Fourth edition of the 1885 copyrighted text. The author is credited as having a Master of Arts degree and as Professor of Rhetoric and the English Lanugage in the University of Pennsylvania, member of MLA, and author of a book on English etymology. The preface from the third edition (1889) explains the added Analysis, which is meant to help map the contents and aid the student in studying. The preface to the original edition explains the author has tried to properly balance principles of the art of rhetoric with their practical application, as well as treat both style and invention. The book is focused on the study of prose, but illustrative examples from poets and novelists are occasionally used. The introduction explains rhetoric and composition, laws of rhetoric, and kinds of discourse. The book's first part, Style, covers grammatical purity, elements of style, and qualities of style (significance, naturalness, pathos, humor, satire, harmony, etc.). The second part, Invention, covers the theme and the discussion (modes of discussion, definition, division, comparison and contrast, excitation). The preface also credits the influence of Henry Day. The Schultz Archive's copy is not the complete text. It includes the Analysis and selections from the Introduction and parts one and two.
Twenty-second London edition printed 1876.The author is not credited on the title page. C. Mayo signs the preface of the original edition, in which he credits his sister for “the execution of the details” resulting in “the Exercises, now for the first time presented to the public.” A preface signed by Elizabeth Mayo was added to the fourteenth edition (1855). According to her preface:
The first series exercises the perceptive faculties, arresting attention on qualities discoverable by the senses and furnishing a vocabulary to clothe the ideas. The second and third series exercise the perceptive powers in recalling the impressions made upon them by external objects when they are removed from observation. The fourth series exercises children in tracing resemblances and differences, in drawing comparisons and recognising analogies, thereby cultivating the power of arranging and classifying. In the fifth series reason and judgment are brought into activity by tracing the connection between cause and effect, between use and adaptation, and the power of expression is cultivated.
Some changes and additions have been made to the objects in the lessons. The Schultz Archive's copy is roughly the complete text
1831 printing of the 1831 copyrighted text. The author(s) of the English edition are not credited. The editor, John Frost, is credited on the title page as having a Master of Arts degree. The text has been changed to replace "hard and Latinized words with common ones" and to recognize "the United States as one of the nations of the earth." From the description of the Schultz Archive's 1832 printing of the English edition: Grade school education through the Pestalozzian method of question/answer dialogue and expanded analysis on common objects. The works consists of five series of lessons of increasing difficulty. The objects in the first series are chosen for having a distinguishing quality and for each having some obvious connection to what has preceded them. Objects in the first series include leather, water, bread, whalebone, rice, and chalk. Items in the second series include a pen, a chair, and a key. Items in the third series include a quill, a piece of honey-comb, an oyster, and a needle. Items in the fourth series are in two categories: spices and liquids. Items in the fifth series include a mixture of previously covered objects and new ones as well as the categories of metals, earths, and the senses. The descriptions evolve from lists of parts and qualities to long paragraphs.
The Schultz Archive's copy of this American edition is roughly the complete text.
Sixth edition printed in 1837. The type of the ToC has been reset, but the content appears to be identical to the Schultz Archive's 1832 printing. The author is not credited on the title page. C. Mayo signs the preface, in which he credits his sister for “the execution of the details” resulting in “the Exercises, now for the first time presented to the public.” Grade school education through the Pestalozzian method of question/answer dialogue and expanded analysis on common objects. The works consists of five series of lessons of increasing difficulty. The objects in the first series are chosen for having a distinguishing quality and for each having some obvious connection to what has preceded them. Objects in the first series include leather, water, bread, whalebone, rice, and chalk. Items in the second series include a pen, a chair, and a key. Items in the third series include a quill, a piece of honey-comb, an oyster, and a needle. Items in the fourth series are in two categories: spices and liquids. Items in the fifth series include a mixture of previously covered objects and new ones as well as the categories of metals, earths, and the senses. The descriptions evolve from lists of parts and qualities to long paragraphs. The Schultz Archive's copy has only a few pages of the text.
Third edition printed 1832. The author is not credited on the title page. C. Mayo signs the preface, in which he credits his sister for “the execution of the details” resulting in “the Exercises, now for the first time presented to the public.” Grade school education through the Pestalozzian method of question/answer dialogue and expanded analysis on common objects. The works consists of five series of lessons of increasing difficulty. The objects in the first series are chosen for having a distinguishing quality and for each having some obvious connection to what has preceded them. Objects in the first series include leather, water, bread, whalebone, rice, and chalk. Items in the second series include a pen, a chair, and a key. Items in the third series include a quill, a piece of honey-comb, an oyster, and a needle. Items in the fourth series are in two categories: spices and liquids. Items in the fifth series include a mixture of previously covered objects and new ones as well as the categories of metals, earths, and the senses. The descriptions evolve from lists of parts and qualities to long paragraphs. The Schultz Archive's copy is roughly the complete text.
1833 printing. The author is not credited by name on the title page, but it does say "by the author of Lessons on Objects." The preface is signed by C. Mayo. A continuation of Lessons on Objects designed to teach students to observe natural features and command a small vocabulary of scientific terms. The few pages available demonstrate the question/answer technique of a Pestalozzian school and a couple includes examples of the text's illustrations, "ten plates, drawn from nature," advertised on the title page. The Schultz Archive's copy includes the preface, lessons one (on mollusca) and two pages of illustrations.
Third edition. 1873 printing. No copyright page. Reverend C. Mayo is credited as author of part one, "A Lecture of the Life of Pestalozzi." He is credited with a Doctor of Laws of English and as Fellow of St. John's College, Oxford. Elizabeth Mayo is credited as the author of part two, "Pestalozzi and His Principles," although she quotes extensively from a lecture by Rev. Dr. Mayo given in 1826. Robert Dunning is credited "with notes, original and selected" for both parts. He is also credited as Lecturer on School Management, Home and Colonial Training College. The Schultz Archive's copy only includes the title pages of parts one and two and pages 156 thru 239 of the text.
Copyrighted 1894. The author is credited as having a Master of Arts and as Superintendent of Public Instruction, Brooklyn, NY. This text uses an inductive method and is designed in three parts for use over the course of three years of schooling, beginning as early as the third year of primary school. The first part contain exercises for constructing simple sentences. The second part requires students to construct sentence and to distinguish the sentence's parts. The third part begins generalization and continues analysis and synthesis of typical sentences with attention paid to irregular verbs. Exercises in composition with narratives and description are used in conjunction with the sentence and word forms. Models are provided for imitation. Exercises provide forms of sentences and the words to be employed. Some pictorial illustrations are included. Some poems are also included for appreciation. The author credits the influence of German language books by Baron, Junghann, and Schindler. The Schultz Archive's copy is roughly the complete text.
1854 printing of the 1853 copyrighted text, a new revised and corrected edition.The author is credited as Reverend P. Bullions, Doctor of Divinity, and the author of the Series of Grammars, Greek, Latin, and English, on the Same Plan. The work is divided into orthography, etymology, syntax, and prosody. Definitions and rules are meant to committed to memory, some illustrations may be provided, questions follow to be answered by the students, then exercises in parsing are given. The book seeks to combine the principles of grammar with the principles of composition. Not for students older than twelve or fourteen. The Schultz Archive's copy is the complete text.
This new edition, revised, re-arranged, and improved was published in 1851 and copyrighted in 1851. The author is credited as Reverend P. Bullions, Doctor of Divinity, Late Professor of Languages in the Albany Academy, and the author of the Series of Grammars, Greek, Latin, and English, on the Same Plan. (Making the teaching of these grammars the same is part of Bullions' method.) Bullions claims that this work intends to do more than summarize the foundational work of Murray's grammar. The author also credits the influence of Lennie, Angus, Connel, Grant, Crombie, Hiley, and Beck. Grammar is both a science and an art, according to the author. He attempts to make the principles of English grammar accessible to young students through the use of definitions to be committed to memory and numerous examples, such as examples of false syntax for correction. The text is divided into orthography, etymology, syntax, and prosody. The art of composition is given a handful of pages in the prosody section. The Schultz Archive only includes a very brief excerpt of the title page, preface and table of contents. The scans are good quality, but there is some highlighter throughout that obscures some text.