RHETORICAL l\IETI-IOD:
A CONCI S E TREATMENT

OF THE TOPICS BELONGING TO

RHETORIC AND COMPOSITION,

PREPARED FOR USE IN

SCHOOLS AND ACADEMIES.

BY

HENRY

W.

~AMESON ,,

B.A.,

Instnwtor in th e St. Louis Central H igh School.

..
SAINT LOUIS :
G. I. JONES AND COMP ANY.
NEW YORK : A. S. BAfu'<ES AND COMPANY.

18 79.

ll~RVA 0 CCL LEG E LIBRARY
F1:ff\: - · ~~ .: iF 7 OF

CllARL:.3 .. :..< _,,

- 1 ·< ·=rn: R

..,W , .. i 5 i02 o

Entered according to Act of Congress , in the year 1879, by
HENRY W . J,\MBSON,
In the ollice of the Librarian of Congress, at Washington.

ST. Wl!JS :
Pu1111 or G. I. JO!'IUI ... ~u Colfr .. x T.

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PREFACE.

Tms little book is designed for classes that have completed the usual school course in English Grammar and
Analysis.
Many of the details that belong to the work of the
recitation-room have been left to the judgment of the
individual teacher. Only so much of theory is really
valuable as can be brought into practice. A fault of
. many text-books is, that they make mere beginners too
~critical, and cause them to despise their own powers of
expression .
. , In the pr.esent work, there is all the synthesis that it
was thought necessary to introduce; yet, if there is not
enough, additions can readily be made .
. ' It is suggested that two lessons be assigned in Part I.,
t.o one in Part II. ; again, that exercises in oral compo' sition be frequently insisted upon. If the treatment of
.' any t.opic - as, of figures - be considered too full, certain
1>9rlions may be omitted.
The wish of the author has been to do away with the
katment of unessential parts of the study of Rhetoric,
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4

4

PREFACE.

and to call attention only to what is both practi-Jable and
valuable. Any suggestions from teachers will ·Je gladly
received and acted upon, in case another edition of the
book is desired.
Special acknowledgment is made to Professor HORACE
H. MORGAN for many valuable suggestions, and his kindly
assistance in the preparation of this work for publication.

TABLE OF CONTENTS.

I. P unctuati on and Capitals.
II. Introduction.

PART I .
ARTICLES

ID. Sentences and their Parts .
Grammatical Classification
Vari ety .
Paraphrasing . . .
Expansion . . . .
Classification by Use
IV. Rhetorical Forms of Sentences
Applicat ion of Rhetorical Forms .
V. Words .
Their F orms
Prefixes} .
Affi xes
VI. Diction (Purity, Propriety, and Precision )
H omonyms, Antonyms, and Paronyms .
VII. Style (Unity, Clearness, Energy, and Harmony)
VIIL Figurative Language . . . .
Orthography and Etymol ogy
Syntax .
Rhetoric
IX. Meter
Stanzas .
X. Characteristics of Poetry
XL Metapbrasing . . . .

1-10
11-,'!2

33-41
42-47
48-bO
51-61
62-67
68-73
74-79
80-84
85-94
95-104
105-115
11 6-142

143, 144
145, 146
14i-152
153-209
210-220

221-223
224
2"25-~27

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TABLE OF CONTENTS .

PART II.
ARTICLES

XII.

XIII.
XIV.

xv.
XVI.
XVII.
XVIII.
XIX.

Composition
Paragrap h
Narration
Description
Descriptive ~ arration
Abstract Subjects (Desc ription and Narration)
Complex ~ a rratio n and Description
History and Biography
Imaginative Composition .
Argu mentative Composition
Th e Form of an Argument
L etter-writing.
Invitations and Answe rs
V ersification
Criticism
The Correction of Composi tions
List of Subjects for Composition.

228-23::!
233,234
235- 242
243-24i
248- 250
251-253
254--256
25i-260
261-262
263-2i5
2i6-286
28i-291
292-296
29i-298
299,300
301

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COMPOSITION.
228. Composition treats of the expression and arrangement of thoughts in an effective and agreeable manner.
229. The subject, in composition, may be any thing to
which attention can be directed.
230. If Home be taken for a subject, we notice at
once a number of different heads under which it may be
treated ; as, Influence of Home, What is Home? Love
of Home, An Ideal Home, and others. Whilst we might
treat any one of these under the title of Home, it would
be much better to have, as a title, somethi ng that shows
clearly how we intend to treat the subject. Each one of
the different methods suggested above, would give us a
THEME for a title.
231. A great many of the subjects employed in composition are called Themes.
232. An exhaustive treatment of any subject would
require: 1. Its analysis, or diYision into themes ; 2. The treatment of each separate theme ; 3. Synthesis, or the arrangement of all the parts, so as
to have the treatment united.
Xote. - Although mauy compositions arc written upon themes, yet
the word 11 subj ect" has come to be used ins tead of th e word 11 theme.''
and on that account will be found in th e follo wing pages.
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82

R H ETO RI C AL )!ETllOD.

233 . .A Paragraph consists of a number of sentences,
closely related in thought. and treating of ONE of the
divisions of a su bject.
Snicge!ltion . - Skill in parngrap hing may be acqui red by stud ying
the manner in which \·;uious authors divide the ir treatment of subjects.
About tl vc lessons upon this topi<'· will be of muc h assistance in the
analys is of essay s ubj ects.

234. There will be as many paragraphs in a composition,
as there are separate points or divisions to be treated.

NARRATIO)f.

235. In Narration, the subject (or theme) is treated
with reference to time. The logical order - or it may be
better, perhaps, to call it t he natural order, -will be one
following closely the course of eve nts.
236. Tile rules for Narration must be shaped to suit
the requirements of the various cases which may arise.
"\Vhen a narrativ e is to emhrace details of no special
importance, we must try to give to these details at least
an appearance of in terest.
237. If the s ubject treated be -.ATripup the Hudson,
there are two ways in which it may be considered : ( 1)
"\Vi th reference on ly to im pc•rtan t events - avoiding incide nts of no special interest ; (2) Exhaustively, ente ri11g
iuto all the details of the journey.
238. The taste of a writer is displayed, both in the
in cidents selected , and in the mann er of their treatment.
239. All the details of a treatment must belong to the
s ubject written upon, and when taken together .must
satisfy the expectations to which the s ubj ect gives rise .

COm'OS ITI O:\.

83

240. If the subj ect selected before writin g were - Incid ents of Prairie Life, and , afterwards, the treatment
seemed to be confined almost exclusiYely to the description of a buffalo hunt, it would be well to hs.ve the
subject conform to the treatment, and call it -A Buffalo
Hunt.
2 41. R ules f 0 1· Narration : 1. Follow carefully the order of time.
2. Select for treatment, incidents of interest.
3. Have the subject framed to sui t the treatment.
Xote. - Objecti on ma y b e made to th e p osition o! Rul e 3; but it seems
to the author that ",.he n pupil s are l earning to e xpress th oughts, it is
bette r to discuss th e s ubject to be g ive n to th e n arrati Ye, af ter they hat:e
tcritten , rather th an before. Mu c h tim e is los t h~· be g inn ers, in th e c ho ice

of a s ubj ect. Facility in th e express ion of th oug ht is the main point to
be look ed aft.e r at rh c outset.

'.l42. Outlines for Narrative Subjects.
I.

A RrnE 1s A HoRSE-c,rn.
L " "hen and where we en tered th e car.
2. " rhat dispos ition w e mad e of ourselves.

3. I Events insid e.
4. l Place s of int.crest passed .
5. Exit at our d estinati o n.

Th ere ma y be an altern a tion in the treatment of points 3 a nd 4.
II.

A TR ! P 1T THE H C DSOK Hl\"ER.
1. " rhen and upon what b oat we left :\ew York.
~-

T he invitation to pay our fare s.

3. The invitation to pa.y fo r o ur mus ic .

4.
.~.
6.
7.
8.

The passing of th e Palisad es .
An inoident a t. a landing.
The gentl e squall whi c h inte r ested us.
Th e Highland s.
Th e invitation to di nner.

9. Oth er incidents of interest.

10. Arrival a t C.::attskill - our dcst.ina tion.

84

RHETOIUCAL )IETHOD.

III.
BREAKF AST

PREPARATIOXS.

1. When we began .
'!. Our trouble s in ma.k ing the fir e.

:L To market and return.
4. Adve ntures with the tea- kettle.
f1. The misfortunes of the stea k.
Ii. The mislortunes o! the c offee-pot.
7. Forgetting to cook p otatoes.
~ - The good re solves we made for t he future.
I\".
THE BIOGRAPHY OF

AX AUTHOR.

1. 'Vhen and where born .
2. Early ed ucation.

:J. Later ed ucatio n.
4. lVhen anll in what order his works appeared, with incidents connected w tth each.
5. His oltl age and its incidents.
6. His death.

Sngge,.tlon. - Le t a number of s imple subjects be se lected !or
analysis, and afterwards, hn. ve them treate d by the c lass.

DESCRIPTIO~.

243. In Description, the s ubj ect (or theme ) is viewed
in its relations to spaee. These relations should be treated
in an order, at once natural and effective.
244. There are two methods of d escribing objects :
(1) By analyzing them to discover what they are; (2)
By treating them in their relation to kindred objects. An
exhaustive treatment would combine these two methods .
245. After selecting points for the treatment of a
subject, and arranging them in what appears to be an
effective order, begin to write without perfecting the
analysis. Let the treatment be full and natural, and after

CWlPOSITIOK.

85

its completion, compare it with the original plan, making
suc.:h c.:hanges as seem necessary.
246. Rnles for Description: (After writing) 1. l\Iake suc.:h changes in the arrangement of the paragraphs as may seem advantageous.
2. Cut out any parts that have no relation to the subject.
3. Condense the treatment wherenr it has become too
extended.
4. Carefully supply important omissions.
:24i. Outlines for Descriptive Subjects.
I.

A

WELL-K..1'" 0 WN

VILLAGE.

1. Its name and location.
2. Its population and its indus tri es .
3. I ts str eet or streets,- s hade , road, and length.
4. How the !~u ses look.
5. H ow the people look.
6. Mention some of the interesting points about the place.
7. Mention some of the uninte r es ting points llbout the place .
S. What are the favorite boasts of the inhabitants.
II.
'\VHAT

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CA..1" SEE

FRO~! MY l,\"rnnow.

This subject may also be trea ted n egativel y, - What I can't see from

my toindcno.

A pleasant street.
The sports of neighbors ' children.
The passing vehicles.
The occasional fire-engi ne.
Th e processions.
The trees and b irds.
i. At nigbt,-the stars and the street-lamps.
l.

2.
3.
4.
5.
6.

III .
l.

THE HOUSE l WO ULD LIKE TO LIVE IN.
'Vhat its size should be.

2. How it s hould be situated.

3. How it should be furnished.

86

RHETORICAL )IETHOD.

DESCRIPTIVE NARRATION.

248. The union of the narrative and descriptive forms
of discourse is of frequent occurrence. In narration, an
occasional digression in the way of description frequently
enhances the interest; but care shou ld be taken that the
length of our descriptions does not materially lessen the
interest in the narrative itself.
249. If we take for a descriptive narrative any of the
subjects treated in outline under Narration, certain variations will appear quite natural, and this new form of
treatment may seem preferable to the former.
251). Outline in Descriptive Narration.
A

RIDE

IX A

HORSE-CAR.

1. \Yhere we entered the car.
~- Our feelings on being obliged to stand.
3. The appearance of some of the passengers.
4. What happened at a certain point.
5. The e ffect of slow progress.
6. The impatient o ld gen tleman and the conductor.
7. "O ff the track."
8. Arri•,al at d es tination.
9. Impressions in regard to horse-car travelling.

In the above, t here are g iven so m e o f the essential points of a narrative,
although t he treatment is mainl y desc rip tive. II it is considered too
de scriptive , more narrative points may be introduce<! and some descriptive ones omitted. Th e c hief purpose in the author's mind, in introducing
these outlines, is to promote discussion, and so to e stablish in the minds
of pupils a clear notion of the characteristics of narration and description_

TREAT:~IENT

OF ABSTRACT SUB.JECTS BY THE EMPLOY.'11ENT OF NARRA.TIO~ .A.~D DESCRIPTION.

251. The subjects treated until now have pertained to
the material world, and have introduced only the natural

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87

relations between ourselves and it. vVe come now to
the treatment of abstract subjects - the discussion of
thoughts and ideas. These thoughts or ideas may grow
out of our relations to objects material, or t hey may be
purely mental phenomena responsible to nothing but to
the mind for their origin.
Note. - Simple sul.Jjects in their treatment deal with real objects and
our r el ations to them; a bstract subjects, with id eas and our relations
to them.

252. If the subject Civilization be treated in narrative
form , it will be necessary to deal with it, either in its
various forms, and so make the treatment simple; or else,
to treat it as the growth of an idea, exhibiting itself in
the mental improvement of the race. In the former case,
we should have a simple historical (narrative) description ;
in the latter, we should have an abstract descriptive
narratiYe. The subject Civilization bas been chosen at
the outset (it may be somewhat difficult), since its treatment after the methods suggested will clearly e~tablish
the distinction between simple and abstract.
253.

Outlines for Abstract Subjects.
HOPE.

1. 1 ts definition.

2.
3.
4.
5.
6.
7.

H s in ftu c nce upon ourselves.
Its opposite, Despair.
Its relation to Faith.
Its relation to Contentment.
Its influe nce upon others.
How it may be cultivated.

ExplanRtiou . -Let the definition given, be the general impression
in the writer' s mind , and not a definition from the dictionary. In describing its influence upon ourselves , we may u se some incident wherein it
ha s aided us . The description of Despair may picture a man wilhout
Hope, and his experience. We may show that it is the ally o! :Faith.

88

RHETORICAL METHOD.

How combined witb Faith, it causes Contentment. That people who are
hopeful are pleasant companions. Fmally, we may show, by experience
or otherwise, that it is s usceptible of cultivation.
PUI!LIC 0PTh'1:0N.

l. How it is formed.
2. In what manner it gains strength.
3. The respect that is paid to it.
~. To what extent it can be trusted.
5. How it sometimes undergoes changes.
6. Its e...xistence neces sary to communities.
7. The slave to its de crees.
8. Its enemies.
9. How we ought to regard it.
In this outline, points I, 2, and 5 are narrative; the rest of the divisions
are d escrip tive.

COMPLEX NARRATION AND DESCRIPTION.

254. Discourse becomes complex when we turn aside
from the direct treatment of a subject, to discuss questions which naturally arise, but do not form an essential
part of the subject proper.
255. 'The interest we feel in a subject is frequently enhan ced by treating it in its relations of cause and effect.
The title of a composition should indicate w hether the treatment in ·
tended is simple or complex.

256. Printing may be treated descriptively under the
following titles : l . The Process of Printing.
2. Printing in the Sixteenth Ce ntury.

Narratively, under the following: l . The His to1·y of Printing in England .
2. Printing in America.

The following titles would imply a complex treatment:1. Printing, and the Ca.uses which led to its Invention.

2. The Influen ce o f Printing upon Civili zation.

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c mIPOSITION.

89

Suggestion. -As so on a s classes are a bl e to treat th emes in Comple x
Narration and Description , it will be we ll to explain to them t h e E s theti c
Prop e rtie s of Sty le. Thi s can lJ e d one by a s::; igning subj ect s in Beauty
and S ublimity for general cons ideratio n and anal ys is .
Th e author r egre ts that h e co uld not treat the subject of E s thetics in
the pres ent work. If suc h a n additio n sh ould be called for , in the future
he may fee l jus tified in enlarging the limits of the present treatment so
as to admit it.

HISTORY

A.i.~D

B :OGRAPHY.

257. History is the recital of a series of events in the
order of their occurrence. These events usually belong
to the life of a nation.
258. Although History is essentially narrative in its
character, it may, from time to time, inYolve d escription;
and also, a treatment of its subject under the relations of
cause and effect.
25 9. Biography comprises the events in the life of a
single individual.
If the record is pre pared by the person whose life is conside red , it is
called Autobiograpby.

260. Outline for the Life of a.n Author.
1.
2.
3.
4.
6.
6.
;.

'/

Birth and parentage.
Early life and education.
Later ed ucation and fi rs t works.
Chief events in alter-life.
Death .
Principal "~orks .
!tank uud influe n ce a s an author.

Snggest.IM1.-0ral and written sketches of well-known authors
should be frequently required o f classes . If they h ave regular reading
lessons, the exercise should be introduced in connection with them.

90

RH ETORIC AL

~fETHOD.

261. Under this head are classed both narratives and
descriptions which are the products of the imagination.
There is but one suggestion to be made in this connection:
the thoughts should be natural.
262. A few subjects of this class are given below:
1. Life in a Cave.
2. Autobiography of a Crippled Pen.
3. l\fy Travels in Nubia.
4. Icebergs as Summer-resorts.
5. The Adventures of a Pair of Shoes.
Suggestion . - I t sometimes happe ns that subjects of this kind can
be s uccessfull y treated by t hose who show littl e a ptitude for the treatmen~
of the events and objects common to every-clay life.

A l (G (;)!£:\TA TIY F. CO)ll'OSITION .

91

11!
ARGUMENTATIVE COMPOSITION.
263. Logic, as the science of thinking, lends its principles to all forms of discourse.
264. The analysis of any argumentative treatise will
b:.w e t.lie essential elements of a syllogism. When we
say All men are mortal. (Major premise. )
J ohn is a man. (Minor premise.)
Therefore John is mortal. (Conclusion.)
we have a fnll syllogism; b ut inasmuch as the major
premise, "All men are mortal, " is too well known to
require statement, it is necessary to use only the minor
premise and the conclusion ; as, John is a man; therefore, he is mortal.
This , we see , is an illative sentence; but it is called, in
Rhetori c, an Euthymeme.
265. Enthy memes may be abridged when the minor
premise of the syllogism does not require to be stated ;
since, in such cases, the statement would weaken the
foree of an assertion. We may make the conclusion,
only, answer eYery purpose in the syllogism already given;
for the conditions have so often received attention as
to be generally thought of as s oon as the conclusion is
mentioned.
266. We come now to consider the possibility of showing the truth of any statement by the formation of a
syllogism. All subjects are not as easy as the one
already discussed.

92

RHETORICAL METHOD.

267. In matters pertaining to the more definite facts of
science and opinion, we may have slight difficulty in
framing our premises and showing clearly the truth of
the conclusions derived from them. When, however, w~ .
find that people interpret the action of nature's laws
differently, or when matters of belief or opinion are to'
be dealt with, the difficulties that lie in the way of satisfactory proof are often insurmountable.
268. All proof must then be derived from two sources,
- the real, and the probable.
·
269. When we begin with universally acknowledged
facts, and base our minor premise upon them, the result
will be an acknowledged truth. We must be sure, however, that our premises are rightly stated and connected.
Such a mode of reasoning is said to be from the universal
to the particular, and this process of reasoning is called
Deductive.
270. Deductive reasoning does not put' us in possession
of new trnths, but it helps us in acquiring certainty about
matters not previously thought of in their proper relations.
The method adopted in most text-books is deductive, and
its results are most highly esteemed, because the process
is accompanied throughout by the feeling of certainty.
The proofs of geometry are among the best examples
that could be mentioned of deductive reasoning.
271. ·w hen the probable is our starting point, the course
of reasoning must be of quite another kind from th~\t
already described. To show that a statement has probability, we must reason by analogy, - by the use of
examples. What is found to be true in one case is
probably true in all cases of the same kind ; for it is trne
in a number of similar cases. - here are given the ex-

ARGC)lE~TATIYE

CO)IPOSITION.

93

arnples, - and if research were made , it would, no doubt,
be found true in all cases under observation.
272. The point where probability merges into certainty
ntries with individuals; there can be no doubt, however,
that all universally accepted truths were arril·ed at by
this process of adding example to example until all men
became satisfied.
273. The process just illustrated is called Induction,
and consists in deriviug universals from particulars.
27 4. To educate mankind so as to show clearly that the
r esemblances claimed are really true, and that taken
together they prove the reality of his theory, is the aim
of the inductive reasoner , whether his field be that of
science or politics.
275. Although many of the discussions that claim
man's attention require no positil'e proof, and, perhaps,
no logical form; still, to treat of any subject, some
regard must be paid to effectiveness of presentation.
Certain rules may be laid down to this end : 1. Every part or division of discourse should have
direct bearing upon the subject treated.
2. The parts should be distinct from each other, in
o l'der to avoid repetition s.
3. When the parts are taken together, they should
constitute a complete treatm ent of the subject.
4. The parts should be so arrnnged with reference to
each other, as to give continuity to the discourse
THE FORM OF AN ARGUMENT.

276. Every argument implies a point at issue. This is
termed the Proposition. ·with reference to such proposition, the discussion is framed an<l the conclusion <lrawn.

94

RHETORI CAL

~IETHOD .

'1.77. It is customary to introduce the subject to whi~b,
the proposition belongs, and to explain it, before sub}
milting the proposition itself.
.;
278 . The form of an Oration may be seen below:~
1. Exordium or Introduction.
2. Nanation ( or Description).
3. Proposition or Statement.
4. Discussion.
5. Peroration or Conclusion.
279 . The Exordium should be composed last, in order
that it may foreshadow and be in conformity with what ,:
follows . It may be conciliatory, - calc ulated to arouse·
friendly feelings ; or explanatory, - exhibiting the subject. in a general way.
280. The Narration treats of the subject historically,
and prepares for the presentation of the Proposition.
In c a se narra tio n is unnecessary, t h e s u bjec t may be trea te d by des crip.
ti o n; o r this par t o f th e d is co urs e m ay be o mi tted a ltoge t her.

281. The Proposition is a statement of the special view
that is taken of the subject under treatment .
.A. formal propos itio n is so meti mes u n necessa ry. If, for e xa m ple, it is
un de r s tood , witho ut it, what is to b e th e ge n e r a l d rift o f th e argu ment.
'\Vhe n, ho w eve r , th e dis c u ss io n is to b e of an intricate fo r m , it is be s t to
s t ate be fo r e hand th e m etho d of t r e a tme nt, a nd to divide th e to pic into its
s pecial d ivis io ns.
Th e part Diri s io n is fr e•1uently e mplo yed in the outlines of orations.

282. The discussion may be either positiYe or negative.
Direct and ind ir ect m c th olls o f p r oof have p r o babl y be e n already
a cq u ir e d by t h e study o f G eo m e try . If t h e P r o position itse lf l> e nc gati Ye
in form, it w ill adrn i t o n ly o f p os itive p r o o f ; bu t, if pos itirc i n fo rm,
eilh e r pos itirn o r n cga t iYC me th o d s o f p roo f m a y be e m p loy ee! .

( a .) On ly such arg uments sllould be used as are of
real force. A few points judiciously selected are of more

ARGUMEKTATIYE cmrPOSITION .

95

avail than many, some of which tend to weaken the
argument.
( b.) The discussion should be introduced by a strong
argument (not the strongest); the other arguments should
then be in the order of a climax.
283. The Peroration should make a direct application
of the Proposition, and be fram ed so as to have the
minds of hearers accord with the Yiews of the speaker.
284. If it seems advisable, there may be introduced
into the Peroration , a concise restatement of the importan t
points already considered.
285. The style of the Peroration should be in harmony
with the previous treatment. Conciliatory and explanatory conclusions are the safer to employ; yet, when a
speaker feels assured of his position , he may indulge in
the confirmatory style, or even, in exceptional cases, the
excitatory style.
Suggestion. - Some persons find it a matter of great difficulty to
write a satisfactory exordium. When the second part of the oration does
not prove too abrupt, it may be as well to omit a formal exordium alto·
gether, and to begin with the narration (or description) .

286. The oration form, summed up in ordinary language, means: State what your subject is and tell about
it; then, give your own views about it and show that
they are reasonable; lastly, explain the manner in which
your views would affect your audience and the world in
general .

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96

RHETORICAL METHOD.

LETTER-WRITING.
287. Letter-writing includes the following kinds of
conespondence: Business, Social.
288. Business letters should be concise and "to the
point.'' They may be composed of the following parts: .
j (a.) Place.
1. H ea d mg. ) (b.J Date.
2 · Add ress. {

(a. )
(b.)

Business.
Personal.
1r

(a. ) -~cknowledgment of receipt ofletter.

(b ) Answers to questions.
~ (c. ) Business transacted in detail.
(d.) Inquiries.
(e. ) Xe w business.
These points are made simply for the p urpose of illustration: they
admit of variation as c ircumstances may require.

3. Body of letter.

J

4. Signature.
Before the s ignature, there should be a formal closing of t he letter;
s uch as, - ;c We remain," etc.

E xample. NEW YORK, 1 January, 1879.
Messrs. JNo. SMITH & Co. ,
St. Louis, Mo.
GENTLE)IEN: Your favor of the 28th ult. is at hand,
and contents noted. ·we will make such purchases of
cotton as you may direct, charging the usual commission.
We quote middling laJ 9:! c.
We remain, gentlemen,
Yo ur obedient servants,
C. J oHxsoN & Co.

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97

289. Social letters may be divided into the following
p arts: l H d'
{ (a.) Place.
· ea mg. (b.) Date.

2 · Add ress. {

F orm al.
(b. ) Direct.

(a. )

3. Body of letter.
{

(a.)
(b. )
(c.)
(d. )
(e.)

Acknowledgment of receipt.
De ta il ed a n swers to questions.
Ernn ts of interest.
Questions.
General r e marks .

4. Signature.
290. Letters of this kind do not, like business letters,
require to be concise. It is frequently necessary to lend
interest to matters treated, through the treatment itself.
291. A good rule for letter-writers is for them to
imagine themselves in the position of the persons to whom
they write ; and then they will be apt to feel the right
amount of interest in what they say.

INVITATIONS AND

ANSWERS.

292. Invitations are of two general kinds: formal and
informal.
293. The fewer words employed in private invitations,
the greater the formality.

Examples.( 1.) Mr. and Mrs. - - ' s compliments for Tuesday
evening, Jan. 15th.
(2.) Mrs. Tuesday, Jan. 15th.
( 3.) The pleasure of your company is requested by
Mr. and Mrs. - - for Tuesday evening, Jan. 15th, at
8 o'clock.
1471 Olive St.

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98

RHETORICAL METHOD.

( 4.) Annual Ball of t he - - Society.
The pleasure of your company is requested for Tues; •
day evening, Jan. 15th, at 8 o'clock.
~

Committee.
These are all formal invitations.

294. Informal invitations are usually friendly letters of
invitation; still, any of the forms given in Art. 293 may .
be used, with the introduction of the words - "informal." "without formality ," and the like.
295. Answers should correspond in form to the invitation.
Examples. ( 1.) Mr. and Mrs. Smith's compliments to Mr. and
Mrs. - - , and accept with pleasure their invitation for
Jan. 15th.
( 2.) Mr. and Mrs. Smith.
Acceptance for Jan. 15th.
( 3.) Mr. and Mrs. Smith accept with pleasure the
kind invitation of Mr. and Mrs. - - for Tuesday
evening, January 15th.
( 4.) Mr. and Mrs. Smith accept with pleasure the
invitation of the - - Society, for Jan. 15th.
In ca se the p erso ns invited cannot accept th e inv itation sent to them,
the following is always in good tas te: -

Mr. and Mrs. Smith's
Regrets for Tuesday, Jan. 15th.
296. It is always best to answer an invitation, whether
formal or informal, in case absence without notification
would cause the slightest inconvenien ce to those inviting.

VERSIFICATION.

99

VERSIFICATION.
297. The imitation of various meters and stanzas will
enable those attempting to compose in verse, to find out
what forms they can employ with facility.
298. Before arranging thoughts in verse, the following
question should be asked: What metrical form seems
best adapted to the subject?
After choosing what seems to be a snitable form, adhere to it closely,
and do not change from one form to another, until it has been demonstrated that the one first chosen will not do.
RemBrk. -Ma ny young writers are very timid about expressing
themselves in meter. Ability to make ..-erse is ofte n acquired by practice.
Every one possessing an car for rhythm and euphony may do something
in this line. There ought to b e little danger of sensible people becoming
unduly elated over an ordinary faculty in making ordinary verse; yet
the practice, when indulged in, may lead to a clearer appreciation of the
beauties of true poetry.

Sugge8tlon.-From five to ten lessons in imitation s hould be assigned to advanced classes.

100

RHETORICAL llETHOD.

CRITIC::SM.
299. C1·iticism has to do witl1 both style and thought.
It directs its attention to the e~: cellencies as well as to the
defects of discourse.
300. ·when a literary production is under consideration,
the followi.ng questions may b€ asked with regard to it: 1. Has t he subject been t r,::ated in accordance with ,
the laws of composition? (S1 •e Art. 275.)
The tram.ilions tha t take place s hou d be easy and natural, and should
not tend to l'1! 11der the composition frar me ntary.

2. Is tlrn style clear?
The tests t l)r d etermin i ng about this and the next two questions may
be found in the treatment of " S tyle."

3. Is t"rn style forcible?
Does th e mnphasis given in the t r eLtment correspond t o the require·
ments o! th d ;mbj ect?

4. Is t n.·e style harmonious?
Gnder thd question, both the tho11ght properties and sound properties a r e•to b" conside red.

5. Han~ few or many ornam ents been employed?
Are the fl!:ures used natural, and arc th ey appropriate to the sentiment?
It mus t be n inember ed that, whe n writing is not h ighly impassio n ed, too
many figure• cause a s ur!eit; to pre vE nt this, a composition sh ould be
pruned of all that offe nd agains t good :aste.

6. Are the sentences varied in form?
The fanl L 11! sameness is all too com:uon. Let pupils be obliged to va ry
the forms o ' 1;ood writers , as well their ·>wn, arid they will soon appreciate
the good elle :.t produced b y variety. Grammati cal and Rhetorical forms
should be ce>ns idcred.

CRITICISM.

101

7. Is the diction effective?
:For particular questions, see

11

Diction."

The general plan of Criticism has been given: it does not seem to be
expe dient to go into the details of special styles. Either the productions
of pupils, or selected passages, will offer a field so extended that a
teacher may devote all spare energy to its improvement.

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102

RHETORICAL METHOD.

THE CORRECTION OF COMPOSITIONS.
301. The correction of written work may be facilitated
by the use of the following KEY.

1 or 0.
2 or S.
3 or P.
4 or /\
5 or D .
6 or <
7 or>
8 or Sub.
9 or Tr.
10 o r~
11 or O
12 or
13.
14.
15.

Spelling.
Syntax.
Punctuation.
Insert.
Omit.
Expand.
Contract.
Substitute.
Transpose.
Begin new paragraph.
Indent.
Question.
Begin new sentence.
Make part of preceding sentence.
P enmanship.

Snggmttlon. -There should be a space kept by pupils at the left
side o! each sheet, for the accommodation of these marks.

Sl:::BJECTS . FOR cm1POSITION.

103

LIST OF SUBJECTS FOR COMPOSITION.
l~ The people w e meet.
2. A utobiography of an old ink·

sta nd .
3. Brilliant sayings.
4. A visit to tbe "Chamber of Comn1erce ."
5. The Yandals.
6. School -life - as it is.
7. I n a gondola.

8. A visit to Mount Olympus.
9. Our early days.
JO. H ome.
11. Refl ections in a public dining·
room.
12. Magpies.
13. Kow.
14. GI ass - its manufacture and
hi story.
15. The telephone.
16. W ork.
17. Spectacles.
18. Y acation.
19. t:mbrellas.
20. Tbe Arch of Titus.
21. Smuggling.
22. Mes1nerism.
23. Superstition .
24. Public opinion.
2.5. Progress of the fin e a rts.
26. Hypocrisy.
27. The power of the press.
28. Ourios ity.

29. Riots aud their consequences.
30. Little things.
31. In ven t ion s.
32. Hope.
33 . .American oratory.

The Coliseu m.
A day at a fai r .
Commer ce.
Humor.
~lod e rn martyrs.
The h eathen Chine se.
Fashions - past a nd present.
Winter.
Argouauts.
Bubbles.
Fences.
Labor s of Hercu les.
Arts a nd artists.
Trial s.
Whitewas h-morally considered .
49. Proverbs.
50. Modern inventions.
51. Tangents.
52. Th e nastile .
53. Patchwork.
54. Different telescopes.
55. Pin- stickers.
56. Fables.
57. Self-regard.
58. Fire ,and fire-worshippers.
5U. Compensation.
60. A faded rose.
61. Bargains.

34.
35.
36.
37.
38.
39.
40.
41.
4.2.
43.
44.
45.
46.
47.
48.

6:! ..Me mo ry.

63.
64.
65.
66.
67.
68.
69.

L ord Bacon.
On tbe classics.
Paul at Athens.
Popular errors.
Untitled individuals.
Ornument.
Alfred Tennyson .

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104

RHETORIC..U. METHOD.

70. Art.
71. Biography.
72. Titles- of honor.

73. Passports.
74. Marie Antoinette.
75. The mys teries of nature.
76. Robert Bruce.
77. Burns and Cowper .
78. The character of Portia.
79. Fires ides.
80. Poetry.
81. Mysteries.
82. Opinions.
83. Echoes.
84. Air-castle•.
86. The widow of Nain.
86. A summer scene at. sunrise.
fn. Hills and dales.
88. City and country.
89. Heroism.
90. Little pleasures.
91. A visit to the Centennial Ex·
position.
92. Sunshine.
93. Mother Earth.
9!. Autumn.
96. Triumphs of the press.
96. Roman gladiator.
97. Value of tests.
98. Pre texts.
99. Gethsemane.
100. Vandalism.
101. Paul on Mars Hill.
102. Habits of observation.
103. The office of criticism.
l()i. Ancient 1iome.
105. The necessity of a purpose in
life.
106. Freedom.
107. Imagination.
108. The poetry of Burns.
109. Martial music.
110. Twilight.
lll. The pleasures of fi ction.
112. \Vc sLminstcr AlJl>e y .

113. King Lear.

114. :-<ational monuments.
115. Death of Socrates.
116. Relics.
117. Return of Columbus.
118. Boadicea.
!19. Mirabeau.
120. The sack of Rome.
121. Battle of Waterloo.
12'.l. Dickens - as a reformer.
123. Coriolanus.
12!. Inconveniences of greatness.
125. Orpheus and Eurydice.
126. The neighbors.
127. Independence.
128. Battle of Zam&.
129. Cromwell.
130. Pride.
131. Relations.
132. Power of music.
133. Force of character.
134. The mills of the gods.
135. Crosses and crowns.
136. Dreamland.
137. Sources of happiness.
138. Self-reliance.
139. Waiting.
140. The monster Jealousy.
141. Our friends.
142. Cowardice.
143. Ambition.
144. Profit and loss.
145. The darkest hour is before the
dawn.
146. Wit.
147. Uellections on happiness.
148. Home influence.
149. It.
150. To-morrow.
151. Why.
152. Rome was not built in a day.
153. The formation of habit.
154. The f.a shionable beggar.
155. Love of fame.
156. False pride.
157. Earth's battle-fields.
158. Th e power of ridicule.

SUBJECTS FOR COMPOSITION.
159.
160.
161.
162.
163.

164.
165.
166.

167.
168.
169.
170.

lil.
172.
173.
174.
175.
176.
177.
178.
179.
180.
181.
182.
183.
184.
185.
186.
187.
188.
189.
190.
191.
192.
193.

194,.
IM.
196.
197.

198.
199.
200.
201.

202.

Dignity of labor.
Contentment.
Prizes and their in1luence.
Mob law and its res ults.
Tbe past and the present.
A cheerful borne.
Modern affectations.
Tbe vandalism of relic·bunt·
ers.
Time.
Amusement.
Perseverance.
Duty.
Cblvalry.
Politeness.
Ambition and pride.
Study of co nntenances.
Origin of language.
Eloquence.
Liberty of the press.
Tragedy.
Power.
Freedom and fate.
Tbe times.
Forbidden ground.
Tbe effect of ideas.
Odds and ends.
Tbe pursuit of shadows.
Sublimity.
Condict of old and new .
Half·trutbs.
Foot-prints on tbe sands of
time.
Trials of genius.
Enthusiasm.
The problem of life.
Vari ety.
Light and shadow.
The power of circumstances.
Gentlemen.
The pursuit of happiness.
The future.
Uses of history.
Making memories.
Theory and practice.
Moral culture.

105

203. Influence.
Ambition and aspiration.
Contrasts of scenes in nature.
Intell ectual pleas ures.
Earnest purpo ses.
208. Looking forward.
209. Dreaming away our time.
210. Tbe mighty-perhaps.
2ll. Tbe pen is mightier than the
sword.
212. Envy of wealth.
213. The garden of literature.
214. Appearances deceive.
215. Tbe beauty and influence o!
nature.
216. Prosperity gains friend s.
217. At home and abroad.
218. Hidden.
219. A nation's joy.
220. The importance of self·knowJ.
edge .
221. Nobility of purpose.
222. Policy and principle.
223. Unfinished work.
2".A. Motives and ends.
2"...5. Utility and beauty.
226. Intellectual charity.
227. The power of example.
228. Tbe hour of triumph.
229. The secret of success.
230. The u ses of adversity.
231. Beyond the da rk river.
232. Mr. F.' s aunt.
233. Changes.
2.'!4. Nece ssity of confilcts.
235. Progress.
204.
205.
206.
207.

236.
237.
238.
239.
210.

241.
242.
243.
244.
245.

Th e poetry o f science.
A love of the beautiful.

Transitions in nature.
Poetry as an aid to education.
The voyage of lite.
Ruin s of time .
Home feeling .
Thoughts alJoul superstition.
Voices of muny bells.
A walk with the wind.

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RHETORICAL METHOD.

246. Sound.
247. Beethoven's dreams.
2-18. Olledie nce.
249. Intolerance .
'!50. School- c ulture.
'!51. True manhood.
'!52. Halt-do ne .
253. The ft r s t s tro ke is half the
battle.
'!54. Sell -discipline.
255. The American home.
256. Faith and conviction.
25i. Originality.
2.58. R eform.
259. The influence of cities.
260. Failures a nd their lessons.
261. Miss ion of la l>or.
262. Influence of habit on the mind.
:163. Botil s ides.
264. Organ ization.
265. Beauty in its relation to ilomelife.
266. Our ideal existence.
26i. Our friends among the poets .
268. T as te for simple pleasures.
269. Meditations in a library.
2i0. Lite r ary pursuits.
271. True merit.
::?72. Trag ic art.
::?i 3. Em o tion.
274. The control of man over na·
tu r e.
2i5. No c hildhood.
2iG. Character of Cato.
2ii. Cresar's voya ge to Britain.
2"i8. The poet' s portion.
2i9. Age of Louis XIV.
280. L"nwritten music.
281. The happie st period o f life.
282. The unknown grave.
283. Salutat ions.
28!. Pedantry.
285. Fair criticis m.
280. Sys tem .
287 . As piration and inspiratio n.
288. Unity and uniformity.

289. Regulated effort.
290. Danger of jes ting aboutwronp~
291. Intellectual bullies.
:, ~
292. Popularity.
,!. ~ •

293. Susp icion.
294. Char acter and reputation.
295. Moral s uicid es.
296. Necessity for pretexts.
297. Defe nce of cowardice • ..,
298. Mottoes.
299. Compensations.
300. Ixion.
301. Prometheus.
302. After us, the Deluge.
303. P a triarc hal government.
304. Chances for yo ung men.
305. Centralization.
306. Repudiation.
3()7. InsnJl!ciency.
308. Rcfiected honor.
309. Insec t cares.
310. Battle.
311. Popula r clamor.
312. Discontent-the good It hail
done.
313. I s silen ce better than speech?
314. I s e d u cat i o n better tha•
wealth?
315. The c hild is the father of the
man.
316. Education of t h e m a.sses necessary for arJtJnblic.
317. Why do w e livec
318. Carthage must b e d estroyed.
319. A nation's w ealth-its men.
320. Imagin a tion - the pioneer of
science.
321. Rig ht of soc iety t Q control individual opinion.
322. Wh y epochs iu civil a nd lite r ary history corre spond.
323. Who made t hee thy brother's
k eep er?
324. P raise a nd p rinciple.
325. Love of truth a practical principle.

SUBJECTS FOR COMPOSITION.
32B. Know who I am from what I
do.
327. Correct faults , rather than
speak of them.
328. Who is entitled to an opinion.
329. ·w ork while the sun shines.
330. Man never is, but always to be,
• ble ssed.
331. Taste as a source of enjoyment.
33~. Our own possessions please u s.
333. Con.tlict. of old and new.
334. There's a fitte st pla ce for each.
335. Worship of the intellect.
336. Doul:!t no evidence of intellec tual strength.
337. Heroism of the thinker.
338. Nature u ses force only to d e ·
stroy.
339. Love of excellence and love of
excelling.
340. Mutability of taste.
341. Our life is what we make it.
342. What are the wild waves say·
ing?
343. From a distance.
344 . Poetry of names.
345. Yesterday, to-day, and forever.
346. No excellence without labor.
347. Over the hills and far away.
348. Let there be light.
349. U ntil evening.
350. Improve thyself.
351. Hope - our leader.
352. Youth, mammon, and old age.
353. E:>.."Jlressing one' s opinion.
354 . Deeds and motives.
355. The new, not always the true.
356. To know is well; to do Is better.
357. Eyes that see.

107

358. Universal depe ndence.
359. Wanting.

360. A s mall le ak will sink a great
ship .
361. All 's well t hat e nd s well .
362. Ev ery cloud has its silver lining.
363. Fault-finding.
364. Pressed leaves.
365. Autographs.
366. A r olling stone gat hers no
moss.
367. Still waters run deep.
368. The year l 900.
369. People will talk.
370. Wes tward the course of empire
takes its way .
371. Faces.
372. All haste , no speed.
373. ·where t here is a will, there is
away.
374. It is the firs t s t ep that costs.
375. The dice of the gods are loaded.
376. Straws show t he current.
37i. All is n o t gold that glitters.
378. Poverty is no disgrace.
379. R eturn of a d ead author .
380. H alf-finis he d and unfinished.
381. How not t o do it.
a82. Pressed fiowers.
383. Too nice .
384. The why and the wher efore.
385. Can my genealogy be traced to
an ape?
386. I s art more lovely than nature?
387. ls this world a vale of tears?
388. Does one learn by failing ?
389. Two beads are not better than
one·~

390. Does might make right ?

