..........___ ..

I

!

~
-

DIRECTIONS FOR COMPOSITION.

rIY.'" .

AJry one who can learn to write woRns, can learn to write

for composition is simply the expr ession 'of
"---/
thought in language, which may be either written or spoken.
Your conversation with your schoolmates is composition,
and it would be no very hard task to write the words you
so easily speak. You are expected at first merely to talk
with the pen, as you would talk with the voice.
' You soon find, however, that there is a higher purpose
in this useful art,-for composition is an ART to be studied
I
and practiced ;-your ideas should be such as will please
I
or interest others ; they should be properly arranged, and
expressed in language easily understood.
You should first learn to write a neat and legible hand,
and to spell and punctuate correctly. Careful attention to
these particulars will give your compositions and letters a
pleasing appearance, even though they may not contain very
high ideas. The best composition can not please the reader,
If the writing is careless and indistinct, and especially if the
spelling and punctuation are wrong.
The importance of learning, while young, to express your
ideas in correct and clear language, is very evident in our
country, where all classes of people-farmers, m echanics,
merchants, and professional men-must write so many letters, advertisements, notices, agreements, and other matters, the composition of which must be accurate to insure
success in business.
A higher motive, however, than mere gain, should prompt
you to study and practice composition. It enables you to
give pleasure to others by interesting letters, or perhaps even
by essays, stories, and useful books. It also expands and
improves the mind, by encouraging you to think about what
you read, hear and see.
_ .
_. .. Composition should be ·one of the chief studies in all our
"' i;;;),.:~:·· s~h?olii:' l' ~o education is c~mplete without it, and no other
-~;~;.;;.; a~oniplishro~nt ' renders young ladies and gentlemen so
~;~;;,..·-useful or '3.o<Tl"eeable; for it increases their powers of conver- ~~... ~<:;,_··~-- ...--. · · · )
·.
.
~'"'.~; ..'.;'::~· sation,.'and their ?-billty to amuse and instruct others.
;r.:;~'·<::
The
waiit• of proper as~i~tance may be one reason why
'.'. ,. . .
.
-· , .
.;~;:'\~-this useful exercise is so. much dreaded by many pupils;
' ·f.-.·Jt . . • .
.,: .;,- ;~.->- but vr.e. hope you will .find .this book a pleasant and useful
COMPOSITIONS;

~,' ·}j'~.:~~\-.-'grud~,:i ~~!Jr:: ..::::;~'. : ::'~. s~~-·'t--,'~.-::-: ~'.'·~.-.When ·abo.ut

I WRITE?" The answer is: " Write what you think;" your
thoughts never stop ; for the world is full of subjects to think
about. You must study, converse, observe, go into the
fields, into cities, into factories, on board ships, and wherever information can be gained, and think about every thing
that comes under your observation: then education will
in time render your ideas valuable and inter esting to others.
You wish, however, to commence writing before all this
information can be obtained; and the beautiful pictures in
this work furnish a great variety of subjects, with many
hints upon each, about which you can think and write.
The second question is: "How SHALL I WRITE?" and the
answer is contained in these introductory pages, which give
directions for spelling, punctuation, and the arrangement
and style of your composition.
PENMANSHIP.

Learn to form all the letters of the alphabet after the
best models you can find, practicing them until you can
make them rapidly and correctly. The letters should · be
neat and plain, without ornamental flourishes ; for good
·
writing is of itself an ornament.
Several letters have more than one form, but whichever
of these you choose, be sure that every one is perfectly
_formed: nothing injures the beauty and legibility of writing
more than imperfect letters, such as a, d, g, and o with the
round part open at the top ; m, n, u and w; so written that
r
. ~~
they can not be distinguished from each other ; and other
careless marks, all of which may be avoided by learii.ing to
.{~~
write well before you try to write rapidly. Keep your papef ;;'!':~:
perfectly smooth,. and free from soils and blot8: . '_P~a~~
some blotting paper over the p.art where·yo_ur hand rests . .~ · ~t/}~}.~_:_
Never write anything in a hasty, carele~~ rn~nner, r~~~- :~1''.~,~
the excuse that it is not of much importance, or that 'you"~'!:'~~·=::~;:
r ·• . "'r>· ' . '·.
will copy it. This practice will soon ruin your pen~miship~·
• " Whatever is worth doing, is worth well doing,''
th0:
first composition or letter should be in your.)ies~' h~d~~ "~:
-:writing, even though you intend copying it.
' .. _' .~ ·: :-~;~; ~: -(,

·::.:r;,i:;J f,

..

r· .. . ,

and

,.;•~ :

. .. ' ....

to commence a composition or letter, two
.. ,-; ·,. <'."~' - qu'esti~Il.s··ii.rise_ in.you! ·mind: Th~ first is : "WHAT SHALL

- ··;~;~,~\:~·.~~:-->,·~.;,·';·*·_ - '•
~At~'dtt~;tt·~::

,.,.: '.

:;,.,,,~~~:i:~.lr~~"""~~ ~>':·'·"'
:~¥,·-~~;;;;~'.('-~tit-.f
'1

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,.

:;r _ ;~tr.;~ ~

:~'J.

2

DIRECTIONS

FOR

letters than th~ exer cise itself, and begin all its important
words with ca.pitals.
You will find nearly four pages of blank paper allowed
to every picture in this book, on which you can write one
long composition, or two or three short ones. Choose any
subject that pleases you among those in the border of the
cut, and write the title according to the above directions,
one inch below the engraving.
THE MARGIN.

On the left side of each page draw a perpendicular line
half an inch from the edge. L et the lines of the composition begin evenly on this mark, except the first lines of
paragraphs. The line should be drawn lightly with a l ead
pencil, that it may be entirely erased after the page is
written.

D erivative words are formed fr om primitives, by adding
a syllable called a suffix, or placing before them a syllable
called a prefix thus: the primitive word bind makes, by
adding the suffix ing, the derivative binding; placing the
prefix un before it, makes unMnd, and with both prefix and
suffix, it forms still another derivative, unbinding.
If these primitive words were never changed when adding
or prefixing syllables, there would be no difficulty in spe!Iing derivatives, but the final letters are so often changed,
doubled, or omitted, that the following eight rules, if carefully learned and strictly followed, will greatly assist you.
The first two rules r efer to primitive words, the others to
derivatives.
RULE !.-FINAL F, L, OR S.

'l

Monosyllables ending inf, l, or s, preceded by a single
vowel, double the final consonant: as, staff, mill, pass; except if, of, as, gas, has, was, yes, is, his, this, us. thus.

PARAGRAPHS.

1

Divide your exercise into paragraphs, or verses, as they
are sometimes called. \Vhen you have finished the first
idea or division of your subj ect, commence the next with a
new paragraph, and so on through the exercise. Begin the
first line of each paragraph half an inch within the margin
line.

.I
I
I

SPELLING.

I

.,
. ..

l

COMPOSITION.

Correct spelling is not only a great accomplishment, but
is necessary to all classes of writers. It can be acquired
by perseverance alone ; because the spelling of a word can
not always "Be known by its sound, and there are no general
rules which you can follow. The only way _ to perfect
yourself in this art is, to study your spelling-book carefully
while young, to observe the_spelling of words in everything you read, and to keep a standard dictionary near
you, by which to look out every word of which you have
any doubt, and remember its orthography. In this way
you can soon learn . to spell all the simple and primitive
words of our language ; but there are two classes of words
called compounds and derivatives, some of which you will
not find in a ~mall dictionary.
'.. c6~pound words are such as are made up of two or
·m.ore simple 'Ones, and generally retain the orthography of
.. - the simple words which compose them ·; as, hereof, wherein,
, horseman, uphill, shell.fis?i.

~~~··•. :' :<\r'~~x<Jn pe~manent c~mpounds, the words full and all
'.~.f-,..: · drop On·e f; as, haridful, careful, always, withal: )n others
·A

:,-.:;_,,', ;,,, they retain both; as, fuU-eyed, al'l-wise, save-all. _

~~~ t'> .,,,;/ . . .

.

RULE II.-OTIIER F INALS.

\V orcls ending in any other consonant than f, l, or s, do
not double the final letter; except add, odd, ebb, egg, inn,
err, purr, butt, buzz, and some proper names.
RULE III.-DOUBLI.NG.

Mon osyllables, and words accented on the last syllable,
when they end with a single consonant preceded by a single
vowel, double their final consonant before an additional syllable that begins with a vowel : as, rob, robber; permit, permitting.
Exe. X final, being equivalent to ks, is never doubled.
RULE IV.-NO DOUBLING.

A final consonant, when it is not preceded by a single
vowel, or when the accent is not on the last syllable, should
r emain single before an additional syllable: as, toil, toiling,
visit, visited, general, generalize. . . · ·
RULE V.-FINAL LL.

Primitive words ending in ll, generally reject one l, before Jul, less, ly, and ness: as, skill, skilful, skillness; full,
fully, fulness. ·
Obs. Words ending in any other double letter, preservo
it double: as, blissful, oddly, stiffness, carelessness.
RULE VI.-FINAL E.

The finale ofa primitive word is generally omitted before
an additioryil termination beginning with a vowel : as, rate,
ratable; force, forcible; rave, raving.
.
~xc. Words ending in ce or ge retain the e ~efore able or· •

I
_,.

DIRECTIONS

,.

ous, to preserve the soft sound of c and g : as, peace, peaceable ; change; changeable ; outrage, outrageous.

'·

f

,i
I'

/

_,,..

The final e of a primitive word is generally retained before an additional termination beginning with a consonant:
as, pale, paleness; lodge, lodgement.
Exe; ·when the e is preceded by a vowel, it is sometimes
omitted : as, true, trnly; awe, awful; and sometimes retained ; as, rue, riteful; shoe, shoeless.
RULE VIII.-

, All proper names, such as the names of persons, places,
streets, mountains, lakes, rivers, ships, etc., and adjectives
derived from them, should begin with a capital letter.
RULE VII.

'Ilrn first word of a quotation after a colon, or when it is
in a direct form, should begin with a capital letter.
RU;:.E VIII.

'I11e first word of an example, every substantive and principal word in the titles of books, and the first word of every
line in poetry, should begin with a capital letter.
RULE IX.

The pronoun I, and the interjection 0, are al ways written
in capitals.
RULE X.

Any words, when remarkably emphatical, or when they
are the principal subject of the composition, may begin with
capitals.
Ons. Never use a capital letter unless you can give a
reason for it from one of the above rules.

RULES FOR USING .CAPITAL LETTERS.

PUNCTUATION.

RULE I.

Punctuation is the art of dividing a composition into sentences, and these sentences into clauses or phrases. Correct
punctuation is necessary to renuer what you write distinct
and easily read; for the marks of punctuation are a great
assistance to readers.
·

The first word of every book, chapter, letter, note, or any
other piece of writing, should begin with a capital letter.
RULE II.

The names of the month and the days of.the week should
· always begin with a capital letter.
RULE III.

The first word after a period should begin with a capital
letter.
RULE IV.

•., The first. word after ·every interrogation, or exclamation,
should begin with a capital letter; unless a number of interrogative or exclamatory sentences occur together, and are
not totally independent. .

.

vah, the Almighty, the Supreme Being, the Lord, Provi·
dence, the Messiah, the Holy Spirit, He, His, Him, etc.

FINAL Y.

The final y of a primitive word, when preceded by a consonant,_is changed into i before an additional termination:
as, merry, '/flerr-ier, merriest. merrily; merriment; pity, pitied,
pities, pitiest, pitiless, pitiful, pitiable.
Exe. Before ing, y is retained, to prevent the doubling
of i: as, pity, pitying. Words ending in ie, dropping the e
b y RULE ·n., change i into y, for the same reason: as, die,
dying.
Obs. When a vowel precedes, y should not be changed:
as, day, days; valley, valleys; money, moneye; monkey, monkeys. A few words are spelled in various ways in different dictionn,ries, and by different schobrs. No fault cn,n be found
with yon for spelling n,ccording to n, standard dictionary.

,,r

3

COMPOSITION.

RULE VI.

RULE VII.-FINAL E.

I
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FOR

.

.

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.

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RULE V. '
.

"'.

.-:

·

J

.-· ;'i .

'

. f·T,'!ie_,~a~ious _names, .and pronouns referrmg to names, of.
the 'Deity ·should begin with a capital letter : as, God, J eho-

THE COMMA, '

,_,,,i•,;·:·

.;»

·f 1.:
1. When two or more words are connected without tlie
.

. •.

~._

..,.

-

~~

connecting word being expressed, the comma supplies · the
place of that word : as, " Washington wa~ ·n. ' irr'ave;''P'i6~s;
patriotic statesman."
·
2. Those clauses or parts of a ~entence, having a; relativ~ ' ..
pronoun, the case· absolute, the nominative independe~t,.
parenthesis without crotchets, and all the simple members
of se~tences, must be separated by co~mas: as, ," That point
of light, which you see above us, is a glorious world.'.' ,
. "Shame being lost, all virtue is losC' "Depart, o,:youtn: ."' •'
from the snares of sin." ''" I would. rather see this .inan
flourish, than that, or the other man.'. '
-- . ,<;.·~ ) ,.;.,,; __
3. The' following
words
and
phrases,
and
'
~thers
~i~iiii~... 1 ~/
.

a

·~

'

.·\ "

-;:.

.

4

'"/

!

'

DIRECTIONS

FOR

to them, are generally separated by commas from the rest
of the sentence: namely, Nay, so, however, hence, besides,
perhaps, finally, in short, at least, moreover, again, first,
secondly, thirdly, lastly, once more, on the contrary, etc.
4. The words of another writer, not formally introduced
as a quotation, and words and clauses expressing contrast
or opposition, though closely connected in construction, are
separated by a comma: as, "I pity the man who can travel
throughout the world and cry, I have no friend." "Though
deep, yet clear; though gentle, yet not dull."
5. When the absence of a word is indicated in reading or
speaking by a pause, its place may be supplied by a comma:
as, "From law arises security; from security, inquiry;
from inquiry, knowledge."
6. Nouns in apposition, accompanied by explanatory
words or phrases, are separated by commas : as, " Columbus, the greatest of discoverers, was imprisoned."
THE SEMICOLON,

;

When a sentence consists of several m embers, each constituting a distinct proposition, and having 11 dependence
upon each other, or upon some common clause, they are
separated by semicolons: as, "Cherish your fellow-crea
tures; cover their frailties; love their excellences; encournge
their virtues; relieve their wants; rejoice in their prosperity; compassionate their distress; receive their friendship;
overlook their unkindness ; forgive their malice."

)

THE COLON,

... '

:

1. The colon is used to divide a sentence into two or more
parts, which, although the sense be complete in each, are
not wholly independent: as, "But Abraham pressed him
greatly: so· he turned, and they went into the tent: and
Abraham baked unleavened bread, and did eat."
2. The colon is used when an example, a quotation, or a
speech is introduced: as, "The Scriptures give us an amiable representation of the Deity in these words : " God is
,. fove." "Being thus called upon, the boy spoke as follows:
i .Schoolmates and friends,' etc."
-....... l· :

THE PERIOD,

'/

· <> -- • .The period is used at the end of a complete and independent sentence. . It is also placed after initial letters, when
_used alone ; and, likewise, after all abbreviations: as, ''One
¢lear 1/-nd direct path is pointed _out to man." "Fear God."
"Have cha~ity towards all men." "G. W." for "George
~3"'·\·;;\.' .:.;YVashington." "Geo." for" Ge_orge." "Benj." for" Ben~!~·"··~ jamin.:;,_. - ~ 0 . S." for "Old Style." "F. R. S." for "Fel. . - · · low of tlie Royal Society."
~,

' .~~:t;_;;~::~;:·>.; ..... ..,. .
-~~=~~:·i"'"

COMPOSITION.
Ons. These four marks are the most important of all
used for punctuation ; for the period separates paragraphs
into distinct sentences; the colon shows some connection
between sentences; the semicolon divides the principal parts
of sentences ; and the comma separates the clauses and
phrases.

1

THE INTERROGATION,

The note of interrogation, or the question, as it is sometimes called, is placed after every sentence which contains
a question: as, " \.Vho is this?" "What have you in your.
hand?" "The woman said to me, Why do you weep?"
The interrogation is used only at the end of a sentence:
when, therefore, several questions are used in the same sentence they may be separated by commas, se111icolons, or
dashes, and this point used at the close: as, " Did he recite
his lesson correctly, r eacl audibly, and appear to understand
what he read?" "Is this the man that shook the kingdo;ns;
that made the world a desert ; that destroyed cities?"
"Can you ask such a question-dare you ask it?"

!

THE EXCLAMATION,

The exclamation point is used to express any sudden or
violent emotion; such as surprise, joy, grief, love, hatred,
unger, pity, anxiety, ardent wish, etc. It is also used to
mark an exalted idea of the Deity; and is generally placed
after the nominative case independ~nt, and after the noun
or pronoun which follows an interj ection: as, "How mischievous are the effects of war!" "0 blissful days ! Ah
me ! how soon ye pass !"
The exclamation point is also used after sentences containing a question when no answer is expected : as, " What
is more amiable than virtue !" Several exclamations in
succession are usually separated by commas, semicolons, or
dashes and the ixclamation placed at the end.
..XHE QUOTATION,

"

"

The quotation marks, or inverted commas, as they are
sometimes called, consist of four commas ; two inverted, at .
the beginning of a word, phrase, or sentence which is quoted
from some author or speaker in his own words ; and two
others, in their direct position, pl_aced at the conclusion: as,
a poet says:
"The mind's the measure of the man."
...,· :-

1·:·.·:.:.."s.
THE . APOSTROPHE,

'

. <'

The apostrophe is a comma placed above the line. It is _
used as th~ sign of the possessive case, an_d s.om~times in~-,
.,

I,

,

.-

..

•

~.

•

_··.·. .

;~

f ,' l.!i • r~ -~

.

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·-.,_

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\.-"'\

Vt·

(

~~- ~rt!

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--·-

DIRECTIONS

FOR

cates the omission of a letter or several letters : as, John's ;
"'Tis" for" it is;"" tho'" for" though;" "I'll" for" I will."

i

l(
J

THE DI.<EliESIS, ••
The direresis consists of two periods placed over the latter
of two vowels, to show that they are to be pronounced in
separate syllables: as, " Laocoon, Zoonomia, cooperate."
THE BRACE,

}

l

!

This mark is used to connect several words or sentences
with one common term, to prevent a repetition of writing;
thus:-

I
I
I

WHITNEY, }.
JOCELYN,

sion }
t~on

pronounced shun.

Committee.

A NNIN,

ClOn

NOTE MARKS.
The following marks are references: and are generally
used to call attention to notes on words or sentences, placed
at the bottom of the page : The Asterisk, *
The Obelisk, t
The Double Obelisk,

\

t

The Parallels, \I
The Paragraph, ,
The Section, §

a

THE DASH,
This mark is used when there is a sudden change either
in the form or idea of a-sentence : as, " It was a sight-that
lovely child-to gladden any heart."
When a sentence is abruptly broken off, or interrupted,
_a long dash, called an ELLIPSIS, is used: as " I tell thee when
that-but hark ; that noise."
THE HYPHEN, •

-i

~

The hyphen is used l? separate the s'!Jllables of a word ;_-or
to make one word of two : as, "semi-circle, sea-water."
r, When there "is not room enough in the line for the ~hole
of a wo-rd, some of its sylliilJles are put into the line with a

t,•,;ot··".:·; -

;

'1.~{!:;..;i~;~:.1::· ~; :: ;-~~~~Y~' ._r.~:. ; :~: ~ -: -·

:. :;~~~r:\.,-y '.: ... ·-""~ ,

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; ~

~

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hyphen, and the remainder in the next line : as, extraordinary. When you divide a word in this way, be careful
not to separate the letters of one syllable: the word "department" is wrongly divided: it should be written " depart.
ment."
THE CARET,

(\

This mark is never properly used in printing, but is
often placed in a line of manuscript to denote that something has been left out. The omitted letters or words are
fo•

over the line, just above the caret : as, " This book is you."
A

CROTCHETS AND BRACKETS,

( )

[ ]

These marks are used for containing parentheses, or
words and clauses in a sentence, which ar e not closely
connected with th11t sentence, but are intended to explain
or suggest something concerning it : as, " Jn all my griefs
(and God has gi Yen my share) I still h11d hopes." " Then
drew near unto him [Luke xv. 1] all the publicans and
sinners." :Modern writers do not make much use of
crotchets, but separate their parentheses by commas or
dashes.
EMPHATIC WORDS.

When many notes occur on page, and these marks are
all exhausted, they are sometimes doubled. Figures and
letters are also sometimes used instead of the above marks.
In some books the Section, §, and the Paragraph, 1, are
used to mark the parts of a composition, which in writing
or printing should be separated. A P aragraph denotes the
beginning· of a new subject, or a sentence not connected
with the foregoing. A Section is used for subdividing a
chapter into smaller parts.

....

5

COMPOSITION.

!,

!"

When you wish to give signific11nce or emphasis to any
word or words, you can do so by underscoring,-that is, by
drawing under them a light line. One line under manuscript, denotes italic.~ in printing; two lines denote small
capitals; three, large capitals. It is not best to underscore
your words much.
ARRANGEMENT OF SENTENCES.
. ·'"'-~."i ..:.;:--~·~%--::-·-

-:

r:";;.

"~-.,·

A sentence is an assemblage of words making Cqnipfet~ -:: .-·, v~
sense. Every sentence consists of two principal parts,the SUBJECT or nominative, and the PREDICATE_· _o r _verb.
The simplest way of arranging a sentence is, to place the
subject fir5t, and the verb after it: as, "Poi~on kills.;~'.
,4••' 'vol:- .:
When there is an OBJECT, it should generally follow thl;l f
predicate : as, " Poison kills people:'' The w()rds, p~a~~s~
and clauses which describe any of these parts ' _a· s~ntefi.~
. . - , ..,,
should be placed near that word: as, "That dangerous
POISON called arsenic, usually KILLS the unfortunate. PEoPi,;
who eat it." This is the direct arrangement of sentenc~s: '
A variety of arrangement often makes sentences mor~
· forcible. The following example may be arranged several
i
ways:- - .. ~.:.g ·-"' ~:_.·:-~~:.
"we must strive hard, if we wish to excel.'~
..

~w

_

'of

·.

h

.

#

.

.

'

- --...__

. .

•

'j

DIRECTIONS

FOR

same meaning, but are r eally quite different: as, "courage,
fortitude, bravery." "Big, great, large." "Discovery,
invention." To say that Columbus invented America, and
Fulton discovered the steamboat, would destroy. the precision of both sentences; but changing the words discovery
::md ·i nvention would give each sentence its precise meaning.

"If we wish to excel, we must strive hard."
"We must, if we wish to excel, strive hard."
Variety of expression is another important change in
sentences, which is effected by changing the verbs, prepositions, etc. In the following examples, both parts state the
same fact by a different form of expression:"Integrity secures the esteem of the world."
"The esteem of the world is secured by integrity."
" Peace was declared, and war ceased."
"Peace being declarJ:ld, war ceased."
There are many other ways of changing the arrangement
and expression of sentences, and, by understanding them
all, you can add to the force and vari ety of your co mpositions.

CLEARNISS.

J

STYLE OF WRITING.

1\

STYLE means the peculiar manner in which a writer
expresses his thoughts by words.
When the thoughts ar e expressed in an easy, natural
manner, without attempting any display, the writer is said
to have a SIMPLE STYLE; if a great many adjectives, and
other ornaments are used, it is called the FLORID STYLE ;
forcible words and expressions denote the NERvous STYLE;
the CONCISE STYLE is that in which thoughts are expressed
in few words, and the DIFFUSE STYLE is that in which the
writer extends his thoughts, and uses many words.
Each of these styles may be followed at different times,
according to the nature of the subject upon which you are
writing ; but there are certain qualities belonging to the
style of every good writer, which you should carefully
study and cultivate. They are purity, precision, clearness,
strength, harmony and u.nity.

I

PURITY.

..

Be car eful to construct your clauses and sentences in a
clear and direct maimer, and avoid ambiguous words and
phrases, that your m eaning may not be mistaken. The
following example is incorrect because an ambiguous or
doubtful expression is used: "Our reproof was b eneficial."
The reproof may have been given to us, or by us to another.
In one sentence do not use the same pronoun r eferring to
different persons or things. Never omit words that arc
necessary to the clearness of a passage. The arrangement
of your sentences should b e such as will render the meaning
clear. Words and clauses should be placed near the words
to which they r elate. This example,- " The soldier was
telling stories with a wooden leg,"-is badly arranged: it
should be,-" The soldier with a wooden leg was telling
stories." Adverbs are frequently misplaced, and made to
qualify the wrong word : as, "My brother soon expects to
sail,"- should be, -" My brother expects soon to sail."
"A selfish man only thinks of himself,''-should be,-" A
selfish man thinks only of himself."

PRECISION.
'~: Endeavor.. to use such words as· will exactly express the
· meaning you intend to convey. There are many synonymous words ,in oilr Ia:nguage which may seem tQ have the

'

STRENGTH.

!

y OU~ words and expressions should be such as are used
by the best writers; and in good society. Do not use
foreign words, when there are English ones just as approp~iate. Avoid words which have fallen into disuse, and all
ungrammatical and coarse expressions. Sometimes, howev.er, the nature of your subject requires such laqguage
but it should be always put in quotations, as belonging to
the' pe:r'so1is you describe.

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COMPOSITION.

Use such words, and arrange them in such order as will
render your sentences impressive to the reader or hearer.
Strength of style is obtained by avoiding tautology,-that
is, the useless repetition of the same or similar words; by
avoiding redundancy-the useless repetition of ideas. You
can easily correct these two sentences: "Washington was
a good and excellent man." "Take a seat and sit down."
The word and should not be used too often. Sentences should generally end with some important.
word; for a preposition, or any other unimportant word
at the close of a sentence, weakens it.

./

HARMONY.

Harmony of language is its pleasing sound . . To young writers it is not so important as the other properties of style; .
but you can give some attention to it by avoiding harsh and
difficult words,-such as have many consonants, .or many un~ented syllables: as. "Wrongheadedness, conv~nticlers,

'-,

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DIRECTIONS

FOR

7

COM POSITION.

summarily, holily." D o not use too· many monosyllables
in succession, or too many words containing an equal
number of syllables. Your sentences should not be too
long; neither should your subject be cut up into very short
sentences.
UNITY.

The unity of a sentence m earis its oneness. It should
contain but one idea, and though it may consist of two or
more parts, they should be closely connected in meaning.
H ow awkwardly the two ideas are put together in this
example : "My Aunt received me with great affection, and
soon after was killed by a fall." Ther e should evidently
be two sentences here instead of one. Ther e is generally
in every sentence some person or thing which is the
governing word. This should be continued so if possible
from the beginning to the end. Another important rule
for preserving unity is to avoid long par entheses, and use
but few short ones.

ii

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wdh ;you

In some schools it is customary fo r two pupils, or two
classes, to choose- one the affirmative, the other the negative side of a question. E ach party prod uces as many
arguments as possible in favor of its own side, and in
opposition to the other. This is a pleasant and useful
exercise, teaching the composer to express his thoughts in
an orderly and forcible manner. Several subjects for
debate will be found in this book.
LETTER WRITING.

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4.

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You will all be frequently called upon to exercise this
pleasant and useful form of composition; you should, therefore, learn to write a letter with neatness and dispatch. A
- letter consists of the following parts: 1st. The date. 2d.
The complimentary address. 3d. The body of the letter.
4th. The complimentary closing. 5th. The signature. 6th.
· The address.
·'
The date consists of the name of the place where the
. letter is written .with a. comma-after it, the month and day
with a comma, and the year with a period. The complimentary address and closing should be varied according to
.you~ acquaintance with the person to whom you are writing. The following is a specimen or"the ordinary form of
a friendly letter:-

the cou-nt'jf.

ef ,,tfa/!'ta'8

tff,,

&ea;

o' cloct£ ntoine"';t tiam, vn '/~dn&Jday, and &half le

DEBATES.

\

m

POSTSCRIPTS.

When anything has been omitted from the body of a
letter, a postscript may be added, with the letters P . S.
before it, and your initials after it.
FOLDING.

The following diagrams will explain the best manner of
folding a letter not to be inclosed in an envelop. Figure
1 shows the sheet with one leaf folded back . twice ; figure
2 shows the top and bottom folded so that they nearly
meet; then the thick side of the sheet is turned over as in •
figure 3. The thick part should be slipped ·into the last
forcl, and the seal placed in the center,..as in figure 4. Figure 5 is the other side of the letter with the direction and
postage stamp.

'Fig. 1.

·-·

8

DIRECTIONS

FOR

>:_

!;·

______. ...

,__

a.
Fig. 4.
Fig. 5.
When a letter-sheet is to be inclosed in an envelop, fold
it in halves by turning up the lower edge evenly on the
upper, and then folding into thirds.
The imaginary letters to be written from the subjects
given in this book, should be first written on a letter-sheet,
folded, and directed: then they may be neatly copied in the
book.
Fig.

CORRECTL.'W AND COPYING COMPOSITIONS.

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Scholars should learn to corret;t their own compositions,
without depending entirely on their t eacher; but as the
teacher should also examine them, we give a list of the
principal errors to which writers are liable ; designated by
numbers which the teacher can mark over the lines with
a pencil or red ink, leavil)g the errors to be corrected by
the writer
KEY FOR COMPOSITIONS.

I

1.
2.
- 3.
4.
5.
6.
7.·

Bad spelling.
Bad grammar.
Wrong punctuation.
Comma wanted.
Semicolon wanted.
Colon wanted.
Period wanted.

COMPOSITION.
8. Dash wanted.
9. Hyphen wanted.
10. Caret wanted.
11. Parenthesis wanted.
12. Interrogation mark wanted.
13. Exclamation mark wanted.
14. Quotation marks wanted.
15. No punctuation wanted.
16. Word or words should be omitted.
17. Word or words should not be omitted.
18. vV ords should be connected.
19. vVords should not be connected.
20. Word wrongly divid ed.
21. vV ant of purity in sentence.
22. Want of precision or clearness.
23. \Vant of strength.
24. vVant of harmony.
25. vVant of unity.
26. Incorrect statement.
Scholars can correct each other's compositions by this
KEY.

The composition should be written first_.on a slate, that
all errors may be carefully erased and corrected by the
pupil , who should then copy it on paper for the teacher's
inspecti on. After r evising it from the teacher's cor-rections, it may be neatly written in this book.
The divisions of the subjects on the sides of each cut,
are intended merely as hints, which you need not closely
follow, but can select such as please you. Sometimes a
single division may fo;rm the subject of a whole composition.

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HAPPI~ESS .

-

Describe

the

bnppineH of our fir1t po.rents in

ANIMALS. - Ti.,;, erenUon.Desc ribe th e vnrious clttssl's of uummla a r mnged by m11umlis1s ncrordmg to thei r hubits of lift'.Mention some ol the prmc1p:1\ 1m-

-Diffe rence

between

hnppineBS

f:: ch~~r~·~:Jl?~;dl'h~f;;~~nce of

be-

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BIRDS. - Aocount of the eredtion or birds.-Describe the birds

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represented in the picture , or .write
on hints in gene rnl, their skillfu l
·~ se fulne ss .

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HAPPINESS. - Describe the :
hnppiness of our first pnrents in ·
E1l en. -- How perfect hnppinesa
\\l'na lost.-How it mny be regoined.
--Difference between hnppiness
nnd plcnsurc.-Importnuce of being cheerful nnd hnppy.

Il

,
-. '
..• . t
BIRDS. - Aocount of the ere-~ (
dtion of birds.-Describe the birds ' \ '\
represented in the picture, or :write ·
on birds in general, their skillful
structure, benutiful plumnge J melo-1
\
dy, nests, mig-ri\tion, &e. --Their
I
·~s c fuln ess.
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BlRDS . ..:._ Aocount
th~ 'dr~·";
.iti on of birds.-Describe the birds'
repre sented in the picture, or :Write
on birds in genernl, their skillful
structure, beautiful plumage, melo-~
dy, nests, migrnti on, &r. - - Their'
'!Sc fulness.

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IlOATS.-Des: ribe the boats n•ed
byrlitlcre11t 11ntio11s, nnrl the mnnner
of prope lling th em.-PlenAures und
rl1111gers nf bo:iting.-Lil'e-boats of
wood nnd metal.- U; :•fnlne~ of
bouts for nnvignting sh11llo1V rh·e rs,

"

AQUATIC BIRDS.-The w!l·
d ers, divers, ski111mers, nnd other
sorts of hird; thnt love the wate r.
-Ho1V they obtain their food llllll
build their nest•.-Tlrn vRst nu111bers of wnter-fowl frequenting th.,
lak es and rivers or America, Rad the
difforcrit methods or c11pt11ring them,
CR03SfNG THE ISTHMUS .Th e q11ick est nnd b2st rout J tu C.1lifurnia,-Difforent waya of crossing
tho Isthmus of Darien.-The Ch11gres river.--The L~ko N ic: nll!l'llll
route.-Crossiug with mules. -The
milrond.-Tho proposed ship C:\11111,
nllll the benefits it will proJuce.

HEA T.-Wh11t is it.!-Sources of
ho:it.-lmportance of hent to veioetnble nnd nnimal life.-Expans1un
of solids, liquids, air, &o.-Lnten t
bent. -Describe the thermomuter,
-Tb A nsef.1lnesa of he11t in nrts nnd
lonnufoctures.

·1',

!ELEBRATED TRAVELERS.
'ravel1 of M.uco Polo, Mungo
lc1 John Lsdynr1l, Mr. Stephens,
1y others.-Whnt pnrt of the
!I ·you would like to trn \'el in.

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THE ERICSSO:-<.-Give some
nccouut of the C.duric ship, nurl the
i11Y e11tor.-Td l what y0u thi nk of
that ship, and of an other power
doing nway with stenm.
LIGHT HOUSES. -- Tdl how
th ey l\ Te built, 1111ti llow th e lighls
nre nrrunged .- Revoh·ing lighls. M entiou sn me reurnrkul>I~ I i!!ht
houses. - D.Jseribe 11 storm scene in
one.-Sume of you cnn, perl111ps,
writt! n E>_hort poe m , having for your

subj ec t, The V g-ht H ouse.
SEA BIRDS. - D ~ scribe gulls,
pelrels. nlbnlrc•sses, &c.- Th eir
Htrength of wing .--How ther fish.
-Migrution of lnnd birds over the
oceau.

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~ICEBERGS~..:...Their size nod nppeamncc,..:...How formed, noel de11troyeJ. -:-Their grnndeur, -Their
inhubitnnta. - Dangerous to rnnri-

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!l'eogrnphic1\I definition of tltese twu ~
poles.-\Vhnt is known nbou t them.~
;The pole •lnr.-Tlte1r clunnte nnd i
its cnuse.-Polar days nn<l nights. I \
.-How near na11g11tors have 11p- (
p1onched to either ·pole.

I

'

' ESQUIMAUX,-Whntroce tbey
belong to.-Their nppeimmce, hnbita, 11nd chamcter.~\Vrite, in your
.'nw1! words, some stories you b1we
',heard or rend nbout them,
'.
.

11.c ~

ARCTIC EXPEDITIONS. -An
l'_Ccou11t of the e~peditions of Pnrry j
J:{oss, Fniukliu, nncl the late Etwlisl;
!\lld Amc1~h~nu expeditions in se~nch '1
pf Frnnklin.-D:mgers of arctic ex- · 1
peditionsnud the ndvnutnges re~t!lt- r·
mg from them. - A long cornpos1t1on 1
cm! be written 11bont the celcbrnted r::;-..
Grinnell expeditions, na they nre 1'}'
the most wonderful ones ever m11de (i.
to tl.te Polnr regions.
'.

. .

P,";POLAR ANIMALS. - Describe
the white benr, sen I, reindeer, &c.lio'I' they nre ndnpted to the region
they inhabit, nnd to the support of
l the .people,-Danger of 11tt11ckiug
~he White bear, .. .
,

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-· ~ NORTHER~ ·

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LIGHTS,_:Their
pplend d 11ppe11rnnce nud motions.
·Whnt is known nbout them.-Their
influence on mngnets.-Their use·fnlnus. ·
~·! .

•

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A Dli:BATE 011 the question la a
,·ery colu cli1nate prefernblo' to n
l~ot one !-The writer on the neg 11•
t11·e r.nn choose the pirtnre of Trollcsii Soe1!ery ns nn illnstrntion to
llH pnrt of the delmte.

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•;. aNOW AND ICE.-How forined,

;.-Ice li~hter thnn wuter.-The plcn.surcs th~y nfford in •onating, ~kn­
tinl?, ictJ-bonl•, &c.-'-Snow ho1ises,
;: -Whnt they nre uaed for, nnd the
great trnde in them.-How they ,
_•nny be kept_n long time.
·

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COLD.-Give 11 definition of it.- I
Its cause.-Tho effec ts it pro1luces 1
upon solids, liquids, nnd lh·ing ·
t.hin!!.s.-Descriptiou of a trnveler \
free;4rng.
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F.A1.IlLY ·.DEVOTIONS. -- De-

.

~ 'ic.-jbe 'a · fomily seepe like th o one
·hirid represented , .c.... What we

ahould be thankful for m the mom-

; hig;~ Why ,we· should r~tign tlrnuka

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A. 'fHE·:EVENUl' G OF LIFE,_;
I

Compnre the hfe of mnnkir.d with
the cuurae of a dny : youth being
I
Jnorning middle nge its noon,
~. 1111\l ' old ag~ t.he e''.e ninl\' of life.
H Jo\V . the dny , of. life sn~uld be
<rp tissed to rende r its evenmg usercapeetcd and hnppy.

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.,,~ THE BIBLE. :.ha origin, and the
~ purpose for which. it wns g! ven to
~ mnn.-By wh om 1t wn8 ~r1tten.­
£•History of its p rcserrnt1on t'! tb.e
· prtsent t1me.- Proofs thnt 1t 18
~ true.-Send ing it to the henthen.

/ ' HOME. -

'f-;;;- plen111reil

of

Ho111~ •...:.Attnchment of 1111 people
' to tlrnlr own homo nnd country.-

011r home dutic8.--Le11\·i11g home.

,,_ Rem embrnnee of home throug h
life.:...... T he son g " Sw<'e t H om e."R•turnin~

home a ft er 1011g- 11 bse 11 re.

-The brigh te r home prepnn- d fo
· ~ he

e-ood m H c1wen.

"

,
MU~ I C .-V ocnl 11nd instrumenta l. - I111port:1nce of ltm rning to
si ng wh ile ~· o un g. -;-- Pl e nsure ~ e ­
rh·ed fn •m l\I11 eic 1n th<: fn m il~-,
11111! e lsc wh e re.-Celebrntetl mu8ic iHns nnd singers.-Musi c n pmt
of worship.

CHIL DHOOD.-Helplessness of
infn111 5. - Com pare th eir ~e nsri n
wi th t he insr inct of young anunnl•.
- Co 111 pn re. th e two 11s the y grow
oltl er.-H:i ppi ness o~ ch1l.Jhooc!.Th e tim e for im p rovmg the m111d.
- - Youth pass in g ra pi d ly away.
OUR FAMILY .-Write 11 l et t ~r
to yo11r frim 1tl 1 ~idn g nn. nccount
of rh o p ersons rm np<>81nl! you r
fomil~·; t heir d a ily oc1,.1pnti o11s n11d
pleasures .
A POE:\L-Some pupils who
wi sh t n ex er.. ise th eir poetirnl 1111 e nts . will fin<l th e subj ec ts sugJ!est.ed
by th is pi,. t nrn , ns we ll as othe rs ,
~o o d th em es fu r th e n· \'Crses.

.'

" W AR.--A brief history of w11r
from the first bloodshed. - The
~au1e1of w11r 11mo11g 1111tion1.-1'he
mi1ery it produce•.-De•cribu uny
particular wur you hu''" re11d of,
und its effect upon thu nutions enguged in it.
, · CRUELTY.-Give an 11ccount or
some per;ons who have been noted
for their cruel urtions.-How youth,
bv ubusing their compunions nnd
aiiimuls, may bec omti hnrdened aud
crud.-Tbe cruelties of wur.
- POWDER.--,How it is nmrle.lts ue oa.-The c.h1mll'u it hue pro duced in wurfnre. -Cump11ru 1111 uncient with 11 mod•iru buttlu. E~­
plosioua of powdrlr mills, nlllguzines, uni! ships. -Duugen of pluying with powdur.

-· -l

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WAR HORSES. - Why the
horse is superior to any other nnimrll for militnry purposes.-Whnt
tho Ilihla snys about th em.-Cnvnlry 1111<1 tlyiug urtillery in b,.ttle.
T ell uhout th ~ wm· horses of so111u
celebrnted genernls.
A DEBATE-on th e question;
"Is wnr eve r justifinble !"
CONFLAGRATIONS. -

Burn-

ing of villuges uud citi es in tim~ of

war. - Destruction of C11rth11ge
Moscow, Wnshi11gton,Chnrlestown,.
&c.
THE CONQUEROR.-The life
uud clrnrncte r of somo one of the
celcbrnted warriors. RUch ns Cyrus,
Al ex11nder, Cresnr. Pizarro, Cortez,
Bon11p11rt~, &c. -The clanger of e n•
conrnging nmbitious desires, nud a

love of lllilitnry g-lory.

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nits.
COTTON FACTORIES.~- Cotton ns it grows, nud the vrocesses
uuccssary to nwke cloth of it.·H ow it w11s formerly spuu nu<! wo\"en.-A Yi sit to n mudurn cotton
factory . - Tile grent co tton . fuc.
tnries of E11glnut! nud the United
St.nte s .

'

FACTORY GIRLS.-Their employmen1s.-Describe the condition
of the foctory g-irls of Lowell or
. some other p lt1ce ; thdr iudustry
nnd intelligence.
·
0

'> GREAT INVE~TIONS. -The

1
; clmnges

produced hy tlie grent in. yenticms .nud discoveries of modern
-: times. The •low progress of inyentions, nud the difficulties which
sri~utific people must encounter.
·3 DEBATE - 011 the three·Eided
question: "Which of the three
brunches of industrY, ng-ricnlture,
mnnufnctures, or 'commerce, is ·
. most beuetlcinl ton nntion 1" Those
writing in ru,·or of ngricnlture 11111!
commerce cnn choose the cuts npproprinted to those subje~\s.-Auy
two of these subjects mny nlso l?e
cho•cu by two pupils or clnsaca m
"achoo!.

MANUFACTORIES.-The rnw
mnlerinl s of \\'hi d 1 clothi ng utens ils, ornnmcnts , &e., nre mnd'e, nnd
how th ey nm muuufnctmed.-The
~ren t rna1111factures of Amtricn
Eu~lnnd, Frnuce, &c.-Ho w th ey
ass ist ngrieulture nu<! comrntirce .

~~
.

,.

THE l\IECHANICAL POWF:RS. - Desc riue tile simple m ec hn11i c11l po wers, the le rnr, inclined
plan e, und pulley.-The screw nud
wh ee l nn1l 11xle.-Show how these
simple powers compose the most
·omplicated engines.

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. \VINTER.'-The cnuse of itscolJ,
and its short days. - The enjoyments of w int er. -The farm er's
' yi11ter life.-=-Sutferinirs of the poor,
r-Wiriter the time for study.
;.
·ilAMERICAN

REVOLUTION.~

Its causes.--How it cornrnenced ,:._
The noble st.:1tesmen, nrators, nnd
soliiiers who took p nrt in it.-The
long str:iip~le, Rnd fi1111l success. The ble11su1gs of independenoe.
'!, 'VASHINGTO~.-Give

nn nc-

c.ouut of his history, nnd those
q"nlitiea of bod~· . rni111l, nnd lre11rt!
which hnvu ro11d1m" l lrirn 11 mndo
for Amuric1111 yourh.

LIFE OF A SOLDIER.-Write
nn imn:."duary or t rue 11nrrat in? of

tl1 e mlventurcs nn,l s:ifforin"s of n
soldier in his 111 : 11·r.!11~s , winter encnrnprnent.• , nnd lmttlois.
THE CA:VIP FIRE. -S ~lcliers
se:1ted 11ro 1111d the fire r cl:iting
stories: two or thr~e Btories or
nne rdotes mny be w ritton in sueA L'~TTER fro111 n young soldier
to his mot.her or sister. gi,·ing nn
nccouut of hi• mnrrh~s, & ~ ., nnd his
opinlou of w iu·.
A PO!i:TICAL OESCRTPT:0:'-1'
of

', VALLEY FORGE.-A hlstor!cnl
11'·;:·oa11t of tire winter qu11rtcr11 nt
Vn!ley Forg~. -Tn e gloomy d :1ys
of S J ventv Six.-Tlrn cournge nllll
perseverni1ce of Washington nnd
~he army. .,.
...' OUR HISTORY.-Thu stm'.lge
liistoryof thu N ew World, nnd p11r. ticulai·ly of the Unite dStnte~ • .-,Import:lnca of underst:rniiing our own
lristory.-How the other nntions
r.e r.ard u&.

\Va shi11g:on null hi:.; nnny ut

Vallt)y Furg-e.-Choos~ yonr ow11
title , bu t do not 111te111pt a po,·111
unless vou cnn e xnrcss nnir tlw t1i: IJt 3
in rh_vlne n11rl ln !:·as nre. us <..'lljnrl )· as
jn pros ·.~ .

THE CO:'-l'TI'.'IENTALS.-From
wh11l you hn ve hearii or re11d. gh-e
some a ccoun t of thnt cel ebrnted
boil~· of troops; wh~· so cnlled, what

uniform the,- wore . 11nd who w~re

th eir most no1ed oflfoero.-Tha survil'ing soldiurs of the Contineotal.s. ·

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1.'AGRJCULTURE.-Meaning of
the word. -Whnt class of nations
·11twnd to 11gric11lture.-Tell how
. commerce and mnuufnctHres ·depend on it.-Compare the preseut
11ppenra11ce of the United States
. with the Indian wilderne~s of former tirnes;-Mod3rn improvements
~,i~ agriculture.
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.• \ WHEAT.'-The wheat · men·
tloned in the Bible.-Impol'tance
of wheat as an nrticle ol foorl, . n~scribe the sowing, renving,
1hreahiug nncl grindin~ of 'theat,
' idao the process of mnking it into
liread. -Reaping mMhines.-The
vnst wbet1t growing regions of the
• 1V11ited States. ..
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THE FARMER .-Dzscribe his

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occupntiuns nt different seasons.-

Th e h1nds!iip s 1111d pl eusures of hie
Jife.--His u;;efulness to m1111ki11d.
SUMMER.-lts grent hent, the
cnuse of it, 1111d its usefulness to the
fonner.--Its fruits. Its pl ensul'es.

A DA. Y TN THE FIELDS.Write 11 lett e r or 11 sto ry 11bout a
pkuic e>:e ursion to the h:irveat
'ield.

,,

>t?- A FARM HOUSE. - Describe
.1he farm nt whi ch you, or your
·friend nmy be living, giving the pl:m
of the house, yards, barns, orchards,
. fiel!lf, &c.
.
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THUNDER SHOWERS.-T~ ll
you ku ow of th t: ir cau,e.ttow ih ey nre beneficinl. - Thu
tl a ugcr of be 111~ struck uy light11i11g, mill how to nvoid it.-Frunklin 's cxpe1in ie11ts in a thunder
shower, prol'ing tlrnt lightning
n11d clect1kity nre the s111ne. ·D esc11Lu a s~uuu in I\ hnl'vest
field when n thund er shower ia
w l111t

--

•\ PEACE •.:__Compare the cheerful
· nrpenrance of IL 1·ountry and the
occupations of 11 people in time of
peace, with their misernblu con. ditipn in time of war. Pence pro.d. ~ote- industry; war, idleness.. . .

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ene1·er be
COU :'-<TRY SEA TS . -D ~ scribe
the kind of ron11tr y residence
plensure gro1111d,;, &c: whi ch sui~
yom tnste. - Tlw vnri ons styl (; s of
nrehitecture for country sents.Extrnvngnuce a~d · wnnt of tnRttl in
some country houses.

INLAND CO .\'ll\IERCE.-How
it diffors from oth er cornrner"e.The vnst i11lund trnd e on the rivers, lnkes, rnilronda, &c. of the
United Stntes.-The kind of vessels
used for inland comm erce.-The
commodities exch'\nged.
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_;. erTY ' WH ARF. '..-Appearance

,_ of the sl1ips cf all nations 11nlo11ding
;'{Ir r prepnring for seq.--Snilors in
~ 1\-foeting . of
,~on1p1erci11l cities.

{port.

f1:.:..· •

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foreigners in
. ,,

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, '. THE • 'MERCHANT -Describe
' . t}ie , various clnsses of merchants.
f an<L the articles they - dent in.~
Compnre . '"holesnle with retail
\lll]erclumta, also rity with countr~
j:•tores.--The troubles of the mer
, chant, nnd his usefuluiiss to the
~ ~rid, , . ··"
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BANKS.-The uses 'of money,
J and whnt trnde would be without
;.:_ It•.> Different kinds of money.-D~­
• ecribo b1111ks, n'nd tell their adn111,
gee and disndrnntrtge~.
.
-,'ff .
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.r, '{A • LETTER, Describin~ · ~·our
_ ;Iflourney to some large city, what
I !':you saw there, 11ud. your own
; thoµghts on the snbJect.
)11;;,S

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fi€ GAS LlGHTS.-Incon\'enlPnre

;of •cily ·stree1'; not lighterl.--How.
~ and from whet gns is urnde.--De:
'• fCribe the nppearnnce of lighted
~'streets end porks. -A visit to the
- gaa.._w orks.

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. CITTES.-Con1p11re
v11!11g-cs.--W Jrnt nre tho nd vnn·
t11ges or lidug- in th em .-Th e dis
ad rnntnges.-Why they nre important to mnukiud.
.
COMMERCE. - Give n brid history of it.-J?escribe. the imports
nnd export.sot the U111ted States.I-low l.'otnmerce is cnrri ed on.-

How it. promotes iudustrv educntion, nnd religion nmoug n:1tio11s.
A CITY STREET SCENE.. Describe tlw uppeurnnco of n

~1t..1·

stri!et, with il s spleudid huild-

rngs irnd stores, aud throngs of

P"ople of nil dnsses.
ARCHITECTURE.-The different orders of 11rc hitecture.-The
fi_rst dwelling of men.-Whnt principles should be consid e red in
building n house. -City nud country
houses <'Omp11red.-D.,scril>e some
of' ll w liuest l.i11ildings iu th e world.
CITY BEGGARS.-Contruet of
wculth nud poverty in c1ties. -Der.111ded rond1t1ou of the city poor.-

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:.,' ,\~IERICAN FORESTS. --Their
1 edeut.-'(lld
kiuJ ,,f tl c es found

'iu thcm.-Ui!l'1111lic trees of C11lif<>r11i11, O:cg••lll &c.-A1>pe11nmce
I or lhe forc•t•
u 1111tu11111.-R11pld
· d i1uvpc11rnncc of A111cric1111 forost1.

\!'~ ." THE

INDIAl'S. -- What ie

, known of their 1111cicnt liistory,DoacrilJe tho ludinn 1111tio111 111
npp.,nrc<l whon Amerii•n w111
1 diacovercd.-Thdr
dress. m11n11ers
nteusila oud we.1pons-Their dia'appenrnncc,-Whnt you think of
~ ~heir chnrncter. ·

~ tluiy

-,' MJSSIONARIES. ~What thev
· do.-Tbc pr.pnrntion uer essnry t'o
". l:>~cc1me 11 m1ssionnry.-The suffer' •t !ngs 11nd p~rsecut i on they undergo.
( • '-Thdr 11aeful11e~~.-Me nt i o11 •Olll"
(i ·'·"i lstiuguished missionaries. .
. t ';(

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,, SAVAGE LIFE.-__ Compare it
, with civilized life; by J cscri.bing
,:the clress, dwtlllmgs, occup11t1ons,
1 r~ligion, &c.-M.ution some of
• the nnlious still in 1unvuge st11te.How some S1l\'nge nntfons ha,·e ·
.i become ci\'ilizecl, nud whnt evils
; , 11mong highly ci\'i li zed nntion~ muy
rcd11ce them nguin lo lmrl.Jurism.

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lNDL\.N
lli t y

ClllLDH.~:N.

- - llow

Hllll whuL
t• dllt·at1u11 th1·y l'l~ l·c l\ ~. - Th e ir
:s k 111 in ::: houti11 :.r and ot.h~r Jm5·
ti111 ~ s. - Co111 pnre tlicir condition
with your own.
Hl't.!

l>Tf111gbt

tip,

LIFE Oli' EL10T.-Re1td

his

lire, and write a narra tive of Ii is

lul.Jors n111 011 g th e lurlian s, :n1d hi s
trn11sl11tio11 of the Biul e into 1-li e ir
langu H g~ .

PEOPLE OF THE WEST.Tile ditl'ere11t rn ces thut rnuk e up
th e populllli o11 of tl1 e W est. - Thc
B~ekw o<1d s 111 e 11. - C: lbin s n11d wig .
wa111s. - Rapid ~ ro w t l.J of the \Vest.

HUNTERS .- Our

W~ s t e rn

hun -

ii-! rs, th ~ weupo11 :s tli ey Ube, u11d

th e m1i111al s th e~- p111·su P. - The
gre ut 11ntiyuity of l1untinit.-Da11·
C'i= rs and e xdt e11:1e11ts uf

tt

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hm1lt! r s

lifo.-\Vrit• n st ory of a hunter.

•. \,

min ers.
PINE TREES.-Th eir nppearnnce nmong rod>s nud hills, or i11 11.
winter l1rnd sc:1pe. -The purpuoes
for which th e:f nre nse cl .-Sound
of the wi1al 11mo1'g th e pin es.

t.• · ~

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grent Washington monument :it
'. t11e c;1p1t11l, nnd the ~t.1tus for it.Whnt yon consirler tht: prcmdest
monument
his guodne~1 nnd
glory,

or

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SCUT:l'TURtC::::rhe lt11owlo1\go
, of dmw111g, 111111tomy, &e. llA<'C86Jll'Y
for tuis 11rr.-How, 1111d of whnt
at11tues nre mudu.-Gr<Pt sculpion 11n•i thoir works. • ·

'.~~·GLASS.-I111-;;;;;en~iince:bri1tle-

.'neal hurctn~ss, trnnspnreucy, &c.-"Or \~lint, nnd how it is . mntle,-·
~-''\\'hat 1he nncicuts knew ol' it.·/. Thti -.1rious u5es ol it, pnrticulnrly
' in hons<& nnd cry11tnl pnlne~s .. Stnin••l llllfl paintecl gh1s~.-V,;oit
' to·11 gh1ss house, . .
,: • DRESS.-De~crihe the roslt1m ••
~ • 1 Clf \ 11riOUS lllltions', llS JJl'l 'SC!lted 11t
· ( ' n world's" fiair.-Thll cl10 Rs ariupcrd
· to Jitfcrcnt climut..,s 11uJ hnbit;i of
life,-Odditi~s ot' dre°ss. -F11shio11s •
. -Importnnre of nea mess und propriety in our dress', .
.
0

DR .\ \\'ING A ND PAINTING.

-Tl1 u plt:a ~ 11 rt:s rn :d W:it:!1ul ne5~ of
drawiue::. - Thc l.>1..!!::i t wny to 11::'\111

tlie 11r1 :lllo l t l1e impo1 t1111 re of c11lt1vu.ti11 1~ it wlii lu you11g . - The
<l11t'l!fL· ~t kind~ of t.ndnti11g-. ·-Nu•
lH·c~ ul ccldn:atctl i~a i111 ~ 1 ~.- 'rlic
nrt of e11 g r:lv111g-. - Dtst: nbE: so111e
fiue p1rtu:·t.:: \·un h :1 \' t.l seeu .

NATiO\'S OJ 'l HE EARTH.Nu111l11.:: r ut i1111al.Ji1au1s . -Tlle

\ ' f\·

riou• r:1<·co 111111 11Ht1u11s. -- \Vhy
they d11J'0r w grently_. --De>cribu
the

CO!h:O ll!" Se

uf all

llHtlOll S Ill tnq.{O

i

FIXED STARS.-Why S•• culled. - \\'hut 1hey wore • uppuse u
to be.- Whal \\'t! 11uw k1111\\' of
th e m. - Slltr duste rs. - ·· :\lil ky
way.- Ncbulre. - Rclldctiuu..
SOLAR S YSTE~I. -

Dcs"ibe

i1.___;A11ci c11 t i::rrors.-Our eanh a

plan et. -N~''' lu11 ·s <li.3co vcrics of

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"l"H\'itutic111, tH l· , - ~I ot i o u s ur' t hd
P1:uu: ts. --D~scri l1tt \' c 11t1 s, J lllJilt:'r,

l\la rs, ck . ·

Hf•w to dis liJJg-i.ich

pl a 11ds f1on1 tixcd

• tt11s

- The

1\I t.0 11s. - - R ~ nso11s lor !!t1ppu:ti11"'
th c 111 tu be i11hub ,1ed .- Tho· u1der
:u11l i 11m1 e 11 ~ itv of our ~' !) tt"' lll a
p1uuf o1 Gu<l '::! j10\\ er and iu-..J 11 Ls~ .

THE GRO\' E.- Wl111t an· 1111>
shad e ll et:S . - Grn\ CS a 1< 1111 1d

bt! S l

hut1::ws . ·- P1 ..·11 1c 111u1in. 111
th eg- 10 \ e .

co 1111t1y

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