel to Progressive Exercises in English Composition. As with its predecessor, this text seeks to address two primary obstacles for student writers: obtaining ideas and expressing ideas. The author's approach to obtaining ideas is based on what he terms the principle of association. The exercises herein are not presented as a progressive course, but rather are meant to be selected by teachers as they deem useful. The material varies from sample sentences for punctuation practice, to models of the various kinds of compositions, to long lists of subjects for different kinds of compositions. There are seventy-five lessons in all. The Schultz Archive's copy is roughly the complete text.
1945 printing. Reprinted from the Bulletin of the New York Public Library of December, 1944 and January, 1945. A handbook on letter-writing that excludes examples of historical, literary, and specialized (such as business) correspondence in favor of a general letter-writer for the "average" person. Introduction covers the history of the letter-writer handbook, dating back 1568. It credits much of its history to Katherine Gee Hornbeak's The Complete Letter Writing in English, 1568 – 1800. The text features examples of letters on general and specific topics (ex: A Father to his Daughter, Refusing his Consent to an Early Marriage). It also includes a bibliography called Preliminary Check List of American Letter-Writers, 1698-1943. The Schultz Archive copy is roughly the complete 54 page text.
1870 printing of the 1869 copyrighted text. The author is credited as Assistant Superintendent of Schools in Brooklyn, NY and has a Doctor of Laws in English (LL. D.). The prefaces says the work has three parts. The first part covers sentence structure with familiar examples and makes references to Bullions's grammar. The second part gives selections for analysis and parsing. The third part gives practical methods in composition (as opposed to "tiresome exercises" or the laws of rhetoric). The Schultz Archive's copy only contains part III: Composition, which contains: framing sentences, copying, dictations exercises, reproduction, impromptu composition, paraphrase, variety of expression, criticism, the essay, letter writing, style, choice of words (perspicuity, purity, propriety, and precision), structure of sentences, and figurative language.
1867 printing of the 1867 copyrighted work: a reconstruction of Elements of the Art of Rhetoric (1850). The author is credited as the author of books on logic, grammar, composition, and rhetorical praxis. The preface states Elements of the Art of Rhetoric was distinct for elevating invention to the first rank in rhetorical instruction, reduction of the principles of rhetoric to a more exact system, and the treatment of rhetoric as an art rather than a science. This text made changes to make stronger relations between rhetoric and logic and aesthetics, fuller develop the processes of explanation, and the more exact classification of style. A treatise and textbook on rhetoric, it is divided into two parts: invention and style. Invention is further divided into explanation, confirmation, excitation, and persuasion. Style is divided into absolute properties, subjective properties, and objective properties. Discourse is discussed as oratory, epistolary composition, poetry, representative discourse, judicial, deliberative and sacred. Exercises are used throughout. The Schultz Archive copy is roughly the complete text.
Ninth edition/printing (no year) of the 1867 copyrighted text. Day is credited as the author of Logic, Rhetoric, and Rhetorical Praxis. The book is based on Day's rhetoric that argues thought (and forms of thought) is the starting point for teaching rhetoric, composition, and grammar rather than style and form of language. Emphasis is put on teaching methods of thought and study with accompanying exercises. Definitions and principles are here given in their simplest forms. Introductory exercises cover parts of speech, such as sentences, clauses, and words. The next section, the Art of Composition, is divided into simple objects, principal elements fo the sentence, modifying elements, abnormal forms, construction, analysis, symbolism of thought, and explanation. Oral and written exercises are included throughout, including exercises in correction. The Schultz Archive's copy is roughly the complete text.
Handwritten date of 1739 appears on the cover page. The author is credited as Master of the Publick Grammar-School in Holt, Norfolk. The title page states the text is: Briefly stated, and fitted to the practice of the studious youth of Great-Brian and Ireland: in two books. The first comprehending the principles of that excellent art, conformable to, and supported the authority of the most accurate orators and rhetoricians, both ancient and modern: Isocrates, Aristotle, Cicero, Dionysisus Halicarnass, Quintilian, Vossius, Petrus Ramus, Cyp Sarius, Aud. Talaeus, Dugard; Farnaby, Buter, Smith, Walker, Burton, Blackwell, Lowe, Rollin, A.B of Cambray, Mess de Port-Royal. The whole being distinguished into what is necessary to be repeated, and what may be made only matter of observation. The second contain the substance of Longinu's celebrated treatise on the sublime. In both which all technical terms are fully explained with their derivations, and proper examples applied to demonstrate and illustrate all the topres, figures, and fine turns, that are to be met with, or imitated, either in the scriptures, classics, or other polite writings as well oratorial as poetical. The Schultz Archive copy is roughly the first twenty-nine pages. The copies vary in quality and readability.