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THE RAND-McNALLY "

··

ENGLISH GRAM¥AR
AND

0 0 MP 0 8·1TI0 N
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'

BY

.WILLIAM · D. HALI:t '. · ·
'
_:.':,;:,:r:t.t~ ;;:!~ ;'. ~·'

CIDCAGO AND NEW YORK :

RAND, McNALLY
& COMPANY.
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tBAaVARD C~UEGE LllMAl't

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GJFT OF

'1NN AftO COIPA•Y
HCa 11, IHJ

JoPYRIGHT,

1898,

BY R.\.lfD,

<

McNALLY & Co.

New text-Jbooks on grammar · ~ppear annually, a fact which
proves clearly the difficulty the teacher experiences in finding the
ideal book for school use. Many of these books have admirable
features: but ·few are adapted to the needs of the learner. The
young pupil does not need an exhaustive treatise. What he does
need is a concise statement of the actual facts of modern Englishbrief, clear definitions of the laws of language, and ample illustration of these principles by examples that illi~trate, chosen from the
masters of English.
This second volume of a two-book course on English Grammar
· is designed to supply pupils of the
··
attempt has been made to present a nal
a 1se on e pnnc1p es of grammar, or to correct the usages of
the language. The method of the Primary Grammar was inductive
and constructive, as suited to the needs of less mature pupils; the
method of the English Grammar is expository and constructive.
· The essential facts of English, as used by scholars of the present
day, are stat<
ed .a nd defined, clearly and concisely. Every word or
. explanation not strictly. necessary to clearness has been excluded;
needless comment is o e confusing than helpful. For this reason
· the English Gram~ may be criticised when compared with other
text-books. Bu1'ris believed that a good definition is worth a page
. of comment. Additional discussion may be left safely to the teacher.
The next step is illustration. Each principle is abundantly illustrated by fresh examples drawn from well-known authors. Short,
pithy sentences are here used by preference; the words of acknowledged masters in English literature are preferred to colloquial
examples, or to extracts from less eminent, contemporary writers.
Moreover, care has been taken that each illustration shall exemplify
exactly the point in question; and that, other things being equal, a
noble sentiment or a celebrated utterance shall be placed before the
pupil rather than a negative or commonplace expression. A third
matter is the exercises, which occur at frequent intervals. Here
additional illustrations (as rille, longer and widely varied in character) ar~ supplied for further practice in parsing or for discussion.
But clear definition and ample illustration are not enough. In ord~r
8

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to m:i.ke t h1· ;n 1p il w or l; fnr l1i ni:, c lf ·u1d ! 1> :. L l;i ; in f1lrn 1:1\!1>1 1, lw
is rcc:.u irc I 11 ) 1·onl:l trm :t ""n l;1 ·1 11 ·1· 5 ;,. iil11 :t: lf i" 11 ('r tl w :1r i 1i('i; ,1• :

he lrn.i; ji rn t 1"1 t n 1ccJ.
'f.lt<:! p111 n fnl lowcd rn t l1 i::1 l1n1,Ji: 1:1 ·1·1!:1 a w r•ril o f ( ' ll m1nc·n i. Tl1( :
idea;l :11l1M~ f •! ' 'fl rclting l1ac; br·(• n "• 1n t!1t. :·or r:1l111· r tl:an it tl1:.·orf'\ir·a !
systcr n of

! ~ rn m mar.

Tl1 w:. in Pnr1 I!. 1l!l!1 C'r Cl1<11c;1·,_;, \h r· : 111;i :c .

dinat<;! CO!lJ!1• 1·ti vc is rcintroi [11ccrl fr >r <t fu] l1• r t1·r·at r1 11•:1L !Inn \\' : ;
given in i li 1; •·:trlicr scctiow. lic 1· 11 rn 1· !'or t.111· l!I1il1·r;l a :1di:i•.•. d L:
clam:u rc:li1in11 it is es cn ti11 l E :xn n:i1 1:; fi11 11 (l r tJi, . 1,nnk ,.,;11 ,,J j(i ': :
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many otlJi'r in:~tanccs of div1·rgen ce f mrn tl1c t1H11al o rd Lr (i f di:vt! ()p .
mcnt :for 1.1,,. ·::1 kc of H n:1i1 ral a p ; '1 ' ''~'·1 1 1,, 1111 · ;.; 11 i 1,i( ·1·: .
J[3ridlj, 'ii!' plan m ay 111· :1t11t 1· :l :!1: !'nll1 1\\' :; ~ Tlc::irn 1i1 l; \.i lh 1)1 "
SClltCl i(~C: :S'l i.]J(' primary a nd 11 1·1· \ •;1: :rr:\ 1l !li i <>f' l]1 •111•l! t. i':irl f i•i <!<··
voted LO fl · 11111 1 trc11tnw nl rd' f )1r· r'. ('lll "l il'I' // ,; (/ 1r /1,j/(' · --i: 1· ~ :1· 11 l i· 1i
clcnw 1n1H, t l !1' ~ 11 l>jcct :u 1d fw p n :(l if":te. 1t !1i! lll" ,.lot , i1;, .. ,1i 1111 ,,1
scntcw::c:s a l: l iorm and 11 c: " T' ll ll' 11 , .. p11; ·i'. ;' < · 11 · t~ >!1 ·<1 111 "' ,,." r ..
handle t.h ·: llio:r ght u n il W' :t w lto1<:'. [n l';q·t if, nin1 tn:' 1·11n1111"llh'

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C)tl.SB:i !] Cd ; i, :· 1 ·~1 :: -: n ology :l1't' ~! 1. '.Vt·1 < l ! )I '<~., \ ". ·:, 11 :
The e:! ,:~ m u:1' ·• nr the sen tc nr'(' 1rn\.,. ·111 1\: •1 .!_:· :1 1., ·:1

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l)f : ;- : 1•:t·~~ ~ 1 n rl \ l :u 1 ~~1

f' 11 ~1\.

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Seilte [ I C:CB t 1. '.' pri!'1cipk c (Ir Cn\' r'1" 1: ' '.' ': t. , ('r di('() rd. n rii1 l', ' :11 i I'
etc.-··-and o: lw r allied t op i c :.:. su 1·l1 :t'l l> 111i,·:1lcnt:; <1.n<i Idimw:. C:t : •i .
tali:m l;ion !l '11l P unctu rrtio 11.
'
chief rhet o ~· i cal fi g ures. an i11clud crl i" tl1i' p:trt
to th1: 3.u :1.'i" I'! 11f the c1lmp L·k "' ·n t ,.:·1·\·.
Her"~ / '.T:un m a r

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prop er 1 · 11 il~ . Jq1t. ;>r:: c 1l :·:d 1y . i : lJ.to Lr·en fnn ,1 d

usefu l t.o in,:l ud c in l n11)~· 11:t: • c study at ll1i:: ]'oi:tt f1n l)11· r i: 1<Lrn('ii(ln
on · Pros.o·h :rnr1 the 1·l(·rn1 n t :u·.\· r•1i1 ~ nl' corn1v1<ifi()11 . I' :nl f\'
conta ins : t l1r i1 f t re at nwnt ·• f tl1 e t!i ll'n(Td kirnL o f' (' nrnpn.;it i (•1 1.
ill ])l' O:'C i l'd

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(\f I'l l• \(1:·i, ·:!1 rri1wi1':. ;

gov-em.in1 ·· !lw ::cntcnc·(· an d it t" j)!1 1::'·rnph. \\'! !11 1hc i n fo r; rwt i >11
suppl ied i n :ii i,, part. and w i: l1 tl11 ~ :r:; i11in:'.·
ciBC:B, the i'l l i'j; may Jl l'll( ' 1•1 •J !ti O ll<'r J'l'\rl !l fJi 1· : t : 1 : 1 J ~· (i« jll'i•('I':
of g1rn.rnm1u· to t.hc co n"t.ru c1 .i v1 · wn rk uf ()\'ic':i 11nl cnmp:l,· :ition . .\;.
the c'l:rne, i' r.H it1y, or tll\' .: ,T :rn1 :t:1r «!
i: 11r i1 .fh· tn·•;i"1. :l· •, 1
the c lr ief ·:1·r,1 ·-forms c xpl:ii1 11·i1 :rnr1 ill\ 1:,t!·:\k1!.
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expee':ed tr• :u: :,wc r nll tht · 1l!l1l:· :il t :"11 1:i r1 ·n 11·1tt ·: nf 11 ti ·,:i- 11 00L 111
c.:: i \"( '
lang·1t:tgE: H' ad.\·, the E n .:.::1i~l l :: ;r;~ .,. i \111 :1r ~, ·:i; J ~ L' f·i'.lr:d c:1n ~
cone:'.' ?, r · ~ ·:r·t . ~m d, n!Jo '»t' :11!. :c~''.t c '. i ' " .l.
1

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nation, he
principles
1ent. The
heoretical '
he suborthan was
ng of the

;vill show ,
' develop: with the ·
·t I is de1 essential
cation of
tt once to
ommonly
: Clauses.
sed, Part
l!'orrns of
Ellipsis,
.s. Capi.t of the
y related
n found
struction
Part IV
position,
1rinciples
ormation
~he exerprocesses
fon. At
ited, and
( can be
.-book in
~hens ivc,

INTRODUCTORY.

PAGE

Grammar .and Its Divisi onE,
Orthography,
'
Elementary Sounds,

9
10
10

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13

Language.
~PA HT

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15

l:t\TRODUCTORY SY:NT /\.:I:)

The Sentence,
Elem ents of the Sen tcn ei>,
Classification of th e SeJll f'11ce .

1G

15
18

P.Alti' TI .
ETYMOLOGY-THE GRA~DL\H 0 1·

·yron.n:,,

Parts of Speech;
1
The Nou9,yi1
Classification of N ou1 1s,
The Pronoun ,
Classification of Pronouns.
The .Adjective,
The Classification nf Ad jcct i veo:.
The Adj ective Pronoun .
The Verb,
Classification of V('r'o,1,
The Adve rb ,
Classification of Adw rbs,
The Preposit ion,
Classification of P re posit [c1n:;,
The Conjunction,
·Classification of C(\ttjuncti o n" ,
The Interjection ,

21
21
21
22
24
25
29
30

32
34
34
38
38
43

44
47
47

-~ 51

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CONTENTS.

ETYMOLoov-T1m ( : 1 :A.~lMAJt 011' Yvo1ws-co11t£n1/f:tl.

Inflectio11 ,
N OU ns and I' rr I nouns,
Person, .
Number,
Gender,
Case,
Appooi ti VC f'
Declension ol \ ouns,
Declension of I ' ronouns,
Absolute p , h-iessive Pronouns,
Parsing,
Comparison CrI Adjectives,
Oompnrison C>f Advm•bs,
In flee ti on of t li t ~ Verb,
Voice,
Mode,
Tense,
Tenses in J\ 11 the Modes,
Regular nnll l rrcgulnr .Vcrbs,
Auxiliary n11d Defective Verbs,'
Person and ~ umber, ·
Parsing,
Conjugation, .
ConjugatioJJ 11f the Verb Be,
Conjugatioll nf the Verb Love,
Synopsis or th e Verb Love,
Forms of (' rln jugation, .
List of Im ·,·.·1 1lar Verbs,
Verbals, . .
Participle, '1'!1 e,
Infinitive, TIH·,
Phrases, ' . · .
Parsing . th ~ · I' reposition,
Clauses, .
Conjupctirn 1.~ in Clauses,
Words of Doul >l 1· Use,
Varied Use of \\' ords,
Direct ancl Ind i r1·d Discourse,

l'Mrn

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52
52

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60
M

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66
69

70
74.

7§
79
79 .

82
85
89

01

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92
98
99
102
102
. ' 105
107

•

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108

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110
114

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128
129
131
133
137

139

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I
7

. CONTENTS.

PART III.

PAGJC

51
52
52
G2
58
60
G4
(i5

66
69
70
74,,
78
79
7H

82
85

sn
Bl
92
98
99
102

102
105
107
108
110
114

114
120

126
128
129

rn1

,,

TIJ 1· Sc·ntencc,
Cl rrs';ification of Elements,
l' rincipal Elements; .
SulJordinr. tc E lements, .
fod cpendl'I \t m .e m entS, .
A nal.ysis of t he Sen tence, . ·
The Simp lu Sentence,
Th e Com plex Sentence.. .
Th e Com pound Senten ce,
J)in.!jrams,
Sim ple Sentences,
Complex Sentences, .
. · -.
Com pound Sentences,
E q 11 i valents,

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141

156
16C
171
176
176
180

182
185
191

..

194

Order, .
Ellipsis,
rcl i nms,
Hules of Syn tax ,
Ca pi talization ,
P unc tuation. .
Fig ures of Rhetoric,

C O?-tfP OSI'l'IO N,

141

. 142
143
. 146
.155
. 156

Gon· rnment .
Co:1cord,

r.1

1111p

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204
213
215
219
221
222 .
232

PART JV. '·:...~

•

K inds of c(frrqlosition,
Descri ption s ..
Karratives.
Ex position s--The E ssay,

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238
238

240
244

246

A r!~n ments .

247

P er:;u asion - Orations, Sermons, Addresseii, etc ...
L et tc rs,

249
251
253
254

133

Invitatiow'.

187

,\ ccep tan ccs,
Hcgrets.
S uggesti on s,

rnu

PA.Gli

8YNT .\ X.

254

• 258

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OOlfTENTS.

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COMPOSITION-1\ i n ils <1f

CPmposition-continued.

Poetry,
Prosody, .
Iambic lH •·:t~ ur 1 ":.
Trochaie ~i fL· as11r1"l ,
Anapestic .\fca;;u n:s.

..

.·

Dactylic~ ~\ I 1·as 11 rr·•;,

Stanza and

l'.lGli

259
264
268

269
270
271

Rhyme,

271

Yr' r~c.

274'

Style and Art nf Com position,
Words, .

277

277

~en tenc ~ !S,

285

Paragrapliing,
Sugg1~sf 0 11 <

295
300
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PART

the re~der

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"...: tfi~~. ·,, . . -~-t~::\:~!>:1.:;(?;:i::.'~(' ,.:;
dear pict~re of the object

My ·garden .
. .The snow image.
. A p0rtrai t of George Washington.

IV.

I

Narratives, which give a connected account of
events, incidents, or experiences, either real or imaginary; as,
2.

COMPOSITION.

The battle of Flodden Field.
The story of Robinson Crusoe.
What the mouse saw.

KINDS OF COMPOSITION.
A ·composition is a series of related thoughts .
ie:gpressed in sentences on any stl.bject and of any length
oJr form.
221.

Expositions or essays, which explain theories
and ideas; as,
3.

--.
The molecular theory.
The principles of government.
The Constitution of the United States.

0Bs. -TJteme is a term usually applied to compositions requll.red

of pupils.

222.
a:s :

According to form, all composition is classified

Prose, in which the natural order and mode .of
e.xpression is employed without reference to rhythm or
.ilhyme.
1.

Poetry, in which the natural order and mode of
ttlltpression is influenced by rhythm, or by both rhythm
amd rhyme.
2.

According to subject-matter treated, the prmkinds of composition are :

_ 223.
eip~l

pescriptions, which delineate the 'characteristics
o:f objects or of persons in such a manner as to produce
1.

I

238

4,

Argu ents, which aim to establish the truth of
propositions;- as,
Free coinage of silver does not mean repudiation of debts.
The prisoner is guilty of embezzlement.
Mars is not inhabited .

5. Pieces of persuasion, ser1nons, orations, etc.,
which are intended to move the feelings of hearers; as,
"Do unto others as ye would that they should do unto you."
The character of Washington.
The need for true patriotism.

·-

' <,...

All forms of composition- novels, dramas, histories,
lectures, poems, letters, etc.-illustrate one or more of
the five classes defined above.

1.

"The wind blew east ; we heard the roar
, Qf Ocean .pn his win try shore
·And felt the strong pulse throb bing there
·Beat with low rhythm our inland air.

2~24.

The -d.e;sign of description is to produce for the
read.<mi or hearer a clear picture of persons or things.
The choice of 1'\' "0rds and sentences used in description
shonld be gov-e nned, as in all writing, by their fitness
for the special (.cia;asion. If the subject to be described
is familliar, the ur1nrds should be simple and the sentences
shoTit; if the subject is unusual or solemn, a more elevated style ma:y lbe employed.
.1!_ good desic:ription should ha.ve a definite object or
se1-he.:5' of objects, which the writer may present as a
pictmre to the :mind of the reader; this principle is called
'ltnii:J.. The picture thus presenhed should be complete,
lacking nothi:rng that is essentfal to the object to be
portrayed. T lhie description should ba .as brief. as is
con.s.lis;tent with ,clearness, because the reader is easily
conlmsed by mam_y. detaj,ls. 'rherefore, out of ,t he mass
of d(f;tail which1 the writer sees in . his s11bject, he should
maJk~ a selectium, of the striking and important features
- such as CQ\me to his mind when he . attempts to
rememher an object once seen.
"rhe simplest liorm of description is seen in the inventory» where the writer states all tlie details of an object.
Such are the catalogues or lists of articles in a room or
hou!&le, or a descr:iption of a person on a traveler's passport.
Fo:r literary- purposes, however, the writer selects only
thOlm facts ab_o ut the object which are striking, important:;, easily remembered, and harmonious. ·
These details should be arranged in a natural order,
which will help t he reader in making a picture of the
scene _f~r hims.ell. The more important parts of an
object are usually stated last. Thus Whittier describes .
the cbaracteristie features of a winter scene:

*

*

l

*

*

*

,.. Meanwhile we did our nightly chores,Brought in the wood from .out of doors,
'Littered the stalls, a~d from the mows
Raked down the hei·d's-grass for the cows.
Heard the horse whinnying for hls corn;
And, sharply clashing horn on horn,
Impatient down the stanchion rows
The cattle shake their walnut bows;
While, peering from his early perch
Upon the scaffold's pole of birch,
The cock his crested helmet bent
And down his querulous challenge sent."

2. And Tennyson, in like manner, describes an old
country house :

"w.·

b'lackest moss the flower-plots
· Were thickly crusted, one and all :
The rusted nails fell from the knots
That held the pear to the gable-wall.
The broken sheds look'd sad and strange:
Unlifted was the clinking latch;
Weeded and worn the ancient thatch
Upon the lonely moated grange."

Or this pro~e description from Irving illustn:ttes
the point:
3.

"The animal he beshOde was a broken-down plough-horse that
had outlived almost everything but his viciousness. He was gaunt
and shagged, with an ewe neck and a bead like a hammer.; his
rusty mane and tail were tangled and knotted with burrs ; one eye
had lost its pupil, and was glaring and spectral, but the other bad
the gleam of genuine devil in it."

a

16

.-. _~: . - ·.~ ··X-.*~:.-: ... ;~7~;~~~~;¥,~.!- ·f; ~: · .~;~~~:.,r~,~~~
.1:·~ , ""~~·"¥~'. fIJN(} LISH lOBAJ£~..

;·

2'2. 3··J':·

· In order -to make the picture clearer, s<>meti_mes.

"'U!.18
,,,_ 4-Wrl·t~r groun.s
the details he has selected under·one
:r
• •
f

imuige. T:hu,s Vi1et-0r Hugo, in his famous descnpt1on o
the batt:1e of Watterloo, uses the ~gure of the letter A to
mmp onit the position of the arnnes :
Thoise who womld get a clear idea of th~ bat:le of W ~terloo
nl ,.. tc lay do~n upon the ground in their mmd a capital A.
l~ft~~roke of A is the road from Nivelles; the right stroke
. · .h
-~ f om G"'"oppe · the cross of the A is the sunken road
1s 1 , e r lOl<lU r
~
'
•
•
s·
hum O:Buai:n to Br-.aine l' Alleud. The top of the A ~s ~ont amt
I°ffill ; \V-elling;ton is there. The left-hand lower p_omt is Hougot · Reilhe is ther.e with Jerome Bonaparte. The nght-hand lower
;~t·is 'Belle .A..lliance; Napoleon is there. A lit.tle below t~e
poi.int wmere the cn~s of the A meets ~nd cuts. the right ~troke. 1s
r..a H&ie Sainte. A.t the middle of this cross 1s the precise pomt
where the final battle was spoken. There the lion is placed, the
imvolu.ntmry symbol of the supreme heroism of th~ Imperial Guard.
'i'he triamgle con~ at the .top of the A, between the two strokes
&ndl the cmss, is tI'.le plateau of Mont Saint Jean. · The struggle
fio:rr thls JPla.tea.u wu the whole of the battle."
u

.h

T-;:e

tJhe

ia

-

F.rom the above discussion and examples _we
:m..ay dr:aw the following directions:
220:,.

Write yonr description from one point of view,
which :is made clear to the reader. Thus you may preserve: tanity and. make it easy for the reader to follow
}On.
Obse.Tve .how Tennyson describes the house (in
iEelectfo:n 2) from the outside and with the idea of its
~in pr ominent; while Whittier (in selection 1) describes
the bar.11 from t he inside at the time of feeding.
1.

2.

S elect characteristic details or qualities only, such

distinguish gff1Jr .object from similar objects. Irving
m entiOllS only the broken-down qualities of the horse. ' .

38

Present the particulars according to some plan or
order, preferably that which the eye of the observer
would naturally follow. Hugo places the parts of his
picture in the order suggested by the letter A. If you
wish to describe a room, do not begin with the floor,
then mention the objects in the room, and return to the
walls, but describe first either the size and shape of the
rooin, o~ the objects in it.' Or if you are portraying a
person, proceed from the physical characteristics - shape,
features, dress, etc.-to the mental. Order in description
is the most essential feature.
3.

4,

Enliven your description by action when the nature
of the si1bject permits. Let the description be an instan..ta,~eQJlS view of objects in motion; let your Words be
descriptive of motion and sound, as Irving has done in
. · his description of :Van Tassel's farmyard, where he speaks
· · of the frettinu.. ,Peevish' cry of guinea · fowls, the gallant
str,u t of the ~ owing cocks, the gobbling turkeys, and the
grunting p rkers.
5. Use comparisons, especially similes, when some
resemblance suggests a familiar or impressive object
'vhich will give clearness and interest to your description. Many of the masterpieces of description owe much
of their clearness and force to appropriate comparisons.
Note Irving's comparison of the head of the horse to a
hammer, and his eye to that of a devil. In the following description of _th_e Roman Campagna, Ruskin uses
vivid figures :
' "~"'
The blue ridge of the Alban Mount lifts itself against a sol erqn
space of green, clear, quiet sky. Watch-towers of dark clouds stand
steadfastly along the pr<mWntories of the Apennines. From the plain
to the mountains, the shattered aqueducts, pier beyond pier, melt

•
am the darkness like slwmnoy ii;nd cQuntles:f troops of funeral
r:iovrrners pzs.in9 frlrifll, a nation's g;race.

An Okl Mill.
The Village Church.
The Skating-Rink.
A City Street.
A Busy Shop.
The Public Park.
The Eall-Ground.
A Sug:ar Camp.

The Prairie in Spring.
My Tandem Eicycle.
The Postmaster.
The Carpenter.
A Simple Dynamo.
An Old Country-House.
What the Engine Saw on a
Morning Run.

N arraltives.

'l'he design of thte narrative is to relate, in
ruRtural onler, events, incidents, or experiences. It inay
imclnde description, as every story must contain some
objects which require portrayal in order to gain the inte.rest
of the reader. 'fhe facts related in a narrative may be
either real or imagined. In the former case they may be
drawn cith·er from personal experience as in an anecdote,
-O'lr from some other source, as in history.
'fhe style used in narrative should be, so far as possible,
simple; short words and brief sentences give rapidity.
Orname11ta.tion is usually out of place. .
226.

The following suggestions will be found helpful
in composing narratives :

· 2. A narrative should have a. definite object. 'l'h c
reader should be able to see that the events are Jeadincr
to some final conclusion. \Vhcn the objective point i~
reaclu~d, the narrative should close.
A narrative should have 'ltn'ify; that is, digressions
should not be introduced to distract the reader. Less
important events should be subordinated to principal
events.
3.

4. . A narrative should have climax.; that is, the
interest in the events, incidents, or experiences related
should grow as the story advances, and the most interesting ·part should be the end.
"Every narrative has fon r elements : (a) 'rhe
·plot-that is, what happened; (b) the character- that is,
· the person to who · it happened; (c) the situation-that
is, "the place where and the time when it happened ;
( d) the pur ose or the author's reason why it happened.
Corresponding to these four elements are four test questions, which we shall do well to ask ourselves in regard t o
every narrative we write or read: (a) \Vhat? (b) Who?
(c) ·where and when? (cl) \Vhy ?"-FLETCHER AND
0ARPENTER-"The11ie fVriting."
228.

227.

1. In simple narrative, events should be 1·elated in the
order ,of their happening. rrhus the interest and the
knowledge of the reader increase, anci no · break occurs
in the chain. Generally this order is the same as that
of cause and effect. The cause should be told. first.

229. Narratives include anecdotes, which are acconnts
of small incidents ol.· experiences; biographies, which are
accounts of lives of "npted people; voyages and travels,

which are accounts of adventures and jonrneys; ltislo1"ies,
which are systematic, written accounts of people and
public events, and fiction, which gives imaginary accounts
of people and events.

.~

.

ify First Bicyd•e Ri·de..
~-Eby fa the Wrolli.
Io~ W~ Cam¢ Out..
r n(t Fourth of July .
["fomksg,i'vi ng Da:J.
~-

·v isit

t 10

the

]{usellill.

Cirnw I Spent Saitia1rday-. ·
r :nUDJmy''s Accidrnt.
r 1t.e Bat tl e of Runk er Hill.

rh·e Story of tbe Eoa-crn1strictor.

--

~

-

·-"'

A Cat's Dinner Party.
Journey of a Driop of Water.
Our Trip to the Great Fair.
My Dream.
A Leaf's Complaint.
The Escape of a Prisoner.
An Adventure with a Bear.
A Journey Down Town.
A Great Tournament.
The March of an Army.

:EXJlOsitions-The
230..

.

-

Essa~··

A n 1exposition explains an idea, or series Qf

idieas, SCJimetrmes called a theory. The usual form of · the
ei;:position is the essay. An exposition differs froin a
de-$:cript ion in t hat .the latter repres~nts objects, wl1 ile
the fmrmer pre,gents thoughts or ideas. We may describe
the f01rnn: of a. book; the contents of the book we explain.
'.rhe .cJiief quality of a good essay is clearness. As the
p'l!rrpose of the writer is to convey information, his style
shoulcl be ais simple as the subject permits, and the ·
thomglhts sI:non:ld he carefully connected. Illustrations
amd e.x:amp1le:a assist the reader, and should be used
:fireqmNll.t}y. 'lrhe order that the writer chooses is
important: be shou1d proceed, as in narrative, from
what is; known t o ·what is unknown. Two examples of
the exposition}> or essay, are given:
CHEERFULNESS.

1 hawe always preferred cheerfulness to mirth. The latter I
consider as am act, the former as a habit of mind. Mirth is short
and t ransient,. cheerfulness fixed and permanent . . Those are often
r-a.ised- into the greatest transport<> of mirth who arc subject to the

greatest. depressions of melancholy. On the contrary, cheerfulnesg
though it does no~ gi~e the mind such an exquisite gladness, pre:
vents us from fallrng mto any depths of sorrow. Mirth ·is like 8
fi~h of lig~tning that breaks through a gloom of clouds and
?litters f?r .a moment.; c~eerfulness keeps up a kind of daylight
m the ·mmd and fills It w;1th a perpetual serenity.-AnDISON.
THE STEAM ENGINE.

The name steam engine, to most persons, brings the idea of
a machine of the most complex nature, and hence to be undcr?tood only by those who will devote much time to the study of
it; but he that can understand a common pump may understand
a steam engine. It is, in fact, only a pump, in which the flui d
~assing through it is made to impel the piston inst~ad of being
Impelled by it ; that is to say, in which the fluid acts as the pouer ,
instead of being the resistance.-ARNOTT.

The Character of a Good Man.
· The Study I Like Best.
An · Electric Motor.
What I Know A ti t the Oak.
Some Intei~sti g "Specimens
of Butterflies.

The Working of a Cable Road.
Why the Engine Goes.
Our State Governmen't.
The Mayor's Duties.
A School Gymnasium.
The Modern Bicycle.

Note that many of these subjects can be treated a;
descriptions. What difference in method would be necessary if the subjects were treated descriptively?
Arguments.

An argun1ent attempts to convince a reader or
hearer of the truth or falsity of a proposition. Argument may take many· forms, such as a discussion between
friends, a debate before a society or in a legis1atur~, a
case before a judge and jury, an article or book written to
e~tabUsh some truth. In an argument there should be231.

.:.;~~~ti:-i-.~~~~::~.:-.~~::,.,.'?:: -~-~·-t'-'\1·~~:::,:-:' ,:''.';, : -:;~.

t;}. :.f

TNDS "OJi'

48

•

A. IDEFINITE PROPO:S:rtTIOX for the subject. ·wie can
ot arg··nte about one word,. or a phrase., as asphalt pave-:
1zent or is 1rwre sen:iceable. But whren we say, "As.phalt
1avememt is more senicienble than any otlier kind of
~a"'\emem.t,, "' we h ave a full proposition with two sides,
,b out which we may properly argue1.

1

T h.e TE K\I S or ELE~llENTS of th e proposition .sihould
>e c1eruriy defined. In tbe propositiion given aboTe_, we
nust °h"IDOW what is meant by the phrases "asphalt paven ent "' arnd ' ' more serviceable."
f2.

'The TOPIC selected ior argument should be debattble; tlha~~ is, one abon t which two opposed opinions may
i>e reaMinably h eld. Th erefore, the more definitely the
proposition is fram ed, the easier it will be to m:ake a
good :inrgurnent.
3.

232:.

An argument contains three principal parts:

The INTRODUCTION, in which the writer explains
the pr·op·osition, and states how he proposes to consider ·
it. Tllri.s part should also arouse the interest and gain
the atiterution of the reader or hearer. Thus the introd uctim1 -may contain description, narration, and persuasion (which is an appeal to the feelings).
1.

2. The ARGUMENT PROPER, or PROOF, in which the
questian at issue. is treated directly. Here are pla~ed the
reasons {usually called proof) which the writer wishes
to advance in fayor of his opinion. These should be
arrang\ifd carefully in order of climax. Here, also, are
placed th-e counter-arguments or refutatio1is of the argnment.s by the other side.

COMPOSITION.. .. . . ·. . 249 ,,

'\

S. The CONCLUSION (sometimes called peroration)
in .which the arguments used are summed up, the result
pomted out, and an appeal made to the feelings of the
audience; This part should be made the most forcible
in order· to leave a convincing impression.
'
OBS.- Proof may consist of (a) a statement of facts supported
by authority; (b) testimony of witnesses, living or dead; (c) lQgical
reasons for belief.
·

233. The qualities of a good argument are clearness,
force, and fairness. Every statement should be precise
and carefully guarded, and there should be no doubt
about the meaning of any term. Hence the style should
be exact, clear, and not ornamented.
. Manual Training Should Be Introduced Into all Schools.
Cities Should Own Street Railways.
AU Children ShoJllll Be Compelled to Attend School.
Electric Light hould Be Provided for Public Streets.
Bicycle Road Should Be Built by the State.
Resolved: That America Be Reserved for Americans.

Persuasion - Orations, Sermons, Addresses, etc.

234. Many topics of an argumentative nature do
not admit a closely logical treatment. The effort
the
writer or speaker, in such cases, is chiefly to move his
audience by earnest appeal to their feelings, and thus
influence them to take some action, or, perhaps, merely
to agree with him . in O.P~ion and feeling. Such compositions are the sermon,' the public address, or oratio1i.
A single term is adequate for a subject; as, The Char;
acter of George Washington, The Great Emancipato1:;
Duty, etc.

of

l

:,O ,;_

·251 ·

•

Although iittle proof or formal argument is introducro, the oration may be divided into three parts:
J. The INTRODUCTION, the purpose of which is to
win t he attent ion oi the audience. A reference to the
occ&S''ion of the address may be made. Freqnent!y a
brig:ht story or a pertinent . anecdote serves to make a
plea.mn1t introduction.

The DISCUSSION, .in which the topic is treated
acoording to the plan chosen by the author.
GZ.imax
should be carefully preserved, and transftions from orie
divi$ion to .another clearlJ. shown.
2'.

£. The CONCLUSION. Here the true orator, after
smm:ning up his discussion, moves his audience to
sympathy by exhortation, imagery, and appeals to imagination and feeling. The conclusion must exceed in
power the two other parts.

As orations and compositions of a similar
chmrader are designed primarily to affect the emotions,
gre:.a.ter latitude is allowed the author in his style than
in any other form of prose. It is not enough that he
be clear and interesting; he must be forcible, enthusiastic, Jt.nd drama.tic. . Hence the orator may employ
highly figurative diction; his sentences may be imperative and _exclamatory.
235.

Compulsory Education.
Uses of Great Men.
The Growth of Our Country.
An Oppressed Pe<>plc.
Arbitration.
Qur Old Vet~rans.

Manual Training- Its Uses.
Uses of History.
Protect the Birds.
Kindness.
The Dignity of Labor.
Tlfe Father of Our Country.

236. All kinds of composition have been briefly
described heretofore. Every piece of writing may be
referred to one or more of these divisions. For the sake
of further illustration, however, additional treatment is
now given to a common form of composition - letters.
· 237.
a written or printed communication froµ1 one person to a~other. It is designed to take
the pl.ace of a conversation, and this purpose should
govern its character, form, length, and style.
According to the purpose they serve, letters are classifieq and defined as follows :

which are familiar communications' between friends. In character they should
reflect the r~lations of the correspondents. They should
be simple, natural : nd individual. Being conversations
on paper, they
ould treat subjects of mutual interest.
The same care should be taken as in speech; the writer
should not presume upon his correspondent by slovenliness, haste, or selfishness.
1.

LETTERS OF FRIENDSHIP,

2. - LETTERS OF BUSINESS. Business letters should bo
written on one side of the paper only; and when written
on business of one's own, they should contain a stamp
for return postage. In style they should be concise,
explicit, and courteous . .· The information desired or
given should be stated_ as briefly as is consistent with
clearness and courtesy; 'h~nce ·ma.tters irrelevant to the
business at hand should be excluded. Abruptness may
be avoided by _a careful introduction and conclusionf '
If . the letter is an answer to one received, reference to

··:-·. ·.·

•

the lettitl! i n question should be made, its d a te given,
antd ind;0s:.11'."es, if .a.ny, acku owlcdged. Abbreviatiqns
sb.«ml d llH rns:.ecl spari\ngly. An illiterate business letter,
in whiclh, y.o:rds are misspelled, grammar is violated, or
o,tJher b11Jmitus are made, often creates prejudice against
t lite wriitfrr.
3 . :lLE:rJrERS OF L"ITRODUCTION-those in which the
writer t rammends a friend t o a third person of his
acxquain.'thmee. Sinc;e the writer to a certain extent
becomes :responsible f or the character of t h e person
imtrodrucm,_, care shGuld be used in writing such letters
11mt to a~rgerate th1e merits of the bearer, nor to recommend Ln. tmo high t erms a person but partially known.
Letters Qf introduct ion should not be sealed, if sent by
.itlne pen<on i ntroducted.

4.

F mru:AL LETI'E RS. These include official letters
wri t ten. bJ men in a public capacity about public affairs, _
petitio:ras, and impe:u:sonal letters on weighty matters. In

adyle, mch letters should be dignified, clear, and brief.
They oomtain frequent expressions of courtesy an·d
respect,, amd the int roduction and conclusion are formal.
When 'writing in a strictly official capacity, the title of
the writer should follow his signature.
~i:mms

OF CEREMONY-invitations and regrets.
T hese are of ~wo kinds, informal and formal.
5.

(~)

I11f8"rmal i nv-itati ons are friendly notes written
in the fi.:rst person, varied to suit the occasion. They
should 'be brief and cordial, ancl confined to the subject
of the invitation.

253 .
0Bs.-In addressing no~s to ladies t h.e Id t
·
.
•
e es or an only
d aughter is
entitled .Miss• without her Chns
. t·rnn name whil th
younger daughters are entitled MiM wi th the Ch .' t"
e e
add d Wh
n s Ian name
1
e .
en a I of them are referred to the t'tl .
phu·alized, and not the surnaµie.
,
I e is usually

Miss Randall' (eldest).
Miss Amy Randall (younger).
The Misses Randall (all).

Formal notes, whether invitations, acceptances
or regre~s, ~ho~ld be written in the · third person. Whil~
formal. mv1tat10ns
are usually printed ' a fe,v ex amp1es
..
are given to illustrate the correct forms to use in repl
to different kinds of notes.
y
(b)

INVITATIONS.

Mr. and Mrs. George L. Robinson
.request the pleas!}re of Miss J ane Smith's company
on '\V: ilesday evening, June the first,
.
rom eight to eleven o'clock.
404 Dearborn
A venue ,
.
~Iay twenty-fifth.
Mrs. George L. Robinson,
At Home
on Tuesday evening, June the seventh,
from eight to eleven o'clock.
404 Dearborn Avenue,
·
· J unc first.
:Mrs. George L. Robinson
requests the pleltsure of your comp~ny
at dinner
Thursday, March the twentieth, at seve.n o'clock.
404 Dearborn A venue'
March tenth.

.

l

.-·. .~ ' .. ,_:,~:~%~~'.f~:~~~j;~1;0J~i;{/.R~:'l
ENGLISH GRAHM.AR.

•

25o ·

OP <JOMPOSITION. .
EXERCISE.

ACCEPTANCES.

-

Miss Jane Smith
accepts witlh pleasure
Jllr. a.nd Mrs. GeoH"ge L. Robinson's
kimd invitation for W ednesday evening,
June th.e first.
8 Asttor Strett:,
lhy twemty -seve~th.

MJI. . Edward King a.«ooepts with pleasure
Mrs. George L. ·Robinson's
kind inw-ita.tion for Tuesday evening, June the seve:qth.
4f3 Oak Streett,
Jfune thi]l"f,}l
REGBETS.

- Miss Jane Smith
n;g:rets t.hat a previous engagement prevents
her acceptance of
Mr. and Mrs. George L. Robinson's
invitation for Wednesday evening,
June the first.
8 &tor Str:a';.{,
May 1'nmty-seventh.
Mr. Edward King sincerely regrets
that he shall be unable to accept
Mrs. George L. Robinson's
kind in'Vitation to dinner, Thursday, March the twentieth,
46 Oak Street~
.
:¥arch eighteenth.

Custom dictates, and politeness requires, that all m v1tations should be answered promptly.

(a) Write .a I ~- - . . . . -·· - - ... :. . :"'· -= . ·
each of the following su~ject~ -:
Your trip to Ni~gara Falls.
Your visit to the World's Fair.
Pla~ning a summer vacation with a friend.
_Askmg for a book which you wish t~ borrow.
Recounting the adventures of a week.
1

(b) Write a business letter on each of ;the following
subjects: ·
~~

.. ~

.

;..

.

-·

Ord_e ring a bill of groceries.
A reply to the . above. .
An . answer to a business advertisement 1
.... • · :An ··inquiry about a house for sale
. ·!
Explailli~g an error m~de by a cl~rk.

(c)

' f introduction as follows:

.

..

.

J

'•

Introducin' your friend to another in a n~ighboring city.
Introducing your friend to a school board 1
Recommending your friend as drug clerk.

I

~

(d) _

f'
·

-·

- ~ 4~

·- --~---::

-

-

----- -

A petfrion to a Congressman, requesting his offices in
behalf of a measure.
A petition to a schooi board.
Declining or accepting a nomination for an offi~e.

.

·-, .

I .

Custom has established certain forms, which
should be observed in writing letters.
j · .
· ..
. . The p~rts of a letter are (I) :. the he~1i~g, (2) the -~:- '
introdu,ctwn, (3) the body, (4) . the subscr-iprwn, and (5)
the superscripti"on.
·
.
·
·
238.

~~~"'t"'£~1}t;ffiJ,~f.t~iJ.~~ti;;~,. ;:~~M~~.:!2b~~-'~;{

-

.

Tb~ hU."1.ing states (m} the pla.Cf and (o) th~
_ of th ie- \llI'L•
. ·:.1m·.· g • In business letters it should appea1
time
.
. - ht-band cornu of the page. In letters
im the upper ng
d t
·:
.l. ·s ·t may well a]prnear · at the close, an
a
1
between f n .i nu1
r
th e left · side of: tbe page.
Lasalle, Ill.,
l.

The

salu~atio~ depends upon the degree of intimacy

het~een. the correspo~dents.

Informal letters usually
begm with t!ie followmg salutations:
Dear Brother:_;_
Dear Jim:Dear James:My dear James:-

January 2, 1898.
m'

L3.Sllle, Ill.,
January 2l, l:S!B.

Dear Madam:Gentlemen :.'.__

i
. 3. The body consists of the message.
It should
begin
the line below the salutation, and a space
farther to the right.

on

DPD~

C'limtt.o;n,
Jowa.
My de:ar S:ir:-

i

J?ear. Sir:My dear Sir:-

The introduction consists of (a) the address
and (b) the sal,utation. It sJ.i.ould appear on the left
-.11 .
in""!'7"' one line lowe:r than the date.
·
Sitll.e
0 f th~
~ · r~~.~,

~

~

0"

, •

<I";

~ Pear~Sir: ---~·
,

.

~

In refe~ence to your communication in regard to, etc.

.·

4. · The ~subscri, ,~ion ~onsists of the term of respect

In letters between friends the address is usually
omitted frt0m tlle tntroduction ..

.a nd the sig1!atu1:, ~· It should appear at t~ie close of the
letter, and ne -· the right side of the page.
.

:My dear David:- or, Dear :Mr. Davis, etc.

Yours truly)
D~vid Wells.

In formal letters, which are not specifically commercial, the addre.ss may be placed at the close, on the lefthand ...side; a&,

The term of respect used depends ohI the writer's
relations with the person addressed. In letters between
friends the following are common :
I

Gentlemen :-

Sincerely yours,
.
Very sincerely yours,
..... -·· --------=--·--.... --.. -- ----.. ---.. ---.. --- --

Very truly yours,

..,

Cordially yours,
Devotedly ybtirs,

·

For letters more fo:mal, such as the following are
. ..usual:

.

~

Faithfully yours,
Respectfully yours, ·

Messrs. Brown, Smith & Co.,
Bankers.
New York Cily.

Dear Smith:My dear Smith:Dear Mr. Smith:1riy dear .Mr. Smith:-

;
\

More formal letters employ such a~ these:

~.

:Mir. David

I

Very truly y:ours,
Truly yours,

·_;

l

0Bs.-The first letter only of the term of respect is capitalized.
H

.

I

.

I

259

•

. _ •t · . ·,.n.nortant to indicate the sex: of the writer,
Wh em I 1s 1_,,.r_
d f th
the full Chri1m:n 1 name should be w~i~ten instea o
e
• - •
'[
-: .l
women
when
wr1tmg
to
a
stranger,
nntials. 1' a rn e<u.
'
1
should JHefbI Nr.t- to their name ; as, (Mrs. H. W.) }ii ary
M . SmifJi.
5 . The s uperscription consists of the name, ti~le,
and place of re:sidence . placed upon the ~nvelope. . ro
- .
.x 13livery it should be definite and plamly
ms:nre
ieerta:~·.u... u.1..,
•
f
w ritten_. Nill't icte the arrangement and punctuat10n o
the following superscription :

. Mr. .Luther W,ilson,

n
I

"

•

.

I

'

Do not write on the margin of your ·letter, nor write
across a page already written.
Do not use postal cards except for short business
communications.
Do not . use figures except for dates or sums of money;
nor the character &, except in the titles of business
firms.
.
Finish one subject before commencing another, and
avoid; ~s far as possible, the use of a postscript.
· Avmd all hackneyed phrases, especi~lly such as, "I
take my pen in hand," "I sit down," "As I have nothing
else . to do I will now write,," "I thought I would write
you a letter," "I will now close." Some 1 of these expressions are really
'nent; others are :u
or even

i

worse- ~s.

~....,..._.- Fold your letter neatly, using as few folds as possible.
I

So fold that, in opening your letter, th~ recipient shall
find it right side u_ , ready for perusal. !
.
. !· ·
i

Wi'. nona,

ii

Minn.

POETRY.

Bo:x 181.

SUGGESTIONS.

An&'Wer without delay all courteous letters.
Use plain "'"'h ite or neatly tinted a er; decorated or
highly colo:ired paper is i
.
.
Date every l etter, and sign yonr name in full.
All letters should contain the writer's address m
f nll.
L ea;ve a narrow margin on the left side of the page,
and properly indent all paragraphs.

.I

239. Poetry is the expression of beautiful and
elevated thought and feeling in app~opriate words,
arranged in metrical form, with or withbut l'hyme.
"Poetry is simply the most beautiful,I
expressive, and
.
I
widely effective mode of saying things."-M.A.TTHEW
ARNOLD.

,

I

"The best and happiest thoughts of the best and
happiest minds."- SHE~LEY. ·
I
·
"The art of employing words in such 1a manner as to
produce an illusion on the imagination; the art of doing
by means of words what the painter does by means of
colors."- MAC.A. UL.A. Y.

260

....
2 4:0.. Poetry may be classified as n anative, lyric,
dra.matic, mnd didactic.
1

241. Narrative poetry 1·ecites, as a story, events
hl:sitorical, le'.gendary, or purely imaginary. In this class

!

4. The . PASTORAL or !DYL, a poe~ which depicts
some phase of country life, usually a gay or pleasant
phase, ~y means of narrative, song, or dialogue.
Burns' '' Co,tter's Saturday Night."
Virgil's ''Eclogues."

is included-

Th.e: :EPIC, which nail'ates at considerable length
the; a dventu>.res of heroes :a-ind illust rious persons, and
even. deities.., as based on olai. legends or trmdition.s.
It
ineludes diescriptions _of n ature, as well as narratives of
ewents.- {adapted from PARSONS.)
.J.

Homer's "Iliad a.nd Odyssey."
Virgil's "JEneid.. "
Dante's "Divine Comedy."
Milton's "Paradise Lost."

Tlh.e lIETRICA.L . RO:~IANCE; a narrative poem of
iniciclent or adventure, less dignified than the epic. The
pmssion 1oi love, usually in the epic s~bo:dinated to
oth<e11' mf:Jtiwes, is here often made the prmmpal theme.
:Fiairies, ielves, witches, and ghosts often appear instead
cf gods a:nd goddesses.
2.

Scott's ''The Lay of the Last Jr'Iinstrel" or
''The Lady of the Lake."
Tennyson's ''Idylls of the King."
Longfellow's "Evangeline."

T1he METRICAL TA.LE, distinguished from the
]lrecedirng by its brevity, and by the greater scope of
the subj,-ects it may treat, including those of a humorous
or realistic nature.
8.

Burns' "Tam O'Shanter."
Keats' ''Eve of St. Agnes."
Moore's " Fire-Worshiper~. "
Tennyson's "Enoch Arden."

5. The BALLAD, a sentimental, narrative, or humor?us poem, adapted for singing or recitatipn. It is simple
m form, and usually appears in short stanzas.

.

I

Crawford's ''Kathleen Mavouri:ieen."
Wolfe's ''Burial of Sir John }loore."
"Sir Patrick Spens."
'
Burris' ''Bannockburn."

I
I

. . ~42. Lyric poetry differs from e~ic or dramatic
poetry in the fact t)iat it usually expresses the individual
emotions of the oet. It naturally t~kks a form fitted
t is found in a wide va~iety of metres.
· to be sung,
The . name comes from lyre, an ancient stringed instrument. Some forms of lyric poetry are : I
1

I

1. The SONG, a poem intended to be sung. Songs
may be patriotic, comic, convivial, sent~mental, ·or religious. In the last-mentioned case they are properly
called ltymns.
I

Shakspere's "Who Is Sylvia?"
Key's "The Star Spangled Banner."
Burns' "Coy;iing Thro' the Ry~. "
Newman's ~.Lead Kindly Light."

I

2. The ODE, a lyric poem originallyJ designed to ~e
sung, dealing in reality with a wide variety of subjects,

'

.

.

though restrictecl traditiornally to the expression of ardent
or exalted si2ntinnent, sucll as tlhat of religion or pah:iotis.m.

.. o:~li¥t0F~iTfi1~:¢t,.:~t~L~~J2~~'"
·pity, scorn;:- and. admiration - pity for 1the misfortunes
of the actors; scorn for the baseness in human character
and admira~ion for heroic acts.
'

Lowell's '' Crn:m:nemoration Ode."
Dryd!en's "A.lex:mder's Feast."
Keats' '' Ode tOl the Nightingale."
Wor&worth'rs ''Intimattions of Immortality."
Shelley's "To the Skyl~rk."

.'3. The ELEGY, a mournful or plaintive poem-a
fun eral song;.
GraT'.s "Elegy in a CO'untry Churchyard."
Milton's "Lycidas."
SbeUey's ''A.donais."
Eme:rson's ''Threnody."

4. The

a short poem, usually of fourteen
limes, expressing a _single sentiment.
SONNET,

Shakspere's '' Hamlet" or ' •Macbeth."
Marlowe's "Jew of Malta."
Webster's ''Duchess of Malfi."
Tennyson's ''Becket."

2. COMEDY, which represents the lighter, more
humorous,' sides of life.
The complications have a
fortunate and happy outcome. Satire : of foibles and
_caprices which are ludicrous is often one element of
comedy.
~.,...••,.c~ ..-

~

Shakspere's ''Twelfth Night" or ' ' Merchant of
Venice." ·
I
.
·- ',.. Sheridan's "School for Scandal."
.Goldsmith's "She Stoops to Conquer. "
~ Ben Jonson's "Bartholomew Fai~. "
·--..

•

Mrs. Browning's '' Sonnets from the Portuguese."
Rossetti's "House of Life."
Shakspere's ''Sonnets."
Sidney's "Astrophel and Stella."
Petrarch's ' •Sonnets to Laura."

24:3. Dramatic poetry, a form of poetry in which
hwna.n action, instead of being narrated, as in epic
pootry, is exhibited in the persons of those concerned.
Written in dialogue, it vividly reproduces the original
events, and r~presents the characters as if they were
really present to the senses. Some forms are :
TRA.GEDY, which represents some important
aetion performed by illustrious persons, generally with
a fatal catastrophe. It seeks to arouse the emotions of
1:

l
I

~

'i '

.
i
A farce i_s · form of comedy whiµh contains no
serious elements, and in which the hnn1or is broad aucl
contlnuous. The melodrama is charac~erized by exaggerated situations · and feelings. It is neither pure
tragedy nor comedy.
244. Didactic poetry, or, more p~·operly, didactic
verse, is that variety which aims to instruct the mind,
rather than to excite the emotions 01( stimulate the
imagination. It deals, with abstract idetls
and
theories,·
I
•
a didactic poem is, indeed, merely an essay m Yerse.
Pope's "Essay on Man."
Dryden's '' Religio Laici."
Longfellow's ''Psalm of Life,"

- '

249.

PROSODY.
Ibrosody is the grammar of verse, treating of

24i:5-.

th<e nd ure· and laws of its structure.

The two-syllable feet are of two principal

kinds:
1. The iambus, having the second syllable accented,
the first unaccented. Formula: ..... -

I kn~w I n'(;t
v,erse differs from prose in having a regular
succeESion @.:If accented and unaccented syllables; in prose
the ac•.{!ents are irregularly distributed.
244.5.

'lruch her not scorn fully,

Th'°eir frood I ed palms

I fu

afr.-WHITTIER.

The trochee, having the first syllable accented, the
second unaccented. Formula : - .,_,
2.

"fhlnk of her rno~rn fully.-Uoon.

24-1. .A.ccent is the stress or force placed on particulmr sylhb1es in reading, as on the. first and t he fourth

where I His i~ I Ia;as Iif t

D~l~t- I eyed ~ I Ceres' I dalight~·.--KEATS.

Trochaic verses have a light tripping movement, and
are best adapted to lively subjects.

SJfllab11es. of each line above.
2 4-8.

Rhythm is the succession of accent at regular

iBtern1Js of duration. The unit of rhythm is called a
fi/Jo t, .and consists of two syllables or of three.

I str~ight 0 I worthy I ~laster I
mon I arch of all I I survi'y.

1.

:BU°ild me

2.

I am

0:1JS.-The spond~ and pyrrhic are two-syllable feet seldom
found except in conneCtion with other meters. : The former consists of two ace ed syllables, as in the :first foot of the line:

- -

Bright star! I would I were steadfast as ' thou art.-KEATS.
The latter consists of two unaccented syllables, as in the second
foot of the line :
!
I

N'°ew-light I ed o'ii 1'D: heav I e'i;·klss I i~g hTil.-SHAKSPERE.

ORi.S. I.- Rhythm or rneai:mre is one of the basic principles of
music_ By- 'Virtue of its rhythmic form, verse is therefore allied

to mumc.
OBS. Il.-The rhythm of classic poetry, such as the Greek and
the Imnn, is based on the length of syllables ; that of English, upon
accent.. Tim.s. a Latin word with length of vowels like those in
'l"Omemu, in which the first is long and the second short, is a trochee,
w hile in English it is an iambus, because the accent falls on tbe
eecooo syllable.

I

•

250.

I

'l1he three-syllable feet are of three kinds :

f _ :, ,

The anapest, having the third aclcented, the first
and second un~ccented. . =ormula : ....._ .....
1.

For ~ field

I Oi

the dead

I rusb~s

red

I o'[; ~y

sight.

-CAMPBELL.

•

4. One generation would have no advantage over another, ii
this opinion were well founded.

sentence the modifying elements are placed before the
principal statement, thus adding strength, while in a
loose sentence the modifiers a:re placed where they naturally occur. The periodic fmrm is stronger, more dignified, more involved; the loose form is simpler, easier, and
more natural. All sentences are either loose or periodic.
Note the positions of the modifiers in the following :

His actions 'w ere frequently
criticised, but his character was
above criticism.

Periodic.
At last, after much fatigue,
through deep roads and bad
weather, we came to our jourmey's end.
Though his actions were frequently criticised, his character
was above criticism.

His tireless brain was never
at rest, from morning to night,
from week's end to week's end.

From week's end to we.e k's
end, from morning _to night, his
tireless brain was never at test.

LtJose.
We came to our journey's
end after much fatigue, through
deep roads and bad weather.

5. He had r_eceived large subscriptions for his promised edition
of Shakspere; he had lived on these subscriptions for some years,
and he could .not without disgrace omit to perform his part of the
contract.- MACAULAY.
'
6. His son lacked his father's eminent position and also the
talent and force of character to achieve it; be could, therefore,
effect nothing by dint of political interest.
·

~·

0.Bs. - No one form of sentence should be used exclusively.
A writer should aim at variety in bis style, b.o th in length and
in structure of his sentences. Each one of the classes discussed
above .has its advantages: The loose sentence is natural and
simple, the periodic forcible, and the balanced, pleasing to the
ear; but the loose sentence is weak, the periodic, requiring close
attention, becomes fatiguing, and the balanced is artificial. Adapt
"""'e ach -sentence to the character of the thought, and vary one form
with another. ·
EXERCISE.

.A. loose sentence may be made periodic by
inverting the position of the modifiers, by the use of
279.

correlatives (either, or; neither, nor; both, and; not only,
but also, etc.), by the substitution of a participial phrase
for other elements, or by changing a proposition into
a .causal clause.
EXERCISE.

Change the following sentences from loose to periodic.
In each sentence put the italicized word at the end.
Note the gain in strength:
1. We laid him down slowly and sadly.
2. The old clock suddenly stopped, before the family was stirring,
early one summer morning.
3 . . I shall attempt neither to palliate nor deny the atrocious
crime of being a young man.

(a)
6llowing passage, written by a great
master of English prose, Burke, note the variety in
structure and length, the skillful arrange~ent of clauses,
the emphasis lent to important words by placing them
in i~portant positions) and the peculiar :fitness of each
word to express the meaning in tended :
It is now sixteen or seventeen years since I saw the Queen
of France, at Versailles ; and surely never lighted on this orb
(2) a more delightful vision. I saw her just above the horizon,
decorating and cheering the elevated sphere she had just begun
to move in- glittering like the . morning star, full of life and
(3) splendor and joy. 0 what a revolution! and what a heart
must I have to contemplate without emotion that elevation
(4) and that fall! Little did I dream when she added titles of Y ·
veneration to those of distant, respectful love, · that she should
ever be obliged to carry the sharp antidote against disgrace con(1)

19

... ;: ·~~~~~~:t;::~{jtj~~;~i~~~:~~,;~ ..
. · STY -E AND .ART OF COMPOSITION

•
tW: bosom. Little did I dream that I should ha.ve
lived to see csrJCh disasters fallen on her in a nation of gallant'
men-in arna:uon of men of honor and of cavaliers. I thougbt
ten thous;a.md swords must have leaped from their scabbards
to avenge eTien a look that threatened her with insult. But the
age of chi'ffiliq is gone. That of sophisters, economists, an~
calculators ms succeeded, and the glory of Europe is extinguished foirw-er. Never, never more shall we behold that
generous loly-altty to rank and sex, that proud submission, that
dignified O:tmience which kept alive, even in servitude itself,
the spirit u-f a.n. exalted freedom.

5)i cealed in

6)
7)
8)
9)

prolonged the blue shadow of the distant mountain. The
horizon was of a nne, golden tint, changing gradually into a
pure apple-green, and from that into the deep blue of the
(5) mid:heaven. A slanting ray lingered on the woody crests of
the precipices that overhung some parts of the river, giving gre~ter depth to the dark-gray and purple of their rocky
sides. ·

(4)

What is the character of this killd of composition?
What train of thought connects the sentences? Name
the figures of rhetoric in the paragraph. ·what words
in 1 are found more often in poetry than in prose ? Are
the sentences loose, periodic, or balanced ? What is ,
gained by making 2 shorter than 1? than 3? Which is
the longest sentence in the extract? J nstify the use in
3 of the phrase blite shadow. If the phrase, pure applevgreeh~ _
in· 4 were changed into purely apple-green, would
the sentence gain or lose? ·why? Is the adjective rocky
m 5 superfluous?
ubstitute a synony.gi for lingered in
5. What is the !feet ?

What senti1nMmt is expressed in 1 and 2? in 3? in 7
md 8? in tlhe last sentence? What figures of rhetoric,
ire employed m 1 and 2? Are they inconsistent? What
figure jn 5? WD.ich sentences are periodic? which loose?
Point out thH riepetitions, and explain the purpose served
by each of tnh1em. Indicate the transposed sentences.
Change these t.o the natural order. What is the result?
What is mea.ni by the phrase, th~ sharp antidote against
'li&grace? Wfumt figure of rhetoric in antidote? Why is
thi:s term piet;:rilia.rly forcible here? Point out the felicity
off. the adjectiT1Ps _in the phrases, generous loyalty, proud
S'limnission, d(g11,ified obedience. What would be the effect
o:!f substituting slavery for servitude in 9? of substituting
the. for each fl .a t in the same sentence?
·
To what kinrl of composition does this extract belong?

(1)
(2)

(3)
I

(b) The f@llowing paragraph from Irving's "Legend
of Sleepy Hollaw" illustrates a style noted for elegance
and simplicity:- .

,It
:.

(4)

i

(5)

!

:t-

Thus feeding his mind with many sweet thoughts, fohabod
journeyed .Ioog the sides of a range of hills which look out
(2) upon some of the goodliest scenes of the mighty Hudson. The
sun gradually wheeled his broad disk down into the west.
(9) The ~de bci.smn of the Tappan Zee lay motionless and glassy,
exceptrng that. here and there a gentle undulation waved and

(1)

291

I

(6)

l

(7)

That night they lay down and slept together, with Beller ophon's arm about the neck of Pegasus, not as a caution, b
for kindness. And they awoke at peep of day, and bade one
another good morning, each in his own language.
In this manner, Bellerophon and the wondrous steed spent
several days, and grew better acquainted and fonder of each
other all the time. They went on long aerial journeys, and
sometimes ascended so high that the earth looked hardly bigger
than the moon. They visited distant countries, and amazed
the inhabitants, who thought that the beautiful young man on
the back of the winged horse must have come down out of
the sky. A thousand' miles day was no more than an easy
space for the fleet Pegasus to pass over. Bellerophon was
delighted with this ki.nd of life, and would have liked nothii:tgc
better than to live always in the same way, aloft in the clear
atmosphere; for it was always sunny weather up there, however cheerless and rainy it might be in the lower region.

a

."_;fb1JJ;~:-~~:R;~6:F¥-oo1ifoo~fT~o1/r.~;t~~-.·:. ,·~.· 29~'
•

But. be could not forget the · horrible Chlmrera which he had

2. Do n'ot include m one sentence matters not closely
connected in thought.

promised King Iobates to slay. So, at last, when he had
become well accustomed to feats of horsemanship in the air,
and could manage Pegasus with the least motion of his hand,
and bad taught him to obey his voice, he determined to
attempt the perform.a.nee of this perilous adventure.
-From '' The Ohima:ra," HAWTHORNE.

After Napoleon escaped from Elba and landed on the French
coast, he. advanced as rapidly as possible towards Paris; but on the
way was met by :Marshal Ney's troops, who bad sworn to bring
him back in an iron cage, but who now saluted him as Emperor.

Here is ·material enough for three sentences :

Select the periodic sentences in the above passage.
my are most of the sentences loose? For what purpose
as the last sentence made periodic? Write sentence 5
L periodic form.
Wha.t words do you notice that are unfamiliar to you
l prose-writing? Find synonyms for all adjectives; for
1 verbs. What different meanings do Hawthorne's words
ave from these synonyms?

Napoleon escaped from Elba and landed on the French coast.
Advancing as rapidly as possible towards Paris, he was met on the
way by :Marshal Ney's troops. These had sworn to return with
him in an iron cage, but they now saluted him as Emperor.

3. Unite into one sentence a11 statements closely
connected in thought.
.... _'}'pe man bought the overcoat.
boy had gone cold all winter.

A. sentence, to be readily understood~ must be
mited to the expression of but one leading thought.
1
hus we obtain unity of expression. The following
irections will be of use :
280.

The man b
cold all winter.

Change the subject of the sentence as rarely as
ossib1e.

Here the subject is changed four times, and the result
t a . medley of frie.nds, we, I, and who.
A reduction in
!le number of subjects makes the sentence m~ch ~ore
lear and forcible :
My friends having turned back after we had reached the
essel, the passengers received me on board and showed me much
tt.ention.

The

Here are three statements which properly make but
one ·p1;oposi.tion ...

1.

My frieni!.a turned back after we had reached the vessel on
oard of which I was received by the passengers who showed me
mch attention.

It was for a poor boy.

ght the overcoat for a poor boy, who had gone

EXERCISE.

-Rewrite the following sentences, preservmg unity in
1.

i

!

each:
1. London, which is a very dirty city, has a population of
above 5,000,000.
2. The lion is a noble ·animal, and has been known to live
:fifty years in cap ti vi ty. , , _
3. Chinese women are industrious, and use, as embellishments
of their beauty, paint and false hair.
4. I received the books yesterday, and I am very much pleased
with them, but you sent me one too many, but I find I may need
it, and so I will keep it. [Recast into three sentences.]

,.~c.,:••;:.llfN.b~i'6'.FtCo.MP~s}1¥8~r:;~~~_,;,~:'.295_·-.
5_ The march of the soldiers was through an '1.ncultivated
tUntry, whose savage inhabitants fared badly, having no other
~bes than a, b:rreed of lea.n sheep, whose flesh was unsavory by
asom of their icontinua.1 feeding on sea fish. [Recast into three

nt:emces.]
.
6. In the aftternoon we sailed again for Vineyard Haven, where
e spent the night, returning the next day, which turned out to .
~ fine after all,, to th e harbor from which we had started at first.
leca.st into t hnee sentences.]
7. AU old f estivals awaken strong associations.
Christmas
vak ens ·the stmngest. They are most heartfelt. [Unite.]
8. The abiliities of Charles were not great. His taste in art
as in.deed ex1tuisite. Few sovereigns have written or spoken
~tter. But b e ·was :not fitted for active life . [Unite.]
9. Paul R ewere w as a zealous patriot. The British army had
arted for L exin:gton. Ee was sent to inform Adams and Hancock.
unite. ]

281.

To gain force, important words and phrases

1oul d be placed in the most prominent places, which
re t he beginn ing and the end of the sentence. For this
urpose the elements may be inverted or . transposed.
'or exampl e,. in the sentence, "I have no silver or
o1d/' tbe natural order is less strong than the inverted:
iilver and g(J!ld have I none. In the latter form the
rnportant wmrds occupy the emphatic positions.
EXERCISE.

Pla.ce impQ\rtant words in emphatic positions.
The accepted time is now.
He imprisoned ·some, he put to death others.
3. The gate is wide, and the way is broad that leadeth to
lestmction.
4- I shall never again see my native land.
5 . . There is bright dawn rising on the mountain-top above
he clouds.
1.
2.

Paragraphing.

After you have selected the subject of a composition~ think about it. Do not scribble down the first
sentenc~ that occurs to . yon, and then wait for another
to suggest itself. Divi.de the subject into topics, and
arrange the topics in proper order.
The sentences
relating to each topic will form a paragraph.
Suppose that the subject is Ooal. The first draft of
the composition might be outlined as follows:
282.

COAL.

,,

1. A hard black or brown substance of vegetable origin. Burns
readily. Occurs in beds or layers. Found in nearly all parts of
the globe. Coal deposits of United States very extensive. Coal
fields of Pa., of W. Va., of Ala., of Ohio, of Ill ., of Ia.
2. Varieties of coal- anthracite, bituminous. Grades of each
c...,. varletj":"' """Greater value of anthracite. Why?
. 3. Uses of coal - for steam engines. Not all kinds of coal
equally useful for making steam. U. S. war_ steamers supplied
with .bituminous coa · f special grade.
4. Uses of coa1: fn iron smelting-coke. Iron-manufacturing
cities always ·nfrr coal mines. Examples: Pittsburg, Chicago,
Birmingham, Ala.
5. Coal needed for various other manufactures. Example :
Water power to-day giving way to steam power. Reason why.
6. Most of the coal heat wasted as yet. Coal used for developing -electric power. Hopes of electricians to get electric power
direct from coal without intervention of steam-driven machinery.
Numerous gains that would result therefrom. Cost of ele~t:ic
lighting would be lowered. Other practical uses of electnc1ty
would become more widely spread.
7. Summary: The importance of coal for civilized life. How
long will coal remain at the present rate of consumption?

Could the topics a1:r{nged above in seven groups be
placed in any other order ? If so, suggest a ne:v plap .
After yon h~ve determined on your plan, fimsh the
composition, forming a paragraph for each group.

•

THE GREAT STONE FACE.

EXERCISE.

{01) Indfoate where the following selections should
~ ioormgra.phed.
Explain your reasons for making the
yisio:mus:
THE EXGLISH TOXGtTE.

J I?a:T<e somewhere read of an eminent person who used, in his
hra:.te '<fffices of d1evotion, to give thanks to heaven that he was
~rm

a. :Fienchman; for my own part, I look upon it as a peculiar
~iin. g;- tbat I was born an Englishman. Among other reasons I
Wk mys-elf very happy in my country, as the language of it is
rn;ndle:rffully adapted to a man who is sparing of . bis words ·and
L emelllly to loquacity. As I have frequently reflected on my good
rtmte iilll this particular, I shall communicate to the public my
1ccmlaoons upon tbe English tongue, not doubting but they will
~ oo%epta.:ble to all my curious readers.
The English delight in
lmc:e more than any other European nation, if the remarks made
t us by foreigners are true.
Our discourse is not kept up in
rnven:ation, bmt falls into more pauses and intervals than in our
~ighlmli ng countries; as it is observed, that the matter of our
rimmgss is thrown much closer together, and lies in a narrower
~mp:ss Ulan is u sual in the works of foreign authors : for, to
(~IOC o;uy natural taciturnity, when we are obliged to utter our
h!mght.s,, we do it in the shortest way we are able, and give as
llick & b i rth ttO our conceptions as possible. This humor shows
sdf m several remarks that we · may make upon the English
.ngwtge..
first of all by its abounding in monosyllables, which
ives; 1lS an opportunity of delivering our thoughts in few sounds.
his,, indeed, takes off from the elegance of our tongue, but at the
une tim·e expresses our ideas in the readiest manner, and conseue.ntiy answers the ~r&t design of speech better than the multi1de of syllables. which make the words of other langu-ages more
:mabi-le and more sonorous. The sounds of our English words are
[)mm<>Dl.y like those of string music, short and transient, which rise
rid perisb. upon a single touch; those of other languages are like
Ile notes of wind instruments, sweet and swelling, and len~thened

A.s

1to ftriety ot

mod~tion.-A.PI>~o~.

l:

One afternoon, when the sun was going down, a mother and
her little boy B!lt at the door of their cottage, talking about the
Great Stone Face. They had but to lift their eyes, and there it
was plainly to be seen, tboµgh miles away, with the sunshine
brightening all its features. And what was the Great Stone Face?
Embosomed amongst a family of lofty mountains, there was a
valley so spacious that it contained many ~housand inhabitants.
Some of these good people dwelt in log huts, with the black forest
all around them, on the steep and difficult hillsides. Others had
their homes in comfortable farm-houses, and cultivated the iich
soil on the gentle slopes or level surfaces of the valley. Others,
again, were congregated into populous villages, where some wild,
highland rivulet, tumbling down from its birthplace in the upper
mountain region, had been caught and tamed by human cunning,
and compelled to turn the machinery of cotton factories. The
inhabitants of this valley, in short, were numerous, and of many
- ---modes .of · life. But all of them, grown people and children, bad
a kind of familiaritv with the Great Stone Face, although some
possessed the gift of distinguishing this grand natural phenomenon
more perfectly than ~rly of their neighbors. The Great Stone
Face, then, was a woi'K· of Nature in her mood of majestic playfulness, formed · o the perpendicular side of a mountain by some
immense rocks, which had been thrown together in such a position
as, when viewed at a proper distance, precisely to resemble the
features of the human countenance. It seemed as if an enormous
giant, or a Titan, had sculptured his own likeness on the precipice.
There was the broad arch of the forehe.ad, a hundred feet in
height; the nose, with its long bridge; and the vast lips, which, if
they could have spoken, would have rolled their thunder accents
from one end of the valley to the other. · True it is, that if the
spectatc.r approached too near, be lost the outline of the gigantic
visage, and could discern ,only a heap of ponderous and gigantic
rocks, piled in chaotic ruin one upon another. Retracing his
steps, however, the wondrous<rfeatures would again be seen; a?d
the farther he withdrew from them, the more like a human face,
with all its original divinity intact, did they appear; until, as it< ,
grew dim in the distance, with the clouds and glo1ified vapor of
the mountains clustering about it, the Great Stop~ Face seemed
positively to be a.live,-!!;.w~itoam,

~fj.i~~:8tff}~~?i~'~:~~g~·~:,;
•

· (i) }fake outlines of topics for the following subjects; arr:angce your topics in paragraph groups and write,
the ioompositions :
1.
2.
8.

4-

A Bicy cle of the Latest Model
First Signs of Spring in the Vegetable World.
A Convenient Electric Motor.
Our Debating Society.

improved by :- condensati~n ? Which sentence do you
regard as the · finest in the selection ? Why ? Point out
the ·figures of _rhetoric. Does any one of them fail to
ad_d strength or clearness? Why? Which one do you
like best ? Why ?
With the .r eader closed, condense the lesson into one
paragraph.

(~)

_ Use the following series of facts in a composition
of five paragraphs. Select an appropriate title for the
co!l1llposition:
lt§oth plant& and animals ·are alive. Nature of life not known. ·
T lm:ie stages of ·life- infancy, maturity, old age. Herein plants
resemble animaJs. Plants, like animals, have digestive, circulatory,
and respiratory systems. Sleep necessary ·to plants. Cold, heat,

fro!3t. drought, poison, and electricity afiect the members of both
k• oms. Plants show instinct. Examples: Twiners, sensitive
plaim, Venus F ly Trap. Leaf shedding in fall would seem to
im}!lliy forethought. This· also shown by provision for scattering
seOOs.. Exampi1es: Keys of maple, . chestnuts' burs, wind-blown
seed$ of grasses. abundance of seeds of wild peony or of poppy,
thlst'Je puffs. These facts prove close relations of all living things.
Re11nrks on the wonders of Nature. Revealed only to observing
eyes; and studious minds.

Note where the subject or chief topic of the
following paragraph is placed :
283.

·· The death of Nelson was felt in England as sometliing more
than a public calamity,- men started at the intelligence and turned
pale, as if they had heard of the loss of a dear friend. An object
of our admiration and affection, of our pride and of our hopes,
_..., · was .suddenly .taken from us; and it seemed as if we had never
till then known how deeply we loved and reverenced him. What
the ·country had ·lost in its great naval hero - the greatest of our
own and of
former ti ~es-was ecarcely taken into the account
of grief:~SOUTHEY.
....

all

Place early in the paragraph the subject-topic.
EXERCISE.

(tl) Select in your fifth reader some prose lesson four

or five pa1:agraphs in length. Read it carefully. Note
the capitalization and punctuation. Does the passage
contain any errors in grammar? in composition? Is
eacl!l sentence clear?
What is the topic of each paragraph? Which paragraph is the most important ? Why ? What woi·d or
wonls in each paragraph (after the first) link it with
the preceding one ?
What are the loose sentences in the selection ? The
·periodic? The balanced? Could any sentence be

Fill out complete paragraphs from the subject
sentences given:
(a)

1.

2.
3.

4.

The paragraph is one division of the discourse. - Our State governments .should appropriate, money to build
good roads. ··
.
· .
That was the pleasantes_! journey I ever ~ade.
The important rules for the game are the~e.

I

(b) · The following facts are not arra~~ed in logical
sequence. Group them into suitable tor es for para-

i

~raph~, and :arrange the topics in proper order. .Make
!ach fact the basis of a sentence and complete the
~omposi tion ::
TORNADOES.

N o two h01."'1R!does move at same speed. Tornadoes arise most
'req11Jently in su.mmer. Clouds gather towards evening. Heat
Tornado be]t
15umlly in.tense. Two cubic miles of air in motion.
t0rtJh.east acF015.S Mississippi Valley. No wind. Rain and ha.il
LCCO<mpany stlllimn. .All living beings prostrated by heat. Tornado
ias gyratory :n:10tion.
Sky cloudless. - Large brick buildings
;otal1Jy wrecked. Nature of tornado's power. Path of storm.
s, om the aver:age, about one-quarter mile wide. Tornado advancng, expands" '1.-eakens. Finally dies away. Power greater than
:hat of moving air. - Storm arises suddenly. Upward whirling of
tir. Cyclone :• a tornado. Air rushes from every side towards
~entier of stolm!l. Heavy objects, plows and wagons, often hurled
tmnrilreds of Jee 1 through the air. West India tornadoes terri.fi.,c.
Dannon fiung a.cross the hundred-acre parade ground in Guadeloupe. Five-bnmd.red-ton vessels drawn up out of the water and
wrecked. P iin1e- boards driven through trees. Refuge placesrellit;rs. Much. destruction of life and property yearly.

Suggestions.
Kt3€p a note-book for composition work. When
you have -selected· a subject, write down what you know
about it. T ihinking on the topics you have written
down will smggest other points for consideration. Note
these also. Do not turn to books for help unless further
information. is absolutely necessary. After your notes
are made, decide on the topics you wish to use and
arra!1ge _them in logical order. Then you are ready to
make the Wfy ;27U of your composition.
Do not write a few words and then wait to think up
a good word or suitable phrase. Write out all that you
284.

have planned in your notes. When you have finished,
return, supply any deficiencies you may find in the
thought, and change the words where you can improve
them. Be careful to plaqe every sentence in its proper
order in the paragraph, and every paragraph in its logical
order in the composition. Embellish the work by adding
such figures of rhetoric as will give it more force and
beauty. This is the
t _ f§Lif
revise your composition, attending closely to
grammar, spelling, capitalization, and punctuation of the
sentences, and make a clean copy, as corrected, for preservation either for school use or other purpose for which
it may have been designed.

as

.

•

.

.

·TOPICAL INDEX .

PAGE

PAGE

Absolute Possessive Pronouns, _ 69
Abstract Nouns,
_ 23, 116
Formation of, ·_ 23
Plural or,
_ 56
Acatalectic Verses;
_ 267
Accent, Definition of, _
_ 264
Active Voice,
_ , 79
Addresses, , _ _ .
_ 249
Adjective, Clauses,
_ 130
Clauses, Definition or. _ _ _ 164
Elements,
_ 17, 143, 1-IB. l~7
Elements, Definition of,
_ l"·
j8
Parsing the,
~77
Phrases, _
127
Prondllils, Definition of, _
\ 32 ·
Pronouns, Demonstrative, _ _ :-.32
"'" "Pronouns, Indefinite,
32
Pronouns, Inflection of, _
68
Adjectives, Article, ·
30
Cardinal,
31
Classification of,
30
Compared Irregular 'i
75, 76
Compared Regul~
75

...

·"

Adverbial, Clauses,
_ 130
Clauses, Definition of, _ _ _ 167
Elements,
_ 17, 143, 152, 153
Elements, Definition of,
_ 152
· Objectives, _
154, 155
Phrases, _
127
Adverbs, Classification of,
_ 38
Comparison of,
_ 78
Conjunctive,
_ 38, 40, 129, 134
Conjunctive, Definition of,
_ 40
Definition of, _
_ 38
Interrogative, _
38, 39, 40
Interrogative, Definition of,
39
Modal,
40
of Degree, _
39
Office or Syntax of, _
78
of Manner,
39
of Place, _
39
of Time, _
38
Position of,
209
Relative, _
165
Simple, Definition of,
38
Adversative, Conjunctions, _
48

_c

Co'l'TirP:ri~nn f"\f :

I:

I

JJefinitiou of,

Demonstrative,

_

f'nni n nf' t.inn t; : ,

74
:29

31
:31
.31

Interrogative, _·
Interrogative, Become Pro31
nouns,
Limiting,
30
31
Numeral,
Ordinal, _
31
Participial, _
- 118
Proper, Definition of,
- 30
30
Qualifying, _
78
Adverb, Parsing the, _

Prin ~ ip j;\.l ,

l\Ie11;liers of n C0mp0uucl

tence,

~

S·~u-

173

,,...........'
)

~

Alphabet, _
10
Alternative, Conjunctions,
48, 49
Members of a Compound Sentence,
_ 173
Am or Be,
_ 92
Amphibrach,
_ 266
Analysis, Models for, 156-159, 162, 163,
165, 169, 170, 174
- 156
of the Sentence,
- 265
· Anapest,

·- .,;-303

PAGE
~pestie

Me:-&Snres,
-

~mil.

-

~otes,

-

- 270 .
- 48 .
245

httecedemt, lld inition of.
25
~delllls oJ.1telative PronC1nns, 27
Uitithesis, Dehlition of,
235
&. €lilr ..ui, Uses;(ll>~ _
~phe, Usies of

_

-

30

the,
228
&p,}Pl>Sitives, Dlt511nition of,
64
~emt, CM-d'usion., _
249
Introductfiw, _ _ _ 248
Proof, - - 248
Proper, Tille,, _ - - • 248
t\.Jg11ment s, _ _
Z39., 247-249
Definite PnJP05ition, _
_ 24S
T erms or E 1&nents,
::!48
Topic, _ __ _ _ _
248
Ycicle Adject::Nies, _ - _ - 30
~s1snd Bu t, IJ!;;e:s of,
_
_ _ 27
Upjrates,
_ _ _ _
11, 12
~iative Ele~'flts,

Msimilation,
~te., Detmiition of,
of a OopulHtiiiv-e Verb,
&ltrllibuti ve. Ellem.e o ts,
. ObjeC't,

36

_ 12
_ _ 16 .

144, 145
_ _ 36
150, 151
~ries. , F<fl'llll, _ _ _ _ _
95
llode, _ _ _ _ _ . _ _ _ 93
Tlense,
_ 94
h "n ]iary VerllE;,
_ 9-2, 93

81.\lmced Sentiu!oe,
- - 287
EtT. Aln or, _ _ _ _
9'2
-~ga.tii.um of the Verb, _ - 10-2
Syi\bpsis d . ifiie Verb, _
105
Uses of, _ _ _ _ _ _
36
~e and Be:8des, Uses of,
Between, Am<mg, Amid, and
Amidst_ Uses of, _
~phies, - - - - BTemk Verse., ~nition of,

Brmcketa. Useso f, _

Bldt.,

------

199
199
- 2l5
-- 272
- 2-28
- 48

C':&mra, Deflnition of,

_ 272
C-lqWt•tlira:tion,, _ _ _
_ _ 221
captals. Rules ~or the Use of,
22, 221, 222
Cardinal Adjectives, _ _ _ _ _ 31

PAGE

Case, Definition ot,
Nominative, _ _ _ _
Nominative Absolute, _
Nominative Independent,
Objective, _ _ _ _
Possessive, _ _ _ _ _
PossessiVe, Formation of

Complex, Clauses';
_ 131
Elements,
154
Phrase, _
_ _ _ _ _ 127
Predicate,
145
Propositions,
_ 172
Sentences, _ _ _
20, 160, 180
Sentences, Definition of, _ -)60 .
Sentences Made Compound, _ 188
Sentences Made Simple, _ _ 189
Composition, Balanced Sentence, 287
Definition of,' _ _ _ • • _ 238
Descriptions, _ _ 238, 239, 240-244
Kinds of, _ _ _ _
_ 238
Loose Sentence,
_ 287
Parag~aphing, _
_ 295
Periodic Sentence,
_ _ 287
Sentences,
_ _ _ _ - 285
Style and Art of, _
- 277
Suggestions,
- - 300
Variety in Words,_ _
- 283
Words, _ _ _
277
131
Compound, Clauses,

_ _ 61 ,
60

_ 6(), 6.3
_ 00, 61
the,
Gl, 62

Catalectic Verses, _ _
_ _ 267
Causal Conjunctions, _
_ _ 49
Principal,
_ _ 49
Causative Members of a Compo1!1Ild
Sentence, _
_ _ 173
Cautions, _ _ _ _
2 10, 211
Ceremony, Notes of,
_ 252
Classification, of Adjectives,
30
of Adverbs, _ _
_ 38 .
of Conjunctions,
_ 47
of Elements,
_ 142
of Nouns,
22
of Prepositions,
_ 44
of the Sentence,
. 18
of Verbs,_ _ _
_ 34
Clause, Interjection,
_ 51
Clauses, Adjective,
_ 130
Adjective, Definition of,
_ 164
Adverbial, _ ·_ _ _ _
_ 130
Adverbial, Defuiition of,
_ 164
Complex, . _ _ _ _
_ 131
Compound, _ _
_ 131
Conjunctions in,
131, 132
Definition of,
_ _ 129
·simple, _ _ _
_ _ 131
Substantive,
130, 161
Substantive, Definition of, _ _ 161
Climax, Definition of,
_ 2.35
Cognate Object,
100
Cognates, Definition of,
_ 12
Collective Nouns, _
_ 23
Colon, Uses of the, _ _
_ 224
Comma, Uses of the, _
2-25-227
Common, Form of Conjugation, _ 108
Gender, _ _ _ _ _ _
58
Nouns, _ _ _ _ _
_ 22
Nouns Become Proper,
_ 22
Comparative Degree, _
74, 75
Comparison, _ _
52
of Adjectives,
74
·of Adverbs, _
78

lt

t

~'"---.-Elements,

.

154

Infinitives, _ _
120
55
. Nouns, Plural of,
Participles, _ _
114
25
Personal Pronouns,
Personal Pronouns,
of,
67
Phrase,
1z;·
Propositions,
172
Relative Pronouns,
27
Sentence, Adversative Members of a, _- _ _ _ _ _ 173
~ntence,
Alternative Members of a, _ _ _ _ _ _ 173
Sentence, Causative Members
of a, _ _ _ _ _ _ _ _ 173
Sentence, Copulative Members
of a, _
_ _ - _ 172
Sentence, Illative Members
of a, _ _ _ _ _ _ _ _ 173
Sentence, Members of a, _ _ 171
Sentences, _ _ _ _ _ 20, 171, ]82
Sentences, Definition of,
_'' 171
Sentences Made Complex, _ _ 189
Word, Definition of, _
_ 14
Words, _ _ _ . _
13, 14
Concord, Definition of,
- 194
20

PA.Gr.:

Coiicord, Rules for,
194-1 98
Conjugation,
52
Common Form of,
- 108
Definition of, . _
- 102
Emphatic Form of,
108, 109
Forms of,
108
Interrogative Form of,
109
of the Verb Be,
1()-2
of the Verb Lryi;e,
105
Progressive Form of,
108, 109
Conjunction, Parsing the,
132, 13.3
Conjunctions. Adversa ti ve, .
48
Adversative, Principal,
48
Alternative,
48, 49
Causal, _ _
_
49
4 ()
Causal, Principal ,
Classification of,
41
C<Jordinate, _ _
41
Copulative, _ _
47
Copulative, Principal,
4E
Definition of,
47
in Clauses, _
131, 1 ~
Pure, _ _ _
_ _ 12\1
Subordinate ,
_ 4 7, 4£
Conjunctive, Adverus, 38 , 40, 129, 13-l
Adverbs, Definition of,
4C
Consonant, Digraphs, .
1~
Sounds, Definition of,
11
Consonants, _ _ _ _
11
Coordinate Conjunctions,
47
Copula, The, _ _ _ _
&
Copulative, Conjunctions,
->
.Conjunctions, Principal,
4
Members of a Compound Sentence, _ _ _ _
_ _ 172
Verb, Attribute of a, _ _ 144, 14 ~
Verbs,
3ii
Correlatives, _ _ _ _
- 49
Principal,
- 5(]
Couplet, Definition of,
- 274
Dactyl, _ _ _ - - 26ti
Dactylic Measures,
• 271
Dash, Uses of the, 2'28, 2'2!1
Declarative Sentences,
18
Declension, _ - - 52
of Compound Personal Pro- ,
- 67
nouns,
- 65
of Nouns,

__.,,.
~ ;,_~.~:,~:1)"!.~-- _:-· - ' ~

- \ - \ ..... ~ i-"

PIOALU NDEX.' .. : ~

-~

PAGE
• 66

ensm,. ,r1_ Pr.ooollllS,

>f ~ PersonalPr.onams, .

66

)f s~~ Rehl':ive Proncrmis, .

67

rlive We tbs,
.
r-ee, .&!.\ierbs oaf,
[lm1piairmhe.
74,
Pusitii~, - • •
SupertmiTe. _
74,
HJDSti::z:ti-te, .Adjective JPron~ - - - - - · -

96

!ldj ectiies, .

.

_ _ _ .
f.mtiv1e,, Word. Defunition cl,

75
74
75
32

. 31
- 14

_ _ _ . 13, 14
238, 239' 240-244

li"ord~

::ziptielll!\,
,a ms;,.
td:ic li't1i!ry,
t:aphs:,, -- -

. 176
- 263
11, 12
12
12
267'

eonscmmit, .
DefinfilMlll of,
<fter, _ _ .
blbo~ - Defulltion of,
IOUrSl'!. Diirect., • _ _
bdired, _ . . - - ~b~JiJefiniti<>n •Of,
i ch, li1ll:Jlinitiom of, _
ma.tic: Fmetry~
O>m eif;f, _
'i!'rag eif\j',, -

39

11
139,
.
.
-

139
140
14
274
262

- 263
. 262

-

rn,,Eit:kfar, and Nei1ther, _

_ 32

!lllent.T,J" -Sounds, •

_ _
. 10
men U:i, .Ldj.ect:iv.e , • 17, 143, 146, 147
.Adjecct!Jiw·t!, De finition of, _ . 146
.Adv~:,
_ _ . 17, 143, 152, 153
.Mveimirul, Defulitfa:n of,
152

Assentn•e.

36

.Attn1lEitli-re,

•

~on of,

Clau....c;;e,, .
Com~

-

• • _
. • . .

- • -

36
142
17

154
154
16, 17
Jnde~nt, Definition of, 155, 156
Obj ~ - • - 17, 143, 148-150
Obj ectne, Defulition of, . . 148
d. a S'emflenc e, Definition of. . 142
d thebtence,
. _ 15, 142
Hlrase;. • • . - - • • . 17
J:'linc.ilpall,. - - - - 15, 142, 143

ComJIIMi!lld,
ForIDI~ _

PAGE
Elements, Simple, _
. . 154
Subordinate,
16, 143, 146
Subordinate, Definition of,
16 '
Subordinate, Office of, _
17
Word,
. . _ _ .
17
Ellipsis, Definition of, . _ _ . 213

• 268
Iambic Measures~
Iambus, . _ _ _
. . 265
• 217
Idiomatic Phr~s,
Idioms, . _ . . ' _ _ • _ . . 215
Illative Members ·of a Compound
Sentence, _ _
. 173
Imperative, Mode, _ _
84
l'rlode, Tense of the,
89
Sentences, ""'. _ _ .
18
Impersonal Verb, Definition of, . 96
In, At, On, and By, U ses of, _ . 199
Indefinite, Adjective Pronouns, _ 32
Adjectives, _ _ .
. 31
Independent ~Iements, Definition
of,
155, 156
Indicative Mode,
_ . 82
Tenses in the,
. - 89
139, 140
Indirect Discourse,
- · 124
Infinitive, Parsing the,
Phrase, Definition of,
- - 121
Phrases, .- _ . _ '
- - 126
121-124
Uses of th~, • _ _

Emphatic Form of Conjugat ion,
108., 1()!}
Equivalents, . . _ . .
. 185
E tymology, • . _ . .
9
Exclamation Point, Uses of the, . 224
E xclamatory Sentences, _
- 18
ExpoRitions or Essays,
239, 246, 2!7
Feminine Gender, .
Fiction, . . . _
_
Figures of Rhetoric,
. _
First Person, . . _
. _
Foreign Languages, Plural of
Nouns from, .
Formal, Letters,
Notes, _ . . _ _ .
Formation, of Abstract Nouns,
of the Possessive Case,
Form, Auxiliaries, _ . _
of Ele ments, _ _
Forms of Conjugation,
Future, Perfect Tense,
Tense,

_
•
_
.

58
245

232 .
53
56

- 252
- 253

_ 23

H eptameter, .
Hexameter, _
Histories, . _
Hyperbole, Definition of,
Hypercatalectic Verses,
Hyph en, Uses of the, . .

·Infinitives,~compound,

of,

61, 62

- 95

120, 121

- 108
- 88

87

- 268
- 268
- 245

• 234

. 267
• 229

120

. - 120
Definition
Modifiers and Attributes of,

16, 17

Gender, Common, . _ . . • . 58
58
Definition of,
Distinguishes Sex,
59
Feminine,
58
58
Masculine, . _ .
Neuter, . . _ .
58
Governme,nt, Definition of,
_ 191
Rules for, . _ .
192, 193 .
Grammar, Definition of, _
9
Grammatical, Predicate,
16, 142, 144
Predicate, Definition of, _ _ 16
Subject, . _ _
. 15, 142, 143
Subject, Definition of,
_ 15

-~""°-{"·

"PAGE

•

.

,_

. "":.>
.

.:~~·._.,_-~---

-:

120
Siinple, - .
51
Inflection, Definition f ; .
68
of Adjective P
ouns,
of Nouns,
61
of the Verb, .
79
Informal Invitations,
. 252
Interjection, Clause,
"
51
Phrase, _ . . _
. 51
Interjections, Definition of, _
. 51
Interrogation , Definition of,
- 235
Point, Uses of the,
_ 223
Interrogative, Adjectives, _
- 31
Adjectives Become Pronouns, 31
Adverbs, _ . . . . . . 3S, 39, 40
Adverbs, Definition of. _ - - 39
Form of Conjugation, . . ·. 109
Pronouns, _ _ _ .
_ 26, 129
Pronouns, Defini tion of, : ,-~ 26
- 18
Sentences, . - . - 35
Intransitive Verbs,
- 252
Introduction, Letters of,
- 15
Introductory Syntax, .
- 204
Inverted Order,

Invitations,
Informal,
Irregula r Verbs,
List of, . .
Kinds of Composition,

~

-:

-· -

~'-

PAGE
• 253
. 252
- 92

110-113
- 238

Language, Definition of,
13
Oral, Definition of, _
13
Writte n, Definition of,
13
251
Letter, Defl_nition of,
Letters,
- 251
Acceptances, _
- 254
Address,.
- 256
Body,.
- 257
251, 252
Business,
25•>
Formal, .
Friendship, _
- 251
- 256
H eading.
Introduction, _
- :256
- 257
Message,
- 252
of Introduction,
• 256
Salutati on, _
- 257
Signature, .
. 257
Subscription,
Suggestions,
- 258
Superscription,
' 258
. 257
Term of Respect, . 30
Limiting.Adjectives, .
- 12
Liquids, Definition of,
16, 145
Logical. Predicate,
Predicate, Definition of, - - 145
- 15, 144
Subject, . - . - . 144
Subject, Definition of, - 11
Long Vowels, Definition of, . 287
Loose Sentence, - . - Love, Conjugation of the Verb, . 105
Synopsis of the Verb, - 107, 108
Lyric Poetry,
_ _
- 261
Elegy,
. 262
• 261
Song, .
• 262
Sonnet,
Manner, Adverbs of,
Masculine Gender, Measures, Anapestic, Dactylic, .
Iambic,
Trochaic,

.

-307 :.='¥

. 39
. 58
- 270

_.271
_. 268
- 269

•

PA.GE

basof a Compound Sen:1en.ce, 171
ldiasative,
_ _ _ 1i3
lltGDative, _
- 1i3
li3
- 172
- 232

:&AEZtive,
~opzlalh·e,

_

.plEr.
TG!'Verse, .
1n:JI!llY, Defimiti!on of,
Ll &!lh'erbs, .

_ 2G7
234

-

a.~aries,_

)efuition of, _
mperative, - ~tive, Tense of tht>1
:ndw.ative. _ _ - - xuila:m.th-e, Tenses in the,.

40
93
8'2

- 84
- 8!l

82
89

- - - - - - - 82
89--91
Tensci in the,
ill;lijiU111Ctive, _ _ _ _ - 82, 83
ill:4jimctive., T enses in.the, 89, 91
elS 5f0>r Analysis, 156-15:9, 162, 163,
~o4fal:tial,
~o;teatial.

PAGE

N-Ouns,OJIIlIIlon, _
Cammon, Become Proper, _
CiOIIlpound, Plural of,
Jlleclension of, _
- l>lefinition of, _ _ _ _ _ _
lmflection. of, _ . _ _
Pilnral of, Formed by a Change
within the Word, ·
Pilural of, from Foreign Languages, _ _ _ _ _ _ _
PHural of, Irregularly Formed,
Pllnral of, Regularly Formed, _
Proper, _ _ _ _ _
_
Proper, Become Common, _
Number, Definition of, _
_
P'.erson and, _
_
P ~ ural, _
_ __
_
:Singular, _ _ _
_
Numeral Adjectives,
_
Cardinal and Ordinal, _ _ _

PAGE

22
22
55
65
21
61
56'
56
54
54
22

2'2
53
98
5:3

53
31
31

165, 16i9, 170, 174

es;, ':3'.'enses in all the, _ - - 89
i:filen.an d Attribntes, of Infinittives, - - - - - - 120, 121
lf:h.rticiples, _ _ _ _
. 115
()El.~,

-

-

-

-

- ' -

-

267

rosyt.lfable, Definition of,

_ 14

raJi\'re Poetry, _
B;al;llul,
KJ!i!C, _ _ ___
M:!ft,Ji.cal Romance·,
M"!illtfi.cal Tale, _
P'as.ft6iral or Idyl,

- 260

_ 2Gl

_

- 260

- 2GO

• 2GO
- 261
2:39, 24t-246
rmmes, - in:all.Order, ~
204
!J3
attiaJD, - - tertGender, _
- 58
:iii:ltli~ , Absolute Case,
- - 61
- 60
Cmre. - - - - lnd'ependent Case, _
- GO
es. F'o:nnal, _ _
- 253
or ~ mony, - - 252
in ~

Olbjiect, Attributive,
150, 151
·C<lgnate,
_ _ _ _ _ _ _ 150
Objective, Case,
_ GO, 6.3
Elements, _
17. 143, 148-150
Elements, Definition of,
_ _ 148
Objectives, Adverbial,
154, 155
Of an d In, Uses of,
_ 199
Office or Syntax of Ad>erbs, _ _ 78
On and Upon, Uses of,
_ _ 200
One, Another, _ _ _ _ _
33 .
Eacli, OLher, _ _ _ _ _ _ 33
Oral Language, Definition of,
_1 13
Oratfons, _ _ _ _
23!), 249
Conclusion, _
_ 250
Discussion, _ _
_ 250
Introduction,
_ 250
Or d-er, Definition of,
_ 204
Inverted,
_ 204
Natural, _ _
_ 204
Rules for,
206-209
Ordinal Adjectives,
_ 31
Orthography,
!l, 10

Farsing the, _ _ _ _ _ 70

IDS. Al>strf1Ct,

Ab!tract, Formation of,
Abs11.J;act, Plural of,

Cl'asislflce.tlon of, • •
QolD~Uv~.

, • • , •

- 23, 116
- 23
- - 56

..

Paragraphing, _
Pa rentheses, Uses of, _
Parsing,

_ •

- 295

- 228
70

_

22

the Adjective,

~

ilie Mverb,

• • '

.

77

. , ra

'·

Parsing, the Conjunction, _ 132, 133
the Infinitive, •
_ 124
the Noun,
_ 70
the Participle, _ _ _
_ 119
the Preposition,
_ 128
the Pronoun;
_ \ 73
the Verb,
_ _ _ _
_ 99
Participial, Adjectives,
_ _ 118
Phrase, De1lnition of,
_ 116
Phrases, _ • ' _ _
116, 126
Prepositions,
_ _ _ 45
Participle, Parsing the, _ _ _ _ 119
Uses of tbe, _ _ _
116-118
Participles,' Compound,
114
Definition of, _ _ _ _ _ _ 114
:Modifiers and Attributes of, _ 115
Past, _
_ _ _ _ 114, 115
Perteet,
114, 115
Present,
_ _ _ _ 114, 115
Simple,
114
PartS of Speech,
_ _ 21
Passive'Yoice, _
- - 80
Past, Participles,
114, 115
. Perteet Tense, · _
- 87
Tense,
_ _ _ - - 87
Pentameter, _ _ _
. _ 208
Perfect Participles,
114, 115 ·
Period, Uses of the,
- 223
Periodic Sentence, _
- 287
Peroration, _ _ _
- 249
Person, and Number,
98
Definition of,
52
53
First, _
Se_cond, _ _
53
Third,_ _ _
53
25
Personal Pronouns, Compound,
25
Definition of, _ . - Simple, _ _ _ . _ _
25
- 233
Personiiication, Definition of,
- 249
Persuasion, Addresses,
239,249, 250
Orations,_
Pieces of, _ _ _ _ 239, 249, 250
Sermons,_
239,~9
- ''12'7
Phrase, Complex,
127
Compound,_
121
Infinitive, Definition of, _
51
Interjection. . - - 116
Participial, Detlnition of,

freposmoiwJ, DefµlltJon ot,

48

PAGE

Phrase, Prepositions,
- 44
Phrases, Adjecri'i'e,
- 127
Adverbial, _
- 127
Definition of,
- 126
Idiomatic,
- 217
Infiniti're,
- 126
Parti<Ci pi al
116, 126
Prep<>Sitiooal,
43, 126
Simple, __
- 126
Substanti•e.
- 127
Place, Ad>erbs of, _
39
Plural, Number,
53
of Abstract Nouns.
56
of Compound Nouns,
55
of Nouns Formed by a Change
56
·within the Word,
of Nouns from Foreign Languages, - - - - - .
56
of Nouns Irregularly Formed , 54
of Nouns P.egularly Formed, _ 54
of Proper Names with Titles, _ 57
Poetry, _ _ _ _
_ 238
Definition of, _
_ 259
Didactic,_
- 263
Dramatic,
- 262
Lyric, __
- 261
- 260
Narrati•e, "Polysyllable, Definition of,
- 14
Possessive, Ca...o::e, _ _ _
60, 61
61, 62
Case, Formation of the,
Pronouns, .Absolute,
- 69
Possessi•es, _ _ _
. 136
Position of .Ad•erbs, _
_ 209
Positive Degree,
- - 74
Potential Mod <>,
- 82
Tenses in the,
89-91
Predicate, Complex,
- - 145
Grammatical, _
16, 142, 144
Grammatical, Definition of, . 16
Logical, _ _ . _ .
_ 16, 145
Logical, INfinition of,
- . 145
The, _ _ _ _ _ _
_ 15, 142
Prefix, Definition of, . - - - - 13
Preposition, Parsing the,
_ - 128
Prepositional, Phrase, Definition of, 43
Phrases, _ _ - - - - - 43, 1
J6
Prepositions, Classification of,
44
Definition or I
'
•
48

fartlcipial, • . , - • • · 4IS

,

PAGE
~piositim:s,

-

Phra.5',. -

-

- - 44

Simpf~
~S!:nt, :autic iplies,

114, 115

- J'la'fe«S Tense~ _
'te nse.
_ - - m.iWve 11:\ord. JDeli mf ti<OD of, - imipal ~ A.dvenat n-:-t Conjunctil!ID3i. - - - Crusa;Jt:C<>njuncii;o:n;;,
Clopulilt~e Con:jJmrctions,

Clarrehtft'\""es,
Elements.
Vwts t!ff the Verni.
r>pressf~Form

86
86
13
48

d Onrjugation,
lOS, 100
-

Adj edii~e . Defi:niitll'JIJ'l Of,
Adjeooi te, Infilectikxti of,
c.',om J;Bilmd PefS) ·~al ..
<C-OmJiID'l!Dd Pei:s;Dma:l, Declensiitlll of, _ _
O:>mf!l> imd Relatlive,
]i)ecleI~Oll of, - - - - - Definiiiilln of,
li.l)emaw!t:Tatine Acdjective,

bdefiu il:e Adjert~ivt,,. _ _

_ _ _ -

Qualifying Adjectives,
Quatrain Definiti<illl. of,
Quintet, Definition o·f,
Quotation Marks, "Uses of,

4!}

-

48
50
15, 142, 143
_ - 91

lilllll\)l}n, l'!ll'Sing; Ue,
_ - 001oons;, , .!bsollllte fil:M..~ssive.

Jfuiteriro,iative,

44

P~GE

Punctuation, Rules fo~. - 15, 19, 61, £6'
Pure Conjunctions,
- 1$
Pyrrhic, _ _ _ _ _ _
- 265.,

73
GO
32
68

25
67
Z'l

66
24

32
32
26, 129

li.nte~~ative, Tu~tion

of, _ 26
lPerscn"al, Defininii!ln of, _ _ _ 25
lP.elal!i'\"•e, _ _ _ _ _ 26, 129, 13:3
1"Rela1fi,-~, Ant.e~ of,
Z'l
lRelaliim.\ Defu1m-:-:o:r; l(Jf, _ _ _ 26
:sim p'ePerso,nal., _ _ _ _ _ 25
Simp\2Pe.rso.nal,, Tu:clension of, 66
SimpeRelati>e', _ _ _ _ _ 26
SimpeBelativ~ De:densio n of, G7
ro!j)er, Adljecti>es,JDellinition of, _ 30
:1Na nrei:;with Titfu:s. Plural of, 57
°lNOllJll!\', _ _ _ _ _ _ _
2.2
iNOlll'ff, B.ecomeCa·m mon,
22
~si ti!Im, Definilf©nd, _
- 16
~si t:im!s, Compllf:l[,, :.
172
Com p.;.llDld,
_ _ _ _ - 172
Simp'E;;. _
172
238
nise, - - - - 9, 10, 264
l'1li&.>d y. - I>efir&t:im of, _
- 264
iaaua~. Defia.itiilm of, - - - 222

Reciprocals, _ _
_ 33
Regrets, _ _ _
_ 2541
Regular Verbs, _
_ 92
Relative, Adverbs, _
_ 165
Pronouns,
2G, 129,133
Pronouns, Antecedents of,_
Z1.
Pronouns, As and But, _
Zf
Pronouns, Compound, _
27
Pronouns, Definition of,
26
Pronoun;;, Simpl e,
_ _ _ _ 26
Relatives, Prefemed Use of, _
28
Rhetoric, Figures ,o f, .
- 232
Rhyme, Definition: of , _
- 271
Rhymes, Double,
- 271
Ear,
- 27'2
Eye, _ _ _ _
_m
Single.
- 271
Triple,
- 271
Rhythm, Definiticm of,
- 204
Root, Definition of,
- - rn
194-198
Rules, for Concord,
for Government,
192, 193
for Order, _ _
206-209
for Punctuation,
15, 19, 61, 64
for the Use of Capitals, 22, 221, .2"l2
of Syntax, General,
219, 220
Scanning, Definition of, _
_ _ Z'l3
Second Person, _ _ _
_ 5-3
Semicolon, Uses of the,
_ 225
Sentence, Analysis of the,
_ 156
Balanced, _ _ _ _
_ 287
Classification of the, _
_ 18
Compound, Adversative Members of a, _ _ _
_ _ 11"3
Compound, Alternative Members of a, _ _ _ _ _ _ 173
Compound, Causative Members of a, _ _ _ _ _ _ 178

P.AGJC

Compound, Copulative Members of a, _ _ _ _ _ _ 172
Compound, Illative Members
of a, _ _ _ _ _ _ _ _ 173
Compound, Members of a,_ _ 171
Definition of, _ _ _ _ _ 15, 141
Elements of a, Definition of, ~ 142
Elements of the, _ _ _ _ 15; 142
· Loose,
_ _ _ _ _ _ _ _ 287
Periodic, _ _ _ _ _ _ _ _ 287
Unity of Expression in the, _ 292
Sentences, · _ _ _ _ _ _ _ _ 285
Complex, _ _ _ _ 20, 160, 180
CoD;lplex, Definition of, _ _ _ 160
Complex, Made Compound, _ 188
Complex, Made Simple,
_ _ 189
Compound, _ _ _ _ 20, 171, 182
Compound, Definition of, _ _ 171
Compound, Made Complex, _ 189
Declarative,
_ _ _ _
_ 18
Division of Infinitive in,
_ _ 285
Exclamatory, _ _ _ _
_ 18
- --.. ._False Concord in, _ _ _ _ _ 285
False Sequence of Tenses in, _ 285
False Use of -Correlative Pronouns in, _ _ _ _ _ _ 285
False Use of Participle 1n, _ 285
Imperative, _ _
_ _ 18
Interrogative, _ ~ _ _ _ _ 18
Misuse of Auxi ries in,
_ 285
Silpple,
_ _ _ 19, 156, 176
Simple, Definition of, _ _ _ 156
Simple, Made Complex, _ _ 186
Use of Conjunction for Preposition in, · _ _ _ _ _ _ 285
Use of Preposition for Conjunction in, _ _ _ _ _ 285
Use of Which without a Definite Anteceden t in, _ _ -. 285
Wrong Use of Adjective for
Adverb in, _ _ _ _ _ _ 285
Wrong Use of Adverb for Adjective in, _ _ _ _ _ _ 285
Wrong Use of Possessive in, ,_ 285
Sermons, _ _ _ _ _ _ _ 239;249
Sestet, Definition of, _ _ _
_ 275
Short Vowels, Definition of,
_ 11
Simile, Definition of,. _ _ _
_ 232
Simple Adverbs, Definition of,
- 38

P.AGIC

Simple, Clauses,
131
Elements,
154
Infinitives, _
120
Participles, _
114
Personal Pronouns,
_ 25
Personal Pronouns, Declension
of,
66
Phrases, _. _
126
Prepositions,
44
Propositions,
172
Relativ,e Pronouns,
26
Relative Pronouns, Declension
of,
_ _ _ _ _ _ -. _ 67
Sentences, _ _ _ _ 19, 156, 176
Sentences, Definition of,
_ 156
Sentences Made Complex,
_ 186
Singular Number, _ _
_ 53
Slang, Definition of, _ _ _
_ Z'l9
Sonnet, Definition of, _ _ _
_ 276
Sounds, Consonant, Definition of, 11
Elementary, _ _ _ _ _ _ 10
Vowel, Definition of, _ _ _ _ 11
Spenserian Stanza, Definition of, Z'l5
Spondee, _ _ _ _ _ _ _
. 265
Stanza, Definition of, _ _ _
_ 274
Spenserian, _Definition of,
_ 275
Stem, Definition of,
_ 51
Style and Art of Composition, _ _ Z'l7 ·
Subj ect, Grammatical, _ 15, 142, 143
Grammatical, Defin ition of, _ 15
Logical; _ _ _ _ _
_ 15, 144
· Logical, Definition of,
_ _ 144
The, _ _ _ _ _
_ 15, 142
Subjunctive J'r!ode,
82, 83
Tenses in the, _
_ 89, 91
Subordinate, Conjunctions, _ _ 47, 49
Elements, _ _ _ _ 16, 143, 146
Elements, Definition of, _ _ _ 16
Elements, Office of, _
_ _ 17
Substantive, Clauses, _ _
130, 161
Clauses, Definition of,
_ - 161
Definition of,
_ 21
Phra3es, _ _ _ _ _ _ _ _ 127
Subvocals,
11, 12
Suffix, Definition of,
- l3
Superlative Degree, _ _ _ - 74, 75
Syllable, Definitfon of,
- ·_14 ,
Synecdoche, _ _ - - - 233
Synopsis, Definition of, _
- 105

-·
31~
Symip;is, of the Verb Be,
11f the Verb Lo1Jt, _
Syn,ta.x:,
D.<efinition of.
Riules of, General,

PAGE
- 105
107. 108
9, 10, 141
- - 141

219, 220

Ten;se. Auxiliaries, J)efinition of,
lluture,
Flllture Perfect,
il'i the Imperative Mode,
l'last, - - - - - J'}ast Perfect, - - - .

Present, .

- .

.

94
85
87
88

89
- 87
87

- 86
86

P'resent Perfect,
Temses, in all the 1llodes, _
89
in the lndicative Mode,
89
in the Potential Mode,
89-91
in the Subjunctive Mode,
89, 91
Tetrameter, .
. 267
The., Uses of,
• 30
ThBl!le, Definition of, .
. 238
Thiird Person,
_ _ . . 53
Till!le, Adverbs of, - . 38
To., Into, Unto, For, Toward, and
Towards, Uses of,
. 199
Tro.n-sitive Verbs, - _
. 35
Trmeter. _ _ _ . . _
. 267
Trjp-let. Definition of, . _
. 274
Triisyllabie, Definition of,
. 14
Tr<rehaic Measures,
. _ • . . 269
Tr(oc:hee, _ _ • - .
. 265
Us~,

Word§ of Double,

. 13.3

Veirba.ls, Definition of,
_ 114
Vero, Copuiative, Attribute of a,
144, 145

Impersonal Definition of,
96
Infiection of the, .
- - 79

PA.GB:

Verb, Pars~ the, • . _ . - _< 99
Phrase. :Definition of,
- 9a
Principail Parts of the,
- 91
Ve:rbs, Amtiiliary, •
92, 93
Classificaf;ion of, _ _ _ _ _ 34
Copulative, •
- - - - •. 35
Defectiv e,
96
Definition of,
34
Intransi1tive,
35
Irregullll r,
·- 92
Irregular, List of, _
110-113
Regular·, _
- 9-4
Transitive, • _ •
- 35
Verse, _ _ _ • _ _
Blank, Definition of,
Definition of, _
Meter ()il,
Verses, Acata.Jectic,
CS:talecti~, _ _
Hypercatalectic,
V0>ice, Acthe, _
Definitim of,
Passive, . •
Vowel Sounds, Definition of,
Vowels, . • • _
Long, Deflnition of,
Short, Definition of,
Voyages and Travels, _

- 264
- 272

.
1

\.

.
j_

- 274
- 267

- 267
- 267

- 267

79
79
80
11

11
11
11
- 245

What, . _ • . _ •
134
Word, Compound, Definition of,
14
Derivative, Definition of,
14
Primitive, Definition of,
13
Words, Compound,
13, 14
· Derivative, .
13, 14
Definition of, • • . .
13
of Double Use. _
_ 13.3
VariedUse of, _
_ 137
Variety in, . _
_ 28.3
Written Language, Definition of, _ 13

,,

i

'

