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ORTHOGRAPHY.
!'RICE'S SPELLING-BOOK.
WRIGHT'S ANALYTICAL ORTHOGR,APHY.
:MARTIN'S ORTHOEPIST.
NOHTHEND'S DICTATION EXERCISES.'

.,,.

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Ir is believeJ, that nothi ng like t his . little :book,
either in design or ar~·angement, has e~er;·.beim)ssued:; ·
from the press. ~f. All other . elemen'tal'y>~-;orks

·ii;i.·~.this·· .
. department, prooe-e.d ,µpon ! a plan .s'o ,d~ff~rentJr:o_t,njth:~.'
on.e herei1~ proposed,·that the author .c annot .be .saiq to.'
have trespasse~ upon ground already occupied.,,;,I

l...·: ,

,·..;!

'\Vhile, .;in,: other :.branches ·of . education,-.' the d dea.__. ·

of ·gradual
\

,•

progre~s ;'has
.

been .rec?gnize4 ~. 'and:,sarEi~tl, ·;~ .J.::.
'

.. ,

. .

~

.'

out, )p. ' this;·.w_hi~h· more than ' any demand& l the,\ mpst}: ;
careful ,application ..oLthe idea, it seem~~ to hav:'e be~n '. i·:
- ' i ~; >•'I !, : " ;' f ;~_irl.J.:J-;J{( ~~

'< .•

6

l .

PREFACE.

.PHEF.AOE •.
7'f

.r:

,__·

.

pr,es.sio~ t of; his th.~ughts, but an indefinable, dreadful

possible to the child, even with the · most judicious ·
training.

.some~hi:µg, which. is . to be s01;nehow manufactured out

of '. nothing, :by a given :time~ ' What w:onder·is it:that
he' grows . disheart_~ned, . or 1tha.t.. .his .style, if he ~ ever

Under this .system, which is made to cover the
department of composition, the pupil is frequently
compelled to write upon subjects utterly beyond him/
'i-

form !Y._hat..may. be ~alled a style, is . fac.titious, empty,
.
.
· .worse than .worthless! .....· ..
. ' •;. -! '\. ' t

-subjects upon wh~ch to write respectably, or even ~
.to write at' all, r equires often the closest .exercise·: of '.

•·

:

~

i ~.....~ ~-..,

'

•.,.

.) This. littl~ w:ork is .an attempt to.furnish a text-book"

reason, or the profoundest experience of life. ' At ·the . ·

n:dapted to ·the .wants of.beginners.
in this
..depar~ment,,
.
.

same tim~, choice specimens 'of style, selected fro~ ·.
distinguishe~ authors, are set before him; ,which style :...

. It procee~s upon. the · supposition · that . the ~ pupil
needs, ;not so mqch . instruction in the ·.expression of

he must endea~ror to inJ.itat'e.in his.composition: ,',' :::,~··

Thought, as an aid to Thought. itself.
·' . . 1. .,:' • ) .- .
.. It ai~s, ther~fore, to .. cµltivate the practical powers.
of observation.; ~n other,words; to develop Thought in

Whoever thus takes ·the child 'beyond the limits ; of~·
his :own experience· and mental d~velopment," practi~ ·.~ .
cally· ignores the great truth, that 8tyle is .somethi~g .

•

which must grow with the g ruwtl1 1 aw.1 sfrengtl1 cn-~
1>ith tJrn streIHt1l1: a-:. (11\P ni'i,.1· :i111 if iJ ,.r, tli e fact11tics
; . Lecurue J 0 velvpr-d rw ,1 ,fo1v.1ntl11 1H·... ,l . TJ,.,,r n i"0 i 0'>P
:-> i:.:·11t of. tin: f:i~t .

th :i t

: hr mr1rt rl ~ tlln::: hr. id
l

ny

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TI11.Ili]_8 OI

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!K-~L-~?·~-

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,

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Uompos1tion tirn<l hPf'nmpq tn tbr> rhilrl nn.t ""' o..,-_

~------------·------:-_
--_-_'_
- _-~-~-. -,_
.

.

- '} .

.

... _

.

I

· relation to Perception; and also to give to the youug

i

I-::.

' .-·:.~·;

•

~' JI

.•.

pupil, in the exercise of tliis faculty, the kincl of-::iicl

,..,_,..

8

PREFACE.

! .

taneously; and an outline of each giv~ri in' the 1·forl£'.
of a series of questions. · This form has been chosen~'.
upon the principle, that in answering a question, tth~
mind is forced to take an attitude .pf the highest

pos:

sible activity.

It also possesses

th~

advantage !! of

leading the child to express his thoughts in ·writing, .·
in the same manner as .in conversation. I Annex'ed:;fo
each · outline are. addit.ional suggesti~ns, .' or 1. spe~i~1''
hints to the pupil, designed to bring the · s~bject ~~re
distinctly before his mind, and to. render him all the:.
. '>'
\..\' -:1~ ... ··\/'.~jli!til~f·
.
.

f
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source of 'Thought·;

".

• r ..· , : ·"

;.

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...

"'
1·

· Pi,t-EFAOE

..

To. THE TEACHER

.'

·,;f

"

LESSON · I. ·..
.i

..

•
..CoHPOBITION
, ..
....'

LE.SS ON
; DESCRIPTION .
·•r•

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o1•1

rl·

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SUBJECTS.

~ f

~ 1 ~.

•. ( \ '
. 1 ; '·'
. DIVISION I.

It

~

No. l. MY Kt'lTEN

,1

2.

DANDELiONS ·:
' -~ . :-.

3. ·novis

11

I·

fl

j
v

..

..
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4.

M1'0 E .

•'
·,

5. ... OuR D,oG"

6.

RABBITS

'1 . ' SQUIRRELS . •

t .; ,

. ;J .. ;

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._·:._,•

12

l

II

ir

I.
·"

-1

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CONTENTS.

· No.

13..

CONTJ£NTS.

12.

ANTS

48

13.

FOURTH OF JULY

104 .

13.

FROGS

50

14.

CHRISTMAS

lOG

14.

FLIES

52

15.

BmD'S-NESTS

54 ·

16.
17.

CHESTNUTS

56

KATY-DIDS •

58

18.

APPLE-TREES

60

19.

RAIN .

62

20.

FROST

64

21.

SNOW

66

22.

foE

68

23.

NIGHT

24.

MoitNINU

25 .

TREES

26.

FLOWERS

•·

2.

Moss

82

3.

WILD-FLOWERS

84

4.

ROSES

86

5.

WATER-LILIES

88

6.

RECESS •

90

.1

7.

BLIND-MAN'S Bu FF

92

·J

8.

A
A

SLEIGH-RIDE
MENAGERIE

.'

96
98

FAIR

THANKSGIVING

llO

MOUNTA I N

• 112

BROOK

3.
4,

A

WATERFALL

114

A

SPRING

5.

A

MOONLIGHT SCENE

116
118 .

6.

A

THUNDER-STORM

12\J

SNow-S-roRM :

122

7.

A

8.

AN AURORA BOREALIS

9.

A

SUNRISE

10.

A

SUNSET

. 1•..

124
126
: 128
130

CoNCLUSION

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t:

94

Pm-Nm

A

I:

1. A
2. . A

I'

80

9.

I

76

AUTUMN LEAVES

- 10.

I

74

1.

12.

No.

72
'-

11. -A

DIVISION III.

70

DIVIS I ON II.
No.

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.,

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100

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~-=

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16

'l'O THE TEACHER
:'i•

To av.oid this danger, the author would suggest the
propriety of dividing the task for the very young ,

~·

•

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.,
':"

..

';'

F~JlST

pupil, by giving him, according to his capacity, one or

it

.··:, .

..

..

.

BOOK IN COMPOSI'X'.ION.

two questions a day, to answer as fully as he can. By ~
writing these answers upon separate slips of paper, he -

LESSON I.

can keep them, and at the end of the week as .anotJier ·
'

•

I

'

'

:

exercise, arrange and copy thE:lm,, under..,the , .~uper,- , ;
.
·
:' '··. · .
vision of the teacher.
\

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) •

; }

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'f

! { r~.'" ~)

COMPOSI'l'ION.

; 'NVhat is. the te~ "Composition" derived from?
,,
~. ·A. It is 'derived fr~m: .t wo Latin words, which signify": ~' to
,.., \!
.•': .• ·-. put toget/ier."

_.,.,•

The task _will thus be a ,comparatively easy . on~, . ~rid · .
'

• '

•'f'

.•

•.

1

the composition far better, than if hurrieQ. through at
•

,

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/ ,a ny one time. ..

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What is " Goruposition" then?

also'. wi.11 soon ' gi ''. ~: .the:~', \~~.ift,_~- -~ -. 1 I facility m compos1t.ion, which, under anv other m 0 dP ·. I

· 1- .

-~~e ~laily exer~i~es

,

,If

it 1n.JUl1 l tak1· hilll

1

111g

.,.

, , . . . . .•.: ....-:1

tim1.: Lu acy_uH'e._ ..

-., A.· ·rt is "a pii!linq to:;ether."

Cn.n . we speak of the "composition" of a substance, .like

.

. :-

··i,

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)\'1.ilc t1cse suLj cdc> Lilui; u.JuµL Lheru~elves in t.hRi-r

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1nmnli0it.v t.o t-lw !'HflHf' itv of th0 Yn.un".. '":;t <1 1,. 1.: air. ·/1 ·· !
v - ·. o--:- '~ l.;-;.{~ J r tcr \ _;; fi\,-1. J.~ I ~
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more

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h~wev:er,i;:P~jj\~,i~.~;:,~i J _i~~
,t·~member .t~at, m one respe,et, o~des~ 1~~~·li~~i?.~~s.td'I J\
vanced pupil.

.He should,

are here up~m cormno~i ground,-one knows
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18

FIRS1' BOOK IN COMPOSITION.

· FIRST .BOOK IN COMPOSITIOJ'r.

When we speak of the "composition" of a picture, what do
we mean?
A. We mean · " the putting together" of the different objects
which make up the picture; as, a mountai"n, trees, a river, &c.

vVhen w.e speak of a "composition" on any subject, wh'at do
we mean?
.A. we mean " a putting together" of the thoughts which
belong to the subject.

Suppose you were to write "Grass is green;'' "J3ii'ds
sing;." "John is blind:" would that be "composition?"
A. It would. not.

.
another thought which will connect A. By introducmg
·· them ..

Give an example.
. A In the example "John is blind; he cannot see that the
•
I
ll
h t
grass is green, ~but he ca~. hear ~he birds sing, - t e wo
. thou~hts "he. cannot see," "but he can hear," connect the
.three in~ependent thou.ghts, "John is blind," "Grass is . "_
•; ·.: .'·
green, ". 'B'
' ir,ds smg.
many
tli~ughts
belonging
,to
..
·eve~y
. sub·
· : ~e there ' .not
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ii

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the~ does "'composition" consist?
'
.
~A. It consists in - "putting togeth:r," . in a natural order,
1
thoughts ,belonging to a subject.·:
·'·'
· ,:,.

'. ' ru'' what
-

-

'

1, "-'• · •I'>

.. ·, ; ,<•. '.:'

,:_~;:. _~,,_'

·;iij!~Jt:\\~""~·

I· •I

~~cause the three thoughlq, ".John is·b;i·~a;~,.~)T~i~~:Yi ~ /
·· .r.\.. onnu

oov."

1

ouv

IJ

· · How, then, ca~ thou~hts
.
.
,_,
other, oflen be united (

<

11

....

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. .. '.....i.

{' -

I ~~eu,'.' .u ~~~s. s~~~,". ~re.· c~nnected w:ith each ~:~~r!,~~.1~:;1f~ I

·i

I I

~

. . ..

.;.

How should' these be "put together?"
. ;_ . : .
A. T.hey should be so !'put together," that they--.y.ill ~~:~ear ·
to follow each other in a natural order.
· ·
·.. ;.

Why?
.
' ,,
\
·' ,:::•1
.A. Because the thoughts are not connected with each other, '
·
.~~·~.
nor with a s~bject.
Suppose you take for your subject. "A , blind
write, "Jo~n is blind ; he . cannot see that ' th~ ~ g~~fisc
-· green, but he can hear the birds si~~:"isthat ''.~rJP?~~i~~?~ :.
A. It is•
•1v1 :d~f .~~ttl'\';'
/I
•.
•
•1_'" ;,......:..ll'.'f ?
. .;.:·:r::;.
II
- 'ii ·~.·~j\~·t•~·,11,:- I . Wh .,

'

j ect?
A. There are.

isuuJvv~,

L ·~·-'--~~~~~

L-~~\'Lii1l':'!'.·;;.J<Jl~F I

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1·.

•,_,

FIRST BOOK ' IN :COMPOSITION.
1'

I

vVhat is necessary .to a g~od description?_

.t

..\.

.

.

.,:il ,

A. Th~t thos~ parti~ul~rs be giv~n, in. which the objflct or'.'

·'"''

_scene diffe~s from other. ~bj ects or ~cen~s.' · .~ ' .
'

'

.

;

•

I,.

,

~ 1" ·

'

'" " -·

·.

,. · \

.H I \Vere to ask you to describe your kitten, and you

~hould say, "It has whiskers, four legs, arid a tail,;'. '\~ould

LESSON II.

that be a good

descrf~t{on ( -

A . . It. would not.

DESCRIPTION.

I

What has " Composition" been defined to be?

I
i
I

A. Composition has been defined to be '.'a putting togetlier"
t, '
of ihought,s under a subject.
; .
'~-!

I

Why not?
..
A. Because it mentions only things which are common t~
··.
all kittens, and does not describe any particular one.
' '~

\ '

. I

.;

i

A. There are.
°Vl~hat

I

is the Lir;:;L rriuL'.i11al ki wl uf composition?

i

t'

!

Suppose you ·were to say instead, "It has glossy black fur,
a white diamond between its eyes, and one white whisker," .
. would. tbit,bo a good cleso1iptiorr ?
A. It

"\.~.'cull

1e.

I

Wh~t

'!

i5 :: description 7::

A. It is

r1tti'ng
object or scene.
"tJ.

together~:

.i

of

~ur

...._: . ]

·
·
f"'lf nn"TT _.,. [
impreSSJOD.S - '-"-"' -~J·j'

Why is this called the :first kind of composition?

'!

'· ... .

'.:;.?.'( • i
~.,~
. i . (;·}, ~
:.-·

.

·•!;

A. Because it relates to tl;tat which we see, and that which
we see, lies at the beginning of Thought.

How, only, can we learn to describe well?
A. By studying attentively, the object or scene which we . · ·
wis4 to describe.

A. Because it dr~s('.ribe:" pa.rt.ieuln.rn
kitten from other kittens.

whir~11

distingniRh the .

1·

Do not such particulars enable us to distinguish objects off
the same kind from each other?

•'·

22

FIRST 'BOOK ' IN COMPOSITION; .

.
What, then, is a good

iul~

. . \ .. ,. ,• ;i l \i''.
for describing an object?
:

A. To give thos~ partic~ars ·by whioh
other objects of tJ;ie same kind.
.

•

,.

.

w~ k~o·;_.fi~ r:~m •·
l

~"

,·

,,.

~ :t;.tl'..i,.~

J .J ~f..)~!

· "·

'

··

W.hat is a scene?

A. A

scene is a combination of objects.

-·
"

How, then, should a scene be described?

rJ

·JJ '

A. By giving those particulars, in the objects and .their
arrrmgement, by whi~h it is distinguished, from 'other' scen~.
·-~~ · . \

.

\~.~

f,

:'I. . 'J·.1:·..t~

~IJ,'

SUBJECTS.
'

·~ .

'i

, .. ;'

•'.

'

• .',

:.f

"

I

':i.r•.t;f ·

SUBJECTS ..
··

•, .

DIREOTIOJ{S T .O TH.E
' ·~

'

.~Ir .
I

26

F'IRS'r,·:.BOOK ' IN . COMPOSITION ~

FIRS'l' BOOK IN COMPOSITION.

SUBJECT NO.

EXAMPLE. ,.

1.

M Y · KI 'l' 'J' EN.
Nr KIT T E1'r.

d/!:Zvel a /ca? .C:1tri 1

1. Have you a kitten?

i!

;:

!Hf
:"..:: : _

;] , \ Vl1aL ki ml or' a Jispusition has i L '?

4. Does it like to be petted (

5. When you take it
t_~.

11

y:_d_l

up kindly,

what will it do?

il-Jl•_l it i::t.dl l·_.r a Yr-111•.::, -v..:ill

i.~

;=;v iv

~lvt;J!

7

'

I ~

<;,-,

7. How does it fix it.self when it goef' to R1Pep?

8. Uow loug will it :-<leep 7

·~

9. Is it a frolicsome kitten when it i« awake?
10. Wh'.1-t will it do with things it finds on the floor? ·

11. Does it sometimes do mischief, in its frolics?
r·

.

12. Is it old enough to catch mice yet ?
'

I

13. What does. it do wh en it hears a scratching or nip_b ling
sound?
··
· ··..
14. ·Do you think it will make a good mouser?
,.

1'·

,·_

.-,

An Example is given upon the opposite page, to illustrate the ruannor
in which a composition may be written with the aid of questions. '•·' ' ' '>
.,. The marks of division are t~ show .how every question is an~;~~~d·
11
tl1e Example.
.r • ,,·. ~. •
u J..r:t·~_i' ):.~~.,! J:t,~lx\j~} '.~~~

b

11 •

''

,

~

•i _

,t/r/

~

clad

r/d; t((fa-nd 011e/jimo; 1~ch
a1;I 111;{;!,/ I(2// £M rt vay ,1nlfU clr.y /(J-Jt'tt.011, Ia m!
ohvCJ /cai,IJ . Iv · /C/ jutad. I/~ X;z/ Yott £afllLI <(!
· A1#d4, d- -1;11:n~ /o ,f-<tN, ·a~d /o hy /o Ld 7/J;;;x'k/

·j''r'Y, all aa7t

2. What is its color?

I

/Jd!oi/ c;/.(J ai~P tJ

··1
:

28

\

FIHS'l'; BOOK • IN . COM.POSITION • .

Ji'IHST BOOK IN COMPOSI'rION •

.. II

•.

.1

I

SUBJECT :NO.

~

1'0 THE PUPIL.

2.

S U B J E .0 'l'

DAN DELJ-.!!.N S.

N 0.

2.

1. ·what colored flowers are dandelions?

i'

2. \Vhen <lo they blossorn?
. 3 .. vVhere do they grow ?

vVhen the snow has melted away, and th~ green gra.:;s
j springs up, what do we see peeping out everywhere?

I ·. - 4.
I'

I

I

.. I

6. Do not children like to gather the.m?
ma~y

•,

as they please?

8. Why do people not care to preserve them?
9~

AT6 t1c.f nut

&.3

tcitutiful oo lliallJ- gttrda11

I

-I

5. Is not every one delighted to sec them then?
7. May they pick as

I
I

flvvv-c:r~?

10. Do you IlOt think God i.s ycry good, to .make bcJ.utiful ',
things so common?
'

-~.-~-a.G--• 1

.
wntmg your co_mpos1tion upon this subject, th_erefore,
you mnst think of the bright yellow dandeli9ns ;' how beau·
tiful they lookj1~stafter the snow has' melted away, '· sp~giI]g
up m the green grass by the roadsiJ.e, and in the ·tielgs, in ,_ ·
' vurds, and in ~ardcns,~ so mrrny, t!rnt ·you conld not ._ count · ·

._.

v

•

·

-

,...JllS!!<~.-.·'...!>!;;: 1:. · them all, .nor gaLher L~em, if.y0u wen; tu Wl/Ik ;.1Jl ,J.;.iy, ,_. ,~X ou
-·- - - : ( ·must think, too, _vf th~ ]Jkasure iL giv-es :you to se9.,t~_em,_ -~n.cl
i"~" to gath~r them . . If y~:m do t~is, you w~l fi~d, plenty tco sa;r in _ I -. ;~~-~;~
I ~ · answer to these questions. You may mention, by ri~l'.le,··a~J'._ ; _,.,·e,1t-!fi

~fi~~-

gat~cn fiower_s you.think are Il()

I

pret:t.ier than

~~~de}i.~n~·.;:: , . 1. _..,~,-~,,.!·!!!ii
:-".- . _,,
t

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-- l >l-j:.f..:~~

30

FIRST BOOK IN COMPOSI'rION.

SUBJECT NO. 3.

I

i

j

,I

I)

S .UBJRC .T ;. NO.

DOVES.

1. Are Q.oves tame or wild creatures '/

J

I

2. Do they build nests and live in the woods?

J

4.. What color is most common among them?

. ·~

'-~·

'

3. What do they live in?
5. Are they not of many different colors'/

ii I

, ~Ii

.··~r-r~

6. Are they not gentle, pretty creatures?
'· c .....
7. If you strew crumbs of bre~d upon the ground, what
will they do?
.{. '«,:, ,,:'
8. Is it not a pretty sight to see a flock of them picking
up crumbs?
' .' ...::•.,....:.$..
.!

...

9: When they see Puss coming, does it frighten them 7~ '::$:'
• ) .:1 ", .~

10. What do. they do?
" !\, .
1
11. What would the crit. r1o t.o thell!-, if ~hey did not fly
away'/

.,..~ ,,,~,'

, I

••

,;1, t •'

.

3.

~·

32

;J

'

Frns·r BOOK IN COMP OSITION .,

~

S U B .T F. 0 T

n.

.

~;:;~;

l. ~'l.re

SFDJECT ::\0 . -1 .
~nry one has seen a mouse -- a clear little dark-::;r[ty mouse

not mice be::mtlfal little crcatw·cs ;

-~ith

,J

~ r-.11111 1 1-

~ 1< ua 1• :

"

i

Ill JIJ !ll

I

l!f i!! !!r

I.

'

TO THE PuPIL.

r.1 !11

ii i'.ifril!

'

4.

..ii 1 {_, J~'.

P.Il'."-

33

FIHST BOOK IN COMPOSITION.

-\ - - - ---·

!

4. W bat color are their eyes ?

t

i

~- r ll!!~ !

I·
i
I

soft fur, and little frightened eyes sticking ont of its

\w~

like hlnr k \w:ids.

'.'iri~

about them, and of the habits of the li ttle

1

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_

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rnmt t hink of all th is ·when yon
"''"~atures,

too:

~ l' ~:~:.-.
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.,,......._....,

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r·-ou wi1L nerllans. ilave
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L i ,..... ....... r i,.....,...,... + h,... .......,,....,,,...,... ,...,..,...+ ,.....,., , ,.....h+ 'J
..L...LV

n

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5vu

VUIUQ!..J..1.1

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12. What else catches mice?
13. How does Puss act when it has caught a m
14. Are not children often, afraid of mice, wh hey hear
them in the night ?
,. J

('

1-

15. Is it nqt foolish to be afraid of such little

1·,.1-,

~~Y •

..i-1--...~

.l:'USS :
1

1

-~

now sue sets
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TU WUl'K LU .

~.;.

...... .['.;. ...... ._
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34

FIRS'.1.' BOOK· IN COMPOSI'l'ION.

· , ,:' ( ';,•

,

·

•

•.

:

1,,

F;rRsT . BOOK IN, COMPOSITION •.

ol

:.1

SUBJECT NO. 5.

TO · THE PUPIL . .

I'

"OUR DOG."

SUBJ_EO'.I' .NO.

l. What kind of a dog is he?
i

.I

·I

I

I

'>

·. ·1·

Has he ~ shaggy or a sµ1uvLl1 livctL?

..

-1:'
j

/:..

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3. What is 1i::1 0uloi- ?

/· ,

I
/'.

I '

4. What is his name ?

j

5. Why was he so named?

'•'
.~ ,
~

".

r

I

6. Ie he an int('l\:c;l'nt dr•g? \

I

I

7. T-Tow does he sho\v that he is?

/·

8. \.VhaL trieks does he know ?

II

9. What kind of a disposition has he?

10. ' Ts be fond of tN1
sin ,.,.
- -·- --. 0

./

P11---~~- ?.

11. How do tiley act towards each other ?-·

1

12. What kind of a bark has he?

·

13. How does he behave towards strangers ?
.14. Is he a useful dog?
'

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36

FIRS'1' HOOK IN COMPOSITION. '

SUBJECT NO.

6.

RABBITS.

·'

1. Are not rabbits pretty creatlire~ for pets?

,. ..,

2. W,hat color is most common a~ong them ?
.3. What kind

of'~y~s and ea~s ·ha~e they?" ·

4. . I~ not their fur yery.long an4 soft?
5. What is it sometim,es used for ?
.

'

..

1

j

.~

1
. "',
!

·!.

.,

I-\

,.

6. Can you let them run wild, or must they J>e kept in

a pen

f ·.

7.. Do they not sometimes contrive to get out of the pen ? ·
8. How do they do this 7 .
.
9. Is it not .h ard work to catch them Y
10. What i~ the best way to do it?
··, ) '1·
.
11. What do rabbits eat?

i

12. Is it not a pretty sight to see them eating any thin~? .
. 13. ·How do they manage it ?

.

14. Are t~ese littie creatures 9f much use ~xcept ·~~· pets?
. 15. Do pef pie not.s.ometimes kill ~nd eat them? . .
. , ..
16. Does it not seem cruel to kill such pretty creatures? .
.

.

·,

.

'•

'

.

''

. I

38

FIRST l300K' IN COMPOSI'l'ION.

FrnST · nooK . IN c m1rosrrroN.

SUBJEcrr NO. 7.

T 0 : f,, H E P U 'PI L.

SQUIRRELS.

SUBJ E OT N 0. 7.

·'

I

ever seen these little creatmes in the woods,

1. Where do squirrels live?
2. Are they not nimble .little creatures ?
3. How fast do they run?
4. What kind of tails have they ?
1,.

i

5. What do they live upon?
· 6. How do they prepare for wi~ter?
7. What kind of nuts do they lay up?
8. Where do they store them?
9. Would they i;iot starve to death when snow co.mes, if it
.·
)
·.
' · · '•t':1!:; ··
· were not .for this ?
10; Did you ever see a squirrel's hole? ·

· · ·"·:11:1
: . . :,).t

11. Where was it ?
12. , What was in it?

.

'

13. Ho:v does the squirrel hold the nut when he eats it?
14. How does he crack it ?
,.
15. What ,kind of teeth has h~

? \ '- ,

16. Do

people,~ometimes' keep. th~m in cages?

17. What kind of.cages are they?
18. Is

it.no~

too bad to shut them_up so?

_;1
1

40

FIRST BOOK IN COMPOSITION.

.. ~

.;

"-·}~.'-

I
iI

2. vVhat kinf! of ri triste h ave t1wy 7

3. Are they good to eat?
Are they not be.aut.iful to

5~

Do t~ey

gr (:>\V

lo~,k aL.?

in _. clusLCrs, ot ~lugly?

6. Do they not look beautifully among the oak-leaves?
7. What color and shape are oak·leaves?
8. What does the nut part of the acorn grow in 7
9.. Does'
it fall
out of. this.
cup
when .i.t is npe?
.
.
:
.
10. Are .t here not always plenty of acqrns and cups to be
found .under oak-trees?
\

11. Cannot a .variety of pretty things be made 'o ut of them? \
12. What is sometimes done with them ? .
13. Is

~ot

. I

the oak the strongest and largest of forest-trees?

14. Is it not wonderful tp think.that it grows up from such,
a little thing as an acorn ?
, .
·
·, ...
\

.

FiRST ·BOOK'' JN ('COMPOSITION .

II
·I

ACORNS.

4~

.r•

.

.Nu. 8.

SUBJEC T

·I~-

...

'•

· Tr> THE P TTPJL .
. ....·
..,· \ ·..

S U B J E 0 '11

.N 0 . . 8 .
'

'l'here are many kinds of acorns, but all are beautiful.-

't.,·.,: -.

~·'

I

-:'i-,;~ ~

'

42

FIHST llOOK IN! COMPOSI'l;ION.-,

SUBJEO'r NO. 9.
, SUBJ~cQ/1:>. NO.

BUTTERFLIES.

Y ?11_,,ca~ spea~ , of; these, bright, ~appy_-lo?king .p;~atures, ··
flitting about in the ~1.1D:~~i,n,~,_goi~g fro:r:µ f1qwer)o ~ower. not like the beq, .to load the~sclvcs with honey, but se~wing
1
1
to have nothin~ t~ ' do ,;b~t' to. e;joy ~x'istence-2:.'.a~cf''.al~o·

1. Do not butterflies seem to be the happiest creatures }~
the world?
2. Are they not ~lways out in' the sunshine?
.

'

'

':

i .: .

4. Are they not gay-looking creatures? I

I

I
I

5. What color is most common among them ?

I

6. Are they not of a great variety of colors ?

II

7. Are they not very delicate creatures'!

!

8. ~ ;ro~ touc~ them wit~ your :fin~er, what happen_
s : __ ;~1
9. Must1tnothurtthernY
·
_,.,.,·
}

'

I

I

' ' !~

10. Do boys
like to chase.. butterflies?
,_
11. How do they catch them? -:--.·.
-

-

._-:: ·~ ~- i

'

'

I

. I

l

12. Are they ever so cruel ~s. to stick ' pins through them ? ~!

•

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,_

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13: What do .t~ey d~ _t~isf~~-~ :'·:·":_'_ . ~·~{:~ii.
14. Would_it not.,be better;to Jet, them ,liye and enjoy their
•
·
1·~: ;·~~·~-:-·-:s."X'·f.
·.. _ · '!;_ ~· ~·
·
hfe amoni:r the flowers? ··•'.':•;'",\:,~ · J'...' ,•_'-::': , :. '' 1 ;';_~~~

,

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:'.;t-~~~~:,'.i~~:;t~~~\~~~~::>~
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3. Do they not live amoog flowers?

I

9.

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their ' brilliant colors, mentioning all ' the varieties :lo,u ' have
ever seen; from the gayest to the most sober among them.
You can desi~ibe ·'the ;manner i1~ which , boys" sometimes
catch butterflies, and stick pins through them, in order to _see
how ni.any varict.ics th ey can gcL; and speak of the eru clty of ,

this . . Als~, if y~u know, or .:Can learn ~ny facts ~onc~:n~ng ~~e _ I .
natural ,;hrn,t ot y .~£,,the ,bc,1.tt~rfly, p_art1c;ula1)y ~l.t~, .0~1gmi.Yo;i -· 1 , ._,·~:
1 """'""' ~ . . . i-.--....... ...1 .. ,, .... ,.,. •hes" ~ .........................0.......... ",,,.,..........,. . . . . ,....s~+~o...... · · · ·· ·.
·-·_ I _.. ___::~-I'... .
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SUBJECT NO.

10.

.'
i

BEES . '

1. Are not bees wore busy creat.meR t.han butterf.!ies,?
2. What are they all the tirne. ~?ing? ' '

"'
, .,. ..
, - • •• • : .•

~-~::

3. Do they ever seem to waste a .moment?
4. Do they uoL often travel a,great

I

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. dl5t~nc.c,

•

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rn . s~~rcn _o~

hon ey '? _
· ·
e;. Do they ever get discouraged or -lazy?. · ·.,

-,

'

.

6. Does it ever happen that a lazy bee gets into a hive? .::-.
8. What are these lazy bees called? "'\ · :. ·

.

I'

.' ' ; ,.fi

mucl~ hated by the i~dustrious ones? ·~~,

10. What do bees line their hive with?
11. Did you ever see a honeycomb?'
12. What sort of a thing wasit?
13. Does it not seem wonderful that such . little creatures
·-

:',' ''..

,_

.

ii,.-.

can II1ake then,i? ·"·
.· · -•' .\~ J;~t,:';\~: ' . ,. ..,:··· ~-.
14. How is the hon~y tak;erUror,n,thy
.hive?
'~,.,
-·~
y'

'

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.......

., '

.

15. What is done ~ith t~e honey,w~bs? ·
t•:

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J

..

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t

II
I
I
I

7. As soori. as he is found out, what do the other bees do,?
9. Are they very

\~'i

··1· 1

r_:

· FlRST BOOK'·· IN ~ COMPOSITION. -

FIRST BOOK IN COMPOSITLON!

44

.

'
<I

I

,..
'

't·I
I

.FIRST. BOOK-_, IN 1 COMJ;>PSIT~O.~. -

46
,.

;I

[.

S U B J .E 0 '11 \ ' N·0 . 'Y 11 .

· :sTRAWiERRIE'S: .;

S U B J E 0 T t. N 0.

, ' 1: . Is not the strawberry. seaso'n ·always · antici:fiated 'with
great pleasure by children?.. ' ·'-/.\. 111 ' 1; ::iid·1 odJ n•f·'>i !()~. . ·.

1

-'-

·

r1 .

.

....

'',· 2. How early does the plant begin to show' itS blossoms? ~
{1
•
.
_ ·: ·
·
:
" ~~·'(:-~ ('.g J :·r; t f !!0U
· 3. W1:at kind of £owei;~ .are ,tl~:Y} . :J, , : ., ,.' r n ,:· ".• ;1: ~:irli
1

1

" ·4:.When_t~e flower di~appe;ars, vyP,-a~ ~~Y.~}t J~~v~z

,r:bu:

, .~._', 5. H~~ loD:g are t,hes~ gryen_cli:~~~r~ ~P.J~l?~V~ngj?, ·::;,n;.r.J:1i;
-.. , 6. As soori as th~y begin ,to turn red, :v~at~do 9hi}dr~11. ,dg_1~

_. 7. Where do they hunt for them? ~!i,[i :~c!S Pl• ,i.: ~:·.rnoq
". 8. Where do they :find 'the largest ones? ' ;: \;:)' ?· "·':;· · 9. Do ~ot the bright red ~lusters look deli~ious '?
•

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' 10. Do not more berries cro into mouths, th~n mto baskets,
,

•

f~uerally? ,

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· 11 · Are not strawberries a favorite fruit with almost E)Very:
.

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one? ....1~.

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'4/~V,~~! ~qt ~u~h. ·:~ultivated in' ?¥:~~~~ i ! '). ~ ··
13. ;PR~·th~J.:,.~.ot .som_e,ti_~~~s grow to ~'_,~~[\, !'.k~~-:,~1~e ?

.12.

14.

~~vy ~arge'_have
!?~/een ~~;~L, i \':: ·ii#-~-)1~~~
l:'G ': ;, J.l • . ,.~·:,..i "°""

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"St;awbeirieii are the'earliest·of all th~berries'in·summer.l On

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THE PUJ'JL.

S U ll J E C 'J'
Sulumon, ·who

l. !Jo uot a11ts seem to he about as busy crcat.w-cs ac; UCL'S'?

0. \n1at Llu l1ees fmni :oh tts 1\ith?

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-What other facts do you know about

yuu 111ay
tl1i;-; sul'.jt'<'.L

}tJtl cl 1()(_i,-·«:1
U[•1111

n1uclt l:i1 .~" '

llian himself?

if». ] low 1licl lie rn a.nage it,'?

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t

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u11·1 1 ub;c n·:d.ini:s y11n
a~kin:c'. rp 1cstion:\ :-is 1' 11 ~ich

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1nll Ji111l 1uore il1:rn c11 1• 11,:c l1 1n:1 l1·1i:1I 1;,r «ltC C0 1ll]"-'·" i li1, 1i.

uc:1l1111 ·s '(

you ever ~l·,~ 11 u11e <.;:trl)ing ~'

lilJd

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c<t i11g l"'.1 :h ur :rnccdut•"' eo111_:,;n 11 11_: 1111_·111.

i

;,.;lJll !1'-•ill ; J1,111 i11 lf 1i.<(

lhey nul e11k11•1i ,< i11::;

LL J la1·c

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w:l _\f'j"

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yun m11st clo: :rntl i11
:ohuLt!1l fi 11i1 llttL f1,i111

t hry do'?

+''~ , -

11 G11

\\ •__; J:: ! L-

J_

:-till'

11 kuuw was tlic wisest uC rne11, says,

w:\lci1111g tlwm, t l 1: 1t r;l(' lt lllrt\'Cltll'llL /w s a pHrptF<c.

j

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1

1 2.

to tlic ant, tl10u slugg:ml; cunsid1T her ·way!', allll be wise"'
wbich sl10ws that lie 11i1m:e!f klll learncLl l~ssuns of imlusli'.y
from this little i11~v1·.I.

2 . .Are they as useful to us as beES?

:

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alll l 1nil.c:

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twice

.

1· '

50

FIRST BOOK IN COMPOSITION.

S U B J E C 'l'

.

.....

FIRST BOOK IN COMPOSITION.

N 0 . 1 3.

51

TO TH.E PUPIL.

SUBJECT NO. 13.

FROGS.

1. v\That kind of looking creatures are frogs?
2. vVhat sort of places do they live· in?

'"

~

3. What do they live upon?
4. ViThat kind of a noise do they make?
5. Is it not one of the first sounds in spring?
6. Is it a pleasant sound?

7. Does it not express contentment as much as the singing
of birds?
8. Is it not easy to see how birds can be happy, hopping
about in the trees?
9. Are not frogs just as happy in dirty marshes and
pools?

10. llas not God made every creature for some particular
place '?

The peeping of these strange creatures is one of the earliest
indications of the appro?;;h of summer. On this account, it is
a delightful sound to every one. You can d,cscribe the feeling
of pleasure with which you always hear it for the first time,
after winter has departed, and all the pleasant visions it brings
to your mind of the coming summer; of blue skies, and soft,
warm air; of walks in the woods, wild-flowers, and green
moss. You can describe the haunts of these creatures,-some
of them in pleasant places ; their queer noises antl suclclen
jumps,-what these mean. You can compare their life with
that of a bird. If you choose, instead of writing answers to
the questions, you may write a sLory of a discontented frog
who thought he would try a bird's life, his adventures, and
how at last he became a contented frog.

I>

11. ·w ould a frog enjoy himself if he ·were to change places
with a bird?
12. \Vhat lesson cau we learn frum Lhis Lhought?

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2. Do th ey stin g like rn usqni toes?

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3. J\ T0 t11ey no1-, h ow0veT, sometirnrs v nr.v tn111 l-1lrC'onl(' ?

a 111 I again, after l•uing driven off

!!:

'1. Dow are tl 1r 1· tro11l.11c:<u111c?

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Yun C:lll ~Jic:tk p:1rii1_;ul:tt·ly ol' Ili c trcmlJ],_·~umc cl1arncLcr u[

1. Arc not Die;:; tL.c mo;oL com1nou of iuscds ?

tl1 is inscct,- tllc annoy in g way i11 which i t will return , again

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S U D .J E C '11 N 0 . 1 ·1 .

FT-lFS .

Lue,;c aLtaeh; u 11.111 v11urseJ1; ~1ml 11:c11 Lio11 wl1id1 at 1:1.o l gai11cd
lite victory, you or tl1c Jl_y.

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lf .\ u LL c:111 111JL gi I u Ll11_; r c:t.-'()11

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1ry (<1 d1'.-'''lilw tl1,-111 :1cc1L1akly i11.'11111' ('<lll! ]"-'"iliu11.

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]J,,11 d,,,.~ ii"' ·' l'' 'I' r r• :tir 11 ii'!

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'.

Fl~S'l' HOOK IN COMPOSITION.

SUBJEC'l' NO.

15.

..r -

1'0 THE PUPIL .

SUBJEC'l1 NO.

BI RD'S-N ES 1'8.

\

55.

FIRST BOOK IN COMPOSITION.

15.

, I

1. Where do birds generally build their nests?
2. Why do they build them so high?
. 3. \iVhat is the outside of the nest made of?
4. What is the inside lined with?
5. Where do birds get the materials for their nests?
6. Do they collect it together, and carry it in one load in
their claws?
7. How do they manage it?
8. Is not a bird's-nest full of young birds, or of little blue
eggs, a pretty sight?
9. Is it not cruel to rob a bird's-nest?
10. How does the old bird feel when any one is near her
nest?
11. Ilow does she show her distress?
12. Do the birds leave their nests when they fly off to the
south, or do they take them?
13. Is there any harm in taking them m fall or winter,
when the birds have left them?
14. Will lh ey not build other nests when they return m
the spring?

Have you ever found, in the Fall, after the cold winds had
come, or in winter, half full of snow, a little bird's-nest; and
examined how n eatly it was woven together,-the outside of
rough sticks 'and leaves, and the inside lined so delicately
with soft hair? If you have, yo u can describe all this in
your own way, and mention where and how you found th~
nest, and to wh at bird it probably belonged.
You can describe, also, under the questions, the process of
building a nest ; the appearance of a nest full of eggs, or of
little birds; the actions of the young birds while you were
near the nest ; the movements and cries of distress 9f the
mother; the mann er in which the old bird feeds the. young
ones; what she gives them to eat; and what becomes. of ~he
nest >vhen the little birds have learned to fly.

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1
FJH S'I' HOOK

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( '0\11'1 >SlT lOt'.

----- - - - --·

57

1'0 TH E P UPIL.

16.

S U H .J E C 'l'

N 0.

1 G.

Cl/C S 'l'X l/ T S .

lu mentioning tli e uli cst nut-trec', you c::cn COlllJ>are it ·with
the oak, antl speak of tho tliffcrellcc between tl1e two trees, in
their general appearance and ·t!J c rnan11cr in wl 1i uh t heir
brnn eh es grow, sl1apc of the le::ci; &c. Yon can 1lcscribc the
appcarnuce Llf t11 e cl1cst11ut-t.ree wl1 en in 11 o ~solll, Ili c kind of
ilull' cr iL lJcar::<, a1111 t l1 c clrn;ters o f' µ:r r cn hms wl 1iclt succcc(l
1!11 : llO\n' r.
.J\ i.~u . t.lt c effect of tlt( ' fn H upo n tli l'.-'" L11r,;, ;lll d
t\i,~ c:1 gcrnr ~ ;; 11· iil1 \1lii cli child n·1 1 walcl1 fo r tl1 t> 1l1" 'l'J> in g of

1. \Vlia L Lrt·c'·<1u tlwi"A 111ll s gn1 1V 1111nn?

2. \ ¥l1:1t l\i11 Ll•of a u ur are they incluscJ in?

3. \Vhcn do these burs open?
4. Wliat u cGullH.:t; of tlie nut when Llw Lur opt:us 7
G. ],., nu L tlti:o Lime eagf'Tl_v w:i.tched fr,r?

1

·~' . J ~ j ;

:tl\1·:1.1·s f' :1.'Y 111 Gi:il 1] :1 • n 111~?

11. h iL 11uL ~rcaL wvrk 1~11· l;ll\'.~ Lo ~l1:1k, ; 111<'1 11 d,,11·n?

tli c sliulllinp.· and p n ki n ~ amon.c:: tli c dry leans ; ll1 c ,2':tll1 cr11 P..( <>(' th1: nnl;:; : tli r, pl c : 1~ ure of' lll' i11.!. '.·i11 g tli c111 ]111 111 1; ; tl1 ,• n
uf' l1()iii11g tlH.:111, :.tn cl ;-;\1;1ri 11g th 111 11 it!t fr ic11LL.
Yu11 c~lL ~ 11 c ak ul' tlwsc C:\. c 111.~ i,,11:-' i11[1) !lie \\ 'I H_)( I a:-: 111·i11g

12. ls it n ot pleasant to take home a goorl haskct f11 II n f'

t!J1, J:i st of the seaso n, a nd Llcsc ri \J,· tl1 e s igns oC ll1c c:urn1 11 ,:;

!!!! ! ~:

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c.::: -

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lii l'

11nts

ll j' '(

s111111·1im rs s! if' k in tl 1r h nrs?

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nuts

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11· i11 tcr,-cohl \\'i nd'.-', l 1:1rc trees, ,\, .,

l

L:3. \Vliat i:-< done with 1l1cm in U1 c c1('11 i11 [! snmcti111 r .~ '?
j Il

1-±. .L \n· ll• >L Llt,·,;c 11u lLi11 g <.'\.cu r::ium; tl 1c pkas:rnlcs t t.1iugs
:lllt. U1111 1'(
IG . .Are Uwy uut the

la~t

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I

SUBJECT' NO.

I

17.

X . 1 Tr-DJD S.

SF

1. W li:i.L Jo Kflty -cli(J:>; look like?
~.

peculiar sound from which it takes its name.
Yon can speak of the time in tl1 c summer w li en t.h is note

4. ·wirnt clocs it Ro uml like? ·

(i. \\' ll('tJ d1l

DJ1 Ah l

·

1·.-,:

lwgi !lS to be licflnl, fl. IHl clcscril1r: fl.

rnake it'?
ri l',-<I 1.. ·,!.!;iil in

l ll':1r

il w111 in

] )(1

(I .

\\'11:1 1 d(1

tlie n1

l1ns r(

CO llC Crt

of SllllllllC'r- eVC llill g

srn 11Hl s; thr Y~tr irn 1 ;; notrs wl1ir ·h 111iJ1 2·le w iilt 1lio:-;0 of tlt e
Rlii11111c1·'?

t.i1cy nut ::'l'llll :d11 a1·:-; tu bu c1rnt r :ulic1 in~ c:wlt uliwrl

1.

N 0 . 1 7.

c nri nn s insect, anJ the rnmmcr in which it prudnces the

3. ] s 11ot tl1eir note ver_y veeulial' {
the~-

n .J B C 'J'

You can Jcscribc, very particu hrly, the appcn.mnce of this

·what color arc they '!

:). J.l u11 do

TO THE P U PIL .

pi_1·?

lU. I>u tli cy eve r H.·u11 tv cumc to ally agrccrncuL aLo ut

!<.at.\·-dicl; anrl 1 !1r pccnliar cffc· ('L Ji kc that ol' ]Wl[lCiual co11 LraJ idion, i 1rutluccll 11,r Lhis i 11.-;ccC.
\ r11n can, jf' yuu i ·k~ a .~ c , \':rlt<.\ ;u1 iJn:1gi1 1:tl')- ;- : ~·-· ry . :: f il1t...~
n1~w11cr in \1·bid1 Ll1i.::; quarrel rniµ. inaic ll, autl aJ cl a11_1· rell c:.;tiou s which m:i,s occur to you up u 11 the habit of cuni.radictiou,
anrl the determinatio n to have th e hist won! in a d ispute.

Katv I

JJ. JJu

i\1,._1-

11 r,t

l:1k1· 11 11

liw

,.::1111 •'

11 ld

J:!. ll: ts :111_1· one· c1·1·r li•11 111l uut yl'l

J 3. l )n

y r111

! 111 1«

;r/iu!

r·n ·ry

"111111111· r ?

K ati· llid '!

snppo::::;- :111y one en•r will lin <l out!

14-. Is it, likely Lli u Eat_y- lli J:,; an J E.aL_y -diLln'ls ever will
lG. l>ocs n ot tb is :;bow

]1 0 \\'

li anl it

1::;

for p eople io stop

1dieu Lhcv 011cc begin Lv con Lr[.Lrli ct 7
·11i. ~l1"1ild ii· nnl

l"·

:i

wnrni11 g 1.u r•1·c ry on e Lo b:.; vcr_y

careful :tlH •llt lH'gi1t11illg :1 d1 s p11 tc?
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S U B J E 0 'l'

N 0.

TllL' I'UI'IL.

1 8.

SUBJEO'l1
A i1J1J,b'-TREH S.

2. Are they not generally low and crooked?
3. Arc they not easy trees to climb ?
· 4. If they were lofty like the elm, would it not be diilicult
I
to gather the fruit ?
YCT}'

18

You can speak of the ease with which this tree is clirnbcc1,
and of other reasons why it is a favorite with children; ancl
describe its appearance in the difl.e rcnt seasons : beginning
with spring, when it is covered with its beautiful pink and
white blossoms;. then, when these blossoms begin to fall, the
showers of white leaves and the delightful odors which fill
the air; the curious little green t11in gs which the Gowers
leave behind them; tl1e slow growth of these into rich, rip e
appl es ; the appearance of the Lrcc when the fruit is ripe,
sometimes bending under its red an d golden burden ; and
the way in which the IJranches arc prevented from breaking .
off, when they arc too heavily laden. Describe, also, the gatherin g of the fruit, and mention what is done with .the different
kinds of appl es, and all the vn,r ious uses of this fruit.

1. Are apple-trees graceful?

5. Arc not all associations with this tree

NO.

pl c:cs:-tnt '?

(). Are they not beautiful when they are laden with blossoms (
7. -Vvhat color are these blossoms 7
8. Have they not a deli cious fragrance 7
9. Wh en the flowers disappenr, what s1iecc!'ds?
10. How long docs it tak e for the little green apples to
ripen?
11. llow does the tree look when laden with ripe fruit?

12. \Vhcn the red n,ncl golden apples begin to drop, is it
not pleasant to gather them ?
13. What is the first thing to be done every morning?

14. If there has been a high wind, is not the ground strewn
with them?
lf:). Wlrnt is done with the apples'?

I\,
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- -- --··-------·

62

FIHST BO OK IN GO )! POSI'l'fON.

SUBJECT NO. 19.
RAIN.

1. Where does rain come from ?
2. How does it get into the clouds?
3. If it were not for rain, would not every thing upon the
earth die?
4. In summer, do not many weeks often pass away with-

out any?

5. How does every thing look then?
6. Does not rain always come at last?

1. Is it not delightful to see the clouds roll up, and the
drops begin to fall ?

8. Does not the grass begin to grow green again immediately?
D. How does the air feel, aucl ev ery thing look, after the
shower?

.FIRST BOOK IN cmtPOSlTlON.

63

TO THE PUPIL .

S U B J E C '11 N 0 . 1 9 .
You will be able to answer the first question ; but perhaps
you may not know how the rain gets into the clouds. This
you must learn by asking your Teacher.
You can describe the appearance of every thing in summer,
when several weeks have passed without rain,- so dried up;
the grass scorch ed and withered; the air filled with dust, and
every body uncomfortalJ1e ; th en the shower, whi ch always
comes at last; the delight of every on e, when the clouds are
seen rolling up; the falling of the rain; the overflowing of
the streets; then the bursting forth of the sun ; the freshen ed
air, aml the altered appearance of the landscape. You can
speak, also, of the manner in whi ch children som etimes complain of the rain, ·when it interferes with their plans; and give

the reasons why this is wrong.

10. Do uot children always like rain when it does not spoil
their plans ?
11. If they are planning an excursion, do they like to see
the clouds?
12. Do they not alwl1ys try to think it will not rain?
13. If the rain does come, ought they to complain?
14. Is it not always good for the earth?
11
j

I

I:

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- - -.-- ---- -- -- - -- - -·

G4

FJl{ST !;tHll(

S U D .J .U.: () 'l'

Go

Fl W'\'l' BOOK lN' C'<nll'U::'ITlO~.

IN CU\ll'<l:-:l'l'ltl'.'f . .

1'0 THE PUPIL.

N 0 . 20.

S U ] LJ E C 'l'

N 0 .

20.

PRUST.

You can describe the gradual sig ns of Jack Frost's approach
1. When does frost first eurne 7

in the chill September nights, growing colder and cukler, till

2. Does it not make sad work with the beautiful summer

finally he makes his appearance; then the change >~hich

flowers?

coni.es over every thing; the desolation of the gardens, as

3. Before it comes, how. do they look?

frost aft9r: frost passes over them; every thing a dull, dc[1,d

4. .After it, is not every thing changed ?

brown except the trees; the beautiful colors with which these

5. What becomes of the grasR and the flnwers?

arc allorncll; the gra<lual falling of these bri ght k:•ve8, till
1i nal ly they drop off; th en the b:trc appearance of Lh c trees ;
til e <lnrkenecl, chilly sk ies ; the whi s tling of Novc111licr wind:<,
a11t1 tl1e f'ree?:ing t.e1111wrature.

6. Are not the trees the only thing which th e frost <l oe::i
not i::poil?
7. \\That does it d o to them?

You can describe the gathering round bright 1ires in the

8. Do their bright colors last long?

house, the len gthening evenings, aml the various ways rn

9. ·what tlo they gradually turn in Lo '!

10. ·w hat becomes of the .leaves finally?
11. Are not the trees left bare?

12. Do not the cold winds begin to whistl~ through them
then?

13. I s not this a sign that winter is coming?
14. Is it not pleasant, then, to gather round the bright fire
in the house?
10. lJo not the cYcnings beg in J.o grow lullg then?
UL Ht'''' ic; it rlc:t~:tnt tn sp0nd tlwrn"

l

- -- -

--- ---

-- - ~- - ·-·

.

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'/1
··'·

66

FIRS'l' BOOK IN COMPOSI'l'ION.

S U B J E C '1'

Fll1ST BOOK IN COMPOSITION.

67

N 0 . 2 1.
TO THE PUPIL.

SNOW.

SUBJEC'l' NO.

1. What comes next after frost?

2. Are not children always delighted to see the snow,
when it first comes?
3. Do they not get tired of the dead grass and leaves?·

4. Are they not glad to have them covered up?
5. D o these not like to 1vatch the sniJw-flakes as tlH'Y fR 11 ?

G. Du these make :my 11<1 ise in fa1ling?
7. Does it not often snow all night, without any one finding it out 7

8. ls it not a great surpnse m the morning, to see every
thin g white with snow?
f:l. How do the tl'f~es and roofa look?

10.

ts it not plPasant to Ji par the f'leigh-hells begin to jingle?

1l. Hnw tlo boy;.; pl:w with the snow ?

12. Do they not like it all the better, the deeper iL

21.

You can speak of the pleasant change from the dreary,
fro zen earth, to the clear, white snow ; the delight of children,
when they see the first white flakes floating in the air; how
they like to catch these as they fall, and see th em melt in
their hands; and the various beautiful forms of these snowflakes. You can speak of the stillness of a snow-storm, and
clest:rilJe the drnugeJ avpearaut:e of ever.r thillg afLer one has
taken place in the night; the lJeautifol effect of the ::norning
sun upon the pure white landscape; then the jingling of
sleigh-bells, the shovel ling of path~, and all the sports which
snow brings with it for children; snow-balling, forts, coasting,
&c.: all these yon will find no c1iJTicn lt.v in dcscrilii11g.
You can mention, also, the r easons why the earlh is wanner
with its snow Co\·cring than it would be without it.

i s'(

13. Does it not ::;ccrn strange, tl1at such a coltl tl1i11g :1,.;
snow c:tn keep any thing warm?
14. Does it not k eep the earth warmer tlrnn it woulcl lJc
with out it'?
it"

'--- --- ----·-------~- --

------ _____________J

:

'I

- - ------- -- - -------- --- - ------,

68

FIRST BOOK IN COMl:'OSITION.

S U B .1 n; C 'l1

N0 .

69

FIHST BOOK I N COMPOSITION .

22.
TO THE PUPIL.

1015.

SUBJEO'I' NO.

1. How is ice formed ?
2. Docs not water sometimes freeze m falling from the
roof of a house ?

You can describe the various forms which ice takes iu
freezing; the beautiful, delicate crystals which are sometimes
found on the top of wa ter; the long, sharp-pointed icicles
hauging in stiff frin ges from the roofs of houses and branches
of trees; , the silver coating of boughs and twigs ; and the
lieauty of all thi s, when the sun shines upon it.

3. ·what does it form then?

4. "What shape are these icicles?
5. Do we not often see great numbers of them hanging
from houses and trees?

You can describe, too, the frec?.ing of the ponds and rivers ;
then the skating parties which co ver them; the coasting down
s ~eep hill -sides ; the caution one is obliged to o bs~rve in walking upon ice, and the various tumbles on e gets in sp ite of it.
You can sp eak of the pleasure it gives children to find a
lung, smooth strip of ice by the roadside ; th eir manner of
sliding upon it; and also of gellin g late to school, ai1d its
consequences.

6. How do they look when the sun shines upon them?
7. Wheri the weather is very cold, what happens to th e
ponds and rivers?
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8. Do not the boys have merry times then , sledding arnl
skating?
9. Is not ice very slippery?
10. If y ou do not step carefully, will you not certainly fall ?

11. Even then, will you not sometimes be over before yon
know it?
12. Do not children like to find a smooth strip by the
roadside ?
13. Do they not always stop to try it ?
14-. And sometimes, by doing so, do they not get late to
school?

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70

FIRST BOOK IN COMPOSITION.

SU13JJ£crr NO.

FIRS'l' BOOK IN COMl'OSI'l'ION.

23.
TO THE PUPIL.

NIGHT.

SUBJECT

1. Does not every thin g go to sleep at night?
2. How do flowers go to sleep ?

6. Does it not sometimes seem a pity to lose the ~eauty of
the night?
7. Are not the moon anJ the troops of bright stars beautiful?

8. Is not their li ght pleasanter in summer than the glaring

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sun at noon?
.
9. Is it not pleasant to listen to the crickets and the katydids?
10. Do they not seem as glad as people are to have the sun

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\ go down?
11. Are not winter nights bem1Liful, too ?

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are many thoughts suggested by these questions,
upon which you can dwell at almost any length. Among
these are, - the uses of the night to plants, to animals, and to
hu~an beings; the thought, also, of what would become of
them without this period of repose. Then there are descriptions of the beauty of night; the glory of the moon and stars,
and all the host of heaven ; the quiet of summer evenings;
the song of the katy-did and cricket, rejoicing at the going
down of the sun; then the winter night; the clear, frosty air;
the brilliant ~urora borealis ; the brightness of the stars ; the
light of the snow: all these you may describe as vividly as
possible,-then how, at night, we can look up into the sky,
without being blinded by the light ; and the longer we look,
the farther we seem to see into the deep blne heaven. Y ou
can speak of the glory of God, as written npon the heanns,
an d of his nearness to us in the Rtill hours of th e uigllt.
/

5. Could any one live without sleep'?

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4. What do children do ?

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3. What do chickens do at night ?

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12. Are not the stars brighter then than in summer I
13. ·what bright light do we often see then, in Lhe uorth '?

14. Does no.t the snow upon the ground help make it very
li ght'?
lfi. A t ni ~ht , dm•8 it. ll()t rilmust :"e0-m as if we coulJ sec
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at niµ:ltt tb au by day 7

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TO THE PUPIL.

SUB.JECT

NO.

24.

SUBJECT

1lf ORNJNG.

1. Is not early morning the most deli ghtfu1 part of the clay?
2. I s it not a pit~ to waste it in sleeping?
3. What do the birds begin to do before daylight m
8ll!fl l! Wl'?

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4. liow do the roostern try- to 1rnke up Jaz_y 1-"-''-'l-'k '?

fTRther flowers 7
8. TR it n ot best to wear thi11 1<R which wi11 not be spuileu

D. Cannot a great (l r':i l of tirnv lw

~:1Y1''1 1;y

(':trly

1i ~ i11 ~ ?

10. Ougli t uot cvury one to form the habit of it?

11. Have not almost all great men been early risers?
12. I-lave they not been able to study more than other
people'?
13. Dy this means, have they not beoome distinguished for
t heir learning, or in some other way?

H. Can you mention any of these by name?
15. For what were they distinguished?

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24.

1£\•ery one knows, or ought to know, that tl1e early morning is the most beautifol part of the day. You can mention
the various reasons why it is so; the fresh appearnnce of every
thing; the,coolness of the air; the beauty of the sunrise: an d
you can speak of the foolishness of losing all this beauty by
sleeping late; aml of the wisdorn of the little 1inls, and of
Hoosters, in comparison with lazy children; how the Hoosters
lw.<~in lon;?; l1rf(H, : s1111risc: to crrrw, :-incl 1!11~ l1inls lo chirp a111l
'11'
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t- n1il1'\t/""
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7. fa it not pleasant tb take walks before hreakfa"t and

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\Jeanty of the scene.
You cau speak, also, of the Lime that is saved by early
rising, and estimate how much half an hour 2~n-cJ would be
:t.!. Lill~ Cllll uf a _'>C:ll:; aml _YUll •_': lll !llClili<111, :tb", :lll,Y gn:al
men who hayc Leen early risers, and for y;Lat they bec;nnc
L11e

distinguished.

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FT HST JlOOK IN COMPOSITION.

75

. FIRS'l' BOOK IN COMPOSITION.

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S U B .T E C 'I'

N U . 25.

TO THE PUPIL .
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1'REES.

SUBJECT

NO.

25.

I,

1. Would there be any beauty in the earth, if it were not
for trees?

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2. Do they not cover the mi;?untains and :fill the valleys?
3. In spring, what is the appearance of their foliage?
4. How does it look in summer'?
5. How does it change in autumn ?
6. In winter, is it not pleasant to look through the leafless
t wigs into the deep blue sky 7
7. When trees 'are covered with ice, how do they look in
the sunlight?
8. Do we not love trees best in summer'?
9. Are they not of m~re use to us then'?
10. Could we endure the heat of summer wiLhout their cool
shade?

Trees clothe the whole earth with beauty, and without them
it would be barren a~d desolate enough. You can dwell
upon this latter idea, and write, if you choose, an imaginary
description of the earth ·without trees, in contrast to the earth
as it now is, adorned with its beautiful plumage_of green.
You can describe the varied appearance of trees, in spring,
in summer, in autumn, and in winter.
You can speak of the scorching heat of the summer sun ;
how impossible it would be to endure this without the shade
of trees to relieve it·; and the pleasure, in a summer walk, of
taking refuge in a shady grove.
You can describe a pic-nic dinner under the trees; the kind
of dining-room which these form ; ·with what it is carpeted,
and how it is furnished in other respects.

11. After a hot walk in the sun, is it not delightful to come
to a shady grove?
12. Do not people sometimes get up pic-nics, and take
dinner under the trees ?

•

13. Is not a grove of trees the pleasantest dining-room in
the world?
14. Wh at is its furniture?
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FIRST BOOK IN COMPOSI'l'ION.

FIRST

noo:K.

IN COMPOSITION.

77

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S U D J E C 'l'

N0 .

2 6.

TO THE PUPIL.

FLOWERS.

SUBJECT

l. Could not God h ave made the world without flow ers ?

2. Could we not have h ouses to live in, and enough to eat,

if th ere were no flowers ?
3. Might not God have made flowers all of one kind and
one color '?
4. Has he not given.us a wonderful and beautiful variety?.

5. H as he not scattered them in profusion everywhere?
6. Do flowers seem to have been made for any thing

except to give us pleasure ?

7. I s not the grass b7 the roadside often sprinkled with
little flow ers ?
·
8. vVhen we see them, ought we not to be thankful to Goel?

1

9. Should it not teach us to try to make others h appy?
10. Cannot we make others happy by kind words and acts,
as God makes us happy with flowers?
11. Ought we not to give these as freely as he gives us flow ers?
12. Do we not often trample upon flowers and throw them
away?
13. When we do so, does God stop giving us flowers?

•

11. \Vh cn people arc unkind to m, then, slwuld we .stop
lJeing ki11111o Uicm?
15. 11' we do, is that being like Gocl?

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NO.

26.

Answer'these questions in the order in which they stand;
and try to make a composition out of the thoughts suggested,
which shall show the love of God in giving us flowers.
You must remember then, that it is the question, "lVhy
does God give us flowers ?"-that you are to answer, in your
composition ; and you are to show that it is because J;ie loves
us, and wishes us to be happy, that he scatters these beautiful
things along the wayside and in the woods; and that. we
ought also to try to scatter kind words and acts along the
pathway of others, in order to make them happy, so that we
may be like God; and also that, as he never stops giving us
good things on .account of our ingratitude, so we ought never
to become discouraged or weary in well-doing by the unkindness of others.

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FIRST DOOK IN COi\IPOSITION.

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END OF DIVISION I.

The subjects embraced in the foregoing Division are more simple
than those which follow, in this respect-t.ln1t they are more general in

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their mode of treatment.

For very young pupils this is necessary, as

they are incapable of the 1Jatient study which is required for accurate
description.
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Division No. II. is progressive iti this respect, and demands from the
pupil more carefulness of observation and accmacy iu description.
The pupil should feel the re~ pon sibility of stitdying for his composition, as much as for any other exercise.

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FlHS'l' BOOK IN COMPOSITION.

1"1W:lT BOOK lN COMl'OSl'l'ION.

NO.

1.

81

TO THE PUPIL.

AUTUMN LEAVES .

S U B J E C 'l' N 0. 1.

1. When do the trees begin to put on their bright, warm
colon;?
2. Does the first fro.~t change them much?
3. Ilow do the woods appear after the first frost?
4. How after the second or third ?

5. On the hills, and in the valleys, and by the roadside,
what is seen?
6. W Lat are the d illereu L evlors, i11 this l>rigl1t array ?
7. What tree, or shrub, or Yinc p1~ts on the most brilliant
attire?
8. What color does the maple choose?
9. \Vhat, the oak?
10. ·what, the chestnut?
11. -What trees retain their green dress 'I
12. Are not these brilli~nt colors often seen in beautiful
contrasts?
13. How does a group of trees appear, in which all these
colors are mingled?
14. \ Vhat change passes over these •bright leaves?
15. - What does the November wind do with them?
16. \Vhere do they all at last lie?
17. "'What trees alone retain their foliage, to shield them in
winter?

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You can describe how the first breath of frost is seen in the
changing colors of the leaves, and how these brilliant hues
gradually spread over the hill-sides and fill the valleys; and
also the different colors assumed by the different trees. You
will find, by. observing them, that these are not entirely accidental ; but that each tree, from year to year, wears nearly
Lhe sa111e autumu Jre:os. 'l'he maple assumes the greatest variet.r of colors, while the oak and chestnut arc more uuiforrn,
and present only different hues of the same color. Yon can
describe the effect of these colors contrasted with one another
in a group of trees-from the dark, unchanging evergreen, to
th e gayest maple-and all the intervening shades of the other
tree.~, and the effect of sunlight upon these autumn colors.
In studying- the wondrous changes wrought by touches of
li ght upon this a.,utumn scenery, a new world of pleasure will
be opened to you, and.you will be furnished with abundant
material for description.
You can mention the gradual fading of these bright leaves,
till they lie scattered by November winds upon the ground;
then the sombre, desolate appearance of the forests, as the.)'
stand waiting for the -\vinter snow.

82

S U B J E C 'l'

1'0 THB PUPIL.

N 0 . 2.

SUBJECT NO.

MOSS.

1. Are there not many kinds of moss?
2. What kinds are found upon fences, old trees, and roofs
of houses?

3. Are not the most beautiful mosses found in the woods?
· 4. What kind do you like best?

5. How does it grow'!
6. Do you not ofLeu frnJ many kinJs growing together?

7. Do they not then make a beautiful carpet?
8. vVhat kind of berries creep over this carpet ?
9. vVhat flowers blossom upon it?

10. What trees

w~wc

ovcr ·it?

11. vVhat lights and shadows dance upon it?
13. What little forest anim::iJs dine upon it '?

14. What nuts do they tind hiding. away in it (
15. Is it not often spread out by the side of a brook or
spring?
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!'llmmer '1l'J.y '?

2.

You have seen, probably, many kinds of moss, creepmg
over rocks an~ stones, hanging from fences, and growing upon
the roofs of old houses, and upon old trees. You can dwell
upon this fondness of moss for old things, and speuk of the
beautiful effect it gives to every thing it clings to. You can describe the various kinds you remember, particularly those which
grow in the woods, and which form such a beautiful carpet by
the side of a brook or spring. Nothing can be more 1.Jeautiful
than this when it is frcsl1 arnl green, intcrlaccr1 wilh running
vines, and dotted with wild-flowers and bright sc:i,rlct berries.
No vvonder that the little birds like to hop round upon it, or
if the s51uirrel chooses it for a dining-room: all tltis you can
describe in your own words, and make as pretty a picture of
it ' aR yon crtn.
You should describe any given kind of moss, as you would
do if you wanted some for a particular purpose, and were
sending for it by a person who had never seen any. In such
a case you would endeavor to distinguish it from all other
kinclR, in such a wa:y that he would be sure
lo 1ri1w
vou the
b
J
ri;:;;ht kind of moss. 'l'his -rrnuld be a YCrY 12uuJ Lc:.~L 1,y w 11 ich
tu Lry your JcscripLiuus. Yuu cau spea k, tou, uf luc unia-

.

12. vVhat little birds hop over it?

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83

FIRS'!' BOOK IN COMPOSITION.

FIRS'!' llOOK IN COMPOSITION.

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FIRST BOOK IN COJ\fPOSI'l'ION.

SUBJ EC 'r N 0.

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lVILD - Ji'LOlVERS.

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FillS'r . IlOOJC IN C0}£POSI'l'ION.

1. Are not these flowers to be found from early in the
spring till late in autumn?
2. Are they not most beautiful in spring?
3. Is it not d~ightful, after the tedious cold and snow, to
see the liverworts, and the anemones, the blue .violets, and trailing
arbutus and columbines blossom one by one ?
4. ·what kind of flower is the liverwort, and where does it
grow?
5. 'rhe anemone ?
6. The columbine ?
7. The trailing arbutits or ~Mayflower ?
8. 'rhe honeysuckle, too, what kind of a flower is it, and
how does it grow ?
9. Later in the summer, what comes?
10. Are not the laurel bushes covered with their magnificent blossoms ?
11. ·what color are they, and how do they grow?
12. What kind of flower is the wild geranium?
13. The cardinal flower?
14. ·what about the golden-rod?
15. 'rhe fringed gentian, too, is it not one of the last flowers
before frost ?
16. When do these beautiful summer visitants finally disappear?

TO THE PU:PIL.

SUBJECT NO.

3.

You can mention by name th~ various flowers, as theJ
appear from early spring till late in the autumn, and the reasons why spring flowers seem the sweetest. These you may
describe, one by one, as you remcrn}/er them, mentioning the
time of their appearance, and the places where they are found;
then in the same way the flowers of summer and of autumn,
ending with those which disappear on the arrival of frost .
In speaking. of these ':arious flowers, you should endeavor
to use descriptive terms which express the most striking
quality of the flower: this may be color, as in the cardinal
flower or golden-rod; or fragrance, as in the Mayflower; or
profusion of blossoms, as in the laurel; or it may be the manner in which it grows- in clusters, or otherwise. To seize
upon this quality and express it, may often require careful
sfody; but in no other way can excellence in description be
attained.
Very few of these beautiful wild-flowers have, as they all
ought to have, beautiful names. If you please, you can exercise
your fancy in suggesting·new names for the flowers whose old
ones you do not like. Liverworts, for instance, you might
call "Spring's blue eyes," or "May's blue eyes," or simply
"blue eyes," or you can suggest any other name which may
occur to you.

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FIRS'l' BOOK IN COMPOSll'ION.

S lJ B .J 1£ 0 r.l'

N 0 . 4.

FIRST BOOK IN COMPOSITION.

87

TO THE PUPIL.

ROSES.

1. ·what is the rose sometimes called?
2. vVhy is it called " Queen of Flowers?"
3. Does it not grow in greater profusion and ~ariety than
any other fl.owe:?
4. Is it not more fragrant than any other?
5. Is it not 'found in every region where flowers grow?
6. Ilow niany varieties h:we you ever seen?
7. vVhich do you Lhiuk most beauLifol?
8. Ilow many kinc1s of white roses?
9. How many of pink and r~d roses?
10. Are there yellow roses?

11. Are there not many kinds of climbing roses?

12. \iVhich is the most beautiful of these?
13. vVhat kind of a flower is the wild rose?
14. ls not the "sweet-brier" a species of rosa?

15. How does this grow?

16. In what countries are roses mo;t beautiful and abundant?
17. Are they not more fragrant, also, in southern regions?
18. What clelieio11 s perfume is obtn.ined from them?
HI . \\'lt1 1,, 1111.c;

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111· r•~! -•'C!W'd '(

SUBJECT

NO.

4.

Every one has seen more than one kind of rose ; for there
is no flower of which there are so many varieties as this. You
may give the reasons why it is called "Queen of Flowers,"
and also name and describe the various kinds you have seen,
speaking particularly of the differences of color and of fragrance in these, and giving the reasons for their narn.es.
You must not forget the rnul:ls-rose, and the Leautiful variety of climbing roses. You can speak of the luxuriant
growth of these latter, the profusion of their blossoms, and
the appearance of a house or porch covered by one in full
blossom. · The "wild rose," too, and especially the "sweetbrier," you may describe, and compare them with the garden
roses.
In describing any given rose, you should endeavor to apply
the rule given in the preceding instruc~ons, and speak of
those qirnlities in color, size, fragrance, or manner of growth,
or whatever it may be,.b,y which it is distinguished from oLher
roses.
You can meµtion, also, the superior size and fragrance of
the roses of southern regions, and the kind of perfume ob1;1 im·11 f1u1n them.

88

:fIRST BOOK IN COMPOSITION.

FIRS'r BOOK IN COMPOSI'l'ION.

SUBJEO'l'

NO.

TO THE PUPIL.

5.

SUBJECT NO.

WATER-LILIES.

2. Do they not grow in. beautiful places ?
3. How does a lake or pond look when covered with them'?
4 ...What color is the flower, and what kind of a centre
has it?
5. Do not these blossoms appear to float upon the water?
6. vVhat kind of ]eaves are they surrounded by?
7. ·where are the roots of the plant'?
8. How are the blossoms and leaves connected with the root?

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9. Is not this stem very long and flexible?

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10. At night, does this flower close up ?
11. How does it appear then ?

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12. How are these flowers gathered '?

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13. Is it not ,delightful to go in a boat to gather them ?
14. How can the long stems be secured ?
15. In reaching over for them, must one not be careful
about .upsetting the boat?
16. Is not a fresh bunch of these lilies a splendid bouquet ?

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5.

No one can .see these beautiful flowers floating upon the
water, without a feeling of delight and admiration. Y 011 can
describe the .appearance of a lake or pond covered with them;
the freshness and purity of the white blossoms; the manner ·
in which they rest upon the water; the color of the outside
_retals, and the appearance of t4e flower when closed; . the .
pointed green buds ; the shape and texture of the leaves, and
the peculiarly flat manner in which they lie upon the water:
also, the kind of stem which co1111ects the flowers and leaves
with the roots of the plant.
You can describe the life of these flowers in the lovely
places which are their favprite haunts; the banks of the ponds
and Istreams in whi0h they
grow; the shadows and breezes
.
which play over them; the little fishes which dart about
among them, under the shelter of their broad flat leaves; and
the little bays or coves which they cover with their blossoms.
You can speak, too, of the way in which these flowers are
gathered ; how they must be pulled in order to secure long
stems ; the danger, in reaching too far, of upsetting the boat ;
the pleasure of drawing in the lilies, one after another; the
beauty of a fresh bouq~et of them ; and their delicious fra·
grance.

1. Are not these blossoms among the loveliest objects in
the world?

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17. Have they not a.fresh, delicious fragrance?
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FlRST BOOK IN COMPOSITION.

FIRST BOOK IN COMPOSI'l'ION.

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N 0 . 6.

TO THE PUPIL.

RECESS .

SUBJEC'r NO.

1. Is not this always the delight of all schools?
2. At what hour does it generally come?
3. Is not the last half hour before recess a time of anxious
watching?
4. Do not the minutes seem to .go very slowly?
5. -When the bell at last rings, what lrnppcns?

6. Is it not a scPnc of confosion?

7. If it is summer, what doe$ every

one

do?

8. How is your schoolroom situated ?
9. vVhat kind of a playground have you?
10. What games do you play in it?
11. In winter, how is the recess spent?
12. 'What do the older pupils do ?
13. ·what do the younger ones do?
14. ·what games are then most popular?
15. Does not

r~cess

appear to fly by very quickly?

16. What happens· when the bell rings for study-hours
again?

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17. I n a few minutes, is not every thing changed?
18. \Vhat is

C\' Cl')'

one doing ?
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6.

This is a subject upon which every one can -..V-rite without
difficulty; for recess is the delight of every pupil. You can
describe 'the impatience with which it is looked forwp.rd to by
all; how slowly the minutes seem to go by, before the.welcome sound of the bell for recess ; then the scene which fol·
lows: if summer, the rush which is made out of doors, and
the various amusements entered into by different groups, or
by the whole school together. You can describe the situation
of your schoolroom, and the pleasant places around 'it, which
are the resort of the pupils at this time. If there are any
tre~s near it, you can give a description of these, and of the
scenes which take place under them. If there is a brook,
describe that, and the sports Gonnected with-it; or, if you
have only a play-ground, the groups which cover it, and
the games which are played upon it: then, as the cold
weather comes on, the changes which take place in the sports·
entered into: the.various in-door games which are introduced.
You can mention the most popular ones, and describe the
manner in which they are played. You can speak, too, o(
the sw~ftness with w bicb the moments of recess fly by; the
ringing of the bell for study-hours to recommence; and the
change which th en takes rlace inG tbe aprcarnnce of the ~chool.
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SUBJECT

I,

NO. 7.
TO THE PUPIL.

'

BLIND lJfAN'S BUFF.

SUBJECT NO.

1. Is not this one of the most exciting games that can be
played?
.,
2. Is any one .too old, or too young to play it?
3. What. iii the first step to be taken in playing?
4. How is the person to be blindfolded selected?
5. Must not t]ic blindfolding be done fairly? '
G. How

do~t~e others satisfy themsehes about this?

7. What then takes place?
8. What is the

obj.~ct

of the person blindfolded?

9. What is the o~ject of the others?
10. Is it not very difficult to catch any one when one rn
fairly blindfolded?
11. Is it not necessary to niove about cautiously?
12. What is the danger?
13. Does not the blindfolded person sometimes become
quite bewildered?
14. If he succeeds in catching any one, what follows?
15. If he does not succeed, and gives up, how does the
game proceed ?
16. vVhy is it almost impossible to play this game out of
doors?

. I

7.

This game is a, great favorite with every one, especially on
Thanksgiving, or similar occasions. You may describe the
zeal with which it is entered into at such times; the curious
string of. words with which the one to be blindfolded is
chosen, and the meaning of these words, if you can suggest
any. Yon may describe, alw, the various ways which are
tried to prove that the blindfolding has been fairly done:
· then, when this point has been ascertained, the general running and dodging, and shouting and screaming which _takes
place; the cautious groping of the blindfolded person, and
the bewildered manner in which he runs about ; the devices
of the oth~rs to confuse him, and to get out of his way when
he approaches them: also what takes place when he succeeds
in catching hold of one ; the struggles of the person caught
to get free; the endeavors of the catcher to guess whom he
has caught, and if he is · successful in this, the manner in
which the game proceeds.
You can mention the antiquity of this game, and give an .,
account of its origin, if you can learn any thing about it.
You can speak, also, of the reasons why it is an especial
favorite with children.
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94

FIRST BOOK IN COMPOSITION.

S U 13 J E C 'l'

F'IRS'r BOOK IN COMPOSI'l'ION.

N 0 . 8.

95

TO THE PUPIL.

A PIC-NIC.

SUBJECT NO. 8.
1. 'vV as the Pic-nic much talked of beforehand?
2. ·what was the place fixed upon for it?
3. vVhat kind of a place was it said to be ?
4. What was the time fixed upon for going?
5. What preparations were made ?
6. vVhat were the baskets filled with?
7. vVhen the day came, was it clear or doubtful weather?

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8. Did you ride or walk ?
9. vVas the road a pleasant one?
10. At '(yhat time di<l you arrive at the Pic-nic ground?
11. How was it situated?
12. What took place upon arriving ?
18. What preparntions were made for the dinner ?
14. How was the table arranged?
15. \Vas not the dinner scene a merry one?
16. What followed after dinner?
17. How late in the afternoon did you stay ?
18. vVas the ride home a pleasant one?

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19. vVas there a brilliant sunset to be seen?

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20. What changes did it pass through?

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Very few Pic-nics are got up and carried through without
a great deal of talking and planning; sometimes the plan is
proposed several weeks before it is carried into execution.
You can mention how long beforehand the Pic-nic you
describe was talked about ; the discussions with respect to the
preparations; the packing of the baskets; the doubts, hopes,
and fears with regard to the weather; the arrival of the day;
the assembling of the party; and the manner in which you
, rode or walked. You can describe, also, your adventures by
the way, or any amusing circumstance which may have happened; the dispersing of the party in various groups on arrival at the Pic-nic ground; the manner in which they occupied themselves; the situation of the Pic-nic ground; the
search for a pleasant .dining-room; the different places proposed; the one finally decided upon; its advantages over the
other places; the scene which ensued; the unpacking of the
baskets ; the arrangement of the table; and the various preparations for the dinner: then the assembling of the party at
dinner, and how the afternoon was spent. You can give .a
description, also, of the ride home, and of a beautif~l sunset
seen upon the way.

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96

FIRST BOOK IN COMPOSI'l'ION.

FIHST BOOK IN COMPOSITION.

SUBJEC'l'

NO.

1'0 THE PUPIL.

D.

A SLEIGH-HIDE.

SUBJEC'l'

1. Under what circumstances was the ride taken?
2. Who were your companions ?

3. Was the sleighing fine?
1.

4. What kind of a day was it ?

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5. vVhat precautions did you take against the cold?

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6. What kind of a sleigh was it ?

7. Did you fly along rapidly?

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8. What road did you take?
9. vVas there much snow to be seen

?

10. How did the mountains and hills appear?
11. 'l'he trees and bushes?
12. The ponds and streams?
13. How would these have appeared if it had been summer?
14. Was it not exciting to feel yourself going along so fast?
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15. Did you meet many sleighs?
16. Did not fingers and toes begin to freeze at last ?
17. In spite of the cold, however, did you not enjoy the

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ride?
18. \Y as it not pleasant to get back agaiu 1J.Y the warm fire

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NO.

9.

In describing a sleigh-ride, you can speak of the exhilarating effect of the bracing air; the clear blue sky ; the bright
sun; the swiftness of the motion, and the sound of the sleigh- ·
bells. You 9an contrast, also, the scenery which you saw,
with the ·same in its summer dress; the bleakness of .the
mountains and hills; the clear, distinct outlines, so different
from the soft warm haze of summer: then· the trees, with their
thousand leafless twigs, with their appearance in summer; the
ponds and streams, stiff in their icy covering, with their summer life and beauty.
By calling up vividly before your mind the landscape as it
is in summer, you will be better able to describe the changes
wrought by Winter, with his frost and snow, in every part of
it, for you will feel i;no:e keenly what he has taken from it,from the fields, from the brooks, from the tree.s, the .hills, the
skies, and the air.
You can describe, also, the beauties of a winter landscape;
the pure white snow; the sparkling of ice in the sunbeams;
the evergreens loaded with snow, and the deep blue sky
above it all ; also the gradual freezin g up of all ideas, and the
pleasure of being again by the warm fireside.

at home '?
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98

FIRST BOOK IN COMPOSITION.

FIRST BOOK IN COMPOSITION.

S lT ILi EC 'r

N 0.

'l'O THE PUPIL.

10.

A 1lfENAGERIE

S U B J E 0''11

1. ·what was the arrival of the Menagerie preceded by?

2. ·what did the liandbi.lls announce?
3. Diel it not awaken a great deal of expe.ctation and
curiosity ?
,
4. vVas not the entrance of the Menagerie a time of great

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excitement ?
5. Did not everybody turn out to witness it?
6. What headecl° the procession ?
7. What were the musicians seated in?
8. What followed ?
9. What did these cages contain?
10. In what kind of a place was the Menagerie exhibited?
11. How were the cages arranged in this tent?
12. vVas there not a great crowd in attendance?
13. \Vhat animals interested you most?

"I

14. Did the keeper enter the lion's cage?
15. How did he manage it?
16. What performances took place with the monkeys?
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17. What with the elephants?
18. vVas not the exhibition fatiguing?

I 19. Vvere you not glad when it was over?
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N 0 . 10.

You can describe the handbills or advertisements which
generally precede the arrival of a menagerie in any place; the
wonderful attractions they. always offer, and the excitement
which. this creates among the children: then the triumphal
entry of the caravan on the _d ay appointed; the music; the
magnificence of the musician's car; the trappings.of the horses
and the elephants; the singular effect produced by those of
the elephants; the number of wagons or cages which follow,
and the crowd which this sight attracts: then the opening of
the exhibition; the varioufi animals and their performances,
particularly the elephant; the manner in which he eats an
apple, or any thing else which is given him. .You can describe the character of the elephant, and relate any anecdotes
. you may have read in illustration of any of his traits. You
can speak, also, of the habits of this animal in his wild state ;
of the countries in which he is found; what he lives upon;
the size to which he sometimes grows; and the manner in
which he is caught and tamed. You can mention, also, the
animals with which you were most pleased, and describe
them; also, the wonderful feats of the monkeys, and the way
the keeper managed the lion when he entered the cage, or any
thing else which interested you.

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FIRST BOOK IN COMPOSI'l'ION.

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FIRST BOOK IN COMPOSITION,

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TO THE PUPIL . .

S U l3 J E C 'l'

N 0 . 1 1.

SUBJECT NO.
A FAIR.

1.]

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1. Are there not many kinds of ]'airs ?
2. For what different purposes are they held?
3. What is the object of a Horticultural Fair?
4. What does the display consist of then?
5. What is the object of an 4gricultural Fair?
6. 'What takes place then?
7. Are not Fairs often held for the purpose of raising
money?
8. 'What does the exhibition generally consist of then ?
9. How is it conducted?
10. Did you ever attend such a Fair?
11. Did y ou ever assist in getting one up?
12. How was the room decorated '?
13. Ilow were the tables arra~ged ?
14. vVhat kind of articles were for sale upon them?
15. By whom were these sold?
16. vVas there a pqst--office in the Fair?
17. H o'v was this conducted?
18. Were there many visitors?
19. \Vere most of the articles sold?
20. How long did the Fair last ?
21. How did it end?

\

11.

You can speak of the different objects for which ]'airs are
held, and mention those which are most common, and what
each of these is called. You can describe the display of
flowers, fruits, and vegetables, at a Horticultural Fair, and the
manner in which this is generally conducted ; also, an Agricultural Fair, in which a cattle show is the most prominent
feature: both these afford great scope for description, particularly the latter, in the variety of animals exhibited, and the
various ways in which superiority among .them is tested.
If you prefer to describe this kind of. fair, you can give an account of the preparations made for it by the farmers for weeks
' beforehand. You can describe, also, the place where the exhibition was held; then the morning of the fair; the trains of
animals; bands of music and crowds of wagons; the different
kinds of noises; then the various parts of the exhibition, and
the distribution of prizes.
Fairs are also often held, in order to raise money for benevolent purposes. You can speak of the . manner in which ·these
are generally got up ; how the various articles to be sold ar"
furnished; the decorations of the rooms; the arrangement of
the different tables; the company present, &c.: also, who presided at the tables; how long the · Fair continued; and the
amount raised by the sale of the articles.

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102

FIHS1' BOOK IN COMPOSI'.l'ION.

FIRS'l' BOOK IN COMPOSITION.

SUI3JEC'l1

NO.

TO THE PUPIL.

1 2.

SUBJECT NO.

THANKSGIVING.
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1: What is Thanksgiving?
2. By whom was this festival first celebrated?
3. Under what circumstances?
4. vVas it not at first celebrated only in New England?
5. Is it not now observed by many other States?
6. How long beforehand do children begin to count the
days and weeks to Thanksgiving?
7. vVhat prepar~tions are made for it in the· kitchen?
8. How many kinds of pi e~ and puddings?
9. \Vhat kind of pie figures most prominently?
10. vVhat does the farmer .bring to market?
11. What is the principal thing to be secnred?
12. Are the poor forgotten in these preparations? ~
13. How is the morning of Thanksgiving day occupied?
14. After church, what takes place?
15. How does the table look?
16. How does the. dinner go oif?
17. How are the afternoon and evening spent?
18. Is not this a great day for family meetings?
19. Does not every one try to be at home then?
20. Ought not this festival always to be observed?

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12.

Every one knows that Thanksgiving is a religious festival
of rejoicing and giving thanks. In writing upon this subject,
you may mention the circumstances in which it originated,
and the manner of its first observance. .You can describe,
also, the present mode of observing the day; the pleasure
with which it is anticipated by every one; the divers kinds of
pies and puddings concocted for the occasion; the dreadful
slaughter of turkeys, geese, and chickens-the articles which
the farmer brings to market, the fat turkey which every one
looks out for: then the manner in which Thanksgiving ~ay
is spent ; the various game~ which occupy the afternoon and
evening. You can describe a family party gathered· on Thanks, giving evening; the different ages of the persons who are
brought together, and who all share alike in .these games.
You can speak of some .one occasion of this kind which you
may have enjo3\ed very much, and give a::i account of the
amusements ente'red into, and all the pleasant things which
occurred. You can speak, also, of the manner in which the
poor are remembered on this occasioU:; also of th~ ''-Ieasant
family gatherings which always . take place at this ti. , and
\
of the various beneficial effects resulting from the obser . \ nee
of this festival.
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FIRST BOOK IN COMPOSITION.

N 0 . 13 .
TO THE PUPIL.

FOURTH OF JULY.

1. What is the origin of this celebration?

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2. What is the date of the event it commemorates?
3. Is it a reli&ious festival, like Thanksgiving?
4. Is it observed all over the Union?
5. What preparations are made for it?
6. Do not boys begin weeks beforehand to save their
money for it ?
7. What do they spend it in?
8. How does the day open ?
9. How many cannons are fired?
10. What is this followed by ?
11. What sounds are heard incessantly?
12. Are there not great crowds to be seen everywhere?
13. What is seen at every corner ?
14. \Vhat is sold at these stalls?
15. Is there not a great deal of molasses candy sold by
small boys ?
·\
16. How do they carry it about?
17. How does the day end?
18. What sometimes takes place in the evening?
~ 19. Does not this day commemorate the greatest event in
our history?
· 20. Ought not its observa nce to be perpetuated?

S UBJEGT

NO.

13.

The mention of this subject brings up to every one memories of scenes which are repeated on every return of the day;
of cannons, soldiers, parades, drunken men, fighting men,
crowds of men, women, and children, horses and carriages,
fire-crackers incessantly sounding, boys with molasses candy,
stalls of apples and gingerbread: from early morning, when
one is wakened by the roar of the cannons, till late at night,
after the last 'cracker has been fired and the last skyrocket
sent up, there is no peace for eyes or ears. All these various sights and sounds yol~ may describe in any order you
pleasej or you may give an account of a Fourth of July
· which was celebrated in some particular manner-by a picnic, or some kind of procession ; and describe the arrangements for the occasion; the manner in which it passed off;
the speeches which were made, &c.
You may precede your description of.the celebration of this
day, if you choose, with a brief history of the War of the
Revolution ,. the success of our struggles, the Declaration
of
.
.
Independence, and the manner in which this was drawn up
and signed. You '\vill find all these particulars in any history
of the United States.

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SUB.TECT NO.

1 •

FIRST BOOK IN COMPOSITION.

107

14.
TO TE E PUPIL.

CER I8T1lfA8.

1. Is this an American festival, like Fourth of July or
Thanksgiving?
2. How did it originate ?
3. What ~d it at first commemorate ?
4. How is it observed in this country?
5. What do children do the night before Christmas ?
6. vVhat do they expect to find in the morning?
7. Who are they told will fill their stockings?
8. What sort of a person is Santa-Claus said to be ?
9. How is he dressed?
1
10. How doeE. 'he get about?
11. 1 What does he carry in his sleigh '?
12. How does he enter the house in the night?
13. What does he leave in naughty children's stockings?
14. vVhat takes place on Christmas morning?
15. Are the children not up before daylight?
16. vVhat greetings are heard all over the house ?
17. Does not Santa-Claus sometimes get up a Christmas·
tree '?
18. Ilow does he manage this?
19. Is not this day observed religiously by many?
20. How are the churches decorated for the occasion?
21. Do they not present a beautiful appearance?

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SUBJEorr NO.

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14.

This festival is not, like Thanksgiving and Fourth of July,
of American origin, but it has been celebrated for many hundred years as the anniversary of the most important event in
the world's history-the birth of Christ-and because this event
brought joy to the world, it was celebrated as a day of rejoicing; at first religiously, and it is so observed by many persons
at this day: many churches are beautifully decorated with
evergreens, jtnd opened for religious services.
With children, however, this has become a great day for
receiving gifts: they find their stockings foll of all sorts of
/ good things on Christmas morning, and they are told that a
certain Santa-Claus, whose name was originally St. Nicholas,
a little old man, queerly dressed in furs, and driving a sleigh
drawn by six little reindeer, enters the house by coming
down the chimney, and fills their stockings.
Almost every one has some fancy about this Santa-Claus
and his visits. You can give a description of him as you
imagine him to be ; of all the particulars of his dress ; qf .the
presents he carries ; of the size and shape of his sleigh, and
the trappings of the reindeer; or any impression you may
have concerning him. YOU Can speak, also, of the fuanner in
which you are accustomed to observe this day.

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FIRST BOOK IN COMPOSI'l'ION .

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·OF DIVISION II.

The best direction which 'can be given to the pupil with respect to his
compositions upon the subjects which follow, isTo gather his material from a careful study of nature itself.
Let him, whnever
he can, write his composition with rocks, trees,
,,

SUBJECTS.

and fields before him, anq_his descriptions will have a vividness which
they will never possess, written under any other circumstauces.
Excursions might be made by "composition parties," for the purposii
of carrying out this direction, and the compositions written, as far as
possible, from the point of observation, or from notes taken upon the
spot.

The exercise might, in this way, be

m~de

a very delightful one.

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FIHST BOOK IN COMPOSl'l'ION.

S U B J E C '1'

N 0 . 1.

A 11£0 UNT AIN.

1. What is the highest mountain or rock you have ever
visited?
2. Where is it?
3. What is its name, and why was it so named?
4. How high is it ?
5. What is its shape?
6. Is it covered with trees, or is it bare rock ?
7. Is it connected with other hills, or does it stand alone?
8. What is the appearance of the range to which it belongs?
9. Is the ascent to the mountain difficult?

10. Is the view from the top fine?
11. At what season did you see it?
12. At what time in the day?
13. Was the atII\gsphere clear or hazy ?
14. What lay at the foot of the mountain-a river or
meadows?
15. Beyond, what was seen-villages, lakes, or a town?
16. What bounded the view in the horizon?
17. How does this view compare with others you have seen?

FIRST BOOK IN COMPOSI'£ION.

111

TO THE' PUPIL.

SUBJECT

NO.

1.

You may describe some mountain you have visited or seen,
placing its name at the head of y~ composition as your subject; or, better still, you may visit some elev11tion in your
vicinity .from which a fine prospect may be seen, and answ~r
these questions from the point of view itself.
If you describe things as you actually see them before you,
your description will be life-like-that is, it will portray objects as they really are, at a given time; but if you trust to
your memory, you will be apt to use only general terms,
which are not capable of conveying definite images to the
mind.
Remember that, in all descriptions of nature, it is not so
much the object.s themselves about which you are to concern
yourself, as these objects seen under some particular lightfor what is true of them at one time may be' false at another:
the spire of a church, for instance, under a cloudy sky, is one
'uniform color, whatever it may be; . while, in the rays of the
setting or the rising sun, one half will be in dazzling light,
and the other half in deep shadow, and so all objects are being
continually transformed by changing lights and shadows.

112

FIRST BOOK IN COMPOSITION.

FIRST BOOK IN COMPOSITION.

SUBJEC'r NO. 2.

1'0 THE PUPIL.

A BROOK.

1. Is there a brook near where you live?

2. Does it run fast or slow ?
3. Is its bed stony or clear?
4. Is it noisy or still ?

5. Does it wind about much?
6. Does it pass through woous aud meadows?

7. What kind of trees shade it in the woods?
8. \Vhat g;rows on its ban ks?
!1. What fringes its sides in the meadowR?
JO. \\That kind of b1tshes mark its course?
11 . .Arc there any fishes in the brook?

12. What kind arc they ?

13. Did you ever catch any?
14. How did you manage this ?
15 . Did you ever launch any little boats in it?
16. What beG:;me of them (

l7. Did you ever tumble into the brook?
18. How did it happen ?
19. Did you ever wade about in the brook?
20. I s it not pleasant to do this in a warm summer day.

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SUBJECT NO.

113

2.

You may put the name of the br~ you describe· at the
head of your composition, as your subject; or, if it has no
name, you can invent one for it, which will have an agreeable
sound and at the same time be descriptive of some of its quali·
ties-such as "Winding B):ook," "Stony Brook," or" Merry
Brook," or whatever it may be: also, in your descriptions of
the scenes through which it passes, remember to 1:ndividuali'ze
as much as possible; that is, instead of using general terms,
such as "flower," "bush," "tree," which convey only general
ideas tci the mind, name an indivi'dual flower, bush, or tree,
which calls up some particular image. It if~ this indi'vi'dual£zinq wieh giv es 'u1:vid11css to a tlcscription. For example, 1.he
particular terms, "blue meadow-lily," " golden buttercup,"
."red barberry-bush,'' "dark hemlock," each convey a distinct
image to the mind, and give it a peculiar feeling of pleasure;
which it does not receive from the genenil term,s "flower,"
"bush," "tree."
Remember, also, that an objcd must be U,cscribcLl, not only
· by some striking quality, but also by some particular aspect:
thus, if you were describing' a barberry-bush in blossom, you
would not speak of it as red; and so with all other objects.

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FIRS'l' BOOK IN COJ\fPOSITIOl\".

115

1'0 THE PUPIL.

SUBJECT

NO.

3.
SUBJECT

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A WATERFALL.

1. Did you ever visit any waterfall?

2. Where was it?
3. What was it called?
4. Why was it so called?
5. Under wh~t circumstances did you visit it?
6. W as the approach to th~ fall easy or difficult?
7. Was it through a ravine?
8. What kind of a ravine was it?
9. Was the bed of the brook rocky?
10. Did you hear the fall before you saw it? ·
11. Did you first see it fro~n above or below?
12 .• What was the scenery around the fall?
13. Over what kind of rocks did the water fall ?
14. How high was the fall?
15. Did it fall in one sheet, or was it broken up?
16. How was it broken up?
17. What was the. sound of the falling water"?
18. How did the st.;';am below the fall appear '?
19. Were there any falls below this one?
20. \ Vhat was the course of the stream ?
21. Did it come out into quiet meadows at last?
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NO.

3.

Under this subject you can describe a visit to some waterfall, taking its name as the subject of your composition.
· The approach to a waterfall is almost always wild and
picturesque, and it is therefore a good subject fo.r descrijltion.
By the term "picturesque," is meant "tliat which would be beautiful in a picture;" and in the turnings and windings , of a
ravine .t here are often a succession of little views which would
make beautiful pictures if they were painted. . This succession
of picturesque views you should endeavor to bring before the
mind in language. In order to do this, you should try to
imagine in what way an artist would represent the scene you
wish to describe-the lights, shadows, and colors he would
use, and how he would arrange these· and remember that
<CJ·(l;f,,~
'
'
whatever can be represented in a picture, can be expressed in
language.
You should have in your mind, not merely a general, confused idea of rocks, stones, rnnuing water, wild places, ai;id a
great deal of scrambling to be done, but a distinct impression
of each successi've view in the approach to the fall, and finally
of the fall itself, and describe each as if it were a picture by
itself. In this way you will succeed in conveying to the
mind of another, the impression which the visit to the fall
made upon yourself.

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FIRS'r BOOK IN COMPOSITION.

\ 116

SU BJ E 0

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N 0. 4.

TO THE PUPIL .

.A SPRING.

SUBJEC'l' NO.

1. What is a spring?
3. ""What becomes of it when it flows out of the spring?
4. What do the brooks flow into?
5. What becomes of the rivers?
6. Did you ever see a spring?
\YRS

it'?

8. Was it shaded by trceR?
9. Were there any flowers, or mosses, or fen'ts around it?

10. Did you drink from it?
11. \Vas the water pure awl cold 'l

12. Ilow deep vv-as it?
13. -vvhat became of the water that flowed from it?
14. Is not a spring always a stopping place for children

4.

The name of the spring you describe you can take for the
subject of your composition; or, if it has no ?ame, you should
give it one which is· descriptive of some of its qualities, or of
something in its situation.

2. ·where do~s -the water in springs come from?

7. \Vhere

117

111

their rambles ?I/
15. How do they contrive to drink from it?
16. Is the water in all springs cold ?
17. ·what do you know about the famous Hot Springs?
18 . How can they be accounted for?
19. ""What other kinds of springs are there?
- - -·'

In describing it you should bring together all that is delightful about the spring, and in the scenery around it, so
as to form an agrcca11e }>icture. You can speak of the manner in which it is kept filled, and give au imaginary description of the sources, deep in the earth, from which the water
wells up, or trickles down into its basin; and then of its outflowing, and the beauty and verdure which gather around its
bonlers. <'~-.-:=' sho\tld try to imagine that the spring it.self has
Life, and j cd.s as :you would, i;:'ciLs place; and that the trees,
mosses, ferns, and flowers which grow around it, have feeling
also : this will give you a keeuer perception of an that is
pleasant about the places in which they live.
You can describe, also, the scenes which take place around
the spring; the merry companies of children that stop by its
side; their expedients for drinking from it; the kind of cups
they make out of leav.es, and the success of their experiments,
and any incident connected with these visits.

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118

FIHSl' BOOK lN CO!lll'OSl 'l'JUN.

SUB.JlLC'l'

NO.

5.

A MOONLIGHT SCENE.

1. Was it in summer or in winter?

2. \Vas the moou just rising, or was it high in the h eavens ?
3. Were there auy cl ouds in the sky ?
4. Were they touched by the moon's light?

5. Were there any flying clouds to be seen 7
6. How <lid this affect the light?

' · Whal were th e mnst oist:rnt pnints

St't'll ?

8 . How did the lig hL t>Lrike uvuu Lhcw '!

9. Nearer, what wns seen ?

10. Close at hand, what appeared?
11. H ow would the same scene have looked m broad daylight?
12. ·w ere not its cornmon·place features invisiule in the
moonlight?
13. -Y:V as uot all that was fine seen in shadowy outlines?

14. vV ere the colors of the landscape visible ?

15. vVas ther;-any thing seen but silvery lights and dark
shadows?
16. How were these distributed over the scene ?

17. vVhat was Lhe effect produced?
18. H ow did it rn mµ are with a suusc:I; scene ?

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11 ()

1' 0 THE PUPIL.

SUBJEOrl'

NO.

5.

,

You may tak e any seasou you please for this description, '
either summer, when the effect of moonlight streaming through
the openings in the heavy foliage is so enchanting ; or winter,
when the ground, covered with snow, reflects it with such
brilliancy, and _the moon and stars are so gloriously beautiful.
Y ou should, however, describe a real scene, and not an imaginary one.
'l'he first t~ing to be noticed in descriptions of moonli ght scenery is, ab-<erice of color-the sun is the great painter
of the world, the first touch of his rays upon a landscape
brings out a multitude of colors, all ' fresh and glowing;
but the moon is like an artist who uses only black cr~yon s,
nothing is seen in her landscapes but silvery lights and heavy
shadows; these, however, she distributes with wondrous effect
over the scene. In your descriptions, therefore, you should
be g uided by the great artist herself-the moon-and bring
out in language the points which she touches with her rays,
and describe also the sombre effect produced by those features
of the scen~r which she casts a dark drapery of shadows.
You can speak of the effect upon the mind, of these deep
shadows ; the vague terrors of the imagination which they inspire. Y 0 1l can compare, also, with respect to beauty, a
moouligbt wit.Ji a sunset scene.
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FIRST BOOK l'N COMPOSITION.

121

1'0 THE PUPIL.

S U B .J

I~

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N 0.

6.

S U B J E 0 'L'
A THUNDER-J:>J'ORM.

1. "\Vhat kind of day was it?

In what month?
vVere there any signs of a coming storm?
vVhat was the first indication in the sky ?
How did the clouds roll together ?
6. Did it grow very dark ?
7. vV as the~e a sound of rising wind?
8. vVas there distant thunder?
9. vVere there flashes of lightning'?
10. As the storm drew nearer, did these incre~e ?
11. Did the wiuJ begin to roar among the trees?
12. Did it toss their branches ?
13. How did the rain begin to fall ?
l L.I:. Did it increase rapidly?
15. Did it fall in torrents?
16. Did it flood the roads?
17. Was any living creature to be seen ?
18. How long did the storm last ?
19. Did it clear away suddenly?
20. How did every thing appear after the storm ?
2.
3.
4.
5.

21.

W
~-~hffe "-'~':'~w : be e::?____ .- - -_______I

N 0.

6.

Under this subject you may.±irst give a pieture of a drought
which preceded the storm, and describe the feeling of the atmosphere and the appearance of the earth.
You may mention individ'Ual plants and animals, and the
manner in which they were affected by the want of rain: then,
the gathering of the storm, the rumbling thunder, the rising
wind, flashes of lightning, the rolling together of the clouds.
You can describe the forms of the clouds, and the changes
. that took place in them till they overcast the heavens, and
poured their deluge of rain upon the earth; also, the manrier ·
. in which the wind twistea and tossed the branches of the
trees ; the terrific claps of thunder and flashes of lightning
in the midst of the pouring rain : then, after .the storm, the
refreshed appearance of the plants you bad noticed as drooping under the drought. A lso, in describing the rainbow, you
can speak of the extent of the arch, the breadth of its belt of
colors, the ordel· of their arrangement, its brilliancy, and its
fading away.
.
You can speak of the cause of this appearance in the
heavens, and give the reasons why it does not follow every
thunder-storm. You can also allude to the promise which
was once given in connection with the rainbow, and the occasion of that promise.

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SUB.JEC'I'

N O.

7.

A SN OW-STOIUl.

l. Had the storm been long in gathering?

r

2. What was the appearance of the sky?
3. How did the air feel ?
4. vVas the ground har(l and frozen?
5. vV as the landscape dreary ?
6. How did the flakes begin to fall ?
7. Did the storm increase '?
8. Was there any wind, or was it still?
9. Did the snow-flakes fill the air?
10. How did every thing begin to appear-trees, fences,
branches, twigs ?
11. \Vere there any drifts?
12. \l{ere any sleighs, or any people to be seen plunging
through the snow ?
13. IIow long did the storm continue?
14. Diel it clear off bright and cold?
10. How did every thing look in the sunlight?
16. vVas not every little twig loaded ?
17. Ilow did the evergreens look?
18. Diel people begin to break paths in the snow?
19. Did the sleigh-bells begin to be heard?
,
20. Diel not every one rejoice that the storm was o~

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FIRST BOOK IN COMPOSITION. ·

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TO 1'HE PUPIL.

SU BJE C 'l'

NO.

7.

· Under this subj ect you wish first to convey to the mi!1d an
impression of the peculiar bleakness and chilliness whic4
generally precedes a long snow-storm. You can describe
the various indications of the coming snow, in the feeling
of the air and the appearance of the sky ; th e solid bapk of
snow-clouds in the horizon; then the gradual manner in
which the storm begins; the silent, leisurely fall of the snowflakes, in contrast with that of rain-drops; the powdered
appearance of the earth after the first sprinkling; then the
increase of the storm; tlie thick flakes fillin g the air; the
increasing d~pth of the snow; the white heaps to be seen
everywhere ; th e wind whirling and sweeping ayer it, and
roaring in the tops of the trees : then the bright clearing up;
the beauty of the white snow-drifts in the sunlight, and of
the loaded trees-particularly the dark evergreens, in contrast
with their white burden.
-,
Endeavor always to give the particular wspect of whatever
you wish to describe : thus, " the wind whirls-it sweeps the
edges of the drifts," is more descriptive than "the wind
blows," because the former gives not only the fact, but also
the manner of the blowing, while the latter expresses nothi ng
but the fact.

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124

FrnS'l' llOOK IN COMPOSITION.

S U 13 .J

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C 'l'

N 0 . 8.

.A N A U ROR .A BOR E .ALIS.

l. In what regions are these displays most brilliant?

2. In wfat part of the heavens do they alw ays begin to
appear? '.· • .
·
3. Why ~re they called "Northern Lights?'' .
4. \¥hat are they called by inhabitants of some· northern
reg1ons ?
5. \IVhy do they give them the name of" Merry Dancers?"
(i. What was the most brilliant one you ever saw?
7. IH 1v hat ::;ea::;uu L1iL1 iL ue1,;ur ?
8. At what time in Lbc evening did you first see it?
9. Was the sky cloudless, or were there d ouJ13?
10. W as tho moon visible ?
11. \Vhat was the first appearance of the Aurora?
12. In wJ1at y;;1y r1 id it; in cl'<' asf' ?
13. Did it assurne any color?
14. W ere there waves and columns oflight?
15. Wh at was the appearance of these waves?
lG. Did the streams of li ght shoot up rapidly?
17. Did they extend round the whole heavens ?
18. Was .not the brilliancy variab1 e?
19. ·when was it greates t ?
20. How long did the di splay co nLinue '?
21. Ts the cause of th ese appearances known?

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FIHST BOOK IN COMPOSITION.

TO TH L' PUPIL.

SUBJ E0

'r

N0 .

8.

The magnificent displays of the Aurora Borealis, or North. ern Lights, occur most frequently in winter, though they
so metimes appear with great splendor in the summer season.
No one has ever yet accounted for them satisfactorily. vV e
know not whence they come, nor whither they go; and this
mystery hangin g over their sudden appearance an d disappearan ce, adds great1y to the foe1ing of awe and wonder with
wh ich we view their bright visitations.
You c:in expand this idea, or J!Ut it iu auuthGr fur m, a::; au
introduction to your compusiLiuu, if you ch <l(i;:;,: ; allll tlw11
\
proceed wiLh a description of the appearance of the sky before
the ~l\urora began ; the clouds in the north~rn hu1iwu; the
manner in which the streams of li ght sh ot 01 tL of Lli em ; the
waves a11 d cul 11m11s of l ighL \1-l> icl1 fu11owcr1; ll1 ,: rnp ic1 chan ges
of motion and color in these ; the extent and brilliancy of the
Aurora; the time of its continuance, and its final disappearance. Y ou should study to find a variety of terms expressing rapidity of motion and brilliancy of color; such asdarting, shooting, streaming, waving, glancing,' kindling, fl ashing, luminous, vivid, glowing ; and make a careful use of
these in your description.
In doing this, you will be much assisted by considering the
hints given in the preceding iu::; tructious.

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127

I
SUBJECT NO.

9.

TO THE PUPIL.

I

I'

A 8UNR I 8E.

II

· L vVas it in summer or winter?

2.
3.
-L
5.
6.

From what_ point did you watch the sunrise?
•
What were the distant features in the view?
What were nearer?
What were close 1tt hand"?
What kind of a light preceded the sunrise?

.

I

7. Did this continue to grow brighter and brighter?
8. \Vhat sounds were heard?
9. vVere there any clouds in the east?
10. vVhat kin.d of clouds wcre ·they?
11. H ow did they indicate the approaching sunrise?
12. How did they change, in shape and color'?
10. vVhat was the first appearance of the sun?
14. What was the first point touched by his light?
15. What was the effect produced ?
16.· Was there any dew, or frost, or mist seen in the light ?
17. How did this look ?
18. Were there any long shadows cast?
19. By what objects ?
20. Did these grow shorter and shorter ?
21. How long was it before the sun was fairly risen?
I

__

NO . 9 .

r.L'he best advice that can be given you in writing upon this
subject is, to describe an actual scene-selecting some point
which cominancls a pleasant view, and giving the changes as
they took place under your own observation.
You should mention the season in which the sunrise occurred, the kind of light which preceded th e rising of the ' sun,
and the appearance of the sky and clouds.
You should also describe the various p~ints in the land•
scape, as it was spreacl out before you in this uniform gray
light; and then, the changes which took place in .each of
these points successively, under the magic touch of the sun's
rays: also, the morning mis.t, the dew-drops catching the
light, the long shadows, the fresh air, the morning sounds,
and, above a11, the splendor of the clouds which hung about
the pathway of the sun, and the changes which occurred m
these, as he rose higher and higher: all this is capable of
being wrought into a beautiful description.
Remember, it is with description as with painting- fine
touches are needed to give it beauty. Not only the.outline of
the landscape, but something also of the effect produced by
lights, shadows, and colors, must be conveyed to the mind,
otherwise the description will be wanting in completeness. _
)

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SUBJECT

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S U B J E 0 'l'

N 0.

10.

A SU.NSB T.

1. Under what circumstances did you observe the sunset?
2. What was the season ?
3. What kind of a day-clear or hazy ?
4. What was ,your point of view?
5. How high was the sun when yo u began to watch its
progress?
6. vV ere there any clouds in the sky?
7. How did t~ese change in shape and color?
8. vVhat were the nearest features in the view ?
9. Beyond these, what were seen'?
10. What were the most distant points?
11. How did each of these appear in the rays of the setting
3 llll?

12. v'V as there any haze over the landscape?
13. ·what was its appearance on the most distant hills ?
14. What on those next nearer ?
15. How was it with the nearest?
16. vV ere there any deep shadows to be seen ?
17. What points were successively illuminated?
18. vVL.at gradual changes took place as the sun sunk lower
and lower'?

1'0 1'HE PUPIL.

.

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S U BJ E 0

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N 0.

10.

You may take as your subj ect a siimmer sunset. This is a
glorious theme for a description. It is a favorite with every artist who wishes to paint a beautiful picture, on account of
the .brilliance ()f the sky, the glowing colors of the landscape,
the strong contrasts of the lights and shadov~s, and the haze
which fills the atmosphere, giving such a beautiful softness to
every ·thing.
In studying a scene of this kind for the purpose of describing it, you should observe the effect of this haze. On
the most distant hills it may be a light, pearly tint, hardly
to be distinguished from the sky; on those next nearer, its
color will be more decided; and on the next, different still ;
while over the nearest objects, it assumes a great variety of
beautiful hues.
You should also notice the effect of strong light in changing
the appearance of objects. A little cluster of twigs,' upon
which the rays of the setting sun may strike, will look as if
_they had been dipped in gold ; and though you may know
them as they really are, you must describe them as they appear.
Great care must be taken in the selection of right descriptive terms, for this is as essential to a fine description, as is the
proper choice of colors to a fine painting.

'

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FIRST BOOK IN COMPOSI'l'ION.

i

t

CONCLUSJON.

l

The subjects. embraced in Division III. are inexhaustible in
their character, since l>y changing the point of view in each,
the subj ect itself is cl1::tngecl.
'I'he pupil will thus find it an excellent exercise, to take
the same subject two or three times_in succession, vary in g his
compositions according to the scene selected for descrirtion .
ln the sLud.v of Nature he will iiuJ an ample variety of material.
These exercises m description are of the highm:; t importance, as layi11g the foundation of all freshness and vividness
of style.

The pupil should be thoroughly trained iu them

before attempting any other branch of composition.

•

