Powell'~

Language Series-Part II

0 1"

Primary Lessons
In the

ENGLISH LA_ NGU_L~GE
__
., - - - - - -i-

Illustratccl with over

200

EngraYings

By

CowperthwaiC~:;a~· \ !.. : : · :
Philadelprda.:
.. : : : · ·: ·. '. ..
..
,·.· ·...·.:... :... :....·..·.· : ..
.,

: :: :• ::: ,•\ :•.: \ .a'
,
,

•

•
.. • •

•

t
•

•

t
•

~

•

r

t

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•

•

•
•

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--~~-~~--~~~---~~
:-~ 1·70 ~,<jJ1t7D· 5 .
.

#s

---1
·

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1

. .,_.._<i:,._;J,

;; _.,../.
-<u
I~' ,...t"

·, ....--(,/\E UCATIONAL

COWPERTHWAIT &

O. S

SERIES.

I!. R'vARO coLlE!iE 1.nrn~I\~

.;

- -- - - - - - S y exchange from

'

.
Warren's New Geograph us,
i,r

~nonroe

\1 E.RLIN COLLEGE

f~ - ~0

1

LIBU~

1Cf.;J6

PR·EFACE.

's Riaders
and Spellers, .
•
i,r
's ~w·
"Tew Series of Readers,
.i:uonroe
};fonroe' s Vocal Gymnastic Charts,
Monroe's Reading Charts,

~lfonroe

'

i,r
l .F Phvsical am/ Vocal Training,
s ~u a nu a '!I
:.r
·
.
Apgars' . New Geographical Drawing-Book,

Greene's Improved Grammars,
p(nvell' s Language Sen·e:,,
The Business-Standard Copy-Books,
Berard's New U. S . Hist01y,
. r----...._
Goodn'ch's Child's U. S. History,
-Budzr/e's Grammatical Praxis,
Hagar's Jvfathematics,

of American Literature,
Royse' s Manual of English Literature,

R ope' s J,{a11ual

Appleton's Qualitative Analysis,
Appleton's Young Chemist.

,,., ....t

The systematic work of train ing children to speak correctly and to
exerciBe care in th e arrange me nt of th eir thoughts sho ul d be begun
earlier than is now done in m ost co11rsPs of E nglish. This belief has
grown with close observation and r:areful ex perim ent during twenty
years of school s upervision; it has bee n strength eneJ by criticisms
of th e literary and. secular press on th e results ohtainE·d by th e present systt>m, as well as by criticis m>' u?1d s uggestions of th e ed ucational
press on thPsame Rubj ect; a nd it h°"" been contirmeJ by th e testim ony
of man~' s upPrint enden ts of .sch_o ob an<l teac hers of Eng lish.
An English st>ntenre appropriate t o th e P.xpression of chtld-thought
prese nts no difficulty in the ·way "of correctlcon~truction that. th e child
cannot be made to meet and mas ter. It is therefo re unjust to thE>
child, while professing to e;d ucate him, to abarfrlon him durin g the
formative part of his li fe to th e uncertainties of his own 11ndirected
a nd (in this pa rticular) untrained obse rv a ti on, t o th e chan ce th at he
will imitate correct rath e_r th a n incorrect speech. or to th e adventitious promptings of . a n occasional sensitive t racher.
The purpose of thi~ bo~k is to guide th e young learn er in th e co rrect u se of language at th"e ti me when h e is acqu iri ng a vocab ulary
and forming habits of speech.

Appleton's Quantitative Analysis,

•,)('Io•:>
,...,, )

TBE value of right formanon a~ compared y;ith reformati on is
n owhere more !:ot i<::eable foan in acquiring acc urate a!ll..I rca,\y use
of one's own language:

~

.
.
Circulars sent free· on
Price Lists and Descriptive
app1icatio:1 to the Publishers.

Completing an expressi ~n partly mac\e ("sentence building " ); su pplying a word of proper form (" filling a blank"); telling th e relations
a nd forms of the words in th e sentence(" pa rsing"): pointing out th e
kinds of elemenls in th'e. sen tence and explain ing th eir uses (" ana ly sis"); correct ing errors,-all th l'se are useful in making the pupil
thoughtful and careful, and for testing hi 3 kn ow ledge of forms, th eir
meanin gs and uses, but are of littl e vahiP for fixirig habits of correct
sperch. Such habits are attainable onl1· by the exerci"0 of expression
wholly one's 011· n.
•
•
" Ont' <in•'' 1wt lea rn to fence without a sw0r<l.
One do .. s not l<'arn to riile with out a. horse ."

-FrUdrich BorienJtedt
3
• ..

:

·.. .- ......

1 .. :

~.

..

....

.•

".

•·.

Prejaee.

4

A knowledge of forms, their m ean ings and their relations is neces·
sarY to an intelligen t , correct me of language. The development of
thi~ kn owledge, howe\"Cr, should be followed Ly much practice in orig·
inal expre~ion. Much of such work is.pro\·ided in thi s Luok.
One may use correct language and yet not talk well. The expression of a..~ociated th oughts depends for it.s Leauty and value quite as
mnch on a nat ural and methodical arrangement of the severnl thought~.
as on the agreement and proper arrangement of the words forming each
s entence. Exercises for meth oClical seeing and thinking, demanding
expression correspondi11gly methodical (Compositions), are provided,

SUGGESTIONS TO TEACHERS.
1. ~ET none of the Work be o_m itted.
2. d'e that the pupil does the work.
3. Let every exercise be oral first then
•tt
4 l\I k th·
•
wn en
.
a e
is a companion book f
.
Instead of requiring the child to c ~ the Reader usrc1 by the pupil.

in easy gradati on, throughout the book.
Cqrrect pronunciation is \l.n embellishmt>nt of speech. Therefore
lists representing classes of w0rds cqmmo_nly 111ispronou need are gi veu.
If these are used as intended, mc1~h may be done toward fixing the
habit of correct pronunciation. The use of th e dictionary may be
taught also, and the pupils be tr:i.ined to the habit of using it.

make original lessons and writ t~p~ lessons from th: Reader, let him
.correct original paragraph tho~ hem, as ~alled for 111 this book. A
t10nal product than a fol/ . f g small, is a more valuable educa5
. .
. o o correct copy .
.
. Wor~ for or1g111ality of ex re .
of express10n. Vari et
f.
' p . ss10n. y onr test will be variety
Yo expression 13 ~ ,·d
·r. . .
.
opment. and of good teachin
. . \I en cc o rnd1 \"!dual develcharacterized by a ~a , . ·. g.f A \\ntten rC'prodnction hv a class
c
meness o expre,8ion
t b
•
.'
·h·· h .
. . ~- . ' mus
e taken as ev:
d ence of "rote work"
'
"I\ ic
Ill turn is end
f
h
o teaching.
· ence o t e lowest gra<1e
f

Thi~

book is not a compilation merely; it is not an invention: it
re~nlt of many years of
effort in training children to talk. It is confidcnt~y believecl th at the
kinds of work given will commend themselv es to all who appreciate
tb e difficulties of t eaching correct speech; th at th e partitioning and
arrangement of th e work ar;- at once natural, eas:< and logiC'al; and
that each kind of work will be found to bear like relati on to the
whole, that the diffi culty to be met bears to th e sum of tlw difficnl-

has grown in the school-ro om, and is the

6. Before the child is permitted to ma .
. .
wntten), be sure that he und er t d l ke a com pos11i on (oral or
bv l ·
·
s an s I 1e 'llbJ rc t ,.
•
ia nng lum state i r
D
l ou ma v kn ow
state the subj.eel otl1 .. · o1 not _all ow him to talk nnJr.ss .h e cal'
C'rl\ 1se ne will r1 0 t l
about" L · h '
'
mow"' wlnt ) c ·, t lk
.
et 15 c·ffort Le su to rt· ire·'"
l
.
i
h
u mg
thr, hearer may understand .t l l
nt t i0 rnL1cct Ly words that
::-Oc that ti
l ·11
1 a"°
:at rnr mnst be tl
.
..
..
ic c i1 u und e rstand~
tl ,
18 purpu:;,; of hi~ wurk
· h,
T . . ll .1
h1cnt 111 tn e sel ection of tl
.
.
llb \ \I
ue1·clop JUdn-tl
ie parts that make tl
l l
"'
ie order of presenting th em.
ie w io c, as well as in

ti es in the \vay of correct speech.
While rt-ading the ~econd and Third Read ers pupih can readily
rn'*tt•r r..-Nythin g given in this book. Those readmg intelligen tly
in the Fir~t R..-a(ler may begin it with profit.

Miss E . J. T nDD, Trainin g Teacher in th e Aurora

.c

c·• .

School~. has gi,·en

1•

invaluable aid in tl1 e preparation <Jf th• book. Eac11 lP~:'\on h:ts been
proved by her, in class exe rcise, to be a necessary step in the @cces-

t? belong

where it is lwre foud.
Principal c.f the Aurorn Hit'"h School, has
assiste-d in the verbal prr paration of th e Look and in rearlmg the

sion, and
PP.OF.

T. H.

7. The test of yonr success will b tl
b' .
,
repeat laws and d»finiti i n L t
e ie a il1t y of t11r: chilcl, not to
1.
·
'
~. on to talk c
tl
d
twout anv subject tl t h · _
orrec y an methodicullv
•
ta·
e comprehe nd•
·
Let me show You what I me
\. '"
'
telligently in th~ Th~rJ R ' abn. ~ boy ten years old who read in•
•
•
•eauer ut who had I I
· ·
rng. t11mkmrr
and arran ·
'
Ja< no tr:.unrng in •ee
1
gested by the picture: gmg, wrote the following composition,

CLARK,

prouf-,;h.::.:·tE.
Many nf the il\u~trations are from original designs, and most of the
others have been taken, by permission, from Monroe"s excellent Series
of School Readers.
.Ai;ll.OE.A, lLLI:>OIS, Mny

·

i . 1882.

•

___ __
.........

s~g~

6

_ _.

---'-'--

Suggestions to Teachers.

6

INDEX.
.

Adjectit'e..,: Definition.

PAGE
1~-122

~·

.Houns: Definition ... ... .... ....

rAr.r.
in

Compa rat iH. 12G Jr1 1 Ktn
• . llS. {Pro1>er ........... .... . . ...
.,cJ
Furrn~: { ,
•
Superhtive ... 126 . I 2i ,
· Cu111111on.. ...... .. ..... . 3;;
1

I see a lxiy and a girl and a cradle and a chair and a dol! and
a table in t.\i& picture. Th e boy has a hat on and th e girl is kn eeling on the floo r. · The doll is in the cradle and the boy has a crrne
under hi.s onn . The chair is behind the boy . Th e hat is t.oo b1,g
f or him. j thi11k il is his father's hat. I can't tell uhat /.hat is on
the tabk. The boy has som ething in hi.s li'fl hand.
Ano ther boy of th r ~n.1nc ngP, n o better scholar , as indicated by
grades , p romotions , book s. m erit cards, etc, but who had bee n trained
in s~eing, th inking and arranging, wro te on the same subj ect at the
t i:::.c 1:: i.11\ (1 \\' ...;
':I'h r s_~~ ~~,._~tr~f tlu s.

&.GllC

1 ) 1.r /u.r, :

is. 1 ~p7,J ]iin .17 J) .~, r1,-, r"

A anrl An ...... ..... : ..... . . . 4G-48

~

Each, Every, )
Either, Neither[-···· l Gl-1 i i
This, That, }
These, 'Ihose ········ · · 4'), -50

, Forms: rlu ml.. ... .. H, 10, 30_ 34
:
Po;c;essivt: { Sing 38.3')
Plu .. 3~1.40
:
· I'ronou11s: Definitiun
l:rn

1

Forms :

Adn:rb ..,: Dtfinition·..... .... . 122
Forms : {Corn parnti v~ .. ..... 128
SupPrlative .. . ... ... 12.'l
Two Nega tive~ ...... , .. . .. . .... :' I i d

Subjective: {Ring ··· 13 ') 150
Plural. 13fl - lfi0

Fir>l \\'ord of a Se~te~ce....
Proper Noun....................

18
31)

I· ·· ··· · .. . ... . ... ........... .
140
0 ........................... .. .. ... 2 1)

.

Choice uf Words .... .. 190- IQ')

l

C-0m J>08it i o 11 :

I

t 111 n <~ f ·

An irnHl s . . ·L~ 4:i . !11
I'Jc·rures. 1 3 -1 1~.

51 -5•3 . C"~ -

lul

1

~~:1 rr ,1 ti on . .. .

5::,

5 f~). ~H1---- 1 rq

1

u

T

J.

. I fi.t
•
<· ~'7 h.rr flu'
' f..f1).~
' l ' 11"i>t. II l,1·. au,
" r 1~
. 1 n.> ~ P. l rt } -f'>1.f1 " I''!J''·
t h ui""15• t rt/177
TJu.re: as a table at tli e ngltt of tlu: yirl and u smcr 1i ch't ir bc·h ind

/}u:- k;;_>::_

I tf.in l these children are hm·ing lot~ of fun..

..... .

Obj ect ive:

{ ~ing ... 139-150
Plural. 139-150

Poss essive:

f Sing···

Capital l,elters:

r1.,-..· ri l'"

_-i [,.-:_~~,.· t-i '.h. o rtJ ·.1; frr n!r hrrl nn lr i· .~ /1 r"~11 :1 0 111! 1L r !If 1(' L n rt,- r /11s
nrr:;1 1·-~ :r::i~~li tt (J l_u ti~#~ ;s!/l f'. r:-t· a cr a di~ ttitlr o lr,ll in. i.' .
.-·'1 l....:; -:1 !:..:?i7.rL~d pLri i:s kn(·rlu1:7 cin {,;;.-·
~"t. 1 h J ti(·r~- rri' /l"
a n d is lOiilin g 11p in l o the [.r,y'.s f a.cc , as
od1 1;g ni m ~( ;.;.c-l/1i1.!'
t.:~~ d.L...-1 i:: :·~~ n...: .~1 .~ ~- Tii r. bo.~' i ,c: len n1n:1 nrn · anrl tt! U· ir1 .0 f, 1 tli.~~ ,n. irl.

Sing>1hr ..... U, 10. 30-34

Trnnsforrn:i1i0n . .. . . . .

JOS - l l ·l
Comrn ri,on ... ......... . . . l e0- 190 :
I. ct : t: :- F o rr.: :: .. ....... . . . ... .... . ~ 1)(!

Contrru:f<'<l Form8 :

te nc e ~

not

I

Sen-

. . . . . . . . . . . . . . . . . . . . . . . 24 .

l 39-l 5ll
139 -1 50

139- 152
13() - 152

139- 152

I f·in_grhce. etc. 1.53-158
on
I a . lelw 0r rl relati
a.''•"r t
I rn ::i ethi ng of
;i.

l_;, ,,, · )

I

fr e

~uLject. ..

I a ft2r a
j

f
l

])pfinition ...... ... .. .. .. .. l74-17R '
Exclamatio11.~,

l l'lural.
(as rnbjfct .......
as object ... . .....
as .adjective . .. .
r1rter a rehition
wo:·d ~how·

15G - !G.1

reh:1 on

w ord sh ow ing compar ison ... .... .... lil - 173

l su~r:iary ······· ····· 173
Each, Every , }
, _
Either, Neither ····· lli4-l 10

~

Powelrs Language Series-Part ·11

~d:"'

. r

,;

•

How

TO TALK

-··

or

"

'

Primary Lessons
In the

ENGLISH - LANGUAGE
Illustrated with over

200

Engravin~

By

\V. B. Powell, A. M.
Superintendent of RchooLs, Aurora, Ill.

\

Cowperthwai~- ·~::a~ ~:.'. i.. ; :":
Philadelphia ... :
.

:

: .. . ·. '. ..

.., , .. :, . .= : ' . : ... : : . : .. J

~

;

•

Warren's New Geographies,
i.r
's Riaders
and Spellers, .
.1r1onroe
~
.
1.r
•
11.r,...., Series oi
Readers,
..tUonroe s .J."""'
'.!

PR·EFACE.
-~ ·~·· ·

Monroe's Vocal Gymnastic Charts,
Monroe's Reading Charts,
l ,, Phvsical am! Vocal Training,
, .~
._,
~
.
Monroe s .1r1 anua OJ
Apgars', New Geographical Drawing-Book,
Greene's Improved Grammars,
Powe/I'S Language Sen"eJ,
The B~sinds-Standard Copy-Books,

r_ .

Berard's New U. S. Histoiy,
Goodrich's Child's U.S. History,
Buehr!t's Grammatical Praxis,
Hagar's 1Vathematics,
'Royse' s },fanual of American Literature,
R~se' s Manual

of English

Litera/1.1re,

Appleton's Quantitative Analysis,
.
Appleton's Qualitative A nalyszs •
Appleton's Young Chemist.

.
Circulars sent free on
Price Lists and Descriptive
applicatio~ to the Publishers.
:

. ·....

. .... . .. :
.. : : : ...: ..... :
:

' ~

·;: ~
•,•

~: ~

•

, , -·

.

~.

• .Cop¥rig~\., l88,2,

:·.:....; .. ~ .. ~ :. -.: ...
.... .',. \• ..,
.. - •, .~I

~:· · ~

b

Y

V\l. B . POWELL.

TEE value of right formation as compared with reformation is
nowhere more ~otir:eable than in acquiring accurate and reaJy use
of one's own language.

The systematic work of training children to speak correctly and to
care in th e arrangement of their tbunghts should be begun
earlier than is now <lone in most. conrsPs of English . Tbis beli ef bas
grown with close observation and careful experiment dll'ring twenty
years of school supervision; it has been strengthened by criticisms
of tbe literary and secular press on the res ult~ obtain.ed by the present system, as well as by criticisms a!1d suggestions of the educational
pre$S on the same irnbj ect; and it has b.een confirmed by the testimon y
of many superintendents of schools anJ teachers of English
exerci~e

An English sentence appropriate to the expression of ch~d-thought
presents no difficulty in the way of correct construction tbab tb e child
cannot be made to meet and master. It is th ert·fore un.1ust to th<'
child, while professing to educate him, to abarfilon him c!LJring- the
formative part of his life to the uncertainti es of his own undirt·~tecl
and (in this particular) untrained observation , to th e cbance that be
will imitate correct rath er th :rn incorrect speech. or to the adventitious promptings of a n occasional sensitive tracher.
The purpose of this book is to guide tbe young learner in thr..corr ect use of language a t th e ti me when he is acquiring a vocabulary
and forming habits of speech.
.Completing an expression pa rtly mad"" ("sentence building''.); supplying a word of proper form ("filling a blank"); t elling the relations
and forms of the words in the sentence ("parsing") ; pointipg out the
kinds of elements in the sentence and explain ing th eir nses (" analysis"); correcting errors,-all thi>!'e are useful in making the pupil
thoughtful and careful , and for testing hi3 knowledge of forms, their
meanings and uses, but are of litt.le vahiP for fixing habits of correct
speech .. fluch habits are attai~able only by the exerci'1e of expression
wholly one's own .
"On!' rloP• not IParn to fe.nce without a sword .
OnP dot>s not !Parn to ride without a hors!' ."
-.Fridrich Borlt"llAttdl

3

.....

. '·. :.
~

Preface.

4

A knowledge of forms, their meanings and their relations is neces·
eary to an intelligent, correct use of language. The development of
this knowh>dge, however, should be followed uy much practice in 01;g.
inal expression. Much of such work is.provided in t.bis book.
One play use correct language and yet not talk well. The expression of associated thoughts d epends for its beauty and value quite as
much on a natural and methodical arrangement of t.he several thought~
as on the agreement and proper arrangement of the words forming each
sentence. Exercisr.s for methodical seeing and thinking, d emanding
expression correspondingly m ethodical (Compositions), are provided,
in easy gradation, throughout the book.
Correct pronunciation is \l.n embellishm ent of speech. Therefore
lists repre;;enting classes of w0rds commonly mispronounced are give n.
If these are u.sed as intended, m~1ch may be done toward fixing the
habit of correct pronunciation. The use of the dictionary may be
taught also, and the pupils be tr~ined to the habit of u sing it.
Thi~ .book is not a compilation merely; it is not an invention: it
has grown in the school-room, and is the re811lt. of many years of
effort in training children to t alk. It is confidently believe<l that the
kinds of work given will comme~d them selves to all who appreciate
the d.ifficulties of teacliii1g correct speech; that th e pa rtitioning and
arrangem ent of tb e ·work are at once natural , easy and logical : and
that each kind of work will be found to bear like relation to the
wliole, that th e difficulty to be met bears to the sum of the difficulties in the way of correct speech.

While rPading the Second and Third Readers pupils can read ily
master everything given in this book. Those reading intelligently
in the First Reader may begin it with profit.

Mrss E. J. TnDD, Training Teachrr in the Aurora School!\ has given
invaluable aid in the preparation of th e book. Each lesson has been
proved by her, in class exercise, to be a necessary step in the succession, and t? belong wh ere it is hPre found.
PROf'.. . T. H. CLARK, Principal of the Aurora Hi~h School, has
.assisted in the verbal preparation of the book and in reading the
proof-sheets.
Many of t.he illm~trations are from original designs, and most of the
others bave Leen taken, by permission, from Monroe·s excellent Series
of School Readers.
AURORA,

h.1.INOIB, Mny

I. 1882.

SUGGESTIONS TO TEACHERS.
1. LET none of the work be omitted.
2. Sf'e that the pupil does the work.
3. Let every exercise be oral first th

. ·i
·,
en iHILten.
.
a e this a companion book of th
Instead ~f requiring the child to co
e Reader u.sNI by the pupil.
,make onginal le88ons and writ thP.V lessons from th: Reader, let him
correct original paragraph tho~ hem, as ~alled for in this book. A
t10nal product than a fol.' . f g small, is a more valuable educa10 o correct copy.
5
. .
· ·.
. . Work for ongmality of ex
of expression. Variety of
pr:ss10n. Yonr test wih be variety
expression 1s evid
f · d' .
.
·
opment. an_d of good t eachin .
.
ence o Ill indual develcharacterized by a sameness g~f A wnt~en reprodu cti on hy a ·cla.ss,
dence of "rote work" wh. h . expr:sswn, must be taken a~ ey' .
IC Ill turn IS eyid
f h
•
o f t eac Iiing.
cnce o t e lowest grane

4 M k

·

•

. ?·

B efore the child is p erinitted to
.
-.
.
make a cnmpos1t1on (oral or
"-'ntten), be snre that he u d t
by having him state it ~ ers ands the .s ubject. You mav knciw .
st t th
.
.
o not allow him t t lk
.
.a e
e subject ; otherwi~e h
··11
o a . nnless ·he can
.about." L et his effort b , ' t e \\J not know" what he is talking
th e hearer may understa:dsot ol reprc~ent the subject by words that
tbt sur.h must be the pu
I afsoh. . SeP that the child understands
m t.
rpose o is work Th.
·11 d
.
·
is WI
e\·elop Juda .
· en · in the selection of ti
ti
d .
ie parts that make th
h 1 .
c-1e or er of presenting them.
e w o e, as well as in

7. The test of your success . will h tl
b' .
b
e ie a 1.hty of the child not to
repeat laws and defin"t·
1 IOns,
nt
to
talk
ti
'
·
correc y and methodical!\·
a bout any sub1ect th t h .
,
a
e comprehends
•
Let me show You wh t I
. . .
'
.
telligently in th~ Third aR dmeabn. A boy ten years old who read in.
. .
ea er ut wh I ti I d
..
mg. ihmkmg und arrangin
'
o l!l i~ no trammg in seegested by the picture;
g, wrote the follow mg composition, sug-

S1Lggcstions to Teacliers.

6

,
'

I

"

I

' •'i. ·.., ..._

u:s-··, INDEX.

\

I

1\
Ii

P.'. G f:

II

I

~·ouns:

Deli nit.inn . 1:21)-1 2:2
I Cnmparntin• 12G, 127
~"
. ... 126, 127
l'-'uper l n.t1ve

F orm~ :

\

Definition...... ... ..... 10
.
KinJs
· ~( Pro!'i'r
, .. .. ... · ··· ... ... '-,c
...J
· tCurn111on ............ ... . 3;;
Sing11lar ..... f! , 10. 30-3-1
. Forms :' rlural~ ...... 9, 10, 30 _34
I'o1'~01'si v1.;: JS1ng 38, 39

!

A anrl An..... ...... : ........ 4G-48

Each, Every, )
Either, Neither(-·--· lGl-177
This, That, }
·
These, Those ......... . 4Q, 50
I see a boy and a girl arul a cradle and a chair and a dol~ and
a table in this picture. Th i' hoy has a hat on and lhe girl is Lna'ing oil ll<e floor. · 'J'h~ doll i'5 in the cradle and the boy has a cane
v.nd":.-r hL:. arn:. Th*' rh rn·: i ."I D~hi.n d /.l-;J, bey. Th e f r,_ t is ton !J 1,}
f n:-- l:i.r'L
I thin!,· i_ 1·s his !~_1/h,,r' s hat.. I can' { frli u_;hu~ t.ha.l is en

·1

I

i
!

" rifn:tiiv.:.
,_orn
JlS~p~rlative
.. ·.. -... ~·- ·.

l f'lu .. 3!:!, 40

I'ronou11s: Definition
Forms:

Advcrb.o.;: Definition .......... 1221
.
1. orms .

T' Ar.1':

lo..'

A<(jectit,e.~:

'
Su bjective.

, _;, /_I i i.' /7J {, /.'

l'
J_

v 'J

.i.'ICJU!I. ...... .

T

grg_dP~,

1•r.m;.,ti01i.,_ b,_.o~: s, r"cr'.t 1::ud ". Pir, hu t. who had l,,...-n tr.ilil<"d
in seeing, thinking and arranging, wrote on the same snbject at ll1e

\\

I
I

same time as follow s:
The subjrct of this picture is "Playing Dnctor."
A boy with a i·ery large hot on his head n11cl a ron e 1mder his
rum is o!a mli nr; l>y th-' sirlr nf r1 r.ra.dle with a doll in it.
A bare head~d girl is kneeling on the opposite side of the r.raJZe
and is loukin.g up into the bny's face, as if asking him {f he thinks
the doll is t:eT1j sick. The boy is lrnning over and talki11 g lo the girl.
I thin.k he is tl!thrig ha the J ,JlL uill be a!! right in a few da.11 s.
There is a table at tlie right of the yirl and a small chair behind

the boy.
I th.ink these children are having lots of jun.

0 .
l :,i;_,1 I

word

D esc rip.
•f

t iun o ·

r Anim>l!R ...

l

·

'

Co-ntracted Fonns:

I

I

Excl:'::~i-~·~ -~-' ~~~--·~~~:
•••

Uses:

~

~bow-

i ·

!

i

I
1

'Definition .. : ............... 174-176 1

1

.1 _)

after

;

•
_·
51-56, 90-10-i
J\:~rr ,.=di nn .... ..... 5 2_;,r;, nr::- 1nt
Trnmformat.ion ...... . . .. 108-114
· Compnrirnn ............... 180-190
Lett!\r Formg_,, .... ..... ... ..... 200

l

ing place. etc. 153-158

42 45 91

I'1ctures. 13-J(i

I

alter a. rela.Liou

Compositiou: .
..

... l.'30 i.~n
LI'lu ral. 13'.1 - L:>()
~nf! ... 1:n - 1Cio
l Piu; a l,
f Sin ::.:. n:t - 1~0

130 1.~~
a3 nbje( t
l .> •- l ·· ~
a.3 ndjecti ·-·c ... . 130- 152

.. .

\\

J Sin ~~

L l 'l •_:,;:d ~-: : l :.y

,.

L' U ! l l' l

1~8

r

Two Ncgati\·es ... .... .. .. ... . . . .

1.

l;

.. .. . .

241 ·

I

fl. relat ion
wor d.. aRsert·
. sometning of
the Rubject... 159- 103
after a relation
·
word show-

l

ing compar . ison ........... 171-173
Summary .. . ......... 173

Ee.ch, Every, }
· ·
Either, Neither ····· 164-170
1

·.
Index.

8

P AGE

P AGE

·verbs: Definition ........... 11, 29
.Pronunciation:
Agreement with subject. 164-171
Long Italian a. .... ·.......... ··· 37
Kinds : Those
Short italian a.................. 57
Expressing Action ... 11, 57-95
156
Short i ; .........................
Ass3rting a Condition ... 26-29
45
Short 0 ................. ... .... 12,
Present ........... 57-9~
Short 00 ......................... 53
Past ............... 57-90
Long oo ......... ............ 49, 113
Forms:
Progressive ... 105-107
Long u ..... ................. .. 34. 96
{ Complete ......... 59-95
Th, s. c .......................... 1_16
156
To show complete-i action ... 59-95
Ac~ent ; .......................... 137
To
show condiPunctuation-lt-la·rks:
tion of an obThe period .................... 20, 22
ject .............. 131
The interrogation-point...... 19
To
show condiUses:
The exclamation-point........ 25
tion of a subThe comma ............ : .... ... . . 130
ject..... . ........ 132
The a.pbstrophe ........ 38, 39, 175
To show the subQn<>tation-marks ............ 41, 42
ject
receives
· Belati"ns of JJ"ords, ·
the
action
... 133-135
117. 129, 130, 151-174

·'

How

Lesson I.

x...................................

8ubj~t--Definition .... - 117, 119

Snmmary ............... 136

Object--Definition ............. 118

Break and other Verbs .. 63-65

Relation Jr01·ds:
De-finiti~!i ...... .. .. .. . ..... 153, 1.54
Showing place .. :: ........ ~~~-12~
8how lng coutpflnson .. .. l ' l -1 :..J
Asserting something
0£ the subject ... 26, 159-1G3
And ..... ......... ; ... ........... 129
Like and As .................. 178

Choose and other Verbs ... 73
· Come .. .... . .. ........ ........... 76
Do ............ ... _. ...... .... . ... ... 74

Neither-Nor,} ............ 177
Either-Or

Sentence: Definition ......... 17
.

Interrogativ e... ...
Declarative ........
Kinds:
.
Imperative..........
{
Exclamatory .... . .

18
20
21
23

Fall . .... ... ...... . ....... . ··· --·

713

Forsake and other Verbs .. 72
Give and other V 11rbs .... 70;--72
Go .. .. .".......... : ............ ......75
Lie and Lay ................ 77-82
Ring and other Verb~ .... 68-70
Rise and Raise .. ;... ..... 87-91
Shall and Will.;....... l\l7-199
Sit and Set .................. 83-87
Tea.ch and Learn ...... . 92-95
Throw and other Verbs. 61-G3
Write and other Verbs .. 66, 67

TO TALK.

Nouns an<l their Forms, ·
The word cat is the name of this animal. .·
The form of the word that
means more than one is cats.
The name cat means but
one, and is the singular

form.
The name · cats mean8
more than o~e, and is the
'l'he \vord dog ·ifi t11r. nrrmn

of this animal.
The form of the word £hat
means more than one i.s doge.
What fo~ is the name dog?
What form is the name dogs?
What form is the name hat?

The name hat is the _·___ - - -·
.What form is the na~e ha. ts?

The name hats is the ___· _,

Verbs.

10
\Vqat is the plural form of the name rat?

11

Lesson II.

is the plural fo.rnt. of the name rat.

"Verb.'l •

~.Vha~ is the nan:e of this
anuual ?
- -___ is the name of

.••· tJ.".,..

,_..

=- ~~1 -:. .::..=--

The rat runs.

this nnilntil.

What word tells what the
rat does?

·what i:-; the plmal form
of this n:uue?

The word _ _ ._
what ihe rat does.

___ is the plurnl
f'onn of bird.

tells

The word runs is an action word.
The Loy hops_.

Definition: A name _is

a noun.

What word tells what the boy does?
Wh"at. ie the word hops?

0

' Write the plural forms of these nonns:

cow
· squirrel
ro0f
Ji;\ t

rci r\

r-.

\
I

I'

~. I

book
apron
flt,irnH1
{ln,g
n• i1111

dP8k

slate
scarf
rnonk PV
.;

r;1t
THC fl
1

c il

The word hops is an _ _ - - ·

toy
slioe
frog

What does the bat.Jo?

The bat _ ____ .
\\'hat i ~ tli e

lan1p

pictures

'.
rourns

}iid,iiU'>

UUHU.J

clocks
mittens
skates
bats

goats
cloaks
boots
mats

rabbits
\Veeks
trees
stars

zeros
cuffR
bird,;
nouns

1

\\·0rd

fli es 9

.. 1'

Write and learn the following:
Definition: A word that expresses action is

a verb.

Use an action word in each of the followi11g blanks:

d~--~~· ­

What is added to the singular form to make the plural form?
How is the plural form of these nouns made?

d~

Write and learn the foll owing :
Law: The plural form of most nouns is made by a.ddiD.2
B to the singular form.

d~.

..d~_·
. ffe~-

- --

-

•

--

--- -

--- - ----

~·~~

-

-

--

-

-

-

--- - - - - - - - - - - - - - -- - ·-----------------------

-

-

•

-

12

-

H

"

-;

-

----•

-•- U

-

-------

· -

How to Talk.

Composition.

~

d~

Composition 1.
(ORAL.)

-~
.~/tltt~-­

d~

d~

13

dA;puaud~~/~-- -·
'\V rite

~wenty

worrls that express action.
•'

_Nothing adds mote to the beauty of speech than correct
pronunciation.
In the following lists are words tha_t are often pronounced
- incorrectly. Pattern word", in bold type, are givtn to show
how to pronounce the other words.
· Pronounc~ the words carefully and distinctly.
Drill yourself on each list ur,til correct work is a habit.

List for Pronunciation. I.
(DRILL EXERCISE : TWO l!l!l' CTTES

sod
soft
cloth
wrong

0
gone
cotton
not

dog
hottle

0
office
fog
borrow
cobweb
on

1. This picture represents a boy and n ~irltmakinff a garden.
·
Where is the girl ?

2. The girl is kneelin_g on the ground.
What is ~he doing?

r,o:rn.)

Give the sourid of o as heard in the word clock. Give it
five times. Put this sound into each of the following word::i.
Pronounce the list rapidly:

0
clock

What_does thi s picture represent?

0
loo0
frost
hod
frog
moss

3. She is looking at a paper of small black seeds
which she holds in her hands.
Where is the boy? .

4. 1'he hoy stands in front of· the qirl.
What has he in. his riaht
han<l?•
·O

5. 1'he boy ha,s a spride in his right hand.
What is he doing?

6. He is leaning toward the girl and pointin_J to
thf! seeds llJith the fore-finger of his left haT/,d.

42

How .to Talk.

Composition.

· to-morrow to pick berries?" ·Faith answered, "If
mother_ is willing, I will go." Faith ran to her
mother and exdaimed, " Mother! mother! may I
go with Fanny to-morrow?"

Composition VII.
(On.AL AND WRITTEN.)

desert
countries
merchandise
awkward

Read the words that are quoted. Read the words that are
not quot€d.
What are used to show that the words are quoted? Find
five sentences that contain quoted words. What are there to
show which words are quoted? What do these little marks
show 't What 8:re they ca.lied? Where are they placed?
How are they made? What are quotation-marks?

hump
coarse
shaaay
01::'

padded

Law: Enclose borrowed words or sentences in

nails

quotatlon•mar~'1.
-,.::

43 .

~~~~~~~~~~~~~

THE CAMEL.

C~nnposition

VI.

(ORAL AND \VRITTES.)

heavy body
coarse hair

Where is · this animal found? Of what use is the camel 7
What kind of body has the camel? Whh what is it 'oovered?
Describe the legs and the feet. Why can the camel rest 0 ~
its knees? ·
·
t
·write a description of the camel.

broad head

.Composition, VIII.
(ORAL AND WRITTEN.)

hollow horns
short legs ·
clo\·en hoofs

graceful

vegetable food

pointed head

naked . muzzle ·

branching l1orns

slender legs

vegetable food .

· doven hoofs

. solid horns

THE COW.

Of what is this a picture? What kind of body ha..<1 the
cow? With what is it covered? What kind of head has
the cow? · What kind of horns?
Describe the leg82 the feet and the tail.
What does the cow eat? Of what use is the cow?
Write a description of the cow.

THE DEER.

Write a description of the deer.

45

Composition and Pronunciation.

How to Talk.

44

- -- --- - - --

- --

('omposition XJ.

Composition IX.
(0R.\L A'i'D \VRJTTE'i'.)

web· feet

boat-shaped

oily feathers

broad

gra 1n

short

wo:- ms
THE DU CK.

\\'hat is the na~e of this bird? Of what shapG is the body?
With what. is the bodv covered?
Describe the bill. . Describe th e l egs. Wheri;, are the legs
placed? Describe the feet of this bird.
What does the duekeaL? Why is the du.ck c:il! cd '.l S'.';ir:11ner ?

Write a desc ription of the dnck

Compo ... ition X.

slender body

shorter

gracC'ful

hind leg;:;

fur ·

chisel-shaped

short tail

gnaws

oval head

burrows

long ears

· \·euetable
CJ
TH E RA BBIT.

\Vhere is the rabLit full11d 9 How large is th e rabbit? Of
what color is the rabbit? What kind of body 1\s the rabbii?
\Vith what is it coYcreJ '.' De:0cribe the tail. De;ocribe the
head. \\'hat kind of front teeth h a o, thi .' anim;d 0 \\.bat does
the rabbit f~;tt? \\'hy i> this n,nim11l c;dlerl. a gn;1wer?
~
\Vri ri:; a

"

of th,, r:dJ bit.

cur ved claws
i nsects
scratches
THE HEN .

Of what is th is a picture?
Describe the body , h ead, bill , neck , tail and legs of the h en.
H ow many toes has the hen? H ow are the toes arr3. nged '(
What does the hen eat?
Of what use is t h e hen ?

H ow does th e hen obtain its food ?

Write a description of the hen.

I

T-

t •

(Dn l LL EXERCISE: TWO MJ:\TTF:s LO'i'r. .)

stout

weak wincrs
0
small head
strong neck
thick

\

do0~c ripti 'll!

Li.-;t fur Pron undatiou.

.1

ltJ.tuer3

I

timid

fore legs

Give the Eotmd of o as h ea rd in the word froc k. Give it
firn times. Put this sound into ea ch of the fo ll owing words:

0
frock
no \·el
what
. lobster
gossip
hobby
nonsense

0

obj ect
torrid
sob

()

\vasp

nostri l
morrow
sock
horrid

wud

moJel

squash
pod

hovel
lot

0
modern
nod
swan
lottery
songster
horror
hog

Ilow lo Talk.

50

Composition.

Write and karn:
Use the word thi~ or that with a

llOllll

in the sin-

. .___...____

51

('ompo.'iition XII.

__ ,_,___,._

'

lUI1AJ. .\XD

gular form.

Use the word chese or those with a noun in the
:tilura.1 form.

Never use this or that with a. noun in the plural

\\'nnn:N.)

hawk

outstretched

}'rallk

d1rnuer
0
cliic·k"'ns

·cora

form.·

tLn-atPll~

Never use theHe or those with a noun in the sin gular form.

coop

Never use them for these or those.

Fill eacli of the following blanks with this, that, these or
those, or with a yerb:
1. :__ kind of apples
sour.
~. _ _ _tirls _ _ · plriying. ,
S. Dirl you, sec __ _ hoys skating· on the pond '1

4: Do you,

like _ _ sort of pears?
5. _ _ pupils read in
- ·-- kincl of bmks, rind
_ _ pnpils rrnrl ;,i _
kind.
6'.

°Sf' e
sr::.,·"cC~~...~

..

d olls belm1J! fo /!laud.

I. ,.,1fay I have one of ___ kind of apples '!
8. TVill yon lend me _ _ penr.ils r
9. _ _ kind of pencils is better than
kind.
10. _ _ children 1ave _ ·_ _ flowers to me..
11.
oranges _ _ sweet.
12. _ _ books _ _ mine.
If you are not careful, you will say, "These kind" anfl
"Those kind." Can you tell why? What ~hould you say?
Give the 'reason.

This and these are used in speaking of objects that are
near. That and those are used in speaking of objects t.hat
are more distant.

~

A Description nf a. Picture.

What does thi 'l pictnre repre;;ent:
Where is the hen? Wlrnt i" ~lie doing '.'. What Joes she
see? Why is her mouth 'ope-n 9 Wh ere rrre thr chickens?
. Where is th e boy? What has he in hi s left han d ? i~ his
nght hand ? What is he doing? What is he reaJv to do if
•
the hawk comes near the cliickens?
Where is the girl? What has she in her hand;;?
~he about to do with the shawl?
.

What is

· THE DEFENDERS.

. This picture represents a boy and n ffirl defendinff a hen and chickens from ri hriwk
The hen has thrust her head out bet~·een the slats

IIow tu Talk.
50
- - - - -- -- -·- ------Write and learn :
Use the word tlai~ or that With a. noun in the singular fo_rm.
Use the word these or those with a. noun in the
:plural form.
Never uee 11••~ or that with a. noun in the plural

Composdion.

51
--Cmnposition XII.
- ---- --

(URAL AND WUITTJ::N.)

hawk
l•'ra11k
-t.:ora

outstretched
danger
cl1irkens
tlm_.atens
coop

form.

NQver use these or those with e. noun in the singular form.
Never use tlaem for t!Jese or tbO!!le.

Fill each of tl1e following blanks with this, that, these or
those, or with a verb :

1. ___
· kinrl of apples _ _ sour.
~-

___ girls _ _ playing.
.J. Dirl y on see ___ lwys ska ting . on t h e p ond rt
.{ Do yon like _ _ sort of penrs C'/
5. __ pupils read in _ _ kinrl of bo-:Jks, and

_ _ pupils read in _ _· kincl.
6. _·_ dolls belong to .l'rlabel.
7. •May I have one of ____ kind of apples rt
8. Will yon lend 1ne _ _ pendls rt
9. _ _ kind of peneils is better than ___ kind.
10. _ _ children 2ave _ ·_ _ flowers to 1nr-.
J 1.
orange.<; _ _ sweet.
12.
books _ _ mine.
If you are not careful, you will say, "These kind" an.-l
.. Those kind." Can you tell why? What should you say?
Give the .reasou .
This and these are used in speaking of objects that are
near. That and those are used in speaking of objects that
&re more distant.

#

-- ~--;--:~~ ~:t
-·-~

A Description of a Picture.
What does thi s pictnre r epresent? .
h
"Where is the h en? Wlrnt j,., :-lw doi 11 a 9 Wh ~ t J
?
Wh ·
·
·
o ·
"
oes s e
. y is her mouth open? \Vh e re 11r8 the chi ckens?
see .
. Where is the bay? What has he in his left ha nd? in hi ·
riaht
h a nd 9: 1vvu1ia t· -·is h e d oing?
·
r t 1s
· he reaJ v to
· do if:s
o
\\ha
the hawk comes near the cl1ic'kens ?
• ·
Where is the girl? What has she in her hands?
~he about to do with the shawl?
-

What is

THE DEFENDERS.

·. This picture represents a boy and a ~irl defendin~ a hen and chickens from a hrtwk.
he h~n has thrust her head out between the slats

How lo Talk.

Pronunciation.

of the wop and is looking at a large hawk which
. ft yin""'
. 6 - ,·,,
is
. ., the air. Her nwuth is open and you

tion in which the hen was loolcinff and saw a lar,te
hawk ftying in the air. ".,J hawk! a hawk! He_
wants onr chickens I He shrLll not {1'et them,/" they
r:xclainie£l.
·

52

can alnwst hear her screrun for help. The chickens
are Olt,tsi<lA~ the coop i:;enrcl1 ing· for food and do not .
seen'i to knuu· of the danger thnt. threatens.
The -boy slwu/i:; near the coop with his hat in one
hand'anil a, ion_!} stick i.n the other, ready to strike
the Jwwk- if he cmnes near the chickens.
The _girl is.at the right of the boy._ She is lookinJ!
at the hrr.wk anrl rnnning fownrrl the coop to cover
it with <" shawl u:l1 ich she holds i'l} her ozdstretched
hands.
The Story which Ille P.ictm·e Suf!gc ... t ....

Wba.t is the name of the boy? of the girl? What were
9
tbev doi~ab ·one d:w?
'Where were they playing
•
·where w<ere the chickens, and \\'h;Lt \\'ere they doing? 'What
did Frnn k min Corn. do? What did they see? \\'hat do you
think thev S:lid 9
' What di•lFmnk (]0? \Vlrnt did Corn do 9
\Vhat was Frnnk';; \\·ay of defending th e chit:kens ? What
was Corn's way? \Vh at do you think the h!lwk cl id?
J

l

THE DEFENDERS.

One day Frank and Corri were plnyin_g near the

coop where they kept their spr:ckled hen with her
six chickens.
1-'hc chickens were onfsidf~ the r:onp searchin_g for

j

h·ru1 k .ji.unrl
. a lon<i
_,, stick ri,nd went ncr.1.r
. ti1e coop.
1'/i.ere he sloorl with the stick in his hand, watching the haw/,;, closely anrl rearly tu .strike hhn if he
should come near the chickens. Cora wrdched the
h([,wk and ran toward the conp to pover it with a
sha.wl which she held in her hands.
Frank would protect the chickens by -destroying
the enemy. Cora thought of protecting the chickens
by maldng them safe from the attack of the enemy.
The hau:k, seein!f the hen and -chickens
defended, flew au•ay.

}v

well

Let Pach pnpil write a ;::tory that is suggested to him bv the
f~i_'e?oing picture, u~ing the q u e~tior1s as ~guide for seein~ and
Uirniung.

List /OP Pronunciation. VI.
(DRILL EXERCISE: TWO MINUTES L02\'G.)

I

I.

53

_food. SUi<ldenl!f the children u -·r-?1·r, startled by the
s<:reanz, of the hen. Sl1e Juul thrust her head oi"t
between tke slats of the .c~mp and wa,s lookin_! towariJ, the sku. Frank and Cora looked in the direc-

Give the sound of 60 as heard in the word book. Give it
he times. Put this sound into each of the following word":
00

book

look
pull ·
cushion
crooked
good

~

00

cooper
foot:;tep ·
foot
stood
shook

.

full

~

00

hood
wood
forsook
took
bush
push

~

00

wool
hook
cook ·
rook
understood
.wooden

54

How lo Talk.

a~mposition.

Composition XIII.

Composition XIV.

(ORAL AND \VRITTEN . )

(ORAL AN!> WRITTEN . ) .

55

Fannv
picture

swmgmg
exknded

sitting
ready
push

shade

doll

doll

oak

pushed

Write a de-

Tell the
&tory suggested
by
this picture.

scription of
this picture.
THE SWING.

Composition

What does this picture represent?
Write a description of this picture.

xr.

\

(ORAL AND WRITTEN.)

The Story which the Picture Suuuests.

Name this b0y and this girl.
What did _ _ _ have for a birthday present? What kind
of doll was it ? What did she call her doll ? Where did she
take her doll one day? What happened? How did the little
girl feel? What. did Rhe do? \Vhom did she call? What do
9
you think she said to her brother
9
What did _ _ do? What do yon think he Raid to :_____
Did they get the doll? What was the condition of the do~!
1tfter being in the water?
What do you think ____ mother said to her? What promif:e do you think th_e girl made?
· Tell the story suggested by the fora.going picture, using the
questions as a gnicle for seeing and thinking.

/

a

Write description of the above pictur~, and tell the story
suggested by it.
Be careful about the order of seeing and thinking.

How

56

lo

57

PreBent and Pa8t Form.s of the Verb.

Talk.

- - - -- - - -

Composition XVI.

List fur P1·unuw:latlon. rII.
(DRILL EXER CIEE : TWO MI NUT ES LO!l'G.)

I

Give the sound of A as heard in far. Shorten it. Make
Make it as short as possible. Put this exact
i;ound into each word in the list:

it very short.

I
I

\

:t

•

ask
pass
glass
dance
clasp
master
gasp

a

a

a

µlastr>r

grant

gbnce

demand

masH

advance
Frante
blast
cast

pasture

enchant

t;]ant
staff

class
chance

pastor

mast
. graft
lance
prance
grass

MAKING PIES.

Knte

John

pies

inud

-Jou ,rh
~ti (' 1"' ~

bake
fire

~

Write a description of tL\s
; picture.
Tell th~ story rnggestcd by
'. t11 i;; l 'irti;re.

Cmnposition XVII.
(ORAL AND WRITTEN .}

Lesson XXll .

I

Th e

Pre.~ent

:Funn aud the PatJt
the Verb.

\
Form~

of

Time to come .is ... f11t11rc tin1c.
Time now is .. . .. present time.
Time gone is . .... past time.

I drnw a lin e now.

post

JUmpmg

f<>nce

barkinv0

Does the above f:entence represe nt. present time, past
or future tim e ?

HP. draws a line now.
Write a de-

Tell the sto-

scription Of this

ry suggested by

H e drew a line yesterday . .

picture.

this picture.

What time is expressed in the above i;entence?

What time is expressed in the above se'n tence?

t1rnf

How lo Talk.

The Complete Form of tile }erb.

He see-s n. fish.

What time is represented by the word draw? see? _s ing?
do? throw? drew? saw? sang? did? threw?
What is the past form of draw? see? sing? do? throw?
What i ~ the p resen t form of a verb?
\\'l~;tt is the p;l;..t. forrn vf a Ycr1J?
\\'h.'l.t arc the J>rcscnt forms of the verb saw? did'.' threw~
drew? sang?

58
'Ve se-e a fish.

What time is expressed in the abo\·e sentences? What one
word in each sentence
e xpreFRes the t ime'.!

Tl1cv 1'aw a

8l1P

;.:aw a

fish .

fish.

\\'hat ti mt' is expressed in the above
sentences? \Vhat one
word in ·each sentence
expresses the time?

They sin g a son g.

Rhe sings n. 8ong.

Thc1· saner

He sang
a so11s;: .
.__,

.I

'-"'.)

iL

sona_
b

<..__,!

\Yh:il t.imr j, rxpre'F"rl in the fir;.:t Eentence? in tlie ;.:econrl ·) in the tliinl ~ in tl1e f<> 1t rtl1?

\\'ha t ·one word in each sente nce expresses the time?

They

11 0

th eir work well.
She d0es h er work well.
You did your work well.

59

.
Present Form&.

do
draw
see

docs
draws
sees

P<•I Form.

did
drew .
saw -

Preoenl Forms.

sing
tl1row

Pail Form .

smgs
throws

sang
threw

F i_ll each blank with orie of the above verbs :

) 1. Jol.ui _ _ a picture yest erday.
\
.j.~. Th e boy _ _ a 1mck et of u:a t er .
3 . He _ _ .Mrtbel in Chicago.
-i · I_ __ a book on t!1e to!J1e.
.5. He
l1is u·ork rrr.11 .
6. Slw _ _ _ I h e wrn·k an Ii our n.gn.
7. She ___ her cxmnplc8 at t en o'clock.
8. Yrsferda.y fhf! lmy _ _ n stone.
9. H" rry _ _ the ball in the school-room.
10. The lady _ _ ih tlM choir.

.I

Wh at time is expresse d in th e first sentence? m the sec. ond? in the third ?
What one word in each sentence expresse~ the time?

You throw a ball.
H e throws a hall.
He threw a ball.
What ·time is expressed in each sentence ? What one word
;., ,, .... ,..l. "',... ..... 4- ,.. ........ ,.. ............ _,... _ ......... .... i.. _ ..... : .......... ... '>

Lesson XXllL
The Cornplete Forfft of the Verb.
The boys have drawn lines on their slates.
. In the above Rentenre what words express the action perWhich is the chief word ? Which is

fo.rmed by the boys?
,,_ _

1~- 1 --~· "

97

Composition.

How to Talk.

96

---

\Vhere

is

----- ----- - -

the

Cmnpt>tdtivn XX-VIII.
(OR.AL AND WRITTEN.)

What will the

Tell the stories sugge.sted by the pictures on pages 35 ar.d
36, using the forms of teach and learn.

List fm· Pronunciation. VIII.

What

fuel
acute
perfume.
Tuesday

u
ague
stupid
plural
student

fluid

Lucy

opportunity

accuntte

u

became

of the bird?

(DRILL EXERCISE: TWO M!:SlJTES LONG . )

ii

cat do with it?

u

prnduce

con::::ume

numeral
museum
tuition
introduce
duel

bugle
assume
presu_me
institute
numeration

Tiu~

THE UNFORTUNATE BIRD.

Here is the picture of a bird sifting on a lot
~inging. Behind the bird, nea,r the log, is a sly old
cat watching it. She looks as if she were about to
spring upon the log to catch the bird.

(OR.~!. .~ NL• Wr< !TTEN. )

I
l

\

IL·

bird
log
srngmg
behind
watching
sprmg

De.~cribed.

.;Yow the cat h(LS the bird in her mouth.
kill the bird, and then she u:ill eat it.

Cmn1>0.<iition XXLX.

l

Picture!!

Sli~L"ill

Tiu· Story whidt the Pict111·rs Sugge.t'f.

hopped
branch
. .
smgmg
happy
watching
sprang

What did this little bird do
Where is the bird? What
day long? . Where was the
all
is the bird doing?
bird
one day? What did the
Where is the cat? Wh<Lt
bird
do? Do you think the
is the cat doii1g"'? .
What is she about to bird was happy? What was
near it? Diu the bird know it?
do?.

THE UNFORTUNATE BIRD.

Once there was a little bird that hopped about
from, branch to branch, singing all day long.
One day this little bird seemed venJ happy as it
sat upon a log. The bird did not know that a sh
old cat near by was watching it.

By and by the cat spran_t upon the log, cazi_tht
the bird an,d killed ·it.
Write a description of each picture.
Tell the story suggested by these pictures.
7

Huw to Talk.

Cvrnposi!ion.

Compo.'lifion XXX.

Cornposition XXXI.

93

(ORAi. A:Sl> \YRITTJ::N.)

THE

99

(0RAI. AND WRITTEN . )

ACCIDENT.

Fido

Fido

Rpaniel

spaniel

curly

What doeR thi~ p icture rep- l
In what way did Pau1 and
resent? Where is the girl? \ his sister Carrie amuse t.hemWhat h:t~ t<he in h e r krn ,L? ; f:che~ "
Where is the b oy 9 What \
What did Paul have?
is his po~ition? What is h e \
WhatdidCarriedooneday~
doing? Where do you think i Wlut did ~h i:' take wirh hter"
j Where did thE'y go?
they are 'g0ing ? ·
I

I

I

i

1·
~

~.

I

What h:1s happe ned?
Where is th e . girl?
What i;; sh e doin g?
Where are the d oll and
the parasol ?
How does the
feel?

kind

\Vhat
be?

kind

of
of

dog

is '
i

hair has ;

What
Fido?

kind

of

dog

waR

·what kiri il of h~· had

: be?
@;

Rover

shepherd

shaggy

comparnon

shepherd

shaaay
01:'

cornpnllJOn

hours

girl

the boy? ~fll~~~ . . at~
Whit is he doing?
· What is he saying?
Where

What
Fido?

1s

What happened?

What h?.d Fido for a comOf what is this a pidure?
. Who is hi s qompariion? What panion? What kind of hair
kind of hair has Rover? What had Rover? What were they
accustomed to do for hours at
are the dogs doing?
a time?

,;-: ·c-- · ':L~.. . ..

Cmnposition.

Ho-w to Talk.

100 :

fierce

hound

101

Composition XXXII. (ORAL AND WRITTEN.)

bound

· h~eth

caucrlit
n

mornrng

se\·erely

shaking

came

coming ·

Harry
.playful
ca~tle

shook

lookincr
b

TRY AGAIN.

~

What happened to Fino one
How nrnny dog;: in this ricture? \\'hat Jog is in the dis- day?
\Vhere .was R1inr?
tance? Why is he coming?

building
tower
busy
blocks
What is Harry doing? I What was Harry doing one
Wh:it does th~ block which I morning? What happened as
he is now placrng represent? ! he was putting on the last block?

angry

naughty
caught

r
!

l

fi l
I

~I

hurried .

hurrieJ

severei v

~nn;.~1,;.,~
11u111 .~t111,~

throw
Of whar is th is a pictnre '?
\\'Lc..t i:-: L·2 :;..b J'..lt to d:J?

How d;d Harrv feel? What
. di cl he 52. •; 9 \\"1;2.t did he do 7

punished

conduct

'Li

sister

crying
How many dog~ in thi s pie- \ What did Rover do?
lure? What is Rover doing? did be do this?
I
Why is he doing thi s?
.1

i

··

D e~cribe

each picture.
Tell the story suggested by these pictures.

Why

D

Jennie

; : !. ;

1J,t'
.
.
\Yh\lt,did Sister: J ~np\e do?
\Vh}' ?: :wf.at (?ict she! 6ay?
I

Of w h;\t i;; this n. picture? \vhat
is Sister Jennie doing? Why does
. ehe do this.? What is Harry doing?

I

:

:

what
'dill' Hatty ·do?· ·
'
.
.
~

... :. .........
:: :· ;:: .,·.. .::= ·..'.,·
,....

.

... . . .

'

,

[?

. r; . .Ill '1$.IJiJ!E I

Jf ..

II

- .- ...u.~:r,n

• ·.

Composition.

How lo Talk.

102

Compo:"ition XXXIII.
(ORAL A.ND \VP.!TTJ·::'I .)

Of what is this a pictnre?
Who is coming ?
What does she hear?

Who came?
\Yhat. dicl she bear?

'vn ere ~~ Ktrry ·t
What is. mamma do ing?

What did mamma do?

,,.If

~~a,t l~i_v~·thev~··.: :
·:whdis :i!arry· rtoing?
.Ro.~ does he look? . ·.

WhatdidHarrydoafterthecastle
was completed? How did be feel?
What lesson did he learn?

Write a description of each picture.
Tell the story suggested by these pictures .

·.: ~ ._.)..writ~.~ ~-~;crj-~ti;n of

each· picture.
. . •. -~nte the story suggested by these pictures.

....A~
..

'i/f;:. -.:,;. "

,_

:_: :

- . ., _.. .

.•

·:::
. •·
.•

:. ~··:
' h -·

I

.·-

103

Lil 7

lo4

H.'l'dJ

105

1'/ie Progre.'Mive .Form of tlw Verb.

to l'all:.

Composition XXXIV.

Lesson XLVI.

(ORAL AND \VRITTEN .)

The Progressive Form of the Verb.
Little children who r ead this book ha~e yet to learn about
another form of the verb.
.
.Tohn is playing means that the act is in progres!" now.
John was playing meaus tLat the act was in progre8s in
past time.
John will be playing means that the act will be in progress in futur e time.
·,
Became playing denotes an act in progress, it is called the
progressiye form.
EVt>ry verb has a progressive form.

I

Law: The progressive form is made by. addin'g Ing to
t h o present form .

!

I

J

\Vrit.e th e progressive form of each of the following words,

!\i;'

'

~~;~ \ ~

Ei

u. ;...;

'

'

~ ._L,_, _:_ _:. ::~

J..

.

~ ;.;H :

_: :. _· ·..: •

I

l

grow
sing

drink

blow
do
sink

speak
talk
JU mp

go
think
break

\

I
Describe each picture.

Tell t.be story suggested.

dri \'e
shake
strive

.ride
taste
waste

come .

take
give

write
live
glance

108

How to Tallc.

That every day. as lie grt'w up,
'Twas rnid, " Tl1ere goes the honest youth."

-use the Yerbs sit and set in connrsation about the pictures
on pages rn and 35: the verb:; lie a~d lay about t~e pictnre
011 page 74; the yerbs rise and raise about the p1~tures on
page. 15 ; the verbs teach and learn about the p1eture on
page 67.

Co11iposition

109

Composilion.

And when tl1e people that stood near
'\Vould turn to ask the reason wl1y,
The ans\ver would be al ways this :
' Because lie nevn tells a Iie."

~YXXT':

(ORAL AKD \\'RITT.Eli!.)

THE BOY WHO NEVER TOLD A LIE .

O ucc t li cre u·a s ({ urifjld-r·1; c1l,

c11rly- li rrul~ d

voy

zl"lw a11caus told the trut71 . H'l1c11 lie 1ce11t tu sch ool

the children wonld excld.i111, "There _goes tl_ie curlyheaded boy who never tells rr. lie."
Because he altcaus told tl1c trut11, he 1cns lo v ed
by nll u:lw knew him. TVhen lie uecmne old\ the
prnp1e spnke of him as ''The lumest uonth."
.
. -lnrl 1rlu:n tlie people icere asked Il'hy they cnllec~
ldrn "hrmf'st youth," the rcp1y- u·as , "Because he
1U' l'C l'

te l l s ({ Ii r. "

T HE BOY W HO NE V ER T OLD A LI E .

\Vrite the story of this boy in your own bnguage.

Once there was a little boy
'Vith curly hair and plt>asa11t eye-

Compo.<lition XXXVI. _

A bov
.., who always
. told the truth,

(ORAL A.SD WHITT.EN.)

And never, never told a lie.

MY DOLL.

And when lie trotted off to school ,
The cl1ildren nll about would cry,
"There goes the curly-l1e<tded b0y1l'h~ boy tlint nev0r tells a lie."

I hn.ve a little doll;
I take care of her clothes;
She has soft flaxen hair,

And everybody loved him so,
Because he always told the truth,

And her name is Rose.
\

\

...

110

Hun· tu Tulk.
- ------ - - - - - She has pr0tty blue eyes,
And a n~ ry sma ll noSl\
And n, sw<.>et little rnoutl1,
And lier name is Rose.

Write a description of "My Doll" in your own b1131rnge.

Compos'itfon XXX VIl.
(ORAL A);D W R ITTE$ .)

Cumposit iu n.

111

Yet sh e wearies of her pfoy,
B0gs wi th lwr marnma to st:1y ;
Clinging to her inother's knees.
Crif's for "'Tory, 'tory, plea_se."
Write the story of "Li ~ tle Dai;:y" in your own languag~.

Composition XXX VIII.
(OR.U A:SD WRI!TEN . }

CORN.

Tbere is a pbnt you often see
In g;1rden:S ar1Ll in belch;
Its stalk is strnivht;
ib lean's n.re Iona
0
{"')'
And precious fru it i t viclds .
The fruit, when
)·ounu
is soft and '\\·Lite\
0 1
'
A ncl closP lv wrnnned in ureen
J\ nc1 ta:~:--;cl
s !:an 0" frnrn c\·cnc~u '
~
'Vhich children love to glean,
~

LITTLE DAISY.

!

Little Daisy has a box
Filled with colored builcling-blocks;
Then, to pass the time away,
Dolls has she in grNtt urrayRng and paper, wax and clayOne for almo~t every d:iy;
Balls and slates, n.nd pencils too;

Toys from Chine\ not a few.

1

l

'-

•

But when th e tassels fad e a way,
The fruit is ripe and ok1; It peeps from out the wrapping dry
Like bPads of 'y ellow gold .
.

The fruit, wh en young, we boil an<l roast,
'Vhen old, we grind it 'Yell.
Now, think of all tl1e pl ants you know ,
. And try its name to tell.
.
Write a. d escription of ,; Corn."

112

Composition and Pronunciation.

How to Tal,k.

113

"Brooklet., bud and flower and blossom
Never still remain."
"V/e have learned a lesson from you
Brooklet, on the plain."
. '
Write the story of " The Brookh~t " in y 0ur own language.

(ORAL AND WRITT E N. )

NEVER PLAY TRUANT.
·,

Listen to me now,
My dear little lad:
Never play~truant;
'Tis naughty and bad.

Composition XXXIX.

Others will scorn you,

(ORAL AND WRITTEN.)

THE

I

And point a:-< you pass :
"Look at the boy
At tl1e foot of l1is class!"

BROOKLET.

While . you an- brrrowinO'
0
LPnrn all tlmt you can,

"I iun ron.ming through the valley,
Onward to my home."

I

I.

"Stop and te11 me, little brooklet,

i

"If I stop thus, I shall ne\·er

l
1

'Vh ere is, tli e n, thy home?"

Or you will be sorrv
\Vhen you are a man.
\Vrite the story of "Never Play Truant" in your own Jan·
guage.

List for Pronunciation.

Hen.ch the ocean foam."

I

"\Vhy such haste to reach the ocean?
'\Vhy not here abide?''
"I must keep the ships in motion
On the ocean wide."

(DRILL EXERC!3£ :

IX.

TWO MINUTES LONG)

00

00

moon

00

moose
brooch
whom

00

bosom

00

er? up

rule
· two
boom
fool
loop

whoop
Lal loon
raccoon
cocoon
8

11

\

rel'.ruit
groom

rot1te
canoe
roost
school

n11n

ruby
coop
boot

Compos it ion.

J..T.fow to Talk.

114

Coniposition XLl.
{ORAL AND \VRITTEII.)

115

·or

flowers that bloom or birds that sing·
. Full little cares or knows lie;
He hates the fire and hates the spring.
And all that's warm and cosy.

But when the foxes bark aloud
On ·frozen lake and ri\·er ~
When round the fire the people crowd,
And rub their l1auds· and shiver;
'\\-'hen frost is splitting stone arid wall:
And trees come crashi~g after,-·-.
That hates he not : · he loves it all ;
Then bursts lie out in laughter.

Hi~ home is by the nortl1 pole's stranct:
\Vhere earth ::ind sea are frozen ;

~·

Rig summer-house, we understau<l,
WINT~R.

Old \Vinter is a sturdy one,
~.\nd lasting stuff he's made of~

His flesh ·is firm as iroustonP ;
Tliere's nothing he's afraid of.
He spreads his coat upon the heath,
Nor yet to war~ he lingers ; .
~cou.ts the thought of aching teeth,

He

Or chilblains on his fingers .
.l,

•

·:.~~~.~· ,.;:., ~- ..

=

In Switzcrla:iJ he's chosen.
Now from the North he's hither !tied
To show his strength and power; ·
And when be comes we stand aside,
And look at him and cower.
-Fram
.

th~

Gt'rmlln.

.

Jtudy the Composition "Winter" very thoroughly, noting
with especial care · the order of thinki.ng, and then· write the

Com~ition in your own language from memory.

181

How to Talk.

Composition.

Compo.~ition XLII.

:;\'o:irc the nrr1e r of th onbrrht in th 0 f nr r·g n1ng
·
cnm p o?1·t·ion,
and notice the paragraphing.

180

~oti c e al~o the follo\Ying outlin e of thou2,Lt, and in co nnection with it Etudy carefully the pi ctures, o;, if possible, study
the anima1s.
.

'i'i'rite a composition on the same rnbj 0c t.
011tli11r.

Body, Eh a pe and covering.
Limbs or mean:: of moving about..
Shape and positi on of the he11d .

Kind and shape of mouth-part . .
How each breathes.
Where each Jives.
A BIRD

AND

The body of a bird is somewhat boat-shaped, and
is covererl .with fenthers. The body of a fish is lon.J!
and tapering, and is covered with scales.

Composition XLIII.
(COMPARISON.)

(ORAL AND WRITTEN.}

A bird has two wings for fiying, and two legs
and feet for. walking or swimming. Instead of
w~ngs, legs .a nd fe et, a fish has fins for swimming.
The head of a bird is small and roiind; it is situated above the body, and is joined to it by the
neck. The kead of a fish is large and fiat,· it is situated on a level with the body, and is directly Joined
to it. The mouth of a bird is prolonged into a hnrrl
beak or bill, and is without teeth. The month of a
fish is large nnd furnished with teeth.
A bird breathes by means of liings, and lives in
the air. It can move about on the land or in the
water. A fish breathes by means of fills, and lives
in the waur. It cannot live out of the water.

A BIRD

AND

A SQUIRREL.

Outline.
Body, shape and covering.
Limbs or means of moving abont.
Shape and position of the head.

- ·........
I

~

;~---------------~

I

How lo Talk.

182

Composition.

K ind and ::hare of mo uth -part.

183

Compo8ition XL V.

H .. w eaeh Lreath es.

( Co ~PA HISO~.)

\Yhere eac h li ves.
Study the pictures carefnll_v; stndy the outline.

(ORAL AND WRITTEN .)

Write a

composition comparing "A Bird and a Squirrel. "

Composition XLI V.
( CoMPAR! SO~ . )

(ORAL AND WRITTEN.)

AND

A DUCK

A SQUIRREL

AND

A

FISH.

Outline.
Body, shape and covering.
Limbs or means of moving about.
Shape and position of the head.
Kind and shape of mouth-part.
How each breathes.
Wh ere each lives.
Study the pictures carefully; study the outline.
composition comparing "A Squirrel and a Fish . '

Write a

. A HAWK.\

Boat-shaped body; soft,
oily feathers; wings of
medium size; short tail;
short leg~. placed far
back and far apart; front
toes unite<l by a ''eb ;
hind toe short anrl elevated.
Short, slender neck; narrow head; broad, flat bill.

Stout body; feathers not oily;
wings strong, long and broad;
broad tail ; short, strong Jegt,
placed near the centre of the
body; front toes not united by
a web ; hind toe long and on a
level with the front toes; strong,
hooked claws.

Eats grass and grain .
and small animals which
it obtains in the mud
and wa,ter; swims; dives; ·
lays eggs.

Eats rats, rabbits and otlwr
iomall animals, which · it seizes
with its claws and tears with its
bill; does not fiequent the water;
lays eggs'.

· Short, thick neck: . large, flat
head; strong, thick, hooked bill.

Write a composition comparing "A Duck and a Hawk."
I

...
....•

.

I

How to Talk.

Composition.

Composition XL VI.

Composition XL J"'"II.

184

(COMPARISON.)

A DUCK

(ORAL AND WRITTElf.}

AND

· :Boat-shaped body; soft, oily
f~athers : win~ of me di um
size; short tail; short legs,
placed far bac~ and far apart;
f~ont toes united by a web;
hind ioe short and elevated.
Sbort, slend'er neck; narrow head; broad, flat bill.
Eab1 grass and grain, and
· .Arnall animals which it obtains
in the mud and water; .swims;
dives; lays eggs. .

(COMPARISON.)

185

{ORAL AND WRITTl:::S.)

A GULL.

Body small and Jight; soft,
oily feathers; wings long and
pointed; long tail ; legs short,
I and placed near the centre of
1 the body; front toes united by
a web; bind toe short and elevated.
Short, slender neck; small
head; narrow, straight bill,
slightly curved at the tip.
Eats animal food ; swims;
is not a good diver: lays eggs.
I

I

Write a composition comparing "A Duck and a Gull."

A SQUIRREL

AND

Long, slender body; fur;
bushy tail; slender legs; four
toes on each fore-foot; five toes
on each hind-foot; long, sharp,
curved claws.
Round head; two long, sharp,
chisel-shaped front teeth in
each jaw fitted for gnawing;
broad, rough back teeth.
Eats vegetable food; gnaws;
lives in trees or burrows in the
ground; sits on its haunches;
holds its food with its fore-paws.

A CAT.

Long, slender body; fur;
long tail; slender legs; five
toes on each fore-foot; four
. toes on each hind-foot; E>harp,
curved, retractile c]a,vs.
Short, broad head; . long.
pointed front teeth in both
jaws, fitted for tearing; sharp,
uneven back teeth.
Eats animal food; gets its
food by watching for and
springing upon it; sees well
in the dark.

Write a composition comparing "A Squirrel and a Cat."

..

How to Tal /-:,.

Composition.

Cmnposition XL FIII.

Composition XLIX.

186

f('o~!P.\P.ISO:S.)

(0 R.\L A:>D \\'R !TTE N .)

( CoMPAR!~ON . )

(O RAL AND WRITTEN.)

POLLY'S

DOLLY.

Shining eyes, very blue,
Opened very wide ;
Yellow curls, very stiff,
Hanging side by side ;
Chubby cheeks, very pink;
Lips red as holly ;
No ears, and only thuml1s,- ·
That's Po1ly's Dolly.

A

SQUI~REL

AND

A BEAVER.

Long, slender body; fur; I Long, heavy body; broad,
bushy tail; slender legs; four · flat, scaly tail; fore-legs shorttoes Oil each fore-foot; five er than hind-legs; fiye toes on
toes on ea.ch hind-foot; long, each foot; the hind-toes unisharp, curved claws.
ted by a web; sharp, curved
claws.
Rouud head ; two long.
sharp, chisel - shaperl front
Flat head; two long. sharp,
teeth in each jaw fitt ed for chi ;:el-shaped front teeth in
gnawing; broad, rough back each jaw fitted for gnawing;
teeth .
broad, rough back teeth
Eats vegetable food; gnaws;
Eats vegetable food; gnaw::;;
lives in trees or .burrows in the frequents water·' is cnnnincr
·
b'
ground; sits on its haunches; builds da.m8; makes two-story
1
h oJds its food with its fore- 1 houses. with lower story under
paws.
water.
Write a composition comparing "A Squirrel and a Beaver."

187

Merry eyes, very round ;
Hair crimped and long;
Two little cherry lips
·
. Sending forth a song;
Very plump and rather short;
Grand wayi;; to Do11y;
Fond of games,·fond of fun,Thrtt's Dolly's Polly.

·~

\

Write a. comparison between the girl and the doll as sug~
gested by . the poem.
·

Composition L.
(COMPARISON.)

(ORAL AND WRITTEN.)

THE VIOLET.

Down in a green and shady bed
A modest violet grew ;
Its stalk was bent, it hung its head,
As if to hide from view.

Hate to Talk.

And yet it was a lovely flower,
Its colors bright and fair;
It might have graced a rosy bower
· Instead of hiding there. ·

I

189
From this I may a hint obtain,
And take great care indeed,
Lest I appear as pert and vain ·
· As is this gaudy weed.
- Jane Taylor.

Yet there it was content to bloom.
In modest tints arrnye<l;
And there diffused its swPet perfume
vVithin the silent sha<le.

!.

Then let me to the valley go,
'fhis pretty flower 1.o see,
That I niay also learn to grow
In sweet humility.

Write a comparison betw~en the violet and the poppy ao
suggested by the poems.

. Composit-ion LL
(COMPARUION . )

(ORAL

AND WRITTEN. )

\.

-Jane Taulor.
THE

POPPY.

High on a bright and snnny hf'd
A scarlet poppy grew ;
And up it held' its staring l1ead,
And thrust it full in view.

\
THE FRIENDS.

Yet no attention did it win
By all these efforts made,
And less unwelcome had it been
In some retired shade.
For though within its scarlet br<'a.st
No sweet perfume was found,
It seemed .to think itself the best
Of all the flowers around.

THE ENEMIES .

Write a composition comparing" The Friends" and "The
Enemies."
·

.flow to Talk.

190

l e,....,...,,...,.~
L-

;:>.:>VII

lL..o.1'._.I.,.
'\lV\/I
V lw

Choice of nrords.

Expect means look for, await or hope.
The word expect should be m:ed in relation to !'Orne act
not yet done, and not in relation to rnmc completed act.

I expect my friend to come next week.

I expect
to go to school next y ear:_ \Ve expect to go to Chicagl) to-morrow.
Is the expected act done or to ~ done, in each of the above
sentences? ·
It is wrong to say, "I expect he is at home." Why? What
should it be? You often hear one say," I expect it is my fault."
Is it right? What should it be? Give the reason.

I think he did it.
What is frequently used in sentences like the above instead
of think ? Is it right? Give the reason.

1. I _ _
2. I _ _
3. I __
4. I __
5. I _ _
6. I _ _

Fill each blank:
your friend has arrived.
he came last night.
she is angry with me.
she does not like me very well.
yon think he is not a, good boy.
she sang in the choir last night.

I ' you are not careful, you will use the word expect in
eiu:h of the foregoing sentences.

Guess what I have.

How can you avoid it?

I guess you have a butterfly.

What is the m~aning of guess in each of the foregoing sentences·?

C!wice of iVords .

191

One may guPss at 'vhat he does not know . He
m:.ty guess riddles or lie may guess what you liave
when be is blirnlfol<led.
Is it righ t to use guess as it i~ used in the foregoing sentences?
You frequently hear one say." I guess I ~hall go to-morrow. "
Guess is not the right word to use in this Fentence. Give
the reason.
Is it right to use the word guess in filling the blanks on
page 190?
You should never use the word guess to express an opinion , expectation or intention.

Will the boys get the
nest?
They are trying to get
the nest.
The boys l1ave the nest.
They worked until they .
got it.
The boys worked to get
the nest.
·~
They obtained the nest ._.._ _

.

-~·"'

by working for it.
. ~7"'.'"
It is impossible to get anything without effort.
Get means obtain by effort.
' ·
"I ha,·e got a doll," said Nettie. .. ·~Iy, doll has
got a broken arm.,,
.. . .
11
Nettie means "I l1ave a doll" or . I ow~ ..a doll."

- 200

201

How to lVrite a L etter.

H ow to fVrite a L eiter.

A shortened expression is,

Lesson LXXVlll.
How tO 1Vrite a

Letter~

Yon have been learning to talk . It is hoped yon have
learned not only to make correct .sentences, but also to think
carefnlly ;i.nd methodically about .what you talk.

If you use method in see)ng and in tbin1(ing. and in arranging the thoughts which you express, and if you use correct
language in expressing these thoughts, you will be easily understooc4 and those to whom you talk will be interebted in
what you say.
You frequently wish to say something to an absent friend
or relative. You can do this by writing a letter.

It is not expected that you will write any better than you
talk. Your letter will be interesting if you write as you talk.
There are certain shortened forms for beginning, closing and
directing letters which you must learn.
to ~ave space.

These forms are used

A pernon who receives a · letter wishes to know where and
when th e letter was written .
To sta.te t his in the ordinary way of talking, something like
the foll <>'w ing would be said :

(7/~ m cf~~

C/16ay 6d'

Mi lrJW2.
This may be-further sl1ortened by omitting the relation words
a nd uei ng commas in their places; as,

C//au;-ta/ d/Z:;-uud/ C/fGay 6/

/rJ1rJ1~

This should be placed on the two upper lines at the righthand side of the page, as follows:
-.

~u-i<Ua/ cfd!~M4/

C/f6ay 6/

l<i'<i'!l.

Thiii is called the heading and the date of a letter.

~ d//e-t. ~ -uvU/fey;, d 26 &~d
9du:e ~'t d ~ ~ $od~ ~ ~adda--~
Juu£X
de od clar ~cfu/y vn· d
(}-n

y ea-i /Jcf2.
Shortened form:

'26

&+

~u/ $o.Jh./ C//Gadd./

cluf

0/ /rJ1rJ12.

Where -was the foregoing _letter \vritte{I., and wh en . was it
dated? What is the 1,!Se of the commas~ t.be periods? .

All this can be expressed just as well in fewer words, if the
words are placed where we are accustomed to look for them.

Notice that the number of th~ hou8e and the name of the
P.treet are giv~n. This is necessary in large ~ities , _because tM
mail is delivered at the hou~ea by a carrier or postman.
What part of the heading and date is written ~n ~gure.s?

How to lVi·ite a Letter.

How lo lVrile a Letter.

202

203

Abbreviate and arrangP. properly on the page the following :

cf -7£~_,/e -t4-t- (}/;.thno-1-e- ~~i V'u{~w

/dr;u'H/y <:n rJanzvn/ de 4/lfday c/
CA1:/u4/<-~"2- d yuz-t /<fcf-2.
QU

(ff;r;d

c/

ra-i

c/

-fli~<'/i/J ~;/!;

/J1cf'2.

c/

~//e~ u -ui~£1/en m /i7e a?e
dv(ad~-n- <~ OfM-CfJ'HAU:n ~ /,{e ..200f'
da:Y .@eu--;p1-d:-t ~--t ~ yecvt /cfJ12.

c/

Where on the page should the o.ddre~s be written? \
The one who receives. the letter desires to know who \~ro!e
This is c~lled ti~
signature.
The closing of the letter will depend upon your relatiomliip
to, or intimacy with, the person to whom you write; as,

it, and the writer's name must be signed.

· You always alldress a friend to whom you speak as Father,
. John, Stella, Mr. Allen, etc.
The address in a letter is more formal ; as,

Cfty @tUT-t &:z&fe-t. · .@ecvt -d/~. ·

d;;emd'JJn. ·

dra.Jd .-/

C/fc,v. /~ /rfJ2,

&

·.

&·tf /0 / lcf'cf2

klk~ M -uvt£/~-n _ a/JoJ()f~~;r­

/bn -efAu:,/ <~z d r~
Ji~r;o,/fn ffl
Clfc't~ rye~;{ Mt /?fc cfl?f day -e/~/e'Jn=

k ui- d

c}aek#--V£~ ~/a./

cf6~. ff. &:-c:/dtn/

rf

c;.u1.f

~e4u:Me,lf, .

J.Ot.~&u~

@ecvt~d.·

Y2~fdf~
. c/ie/;:~ $kr .

N<?tice carefully the capitalization and punctuation of the
foregoing addresses.

Noti~e carefully the capitalization and punctuation or the
forep;oinp; conclnf'io11f'.

.

•

-204

~--.

How
- --

to

How to lFrite a Letter.

lVrite a Letter.

Kow we will write to a friend and tell about a sail we had
to-day.

- -- ------

of6r.id 1~14

LJ!
R. Mkz/

(}f;.a,tnu::.4e,/

D

-6/!ca./nul dad
/

Y!dt/a4-f~.
.

@uvt

-f3?'4ct-. ·

;r-u d4 k

v~ · /~CV7~,/

0~

C/16~.t. -6~u#UP«v/ ~/

clack(}-),;,/ ~/a. /&/ /(J/ /cfcf2 ..
(){~

<fkda~ 8c:u~/

b2J1

205

I

~./

Study the ad~ress of each of the above envelopes.
·What.should be ~ritten on an envelope?
Where and how shOuld each part of the address be written?
How should each part be capitali~ed and punctuated?
Where should the stamp be placed?

L~

nu

/d//

U?t// d kc! /b-~y ~n

/!J-1c-du c/ycd; -1a/fl
C//~£1 ~ o'rLJ dM v~ cf
~lktkn ./c d -1e~-t/ ~ ~?
Fundc};ec/drud7 et~~ a -1~ u,,~c,£ ~\

kc! '>nade ?. 1-v-u/1£ ,daAdJ. ~ · ~
ad /fe &~ ~ne /!c /u,(.£/fcd de uijf ~ de
~e a-n.-d a.:J.d7cd -nu ./b /a.de a d:a/'W-£d
~-

c//u//Liced a /'-kn~ /tMn d 4ajl
/(? d knd ~ .£1c-etd c>n d -taj/ ~d
· /:~~tied vl~d ah?~~~~ /fe
~ ffl £r~ 1Jf /land ~ cf ~/yW

How to lVrite a Letter.

_ _____- - - ' - - - - - - - - - - - -~Jt i//:: //alld-r/ ~(la;; /c
_;_;_

Nl<'!'f

dc.wn/ and

J.

/~~~1k'

How

ta

lVrile a Letter.

207

---

£0

a11e/

J J~r,f-/;/ La-N'

/!:/2-~L .ri/c/cc/ :l'i~zc/ 1u:/ !.'.,{;n /,;_,{-/ < /
1·
:f
(;

;;1/1 /r,_·; u/anr//'cf;N/'Jn£ rrJ J.u_,a,//;;?/
ca·lr/f~/~~a/'1 ~7 /?t'e~~nk

\Vhere and when was the foregoing letter written?
whom w:is it ad3re~secl '1 Who ~ign e J the ldtt'r 9

To

The following p icture s u g g,; ~teJ tile thocight f0r the f0regr•ing )c (( L'f.
l\0te the qnestions nnJ the order in which they are matle ,
then stucly the letter and note the order in which the though ts
are arranged.
Kote aho the paragrnp1iing of the questions and of the letter.

r71; C'l-t:Jd.fed~ d (Jdc-~. tf£dc ~d -tt:Ve-t,,
JJAYJ,e -z,pe r'J-za!
/z<M-iLd;k/. /u l
-we ~,;/ 'n .-(7../ .£kry d-J/,, ~cau.:te d;.d.-i
~-z-t:a! did /o?(J /o d /wad'-#u.
J'.r;,n-u

d~r:/duff~~~
<J-Vc-t,, ·

ac ~v£e-n c/;ea! ;t..t:ukd 'f:/ ,k

J-~u,, cf/~vnyud /o

.de

d

d'vna! /~u ~

e-(7..ud/? c/ Qte /t /rr.nd 1ca7.·
d ~vr:f/{ ;yc-rt /{J /cen ~

/k

en

tfe Jcu/"UJ£/jf u d.
r?);) .#'

·7'

O:Ua&e ~evU-~e -vc1;j/ a e-CJ.-n.
fj<Ju-t

r-~
!Jed~ _e:/f'duf.

Ask your friend if she would like to hear about the sail you
had to-day.
When did you go to the river? Whom d id you find there?
How was he amusing himself? When did h e come to the
shore; and why?
Where did he put a plank, 'and why? Where did he ~tand?
How did he keep the raft in place?
What happened as you stepped upon the plank? Whc
assisted you?
Where did yon go? What did you find? . Why did you
return so soon?
Of wha't were yon afraid? How did yon get to the shore
a.gain?

208

How to Write a Letter.

'·

'.

_.llJll. . .

~~
,:.~-~
Imagine yourself either the Loy or the girl, aud tl1e11 write
a letter to your uncle and give him an account of the bonfire
that you and your friend built, as suggested by the picture above.

·· " ···

PowelPs wngu8-ge Series-Part III

How To

WRITE

or

Secondary Lessons
In the

ENGLISH LANGUAGE

By

W.

n. Powell, A. M.

Superlntf~rtd.,nt.

or

Schools, Aurora, IlL

r

Cowperthwait & Co.
P~ila.delphia

\

r-- .

.

.._-

!:=:. cl~ I

7 &, ~ . 7 .2.. , 7 of · '' · · -•

C< i. ·_ c b .
Cil r 1 Of ~ n~

./

· ' "- ~"UE

SCHvvl '~i t •' , . r,._-;

~~ I 't1 ( q

:__<;(

COWPERTHWAIT & CO.'S EDUCATIONAL SERIES.

i'Varrm' s l\7rzc1 Gro:;n:/!11cs,
.-

~·

••

-- - - - - '

< • • •, • '--

'

, o

<A "

•

~

''

(

'

'

{

'

PREFACE .

Af01:rve's .Yr<i• Sn-ir:; ,f R c.rdcrs,
A/011r,1/ s Vi,,-,,/

Cr11111<1 stfr CIMr/s,

.Afonroc's Afmma! ef Pk1·s:'rn! an.I Vom! Trainin,:;,
Apgars' 1Yr.t 1 Gt/igraplifral Druwing-Iico.l:,
Grune's Imprm•ed Grammars,
Powell's Language Sents,
Tiu .Business-Standard Copy-.Boo!.:s,

B'rard's Nnu U S. Histr>ry.
Goodnd1's Clii/,/'s U S . .lh1'f<7T)',

B11rhrlt's Cn1mm,zti::u! Praxis,
I£i.1Ka r' s lffizlhrmak<"S,
R oyse's .flfamm! o_f Amrriran Lr'tauture

'
Ro)'S(s M.~ :n1~! o_f.£nghsh Liter ature,
Applrlon' s Quantitative Analysis,
Appleton's Qualitative A na!ysis,
App!etcm' s Young Chnnz'sl.

Price Lists and Descriptive Circulars sent free on

application to the Publishers.

Copyright, 1882, by W. B . POWELL

IF the child were in the habit of formulatiri g in good English his ideas as he gains them. the words repreooenting the
ideas would become a I'art of liis aYailable \.~ucaLulary . He
\1·ould th en fi11J no <l1fliculty in expressing him3elf, as he
would have a n appropriate nomen clature for each idea in his
possession. Many words are understood when seen because
of their connection, but are not available for speech because
they have not b een added to the vocabulary by use . These
word8 are the exact m easure of what one falls \,hort of being
a ready t:i.lker.
If the child were trained to express his kn 0wled ge, fo·
gether with hi:; thoughts there•::.n and his c onc l u ~i on-; there frnrn, while h e i;; acquirin g the knowledge :rnJ \1hile it is
becoming a p a rt of him self, h e woulrl necessarily, though
unconsciously, perhaps, assimilate tlie style of him who presents the i;ubjects investigated, as well as the nomenclattlre
belon ging to them . His ability to express hi s thought s would
I th er eby b e k ept parallel with his taste, and talking or .writt in g on these subjects would not be difficult for him.
If th e child were trained to arra nge methodically hi s
knowledge of subjects from the tim e he begin s to grasp subj ects as entireties, his ability to class ify would grow with his
knowledge, and classification would b ecome to him a part of
. acquirement.

If the child could be mad e to r ealize that n. m ethodical
arrangement of his knowledge of any subject is a composition,
and that, if his sentences are int.elligible and correct, the com-

a

4

·I
;

Preface.

position is a. good one, composition-writing would not be as
for midable t o him as it now is to many.

If e~ery branch of :;:tndy pursued by th e chilLl were m;idc
aulilia.ry to his training in language, he would write a composition on any subject as willingly, as· easily and as well as
he makes a. recitation . The child would then be able, as he
should be at any stage of his school course below the grade
involving pure im-ention and abstract discussion, to speak and
to wri.te, in good English, his knowledge of any subject on ri.
plane with his ability to read underdandingly on that rn~ject.
This book is the natural and logical rnccessor of Part IL of
this Suies, Itow to Talk, and, like its predecc~sor, is the result
of work in the class-room. It has been prepared as a com. panion-book for the pupils' advanced Reader, Geography, History .and ot~er text-books of like grade.

INDEX.
PART I.

How to place the English Sentence on the.
written 1>age.
PAGE

·I

Abbreviations . . . . . . . . .
Abbreviatiom . . . . . . . . . . . .
I''i'amcs of the Deity . . . . . . . . .
Capital Let- Quot:i.tio m . . . . . . . . . . . . .
ters:
The Fir~t Word of Every Line of Poeny
Titles and Important Words of a Subject
r All . .
As, So

l

The purpose of the book is to train the learner in thinking
and \vriting, to the end that he shall think methodically and
write easily and correctly.
The book does not enter the field of pure invention or
ab&tract discussion, a1though much work is given that will
develop originality of thought as well as a free and proper
use of the imagiria.Lion.

Choice of
Jr·o,.ds:

The Author is indebted to Mrss L. A. DENNEY, Principal of
the. Young School, and to Mrss E. H. MATTICE, Principal of the
Brady School, for valuable assistance in collecting the work
of tbe school and representing it as here fonnd; and also to
PROF. T. H. CLARK, who has carefully read the proof-sheets.
Most of the illustrations are from original d~;;igns; the
others have been taken, by permission, from Monroe's excellent Series of School Readers or from Warren's Geographies.

At, To
Bad. .
Between, Among
Consider, Think ..
Contemptuous, Contemptible .
Dangerous . . .
Differ, Different .
Hang . . . . · · ·
Intend, Calculate
Into, In.
Love, Like . . . .

. 29
. 34
. 30
. 33
. 34
. 70
. 69

. 71
. i18
. 7?
. 63
• GS
• G7
\ . . 73
• G5
. ti3

. 'ti
. 62

Only . . . . · · ·
Plead, Prove . . .

. iO
. G5

Plentiful, Abundant .
Somewhat, Some . .
Stop, Stay . . . . . ·

. 69
.·61

. 68

. 66
The verb with If . . . . ..
Unnecessary words-As, At all, Both, Into,

For To With . . . . . . . . : . · · · 73

'

'

.

Contracted Forms . . . . · ·
Letter Forms . . . . . · · · ·

Nouns:
~·

. 27
.
.
.
.
.

Kinds-ColleCtive
Foreign · .
Forms-Singular
. ..
• Plural-Collective Nouns
Compound Nouns
Foreign' Norins . . . . · ·
Letters, Figures and Signs .
!>

. 26
. 55
. 20

. 24
. 11
. 20
. 19

. 24
. 19

•
~

6

Inde<x.

I ndex.

7
PAGR

P.\GC

. - iJ

~

r

I
!

Nouns:
l

}

Forr.1 s- Plura.l-Nouns cl:!!:~ in for fe . . . . 14
Nouns ending ill & • . . . . . .
15
?;o uns f'n ding :3 ihe ~oun ·l of s sh,
ch, j, x orz.
1:2

I

l

Poetry
Prose .

Practio::

?\ nn n~ (1r::i i ;i .~

~-

\\/ITH!'.' Ali!> i\"nHOlJT
THE

2\ ci uns wL o:::e (~nis ::i re

rnt nual cha~
I'ossess i ve .

17
•• 21

Prose F..xercises :

31-33
. 33

~~t

Definiti on
Kinds:

Laws:

. 20:1

.\liIJ THE Gr 1t.\FFE

l

• lCJCJ

. 202
. 188
. 2~

Dcecripti on-An imn.ls
Objects and pl aceg
Persons . . . . •
Plant11 . . : .

...
.
.
.
.

r Abstract
~

l

Method • •
Selection . .
Symmetry .. .
Uriity . •

t

Practice:

.
I

. 190
.
.
.
•

209
188
224
199

. .
Digtributed . .
Ludicrous . .

. . . 110
. 160, 162
. 143, 158
. 168

. 111

. 112
. 110, 111
"\" 112, 113
. . . . 113

r Animals .

COMPARISON AND CONJR.AST.

Application of Law." . . . . .

l

Cluulcs .\faday . l[),q
. J.fo.l/11 a s /frtrr . HlG
J . R. Lou·cll . l QI)
. l ~I

Tn E ~l.\ PI.E Lr .\F Ali!J T!lr. Brr.u1 L r u
TUE MO ll NiliG·GLOP.Y AND TUE CYl'ltE;,S
THE SLEDS . . . . . . . .
. . ..
WASlilliGTOli Ali!J NAPO LEON

r Completeness

PART II.

fI

llor.si-:

. 236

. 238

.M

Colon
. 53
Com ma-After a. word or words used in address . 41
Before an adjective useda!ter its noun .
37, 38
Before and a.ft.er explanat-Ory words
. . 42
For an omitted .word . • • . .
. . 39
In a succes$ion of particshrs .
34, 35
In connection with quota2ions.
30, 31
PunctuaWith a. part of a sentencttranspose<l
44, 45
tion:
With a pronoun $eparattdfroi:i its antecedent. 47
With a verb separated fmlll its subj ect.
46 , 47
Hyph en . . . . . . • • • • .
. 55
Faren th e$ iS . . . . . . · • . . . .
. . 54
Peri od -Part of an Abbreriation .
. . 27
Se micolon-Befo re as, vB., e tc., in troduc ing
explanations . . . • . • . .
5 1, 52
In a successio n of ela.bor:i.ted particulars
48, 49
Quotations
. 30
Bhyme-Stanza
. . 33

Practice:

. 228

l

1

lliJ ~
12
:\oun~ ha1·inr! only the plur al form
JS
l\~u nns lia\·rng tlle !':11 nc forr11 fo r l)ot i1
F-ir. gu1;ir an<l !·for: d
l7

( Na.rration-Biographies .
Historie~ . . . . .
I'rofescions
Po•:try-Cu:o:s A '.'!1 1
TfU:N AND ?\011· . .
Trrr: !! u: rn<:E . . .

.

l

75, 122
Landsca pes (Pictu res) .
. "ill 4
Pictures . . . . . . .
99, 121
Plants . . . . . . . . . . . . . . . . . 84, 124
Poetry-A PICTURE
. . . . . . . : ·. 108
DrcKY AND DOLLY
_Mary E. Bradley . 162
KING J A.MES . . .
Walter &ott . 106
LoRD MARMION
Walter &ott . 126
P AU-PUK-KEEWIS
fl. JV. Longfellow . 103
H ousE rn THE MEADOW . Lou ise C. J.fou.lton . 105
THE Nu.RSERY. DoLL •. : . . . . . . . . 108
THE PRINTER-BO Y TRA.MP . . Will C'arleton . 110
THE PRISO:<ER FOH DEBT . . ./. G. Whittier . 107
THE RooKERY . . . . . .
J.fi,z-Jfuz . . io9
TtIE VILLAGE OF GRAND PRE . J,nngfellow . 127
THE VILLAGE PREACHER ·: OliverGold~m 1th . 163

{ A DESCRIPTI ON OF A QUI!WE LEAF : . . . . . 84
Prose E:r,er- A HoRst
. . . Wa shington Iroing . 168
cises:
Boo Ks
· • . · . . . . . . Rwkin . 166

Index.

8

PAfi F.

( CAH'lll!i'>

M l !i!i() W~

! D.c:sc1,11·r10s
~ i

....

•..

•••

...

...

~·.!

o.r A Yoi:;;G 11.Mi, }J:u.rv Clcmmu . lGO
I Dt:1wc . . . . . . . . . . . J . l'. Headley. lhl
HAR \'ESTUG • • • • • • . . . • .
. . . . 11 !
PAu-PuK-KEEWIS (Tramformed) . . . . . . . W4
Tni: B s.rn OF THE l"rRE:'\.EES . JI. A . Po.i1u:. 1~~
Tin: Dt·rK . . . . . . . . . . . . . . . . 1 '
Tin: Ho ,:s E . . . . . . . . . . . . . . . . ~o
THE MILL O!i TH E FLOSS . . .
Gro19e Flud }(:;
T nE THIN GJ::!iTLE:U.\!i . . . Cha rle s Du:k cns. l GCI

I
Exer1
cises:

Pro~

Definition

Embellish-

tneuts:
Laws

!
f
I

I

. Hi3

. 174, 175
. 171, 172
. . . 13S

1;')8, 11:0

GooDY

156. 1-:'1

.

.

•

• • .

REPORT OF AN ADJ UDGED

Prcu:tice:

l?!

1.!!a F. Ciyd~. L.i0
WorJsu·orlh . H·!
Pun and Earnest . 146
CASE • • Couper. 182

j

TUE

OwL

1

T HE

R.n

[

Prose Exer- {
• . '

..

'frrE B UTTER FLY BALL . . . . . . . • . . lH
Tm: M1srn's VALE!iTI!iE. Jfrs . J[. A . Kidder. 15L.)
A5D TllE

TO \A/RITE.

PART I.

Lesson I.
Sentences.
You have learned in How to Talk what a sent{'nce is. You have learne\1 a1so tbe different kinds
of sent ences , liow to begin them ;rni.l liow to close 1th em .
\Vnte ten declaratiH~, te n i nterrogat iH, ten imp er ati \·e and
ten excl::tm:itory Eentenc es suggestc>d by each of the followi111:5
p icture~:

I't:SSY-CAT. FAward I.ear . Hrl

A!in r11E 0Ysr;;n . . .

. ....

Ho

153
THE WATER . Cu RE • • . ifary E. Bradley . 152
Stories-FROM PICTURES
• • • • • • • • 130, 177
FROM hi!AGINATIO!f • • • • • • • • • • • • 179
THE SU!CdER SHOWER

clses·

.

DLA liE A!ir> H .\RRY G ILL.

L1L1·'s BALL .

How

. 158
. 133
. 160

Cotielusron . . . . . .
De!<cnpt1on-A htrac-t
Lud 1crons . . . . .
F1guret<-Metaphor .
Simile . . . . .
Tut roduct1on
.

His tory . . . . . . . .
Poc_try-D ,\ !i! EL s~!JTH .
l-1wzr::-; 1:-; n:t: :-:,n:EET

i

EvENTs

oF A HALF-DAY

THE .GRATEFUL LAWYER

•

AT

• •

•

•

•

.

•

•

•

. 156
J. G. H olla11d. 128
• • • • • • . . 130

ScHooL

•••

THE HUNTER AND THE LION

9

f

54

Letter~.

How lo TF,..rite.

Lesson XXXI.

Lesson XXX.

The J-lyphen..

The Caret.
In writing a letter every word should written corredlv .
A word has been omitted in the above.
\Vhe;1 a wonl has been omitted in writing, the omitted worJ
should be written just aboye the place in which it belongs (un1.:ss the whole be rewritten for the sake of making the correction). The place in which it belongs is iuJicated by a little
mark ( A) called the caret.
be

!iL-

In writing a letter every \~ord should A written correctly.

'II
•~i

NeH·r 1iut off till

what
to-morrO\\. rJOU can do to - d,~y .
I 1'

1

r

N eitl1cr the capL1in . tl1e :oailor;; were saved.

Tt

fn~quently happens in writing tha.t it is necessary

to begin
a word so near th e end of a li ne that it must be finished at the
1wginning of t11e next line. \Vhen this is the case the word
,-!H,ul<l be scrarat~'<l only between syJlahJeR, a.nd this separation dwulJ k i11Jicate<l by a little mark(-) called the hyphen.

Columbus died in ignorance of t11e real grandem of his disco\·ery.
The noble. Brutus hath told you Cresar was ambitious.
Tlie Atlantic rolls between us and any formi-

dable foe.

\

Lc011i ch:\ the brave Spartan hero, gallantly de-

fended the n[llTO\V pass_
e
The I ndiam , before they declare war, l101tl a 1iol0mn council.

ln the above paragraph in fine prin t., study the meaning of
the part enclosed in these marks ( ), which are called paren-

theses.
Note also the following:

The hyphe n is also used between the parts of a compound
·word. It should . be used, however, very sparingly. Very
few compound words require its use.

"Montrose (James Grahame) was made marqui s of
Montrose."

Lesson XXXI I.

My Uncle Toby (clever soul!) was sitting by the fire.

Letter Forms. ..

"Oh, I remember (about the remotest thing I can
remember) that low seat and the friendly teacher."
. When John first saw the Scythia (that was the vessel's ~ame), he was filled with delight.

In writiug letters, it-i,8 desirable to be very ~xplicit.
Study form and have an eye to beauty and symmetry.

If you have but little to say, put it in the middle of the pa.ge,
and not at the top or at the bottom.

56~----Hi=-~()UJ~- to TVrite
L.:aYe
a narr O\\. m.ugrn
. at th·
- - --- - - - •
. e ]e.rt of the page. - - - -

.,.

~­

*

*

*

*

*
*

*

*
*

. 57

- - -- -- - .Letter Fvnns.

*

•

*

*
*

*

*

*

*

*

Q1"7 '"Y'"r7,

*

*

. ..

c}a~ed d;~&.

...
*
*
*

•

"

*

*

*
*

*
*

*

*
*

1~er4d

,.

*

*
*

*

4uf,,

&unu &'Md.

*

*

*
*

*

*

*

*

*

*

*

*

*

••

.

-

,f.

-

How to IVrite.

58

Form.~.

Letter

.:come t"1mes th~" ",n rldre,;s of the per8on wri ting the letter is
added t.o the signature. In many ca,es one'H occupation

-aJ:·ir·~~~ d/

C'1

U /!!~1c--td,
C//Gaud

should be named after the signature.

,,

,.

1c6

11c

&:

c~./
S

Jc-nduJ

r

('/. / ycu.I

0.
/
-'l'Jtc-cadc

4 ~n.

-cknY:,// c/~. 1·

,-_('// ··"

~att/c. ..

,..

2-· .

ye&. d;-t~/e, /o -7na/cd d. 2.
cf ye&. }j/j{ J-Y;:h~t -~-//,;..n/ ch&. f

/-1.

e::za-n-zvna/t£i-n.

~1 /;?~t('lron/

a

..Z£1-tz:f 1.rtMUe

~f'N·'rnrn f'0,J!

;

Y

~

C!J"(}-td//[ ,YPectck,
C/16c-'J-z1.cc"' J !J{aclr~ff/'_g/:e!Zt,
(Jf;r-1-!e-n/ d Y!tr~na !JI .#e7/t"J1/7.
c1 eJ-?afJf' B>v. <f2,~1;:.1 /1..1,.0,t

..///;cc.JIad /f' /!

'JfC'U ·!

·

/; dcy-. _.2f;J1rr/1j}e-I JiJtr.lknf.
Re4/ze~f(Jf/

-b. -d. &#a1/ ffe -Ge.

/·t.t~e --tG/

tc-nM !dutj;,
.

3

··...., ,

/!

C//GCJ.·n4oe'd'

l!.O./jl.,

yc!J . .;J//f. -d~

/cfcf2.

cfkcrd-e oen-c{
"J-n.e/

-~Ir -d-/.
-(d~~rrju, d//
(}>!fade

!'?I"\.

J'cfcf/;.

ifo. /

J:#o-z/drno-·z .·

/6/

-&~/z-e1.~ad ~~
9~~dcf;/z!ra.
-1.::!Jc n I If-nun .·

00-t-tf.25_,

-6£aa. J::#N'd-d/le

59

-(d~t1.k ~an(

d:ack 7 §!Jdc ~/w~
In Jirecting euvelo!JeS, do nut cru-..\·d the a.ddres.s near tLc
t;,p or thP bottom -or to one side.
Write the name of the post office and the State distinctly.
If the town be a small one, write also .the riame of the county,
if von know it.
Remember that your first object is to be understood; your
11ext object, to economize space and time.

:•:..; ...

, ...

_~,- -

...

~.~---.,.-

.

Olwice of H~ord~.

How to lV'"rile.

60

Stn<ly the foll owin g mod els :
,.----~~

- - -- -

- -- -

Choice of

61

JVm·d.~.

- -

Your friend came last night; for tbe present, he is
staying with my brother.
T his train does not stop between here :infl Troy.
The one-o'clock train stops at Station .Ko. 6, but
does n ot stay longer than three minutes.

I

To stop means to cease motion .

I

L_

To stay m eans to remain an indefinite time in a.
place after stopping.
\Ve sometimes hear e xp re ssi-ons li k e the following:

Mr. J ones is stopping a t the Sherman H ouse.
Frank Brovm stopped ov er night with his cousin.

~,-jJ U('f~z.111~
.Ljf

C!JZ1;zrrJ/

Are these expressions correct ?

_d;dL'f!Lc/u?,

Give the r eason .

\

F ill each blank with a form of stop or stay:

(.;.

1 . TVith whom, will your friend ___ in Boston if
2. TVill h e _ _
in the city long enongh to visit
Bunker Hill J-Ionument 9
3. The train _ _ ~t Sta,tion Xo. Q7, and
lon_g enongh for the passengers to erit dinner . .

I

4.

I

-1

5. At what hotel did you, _ _ while you, were in
Philadelphia 'I - · . _ _ __

I
i

I

" I love to go to school,,, said Martha.

!.9. ((}: _,fj

"1

__________

.....__

Why did yon not _ _ over night in Chica_gn '!

174-

" You mean you like · ~o go to ·school, or you enjoy
going to school," said her mother.
·

H ow lo H1·iie.

74

HP li as nn desire :it all lo Jo tl1c w o rk.

Jh·

j, .JL 11u j 'l<')" 'll_\ ;11 ;1:! iur Li::o Lt111ilr .

R ead the fo regoing scut c ncc". a nd om it, tli e wunhi to, for,

P A TIT II.

with, into, as anrl at all.
Are t l11~"'' wurJ s ncct:;;;:-;ary:

G in; th t• reaso11.

One cLt,r Jollll anrl

\\'('!'\'

J;u1H •..;

marbles.

C0 \I I1 0 S I TI 0 ;-.; .- DESCIt I PT I 0 ~ .

p!:tying wit.Ii their

ComJ>O."lition I.

..

Janws pick ed up {\\'o of tl1 e rnarbks atlll excl a im ed ,

"0. Jo11n '

:ct' t' 1

Till ~(: i11 :t1 ),), -:-: :tr t:

b;t l1 aliki·."

James mea nt., "Thc!"c ma rLl cs arc alik e. "
\i,The n yon ~ a y two obj ects are a like. y ou compare them ; you

mean one i" lilu: tlie ot li" r.

Both

n1 ,. a 11~

the two taken together.
THE

DUCK.

f"/11· rl 1u·k i.-> o lil'll o/ nu rl i11 n1 s1 :'', 11·it h 11 11,11 ly
,/111;;1·1! s1;1111·u-luit Zi k e u loaf and co1:t·n·d 1cith .rn/t,

ii o 11: n y f eathers.
it luis n n a rrow h earl and a broa d, fiat bi ll. It s
llf'f'k i s short and slender. The wings are rather
snud l and th e tnil i s short. Its l egs are placed far
lnrf'k on t h e. body a nd 1ire widely s ep a rat ed . Tiu:
I /11 ·r'c /i·ont toes of ea ch foot are nniterl by a ll'eb.
Tllf· liind toe is fr ee and is slightly ele vated.
\V rite l_e n se n tcnces Buggestcrl by th e abo ve pictures, u sin3

both,· differ or different.

Tlw du ck i s / [tied for _s wimmJng, by _ th e :;/iape

th e ro vcrin;;f of its /Jo dy, and also by th e p osition nnrl stnwtnrc of its l egs and f eet, and it
:;pends niuch of its time on t h e w ater .
111ul

75

How fo TV.rife.

76

Campo.si:Lion.

77
---------

I wii;;h you to \Hite n. Je;;cription of th•' duck
¥011 11·i!l be hclpc(l in your work by na~icing il10 roint~ in
th e J r;:c ription givPn . Look at the pict nre, tlwn carefu lly n~ ad
t he de;;cription again, and note a;; fo ll ows:

1. 81zP, :-:liapl' a11t1 conTing.
0
]ff'ad :rnrl its p:lrt.s.

<l. \Vings._
0. Tail.
G. Li•,rs:
c- -' fed and tof>s .
7. Habits- how known.

THE

GULL .

1. TVhat is the size and ffcncral shape nf this
bird'!
2. TV/tat is the cl1aruclcr of its cnucrin]]· '1
:J. What l.S the size and .slwpr; of thr; lu:ad?
4. Tf"lud is the size, rnul zchat the slw;Jl~, of the
vii L 9
5. TVliat kind of wings atUl tail lws tlie gnll?
U. TVhat kinrl of legs has the gull, and 1chere are
I/icy placed'?

7. TVhat kind of feet has the gull'?

Before yon try to de:ocribe an object you i:;ho11l<l i;elect for
you r description the points which will best represent the object
t o the mi1111 of Lilli \1 !10 li.-1<:11~ .

It will be helpful to present to view the selected points before the work of writi?g is begun. The · following is s11ggested:

You will L..~ bt·l1•..,J furtli..,r if you will aJul't rnme onl"r i11
;:inn:::; th•.' points t!ut yo11 h:t\'C ~c]l'dt•< l to h]k :i\ H;11t_ X,-,; ,.
tli.- ur•kr ali >\' l'. :\careful " •·kd1ot1 of th·~ p ui11i:-:. and a c:;111 •-

_Tupi.cal Outline.

Size

1

fnl :1rrangement of (}:_P, I•Ot nts :-o<•l1•ded. :t!d alike tlH' ~r•cJk .-r
di t) ii, t~·rH_· r. tL
\\'ritcr ~u1,J tLl• r1•;i11~_·r.

anrl

1'

.\ :-: ( j:

Color.

Compo.<;ifion II.

Description of
i
the Gull

~
~~- - -----

I

f H ea d anrl
j Keck,

P,\wrs

i \\'i11g:-l, .

l

Tai l,

1-

l .HA
Look 11t. tlw picture and answer the questions
page; then write a d escription of the gu ll.

p:-irts,

·

011

the next

Legs, feet, toes.

B:T:-i

How known.

78

Compo8ition.

79

( 'mup ox ition I I I.

Composition L V.
THE

CRANE.

Write a de.-;cription
of

THE

HAWK.

the

crnne,

th 8

refe r-

rlll g

to

a11d

m aking au out-

p1 ctnre

lin e before beginning

Write a d escripti on of the hawk, re ferring to the picture
and following th e g ive n out lin e.

to write.

T oplca l Ou tli11 c .

( ;!<~ll.\L

.\ii'J.\I:-

( 'nlri r_

r

-Descriptl.on of
the Hawk

r ~Ii-ape ,

Hca<l

l

I

Compo8ition V.

E.\ C' S,
Di 11;

PAET.-;

Nec k,
1Tail,

Il Leg~ . feet.

I

l

llABlT:'l

H ow k1 10 wn.

THE

ROBIN.

Writ e a d escripti on of the robin , r e ferring to th e pi cture
making an outlin e be fore beginning to writ e.

:1111!

.

'

I f ow tu l l'rde.

80

FI.

('01111m.~ i tio11

TH E

Tiu, ll() rs r is
f}r11r·rf11!
fl lu1.,·

11

Coniposltfon VIL

HORSE .

'1 r•r11tf ij'11 ! rr11 irn ol , lirn· in[f

1Jnd1; r·o 1·1'1'f'rf
11

Composition.

ll'ii/1 Ji11r.

s/1u1 ·f /1u i l'.

slf'!11l1·1', sl1n; 1r·lu 7u•orl ; lr tl'~' c , dnrk <'!Jf'"';

and s ntrtll, /Joi11/('(l ea r s.

T/I(~

11r·ck i s Ion!}·

ru11 !

:sl1° i1u'r1· , u .1;. r{ n/0 11;} th.e- ll/ lf JCr /F rr f. oj·~ if. g·ro1c.-,· u
111r1J1r

nj"

1011 :,,." .

011d ifs 1100/\
l Oll J/ ,

f'Ot/rs c

r·or1J·sr~
111·1 ·

hair.

Its / r f;!s nre slr11 rlr-1

The ta i l i s co111pnsrt!

so!it!.

11/

/11ril'.

\\' nt e a d t'~c ri1 i1 i o 11 .. 1· tl r•' h ·ir~c pi<'lun•.J a li cl\'<~.

n 1' r11 r<' \ITiting tl1i s ol 1~.-;ni11(i l) J1 , llOtC !h t• f't11l 1) \l'illg
tlrat kt\'< ' lwL' ll se k cicd , and th e ord e r in 11·lii ch tl1 esc
~u·· · 1•r •·:c; •n ! ,~ ,I .

1. Gc 11 0r:tl app(:ara1 }('1;, shape, co \·erl!lg.
2. lf 0ad <·vr
3. T\1 •ck, lll<lll C .
J •:-;
' · , ,, 11· ~
4. Lc;g:; , l'<. T L
5. Tail.
I

I

'- C

'' •

Write a cl esc rjption of the reindeer, looking at the picture
and a nswering the questions asked below.

j Hlll 1I .

1'1111 11·

THE

REINDEER .

I. TV/wt is the size of" the reindeer'! its <fcneral
11 ;1;1 c1t ranee'! the character of its covering· /
2. TV-hat is the size of the head'!
:J. 1Vliat is the size, <uul what the. shape, ?f the
li11n1 s '!
~ · What . i s the s.lwpf'- n{ fh(~ 1'Ul Z :;fr f
,r;. What 1.S tl1(', slurpr. of t lu! neck?
(/. Wlui t kind of lr•J!.~ ha.'J the reindeer!
' . Tf7uit kind of feet?
< • Jf7w.J, kill,d of tail,!
~

"

6

1

82

Co-1!1posdion .

83

Conipmdfion IX.

7'opirul Outline.

r Si~e.

f

GENERAL APPJ<:AR-

1Shn.pe,

l

ANCE

Covering.

I Size,

Description of
the Reindeer

Ht>ad

~

Horn s,

l :Muzzle;

Neck ,
Legs,
Feet,

TH E

Write a description of the bear, referring to the picture and
making an outline before beginning to write.

Tail.

('omposition X .
Compo.-;ition rIII.

THE

CAT .

'" ~

~
~
THE

Write a d esc rip ti on of tl1n r:at , refPrring t0 tlrn pictnro irnd
making an outline before Leginning to write.

arid mak rng

1111

,-·-:"\\-:
~~

ALLIGATOR.

uu tl 1110 before bcg11111lllg to wnte.

.

84

H ow

to lVrite.

Compositlo1i

cbmpo.~tion.

85

Study the foregoing dtscription, and compare it with ~be
In allthe work on plant::, the p11pils shoulrl
procure .the specimens if pos:>ible and f'tudy them. followin
g
the outlines.

Xi.

f,il101rn1g o11tl1ne-,

Outline.

r Name,
Kind,

I~::::~~r:,hape,
A LEAF

j Apex ,
I

1far(rin
b
'
Hase,
Petiole,

Stipules,
General appeara~ce,
Arrangement on the stem .

THE QUINCE LEAF.

A DESCRIPTION OF A QUINCE LEAF.

\

/)tudJ.· the fo rego in g ontlim', aml write a description of each

This picture repre sents fhP leaf of' the quince

tr1·1• .

fl is a siniplc, broarlly -m·ale, nd -vc i ncd lcof'.

T/11·

principal veins are arranged on each side of the
mid -rib, like the plnme uf u feather on each ,;idr
of the shaft. For this reason it is said to be feather-veined.
The blarle has an acute apex, an entire mnrgin
and a pointed base. The petiole is of mediwn
length. u1t the base of the petiole are two leaf-like
ptirts called stipziles.

The leaf is smooth and ~lossy; the nnder surjiu:e
is a 'ti.J!hter green than the upper siu·face.
The leaves of the qnince are arranJ!ed alternatdy
on the stem.

o. the f, ,])ow111g leave.-' .

Compo8iflon XII.
(DATA IN ORDER.)

Simple,

ovate - hnceolate

'·
fr·ather-vci ned ; acute apex,
serrate margin, rounded base;

pd iole;

stipul rs;

sm oo th ,

poli:-:1lied; alternate.
THE PEAR LEAF.

86

How to H'rile.

Compoailion.

('omposition XIII.
(I

' A T .\

Compo.~ition

87

XV.

I:; I i; :; i 1:)

Sillipic·, five-lobed
m<liatc-vcincd; acurninate apex, r ecurH·J
b::lsc. margins of th
lobes serrn.ted, apex of
each lobe acu miuatc :

::;inu::::es acute ; petiole :
1.:x::ctipuLlle;
::-il \ ' t>l} white, downy underneath ; opposite.
THE MAPLE LEAF .

THE NASTURTIUM LEAF.
(DATA NOT IN

OrwEa.)

Alternate, roundish, simple, wavy, peltate or
shield-shaped, exstipulate, radiate-veincJ, petiole,
smooth.

Cmnposition

x VI.

\

Cmn positirm TTT':.

Si111pk, oLlon,c.:, lnbeJ,

feall1 er - veined ;

acute, trun cate, lobes

slightly toothed, apex
of each lohe acute,
sin~scs rounded; petiole; deciduous slipules; smooth, gl ossy ;
alternate.

THE PASSION-FLOWER LEAF .
(DATA ?'OT IS ORDER.)

THE OAK LEAP' .

.,_"!' ....

Radiate-veined, lobed,. simple, sinuses, petiole, stipules, cordate or heart-shaped, nlternate, entire, smooth,
olJtuse.

How

88

to

tVrile.

Conipo.~ition

Cowpusitiou XIX.

XFI T.

(DATA .SOT l.S ORDER.)
(DATA JSOT J:S ORDER.)

Feather-veined,

leaflets,

Simple', ohlong, parnllel\'Pined, \"PlllS extending
from Lase to apex, petiole,
long, slieatl1ing, petioles of

oval, obtuse, acute, serrate,
i:;tip11les, pale, downy be-

le a\'es rolled

neath, alternate, cornpoun<l,

the

petiole.

pear like a stalk, not at-

one , witlii11

otiu.:r, ::::o as to np- .

taclwd to a stem grows .
'
directly frorri the bulb,
:-; 1no0Ll 1, glossy.

THE ROSE LEAF.

Cu111positio11 XJ"/ II.

Sm00Ll1,

LI L Y-O F- THE -V AL LE Y
LEAF.

Co·m posit!ou XX.

covt ~r-

ed with a fine
white powcl er b e n eath, compound,
leaflets,

(DAT A !'OT J.S 01t!JEH . )

r:1dialr·-

Sirnplr,
bnccobtr,
parallc·l-Yein ed, lw!Lcrd .. .
sl 1aped, petiole>, lo.n g,
sheathing,
acuminatr,
f•llti r\_.,
cx;-;tipulat\"

serrate,

smooth,

acum1-

11atc, pointc<l, lan-

ceolate,
_veined,

·large,
pC'tiole.
,. .
THE VIRGINIA CREEPER.

THE CALLA LEAF.

glo,;;sy , nrns

extending from
rib to margin.

mid-

90

How lo

~Vrite.

Composition. · .
Compo.~itions

XXIL and XXIII.

-

Compo."lition XXI.
(DATA

91

NOT l!i' ORDER.)

Shrolh.

\
THE OAK LEAF.

THE BLACKBERRY LEAF.

I

Sheath.

'

GRASS BLADES.

Simpl0,

'

Com..positionR XXIr. a11d XXV.

I Apex.

p:trallel ~ve in e d, linear, acute,
sheatl1111g, sl1eatl1 opens on the side
the blade, ligule.

(' 11 t. i !"I',
opposil1•

THE WHITE BIRCH LEAF.

THE HONEYSUCKLE LEAF. .

Write a description of ench of the leaves on this page. ·

Composition.

How t.o vVrite.

92

Compoxitlon XXT'I.

93',

blue, wl1ite, Yrincd and f'liadecl with a deeper hue,
meinn1ivtalnu;;

1

HJliLuy or n1

prJ1y:.:i·[1;dr.u-:,

c1u~tcrs

of three or fise; opens in the morning.
Write a description of the morning-glory.

I'lan of Compo,;itio11.

Study this plan for the description of a plant.

Procure the plant if possible and study it before writing.

hTRODUCTION

r

HoOT

{Name,
Size.

Kind.

\

Ki11d,

THE MORNING - GLORY.

Katurc,
Struct 11r (\

STD[

Sli ll"'·
'(',,\,q·

t\vining (,·x-

l

A Plant

round,

LEAVES

1IuJe, vf branching.

{ i::lcc Outline, page 85.
:--...i/.C,

tPrrintc;

Slia}Je.

branches intcrlncc.

Color.

Lciwcs large, heart-shaped, net-

veined., acult', entire, dull gree11,

I
i
l

I

alternate.

Flowers 1arge, slender-tubed funnels, purple, piuk,

FLO\'lERS

I

l

I'>nt"

f
'l

Corolla,
Calyx

Arrangement on the stem. ..

How to Write.

94

Composition.

95

Compositi<ni XX VII.
Compo.'lition XXVIII.

\

THE LILY.

THE BUTTERCUP.
(DATA NOT IN ORDER.)
(DATA NOT IN ORDER.)

H erb; perennial; root, a scaly bulb; stem, her-

Root, a bulb; meadows and pastures; stem, herbaceous (exo 0trcnous) e rect h::tir)' round brrrcc n ·, a

liaceous, erect (emlugcnous);

foot high; leaves, di \·ided, parted, cleft, tooth ed,

obte, parallel-veined, sessile, alternate.

l

feat her - vein ed
polypetalou8;

1

,

,

alternate· flow ers
'

J

,

solitary

,

br.-rL'
0'

Mrty, June; petals. roun(l, wcclgc-

shapc at the base ;
deep yellow.

monosepalous, cleft ; glossy,

Write a description of the buttercup.

l1•an;s, li11L•ar-Lrncc -

Flowers, large, showy, bell~sliaped, spreading ftnd
recurved; . calyx lea,ves, colored ; spott0ct.
Write a desc ription of the lily.

96·

How to. Write.

Composilm.

Composition XXIX.

ComJJosit«nt. XXX.

97

\
DRUMMOND PHLOX.
(ll.H .\ ~QT IS Ottll ER.. )

Filirous rvob:i; olem, ere-cl, round, hairy, l1t~rLa­
THE FUCHSIA.

(D.H.\

!WT 1!'1

01wi::1t.)

Roots, fibrous; stem, woody, erect, srnootli, brown;
h' a ves , s1110Dth, opposi tc, toothed, ovate ; flower:: ,
sh~wy, drooping; calyx, tubular, funnel-form, coioreLl; petal s, purple, white, red.

<'i • 111s,

nmiual (0xog011ous); flowers, i:;howy, delic.'tte,

rctl, wliilc, pink, purpk, clw;lcn;; curolh, fbt, aml
round nt the top, with a long tul:>€; leaves, lanceobtc, entire, sessile, alternate, feather-veined; grows

from twchrc to fifteen inches high.
Write a description of Drummond phloi.

Write a description of the fuchsia.
T

How lo 1Vriie.

Composition.

Composition XX.XI.

99

Composition XXXIL

I
I

i

I:
ji

·'H
.;

l1
J~

I

I

~-

t'

THE CINQUEFOIL.

(Thu.

NOT

rn Or.nrn.)

Perennial; lterL; fibrous roots ; len,\·cs, compou11d:

I·

1ca~cls, obovatc, wetlgc-form, toothed toward apex.

nltcrnalc, exstipulatc, petiole; stem, trailing on tlto
ground," prody1.: ing runn ers, herbaceous, l1airy; flowers, polypetalous; petals, roundi:,;h; calyx, cleft, ~o l ­

itary; foun<l in grns::>. in <lry fidds.
Write a dcscriptim1 of the ci111111cfoil.

CATCHING

MINNOWS.

This pictnrc represents two little girls watchinJ
. tl11·ir brother catch niinnows.
1'/i e bou, with his /HUilaforJ//s rolled up above .his
knees, and his hat pnshed back, is stancling in the
ll'lt!Cr n ea,r srmie rocks. IIe is drawing a small net
out of the water, antl leans forward with an eager
luuk 1l!Jo~i his face, as
an.-i;iozis to fincl out hozv
1111111u fish he has ca.ug·ld.
1'11c snwller girl is
sllf11di11g on 011e of the rocks in front of him. She
is lli'11rli11g· over n l1t1•JJ'c rod.-, so that she i::nn look
info tlic net. One ht1nd. rests on the top of the rock

.1i

r hi

How lo TVrite.

100

Composition.

101

and the other i.s raised as if she were saying,
"'Ill.ere! you'r:c caught theni."
I1ie larg er g il'l, u:lrn stands on n roek at flu ·
riglit of the boy, is waiting to receive the fish in a
small covcrcrl basket. She also scents to be nuuh
interested in the work, as s~ie leans fo'r ward wntchinff the net ucr!J i11lndl!J. She holds lier basket i11
fron.t of her and has one hand on the lid, read!J to
raise it as sonn as the fish are canght.
bi. the distance , beyond the children, is seen th e

oppa,sile bank of th ~ stream.

n
l;_ i
II!

- l.'
~

The pictnre is l.'ery natnral, and as one looks at
it he becomes interested in the succes_s of the children., and wishes himself there to join in the sport.
PLAYING

\Vrite a description of the picture given above .
Note tl1c follo\\· iug points that have Leen selcded, allll tb.:
onl e i· in \d1ich tl1cy l1a\·c 1cl'n :i.rr:i.ngcd, before writing tl: e

SOLDIER.

"Write a description of this picture, following the given outline.

Sumr-:cr

I

tle~L-ript i ci n:

OF

LocATJO:-i'

L
2.
3.
4.
5.

8uLijl'd uf Llic pidtm·.
Locatirn1 o f ll1e scene.

Posi ti on of
Dcsc ripti 011
Pos ition -0f
G. Desc ription

the boy.
uf the boy.
tl1e smaller girl.
of the san1e.

7. Positi on of tl1e larger girl.

8. J\ ppcnrn nco of the same.
9. Sunou11di11g objects.
10. Effect of tlic pi<:t11re.

\

'l'opical Outline.

Prc1TRE.

OF

Sc1-: ;;-E.

CmLDREN

Description
of a

PRINCIPAL

Picture
('' Playing
Soldier")

FIGURES .

l Size,
i Position,
l Occupation.
Size,

BEAR

{

Position,
Occupation .

·ur
{ Position,
. HOMAN
.

Appearance.

SURROUND-} \;\"agon,
ING OBJECTS
.

Ch.·
air.

•
102

Composition.

How to TVrite.
-

C0111wsitimi XXXl J'.

i

:!
!

Co1nposition XXXr.I.

Na.me the subject of this picture and write a description of •
it, selecting the points and arranging them in the form of an
outline before beginning to write.

Composition XXXF;

t

I

Name the HHlij ect of thiR picture an<l write a description ,,f
it, i;electing tl1e points and arranging them in tl1e form of :111
outl ine bc>fore beginning to write.

JI

103

- ·- - - - --- - - - -

PAU-PUK-KEEWIS.

Jic w:t:o: drc ~ cc<l in ~Iii rt of ,]oc~kin,
\Vl1itc and soft, and frirw<'d
with ('rmirH' '
::-'!
:\) ) in '.\T<lll_'..'Lt wi:li L":ul-: r.f w:unj>1t111,
l fc \\·a.s dr 1_>.:~\.' 1 l in Jccn-:Lir: lc:..:~1ng.",
Fringed with hedgehog qfulls ·~~;d ,ermine,
And in moccasins of buckskin,
Thick with quills and beads embroidered.
On his head were pl 111nes of swan's down,
On his heels were tails of foxeC',
In one hand a fan of feathers,
And a pipe was in the other.
Barred with streaks of red and yellow,
Streaks of blue awl bright vermilion,
Shone the face of Pi1u-Puk-Keewis.
From his forehead foll his tre~ses,
Smooth, and parted like a woman's,
Shining bright with oil, and plaited,
Hung with braids of scented grasses.
-JI. W. Lo11gjdlo1.0.

How to Write.

Compotfition.

Notice· the points. the ~uthor has selected for this de~c rip­
tion and the orJcr m whi ch h e liris arranged them , as 1epresent~d in the following outline :

Composition XXXJTII.

104

lOf>

THE HOUSE IN THE MEADOW.

Topical Outline.

Shirt,
Leggings,

It stands in a. suuny meadow,
Tlie house, so mossy and 1rown,
\Vith its cumbrous old stone chimneys,
And the gray roof sloping down. ·

Of what com·
posed,

llfoccasins, } Trimmings.

Description
of PauPuk-Keewis

CLOTHING

Plumes,
Ornamcnh

A PP EA RANCE {

{

Fan,

Tl1c trees fold their green nr111s arouni.1 it-_
Tl1e trees a century olJAnJ the winds go chanting through them,
And the sunLca111s drop their gold.

Pipe.

Face,
rr. .
.J.1air.

After re::idingth e aho_»e poem, read the transformation of it,

Tl1 c cowslips spring in th e m:i.r:ol1cs,
Tl1 c rosf's bl oom 011 tli c hill ,
And beside tli e brook in tlH:~ pasture
'l'h
c lierc.1s buo fccdin,r
at will.
-u

following the given ot1tl111e as you read:
PAU-PUK-KEEWIS.

Pau-Puk-K1~ c1r/s u:as dressed in the richest of
Indian clothing. llis white, soft shirt, made from
the skin of the doc, icas adorned zci.th beads o/
1.ca mp ran a11 ti fri 11;J1 ·tl zcith c rmi nc. Ilis leJ!ffi fl:/ ·'
we.re of deerskin. and alonff the miter side of each
was a trimming of ermine and quills of the hcdgcli.off. His feet were covered with buckskin nioeca si11s, which were thickly e7nbroidererl with benrls
and qc.dll.s, antl on the backs of which were fn s tened fo.ces' tails. On his h ea d he wore pln11lf'S
• m.ade of swan's rlown. Ile hclrl in one hand n fan
composed of f eathers, and in the other a pipe.
'l'Jie face of I'an-Ptik-Kccwis, which was painftod
wiih nuiny colors-red and yellow, blne and ur.rm..ilion-shonc brightly. His long. smooth, wclloikd hair was imrtcd in the middle and plaited,
and 'it hu.ng fr01n his forehead with brciids of
sce-11-lc<l _!!ro.s:ws.

\

L-OCATIOX.
GEKERA L

APPEAR- { Chimri ey 8 ,

Hoof.

AKCE

Description of
"The House in
tlrn Meadow "

I

hIMEDIATE SuRROUNDIKGs

r, 1for~li e~ .

I
D1sTANT

[
'l'r:rnsposc the
)"l>il

\\Tile.

R

LI'
f l"l'l\i.

SuE-

ROUNDIKas

I IIi ll,

\

Drook,
Il Pl:Ultu

re.

bove poem, following I he gi vcn out! i11c u.s

--

~· ....

1·

How lo lVrile.
-----------

\~.i

Composit ion .

- ----- - --

Compo.o;itlon XXXJ'IIJ-.

--·- ·- - -· ··

107

--- - - -· - - -

The monarch's for m w a~ miJ,J!e !-:izc;
For fea t of i:;trcngth, or exerci~c,
Sha pcd in proportion fair;
Ali(l hazel was bis erigle eye,
And auburn of the darkest dye,
His short curled beard and hair.
-

GEN ER AL

Wa Iler &oft.

Introduc-

AP{

PEA RANCE

tory.
Cloak,
Vest,
Collar,

Description of
King James

.

D R ESS

j

.

B a l(~ ri c ,

Bm;kins,
Spure,
Bonr~et.
,:,'

KING JAMES.

For royal was his ga rL awl mien ,
· His cloak, of crimson velvet piled,
Trimmed with the fur of martin wild·
His vest, of changefnl satin shee n,
'
Th r dazzl ed eye beauiled
·
l">
'
His gorgeous collar huna0 adown '
Wrougl1t with the badge of Scotland'~ cro\vn
The.thistl e brave, of old renown;
'
. His trusty bl ade, Toledo right,
~escenJed from a baldric bright;
Wlute were his .buskins, on the heel
' Hi~ ~purs inlaid of gold and steel;
His bonnet, all of crimson fair,
Was buttoned with a rnby mre:

'

..... ..

,....,: .~

\

J ~;.:l.il,

A !'PEAR:\ '!\CF.

l

Hair.

Transform the for egoing poe m, following the give n ou tline as
you write.
.

Cumpo."1-itlon XXXIX.
THE PRISONER FOR DEBT.

Reelining on.his Htrawy bed,
His hand uphol<lH his drooping head;
His bloodlesHcheek is seamecl and hard,
Un~horn his gray, neglect~d beard;
And o'er his bony fingers flow
His long, di shev eled locks of s110\v . ·

-J. G. Whitt ilr.

·Transform the above poem, making an outline before begin·
ning to write.

108

llow to Write.
Co·mpo.~ition

A

XL.

PICTURE .

"A wee bit maid, with nut-brown hair
In flossy ringlctr; wildly fltraying,
Round aznre eyes, whrre light and shade
At. l1ide arnl Hl~l'k are ever playing.
The Ftmbrown cheeks of roseate hue,
The <limple<l mou_tl1, with lips like cherries,
Just opened, like a flcdg1ing bird's,
To catch tlie luscious, sweet bbcldJerries . .

.~ i

- l
ii
- fr
~i

"Perched on th e bank with moss o'ergrown,
Above he~' h~ad the elm-boughs swaying;
One brown bare foot peeps from the moss,
The other in the brooklet's playing.
The gipsy hat, with flowers crowned,
Lies where the feathery ferns are blowing,
Be- idc tlie 1<hini11g lnwket filled
\\'itl1 lwrrit>~ l1Pa!" '(1 to overflow ing.

"Tlie babblin g brook, t h0 azure ~ky,
Tlie tungleil fen of fern and flower,
The wee bit mai(l tl1roned on the bank,
A woodl a nd nymph within her bower,Beholtl the pid11 re Nat.me gave
And in her sylvan galleu hung:
Oh, ne'er a lovelier viKi on fair
Fro111 arti~t'H brai11 or pencil Rprung."
Transform the aLovc poem, 111;1ki11g an outline before writing

Cmnpf)s/tlort XLI.
THE

NURSERY

DOLL.

"A very round face and a very flat noseSimply a patch, of course, colored rose;
A vi::uge whose feu.ttire1:1 are dents of blows~

Compo.'Sitiop,.

109

Eyes that stare
With a fixed, id ioti~. preposterous glare;
Limbs that hang with an awkward air
From a body deci<le<lly \YOrse for we:u.
Length of measurement, Le it rnid ,
Two.feet nothing from heel to head.
A clumsy, misshapen figure of wood,
Y ct I've served my turn as a true doll d1ould."
'l'rarn;form the above poem, making an outline before writing.

Compo.'?ition XLII.
THE

ROOKERY.

Where is the rookery? Up near the roof,
In a little sky-parlor not quite waterproof,
\\'here the rain trickles in through the cracksand the seams,
J\ 11d the spider-webs haug from the great heavy beams.
\
L]' i11 the garret, shut off from the rest,
J.~ a q111~c r little room, ju~t as snug as a nest,
\\"lwre Bertie r:1aV tinker ar 1'1 ha1n11H~r and ]'Ollrl<l,
And where, wher; he's mi~sing, he's sure to be found .
\\'liu.L'H iu the rookery? · All sorts of things:
Droom~handles, razor-straps, scissors and string",
A ~led and a wagon (both .taken apart),
A l1orsc that is harnessed and ready to start,
A drum and a trumpet, a «hip without sails,
A ;;plenrlid assortment of \1·ell-rnst.e<l nails,
:\ L:u1 k that is broken, a \\":1 tch that won't go,
A 111ill tl;at won't. grind and a flute that won't blow,
Jackk11ivcs and marbles and ninepins and Llocks,
n 11t ties and boxes and .hammers and rocks,
Pi (:t ureH and puzzles nnd pencils and books,
A11d heaps of confu,.ion, but not any rooks:
-Jlu:.-.\f11z.

Tnu1oform the above poem, making an outline before bt>ginni11 g to write.

Composition.

How lo lVrile.

110

Co1nposition XLIII.
THE PRINTER-BOY TRAMP.

I

I,.
I

I

]fa face is fnll of thought. and dirt,
His Lrow's a savage scowl;
He l1as a wise expression on,
As i:olemn as an owl.
Eis hair has not been combed to-<lay:
That's ea.,.;v nnderntood;
. Rut there's ;:;mething in his eye, mother,
That's semible and good.
His clothes are somewhat patcht'd and torn,
His hat's the worse for wear;
He perches it upon his heat1
With verv little care;
His shoes a ;.c rougl1, and hen r the marlrn
Of m:rny a dnsty mil e;
Ile l1as a lllOn s t er of a foot.,
A large and sun-b rown ed l1aml;
B11l tl1 ere's something ;n his air, mother,
Like one born to command.
- Will Carlr./011.

Tran sform th(; above poe m, ma.king an outline before begin·
11ing to writl'.

l

Oomposltion that presents to the mind of the listener or reader a picture of an object or place is de·
Hcrl1>Ho11.

1. Evrry object or place is mane up of important or esst'nti :1l
· parts that are neces:oa ry to its exi st ence as such object or pbc1>.
'fl1 esc essential parts arc su bj eet to elaboration or arc n ffect, ..J
by incid ~ nta1 surro111H.lings. Thus 11Jn11y minor point s mny I .. ·
ir1trodueed that are 11ot 11ei:ei;sary to the cxiBt eru.:e of tlie olij1·1·t
or plat:e. 'Die wrifrr 11111sl Le aLlc to f.CC a11J appreciate tlil:

111

main or principal features of the object. or place, independent
of their elaborations and surrountlings, Lefore he can represent
rnch object or place. Hence ari ses the first law of composition, the Law of Selection:

Luw: Select the principal parts or features or the
object to be described.

· If, in the description of the piclnrc on . page 09, "the writer
had mad e too prominent the roclcover which the smaller girl
leans, or had made the basket which the larger girl hofds one
of the main feature~ of the picture, the Law of Sel ect ion would
han beei1 violated; for these points are not essential to the existence of this picture as sucl~ picture.

\

2. Of course it is desirable that nil of the principal frat11res
that comriose the object 01' place lJc 11re~ c1ited, rl~e th e obji~ct
11 ill no~ LL: 111:1.!e co!llpl L: te. lL woul d l;e ~u 1111: otl1 1: r olij c·cl, o r
only 11art of the object, ancl tliis would be' sowethir1g el:-:e than
wh at was intended lo be d e:-:cribeJ.
Hence arises another
grt·a t la. w of com posi Lion, tlie Law of C<JmpletencsA:
Law: Select for description every feature or part the
omission of which would leave but a part of the
object intended to be described.

Tf, in the d t'sc ription given on page 09, the. writ e r bad
fail t•1 l to mention th e boy or th'c \\' :tler, th e Law of Complctencs!oi would have been · \'iolatell, for without th e~e parts tli c
pict11rc is not. a complete one.
If Mr. LongfPllow, in l1is dP~cription of Pan-Puk -Kre- .
011 pnge 103, had omiltl' tl tl1c <leHt:ription of tho feet, or
ha.J failed to describe tlil' face of the l111lia11, lie would l1:we
wi~

-

.·•

...., .. ......
_

-~-

I-low to lVt-ite.

112

violated the Law of Completeness, for he would . h~ve describ~d but a part of the object he set out to des_cnbe, aJHI
would have left only an imperfert picture on the mind of the
r e ader.
N ot ice in the desc ription of Pan-Puk-Keewis by Longfellow, and also in the description of King James by Scott 011
page 106, how perfectly this Law of Completeness has been
obey<ed.

3.

'The pri11cipal parts of nn object, thrown promiscuorn;Jy
together, do not constitute the _object. The p~rts m~st. be put
t :>get her in their proper relations, or the O~Ject will be not
made. It must not be expected that the !1stener or reader
is aLle to arrange the parts after hearing them described.
The v.Titer or speaker, while describing them, must so arrange the parts that · the object de$cribed. will gro\Y' in the
mind oJ the listener or reader. Hence anses another great
law of composition, the Law of Method:

Cvmposition.

11 J

Law: .E laborate the ·selected points proportionally.

If the writer, in desc ribing the pictnre on pagr 99,
d l'seribed in foll the dress of one of the children an<l
failt'd to give due attention t o the aress of the other
t lie Law of Symmetry would have Leen violated, for
)>id ure wouhl. the11 have been 011e-sidetl.
.

had
had
tw~.
tl1e

If Scott, in his description of ICing James on page 106,
aft er descriLi11g the cloak as fully as he has, had simply n1entioned the other articles of dress, giYing us no dc~eription of
. Ilic enme, be would have violated the Law of Snu111etry, and
his desc ription would have Leen a di stortcJ one.'
'

5. It mu!'t first be decided wl1at the pi ctn re is to represcnttl1a.t is, a Fnliject is to be cl10se11-aml it mw>t be re11wrnbercd
at every step that the object of the compo~itio11 is to 1nak\ that
picture. Hence ari ;;es the' snpreme law of compo~itio11~ the
J,n w

of Unit II:

Law: Present the selected points in such order that

J

the •reader or listener may whh the least effort
fortn a correct picture of the object described
and retain the samo in mind.

!l

rndhorl c:rn be i..;iven
E:wh \\'riter can best foiinw
Iii« o w n method . 1:111. it " j,, Je:;irable th.it a method ;;Jio1i!,[
iJ,_. (i•:"i<tPil 11pon . :rnd tli:il tlie chosen mctliod be adherer! t"
th rnt:ghou l .
Nn

c,11c

4. A <listorteJ or one-si<lcJ written picturn is as oLjecti " n·
a\Jle as a distorted or one-sided picture made with peucii ur
brillsh . . A d escripti on of a picture is not sym1net.rical if too
1nucl1 attention iR paid to any one selected point in prop<1 rtio11 to its value in the picture. Hence arises another great
law of composition, the Law of Symmetry:

Law: In executing the various laws of composition,
make them subservient to tho law of unity.

If, in tlie (le~cripti o n of tl11.' pid11r1: on page Q9, the writer.
li:t.J IPft ri. di•tinct i rn11rP,~io11 Ol!!y <.'f tlil' d!'<!.-;o; of th·~ children ,
1J1 .. Law ul li111ty \1·u1i!d li:1\'< .' l.11 ~" 11 Yi<>Llle1l -tl1at i•, thi• ~11b­
.i··d m_i\lld have b''"ll cl1;\llg1:d. ·
If Scott, in l1is tle:-<criptio11 of I~i11 g Jarnes on pagt' 106, l1:1tl
:i. di ~ tinct pictme only of th e clo~1k or of th e ro!L11·. tli•'
I.aw o f l!r:i!,· \':on lil !::1\'1~ bc t' r: \·iol:ttc11 , for !lie ~rnbj •!c t
wnu l<l th en )~ave bee n "A Cloak" or." A Collar," unJ 11 0.t
"l\ing James."

l ·lt
1

8

l:&

How & TT'n'.te.

Compo8ilion.

Composition 'XLlV.

scueral nicn are loading the bundles of grain.
They are apparently fi11isltJnJJ the luirvest, for behind theni, and beyond a c/zunp of trees, can be
srcn the bare field, while before them stands
IJ/lt one shock. A short distance in front of the
l/'af!on flre
nzunbcr of children wrr.tchinJJ the
men at work. They have probably brought cooli u g drinks, in the jngs z.uhich are nea.r them, to the
tired u·orknicn. .Xeur by sits the farni-dog. He
loo senns to be interested in the work, a? he
,.Zosely watches the hnpaticnt horses. In the right
f'urcgronnd can be seen the road lending Hp to the
<'11 paeious barn which stands ready to receive the
f r a itL Beyond the barn is the old farmhmise,
s uTounded zcith ircrs ancl grass-plots. In the cent re hack <Sronnd, throzH>h rr.n O/Jenin 6 in the tr.ces,
)
may br: seen in the far distance the villaJJe ehnrch,
r111d beyond this, low hills.

a

·,,i
'•

i

-I
[

11:]

.

1
I ,

1

J.
I

~

i!

~

~

17w u:hole scene is bcantifnl, and su:;:;;rsts rd
n11rc tl1 e lutrd ships and the plrrtsurcs and com/nrts
flf farm-l ij'e.
?\otc the follo\\·ing poi11L.; t11at hav e 1>ccn selecicJ for l ]Ji.o
d1·sc ripti on, and th e order in which they have bee n arranged:
I

li

1. Subj ect of tl1 c

J>id11rt~ .

~ . \Vngo 11 antl \\' ork11wn i11

I.

l·

:;.

l

HARVEST I NG.

.Jlii: pfrture represents a hari•cst-scenc.
17'»1Ae left forcJ!ronnl i.s a, lar_ge waJ!ort on u.1hi1 Ii

·1.
!5.
G.

7.
S.

th e Jc.ft fnrcgrot1111l.
\Vl1at tlie Jll C' ll arc dt)i11g. Hcaso ns for ilic samC'.
~linor obj ects in th~ left foreground.
Objects in the rigl1t fon'ground.
Desc ription of th e li ous('.
OLjccts of interrst in tl1e centre background .
Condusion.

116

1-low lo Hrilc.

Composition.
-

('omp01~ition

-

-

117

.

--- -·- - -

J_-.;TI'.I !- I

XLV.

l >t · 1 ·r 111 "

J

; \ ~li1H:

ul

! 1\('tl1\"t'.

{.' ( ,;-i ' ~r' i !llJ; i 1

I: l \· 1•r.

(\,rit r~1 I

OLjed"

Objects

Evening

D r~1T~ -

at tLe

SJ (I:;

L eft

J);1cl\gnJ\lr11l

r Furry11•1ir11l
Hae kgrot1r1d

( L:1J,,,,

1Su!l .
(

~[ii

l

\~ -i ll~ \ g1i.

I,

II ills.
I\f•. 1·

OL.iff <"

1· 1~r · t·g 1 - r)111it1

:1 ::< ]

1

ar 11i1·

h.i.._1\·
1·

I

l':t.'!::1 1'.

T~i::L t

,'·
:i'i

r:.,
Co"-

_.:._

c j_ !~- 2:_ l

(; 1_ 1

\;

'l\~: ,_,;;:11i

!Uk

rrer:t1 ( f' ·.

1_,T .\

An outlin e for th e pi d ure on th e prcce<lin g p::ige is suggesll•d
:i!Jl) \· c. \\' rite a Ll e~c ri l't ion of th e pi et ure, fol lowing thi s outli11 e or nn outline mad e 1y yourself.

]':1'..'• ' :'< an• ,f'. l\" l'TI :t r11 1m li,•r of s1il1jN·t.-< for
Study th ese ~nbj ects carefnlly before writing,
so·1· 11 1· i11g th e natural obj ect (animal or plant) wh en it i:i pos·sil, j,, to do so. Remc rnucr that n pbn (an outline) of comn11

tlie f.11lowing

1· .. 11qio~ 111 0 11 s.

l'"' ition is the first i'hing to he maJc.

118

Ilow to TVi·itc.
--- ------ -----

-~ -

Gnnpnsitinn.

- -- -

Cowpoltition XLVL

Composition XL J'II.

119

120

I-low to 1Vrite.

. Composition.

Compo.'lition X L r.I.IL

('0111po.'liflo11
¥~-;:: - ;- -~~>-~~~-~-

Ii

''

-

1'.? l
L.

.- .,_

~

'

122
-

How to Write.

--- -- ---- -··- - - Com1>0.~ition

LI.

Composition.
Compo.~ition

LIII.

ROOSTER.

Composition LII.

Composltwn LIV.

THE TERN.

Conipositfon L V.

THE GUINEA-HEN .

123

"

124

I-low ·to lVr£tc.

Composition.

·- -- - -- - - - ·· - - - --

Cm111wxition L VI.

('omPfJ.~ition

L J"IL

\'iue; annu:d · r(J(Jl;.;
'
'
!: I,r,11 1:-; ]1•:t n·:-:, nlt cr-

ra diate-\·ein<'d '
lol11·d, ncute, entire,
l.eart-slmpetl ; stem,
l1airy, he rL: tceous, nm ning. cl imbing. frndril-;; flowers ' .vellow '
polypetalous, rnonoc:0p:tlolr.5, cleft.
11:tll",

. .

TH!o: CUCUMBER .

Co111po,..itio11 LJ"IIL

j:

I .l.;
I

\

\

CORN .
(DATA NOT IN 0RDF.R.)

l

I

A nniml; fihrons rootR; i;;tPm, dosed at the

joi11t~.

smooth, glossy, endogenous; bwes, 1inen.r-bn ccol:tl 1',
nlternnle, neute, c:ntirc, sheathing; sheaths split on !11 1.'

opposite sid e of tl1c stem; ligu1cs; flowers in s11ib·::;.

(DATA NOT l N 01\DER .)

Write a description of "Com."

Str: mlcss herbs; runn ers;· white, clustE:red flow ers·
lean's, compound, radical, obovate-wedc•e-form coarse~
ly : J <·rrntc; stipules and petiole; l1airy polyp~lalou~;
rnonoscpaloos.

7

.

.

'

Composition.

How lo JV.rite.
.•

Compm~ition

127

Composltlon LX.

LIX.

THE VILLAGE OF GRAND PRE .
LORD MARMION.

In the Aca di:-rn hrir1 . Pn the sl1un•:-; c;f iLe L;,-i n r:•f ::..fi n:cs,
Tlic:ti\nt, seclt1dcd . !:'till, th i: little vi llfl !:. '. " of G:-an1 Pr6
L 1y in the frui tful v;illt"y. Vast mc·:vl;1\1·s strctchc,l to tlie

·w ell hv hi" vi"flgP yon might. know
He wa; a Btalw orth k11iglii, and kern,

cast 11·;ntl,

And lia <1 in mfl.ny a battle !wen.

Gi ri ng tl1c village its 11ame, and pa~ture to flocks \\'ithout
number.

The !'car on his brown cheek revealc<l
A tolie n true of Boswor th field;
His evcbrow dark, and eye of fire,

Dikes, that the ha11<ls of tlw farmers had rai:-;cd with laLor
incessant,

fhow~d Ppirit proml , and rrornrt to ire ;

Yet Jines of thought nron his cheek
]hl <kep de;;ign and counsPl speak .
. His forehead , by his casquc worn bare,
Hi~ thick mustache and curly hair,
(\·,,1J-bhck, and g r izzled here anrl the rr"!-B11t more through t"il tkrn age-His ;orp1an•-tmncd joint s, aml ct rength of :;mb,
;)} ,.nv r'll hi rn 110 c;npet-b1iglit O'O trim,
But in close fight a ckun pio n grim,
In ca llll '" a l1:ader "ag•• .

Lookc·d on the happy vall ey, but ne'er from th eir f'tations
rlc ~ cenrled.

'fl1 ere, in tli e rnid.-;L of ih f.1r111:<, rqio:-:c cl tl1e Acad i:rn villuge .
Stro11gly b11ilt were tl1 l~ li o11 ses, with frame>; of oak a11d
of heml oc k,

\\"as all witl1 burnished golJ e111bosscJ;
· Arni•l tl1c }>lumage of tli e cn'::t,
A fakon liovcrcd on h er nPst,
With wings outspread and fonrn!'IJ breaf' l;
E"en su ch a falcon, on his d1ielJ,
8011rcd sable in an azure fie!J;
· The goltlen legend bore aright,
·•Who checks at me to <lea.th is <light."

f-i11_eh us the p~asa nt;; of Normandy built in the reign of
the Henri e~.
Tliatcl1e<l were tbc roofa, with dormer-windows; anJ
• -Sroll

I

Opened, and \YPlcorn cd the sea to wander at will o'er the
meadows.
\Vest an d .'0111h there \1· cre fields of flax, and orchanh and
<"om fields
S1•rcac1ing :1hr ar11l t1 r1fe r1ccd o'er tl11: plain ; and away t~
t lie 11ortlmanl
Blomi rl< rn rose, a11< l the forest.-. old , and aloft on tlw mountains
0C'a-fug:-; !>i tched tlici r tc:1t.-<, :ind Jlli'its frnm tl1" n:ii;hty
J\ t la11tic

\\"ell \\as he armed fr o!!l l1c~vJ to heel ,
In mail and plate of Milan steel;
Bul l1i s i-;lrong helm, of ruigl1ty cost,

"I

Shut out the t11rlrnknt tirlr·s; L11t at sta t eel ~Ca"on :0 the
floodgatrs

gables, projeeti11g
O\·er the ba!:':ement below, prot'ccted and ~balled the
doorway.
-H fV. Lo11,Qfdlow.

,• ,..

....

_.~,

Composition.

nnteered Ly letter to defeml her son. His first ·act .,..·as ti,)
procure the postponement and o. change of the place of the
t riai.
There was too much fever in the minds of the immediat.e puLlic to permit of fair treatment. When the trial came
on, the case looked very hopeless to all but Mr. Lincoln, who
had a.'3S11red himself that tlie. young man was nof guiltj.

NARRATION.

The evidence on behalf of the State being all in, and
looking l.ike a f.o!id and con~istent mass of u.>stimony against
the pri!'Oner, Mr. Lincoln undertook the task of analyzing
and destroying it, which he did in a. manner that surprised, ·
every one. The principal witness testified that by the aid
of the brightly-shining moon he saw the prisoner inflict the
.death-blow with a slung-shot. Mr. Lincoln proved by the
:i.lm ann.c tha.t. there was no moon i::hining
the time. The
1nn.~s of testimony against the" prisoner melti:d away, until
"Not guilty" wa.q the verdict of every man present. in the
crowded court-room.

com11ositlon LXI.
THE GRATEFUL LAWYER.

Lincoln's ~early o.thletic strngg1e w~th Jack BA~~.~
Mr. .
,
f tl e " Clary s Grove O) s,
.
the represe ntative man o i
'
;
.
. " " · ,,
i;t '.ong; .
d
From the mom ent ot this sti ucoot '
will be remembe rde t.
11 "" clrnwn battle," in cons~q11c11ce
. h J k agree
u ca
"
'
J l
w h ic . ac f l ln.y t liey
'
bteam e ·stroncr
friends.
ar,:
o
of his own on P 'L'.
I at ·rny time and would never
would fight for Mr. .uwo n I 1, I ;li<'r~ \Vere times "·hen
i.
l en ag·un"t
Ill ee• •
.
hear rum spo { d , J . ·I~'
bin his homE>, a11d here lllrs.
. o Lincoln ma e ac' s ca
.
.
ti
younn
1 ". .
learneJ. to respect l C
Armst rong, o. most woman y pd son,
ri sing man.
.
t
There \\' 8~ no iwrv1ce
o ',·hich ,~he did not m:tke1 hr
·1 r
11
.
,
,
::i.il'
l
b"
,.\·c
r
Cl'~1
sr
1
1
to
fo
e
t
11
)
1 '
. ,,_1 1·-1_:..:t 0lJ':n :1 ,u 1•1y \ \11 l ' '~ Ii
...
.
,·
l '
'~'.·•1·l· · :·v< ~·: ,,,• : • 1 1 · 1 " f·,:· l:··r l;1n•1nf' c:o. ;\ t J ~ ; ;_:_;th.. J1c:r
..
:'·
.
'i' :.._

at

.
. ___.
'
,
- lr"\l""'cT'rif\t\t upnn l1~r .~011., .
l •f\ tH I d .le,d and snc ueca111c: c' '"' l' "" ' " , -,' p ·.t":"
1
.. .
·I · i n · att<'11tb.n.ce upon
"·". '
nlil 1'si of t11 e.~P, \I it. ~ in '
, , , a c«mp-m
.. ~ = ~ u: ...i ,1.,.
·
· l ·
11· · · l · •1i in ·t rn l:ir't? \ \·n1 c l 1. l'l'. .-. . .. :. ,_ i_l1 • "
f1 •t1:i ! . 1 :1 ~ 1 ~:,1 • , _
1!1\· r).\-l
(
.
_ . ,. t .. ,, , , .. 1
!

t

_

d µ:iili of a voung ma n,
~

-

-

,

yo11np; ;\ r1u,,t1 0'. 1~ ,11;c .~ " '·' ·~; :

;l 111l
.

,

.

.,

•

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i . , 1.0 1

hir.'.V

1 1 ·.

1

-Lv one of hi ,; as:=;oc 1at cs w1u1 . sln1~ 1 11 c; ""' " ' " ". ~ · "· t .- ..
1
,,~as arrest.ed, ('Xamin cd o.nrl impn ~one<l .to await 111.~. it1~11:. o. bl aie of excit
The p11bli~ rni11<l was 111
· ·ement
. • am inc
c:-sl·::·1· p:crti 1•s bl t1w fhr!'1t> .
•1
~1 r T.lnroin knP\V n ot hi rig uf tLe i i~C'rLs
o~r t. 1
. il"~ ~ ..., o" · • 1·:1 t
1

-;~rtain .

:

128

I

i\l.li;: •
• '

·

He only kne\~ that hi~ olJ friend Mrs.
etro~g was in sore trouble i nnd he· sat down o.t once o.nt \ o

is

12!>

There is, of ·course, no record of the pl.e a made on this
occasion, bnt it is re1nembered as one in which 1I'f. Lincoln
rnn.de an appeal to the sympathies of the jury which quite
s11rpassed ·his usual efforts of the kind, and melted all to·~
tears. The jury were out but half an hour, when they ret11rne.J \\:ith their verdict of" Not guilty ." The widow fainted
i1: ili·~ arrn o of her co n, \1·ho di\·id ecl hi.~ attenti on Ld wL'Cll h;9
~' •'n· i ,,,-., to h•'r nn• I }i:o ti 1rH1 ks to l1i'-' d ,.• ]iY1'rer And tl11p th"
!: i::d woman wh o cared fo r the poor young m:i:: , a:: ,! shn·.·: r:! ·
li•Tscl f o. mother to him in hi 8 ncc<l, rcccive<l as li er re \\'art!.
l't.i111 the Land c-f her grntd1ii lienefi cin.ry, ih e lif~ of a "011,
>:11·nl irum a cruel conspiracy.-J. G. J.Iulluncl.

H.cprodnce the foregoing story in your own langllage, fu!lowi ng the outline given below. ·

1. En:nts th3.t lcJ Lo an ac ~1u a iutan cc \Vitlt t11c
I

.t\

•

rm stron u0'8.

2. Mr. Lincoln's stay with the Armstrongs.
g

Composilion.

unteered by lett.er to defend her son. His first . act was t<>
procure the postponement and a change of tl1e place of the
t riai.
There was too much fever in the minds of the immediate public to permit of fair treatment. When the trial came
on, the case looked very hopeless to all hut Mr. Lincoln, who
had assured himself that the young man was not guilty.

NARRATION.
Composition LXI.
THE GRATEFUL LAWYER.

.
, l athletic strngcrle with Jack Armf the ;C: Clary's Grove Boys,"
Mr. Lincolns car Y. . .
ti
rescn tn.ln e man
i:;t:ong, ie rep
• From the moment of this strugg1 e,
will be remembered.
ll " d 13
. wn battle," in conseq11ence
. h J k agreed to ca
a
.
J l·
h
w ic • ac
.
bt>Cam e stroricro fncnds.
ar '
C l 1 y t liey
of his own o1'.1 ~};. aLincoln at any time, ·aml w~11ld nenr
would fight fo
.
I l I tli<' rc were t11ues when
ken agarn~t.
Ill ec• •
·
h.
hear im spo . d J 1-' cabin his lionw, allll here :Mrs.
vouncr Lincoln ma. c ac' s
.
l .. . d
respect the
Arm~rong, _ a most womanly p::.> rs011, e.une
.

°

·

·

to

ri sing man.
to whi ch ~h e <lid not mal;:e hr r
'
f l l
to cc l·t.t·~
·"" '' ::tl11 :n··Lc11t h· wt>konrn , ;:uirl }ic J,•eyr. r cc··tsNl
•. .
• l
.g.. ..... .
l
1 · l ~ <·\t 1<•1litlt1 !d' :
0
• . ·\ · i· n-" rr_•"tli Lu•l1! for
1e r ' 111 '· 11 '-'· ~ - '
r-- · (
- J
•
hc·r i:: ()n :1 Tl: '.?
.t.,, l t l'l l ' f 1 n11cul "h" L cc·n1 HC d epell Clio ll \JO!l
.
.
"l" l··.-, ~ - ,ti''-~'' \Yhil c in atlenchncc upon a c;1m1i- 111·~r ; ;;;_,,;,
Q ' ' -~-- o ,
k '
.
. .
J · l . . ·\i •cl 111 il11'
11· . 1 1\vecl ltl [l 71/ C1c.'C \\' ll l' l ! CS L l
J.

T here was n0

,, e t11

l.

.

~rr n cA

l.,.:'.:IL

I" \.

f 11

•J

-~

.,.

l"•l1! 1•J illn'.;C , !!l\ L
<l·~;1.!h of a young man ,
·
.
. 1

.

'

.,.

·] i:1· ··1 ·· 1

.\ 1"111 .,[ l' Ul l" \\ .h l
, ,.
"~11 ' l "Ollil''
J
ro '
,.,
.
•
l[ '
'tl"'r;1.; 11 n th r> fo.tal blmv.
·Lv one of l11s as.~oc 1 a cs w1 ' ~• "'' b . .
1 . . t : 11'
\\:~ a arrested, c>xn.minc<l nnd impri ~oncd to await lll'l . 111•• ·
-'·'
The.
public rnind was in a blaze of cxc1'! cme n t ' '>lilt Ill Cl·
eslcd par lies fed thl' fhm c.
-• ·
r ll·H' .an ,...f +lii<: rn sr : that
01
it: n 11 " '
l\I Liriroln knew nottnnrr
r.
.
o
.
.
t·.
Ile onlv kn ew t}1 at l11 s ol<l f:"
ticn d M r s ...\rm1~ cer alll.
J
<l
,
" 1 \'ol·
V •

s~rong

was in soro trouble; rrn <l he . F.at
128

12~

own

, .....

O.v

- · ·

once

•

llu l

..

The evidence on behalf of the Sta.te being all in, and
looking ~ike a. f.oliJ and coni>i'ltent mass of testimony against
the prisoner, Mr. Lincoln undertook the task of analyzing
and destroying it, which he did in a manner that snrpriseq ·
every one. The principal witness testified that by the aid
of the brightly-shining moon he saw the prisoner inflict the
death-blow with a. slung-shot. Mr. Lincoln pr.oved by the
almanac that. there wa..q no moon f'hining at the time. The
111ass of testimony against the prisoner melt~ away, until
"Not guilty" waa the verdict of every man present. in the
crowded court-room.
There is, of course, no record of the plea made on this
occasion, bnt it is remembered as one in which 1!.,.. Lincoln
made an appeal to the sympathies of the jury which quite .
surpassed · his usual efforts of the kind, and melted all t.o'ttcars. The jury were out but half an hour, when they re! urned \\:itb their vcr<lict of" Not guilty." The widow fainted
in th e arms of h er son, who divined his n.ttention between h;s
~··n· i ('es to h er anc l his th~nks to l1i s d cli\·crcr. Anrl tli11 s th e
l.i111l woman who ca r~J for the poor young m:rn, and slio11·1·• l
1 1 .' r.~e lf a mother to h im in h is neeJ, received as h•'r re\\'ard ,
from the hand of her grateful beneficiary, th e ltfc of a rn1 1,
~'' " e J from a cruel con spira.cy.-J. G. IIullwul.
Reproduce the foregoing story in your own language, fol low ing the outline given below. ·

1. Events that led to an acquaintance with t11 e
Annstrongs.
2. Mr. Lincoln's stay with the Armstrongs.
9

H(YUJ to TVrite.

130

C'ompo8dlon.

---- - - - - - - - - - -·

3 .. Dc~th of .Mr. ;\ rm~trnng.
4. Young Anu stroHg cliargeJ wilh the death of an
associate.
5 _ Mr. Lincoln's nction in the case.
G. The trial and re~u1t.
7 . Gra f l tuJe· of the Armstrongs.

131

--- --- - - - --- - - - - - - - -

a ltigh cli;J and hid himsc1f
b1·/1ind a larg·e rock. IIe then took his lwt and
1111111:,f tlw lrrlg·c o/

Compo.r;ition LXII.
TH E

H U N TE R A N D

T H ·E

LI 0 N ·

..A louder, while crossing a field on his w ay h01nc,
Tltc lnrnsn.n•",. /nr,ff'
" .s" lion
· · c1osr· ln'j
· 1l'rtfcl1ill!J
- him.

Cr}i/t

tcr, lwi·inf} cxlwustcd !tis Sllf'ld!J of lm1lets, i:1111l

tf1,·111

knozcinJ} hr rou l d 110! esc({pe t/1c lion li?J n u1n111 :)',

1• ;<lin!J-place.
But Ilic
looketl a b out 1r.or a sa/.'.e
1•
~
field was bare and ofl'ered no protcctinJJ rcfrl'lll,
. and the hunter soon saw that bid one chance ,.,._
maiMd-tluit of deceiving the lion. So he cr1 ·1d
V'-'

I

fl

nd ;i.l:crl thcni on his fflln, so as to niake

look like a man.

<1s soon as the liunfn· s~w

t/11· hon app r oaclii11;;:· lie held the gnn, t1111s rlrc.\'scrl,

ab01·r : the rock. .The lion made a spring at what

he supposed to be the man, leaped o.ver the cliff
wlu·1·n the hunter was co!lcealed, and was dashed
1
in / tl'ccs on the rocks below. The hunter dc:.cended

How lo lVrilc.

132

Cvmposilion.
- -

and rcr(wrrrrl his hot and corr!, lmf frmnd /iig

;;:·u11
0

shattrrcrl zn pfrces.

133

- - - - -·-

Com1Jo8ift ~Jll

L'i8 lw looked al the li/r·/r,,

LXIII
.J

•

\\'rite an aCfT·nnt o f tl ie r\·cn t c; o f a (ti \· ."J•r-nt \\'itli
"
your
1 ·i i11 .c-: in , ns ~llr:
'_'.cc_'··.-t(·,!
L'Y tl ic f o ll r,1•.-ir1;.,;
·
·
·'
i : i d1:n~,;
:

I

I

!;

form of the lion he was filled with thankfu,Z,ws$
for his own deliverance.

M ee ting of hunter anc11ion,
Hunter's search for a pbce of ~afdy ,
Sec retion of hunt er,
THE HUNTER

~<\.ND L10 N

WE DUG.

Arrangement of gun,
Approach of lion,

Death of lion,
P.ecovery of hat anc1 coat,
Thankfulness of hunt er.

Write a reproducti on of the forr go ing story, r eforr in:-; !J
the pictures while writin g.

In writing this r eproduct ion , :-.i11

will be aid ed by noting th e principal points that h:ive Leen
selected and the order in whi1:h they have been arranged, as
shown in the outline.

FEEDING THE CHICKENS.

•
'I

H

131

H ow to TVrilc.

Compo8ilion.

135

---~ ---------- -- ----

GOING

HOME.

I
~

FISHING.

MAKING

WORDS.

\

136

137
Compo.~ition

LXIV.

Write nn account of the events of a day ~pent witb
- -·- , as snggeste<l by the following pirtntcs:

Cou~ i

1

WE GO TO THE RIVER
TO FISH.

i
ft
)

I

WE GO TO THE ~lELD TO FLY THE KITE.

WE FIND

A DOAT.

flow io

138

n ~r itc.

Lumposlt iun.
Composition
THE

'

1'

\VE GO TO

TH~

P ASTURE, CATCH

AND

T I!E

PONIES

TAKE A RIDE.

Many times an introductory remark. c:i.lling the atlentio11
'
.
.
;:'0~~" r'.0·1~~nt 0r 1 ntrrrh:o:;n~ \\":'\'

.

l '.

.

. · ''

... ,

. : . i

A gc11ernl r emark in co nclusion , giving the purpose of Iii··
story or n:iming t.he points of t.h e l e~so 11 tau ght by th e

stLln· .

often a1lds force to what is s:-tiJ, and at. the same tim e mak 1':i

the composition more symmetrical.
Stu rly car0full y tl1 c two foll owing R!Mirs, making t o c:1t·li
nn "Introduction·· and a "Conclusion," as sl10wn by the
p1ct urco.

NARROW

LXT<~.

ESCAPE.

Gnnposition.

13S

Composition LX V.
THE

\"'JE GO TO THE

PASTURE, CATCH

AND

T AK E

THE

PONIES

A RIDE.

}.fany times an i11tro1l11ctory remark, c;illing the attcnlioll

of the listener or re:vkr ill Rome plcasant or interesting way
to what you nm going to ~:ty, adds embellishment to the story
rn 1J. lieJ1 ,o; to 111akc il "')'111 111 0Lri c:d.

A ge11cral remark ill conclusion, giving the pnrpose of tli
s!ory or naming the poi nts of the lesso n taught by the ston· ,
1•

often a(lJs force to wl1at i8 rniJ, and at. the same time lllak<·:;

t.h-e composition more syrnrnctrical.

Stwly cn.rPfully tli c two following i:;lorics, · m;iking t o c:tdr
an .. Iratraduction" a11d a "Conclusion," as shown by tlie
pctures.

I

NARROW

ESCAPE.

139

r Or ·('111ntio:1 ,,f t l: " L")»
Tho
Narrow
Escape

I ;\r ,·i rkllt.
! 1:._.< (_· i 1~ -' f r n rn

';r' Compo8ition
-- -

-

FRA~K'S

- -~

~

--

,\ ,_}:r\. ·- .i'

. .' ; '~

LXrI.

FIRST ATTEMPT AT SKATING.

142

Composition.

How to Trrite.

I l\Tl~OilCC-

}

TIOl'<

Frank's First
Attempt at
Skating.

DrsccsSION

Co:s-c:Lu-

143

The wintet''s scene.

r Arrival at th e ri\·er,

l

First trial on the s kates~
Th e fall,
T!t e retu rn home.
:\ rcn 1.int

{

gin;n of tlin :cb.t -

1ng

Stories are ernbelli"li ed by some rk"c ripti on of peno ns and
places. Thi s embellishm e11t hel11s to pl •·a:;e th.; li"l•'n•: r, and it
fa,te ns his attention. Dy reading th e desc ripti on of a perso\1,
th e reade r forms an acquaintan ce· with suc h pcrrnn ancl be~
cn1nes soli citous for hi s welfare-is 111 ~Hl e k1ppy by hi ,; rn c ce ~:=;
or is g ri eved by hi s failure. A story th at d ocs not give a picture of the actors can scarcely be interes ting, for it lacks that
element which excites th e i:y mp:Lthy of th e rc;1dcr.
Much description, however, in a single pl ace , is olij ectionable.
A "tory must mov e rapidly from scene to sce ne-from on e time
to anoth er. If th e read.;r is ddain c1 l too lo11g for a c! L'sc ription, the narrative stops moveme nt, th.; attention of the reader

How lo H?·itc.

14!

Composition.

- - - ----- ---· - -- - -- --- - - -

is !led from the thre:i.d of the story, arirl. nnity is vioL-tfril.
It '1:1ir rdore nrces 0 :iry th:i.'. :!1" writer stndy his suhj01:
c~ alld ddc rmillc Lcfon::li;,:id ho1\· much de:;cription L-·
\i:i]biruJuce into }i13 story.
~description

of Pau -Pu1'-E cc11·is is one of m;i,ny tb:
02eiin that interesting story of ;\fr_ Longfellow's, Ji 1mcwfr.,
It ~:!o?n 1 ho\\·eyer, th;.1t :-:o f!1ll a de.--:cription of a pt r.-:cJ!l ~ ~
gi-.Gn any one pbcc as that of Pau-Puk-E:eewi2 .
1

'Wsu ccesi:'ful writers of stories sec1n to \\'ant the ir reader:'
to he frequent interviews witl1 their d1aracters personally.
midi this purpose they }>resent tlif'm rn::rny times, gi1·ing nl
e~d,esentation only a partial rle criptinn, bnt giving ::it+:>~\"!~
tirusmetliing that rP111ai11s 11iil1, a111l bt·eome;;;. a part of, l]1,,
ch~r. thus 1ntcn;: 1fying t110 rea1l t? r\ intert?:-:t ctnd ~ynq•:: ­
thy.In Dickens, Scott, Th:icker<\ y, Ifa w t!JCtrne, aml ol l1er,:
\•hutamcs arc to live :-is " story-tellero-;," full anJ minu1c
de.ons of persons an<l place>; arc given; but these d,,_
Errjns are tli\·ided and scattcrc(1, appearing in pbc.•c
whEit is desirable to renew and increase the interest of
thadcr in such person or pl>i.ce.
0

1-!5

And plenty of others, of every hueS11ottcd and stripe•L brown, red, \\'hitc and hlue.
Th ·_' 1nw,ic they had w:i.:,; as fine as couH hc
Fur the Linh made a chorus hiizh nn in
tr<><•
And a.long came the locust, bri~gin~ his drum: --1\!ld a g1e;1t gol<l1:n bee, striking in with his hnm,
},!"!every mosqlli t.o that came brought a fife,
\\ lule with grasshoppl'rs' fiddles the 1\·hole air \\·a.Q rif,,.
_i\nd each flower, gLi.J in the rnirth to take part,
For a fea,st ga\·e the sweetness that lay at its heart.
'flie Lall was kept up ti ll the clo.~e of the day,
T1.ll the sun, grown tirr(1 , at last slipr><:<l away;
~\lien the great moon sliolle out, with its calm, pe;irly light,
l lie we;iry yollng butterflie:,; whi:cr•crcd 'Good -nin]1 1 '
O
\
And. as glowworm and firefly lighted them home,
_
They agreed, ot1e ;ii;d a ll , they were gla<l they had come."

P:wh

•

1

\

{

Di the following poem, c::trefully noting the gre::tt amn1111t
of mription with which it is ernbclli~hcll aml the iiilt•frc~
th:11il:-i-;

d,,~criplion :i_r],_l:;

to

THE BUTTERFLY BALL.

"'Bhuttcrfli es all once gave a grand ball
Wte the roses were sweet, and the lilies grew tall.
F.a the north, and the south, and the east, and the we~t .
'ff.gathered together, dressed all in their best.
:&~ with her mamma, came charming Mi ss Flutter,
Ailnext came Mi ss Fleet wing, as yellow as butter;
'Ji Sir Dandy Brownspots, all hows and all laughter,
Mroung Mr. Rubynose following after, ·

Description of
place .

f Dc'.c<Tij•tiun

tk~ n:uratio:1.

Composition LXVI.f.

1

The Butterfly
Ball.

l r.-w.
f By whom

l

SIO:\

ul

fur-

11ished.

{By

wliom sen··
ed.

Close of lmll,
Return home.

CoNcLuSTON

}· HA.ppincss of butterfiies.

Transform the foregorng . poem, following the g1 ven outline
ns you write.
10

"

•

146

Haw to lVrite.

Composition.

147

Darling Lily was to me
The sweetest of them aH.

Composition LXVIll.
LILY'S 13ALL.

And when the dance waa over,
They went down Btairs to sup;
And each had a taste of honey-cake;
With dew in a bi.:ttcrcup.

-

Lily gn·e !l. party,
And her little playmates all,
Gayl! drest, came in their Lest,
To dance at Lily'::! ball.

And all were dressed to go away
Before the Fet of sun; ·
And Lily eaid, "Good-bye," and gave ·
A kiss to eve.ry one.

Little~uaker Primro~e
Sal i.nd never stirred,
And, except in whispers,
Never spoke a word.

moon~

And before the
single star
Wns shining overhead,
Lily and a ll her littl e friends
·were fast a:o;Jeep in bed.

Snowdrop nearly fainted
Became the room was hot,
And went il-Way before the rest,
·with 81\'cet Forget-Ille-not.

- Fun and Earn(,!/.

Pansy danced with DaffoJi l,
Rose with Violet;
Silly Daisy fell in love
Wit'h pretty Mignonette.

r lNTRODUC- }

By whom the party

Between tl:.u dances, when they all
Were sec.t ea 1n "fbeir places,
I thought l'd ne ver seen before
So 1nany pretty faces.

[

Lily's Ball

D1scuss10N

~iven .

Description of
f
a ew.

The dancing { Descripfr:rn . . .

l

CoNcLU- }
SJON

WM

.

TIO~

Tl 1c guests , {
But, when they danced the country-dance.
One could scarcely tell
Which of these two dance1l it Les t Cowslip or Hcatherbcll.

\

Occupation_between dan ces.

Th e supper

{ Where serve•!

Close of Lall

{ Tim~.

148

How to Hrite.

Composition.
"Jfr; head, !'ad to tel l,

Composition. LXIX.

H e thrust into the sh ell,
\Vhen the oyster, \\·ith f,·~n out of !neath,
Said, 'This is not mcc !'
Closed the shell in a trice,
AnJ it crushed the intruder to death ."

THE RAT AND THE OYSTER.

" A foolif:h young rat
F_c d on wheat and grew fat.
In t ht> hrtrn-hole in which lit> was hnrn:
No danger be knew;
So, co11ce1tcd he grew,
And he treate:d his mother with scorn .
" ' I'll go off to s·ea
For advn1ture;",' said he;
'Fields and plains I begin to d et est;
'Tis pl e:1s:rn t to roam;
Timid rntR Atay at home;
Rambl in g rats me the b ra ve,;t and be,;t'
''At once he rn.11 out,

And he looked fill about,
\Ti ewi ng all that he s:i.w with surprise;
A Ycry ~mflll brook
For the r:c::i. he rni5took;
/\_'?-th· ' .\11 ·:-:. 1::c,L·L~ 11 _· :-=· ·i ·r: ~1_ ·(1 t i · hi ; i\\ "i' ~

\\'dl, u1 111 a 1d m u i1e
Till he came to the sea,
\VJ.en~ ;;u we oyblen; \r erc cflst Ol1 tl1c s hore.
On e large on e he spied,
With its sh ell ope n wid e:
H e had not seen an oyster before . ,

J
I

"Its fl esh, plump and white,
Filled the ra t with delight;
And its sm ell-oh, how tempting was that I
•What d eli cate meat I'
H e exc1o.imed; ' what a treat!
Surely 1 am a fortunate rat I'

149

I

INTP..ODUC-

TIO?<;

The R at

and the
Oyster

DrscusSIOX

f

l

r

Horn>:> of r:tt,

lkci~ion of r'.l.t
J ou r11 cy {

to

tr~vr·l.

Objects seen on
the wny .

~ A~rival at the sea.

l

Mc. etillg \_,·i.th
l oy:stcr
tie

.

l{ lJ CSCrIJilIOil
. . .
J

D"ath of th,! rat.

Co~cr,t·~!OX

} (\\"anting.)

\
~

Tran::furm the forego ing poem, fullowing the given outli110 "'
:\' Yu:1 wri t ~.

Co-;npo8 ition .LX A .
THE OWL AND THE PUSSY- CAT .

The Owl and the Pussy-Cat went to sc~
In a bea u ti fu l pea-gree n boa t ;
They took some honey and pl eoty of mon ey
Wrapped up in a fiv e-pound note .
The Owl looked up to the moon above,
Aud sang to a small guitar :
'· 0 _lovely Pussy ! 0 Pussy my love l
What a beautiful Pussy yon are,

I" on n.ro,
What a beautiful Pussy you are l"

no

CmnpoBilUni.

How in lVrite.

-'----- - - -·~.

~ --

-· -· - - · -- -·

The silver beauties olose he scanned,
And held them fondly in his hand.

Pussy said to the Owl, " You elegant fow 11
How wondf'fiu1 sweet you ~iug !
Oh, let us be married-too long we have tarried-·
But what ~1 we do for a riug ?"
They sailed aora.y for a year and a day
To the land wh ere the Bong tree grows.
And there in a wood a little pig stood ,
With a ring in the end of his nose ,
.lfu:11ose,
\Vith a ring.m the end of hi~ no~P. .

He counted them thrice o'er and o'er,
Then tossed one back among his store:
"I certainly can buy with nine
A charming, rosy valentine."'

Before he reached the garden-gate
He ha.d rewl ved to spend but eight,
'Then seven, then six, then five, then four .
His hand was on the sho pman 's door:
" Four dollars! What a monstrous sum
To spend ! Enough to strike me dumb I
To ma.kc it two I do incline:
No, one ehall buy this valentine.
A dollar! Just one hund~ed cents!''
He sighed . "A waste of useful pence.
A penny valentine I' ll send ."
This mnch t he mi"'3r di d ex p<::nd .
B ut e'er his journey home wrui through
H e sol,! tlic penny sheet for two I
Tempt lii rn whichever wa y yo u will ,
A l!l!~r i:i :i rni&>-r stil l.
-jfa. M.A . KiJ,.Jq.

"Dear Pig, arey<m willing to sell for one shilling
Your ring! Said the Piggy, " I will."
So they took ihway, and were married next day
By the turkey who lives on the hill.
They dined u~n minC'e and slices of quince,
\Yhich thc_r ate with a runcibJ.~ spoon,
.:\ 11<1 kuHl in krnd on the edge of t he sand

\

T hey danced by the light of the moon ,

'rhr moon,
They danceii by t he light of tl1e moon.
-EJwarJ. L.:.ar.

Transform th e fore~ing poem, makrng an out.l ine before beginning to write.

MISER'S VALENTINE.

A poor-rich miser, all forlorn,

With visage grim and garments worn,
Once fell in love-though, strange to say,
All with a maiden fair and gay.
'' What shall I do to gain her love?"
Mused he. "By silver stars above,
I have it! If I never dine,
I'll send tie girl a valentine I"
And BO Irr.m out his bag o"t gold
Ten shining dollars soon were told.

p;
'."(

.
!

lNTHODUC- }
·
TION

Composition LXXI.
THE

151

---------

(Wantrng.
. )
Love of the mi~r,

The Miser's Valentine

SION

.
C-0NCLUSION

a.~

De.cision to se. nd valentine,
Amount selected to be expended,

DISCUS-

Transform the foregoing
you write.

Amount expended,
Sa.le of valentiM . .

}

·.

Moral.

room, fullJJ\viog the given outline

-

····*· .. ·

...... ,,...,

..

... lo'r.:.•

H0w to JVrite.
Composition LXXIL

Tra~sform the following poem. It is a fine example of narration embellished with description.
T H C:

'

·w

ATER - CURE.

There was a little Lizzie
Who was never very bnsy,
Neither very hard to please;
She was not inclined to labor
For herself or for her neighbor,
For she dearly loved her ease.
ThP.re was nothing you could tell her
That wou_ld rouse her or compel her
At the proper time to rise :
If you didn't go and shake her,
All your calling wouldn't make her
Open wide those sl~epy eyes.
·
So her little sister Kittie,
Very mischievous and witty,
Thought she'd try the water-cure.
She was carefu 1 not to mention
To lier mother h er i ntention ,
Till sh e"d marl c th e matt er surr.
Hut wh ile Liz was soundly sleep ing
Kittie came on tiptoe q crpi ng

To t.he comfo1·taLle Led ;
And poor Lizzie , in hC' r dreaming,
Thought Niagara was streami ng
Over her unlucky head.
Up she jumped and choket1 and spluLtereJ,
A11d the queerest noise$ uttered
Through her mouth and through her nose,
.As the water, like a river, overflowed her,
Made her shiver from her eyelids to her toe&.

Composition.
Th en the laughing little Kittie,
Who was wise :is well al' witty,
Though she qlllte e11joye<l the play,
Tho11ght it safe for her to i;ramper
(Seeing things were getting <lamper)
Out of lazy Lizzie's way.
So ~he dodged the littl e matter
o·r n. comb and brush flung at her,
And, with merry misehief, ran
To report that lazy Lizzie
Was already up and bnsy,
Tl1anks to her successful plni1.
"
Our Mi ss Lizzie thinks at prcsl'11t
It's decidedly more plc:mlllt
Early ri si ng to entlnrc,'
Than to undergo the jokiug,
To say nothing of the soaking
Of another .water-cure.
· ·
\
-}.fanJ E. EraJle}_;.
Make an outline before you begin to write.

Compo.~ition

LXXIII.

T ransform the following }>oem , :i11J note the desc rip ti•m cu 11· .
tainerl th erci11.
THE

SUMMER

SHOWER.

"It liappened, 011 a summer's 'lhy,
As little Charlie left hi s play
To march away to scl1ciol,
Hi s lovin g littl e sist er l3e!'s,
\Vh ose evAry toucl1 was a ca ress,
Mounting her tiny stool,
Threw both arms round her rrinmma de.tr,
And, softly whispering in her car,
Begged her to ma:lrn a rule

154

How to lVrite.
That i'he too might a. Fhola.r be,
And O('ar d('ar Charli(' company
When marching off to school.
"And mamma kissed the eager face,
And sent both off in cager diase
To reach the schoolroom door;
And all within the r,chool went well ,
And naught of trouble them befell ,
Till, coming home once more,
A sudden shower them o'errook
AHJ wet jYXlr Chirlie's slate and book,
And soaked the clothes they wore.
~nd timid Bessie, pale with fright,
Reached mamma in a sorry plight,
To murmur, o'er and o'er,
' Please, mamma, ke ep rne liou1 e with you ,
For oh , i ndeed, I ncycr kncv;
Befure that rain cou ],J roar 1·"

J\fake an outline Lefore Legir1ning to write .

Com.position LXXIV.
Transform the following poem. Note the great amount of
description contained in it before die narration begins.
DANIEL SMITH.

"Daniel Smith was number six,
Full of mischief, full of tricks;
Full of supple strength was Dan,
Like an 'India-rubber man.'
Fleet of foot and fleet of limb,
Not a. boy could distance him,
As a.cross the fields he sped.
Or the merry pa.stime1f1eil.

Compositi.o-n.

155

One sad morn his way he took.
Cleared the fi eld ar1<l leapt tlie brook ,
1'.Iissed his foothold, slipped and fell,
Rolling down into the dell.
Many weary hours he lay,
Quite unconsciou!:I, t ill that wuy
Pasf'ed a fa rmer's hrl, who bore
Ihnicl to his cottage door.
From that time he never bl
Merry pnstirne sports, or sped
Fleetly, with a whoop or bound,
O'er the fences or the gronml.
Crippled Dan (the name he bore)
URed to sit upon the 8hore,
Hour by hour, with silent liptc,
Looking at the busy ships. "

.illJ.kc

u11

uulliul.'. lwfu1" yu11

CompoHition

Ul·g111

tu write.

LXXJ~

Transform the following pueru . ~ule that tlie <lescription
i::; Ji::;trilmled. Note, ul:"o, how much interest the descriptior1
adds to the story.
FROZEN

IN

THE

STREET . .

The air was white with snow,
And on the street below
It lay spread out., a mantle pnre nnd white,
And the houses, 'neath the flake.q,
Grew to look like frosted cakes,
And over all came down the .solemn night.
The young lad's feet were sore,
As he. pa.13sed from do~r to door
With the holly-branches no one wishedt-o buy,

•

........,. ...

.
Composition.

How to lt rrite.

156

157

------ - --

Ti 11 , we:.iry with his q nes t,
UP. nt. last sat dow11 to re~t.
· Thi11king drowsily, How would it seem to clie ?

II

I

Th1' n rn tlde11ly a light
&>fmcd to spread throughout the night,
.:\11 tl lw wond ered vagu ely how and when ce it cam e;
t\nd every soft snowflake
&cmcd an angel-form to take,.
And hP. heard strange voices caliing him by name.
Wl~en th e morning sun rose fair,
'TI1ey fonnd him lying there',
With a smile upon his lips, just as he died ;
But th ey nev er knew, ah-o !
How glad he Wai; to pass
Through the misty port als of a re.tlm untri ed.
-Elki }'.

C:ly · l~.

Make an outline before begi nnin g to write.

Cornposltion LXXVL
P.e~vl Ilic following story, noting the desc ription that occurs
throughout it.
EVENTS OF A HALF-DAY AT SCHOOL.

During- 1ny visit with my friend I spent one halfda !J lf'iih her in the school zl'hich sh e attended . 11 (·
.<1larlctl ,,!Juut hrilf-pas t eifjht, and the walk prov1·d

to be imeh

pleasant one that I was aln-,,ost sorr!I
Lil sight of /h e s1:Jinolfwnsr. 1J "I'
were none too Clll"lf!, for Ili c bdl Tlll/. Jf ju.st ((,.; //'1:
rc1u:h1:tl l he str•;N;; so n·c hnrricd to the room..
w li c11

ll'C

ri

l'lllJlC

The sch oolroorn was very pleasant, with its fil'1 :

rows of seats filled with bri;Jht, happy children.
1'he tcache1•, a young lady with a very pleasinJ1
co11,ntenancc, called the school to orrler, ruul the
day was opened with singing, in which all lnok
pcirt. After the sinJ}ing a dass in aritlunetic ·recited . 1'he class solved many difficult e.xamples
in . fractions. While this class u:as reciting the
second class studied their Renders, cind from tfoie
to tinw different members of it left their soots and
went to a table that" stood in front of the third ·
row of stJats. On this table lay two .or three di~­
tionaries and niany oth~r reference-books, to which
the pupils .had free access. .A fter a short recess,
dnrin_g which the pupils walked abont the room,
talkinJ} qidctly, the clnss in reruling was heard,
while the first . class stiidied gcogmpl~!J· ~uring
th.is recitation in reading the teacher stoorl in the
back part ·of the room,, near one of flie zl'inrloic~
a ncl r eqnestcd co.ch p1qJil in lnrn to vass to the
rostrum in front of the sclwo1, s lnnrl nr.ar tlte desk
a11rl r c"rl. .1no!hrr sl1orf r rc1•ss 11·a s ;;f il ·r· n thr !J1l11ih , d111·in[f ll'!1ich 11n accirll'l1I 01·1·111·1·1 · 11 . • ./_;fir! in
/J((ssin ;)" kllo('kc d a. 7Jlu11t ji·u111, 11 tl'i1trl u11· rt111! !J1·nkr
l/u:

1ml .

]/,

l l"f lS

r;u ick1!J

l'i'.llU!l '('( /,

r1111 l

11 ·11s

s1·111 ·r ·1·-

ly niissed froni among the 11u111y blooming· plu!ll ,\
which filled the windo1cs. Tlir- clo ss in g·cog;rrr.7Jl1y
then took places at the b1ackboard , which c.rtcndcrl
ru·mu1.rl fh r, entire rnnnz, anrl co111phfrrl 111n71s of
Illinois, referring at tim es to a lorg·[. 11/flfJ 1cliich
hnng· in the front part of th e room . These maps,
to~ether with the pictu'.es nicely grouped above the

158

How

f,o

Write.

CompoS'ition.

hOfI-rli, added much to the good appearance of the
room. Following the nwp-drau·ing canie recitations in history and _gramnuir, the class not reciting leing engaged in preparing the next lesson.
At fit.e Tninzdes before twelve books were laid aside,
u-Jun the teacher, in a quiet, pleasing way, talked
with ~he pupils for a few m.inntcs. At a signal
the p':l-pil,s filed out, and were soon on their way
home.
I w1.-s so nuwh pleased wUh the school that I dctermii,cd to visit it again, which I did on the followin! aflGrnoon .

Composition LXXVIL
Nr.rr..ire the events of a half-day at school, following the
given programme an<l imagining the necessary description.
PROGRAMME.
Recitatio ns.

1.30 ti 2.00

"2.05
.. 2.30

.. 2.35
lNTRODUC- ( Walk,
TION

l ;

5'

( Arrival at school.

3.00

l;
I

' '
,

I

• 3.35

RECESS .

I

!I Arithmetic r cc itrrt ion .

a HalfDay

I Studvof
l Dc;;cri ption of table.
-.
Drscr;s8ION

I
I

rl!J.clrng

J

j

' Recess

at School

B. Geography.

Teacher { Sl ight description .

• 4.10

..
('D esc npt10n.

R eading r ec itation.

I

" 4.15

, ~AA

B. Gco'J1'aphy.

HECESS.

A. IIiston;.

I Singing,
Events of

RECESS.

A. Reading.

3.05
., 3.30
&

Studies.

Language.

{ Slight deflcription.

r Room

159

A. History.

RECESS.

B. ]{umber.

\

Writing.
Drs~uss.'1.L.

Composition LXXJ.7II.
N arrale the even~ s of a half-day at your own school , a.nd
embellish the story with ~pp1:01;riate d csc riptio1i .

Accident.

Maps

{ Description,

A mire dignified name for story-telling iris narration.

History and grammar.

'j

I

, Talk.

CoNcLu- }
RION

Pleasure derived from the visit.

. A composition that details events which a.re mutually dependent for their value and interest is narration.

Ne.rrat!on le subject to the same la.we e.e description.
'·

How to 1Vritc.

Ab.stracl Description.

I i: while telling n. story, you turn aside to inh'rfst your
n-ad>r in some other story, or in some description that you
are ;civi11~ too fully, you \·iolate the Law of Unity. N:irrat e

l!1ctic in exprc:o.o.:ion, like the d1n.1low of :<ornething unseen.
H e was unass11ming, ur1aggre;;i:;ive, with the bearing of one
who by n:iture would prefer to do his <luty a.ml bide hiR
time.-Afary Gkmmr.··r.

lGO

~ill;. incidents of thl' story and describe objrcts and peopl r
pnly for explanation or embelli~hrnent, that you may incrcas.·
th~ interc;.;t of the rcaclcr in your main work.

lf you mah~ a rni;;:take in determining the principal cvcaL

oft~ story, you violate the Law of Selection . This law is subject. fo varied application, according to the judgment of th"
<rr:t?:r.

lf ·yon omit one or more of the principal points of the story,
:yon ~iolat'.c the Law of Coinpl.eteness.
H you fail to arran ge incidents of the Etory in Ench order
that the r ead er will umlcrsland lliern ia their· proper relatious vou violate the Law of MethoJ. It. is not necessary
1h;rt-;1;e events be narrated always in the exact ordi?r of timi:
i:1 >Yhich they occ11r.

161

DUR 0 C.

nuroc was grand marshal of the pala.cc, and a bosom friend

of the emperor Napoleon. Of a noble and generous character,
nf' u n<>hake n integrity and patrioti:om, and firm as sled in the
lurnr of <langer, he wa.c; beloved Ly all who knew !1im . There
11 :1~ a g 12n tlc11 ess about him and a purity of feel inf\ which the
lift! of a camp could never destroy .
,
.
Napoleon loved him; for, through all th e change!'> of his
!t1rnulluous life, he had ever found his affection and truth
the same.- J. T. Hcadky.

If .i-o11 f:1iJ to giH' to C'ach rrincip:tl alld each s1i\Jordinat,•
:t!tt·riti o~ 1 i·ru1 1 nr-ti (J !1~:.te h) th:1t f-!i\··:·n ti:i c·t h ~·r l'ri11' i! l
::ar::::11t,Jrd 1 11~1te CVt..1 tJ!~. }dll violate tbe La\V of 8yu1n1t·!r; :-ut l
;Qff~n_;:J_ the cu1t1vn-t.(:d t;:t sb~ .

:r·\-,-i r,:.

1

1

~

\H1ting, much htitwle is a1lowr11 the jnrigm rnt an d
of th e writer The exn.ct applit'.ation of the h\\·s Hlll
iiJ.i.-e lc,-i rn (;d is of cvur~c contro11ed by the purp03c th e \rriter has in \·iew.
~~~ ~

Abstract Dcsc1·iptfon.
DESCRIPTION OF A YOUNG MAN.

THE BEAR OF THE PYRENEES .

Per~onally I recall him as a young man of fine an<l appeal·
ing face, of winning manneni, of positive intellectuality. H e

Th e bear of the l\re nces is a serioi.1s beast, a thorough
1no11ntainee r, curious to bl'hold in his great ~oat of folt.t>d
hair, y ellowi sh or grayish in col9 r. He ~e crns formed for his
tln1llieilc, a111l l1is domicile for hir'n . His heavy fnr is an cxcelle11L mantle aga in st. the i-:no11'. Tlie mountainPers t.!1i11k it so "

was quick in repartee, brilliant in conversation, with a fund

of

uf!>rmation and cultivation to draw upon remarkable in so
.YOlllS a man . At that time there was something even pa·

11

. I

162

How Lo H-rile.

Oompo8ition.

163

I I

!

I

_iii,

JI -

i'i

;,•

-

good that th ey borrow it from him as often as they can, an 1I
he ·thinkR it. so good that he defends it aga inst them to th e
best of his aLility.
He likes to Jin a1unt>, :rn<l tl1e g•Jrgc·;,: of the hcighl-s :11•_·
s
~c,htn.ry :'~ h·· \v1 ~L~·;:. _
~fht' Lt_
-illti\\' trr-.C's flfi'ord hirn : ;._
3
re'.ldy-m ru le honse; as th ese are. for the most part, bcech c~
an1l 0:1]; 0 , !10 finds in tlH'rn at on ce l·'c"l :1 11tl ~lll·lti"·r. For t l1"
rc:ot-br:iYc, rrnL!ent nncl n1lnP,t-J11' i.'-< :tll csiirnalJlc anim:d :
his only faults are that lie eats Ill::> little ones \1·lie11 lie rn11~
n.cro:::s them, an•l tliat li e is a pour dan ccr.-,.---11. A_ I'L£inc.
)"'011 \\·i ll n ute tL :tt th,_ . above t1t·S1_:r ipti c1n:::: t-: ive q 1i:1 LticJ11not Le ~cc-n \\· 1th the c•y e.
Surl1 1l e ~cri11ti 1_ 1IJ~ a11_'

il1al

calt.-.1
l

-

A/n;f1-ad IJn•n·i11t/ow•.

Abst1<1ct De~cription frequently adds much to the cmlwllishmrllt of !larr:tt ifi tL

I wish yon now t o n •\nit e the nflrr:ttions asked for on p::ig" '
130, 133, 13'.) anrl Hl, :t11d cmbelli~h them with both Ab-;tract
and Concrete Descriptinn_
De careful llOt lo ,c;i\·c ;; o mucL d·_·;; ni1•ti o11 111 any one l 'l:t c'>:
a:0 to \·i ci htc Ul!ity.

Dicky and Doll y, the j ollv and bold
\\"h at will you clo when tlic winter i~ cold?
"Do"" mys bra\·(, Di (·];, 11ith a worni in hi _o; -month " Du'., \\"!:y , yuu goosf', we will !Pave and go rn 11th
-Jf_

'1r>rn -f'fo rm tl1i' r100m Tl1i'. rlc<rrii•t
•- :111 l-<il'a
, 0f
1-c,n
' .
'
rn· .>l-rll>
L1rcl.' Ii\" tli '•ii--,t111u11
-· - ",· .t111
. t lll•t i"Y g1\·;ng
- .
. o''11-'li
. o
r1twlities,
1
' ' 111 the fon'gu1ng, or by gi1-illg ~ize and f" ·rr11 a111l culor, a~ in
the first Jescn_pt1011.

THE

BIRD.

'There's a lrnmfln !Mk in iti'i "\\"elli11 g lm·;\'t,
And tlie gentle e11rve of its lo\\"ly c~c,q;
'Ti s n Linl I luve, \\ith it" brornli11rr nr.\,o
Awl tlic tremblin g tl1rub in ih lll u ~tlc-d t'hrc.:t t_
1

-X I '

Tra11~fo1 11 1 th e abon~ 1;t;111za;-;_

1 ''

:j

,-

'"

1 c. 11

tl 111· 1;I l10 '" a "ll t·11:.

Vi cky and lJolly k11vw li utLi ng of c:trc;

Th ey are as fr ee as their neighbor, th e air;
Swinging on tree tops or swaying on corn,
:Me rri est ralllc-pales rver were born.

;

l· tl"l
" t rl · ' r!-~,(
c· r 1 1 I l !•' l !~l~ t.i_
I ~ !::_·
.~ 1~ t( l'
.l.
·r~i, :_ i.: Jii ldr'="n lct.ugl1 lt111d a .~ ti1t·y trip to hL..: c ~tll).,,
And th e poor man that know;; him la11 i--'. h" lo11 rl 1·o; t of all
1
'-

J ),

1(

DOLLY .

Dicky and Dolly are two pretty b ird!:!;
Ringing ail fh.y in th i:> ir ~ongs withnnt wnnh,
l:J .·.;i11 .~~ ;i.f ,,1 11 t i r 1 ti )•· ,-.: 11n ;t n·i ih 1• L ri '\ ' /.i\
Li ci11g a11.J Lill 111(-'. l1k1: !»:11 .- c 1111 tlw t I '<'•'-~-

Wit\'

Kole th e Lind of dc,c ription

con tained in th e roem.

You
hc:1r
that bo;·
h11,,J
·
,
,
•
,
,- •i
- 11;,

DICKY AND

L' rrLJlry.

i !1 c' '-'t:

11 "!'
] ,, ,;' tll" (.·111 :-:
.....

Cu;n1;u::;it ·un LXXIX.

E~.

!"

1

- () Ii'

Tr:1nsform tl1 e abon• ;;tanza.
~ , : r;f11 i1: c• il i1; f];p j;•}('ni_

j j .. 1,,,,'

Kotc th e Lind uf tlcFcrip tiun

Compositio11 LXXX.
THE VILLAGE

PRE_ACHER.

_ Ncnr yondt•r cop::= t>, wh ere 0111·c th(~ g:1ril•'I1 l'lnilt>d,
ArtJ :;till wlicrc many a ;;;anll'11 llo\\'l'r grows wild,

How to lVrile.

164

Compos-ilion.

165

- ·- - - .. - - -- - - - - - - - - -

'fbt·rc, where :t fc\1· t orn ~l:rnbs th e i•hcc ( li .- c1·J~c ,
Tl:e Yilb.ge prcacl1cr's rn ud1'"t llUll'ion r<.J."c»

H e trie:rl C:i1 'l1 art, reproved c"ac11 dull dr·l:iy,
:\li1m •tl l• 1 ln ii-'.lit1 T 11·1, d1ls , rtn<1 led();,_, wa 1-.
1

!II

Ii'!:
~: :!

,.

;\man he was, to all the conntry dP:tr ,
And pas:-;ing rich with forty p ou mh a yc:i.r ;
Remote from towns, he ran his go(lly race,
· l1e1.1 t o c11,,'t 10'·< , 111'.c. 11hcc.
Xvr e'er l1a d c l1a ngct,
1 nor w10

he

~·

..

Unsk illful
to fawn, or ::eek fur puwcr,
lh· (LJcti·ine~ foshion(_:d to the \';1rying l1 our;
F;ir other aillls Ii is heart had lc:i.rncJ to prizc}.!orc bent to rai'e the wrct cln't1 tl1a11 to ri-c .

At churcli, with meek anJ unaffede<l grncc,
His luob :i.<l«rn ecl the Yene.ra.ble pbcc; .
Trnth fr om his lips prevaileJ \\'itli dcJL1ble sway;

a~ k n.)wn to a.11 the vagr:.i.nt train ;
JJ,, cl1ir.l t]11•ir \1· ;u1 1l'r ing", lrnt rdic\'1•11 their p;1in.

Al" 1

The lon<>-r1•111e111Lcre•l
lJcg.0c,ar 11·as his g1Jt ~;-; t,
n
.
\\'lio"c L•e ;1 rJ, rl»s<'cnding. ~ 11'<-'l't. Jii,- aged LrT;t"l;
'fhe n1i11ed ~pendthrift, now no \ 0 11g•~ r pru1 1d,
t!lai 111cd kin rh ccl th ere, and h ad his claims allo11·eJ;

The ;; c n·ic,~ l •;\~t, a rou 11rl the piou s man,
\
\\'itli re:1dy Z•'al, <•:1rl1 h()nt'.~t ru~ti c r:rn;
Ew11 child n ·n fol l111\' cd with entle:i ri ng wi! •.,
A111 l plu cked h is g•J11·11, to :::h;i,rc tl 1\~ g•i",J 111;1n· ~ "111ik;

T!:c brob·n ~.,\,]1»r, J;iwl ly harl •' tn ~Lty,
~:t t hv hi-. tire nn•l talked the ni .d1t a.way~lio-11ldPrcrl l1i s crutch , an<l Rhow eJ how field:; were won.

Hi " r catlr :::mill' a 1·:1r:>1d ·s w::nntli c xr n».-··· l:
T/1.,ir welfare pierr~Pd him , nncl thPir C:1r f'~ d1,trc s~r' d;
'fo !h1:t1\ l1i6 Lutrt , l1i.-; luve, lii :0 bu ri ef;; wer
e e i\·c11 '
.
Bllt all hi s ser i ou.~ th ow,1 1t;; h arl r est in li »:i.1·p11 ·

Pleased with hi s g uests, the good rnan lc:i.rn c·Ll t o glo\1',
A1id quite forgot th eir vices in th eir woe ;
Carel ess their m e rits or their fault s to 1Sca11 ,
His pity gave ere chn.rity bega n.

As some tall cliff, th a t lifts its awful fonn, ·
Swells from the val e, and midway leaves the storm;
Though round its breast the rolling clouds are spmJ.tl,
Eternal sun~hine settles on its head.

Hi,; house·

11

L

''

J;, .,.,j,k tli c lwd 'rh crc parting li fe wa..; J;;i ,J ,
A111l ~<:rnuw , guilt and 1Jair1, Ly turns di , 111~1\' c cl,
The rev ere nd cha.mpion stoo1_l. At hi,; cunlrol,
IlL·s11air anJ a11 0u11d1 fle1l the stnwali11
g ._.-.:ou l ·'
·
Ob
Comfort came down, the t rembling wretch to rai ,e,
And hi:; last faltering acce nts whi;;peretl praise.

'
\ ..\ CJJL.· u .Cl' l ll~

1

\\ . Ullllt. :-: ,

1
vr l c.lit.:. .::!

('

Vl

..

~·)

) "" . ,,.

tV \

1 ,. '

i, lj ,,t . ,

il l

"oo l .::,
~:

J

··· 110
i
\\

c~
r1 e
nti

t U- ~CO
: Htr1

re!H :l. .tr! Ctt, t' O

r ray.

\1..

~,

~;

)

-Olircr Golds111itli.

Tims to r eli eve th e wrclcl1cd w~t" his i1ri1l c,
An<l e ve n l1is fail inns
J..a11
cd to Yirlut~'s ~i.11.';
0
.
Hut, i11 Iii;; duty, prompt at every call,
He wat ched aml wept, he pray•~ <.! a111l fe lt , for all:

Aml as

bird each fo11J e111l car111 eut tries,
To te111pt lier 11ew-fl<~JgeJ oflspri11g to tl1e Hkie!i,
:l

T:-an sform the foregoing_ poeni.

Writer~ frequently embellish their narrations by detailing
tlu· i11!lu cnce that po r~on s and places have upon the beholder.·
Ht ';(I l the following:

Composition.

How to TfTrite.

I GG

THE

BOOKS.

'llw goo<1 l_)o1;k of tllf L<n11· ),.: :ci1a1,ly t!1c U'l'flll (1r 11k;1c;tlll
talk oi some p•~ rson witli \\·l1orn yciu cannot oiiicrwi ~ e c<iJ: ·
Yff"'" 111i1tk.l for y on. Ycry usc·ful , often (,·lli11g :•on 1\l :
)'OU llf'l:J ll) knOW; Very } )Ca"a11t, often, [lS a SC!lsi\J lL' frj<' !lt!'
1

1

prcH~111 talk would be.

The>i; bright accounts of travels, good-hn!!rnred awl " ·i tt\'
discuscions of questious. lively or pathetic story~telling in tl;e
form of a no\·el, firm fact -telling by the rc:tl 8gcnts conr!'rncd
i11 tl1r cvcri!s of pas:oing history.- all thc;cc boc1ks of the hour.
rn11lti1 iyi11g among us 3,.; education be<'OnH's more g<'rH.'rnl, ar ..
a pt><'t 1h:u chflrnderistic a~d po~se~~ior1 of the pre~ent :ig<> .
1

A look i,:: ,. e>'sentiai'lv, not a ta]kf.,] rl1in<l',
n but
~

;i.

\nitten ·

tl1ing: :111J \1·rirt en, 111Jt witl1 thr> ri1 w nt' 111crL' c111111111111ic<1 ·
tioll, bnt of l" 'rn1:HH'11t ·c . The bod;: of t:llk io< 11ri1itl'd c,,,]1·
Lec:l\l"-' it;; [lt1!lior c:rnr:ot sr-c:ik to tlio11:::111ds ~f jH'Oj >lL' ;~t
orH..'.L'; if he could. lie woulll: the \·ult1r11c i~ r1 1en• I11t1!tip]i,·;\1

tiu1t of l1is \ ' < ice. You ca!lnot talk to your friend in In·Et ·
if \·ou could, yo11 w<rnld; you write i11:-tc[ld: that i.-; 1n«r• ·
ron\·1)y;u1c t) cif \ ·01c0.
J~n t a book i.s \\·rittr-n. nol~ to rn1ilri1·h·
Llw \'Oit:c merely , no t to carry it merely, but to preserve it.' 1

to

The author has something
say whi ch he perceives to lie
true ru1<l use ful, or helpfully beautiful. So far ns h e kno\\'!',
~o one 11'.18 yet said it; so far a8 he knows, no one ebe can say
it. Ile 1;:; bound to say it clearly and rnclodiou~ly if he can ;
clear! y, at all CVl'll ts.

•

*

*

*

*

*

*

He would . fain se t it d o wn for ever; engrave it on rock '\t
lr c 1··r1 '1TJ
"'1\"l
• ." , •
•.
"1:'· "Tl'!IS J.·-' t·1 IC 1U•' St. 0 f Ille ; f Ot' t l le J'l'ct, I :\i•'.
and dnrnk, 011d slept, loved , and hated, like another; my life
~\-as as l~1e vapor, and is n ot ; but this I saw and kne w; thi ~ .

1f. nnythrng of mine, i~ worth your memory."

Th a t is his

" _writing;" it is, in his small human way, and with whatever
degree.•of t n~e ini;piration is in him, his inscription or scnp·
tnre. Tlmt. 1::1 a " Douk."-Jufm R1u;kin.

MILL

ON

THE

167
FLOSS .

As J l•J•)k nt. the foll 1-'t rl':tlll. tlw \·i1·id gm.<.:~, th.~ Jelicate
l., .... ,i .,. . ~ u!l-t_;11
r, ··· i ·:i_g· •l 11:_~ 01i1• 1·iIH 01r •i
1 ·
, it· great trunhs

l ;,,. :.,].
• ··r c ""I
ic.11-b
\,

, J\ \

tc1

•

l

1

aml brancl1c·s that. gleam fr(m1 1111cler tiie Lare 1;arple bu11ghs,
l am in love with moistne,.:s, nml e11\·y the white ducb that
:tie dipping. their heads far into the water, here among the
111tlies, unmmdful of the awkward appearance they make in
th<~ drier world abo\·e.

The rnsh of the "·ater and the booming of the mill brin g
a dreamy deafness, which seems to heighten the p<:>acefolness
of the scene. They are like a great curtain of sound, shutt i i1g one out fro1t1 the world bc)·ond. Now, there is .th c th un der of the huge covered wagon, coming home wi_th rndrn of
gr~lir1. Tktt lioncst wagoner is thinking of his dinn·~r · s gPtt1llg sadly dry in the OV('ll at this btc hour; Lut he will not
tuuch it tilt he has fed his horses-the strong, subm~sive,
l:n.'.ek-eycd horse~ .
See how they stretch their shoulders up the slope toward.
~

th· Lridgc, \1·ith all tl1e 1nur,; r-11c•rgy bccau:"e they are so ne,tr
Ji,,1:k'. Lcil)k ul tl1•:ir gr:rn1J, fh:iggy fo ct . th;i.t seem to grasp
the firm rarth, at the patient ~trength of their necb, bowed
under the heav y collar, at the mighty muscles of their strug-

gling haunches !-George Ehot.

The d ay if' colrl, and dark , and dreary;
lt rain s, and the wind is never weary.
The vine still clings to the moldering wall,
B11t at every gtF't the dcarl leaves fall,·
:Aud the day is dd.rk and Jrcary.
·
-Longfdlow.

168

JTmn f n Tr"rilc.

Ludicrous Descript-ion.
THE

LUDICROUS l>ESCRIPTJOX.
A

HORSE.

Thi s ::rnirn:il
a broke11do wn plonghhorse that h ail
outlinrl alm o~t
everything but
his \· icion:-nes~.
He was gau11t
anrl
slrn f!getl,
with a ewe-neck
and a l1 enrl liki>
a hamm e r; .his
rn"IY mane anti
tail were t.ang!vd and kn ott ed with burr~:
one ey e lwd l o~!
its pupil, and
wasgLuingand
spectral ; bu t
the other hail
th e g leam of a
gen uin e d e\· il
in it. H e borL'
the nam e of
Gunpowd e r ;
and had be.e 11 a
favorite steed of his master, t.be choleric Van Ripper, who \\' :1:-;
n. furious rider, an<l had infuscc l, very probably, eome of hi,;
own spirit into the animal.- Wasliington Ii:ving.
wa ~

1 ·

I

THIN

1G9

GENTLEMAN.

H e was a li ttle, higl1 -rlri er1 mn n, with a dark, ~rp1eezrd-11p
1:1ce, and small, rcstl e~,; l1lack eye>;, that k ept winking :mil
twinkling on eac h side of lii s littl e ex<]liisite no1:'e as if tlH'Y .
wt•n• playing a perpetual game of peep-ho with that fpntnre.
If e was dressed all in black, with boots as shiny a.s hi s eye:;:,
a low, white neckrloth, and a clean i:hirt. with a frill t o it.
A gold watch chain and seals d epended from Lis fob. He
c;1rri c<l his black kid gloves in his hands, n ot on them; a11tl
as he spoke. thru st h is wrists beneath his coat-tails with th e
air of a man wh o was in the habit of rropounding s6rne r eg11 l:i r posers.- Chrrrlcs Dickens..
N ame th e following snLjcct.s, anri give a lu tli cro us dc~crip­
lion or each.

Compo.<.iition LXXXL

\

170

I-low tn lV.rite.
Com1wsitio11 LXXXII.

Com posiliou f,X X_YTV.

FIGURES.

I

It add s clearn ess, and freq 11en t ly em bell i' h ment, t:::> compositi o11 to asse r t a simila ri ty bet wee n wh at we wo11l<l have th e
heare r or reader see or und erstand and rnm e obj ec t or event
\1· ith whi ch he is suppos•:d to be familiar . Not e in th e foll,> 11·i ng d e~ c ri pt ion that IckiLo<l 's a rr us a re lik ened to g rass lw11pers' legs. To any one who has see n a gras;;hop pc r this
l1ke11ess co nveys more rn ea nii1g than could be done by se veral
l111 es of close description . Th e word s " lik e a sceptre·· mean ·
\'l'I')' m11cl1.
Fartlwr on, th e moti on uf hi s arm s is li ke ned to
1li e flap)'ing of wings. No othL' r lang ua ge co uld easi ly con\•'." so mu1·h of th e exact kirHl of tl1011ght to him who had
1· \·1 ·r \rifi 1<•ssf' il 1111 •

fl i"lit ,.f " J,;,., J

Com1Jo8ilion.

liow to H·ritc.

172

173

St11 1 ly carr~fnlly the ~iruiles in the "elections L. ·!01\·.
IC H ABOD.

JI

such

1
l

I

~t

Ip:
. l
I

i

,I

l

'1:

;t

~tl· ed.

lL·

rode \\'ith short ctirnips, \Yhich bru11~l1t
his kni:es nearly up
to the pommel of die:
sadd le ; his shfl r p l·l bows stuck out like

g rasshur;pc:r:< ';
lw
carried his whip perpendicularly in hi"
hand, like a sceptre,
n nd a" his horse ju~­
g(·d on t lw rnot iun f,f
his anlls \1·as not tifllikr~ the fh1•pi11c; (, ,·
a pn1r of \\'Ing~
.\
clliall \\'ool lint r,·::'t,.,l u11 th •_· tu1 1 uf
liis no:oe , fo r so his
scanty st rip of fore head might.be ca ll ed,
and the i:;kirts of hi s
black coat fl uttcr e,l
out almost to th e
horse's tail.
Suc:l1
was t h e appearance of Icliabocl an<l his steed as th cv shn111bl cd out of tl1e gate of Han s Van Ripper.

- 1Vi.tshington Irving.
TWs kind
esserted, is

of
:l

comparison, in which the likeness is

Himllc.

lLt v(: lov11-1H, t l n\·i_i rrl c1r1c f 1r nne ,
i~!li 1:i:u1, rv~ u1 a n , thy Lrot1a:r call ;
: \ 11 (1 ~:.t::ttt,cr. like tht ~ cir1.:linu :-:-:qq
0
Tliy ch:uities on all.
•. '
- Srl1iikr.

Tl." Assyrian came' do\rn like the wolf 011 tli e fc,],J,
A11il hie; cuhon.'i were gll'ami11g in purple and gilld .
1\1\d the night ,Ji:1llLe filled 1Yitl1 l!1u~ie,
And the cares tlutt infest the day •

Shall fold their tents like the Arabs,
And as silently 8teal away .
-Lo11~u>ll11w.

Tli· ' 11, :-i~ a l 1U le lil'lp]p:;:;, i1111uce11t Lin I
Tl1 ;tl h it.-; lmt Oil\" plain p:t";c:1gp of few note's
\\"il l :..:i11g tli r• ~11111>!1~ ]"1.-.": tg« o·l't. :t11<l o 'er
I·'., 1· all :L11 :\]'iii 111ur11:11.::. t1 !l the 1•ar
\\·, ·:11·i tu ]1 ,.ar it; ~o t Ii<: ::;i111jile 111aid
\ \', :1: lull (]i,_. 1:i glic l•cj•c·:Lt 111 g, •· :-fo,,t I di,;? "

\

1
. '-'

But J•h·:tHtres are lik e poppi es spread;
Y·rn .'< eize the fl owe r : in; Gloom is i;hccl:
Or, like tlll~ s11ow-fall- in the riv 1• r,
/\ 11101ue ut white, th e n mdh for ever.
How tlw winters :i.re driftin 0rr lik e 1111.kes of snow '
A111l the H11u1111e1;; like buds IH.'l1\·ee 11 !
A11•l'tli c yca1;; in th r: " li •':1f - ~o th(:y C(I Jr11 ' :i111l
011 tli1' nv er's hn'a:-:L, \\'ith it ,- cl.!1 :ind fluw,
A s iL gli1l l'S in t lie '3 ltadow ll.Illl ~lieeu.
-B. P %ylor,

8i1uile,.; are grl'al lielps iu the cxpla11atiu11 uf tlwuglit.

How to l Vi·ite.

Composition.

In the following poem yon notice that liken es~es .are used .
The snow found on the pin e, fir and hemlock 1s hkeneLl to
ermine. Again, it is likcu r d to pearl, then to Carrara marble and to swan's down.

;·

f·

175

Up spoke our own littl e Mabel,
Saying, " Father, who makes it snow?"
And I t-0ld of the good All-Fath er
\Vho cares for us here below.

In these cases the Jikenesti is not expressed, but is assumed
Again I looked at the mow-fall,
And thought of the leaden sky
That arched o'er our first great sorrow,
When that mound wa8 heaped so high.

f

THE

FIRST

SNOW-FALL.

·•,
"~.
•I

ii.

-I

The snow had brgun in the gloaming,
And busily, all the night,
Had bee n heaping fi eld and high way
·w i th a sile nc e deep and 11·hite.

I remember .the gradual patience
.,.
That fell from that cloud, like i;now,
F lake by fl a k e, hea lin g a nd hidin g
The :;ear of our buried \1·oe.
.

Every pin e and fir and heml ock
\Vore ermine too dear for an earl;
And the poorest twig on the e lm tree
Was ridged inch-deep with pearl.

Ann again to th e child I whi spered:
"The 1;now that hushrth allDarling, the merciful Father
Alone can bid il fall.,.

From shed s. new-roofed with Carr:ua
C:im t- Cl1 : lll i icl,~" r ' ,; 1i1 ufHc.:,l erow:
TliP. !'t iff r:tiL 11·ere rnftenc d to ~'-1 :111 s clow:1 ;
1\ncl .< til l waY<'rt'c l d own th e cnow .

\

Th en, wi th eyes th n.t f":l. W not, I k i;:serl her,
An d she, ki ~:-; 1ri.r; b:il' k , co11lrl not k no w
Tki.t rn_1· L1,.:,.: 11·;1:' gi 1· L· 11 to hC'r " i'ter
FolJ rd cl":'•' 11 nil<>r rl '''' l "-' 11ing ~nr111·
- Ja mes H nssc /l Lowell.

1 ::;l ut>Ll und 11:dci1ul fivm 1uy Wi llll 0·.1·
Th e n o i ~e l ess work of th e l3 ky,
Anrl th e sudden f111rri es of s1101r-birrl;.;,
Lik e brown h-av es whirling by .

An assumed likeness is n IU(•taphor.

St11dy ca refully the m etaphor'" nrHl ~ imil es in .tl1 e ~ e l ecti on s
lw!11 11-.

I th ought of a 1111i11nd in ~1r eet A 11h11rn,
Wh ~re a li ttle hend sto11e stoodlfow tli e flak es were fi ll1 li11 ~ it ~'' ttt ly,
As did rubi11>1 thP. ·· Dabes ir1 t!il! Woort.'

Sil ently, oue by orn\ in tli~~ irdinitt~ rn cacl ows of heaven,
Bi osrnrneLI the lovely :; tar::;, the forgel-rn e- 11ub; of th e angels.
- -l.rm.1jrllrn11 .

•
How iv .11 1·itc.

176

Omiposilion.

177

Not a !'Onnd rose from the city rtL that c:irly morning hour,
But I heard a lie:.irt of i1..,11 bl·ati:1g i11 tlie ;tnci1·nt l0wer.

*

*

•

*

*

*

Composition LXXXV.

Then , riJO't rn11~ical ;111 •] 'ule11111. L1i n,;:i11g In,·]; tl1 1• C1'., ],·11 \1111•"'

\\.itli their st rnnge , 1111e;trtl ily l'li;u1c;L·:-;.

1;t11g

the

llll'L111

·li<i >:

Like the p:-<tlill from

Narrate the slory tolJ by the following pictureR, embellish,
(-.11 L wiLli flfl n• 1•ir
. '
u.1 l orr1ale ruuuunt of desc ription, varied
a1i1l Ji:olriLuted.
1::.~

Cilll!li__'<,

;.crn11c

old cl•Jickr. \\h<'ll tlw

111111'-'

c-i112

1: 1

tht' l'liui r;

And tlic g1v.it bell tolled amo:1g them like tlw ch:rnti11.c.; of:•

friar.

A

-Lo 11 :1f~·lluw.

Your voiceless lips, 0 flowers! are living pr<'arhcn::;
Each cup a ptilpiL every leaf 11 book.
to Ill)' fancy nu1m•ro11~ tmclicrs
·
Fro111 lom•lie:-;t nook.
Floral apostles, tha.t in dewy sph!11(lor
Weep \\·ithout woe and hl11"h without a crime,
Oli, kt rn0 Jecl'ly lea l'll. a11cl nc 'c1· ;;111Tcrnlc:,
Your love <;ttbli1ne ~

S1q •plyi11g

-llurac.; Smi',',,

l>o uot cxpl~ti11 by 1:1H1-:1:tg C\..H!lfltlri .-.;,J_l!J;; t_1f (lLjc'lcf:~ cii· p\·t : 11t.-;
Ldwccu ,,·Lich the simila rity 1:-; 11<.JL \°\T} <ll'l''trL·11l; fur it' \..,,,
r!'), yon m:ly only r11v~ri1\· th•.' th<rnglit.

Do !lOt explain hy <·omp:tri•n11 wii It object::< or Pvc1:!.s t l1:tl
you m_ay not reasonably suppose to UC familiar to the reatl c·I
or ]i,,teuer.

'

I

.I

i"ll!~ i :
rnii: [! \
!

Look at tlt c coinpan~o n rna•l •) i11 lite l:tsL stanza of "Tl 1t'
Vi!L1ge Preach e r ," l1y Gold s111ilh 0 11 p[lge ] G8. Th e cow ·
monest obse rver know s of clif1;-;, cloud s , sto n ns a11tl s1111 ·
shine; 'a nd .may be led by means of this lrnowl e< lge to a11
1111.J cr:,t:rn<l ing :rn•1 an np1>rc('i :1 ti 0:1 of tlto e\:dl,·1l tli(mgLt
uf tli :rntlwr.
0_;

12

RIDE IN

THE

COUNTRY.

1low tu 1rrilc.
178 ________ - - - - - --,------ - - -- ~-- -

--------- ---

C'ompo8i°t ion.

179
- - ----

' Vr itc narrat irrns upon the f,JJ!owing topics, inn•fltir1g the
!:'tory in each case and cmlwlld1i 1Jg each \Vith <le~crirtiow: , a~
''"i!:!•_·,.;led Ly the pi ctn t'e;.o_

tion~ , :-ind

ll'P

\' ary au,J <l ic f ri h11 t e t li l' de,1 :ri1i-

>'imilc ancl mr•ta1•l1•.J f wlwre it i~ ad.\·is;-ibk

J:('J//or!.-.-It is not advisablo to have too many kinds

of des cription in the same narra tion . Tho Law
of Unity and the Law of Symmetry are both
very easily violated.

--

~ ------

O&n-tposition LXXXVL

A DAY

JOHN'S.

•

I.

I.

I
I

}[ow to l !'rite.

180

Compo.~itio11

Composition.

LXXXJ7I.

181

Compositiou LX.YXIX.

A DAY SPENT AT
GRANDFATHER'S.

\
Composit ion XC.

Composition LXXXJ'1II.

\\. ri te tlii~ liict()ry of ":\1 1 Tron Corll- l~1 1c], r~t . ' ' rl~ ~11 .c:o:•·~t rd hy
tl1< , follo ·11·i11 g u1dli11t' . E111Lclli ~ li tlr t~ ~arn e wi th vari c· d de~"Tir ti nn .

1. ] >i1 g frn111 t l11•

111111 f' .

2. Carri ··d tu

~ l1 H · lt i1 1g- f11rnaf'n .

tl1L'

3. Smelted.
4. Carri ed t o tl w rolling-mill.
5. Holl cd.
6. f3olJ to tli r nrnnufn cturcr.
7. i\fa11ufacturcd.
8. Sold to tl ie mcrcliant.
0. Sold t o th e school -nuthoriti cs.
] 0 . uf;(•d ill t I10 SC hool f'()Olll.
AN

AFTERNOON'S FISHING.

How to lVrile.

182

Compos-£iion.

------ ----- Write a Jii~tory of each of the following objec ts, obtaining
your fact-" and making your outline before you begin .

Composition XCI.

Cotnposition XCIV.

A GLASS BOTTLE.

A .W OOL HAT.

Co mpo8lf ion XCIL

ll

r
·r,

~ ·~
'I

i!
l,

Cmnpo."lition

A LOAF OF BREAD.

A KID GLOVE.

Composition XCIIL

Co mposition XCYI.

A SILK DRES S .

A DIAMOND RING .

Accounts ~f n.~c ide nt s , fires, floods, arc of the nature of na rr;1tio: i, b11t 1h•y 11fte11 1•··1 11ire yery rnud1 t1l'~LTil'tiu11 to rnetk'·
tb ':n i 11t.c ll 1 ~ i li\ , . :u1 1l \; il11,1Ll,,_
RE>ad 0:tch of the following poems, carefn ll y noting the Yfl·
ri ed and distributed ll esc ription and the fig11res employed.
Fix carefully in your mind th e order of thought, and th en
reproduce each in prose. ·

CornposiUon XCJ'II.

j

REPORT

(Nor

OF

AN

ADJUDGED

TO BE FoUND IN ANY OF THE

183

So Tongue was the l::iwyer, n.nrl argnrrl the <'ause
W ith a great dPal f,f skill ar1tl a wig fn!I of li:arning;
\Vhile Chief Barnn Errr S~Lt to b:1hnr:c the la ws,
So famed for his talent in nict·ly fli.~cerning.
In behalf of the Nose it will quirkly aj>pearAnd Your Lordship, lie said, will undoubtedly findThat the Nose has had spectacles always in wear ,
Wh ich amount.-, to possession, time out of min<l .

xc·F.

II11
!'l'

•

CASE.

BooKs.)

Between Nose and Eyes a strange C'ontest arose;
The spectacles set them unhapp:ly wrong:
. The point in dispute was, as all the world knows,
To whicl1 the Mid Rpectarl cs onght to helo11g.

The n, holding the speciaclcs up t.o the court,
Your Lordship observes they a re made with a straddle
As wide as the ridge of the nose is; in short,
Designed to sit close to it, just like a saddle.
Ag;i.in, would Your Lonhhip a moment suppose\
'T is a ca:::e that has happened, and may be againThat the visage or countenance hail not a Nose ,
Pray, who woulc1, or wl10 coul ll, w ear q icctadc.-.; then?
On the whole it ap11ears, and my arg11rnent show8
\Vith a reasoning the court will ne ve r condemn,
That the spectacles plainly we re made for the Nose,
And the Nose was as plainly int ended for them.
Then, shifting his l:lidc (as a lawyer knows how),
He pleaded again in behalf of the Eyes;
But what were his arguments few peopl e know,
For the court did not think they we re e'lualiy wise.
So His Lordship decreed, with a grave, solemn tone,
Decisive and clear. without one if or hut,
That whenever the Nose put his spectacJps on,
By daylight or camllelight, Eyes should be i::hnt I
-Cowper. · ·

c·

184

How

to ffrile.

ComposUion XCJrIIL

Composition.

185

And in that country coals are den.r,
For they com!' fa r hy \\' i1111 ar11 l ti•fo.

GOODY BLAKE AND HARRY GILL .

Oli , wktt's t h e malt cr? wl1at's tli<' matter'?
\\"h;tt j,;"t tliat nib you!lg ll :ury Gill,
·11 1'.1. ! {'\"f'rmore rrn= tcnh 1iwy ci1:till"I' ,
Chat t.er, cl1:dkr, cl1 :ltier qjlJ ''
Of W3i, t.co:i.ts Harry h:ts llO l:H l .
Goo<l duf!1c gray nrn1 fbnnd fin e;
H e has a 1hnket 0 11 h is back,
And coats enough to rnwtl1L·r nine.

Ry

tlH· F'3.111C flre l •J Lud tlwir f" 'tt :l ''•!
o
•hme~ . a.'; r l1 a ·;e k n ul \"ll
\\.i!i o f!t'!: 1: . . ,\ i :~ r.:;.-~ ;,::·:~~~ll :..:c:::-~d(;
'

T\\'()poor olrl
lJ.

I

1

JJdL :--11P.

'

t

}'l)'J r \\·orn:ln ~ d\vi:;lt :11 (j r 11 : .

'T wa.-; well 1·11011t;h

whP n surn rnt ·r c:u nt!-

Tlic lon g, w:urn, light~ u m e ~\llllllhT-J :1 y;
Th rn at h l' r df,rir tl1 c cwity d~trne
\ r oul<l i-:it , as any linnr: t g:1 y.
Bnt 1d 1011 I lit> ico:: our st. r c:1ms rlid f._-t t.•r,

In March, Dece1::ber, an d in July ,
'Ti s all the same with H arry Gill;
The neighbors tell, and tell you truly,
His teeth they chatter, chatter t:till.
At nigh t , at mo rn ing an d at nnon
'T is all th e f.3.111 c \\1!.h Ihrry Gil l ;
Beneath the sun, beneath th e rnoon,
His tee th the\· cl1attcr. ch:cl t cr ~till.

'Twas a hard time for GooJy Blake.
H er eveni ng." i l1 c n we re tlull and rk 1,J ;
Sad c:i.se it was, :1'3 you 111;1y tli i11k
For 1·r ry col1l to go to bed,
'
And th en f·Jr cul.J not slv •' p a wink.

Youn g H a rry was a l11 sty drover ,
And wh o so stou t of lim b as he?
Hi s c1wcks were n:J as n: JJy du vc r;
His voice \\"as like th e voice of three.
Old Goody Blak e was old an<l poor;
Ili-fed sh e was, and thinly clarl;
/\. nd any man who passed her <l oor
Might see how poor a h ut sh e harl.

Oh, joy fo r her wh Pne'er in wi nt er
Th e wind:o at ni <::i: h t h:i.d rn:tde a rnut
A11•l H;al ten:d 111 : u~y a lu sty spinner .,
And many a rotte n bough about!
Yet never had she, well or sick,
As every man who kn ew h er says,
A pile bcforchrtml, wocid or stick
En ough to warm h er fo r three,d:t.ys.

Oh. then h uw her old Lone-, wonlrl ~lirtke ~
Y0u wo ulJ have said: if you had met her;

\
~·

All day sh e spun in her poor dwelling;
And thr.n her three hours' w ork at. 11iglitA las! 'twas hardly worth the telling;
It woul<l not p::iy for randlc-light.
This woman dw elt in Dorset.-;hire;
Her hut was on a cold hill side,

Now, when th e fros t . was i.,ast. enrlurinrr
And mad e he r poor old bones to ach"'e,
Co11lcl
anything... be.more a llur inrr
·
,
.
0
· Tlran an old hedge to Gootly I3lak c ?.
And now and tht>n, it must be ~aid,
Wh en h1'r ol1l bones were cold and chill,

~low to Trrite.
--- - - - - -- - - - - -- - - - - - - - - - She ldt lwr fir<', or left her brd. '
To sl'ck tlie l1edge of llarl'y Gill.

186

Now, II:irry Ii" h:id long suspected
Thi,; trespass uf 0ld Goody ni rike,
And vowed tlnt she should be detected,
A nrl lie on her would vengeance take.
And ofl from his warm fire he"d go,
And to the fields his ron.d wo1i1tl lal;:•..;;
And there at night, in frost and snow,
H e w at.clie.-1 to seize old Goody B lake.

-·
'

Ji
"

And once, beliiml a rick of barley,
Thus looking out did Harry stand;
The moon ,,:as fn11 and shining clearly,
And crisp with frost the stubble hnll.
H e h ears a J1oi se ; he's all awake .
Again' 011 tiptoe do-.rn the hill
JI,: s.)ftly <T•·q \.~ "fi.s Goody Ela);," :
Sli" ' s ;d t Le b·.J~,· uf Harry C 1 l I

11

"

gl:i.l 1u., Ji,, 11·lt,;n Ji,: L.·hel-l Ji ,; r :
S:.il:L a:·~t_: r s~ : ~:~ ~ tl 1J G~:r~.a..ly J:U~l 1

l~i ;c lit

'
~1
i

ii
l:
' \

I .

He stood behind a bw:;h of elder
Till 1"l1 e kixl fill 1!d her apron full.
\ Vhen with h er load she tnrned about,
Th e Lye-road back again to take;
He started forward with a shout,

Composition.

187

She 1irnyPd, her with11rcrl. h;i,rnl nrrrarin;:;,
\\'l11IP Harry hfdrl her by the arm, .~
" (~D11, ;\·ho nrL t1 e ver out flf h Pnrincr
.
o•
Oli , may he lle\'crmorc be ·.·.-;um !"
The cold, col•J moon above h<' r head,
Thn.0 on her k!lee,.: did Goody pray.

You11g Harry l1eanl ''hat ;ohe had s:-11 . l;
And , icy cold, he turned a.wny.
He went complaining al! the morrow
That he was cold and very chill·
liis face was gloom, ·his hea;t was ~orrow;
Alas tliat day for Harry Gill!
.
That d,w
he
wore
a
riLli1w-coat
.J
0
.,
Dut not a wliit the warmer he;
A11otlicr 11· ;1s on Th11r~day hro11ght,
J\n 1l ere tli ·~ :--:,11_.Latli ft ,. L:vl thrc-•'.
"f11· ;1~

all

i11 1·;t i l l - a 11.-;<: ),,_--;-;

\

r: nt t.:r,

.\11.\ Ll:1ni;1·t.' wen· ,11~J 11t l111 :1 ri:i11 ··d ;
.::-·! i!l Jii,_; j ;t \\·~ ~ni l t,_•,_·t !: !L1~ ')' cL~'.'. i T
Like a !oo.::e ca.~erncnt in thP \Vind .
And Harn·'s fl e:-;h it fo ll :1WaY ·
"
. '
And all who see lii1:1 ;;:ty 'ti s plain
'fbt, live as long as Jive he may,
He 11ever will be warm again .
}'t·t

And sprang upon poor Goody Blake.

No word to any man he utters,
And fi e rcely Ly the arm he took her,
And by the arm he held her fast,
And fiercely liy the arm he shook her,
And cri ed, ·· I"ve cn,nght you, then, at last!'
Then Goody, who had nothing Raid,
Her bundle from her lap let fall;
And, kneeling on the i;tickR, i;he prayed
To Gnrl, that is the Judge of n.11.

Abed or up, to young or old;
D11t ever to h\m"e.Jf he mutters,
. ·· Poor H;irry Gill
very cold."
ALL'O or up, by night or day.His teeth they chatter, chatter still.
Nowthiuk, ye farmcn• all, I pray,
Of Goocly Blake and H:irry Gill.
- 1Vonhworth.

is

188

How lo

lVrite.

Cornposition.

189

Notice the difference between the two sleds here de-

COMPARISON AND CONTRAST.

scribed.

James made his own sled.

John's sled

was nirulc by n skUlerl workman.

Compositfon XCIX.

The rnnncrs of J~rnrs's slcrl were cut froni rongh
buarrls, anrZ are u;ilhont sluJcs.

The rnnncrs of

John's slal, with their gracr'fnllu-cnrvcrl s1cannecks, were n1'rule of 7Jieccs of wood bent for tllf
p1uposc, and arc shorl u.:ith bright steel like a
large sleigh.

The runners of James's sled arc frist-

cncd together with stri;is of boards 1~-ailcd arross

their tops' and the only covering tli ese strips hnvc

is a narrow board sawed sr1zutre at both ends .

The

rnnncrs of John's slcll are uni tell bu benches secnrely braccrl at each cnrl, and cm:el'ed U!J a ln:oarl
board with a graecfnl irucarrl
outward cnrue behinrl.

Clll'l'C

in front and

Jrnnes's slrrl is not paint.fl

crl, a1Ul is wholly without ornnmcnt . John's slrd is
painted re(l and slrip('rl 1l'ifh

f}r1·c11.

If uon u·ish

to know the nrune of Jlunes's sled, you u•ill hriuc

p':!

to ask for it; for it is nowhere to be seen; bnt the

._

-

(

-~~~··
-

- --~
- --.:.:~

narne "Fleetwing" is
sight on Jolin's sle1l.

ta.~tef11,ll!J

written in

Jrunes's slcrl is drri1cn bu

nieans of a short rope fnstenerl in the ends of au~
THE TWO SLEDS.

rnnners.

:The rope has been broken a1Ul tied. _in

Dir( you, rver think of the great variety of sleds

several ·places. John's. sled is drnwn by means of n

thrit may be seen riny a ftr?rnoon upon the hillsi<lc

nice, smooth rope fastened to rings in the necks of

when a party of cuostcrs are enJoyinJ! the1nselvcs?

the r1"nners.

James's slcrl cost him just twelvo

Composition.

190

191

cents besides his own work. John's sled was gfrcn

given by itself.

When the latter mcthorl is em ploy ed , the

h.im. Its cost was a dollar and a half.

order in which the selected points a.re prcsC' ntcd should be
the same in the two desc riptions, or as 1iearly the same as the

I do not know which of these sleds runs the
fa~ster,

but I

know u·hich looks the /Jetter, aJUl

1chidi I would rather

l/(/l ' C.

Cr111

yongncssf

L.ocl,ing at the pi ctures :rnr1 fol lowing the plan given belo w,

rcprod·ute the comparison of these two sleds.

nature of th e two subjects will :-idm!t.
Rewrite the foregoing composition, giving the entire dc~crip ­
t ion of one sled before that of the olhl'r.

The writer is to d etermine in each ca se ·which ·1ne thotl
should be employed; it. depends largely upon the nature of
the subject, as well as upon the purpose of the co.m position .
In this case ("The Two Sleds " ) a stronger anJ better com-

1. Brief introduction.

position is ma.de by arranging the selected points as yo11 have

2. KinJ of rnnners.

been asked to arrange thein.

3. How fastened together and how covereJ.

\

Write compositions on all the s11bjects given in this chapter
by each application of th e Law of .Method.

4. General fini c:h.

every compo::ition rn

\Hittcn, :-iml

Cardully studyc

decide

which

i~

the

5. .l'ro\·ision for dn1wiug.

st.ronger, cleare r , more easily

6. Cost. ·

better; for it will be found th at th e better method rlepends

7. Co nclu sion.

more on the writer himself thnn on the nature of the sub-

und c r ~too d,

and th erefo re the

j ect or the purpose of the composition .
Carefully apply the various sugges ti ons for cmbelli,,Jtmenl
All the laws of composilion wl1i ch you 11 ave thu s far
learned apply t o

Co1np<irl1wn and Contrast.

firf:'t, that your reader may clearly and ea!iily understand what

Yo.u have no doubt di$covered th:tt an outlinr. or sk eleton
of a composition is made under the Laws of Selection a11.J

.:Melhotl; L11t. t.h e Law of Melli oJ, wh e n applietl to

compo~ i­

tion in. Compari rnn and Contra~t. may have another applica tion than that which yo11 have ulready ~ccn.

The selec ted

poir1ts may be t11kcn, one. from each of th e topics, and lie
compared and disposed of in pairs, as in the for egoing com -

---= ,: __ . --- - -- -- ': -

and explanation given in the foregoing chapters-to th e end ,
is intended to be written; and second, that h.e i:nay be i11terr sted in .it.

192

How to l Vrite.

Composition.

Compo.- .ition C.
Composition CI.

I

- - - -- - -- -

--- - --- -·- -- -- -- - -- --

THE TWO WINDOWS.

Write 11. composition, comparing t.lie two pictures above.
Make an outline Lefore beginning to write.

13

193

•
194
--- -

How lo lVrile.

Compos it ion.

-- -- - - - -lNTRODlJC- { Object of displaying goods
TIO~

i~
C1eanlin~

Goods· contained
SION

then•in

Arrangemc>nt of

lGe~

cftOcl

f The tl10ughts

C0Nc1,u1'IO~

And achinO"u h ca1L; hrid la"lr·t"•'71,
I.

Anrl wea ry lim b~ and Ji opP lc~s eye .~.
From \~Lich f,.a r Jll: ·n dq•arh.

1

Size

The Two
Windows

"·wi thout , are hunger, cold and rain ,

in

~how wind()WS.

f I .rxation

II

I

,. ·n .. ~4. i..

i

. -

"lLHl!:,

..

are g:ty alld hal'l'Y hc:irt'!,

And fc,1~t . :ind

ga11H.:,

and

l

Tlia t lasts the whole tlay long."

L'>CI::.'S.

l

r r~TRODGC-

}

TIOX

( \ranting)
.
Shadows,

Hunger,

the other, of \Yant and rnf-

Cold,

feri ng

With out
W ri te I\ compo;;ition, romparing the two windows and drawi11g cone! n,;iotH t hi:refrom. Follow the gi \· eu outline while

and
WITHIN

:i .

JI

\

)

Pain,
Aching hc:.llls a11d.
~

h c•a rt~.

Within
Cmnposition CII.

I

Wintry wind ,

ing of happines.<> and wealth;

writing.

ROllg,

AnJ limbs umrc:1ric11, ~·:1\·r with play

DIFFER-

suggested by the
two windows-the one tell-

j

19.t)

· - -- - -- --- -

Without

Drscussro~

\\" c:ny li1nL::',

J

1H t)pc l e~s eyes.
Firelight,

AND WITHOUT.

Gay and
hearts,

"The twilight shadows come and go
Upon the wind ow-pane,
While, from without, the wintry \•;ind
K eeps up a sad r efrai n .

Within

happy

Feast,
Game,
Song,

"Within, the fi relight plays
Across th e nursery floor,
And J ack Frost kn ocks in vain the while
Upon my nursery door.

Unwearied limbs. .

Co~cLu- }
SION

(Wanting.)

·196

How tu Hrite.
Compo."4ition CIII.
NOW

AND

Pl av irig by t h·.:> st ream ,
Full, of p eace and joy,
Life a r1ea:-;:rnt dream ,
Happy littl e boy!
Tiny hopes a.float
In a fairy boatBoat t.ha.L neeJs no oar.
Ah~ so n<';Lr th e shore l

THEN .

:3 ta llcling by th e dream,
\\'1th a care- \\Tapt bro 1\-,
Life no m ore a dream,
But a waking now.
Hopes far out of sight,
Borne with tr·mpest migl1t
O'er th e m isty main,
Xc'cr t o come again.
- .Mallhia..i; Barr.

Transform the above poem.
ning to write.

Make an outl in e before begin-

Composi.tion CIV.
THE

HERITAGE .

The rich man 's son inherits hnds,
An_d piles of brick an d stone autl gold;
And h e inh eri ts S<)ft wh ite hand,,
And t ender fl esh tha t fears the cold;
Nor dares to wear a garment old;
A h eritage, it seem8 to me,
On e would not care to hold in fee.

Th e rich man's son inherits cares:
The bank may break, the factory burn;
Some breath may burst his bubbl e f'hares ·
And soft white h a nd ~ would h ~mlly earn
A living that woul <l suit hi ~ turn;
A h e ritage, it see ms to me,
On e would not care i.u hold in fee.
Th e rich man's son iuh eriis wants :
His i;lomach craves for dainty fare;

197

- ----- -- ----- - - - - ---- - - - · With sat ed heart he h ears the p:i.nt s
or toili11g hinds with brO\rn arm s ban",
A nd wear ies in Iii.-; erE \" cha ir ·
A heritage , it f'ccm.s to lll~\
'
One would not care to h old in fee.
--~ --

--

What doth the poor man's son inh erit?
Stout muscles anrl a sinewy li cJ.rt;
A hardy frame, a hardier Rpirit ;
King of two hands, he docs his part
In every useful toil and art;
A heritage, it srems.to me,
A ki11g might wi::;h to hold in fee.

\\'h:1.t doth th e poor man's ~on inheri t?
Wishes o'erjoyed with humble thing~ .
A rank adjudged with toil -won mrrit ,
Cont ent that from employme n t springs,
A heart that in his labor sings;
A h eritage, it seem s to nw,
A king might wish to hold in fee.
What doth the p oor man's son inherit?
A patience learned by being poor, ·
Courage , if sorro\\: come, to b ra r it.
A fellow-fee ling that is sure
To make the outcast bless his door;
A heritage, it seems to me,
A king might wish to hold in fee.

0 rich man's son!· there is a toil
That with all other level 1:1tands:
Large charity doth never soil,
But only whiten, soft white hands;
This is the best c~op from thy lands;
A he~itnge, it Reems to me,
Worth bein~ rich to l1old in fee.

\

I

198

How to Write.

Compo:ition.

0 poor man's Eon! scorn not thy state;
There is worse wea riness than thincIn merely being rich an1l great:
Toil only gives the soul to shine,
And iw1kes rest fragrapt and benign;
A heritage, it. seems to me,
\Yorth b eillg puur t1J hol ll in foe .

Doth, heirn t.o some six feet of sod,
Arc equal in the r:nth at ·hst;
Both, children of the same dear God,
l'ro\·e title to yonr heirship vast
By record of a well-filled pai:'t.;
A heritage, it seems to me, .
·Well worth a life to hold in fee .

199

Cleon sees no charms in N at11re ; in a da. i~y, I;
Cleon beam no anthems ringing in tlw i-:ea..ancl Fky;
?\atu re sing;i to me for e\·er; e;trnest lii-:tener I ·
Stat.e for state, with all attendants, who woul1l cl1ange? Not I.
-Charle• Jlackay.

Transform the above poem.
nillg to write.

Make an outline Lefore begin-

Co·mpositwn CVI.

-J. ]l. Lowell.

'Iransform the above poem.
ninl!v to write.

j

1'.fake an outline b.efcre bcgin-

__ ;

Cmnpo8ition CV.
CLEON

I
~'
_

..·

AND

I.

Cl eon hath a million ac r e~ ; ne'er a one l1aYe I;
Ci eon d welieth in a palace; in a cottage, I;
Cleon hath a dozen fort11nes; not a penny, I;
Y ct th e poorer of the twain is Ckon, and not I;

;_

Cleon, true, possesse th acres ; but the landscape , I:
Half the charms to me it yieldeth, money cannot Luy;
Cleon harbors sloth and dullness ; freshening vigor, I;
He in velvet, I in fustian; richer man am I.

·'

Cle.on i,ci a Elave to grandeur; free o.s thought um I;

·\
'.

Cleon fees a ecore of doctorn; 11eed of none have I ;
Wealth-surrounded, care-environed, Cleon fears to die:
Death may comp,; he'll find me ready; lmppier man nm T.

THE MAPLE LEAF .

THE WHITE BIRCH LEAF

THE MAPLE LEAF AND THE WHITE BIRCH LEAF.

l'hese. pictnres represe1it the lcrwes of two wellknown anrl highly-prized trees. Let ns stndy them
and notice their likenesses and rl ifl'crcnccs.
Each is a simp~e net-veined leaf, having an acn 1ninate ape.'C, a doubly-serrate niarcJin
and a Zon11
__,,
""
petiole.
·
The · maple leaf is nearly ron!J.d; it is deeply
five-lobed, wz:th t he ,~inuses someu;lwt acnte . The
leaf of the white birch is entire, and triangular fo
shape.

How

to

Wrile.

Compogition.
~~~~~~~-~~~~-

Ji veins of the 1naple leaf radiate frmn the
baaf the blade tou.xird tlte circnniferenee; lhose
of• white birch are arranged on each ~ide of n
mz'ilri,n, and, para lfol to each other, e:dend to the
1nafn
. .

201

Compos ition CJ7I.

Ji lJ{LSe of the rnaple blade is recurved, or sorne u:h!lteart-shaped ,· that of the white birch is nearly kc.ate.
1i Tnaple leaf is exstipcdate; the white birch
lea'jas decidzwu.s stipules.
~ . leaf of the nwple is silvery-white undn·neii;, that of the white birch is snwoth and glossy
011,!IA sides.
:'.a leaves of the m.aple Jirow sin{fle, anrl are arralfil opposite on the stem; those of the white
bin g row ui p airs, and have an alterna te ar ra,rpicnt.

LEAF.

LILY-OF-THE-VALL EY
LEJ\F .·

\\'rite a compo~ition,comparing t h.: leaf of tlie calla ancl the
leaf of the ldy-of-t he-vallc•y, foll uw in g the foregoing outlin e.

<>11tli111·.
IiSTl:UJlL; t.'T!tJ;.;

THE CALLA

Compo s ition CJ'III.

}

/'.\.

'\,

Kind,

/

Ven ation,

Thtlea.ves of
ti:Calla

Apex ,

LIKENESSES

Margin,

·m d

Petiole,
General appearance .

•Lily"'.
.of-5-Valley

General shape,
DIFFERENCES

Venation,

J Base,

l

Petiole.

THE ROSE LEAF.

THE NASTURTIUM LEAF.

Write a compoi:ition compnring the rose leaf and the nas·
lraf.
'

I urti um

How to 1Vrite.

2()2

Composition CIX.

Composition.

203

veined, and are arranged allrrrwtf'!y on the stem.
1'he lear:cs of the nwrninjf-glury arc large (often
four inches in dianieter), rnfire, ltcurt -shaperl, anrl
are of a dull-green color. The leaves of the cypress
are about an inch and a half lon;}, feather -like,
being pinnately dissected in thread -like divisions,
and are of a light-_grccn color and as delicate as
ferns; they grow in _great profusion, and constitute
nizwh.of the planes bcanty.
The flowers of these /!lrrnts are alike ui surnc
particnlrirs. Their beauty opens to the mornino
-"'

THE MORNING-GLORY AND THE CYPRESS VINE.

J'hc 1norninJ}-JJlory and the cypress vine are t1co

nnd fades as the sunshine becmncs brighter. The
flowers of the nwrninjf-JJlory. <ire large, slendcrtubcd fnnnels, growing sinJ/lc or in clllstC\,s of

beautiful plants il'l1ich or11oment ou,r windmos nnd
frellisrs fl1ronJ!hnnt fli r; s nmmcr, but which rlie as

three or five; they are def'/! 7m1plr, delicate i1ink
or hlur, or smnetinics pllrc zchitc , al1cavs n·inr'd;;;

the frost ap7Jroaches. Tlwy are alike , and yet very
different. Let us notice in what their likenesses

anrl shrulcd. ll'ith a. deep er lulc . The slender, convolute bnds are abnost as bcwdiful as th e e.-i:pandr'd blossoms. The fio1ccrs of the cypress an'

re nrl rl iJ]tTr 11 res ro11 sist.
Both have fine, fibrous roots.
Thr sfnn of rach is lirr1mrf'rms, fl l' fnfn::;· . rnnnrl ,
_g~rcen

and ui structure exogenozis, consisting of

srnall, each beinff a very slender tube swldcnly
sprcruling inLo n /7at , fivr~ - lubed burrlcr. They are
brilliant scarlet, pure wlt itc or yellow; they g rvzl'

pUh i1' the centre, aronnd which nre layers of tis-

sing·ze, anrl are arranged alternately on the strmi..

sciie covered with an aider skin. The branching of'
the ste1n, is <iltenuite in each, the branches inlerlacin~ ,profnscly.
The stem of the morning-glory
is larger rind stronger than that of the cypress; it
·u .also be.mt with min1ite hairs, while that of the

The calyx of each is composed of five sepals, those
of the cypress bcin!f very small. The five starnens

cypress is snwoth.
The _leaves of the two plnnts are J!reen and nd ·

of each . are attacherl ·to the base of .the corolla;
those of the niorning-glory are entirely within
the tube, while those of the cypress protrude bevond tho tul;e.
It is fuunrl that these plants bear flowers,· tltcrC'

..
204

How lo lVrile.

Compo.sition.

•

fore, ~hey nre ea.lled ftau:cring plants. Because of
the stru,cture of the sterns, and because of the netveincd leaves, they belmg lo the.group of Exogens.
They have twining, hubaceozu stems and the flower
parts in fiv es ; there/are, they belong to the srt m c
subordinate group named from, the convolute buds

20.5

Composition CXI.

of some 1ne1nbers of tae order Convolvzdacew.
Make an outline of the foregoing composition.

Co1n11Mitiou

ex.

\

THE STRAWBERRY.
THE BUTTERCUP.

DRUMMOND PHLOX.

Write a composition, comparing the buttercup and the Drum·
mond phlox. Make an outline before beginning to write.
i .~

Write a composition, comparing the ci11quefoil and the strawlierry. Make au outline befofe . beginning to write.

·----------.:--~
-;;;.-·~.. ----~

How to lfrite.

CorripoB'ition.

i!

'.j

207

Composition CXIL

,.

Compo.'litlon CXIIT.

;:
.i

THE CYPRESS \'JNE .
THE MORNING -GLOR Y

.

il

THE STRAWBERRY.

THE CUCUMBER

Write a composition, comparing the morning-glory nnJ the
cucumber. Make an outline before beginning t o write.

_ .. t .•

\Vrite a composition, comparing the cypress a.nd the straw. ·
berry. M~ke an 011tline before beginning to write.
.

•
How to Write.

208

(}ornposition.

209

~~-,-~~~~~

Write compositions as follows, making an outline m each
ca.se before writing:

Co1npo.~ition

CXXI.

Composition CXIF-.
(:OM.PARISON

OF

THE DRUMMOND PHLOX AND
THE FUCHSIA.

ij

h
,..

Composition CXV.

T.i

COMPARISON OF THE LILY AND CORN.

Com1Josition CXJ''L
COMPARISON

OF THE CINQUEFOIL AND THE
BUTTERCUP.

C01n110.- .ition CXVTI.
COMPARISON

OF

THE

FUCHSIA
ROSE.

AND

THE

PRIM·

THE

Compo8ition CX17II.
COMPARISON OF THE ROSE AND THE SYRINGA.

('ompo.•:ition
COMPARISON

C~YLL

OF THE HONEYSUCKLE AND THE
CUCUMBER.

Cmnposltion CXX.
COMPARISON OF THE VERBENA AND THE PINK.

HORSE.

l"nrts: L ollg, ~ li1 11 hea d; sk·niler- nr>d,; long nrnno; ~],. 11 rJ~r
1){Jcly co1-or.•d \1il!t <''J:ll"<'); 1i1, ]nng, ~J,•n·l"r le:;, ~u\id Ji,,nf,
lu11g. flowing t>-til

I1 ,ci.-o rs in L,,t
· r'i .).LL \•,· .c"
...0

,·

J'·11··r1
• j,,"~
I
,
~-,
. u.l~

llal>itR: E:tts vc 0ri-d:.dJ!"~
forth it.~ y oung :tlin'.

THE

1~ 11 ·t;;:

r .lo <..l

j (_

·

I

1· ~·

1

1••
·\~ ·
., 1, ''- ·:-;;

'

:"

·

1

~irnp1c

•
stcnn:
tc h .

·
t.
l!Oll-l'LlnJlll8.ll.

'

]Jl'lll<'S
·
0

GIRAFFE.

Lollg
: ~linrt li _n rns c11\·,~rc<l \1 it li ·a IL1 irr :oL in
terminated by l.Jng, kml Lristlcs; rery long neck; · sliort'rn,uie:
short_bod_vcovered 11itli retld1sh-b r01rn hair, varied with patches
of a light fawn-color; hind part of body lower and much smaller
t~an the fore; very long legs; cloven hoofs; long tail covered
with short, smooth hair and tufted at the end.
·
14

li 1•:1d

How to Trn:te.

Composition.

l\o mci~ors in the lll'J1<'r jaw; broad mohr"; com1'0ur:d

liarrl p111!. The st 01111u·hs r1f l1'1_. 1•sr·
·' t 11·0 r111i11uils rirc
dij)rrrnt, the horse·,,. 1 ·
' ueu1;: sim11.'r-; th e giroj)'c's,
cnmpound.

210

Eto::n::i.ch.
Jlabits:

E :1 ts ngctaLle food; chews tht' cu<l; brings fodt its

I
THE HORS E A ND THE GIRAFFE .

f!i raj}e is vr?l'!J much ta! frr thfl n the Jw1·,-;f',
Ofi en measurinf/ seventeen feet "ji'Oln, the grou.itd to

Thr l1f'rrd nf thr ffirnJfr rliJf; 1·s frnm tl11d of 1111:
0

/11;u ·1·1·1'r,

/!r1iry sl\·/n

(f!lf/

T/11' li''f' k of tl1e

in

l1u 1·/ n;_/ l u·r;

/, n1·11s

1'ul'r'l'1'd

!f',: f.?t

l 1 J'Jll/l!rJ fin;:/ in /f!JJ _::_f , hor(l li!-isllr ·.\' ,
1

l11J1".ff'

is

11111 1'71

sl1111I•

1· !711111 / /if/!

n/'

f /1r_> ~-,·i.rrrj/l', hut its !!Lane is !on;/cr unci ntur1' jl()!f'-

in;:'. T/11'. l1ursc litf S a. lon;;f, slende r, 1·n1111 rl 1io 1 !1;.
Tiirti of tlu: J/irrt ffc is short, small and r01wd "f
flu: loins, bnt inct·(~ases rupir11u in size ruul /;ri:/!1t
f,m:rr nl the iilwnldcrs.
Eolh . Juwe lon!:J', s!r nr/11·
ir:~fs, tlir. f!ir(/fti~'s co11sirlcr11My longe r anrl 111.rn ·c
slenrlrr IJ111.n tlwsr! of th e hnrse. J'lu>c fret of bo/11

((re /Jro uitlcrl with hoof's. Those of' the horse arr.
entire; the giraffe's, diuirZcd. The horse's t1iil is
lrniJ! unrl fio1ninf, rn1 1rrrrl ifs entire lr11fth with
long, corin;e hnir. The g·iraffc's is tufted at the
end, the upper part being covered with short, smooth
hair. 1'hc ff irn.lfe .tJ.l./fc.r..s..f.J:l)J:);J, JJw },1,or.se .i,n,. }Jn:JJi~1!}
no· incisors in the upper Jaw, bu,t in their pl•cc a

-:::

·· ~-

1·;, r;

trees.
ll.rJt.

r;;,.,,.'r"n
~··u'JI' . . ,

gi n1j)~

Euch hrin:;/s

0

-

-

·

lotr1, tl10 11-::·h to different r:;-ou i 1 s. /Jui ' theT'J

ui co1·

ti1P fop of ils lir.11'7 ; 1rhilc llu; hu1·s1; seldom, attains

Both animals are cuuered with hair, that of the
hnr.se heinrl ii~s1;,,r1!lfj of a .;in~1le colorf l-clt1le tha_f
of the J!iro/j{: is rnlilisli-uro1cn, uarierl with anJ!ulrtr potchrs nf rr hfht frw·11 -('.()lor .
f-'11 ch o/ these onirnrtls i111s rt 7011 ;;;", sln111cr /1Ntrl.

1

"

Fr()ln tl1r: forr;;foinJ! likrnf'ssr·s ruul rliffcrc nces w e
c o nr111rlr t11ot the lio1·•' c a 111 J ~,·· 1·,. 11;;" cue
r. z
·
ong t o i 'll<ln-

The

th;: heij;hf. of ,,J.r fr:d .

-1 r) 1
" 11 "· 11111 ·11r,· ,,/

f.t'{J/> l

c 11 rw s t Ii c Cl/ r1; t h e 11 orsc docsff.rt It its !JOLULJ/ alicc.

!hr J!ir1rfii· - llu' fonnn · fnl' its 11nircrsal nscf11 lti1?s,·,
and the lrrttt?r fords sillffnlar forni and rrppt•t1Ffill< 'C.

/u;l '.-:1•,

'"
_ The li orsc 1'"cr·r zs /rnn1.
the !!rou11rl: fl1f'

l rrrr'it> l!J
-~ -

l'lf•o l"f' r!f rp111.11rkf//1fr a11i11urls arc the hor;;e and

211

I

t

.. -il

7nals.

u

"

" ,

~omparison o: :;ize,

I

I

/"

. . . -:- .
, . . . arc ier· . on1>,
ur. t.w J!11·0/Jr~ rs" nuninant onrl tlte
horse r:, non - rzuil/;u111!,· anri that ;·ot l' l ' rP.
l

(

1

·i i11 ·--i.. ii2

1 1
_

:1 •_• I

nuun-

\

CU\. C' l.;LJ::".

Hearl;,

The Horse

D1sct\s-

and

Fcl't,
Tai ls,

8102'/"

the Giraffe

Ted h,
f:it•Jlll ~\l: h :< .

M~ nn e rofobtain­

r

rng food,

Com pariso11
; Chewing the cud,
of Laoit:;

I

] Hringing
young.

l

L CONCLUSION { Classification.

forth

•
I low to l Vrile.

Compos it ion.

Compos ition CXXII.

F-1t'
r l ·• giiaw:-:; f l'l'•j1t c11Li 11·ater; Luilds
,, · \'Cgc·t " bl<•· f <·;Jr
rLtm ,;; makes t 11·0-~ ton·
lw11""·"
ll'itl 1 ]1, 11·,.- 1. ,,.t(ll). . unuL·r
.1
..
,
\\·ati·r.

212

j

Ilal>lfH:

THE

CAT

AND

THE

BEAVER.

21:1

0

~ . .l tl ic•. I_H_?a\·f-r.
. \\'rite a comriosition ' COTnf<lrill"
o tl1~~ - c~t
a.. · HIJ(
Sl'lect the r1eu·,"ary 11oint;.; from the data gi\'en imdcr l:acli.
~fake an outl111(: Lefore beginning to \\'rite .

1

Composition CXXIII.
THE

THE
J't:rts:
::

'fi

li
ii

"
u

;-:]1 •r 1d1't· ]1 ·.'.r ·" ;
'

li\'1•

i(w:-\
1

;-·-'i : ;1 q 1, ('\!1'\. \ '<1

. 1

1

CiWPre ;l

ci:: ( •::1 · /i i"11:t · - i\ 11):

b:tr~ k

THE

CRANE.

witL
i " ' !:

~

J"\ 1 \l':L 1 tl l l~ t·!: L\ \.~ .

Two long , pointcll c:1ni?1 e~ in ea ch jaw, fitte•l for l<!arin g ,

B-h.3. rp. !!n 0vP n

AND

CAT.

Short, broaJ head; long, siC'nd1•r body

f q r; lnr 1 ,~r i:1i l :

DUCK

I

--)r--

--

'"- ~
~

·/.....:>

t~~~t h

Jlab£ts: Eats a nim ;\\ foo<l; ge ts it s food b y watchin g fo r
an<l spnng1ng upo n it ; sees well in the d ark.
THE

BEAVER.

Purts: Flat head; long, heavy body; broad, flat, scaly t a il ;
. fore-l egs shorter than hind-l egs; fiv e toes on each foot; the toe~
of . hind-feel united by a web; sharp, curved claws.

'.rwo long, sharp, chisel-shaped front teeth in each jaw, fitt ed
for gnawing; broad, rough back teeth.

THE

DUCK.

Parts an<l llablts: Broad: flat., Ltmellat ed Lill, covered
with A. skin; ehort legs placed fo.1• back ·aml far apart; en ts
grain and small animals, which it obtains from !li e water and
mud · with its bill; three toes in front a nd on e Lehinrl.; i;:\rimP
and dives; narrow heal!; il'l awkward in walking; short, slen- .

Cvmposilion.

214

215

---- -

.
-- - - -- ---·· ·- ·· --- - - -- d er n eck ; front toes webbed; lays eggs; bont-shnped bndy
covered u-ith i-oft , oily feathers; is a swimm e r ; mecl1um-s1ze1l

wings ; short tail ; d oes not fly well.
THE

CRANE. ·

J"Urts and Ila bits: Long wings; claws sh ort and strong;
l o\·cs water ; l'li ort t:til; eats in sects, fr:h and grain; small
h ead. legs very ! P JJ" an<l i::lender ; bys eggs; long. slender
n eck'. is ·a wad e r: slender body co\·ered with feath ers; frequen~s m111rshes and muddy places; long, slim toes .u~ited at
the base~ hind-toe e.Jev:tted; uses its bill in obtarnmg .fi sh
from 1he • ater; long, sl ender bill, eompressed on the s1<les
and slighilly cun· ed at th e tip ; tarsi nak ed.

Compare the duck and the crane, selecti~g and arrangmg
. necessary points from the Parts and ]fabits promiscuously
given under each.

C01nposition CXXIV.
THE HAWK AND THE CRANE.

THE

HAWK.

Pnrts and JlabUs: Stout body covered with feathe rs not

oi ly; wings strong, long and pointed;. lays eggs; broad tail;
strong legs placed nea r the cenire of the body; short,
thick n eck; front toes not united by a web; Rtrong, thick,
hooked bill; hind-toes on a level with the front toes; la rge,
flat head; strong, hooked claws; generally flies low; eats
rats, r a bbits and other small animals, which it seizes with
its clawR and tears with its hilf; does not. frequent th 9
water; tarsi feathered; fold s its legs under the body when
flying.

~liort,

THE

c ·R AN E .

Parts and 1-IabUs: Long wings; c1aws short and strong;
loves water; tail short; eats incect::, fi sh and grain ; sma.11
head; legs ve ry long and slend er; lays eggs; lo11g , slender
neck; is a wader; slender body co\·ered \\:ith fe\thers; frequents marshes and muddy places; long. slim t oes unit ed at
the base; hind-toe elevated; u&>s it s bill in obtaining fi sh· .
from the wate r; long, slender bill , compre~sed on th e sides~
and slightly curved at the tip; tarsi naked; when flying
stretches its legs out behind.

\\'rite a composit ion, comparing th e h~wk and tlic crane .
Selec t the necessary points from the data given unde r each .
.Make an outline before bcginIJing to write.

216

Com p0siti'rm.

217

Compo:~lfion CXXT':
THE DOMESTIC CAT, THE COMMON DOG AND THE
BLACK BEAR.

Prn·rs and Ilal;lts: Short, strcmg n••«ks; Ln·athe by rne;tns

of lungs ; broad hea1l•; bri !lg forth their young ab·e; stont

~o<lies con~rul

\1·ith k.1.ir; e.tt an imal foo<l. \di ieh th ey olJtain

by slyly springing upon it, Gy chasing it down or by stealing
8.Wl ~harp, fittc·d fur te:.iring; \\arm.Llood;

i.t; canine !t·c•ih, long

very !'Illa]] irn.:i-;or tc 1.: tl1 ; strong, <il1arp cb11·s; ii1tcrr;al !"kd-·
etons; molar teeth u11cn:11, 11ointc'<l arid ~harp, fittcJ for cutting; legs short aml st rur1g.
(Giv.• a Harne to the group.)

THE

GRAY

SQU I RREL , THE RABBIT I.ND
COMMON MOUSE .

l'arls nncl lla/Jlts:

\
THE

L ow, ~1·~11der bodi es co1·ereJ with fur;

warm bl ood; small, rou nd or pointeJ heaJ s; bring fo rth th L•ir
your:g alin); ca nin e teeth \\'anting; cat vegetabl e food; inci:oor teeth long, stro ng arid chisel-sharwd, fitt ed for g11awing;
internal skeletons ; molar t eeth broad and uneve11, fitt.:d for
grinding; breathe Ly mea ns of lungs; slend er legs ; toes provided with long, slender claws.
(Give a 11an1e to th e group.)
"Write 11. composition, comparing the groups of animals pictured 011 the opposite pngr. f:lel ect the facts und arrange them
properly before beginning to write.

218

Cvmposition.

How lo lVrite

219

Composition CXXVI.
THE CAT AND

THE LEOPARD.

Pnrts and llaltUs: \V;ll-shapeJ bodie5 covered with fur;
~liurt muzzles ; sly aud qu1c~; br?ad, rou~ded hea<l8; feet digit-

1grade; two long.sharp canines rn each Jaw, fitted for teari11cr;
eat animal food, which they obtai11 by cunning and watchfulne~".
~pri ngi ng upon their victim ; short, m u::;c ula.r legs ; soles h:ti n·;
~ix small incisors in each jaw; a 11aked pad under each toe, a1.1<l
one under the ball of the foot; sharp, uneven molars, fitted for
cutting ; jaws short and powerful; five toes on each fore-foot.;
one molar .on e::v:h side of ea ch jaw much larger and 1.1harper
than the rest, called the lacerator; tongues covered with horny
spines directed backward; four toes on each hind-foot; no molars behrnd the lacerator in the upper jaw; see well at night;
sharp, compres::;ed, retractile claws.
.
THE DOG

A~D

THE FOX.

Parts and HabUs: Long legs; well-shaped bodi e~ covered
with hair; feet digitigra~e; six sm3:11 incisors i.n each jaw ; ~ne

large lacerator on each side of each .1aw ~ eat ammal food, which
they oLtain by chasing or running <lown; claws blunt and nonretractile; elongated _muzzles;_ five toes on each fore-foot\ two
long, rather blunt, canines in each jaw, fitted for tearing; smboth
tongues; two blunt molars behind the lacerator of the upper
jaw; hea ring and smell acute; four toe~ on each hind-foo t; ·~
molars uneven and rather blunt, fitted for crushing; soles'"
ha iry; jaws weaker tha n those of the preceding animal s;
heads of medium size.
THE

BEAR AND

THE

RACCOON.

Parts and Habits: Strong, curved, blunt claws whi ch are

non-retrnctile; la rge, broad h eads; sole>i of fe et des ti t ut e of ha ir:
f'ix small incisors in each jaw; thi ck, clumsy bod ies cove red with
hair; molars flat, broad and bl nut, fitted for crn~hing; short,
strong l eg~ ; two long, blunt canin es in each jaw, fitt ed. for tearing; five toes on each foot., pointing forward; Rmooth tongue;:;
eat vegetable food almost entirely: three large, blunt. molars behind the lacerators ; pointed muzzles ; feet plan ti grade; seldom
eat flesh; one small lacerator on each side of ea.ch jaw.

\.
1.
'I

l

'Write a .composition, comparing the groups of animals -pictured on the opposite page. Select the fact s and arrange them
pi·operly before beginning to write.
·

220

Hf?w to lVrite.

Composition.

2~1

Composition CXXJ'TI.
THE FOX SQUIRREL AND THE GRAY SQUIRREL.
Parts and .llablt,s: Broad, rough molars with roots; fonr
toes on each fore-foot; f::lim, beautiiul bodies covered with
fur; tails long and b11d1y; eat vegetable food.; dim legs ;
two long, sharp, c:hisel-~hap e d incisors in eac:h jaw; live in
trees or burrow in the grouncl; cani11cs 'rnuting; large,
round heads; gnaw; a long, 10harp, cnrved claw on elli:h toe;
make nests of lea \· es and Etick s; fi\·e toes on each hind-foot;
cleft upper lips; small, poinred ears.

THE COMMPN MOUSE AND THE MUSKRAT .
.Pnrts and llablts: Long . bodies; long, slim, nakcd~ail s ;
five toes on each hind-foot; gna,,·; climb; pointed h eads ;
l egs of medium size; canines want ing; four t oes on eacL .
fore-foot; two long, sharp in cirn rs in each j [l.w; cat veg-~
etable an<l a11imal food; burro w; m olars 1 road rrnd rougl1.
with roots ; liv e in h oles ; cleft np pr'r J:p s ; long. slende r
bodi es covered with fine fur; short, round cars .

THE GRAY RABBIT AND THE jl\CKASS

~ABI3IT.

]'ul'I., ""tl Jl"lilf,; : SJi ,; r t l :l IL': f!1·c t n .~s fl : J <:-,1r·L i" · rl' · frJr.>l;
eat Yc·,:;da Llc: L ull: ~L:11rJ.; r L"·".1 1°> : 111•>1-..• L:; ), ·t] '-' or jll l 1l) " .
i-m :t ll, point ed h eads; rnles co \·e rCll \\·ith l1a ir ; l\•; 1J long , ~ !i:1q'.
cl1i "e\."liapecl in cisors in c·<t ch p·,,.; gnaw; burro;r ; m oL1rc;
broa cl and rou(l'h
and \rithou t r oot;:; four t oes on rach hindo
foot; lira small t ee th behirlll th e inci:;o r:.; of the upper ja11·:
f._,r.~ -1·· ~.; ,o]wrt r:r tl 1an l1i11 1l· l" .!:'.": timi1l: i nle r inr of mou d1,;
Cu \· c rcd \Vi.di L:1i~·; c1u: c1~ ; L>!1,S . r i:'! l:1!Cll l'~lr:: .

\Vrite a compositi on, comparing the gro11ps of a.nimals pictured on the opposite page . S<.>l ect the fads and arrange.them
properly Lefore 1 egiiming to write.

222

Composition.

How lo lFrite.

223

Cmnpo.'4itiun CXXVIII.
THE

ROBIN, THE CHIMNEY-SWALLOW AND THE
SPARROWHA WK.

PUrt,11 and 11ablt.s: B~dies covered with loose, downy plumage; Flpeud most of their tnne on the wing; legs t:hort., generally feath ered to tl1 e heel ; warm blood; boues l10llow alld
\·ery light; hiuc1-toe on a level with the toes in front, fitti11g
th e feet. for grasping or perching; lay eggs; kn ee free from
the body ; breathe Ly mean s of lun g;; con uected with ai r-cello
in various parts of the body; r lam:; lon g, curved and sharp;
wings always strong, Rdapt e<l for rapid or lonrr flight ; feed
npon inf'ectH, grains, fruit ; toes free from \r eb; a complete
·
double circulation.

THE QUAIL, THE GUINEA -F OWL AND THE COMMON BARN-FOWL.
PurtH and lla.bWJ. Bones holl ow and very light; obtain
1l1eir food by Acrakhing; heavy bodies cov.ered with co~r~e,
loose plnmage; hind-toe smal l and 1:-l evated or abse nt ; breathe
Ly means of lungs conn ect ed with air-cells in variou s parts of
the body; kn ee free from th e body ; a compl ete do11ble circulnt ion ; legs Ehort and r-: t rong. fit t eJ fo r scratchi 11g ; lay eggs; c
front toes entirely fr<:' e: war111 bl ood ; cla ws gen eral I:» lil11nt and
strong; spr.nd mo~t of th eir tim e on the ground; Lil ls ~ h or t and
strong, fitted for peckiug; cat small animals, plant s, fruit, grn.iu.

THE DUCK, THE LOON AND THE TERN.

J\n ef's wh 0llv " ·ithdnnrn "·ithi n th e
i::ki11 of th e horly: fo ecl 1q1011 p-rrti11: g ra "~ . fi~l1 , 11 1<1ll1n; k ~ aml
in~ er ll-': flatt ened, boa t-l'h apt·d bo<li c;.; C'•)\· en·d with HJft, d1 ·11 ,f',
ni ly pl11111:1 gf'; ohtai11 J11 ost of tli<'ir foo d fr om 1lt1• 11·:it<' r; J,.g,;
;:Ji ort · :111<1 l'et far apart nnd for Lack on tli e liody: l:ty f'gg.~:
frr,11t: f,,, .s weLl>ed , nda]'ted to :,;wimrning: bo111•s Ji.,llow a11d
Yery li ght; a comple te doubl e circ11 lati o11 : lii 11d -toe elern trd
or absent; warm blood; l'll'im; legs feather ed to the heel ;
brea the hy means of 111ngs e1i11n f'r ted with air-rells in Yarious
parts of th e body ;· claws generally t:mall allll weak.
J>m·tR aml IlalJltR:

\Vrit e a rornposition, co mparing th e gro11ps of Lirds ]>icturrd
the OJ'posite page. Select. the facts and arrange them properly before beginning to write.

0 11

I

22-4

..
Composdwn.

]low to 1Vrite.

~,

Composition CXXIX.

Write a composition, comparing the two girls pi ctured
above. Study t.l1 e pi ctu re carefully, and make an outline
before begi nning to write.

Compo.~ition

CXXX.

·write a composition, comparing the two men pictured
/above.

Make an outline before begi nning to write.

..
Hnw to TFrite.

226

Compo.~ition

CXXXI.

Write a composition, comparing the two men pictured
above. Make an outline before beginning to write.

Cmnposition CXXXIT.

I

.. .•

Write a composition, comparing the homes pictured above
nnd on the opposite page. Study
the pictures carefully, and make
an outline before Leginni11g to
write.

Composition.

2C)~1...

228

Composition.

How to 11'1·ilf.
Compo.<;;lfion CXXXIII.
WASHINGTON.

(S t :G G EST IONS. )

Time in wl1it'li he lived. Nationality. Educational
advant ages . Early di sposition nnd character. _Se~·vice
in tlw Frenel1 -and -Tndian \V flr. Rank: Coinmiss1oner
to the Fre11d1. l\Iade con;mnndn-in-chief. Resignation. A member of the House of Burgesses of Virgin irt for fifte en y ears.
Sen·ice ii1 the Revolution. Condition of tl1e colonieR at t.l1is time. Cawws of the war. Positions .
la·lil d11ri1w
tl1c war. He>sult~ of th e war. The
'
b
FNlera 1 Cow-di t 11 t ion.
El('l'lt·d Presid ('nt.
L0ngth of snvice. NotPwortlty (·vC'nts or hi s term of offi ce. H etire rn e nt
from pul1lie life. Dt'atl1. Ulw.racter and rank as
a getwr:d :rnJ a statesman.
NAPOLEON.
( S t"G r. ESTJO!> S. )

Birt.Ii : wl1 c•n n1111 where. Resid ence; oduc;d ion;
sporls. Ot:rnpntions during thr hltr. r pn,rt of youth.
Sen·ice in tlH ~ Frv11cl1 Hevolutio11 ; on which sitle li1·
sel'\'(•11. II is aid i 11 tlie siege of Toulon.
Appointment to ai<l Barras in defending tlic Directory.

Condition of France. Italinn campaign. Egyptian
campaii:,rn.. State of Franco 011 lii:o return; l1is action.
Orgn.11irutio11 of tl1e governnient a:o a consulate; Na-

229

poleon consul.
emperor.

Hostilities witl1 Enghnd. Napoleon
Operation s in Germany. Trafalgar.

Conquest of Prussia. Conqllcst of Au stria. Invasion of Hussia: r0sult. L eipzig. Surrender of Pari s.
DE>positio11 of Napoleon ; dt·parture for Elba. \Vaterloo. A bcli cation; St. H elena. Death : wlien ; where.
Character all(l rank a s a genr n11.

WASHINGTON

AND

NAPOLEON.

These two nicn were alike in that each ·stood for
a nzunber of years the central fignre in a great
naJion, conunanrling lnrge n:nnies and gni£ling his
people lhrongh n great .crisis in their historY.._; but
we cru1, scarcely conceive of two 11wn with principles
and 11wt1:vcs 11w1·e directly opposerl.
~:

Both e11Joyecl tolerably goocl rulvantoges for education in yonth, rnul l10th nre snid to have c.rcellecl 1:n 1nathmnrttics ruul the r'.ract sci ences. · Both
w e1·c r~ vi rln1 t ly born com nuu1 r1 er.,·; a 11 d 1cc r r.arl ·of
f.h cm, cue n in cnrly yunt h enjoy i nJf 11iili tru·y s7111rts
anrl <lrilli n.ff nwck a l'1nics.

Eru:h of th ese n ie n was posscsscrl of an indmnitoh1c mnln'tion, and C(( Ch fmnul him.self, n s lt e
arriv r' rl rd 11innhood, in a position to !Jtnlif'y tlwt
r11111Jit ion.
TJ(1.sliinr'i/.mi wns srlf'r:frrl to fr11rl 11. /J((11rl of' 7H1friofs in.,,, f71f'i1' strug;;)c for i11rlr·7Jf·11rl,.11r·r·. It w11s
n hiff.r:r sfr11J!tflc - a. fr•111 1/'('(fk rolo11irs 11f!11i11sf 11.
sf.rm1r> 1111/ion 011rl 11 f111·111111ir'11l ki11g. R11t fhr·u

rlid ,;ot rely in vain u71;11 JV"11slti11fflo11. llc dcvof('(Z
his life to his co1ui/ry's serl'icf', 11. //(1 brought h~s
people safe to a posifiun of iwlcµcwlcncc. ll1s

2:10

231
--- -

n.n w ru,on 1c (l,s nat for himself, but for his coun try .

By his noble chara.cter he f!aincd not only the respect, but the love, of the whole pr-ople.
.Napoleon began his public ca.rr?.er mnid the clos.,.
,.., c,(;,;;.,c.:.,' uf tl~c
I rclu..:7'., JZc:.;clutiu N. . E ul Lllt;
Frf'.nch z!rople were very di.ffrrnzf. from, the hnrdy
.Jmrrirnns. They scarcely compr('hrnrlcd fh(' mc([niu.f/ of the :cord "independence;'' and it is not sur!Jrisin,g th-a-t .."l'r~t}.Joleon._. u.;iflr h-z~ in.dorn.i-ta-ble U}i-ll
and a111bitio11 , suun uutai11cd complete cont r ol of
them. IIe dirl not slop at the bonndaries of his

,:n.g

ou:n c onnfi:!J , /Jnt m :crihrcu: nations

(f.11.d

I

mind; rd. ihrrt of H "nshin;:fion, of rt trnr a.nd noble
1'upicnl Ou.tli11e •
1NT1WDUC-

TIO;\

.J\~apoleon

was a d espot.

i Ge ne~al ttat £>men t of likenesses
)

\Vashing-

Lr EE-

j) 1'."Cl:~­

ton and

I'u l.l !c

::::JU:\

Napoleon

<'drc·":- r

CLaradcr

1Ji!-FEEENCi·:~ .

lJc::1.th

CoNcLublON

} Opinion of

ro~terity.

Rc;i.<l the Ii\"<'' of \\';1-hirigton ;111d Dr1nar•;i. r te rrnd "turly the
foregoinc; rngg1 '1 io n"
Then "t11d y tl1c 011 : i111 r' for tlic cc;1iipo·
~ition .
\\'rit e a co mposition in Com pari sor. and Contr~q, !~tk-.
111g \Ya :-- li1!lgt1JJ1 a11 il :\a11 (1l1_·u11 f'l _,l' y1_1 ur ;.; 1. : .jt ·1: t.
e
1

Composition CXXXIV.

H e eontrollerl absolzdel!J,

CUIUlfr!J.

am.l r11rt c r e ncc o-; ,

Ednr:lii··1n
E:r :· h· t :·: ti'.:' uf

kiTZgs in every direction, and n·as at length crowned emperor of the vast country he hnd conr;uered.

t ook 11 o eowisel with his snhorrlinntcs, lnd rule d
them . with an iron hand . •rind when liis despotism ,
cmihl no longer b e borne , he fdl; a nrl we finrl hiln
all td once crushed, d cth roncd wul e."t:ilr:rl from, lu's

----

heart.

d.f'.l.11To;1.r'd

Trashington, when the r-risis of ihr- great politlr.ft.l strnggle u.:a.s vast, pNwcrl himself as able n
statesnian ns he hnd been n I''enrral. lie tnok connscl with his assistants. and did not rr;st nntil he srt.111
his r•m1-ntry N' s71 r•clcd 11n11JJ1.J,:· rill lllffirms os n jt' N'.
a nd inrlrpcnrlnd ,fonT11111nif . /fr t11 c 11 refused rr election to the chief e."AJccutive offi.ee nnd gave pla ce
lo another .

-

BENJAMIN

FRANKLIN.

( S t:G (;JcSTJO~ S . )

Birth: when and where.
Period of n.ppre11ticesh ip.

Early Lil<': Pan·11b1ge.

Educati on.

.Napoleon died an e.1;,'.le on a disf.rrnt islnnd 11.: ;11i
11.one to nw.u,rn fur hi.ni. JVasJ,;ntflon cnjoycrl to tlu:
lud_the rcspert. o nrl lovr. of liis connt l'!f, ({,1/.d at t It r
neu1s of his dcnth the whole people nwuTned <ts for
a dear friend.

Before entering on Iii ~ public lifr. Occupati on : printer. Ed.i tor of Poor Richard's Almanac; mnxims. Ch:tracter as a philosopher. Pu_blic
life. Postm:tstcr at Phibdclphia. :Member of General
Assembly of Pennsylvania.

.At the name of .Jtapoleon we think of a master-

Electric experiments: lightning-rod~. Deputy'-gen-

JJ1m1lloml:

1

•

..,.,.-.

How to lVrite.

Composition.

111 of Post-Office Department. Agent of several colES to ~urope . Membcr of Contincnb1l Congress.
~er of Deeb.ration of Ind epend ence. Minister to
i nce during HeYolution. Return to America. Clialtl'r as statesman. Connecti on with educational in .
:*1.tions. Influence on literary world. Deatlt.

F irst occupation: business; result. Final
occupation : lawyer. Cl1araeter and rank as a lawyer.

Topical 011tli11e.
lNTROD UC- } ( L et the pupil make the introTIO~
, ductiou.)

r Time

I

"'hhing- I
I
:'i:l.and -{
Ji.nklin

D1sccsSION

~

l

Nati onality
Edu cati onal
adLIKE\' anta gcs
JI Early d ispositi ons \ NE:::::: ES,
I f:;nl ·/ ucc 111iat.i o11:.: ' DIFFEHEN CES.
PulJli c life
I
Cli :ir:H'l PI'
I
i
fl ··:ii h

I

I

I

I

CoK cJ~u -

l·

~ION

~

J

R:i.nk.

'L t e ::i co mpositi on in Comp:iri rnn an d Contr:ist, faki ng
· \l':ii ngt.on and Fran ld 1n n.s yon r ;..: i J LjPcL ~ 1 ur1y t Le )i \':~~
c& li IIH' ll , foll o\\'ing ilie r- 11 0 g ec:(i u11 s g in~ n .

Compo.<>ifion CXXXr.
PATRICK

HENRY.

( :-;l' <;u E STI 0 '.\S .)

P:irvnt.age. Biril1 : time and place.
E:~rly di spo~ition nn<l cl1nrncter.

•lt1 Life :

Edi. tion.

~:

.

l'tirmlwo<l:

Public life. Member of the House of Burgesses of
Virginia. Speeches on "Stamp Act;" "Tax on Tea;"
"Boston Port Bill:" effect of th ese speeches.
I\femher of Congress'. · A ffair with Dunmore of Virg1ma. Governor of Virginia. Po:-;iti on 011 th e adoption of th e Federal Constitution. Final acqui esce11ce.
Deatli : wh en. Character and rank as an A meric:rn
statesman.

JOHN

I

I

233

ADAMS .

( S r c ,;;:~ TJ O ~S . )

\

Em·l11 Life:

Birtl1 : tinw ; place. P:lrentagc. Ed u-

('at ion.
JJTa11lrn o d :

P rofc:-::-: ion: r:1nk

:F :l

Lt \\'\·cr.

J\ ,~ i t i o n

runong li i:::; c0 u11 t ry 111c·11 . Mc111lJe r uf Massa c l1u::;etls
Assembly. l\Iernber of Fint and Second Congresses.
His service iri Congress. Secured tlie adoption of th e
Declarati on of Independence.
Commissioner to decide on a trea1 y of peace and
commerce at th e close of tli e HeYolution. Terms of
tl1 e tr<'a1y . Mini ster of Unit ed States to tire Comt
of St. Jam es-the first one. Vi cc -Pre~ icle11t for two
tern1R. Pr<'si<lc11t.
· Pri11 cip1C's of different parties. French trouLles.
Alien-and-S~J.ition bws. Party di stin<:tions. Death:

How to lVrite.

234
wh~u; itere.

Compos ii ion.

Cbarncter as a man, lawyer and

statesms:
Comp3£the lives of Palri ck Henry an1l J ohn Adams.
Study lhB:ves of both rut'n , 11oting in particular the points
given in "ii.tggestions." Make an outline before beginning
to write.

235

Effect of his inventions on civilization a11d com:nerce. The multiplicity of railroads now, especially
m our country: advantages arising therefrom. Death
of Stephenson.
Compare the !ins of Robert Fulton and George Stephen Rnn.
Study th e liv es of both men, following tli e point'! giveu i11
"Suggestions." Make an outline before beginnillg tu write.

Com1>osition CXXXJrL
ROBERT

FULTON.

Composition CXXXVII.

(StJOGESTIONS. )

Early'Jifc:

Birth : tim e and phcc.

J

Pnrcnbg~.

Educatit

·s

M I T H .

(SVGGESTIONS.)

Early occnpation: portrnit-pn.inting. ·
Reside1• abroad. Later occupation: ci\'il engineering. Life in Frnnec; studies and experiments.
Jtfm1lllll:

First •.ccessful application of steam to naYigation. :S-igation and 1mvigable wR.t<>rs. InAu ence
of Fnlt.S. im· ention 011 ci,·ilization. Fulto11\; pfttcnt.

0 H N

Iltl1.
GEORGE

STEPHENSON.

(~ t ; (lll ESTJONS .)

Birtl1 : time and place·. Education.
Oecnpafa as a boy. Expcrimc11ts of yout.lt.
E<11·l1/lif<·:

The tl1en cxi;;ting milw::tys. The many
nttcmp~ apply i:;tcarn to railway locomotion. Stcphcn:soll:attcntiou to tlie i:;ubjed. Tl1c fin;t railway
locomotit.
!rlm1lm:

Birth: time and place.
Adventures of youth;
Em·ly Life:

Education.
\

First Yoyngc to Am erica : wl1 cn mad e. .
Explorfltions on coast of Virginia.. Founding :t Vir5
ginia colony . Jam estow n. London Compa11y; firnt
<:lrnrtcr. Gon·rnm ent of colonv.J ·' two coun cili-; '· govcr11or.
1'fa11lwo<l:

John Smith as governor. Standing among tl1 c coloni sts. Prosperity of coloriy under him. Hi;; explorations. Narrow esca pe. Friendsliip of Indians wl1ilc
· Smith remain ed. The second ch::trtcr. Smitl1's rc·turn to England; c~use and results. Change of government. Smith's scco.nd voyage. Third charter.·
Introduction of sl:-wery. Indians; wars; results.
Virginia made a royal province. Death of Smith:
wl1en; wl1ere.

Composition.

How to TFriic.

236

WILLIAM

CALIFORNIA.

PENN.

(~u,aa:sTI,JNS . )

(St.:OGESTIONS. )

Bu. tl 1 : t"1me an d p]nce . Edt1cnJion.
Expulii from home; cause.
JJfmiJII: Religious Yiews.
V oynge to A rneric:i.
GrantTrrinsylYania. (1\Ienning of n:rnw.) Foundirw
of• 1lmlel1:hia. (Meaning of name.) Treaty with
0
Indiari:SRt>tlirn to England.
Rel~ of thirtee.n hundred Quakers. Return to
A nwrisith a band of Quakers. Govermncnt. His
work • the Indians. Dea.th. Olin.met.er.
Em;t1,.ife1

Comi«heliYes of John Smith rt1id \Villiam PC'nn. Study
the livciboth men, follo\\·ing the rnggestions given in "Sugge stions~ 'Make an outline before beginning t.o \\'rite.

237

Lueation. Early scttlc111('11L Cnlifornin, nnd c·r ?lfexieo. l\lissions estalJli:,;lied by Fran eist:nn monks. Gaus(~
of th(' dedine of po\\'er of tl1c~e nwnks. \V;ir between
Mcxi('() a11d the U11itl'd State:o;. Stru!.!irle
for in c1c·, ·b
pendence in Californin.
C:difornia rc<lC'd to the U11it.ed Sbt<'s by M-exico.
California a Territory. Di_scovC' ry of golil. Question

of slaYe1y. California :vJmittC'd into tl1e Union. Cl1:tracter of its occup:1tions. Ch11racter of its people.
Hank in the Union.

Compnr~

the l1i storil's of

l\f:t~,:teliuset.ts

nn<l

Calif~nia.

Study tli c l1i>'tories of 1Joll1 St:itL•s frn111 tlie l'uints gin~ n i 11 .
"SuggC'stions." l\fok l' a11 011tliu e Lef<i re
Le.,inni11a
to \\'rite ' ~·
·
0
D

Com11osition CXXXJ7III.
MASSACHUSETTS.
( SUGGEST J O ~E )

Compo.~ition

CXXXIX.

Loctit~ Causes which led to ~rttlenwnt. J\fassaclrn se t.~dercolonial rul e. Srttlement.s rna.d<>. Co n-

MASSACHUSETTS.

ditiorni country. Massnchusetts under royal gnv<·rnor::;.J.n mes for change in admini:,;lratio11. Hct urn
to col~1 rule.

Location. LPngth and bren<1th. Arca. Pl1n;ic·:il
cl inracteristics. Surface : n10u n tai n - ranges ; Con necticu t Valley. Climnte.

\\T:111'fior to Revoluti on. Ht•\·olutionarv \Var.
'
_Z•'tl llfi
· war. l\~[·,·\s'-'.·r,1<·-'. l1t1s_·,_·tts' co1111ection wit.Ji
C1:IU SCf'n
this \WI lu'.Sult of the war.
M.assncl1usc'tts a

Advantages: mines; means of communication with
the world; water-power. Leading interests: rnauufacturing nnd commerce. Citi(·S. Relatiw~ import-

State. Jrnradtr of its occupaliL!lli;i- ~~•.Dli.w·acter oJ
its pc~ ; - Hak in tl1c Union.

auce iu respect to area, population and commercial
interests.

(Suca; E8TION~.)

][ow to Write.

2:18

CALIFORNIA.
( $ t 7GG ESW~S.)

Lenf.!th
., n.ml bwadth . Arca. Pli)r"icnl
characteristics. Surface : Sierra Nevada Mountain s;
Coast Rano-es ; Great Cen tr:ll Valley. Climate : wet
.
:>,nd dry sE>asons.
Advantageiiii : mines; rnen.118 of cornmunicntion witl1
the world. · Leading intere~s: mining; agriculture;
co~merce. Cities. Relatil:e importance in respect
to area, population and commerC'.ial interests.
.
L or~'l t.ion.

Composition.

239

Fidelity to tl1e trnth wl1 etlier populnr or not. His
lit.c·rary ·work. S1 ·lf-deYot ion and pietr. Tl1e difficulties of l1i s work. A leader and an e ~n.mplc. Tlw
need soeiE·ty lias of a rninii-'ter. His joy and rc\\iard
in liis calling. Pecuniary reward.

~

\Vrite a composition in Comp:uison and Contrnst, t.aking ~or
the theme" Massachusc t.t,; nnd Cnfifornin.." Stn<ly the desc ription of both Stntes from the" Suggestions" matle nnJer cadi.
Make an outline before beginning to write.

Compo.~ltlon.
THE

CXL.

MINISTER .

(S t "G(;EST IO!l'S. )

His experi ence of tli e truth of Gotl'::; word. Tli e
'Bible hi s book of study . Call ed of God to preach.
~ll egiate n.1H1 th eological educnti on. Exn1nination for
license. Preaching n. s a carnlidat e. The cmLn.rrnssutent s of th e young pren.cl1 cr. Receiv es a call . Or11iiuation n.11J in ~ talbti o n.
Labor in tli e study: preparation of sermon s.
f1eaching. . 'Nork in the Babbatli-scl10ol.
Baptlsms. Calls upon tlic sick. Funcra.ls and funeral
:smnons. \VeddingH. Heligious conversation. Pas·tu al visitn.tion of the congrcgiition . ,:.·

THE

DOCTOR.

(SUGGESTIO!\S.)

His clioice of n. profession decided bv 11is tast es and
incli\·idual fitness. Three years' stnrl)· n.nd ~b:-;ern1.­
tion under a medical pn=•ccptor. His college course.
The dissecting-room. Hospital experience.
His graduation Lnt the t11res]10ld of liis exp('ri('nce.
His sdtlernent in prnctie('. Choice of a loention. Th<'
0mbarrassment of J1is rosition in socidy. \\Tniting for
busin ess. His aim to k ('c·p JXtce with scientific i~­
vestigation and di scovery. Hi s ex p e ri ~ nc e at the
be<l : : ide of tl 1e sick. U ndi vi Jed responsibility .
First experi ence in losin g a pn.tient. His duty to
t.h e afflicted fri ends. · Private consultation and professional S('crets. His duty to relieve suffering wh en
life cannot be 1-mved. Night-work. How reg:ml f'r1
Ly his pn.trons nnc1 the pub1ic. The effect of hi s profession 011 longevity. His reward.
Write a composition in Compnri son and Contrast , taking for
the theme" The Mini ster ~nd the Doctor ." Foll ow th e " Sugg es ti o11H ,. made under each. Make an outline before beginning lo write.

