PRACTICAL

COMPOSITIO N,

NUMEROUS MODELS AND EXERCISF.S .

llY

:Mns. :MARY J . HARPER ,
r.A Ol\.ti n

COLl.~OfA.TJ:< INS T ITOT E, nno oJtLY?', rcEw v on Jt,

,,_. .

NEW YORK :

OIJARLES

SORIBNER &
1860.

COMPANY

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l' Ji t '.i 1,· L

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LLd·,. . \ .... ~ 1 ,i ·:

GIF T OF TH E
(H•. e•~.Y SCH OOL •f E )\j (.~ nM

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TO

·PROF. A. CRITTENDEN,
PR I NC I PAL

01"

PACE:l:R

J HSTITUTE,

T(J

Enl ered, nccord ing to A ct of Congress, In tho year 186U, by

CITARLES S CRIBNER k

CO. ,

In tho Clerk's Offi ce of tho D i•trict Co urt of tho United State• for
the Southern District of New Yo r k.

WIIOSE

Rll'El~ WISDO~[ A~D

TUE AUTIIOR WAS

I NOEDTED

c u r:r u r..E

FOR EARLY

INSTR UCT!O:<,

AND WJTR

WIIOM SITE WAS A OO· LAnomm, IN TJlE FIELD OF LITEl?ATURE,
IN

8UDSEQUENT

TEARS,

TIIJS WORK
IS MOST RESPECT FULL Y DEDICATED.
T llE TftO W & ~;\ llTI I
• 0 0 }l;.

.w A"' fl , .4 c Tl' ll t ,"1: fl c 0"' r
w VRt:i-> ro; 8Tll. Y. E1', N. \'.

4(1, t lt,

A If

r

PREFACE .

REAUZING

tho difficulties experienced by youth in

U10

ncqnisition of tho Art of Oomposition, and bolie>ing that
runny obstacles cnn Le removed by practical instruction,
tl1is litLlo treatise ia submitted to American t cnchers, with
tho hope that its ~implicity nnd practical methods ·will comm e11 d it to their earnest and cord ial consideration.
Alt tho preliminary instruction tho mass of pupils rccui '"e may be comprised in tho few words, "You arc expected
. to write a composition once in two weeks." No early seeds
hnvo been sown, no ground prepared or fortiliz ed, an<l
teacher an<l pupil find to their disappointment only a bnrron,
sandy <lesort. But flowers and fruit can bo obtiline<l only
by enrly planting, tilling, and culture, and it is to this, as n
prominent foaturo, attention is invited.
Wh en the ngod divine was asked "how it was that ho
was nlways ready to extemporize upon any subjoct upon
which he was called to nddress an nudicnce," (U1s"·crou tho
youthful proacbor tbns : "Fill t!,e cask, my boy, fill tho
cnsk I thon you can tap it nnywL oro nud it will ru a." 1fony
a tenchor of youth, as well as you th themselves, nro lamenting to-day that they l1 nve been tapping empty casks, nn d
won dering why tho viatago foil s.

•

CONTENTS.

OilAPTER I.
PA.G t:

OnAL 00Mros1T10N. . . . . . . . . . . . . . . • . . . . • • • • • • • • . . . .

11

CllAPTER II.
WHITTEN CoMros tT1 0::-1-1''01mATJON

ov S&N TE...1'CEB . . •.

22

OUA.PTER III.
I NCORRECT Courosrr10N. . • • . . . • • • . • • • • • • . • . . • • • • • • .

39

OIIAPTER IV.
PUNCTUATION............. . . . . . . . ..... . ..... . .... .

48

OIIAPTER V.
DmECTIONS FOR PnF.PAillNG COMPOSITIONS.. .. .. .. . . ..

GG

CIIAPTER VI.
Dm&CTi oNS Fon CorYiNa C oMPOSITl ONB ••••.

78

CTIAPTER VII.
Two Fon111s OF CoMPOSITION-Pnos& AND PoETnY . ...

.- .;

CIIAPTER

90

..

vm.

E LEMENTS 011 CORRECT CoMrosJTIO)l' .•• •.••• • •. . . ..•

133

I
l

i

8

COXTENTS.

OITAPTER IX.

INTRODUCTION TO CHAPTER I.

PA.OK

Srnx

············ ..... ·············· ..

. . . . . . . . . . 141
TuE taste for Composition is both n::itur::il a.ll d a.cqu ircil.

Off.APTER X.
F1ounxs OF SrEEcH .....•.•

. .. .. ···· ··············

Every cl1ilu tl111t can think, or cxp rc8i! what i t tl1ink3, can

150

nc'l uiro i t in n g rcntor or less degree.
Instru ction in it shoulu comrucnco ns Roo n 11s tho pupil

OIIAPTER XI.
Cmrw1sM

············ .... ... .

is aulc to grn~p Mental Arithmetic, Gco;;rnph y, or nny otl1e r

.. ..•..• .. . 170

branch of cuuc:llion .

Wh enever a chil u i3 aulo to c.iprcss its

tliot1 g l1 !.1 in " ·ord s, Composition sl1ould be comme ncccL It
may bo profitably tnnght and 11c'luired 'befo re the pen 01·

OIIAPTER XII.
NEwsrAPEllS AXD MAoAzr.rns - How JifAoE, MATERIALS, &o ., ... . , . •..•.......• •••• •••• .•.. ..•. 177

p encil can be used.
An oral exercise, in which tho chilu is encour ogcd Lo
express, in its own manner and w oru~, what it hns seen,
h eard or experi enced, would naturally form tho first st.ngc

of instruction.
After a narration of this k ind, each pupil should be reque sted to gil·e some opinion r espectin g what was seen or
henrd.
The oral narrative will give the fi rst insight into the art
of composition, or tho e:rpreasion of t!.ougMs; th e second will
teach tho sc11olor to tlLink.
In th ese two mental opc rntions, t!wught ancl th e e:rpres-

sion of thought, lie the germs of Composition. Those germs
may be warmed into life, expanded so as to send forth kaves
:ind branches, blossom and bear fru it., nnd yield a rich and
abundant harvest in the fi e:ds of literature and sound
learning.

1

PRACTICAL COMPOSITION.
CHAPTER I.
ORAL

COMPOSITION.-x-

LESSON I.
TrrE p npil may give a d escript ion of so n~e place that b ns
been visited, nnd wl1 at w as see n an.d heard.
:MODEL.

...

My fi rst visit to Barnum's Museum ,\·as _wh en
I was ei ght years old. My father was comin g on
from Sa"t-annah to bny g9,pds, and as mother an d I
had never vi sited New Y~rk "-c antici pated much
p1casnrc.
-we were gbd to leave Broadway, because it
was so noisy and every body in such a hurry.
Th e first object t hat attracted my at tention
was the Happy Family. Rabbits, mice, cats and
. monkeys, were a11 playing togcthe1·. The gian t
was the tallest man I ever saw. Ile looked l ike
t11e pine trees at home. \ Ve passed a fe w hours
• Oral Composition will excite the interest of pupils on account
of its novelty.

.

12

PRACTICAL CO~IPOSITlON.

very pleasantly, looking at all kinds of curious
animals nnd curious things.
Since then tho Museum hns been burned, nnd
little girls and boys arc obliged to find some other
place of mnnscmcnt.

fi.ndin()' nnytl1iug insi<le of the bellows, that he
docs ~ot sec her. Ilis brother, who iti lookin~
thronrrh the lrn.lf-opcn door with a comical smiio
upon l1is face, seems to say, "It is good enough
fo1· yon ."
rcrhaps thi s little boy will make a Benjamin
Franklin, or Robert Fulton .

EXF.ll CJS E.

Scn:ooL. -Describe the morning, snm mor or
wi nte r, ple:isunt or stormy, Lirds, flow ers, &e. 1 if in the conntry, c3rs, omni bases, &c., if in the city.
M\' PE-rs.-A cnnury-binl, doll, chickens, flower- bed,
musi c-box, &c.
SKATING PARTY.-Ilow muny, the pond or rink visited,
how Rlrnting is acrjltircd, mislwps, &c.
IlooKs I SrUDY.-N:-tmcs, nature of the works, und whic.h
is the most in teresting or inslructi vo.
SADJJATII Sc noor. F£snv Ar.. - Song• snng, speecl1es mnd e ;
desc ription of the place in w l1ich it was hold.
V1sn TO A M1;:-; AOEHIE.-Tcll w lint animals were there,
their nppcaruncc, habits an d pcrformunoes.
Sonoor. Gmr,s' Prmno.-By r ail -road, steamboat or stnge,
refrcsl1me:nts, amusements, and return home.
WALK TO

J.JESSON II.
Th is Excrciso may c0UHist of n description of Pictu res or
Sculpture.
J\!ODEL.

A little boy who has nn ·unusual :unonnt of
cnriosity, is in the act of cntting open the bellow!'
to find tbc wind.
His mother stands over him with nn uplifted
rod in her hand, but lie is so astonished at not

'

13

PRACTICAL COMPOSITION.

M·l

~

,. ..i

).;:,

EXETIC! SK.

PrcTc nE OF A FAmY SoENrc-Dcscribo it.
The Lust Supper.
"Vi'as!.i ngto n crossing the Delnwnre.
.Abraham Lincol n unL1 liis family.
Christ rcjec.t cd.
GoJ's Acre.
Niagara Falls.
Oatskill 1fountnins.
Bunker Hill Monument.
St.utuo of the Greek ~lnve .
Clcov1trn with tho pobonons asp.
Adam nnd EYc.
Taking tl1e Ontl1 .
Wilshington .
U~SSON

III.

In this Exercise n questio n is to be asked by the teacher,
and answered by the pupil.
:MODEL.

Qaestion. -Why is this a bcantifnl spring
morning~

.

A nswer. - Bccausc the snn shines brightly, tho
~

~-.

14

PRACTICAL COllPOSITION.

PRACTICAL COMPOSffiON.

flow?rs are beginning to bloom, and
playing, and the birds are singing.

the lambs are

15

EXEROISE.*

Ques. QUC8.-

EXEROISE.

W hy is tliis nn n nnlca~an t. dnv 1
'\V.hy should ~Jiild;eD I:iSO early in tJ1e morning 1
Ot II' hat do bll'(!s builtl the ir nes ts 1
Which forest birds sing tho s weetest ?
Wl1ich is tho no\ilcst. nnimal 1
Whi ch is the largest animal in tho ocean 1
Wltnt flo wer s li:ivo th o s weotc;. t perfu me?
Is the light of the sun or moon tho most beau tiful 1
Why do chi ldren like snow 1
Wl 1at should wo give t o t h o poor 1
Why dit1 Jesus love li ttle chilllren 1
Ilow cnn you best show l o\·o to your parents 1
Wh at makes ch il dren happiest?
What story books do you like best, anti wl1y 1

LESSON IV.
Qllcstion is to bo ·asked by one pupil and answo 1·ecl by
another.
:MODEL.

Qttestion.-Do ornngcs grnw in warm or cold
climates~

.Answer.-They g row in warrn climates. Havana oranges grow in the isl and of Cnba, whi ch is
one of the '\Vest Indies. The perfome of tlic bl ossom is very sweet, and the fruit one of the most
valnablc and delicious.

LESSON V.
Describe so mo place visited, city, watcr ing ·placc, gro..-o
or garden.
ll!ODTO:L .

l'l1iladel phia is sometirnes called tlie "City of
B rotherly Love." One r eason for thi s iR because
so many of the people called Quakers, or Friend s,
r esi<lc in it. They generally Jim pc:iccalJl y with
all other people.
They arc a very quiet people, :w J do not hnrry
nbont as rapi dly ns the ci tizens of N cw York.
The streets arc very cleanly, and the markets
neat and tastefully adorned wi th flo wers. Some
of the finest buildings a1·c the Girard College,
Indep end ence IIa11, Academy of 1Yfosi c n.nd Continental Ilotel. Fairmonn t '\V ater ·works is a
place of resort during the summer months, on
account of its cool, shady g roves, an d walks, and
beautiful sce nery.
EXEJ?CTSE.t

D escribe · $11.ratogn .
Ne wport.

Hud•on River.
D cln.waro River.

" The q11cst:ons an<l un swcrs in this E~ crci sc shou:t.l be given
entirely by the pupil d, who should ho encou rnged to mo.kc their
replies n.s compl ete ns possible.
t Tbcse subj ects o.ro intended to be suggestive of familiar ones.

16

PRACTICAL

Dcscribo Brooklyn.
Cliicago.
New York.
Boston .
Ci11cirmnti .
London.
Pnris.

Ohio River.
Central Pnrk, New York.
Greenwood Cemetery.
Some noted church.
Some flourishing school.
Tho Coliseum.
Py r:imids of E gypt.

:MODEL.

He c.ARRIES ms
umbrella.

JllODEL.

P orn-i:oLro.-A por tfolio is a leather or cloth
caso in which lette rs, envelopes an d writinO'
paper
0
- can be carried .
EXERCISE.

Ludy.
J e welry.
P lnntation.
llermit.
Breau.

Key.
Monoy.

., .,-

,_•

vnr.

Expluin tho meaning of somo motto or proverb.

Imprope r and com mon- ph cc ox prcs~ i ons may bo corrected by th o Ol a s. .

"An empty cask makes the most noise." Thi s
may mean that little girls or boys that talk a great
deal <lo not think very much; or, that p ersons who
nrc ·wise generally say very little .

•Definit ions should be gil'c o in the pupil's own langua e and

t.~kcn from a dictionary.

•.

'

LESSON

LESSON VII.

not

carries h is

.Anna <l!J. not ktlow no better.
.Jane said she will ne\•er dq so no moro.
Thnt lady sings very beautiful.
I haYe got a new cloak to wen.r on Sund:iy.
He cannot got l1is lesson to-dny.
Tho boy wa.~ <lrowndou in tho ri ver.
Clinrlie cannot learn no tliing to-day.
:My fatlier did not lcnrn me anything.
llfy little friend is mad nt mt>.
Snrah nint goi ng to walk.
Where is it at?
That bonnet is splendid.
It rnins nwfully.
Whn.t is the matter of it 1
I had n. m ost elegant timo.
Ile lives to the wost end of the street.
What n. siglit of people 1
I knoweil her wh en she wns a 1ittlo girl.
Sho divided th e npple among tlie two.
Tho boy wns not injure<l noy.

Gi \·o tho cl efi niti on of common words."'

Trunk.
Balloon.
Engine.
Iloro.
Coffoe.
Silk.
Dinmo n11.

UMDEREL. -llc

EX EP.OISR.

LESSO".'r VI.

Church .
Rnilroad .
Snow.
Choir.
IIorso.
Mutton.
Minister.

l 'l

PltACTIC.A.L COMPOSITION.

CO ~(POSITION.

g '

....

~~:'

(

.:

,\,

18

r1U.CTICAL COMPOSITION.
EXJillO!SI!.

.A rolling stono gath ers n o moss.
Tho onrly bird catch es tho worm.
All is not gold that glitte r~.
.A m:m is kno1Yn by th o company that ho keeps.
.A new broom sweeps clonn.
.A workman is known hy hi11 ol1ipu.
l•:vory cloud has a silver lining.
It never rains bnt it pours.
Idleness is tho parent of miscl1ief.
Mon's evil manners Jive in bra' s ; their Yirtues we write
in wator.
Who stoals my parse steals trash.
.A tliiog of beauty is a joy forever.

rnACr!CAL COM:rosmON.

19

Cindoroll:i, or th e Class Slipper.
Josns ancl tl10 " ·om :in of Sychar.
Unclo Tom's Callin.
The Sav iour's birLh .
Ji:foucl Muller.
Enoch Arden .
George Wa~hington nncl tlie apple tree .
A fairy tale.

LESSON X.
J t cacl .' "r'.:3 nd tho pnj,;J re.A wonl may bo given by tie
qnirod to express an icle:i connected with IL.
I

:MODEL.

(

• my i"ncn
• d's drawin
1i:I:IRROR.-The mirror m
•
"'<t-

LESSON IX.
This exe rci~o may consist of a rehearsal of a sto ry that
lrns boon rend by tho pupil, and should be narrated in his
or li er O\\'n lnngungc.
J\IODEL.

Lazarus was the brother of Martha and Mary.
Fa1ling <langcronsly sick, his sisters sent fo1·
J esns; but he did not arrive until Lazarus had
been dend four daJs. After some conversation
with the sisters, lie, by his rnirncnlons power,
raised La:r.arns to life again, and restored j oy to
their desolate home.
EXERCISE.

Rehearse tho story of Joscpl1 nnd his bretliren.
R obinson Crusoe.

· vei·y l·•r(fe
and beautiful.
• "' •

ro o m 1s

EXRROISE.

Slipper.
Crown.
II ote1.
Lecture.
Singer.
C1wpot.
Bible.
Work·Ilox.
Vases.
Busk et.
Dinner.

Gou father.
Companion.
:Militia.
Cumpany.
Accident.
Lightning.
Inkstand.
Pencil.
Books.
Letter;.
Bracelet.

Omen.
Circle.
President.
Oompl oxiou.
Schooner.
Po5t -Offi cc.
Fcrry-lloat.
Pictnres.
Jlolibcrs.
Bottl e.
Glons.

J,ESSON XL
.A worJ. may be gh·en by one pupil o.n~l a~othor requ ested
to express some qual ity in connection w1tb it.

20

21

PRACTICAL CO::lfPOSITION.

l'lt.A.CTICAL courOSlTION·

:MODEL.

inslrnct. ancl inte rest pupils, ant1 t11 en require them to re-

PEaCnEs.-Tl10 peach es in my fath er's garden
arc very sweet.
EX~ll C I S E .

Violets.
R ibbon.
I'uucll.
Vase.

A pple~ .

Strawberries.
Curl'lllge.
Ac11dcmy.
S ugar.

Shoe ,

Atlas.
Picture.

LESSON XII.
Describe some obJ"ect-its color, ma t er1w,
· .. 1 for wl1at
used, &c.
MODEL •

. A Gow W ATcrr.- I t is of a yellowish color.
I t is made of g old which is dng out of the earth.
works consist of whe els, pivots, grooves and
Jewl:ls. It i:; nscd for keeping time.

!110

EXEllCISF..

Writing-paper.
Cotton.
Pen-wiper.
Umbrollo..
Velocipouo.
Dictionary.
Carpet.
Envelope.

Ne wspap er.

Scwin;;-silk.
Jndia-rnbbor.
I'11rnsol.
Window.
Goblet.
Curtain .
Chain.

LESSON XIII.
T110 teacher may road extrac ts * from books designed to
. ~ This c:crcisc, ns well as many of the previous ones, may be
varied :1ccordrng to the ngc nnd udvuuccmcnt of the pupil.

hearse from memory.
:MODEL.

l'nris is full of caf0s aml reslaura ntg; :1nJ
wlwu ·n gontloman enters one of tl1L'M) t: :;L alili~lt ­
ments h e takes off h is hat and salutes the b<ly
who ~rcsi<lcs at the money counter. The din er
gives the waiter fr om two to ten sous for service, which is dropped into a jar, to be cqn a11y
divided among all the servan ts.
A l''rencllln:m thinks himself enti tled to all
that is set u pon the table for bim . Fon r little
cub es of wl1ite sugar are fnrni sheJ when h e orders coffee ; and if he d ocs not uso more than tw o,
ho may, an<l gen erally docs, wrap tho 0thcr t wo
up in a paper and put the m iri .his pocket_; an d
it is n ot uncommon fo r him to di spose of hi s smplus b read or chicken in the same way. -Our

B oys ancl Girls.
EXKROISE.

,.

22

l'RACTICAL

23

PRACTICA L CO:itPOSlTION.

C0~£POSITION.

?Y

sentences, in which the act expressed
th.e vcrh
.
, · lie
terrnrnatcs
u pon 1·t , as·
· lo Ycs ]us c!Lild.

CHAPTER II.
wmTTEN

A

is the expression of one or m ore
idea1> in lun n- nagc. It may consist of one word,
as : I .. isten ! Come ! or of two, as : Clouds move,
Brooks rnn ; or it may consist of se veral words,
as: I love God and little cbildren.
Tli e most im portant words in a sentence are
the subject and JJredicate.
Tim Sar.JECT is that abont which sometl iing
is said to be, or to be clone. It is a N 0 1111, or
some word, or combination of word s used as n.
noun, as: B oston is a city; I'ainting is an accom pl ishment ; To good is co mm end abl e.
Sometimes it is only a sign , as : + signifies
more. It is frecine nlly some other part of speech,
as : 0 is an inte1jcction; 1'/llJ is an article; IIow
is an ad verb, &c.
Tim PrmDICATE ·:• is n word or combina tion
of words expressing that which is affirmed or
denied of the snbj ect, as: Leaves fad~ j They
SENTENCE

ue

w ilt not study.
Trrn OnJECT t i s a third important clement in
• There :ire two kiJHls of prcdic,ttes, viz: Grammatic.~! nnd
Log ic:1l ·; t11e forru cr is the verb a.lone, the la lte r is the verb with
it ml)d i6crs.

t

LESSON I.

COl!U'OSITION-SENTENCES.

Sec Clark's Annly~is, Spencer ·.~ Ent;lish Grammar, &c.

Expre.~s nn idot1 in connect ion with tl1e following nouns

or

ml~ccts.

:MODEL.

FLOWERs.-Flowers b1oom .
Tmms.- Trees grow.
RH:RClSE.

Children
Boats
Coal
Sleep
Rai n

K ittens
Poets
Pl ensures
Clonds
Hopes
Kings
Steamboats - J,adies
Snow
Stars

Ifapp i n e~s

k,
..··;

- --

1•..

.,,._

.r

Ships
Cork
Winds
Books

LESSON

II.

.Form sentences containing tho followin g 'l:erbs.
,

MODEL.

BREAKs. -Glass breaks.
Smo s. -Albert si11g8.
i.:
EXERCISE.

- -- study.
- - canter.

- - gro w.

- - cat.

r

24

Pl:A CTICAL

CO~IPOSITION.

- - - plough.
- - - meditnto.
- --loaru.
- -- consider.

- --play.
- - - wnlk.
- - - ride.
- - - swim.
- - - despaired.
- - - rejoiced.

--- spc~k.

- - -

rRACTICAL COMPOSITION.

int~rcotleil .

An.1r.:c·1wE :MODIFIBHB

•.·

.,~

25

arc those which qualify

tlic subject.
Am·E1mrAr. MODIFIERS

arc those which qnalify

tlic p1·ed-i.cate.

LESSON I.
Prefix an (ttlj~clfre inodijier to cnch of tho following oxpreesions.

LESSON III.
Render tho following iduas complete by supplying nn

MOD EL.

object.

GmLs LEAirn.- Diliycnt girls learn.
l\IODEL.

J AMEs. -J ohn struck James.
EXEP.CISE.

Recs mnke
Boys g:1thcr
Annie loYes
Sbc bougl1t
Sculptors onn·o
Morchnuts sell
ITLinger cruYes
Ministers pronch - Jiusbnndmen sow-Joseph builds
Snsnn writes

Shoop cnt
JTcns lny
Elln so 11·s
hlcu cut
Engineers survey - People attend
Alice inherite<l
I congro.tn lnto
Stories please
Flora paints
I•armcrs husk

I

I

EXEltO ISE .

- - boys ~tudy .
- - men steal.
- - pens wri te.
- - clucks strike.
- - kites fly.
- - bees lnnn.
- - sLips sail.

- - must work.
- - ca:.;los can soar.
- - kavcs wi ll fuilc•.
- - \rater scald~.
- - schooner tn«ks.
- - pcnclics will ripen.
- - LrotLcr paints.

LESSON II.
Prefix
pressions.

t 100

adjcctice motlifiers to c:ich of tl10 fullowiu ;; ox·
l\IUDEL.

BOUGHS

DEND. -T!w topmost boughs ucnJ .
EXER CISE .

-

:r.romrnms.
SECONDARY \Vorms in a sentence arc ca1lcd
Monrrrnrrn. They may include any or all of tho
Parts of Speech, and arc styled adjective and
adverbial mod·ificrs or adjuncts.

I

-

stag jumps.
girl ilnnccs.
road mislead;.
thorn h urts.
ligl1t dnzzlcs.
Look pleases.

~

-

- m ist r ises.
- la<ly walks.
- man writes.
- li ght fades.
- ro1bcrs fled.
- philosopher~ tl 1i11k.

t.

r

...

26

rRACTICAL COMPOSITION.

PRA CTICAL COMPOSITI ON.

J3en u ty fad es
C ities Jecny
Tli ey wept
"Winter com es

LESSON III.
An arlvcrl1ial modifier may bo unnexoc.l to C'ach of the
follow i ng ve rbs.

Summe r pusses -

MODEL .

IIE

BLEPT. -

IIc

EXEf!OISE.

Sh e walks
Birlh• sing

Pleasu re pnsscs - ·wat e r freezes
Co:tl burn s

'

L.ESSO..N IV.
J'1co aill'er!Jir.Z a(lj uncls

llll\J

be ndc.l cd to <'ach of the fol-

low i ng expressions.
MOD1'; r,.

Tn1~ Es

GRO W. --Trecs g rnw very rapidly.
EXRHOI SE.

Oh i1ilrcn skate

Events th icken

R i1·ers r nn

T ime fli es

Ships sail
Planets rc \·oh·e "\Yat e r congcnls
Ath learns

Stars t winkle
-

Motli er sings

~

LESSON I.

"-

A co11171le.c a1lj ccthe modifier may be adiled to complete
th e following expressions.

Curs rnoYe
Tr:welcrs ri<l e
Editors write

•some teache rs and authors make but two classes of mocrificrs,
8implc and compoun d.

...

'·z.

'
~

'! ~~.-

I

'

~:-

MODIFIERS."~

Besides shnple modifiers there arc also complex
and compound modifiers, or adjnn cts.
A Co111PLEX AD.J ECTIVE 11roDrF1 fl{ is a sim ple ailj ective m od ifi er wit h the word :> wl1i ch c1Hal ify it,
as ; men ef 11on.e«;t pur;poie will he esteemed.
A CoM POUND A 1J.1Ec nvr-: M omF 1En is one in
wh ic lt two or more distinct q nal iti es arc :-tttrilrnted
to the subject, eith er of which is com plete in
itself, as; Ile is a wise and good man .
A Co:M PLEX AD VERBTAL MODI Fnm is a simple advcrlJial mod ifier with t he w orJs which cprnlify it,
as; The lad y sang very sweetly.
A COMPOUND A D VERilIAL MODIFIER is one in
wl1ich the v er b is q nal ified by t wo or more :1d verbial adjuncts, either of which is cornplete in itself,
as; The h ouse stands on a liill, O!J tlw brook.

Fl ora se ws
11 u ind 11 lges
Brooks ripple

ScOlb g r ow
\\'in<b ul<l\\'
Seaso11s p:Fs
Wate l's roll
Snow falls
rlowcr3 grow

-

He lnbo:·(«l
Habit, nru f,,nn cJ
Y ou m us t stuJy
Ho was w ounded

COMPLEX A ND COMPOUND

Pupils st u,ly
James struggleJ - L illi e pl:lys
W illie urnws
Arti sts paiJJt

St1JJenis learn
Swans mi>ve
Cloud' fi ,,at

Grief co nsu mes
J oscpli iiu pro ves

Tbey li ve
Boys skflto

slept calm1y.

27

-~~

1
:

~:

~

'.:
~

28

PitJ.CTICAL COIICT'OSIT10N.

l\IODE L.

Flowers of mre beaitty adorn the landscape.

:MODEL.

The stars shine in silent majesty.

EX!WOISll.

B inls
B 11ys
Tbis is
Amnn
Honry came to
She cultivatew
Thero is

sing in tho forest.
ou"ht to su~~ceil .
JiOllRe.
intC'grity can be tru stod.
hons~ .

ga rtlcn.
tree by the roa<hi<le.

29

PRACTICAL C0]11POSITION.

EXlUWISE.

Ile <lrovo hi s h orses
Tito entth ro volves
Jane went to her tnsk
The sun sheds its liglit
Tho moon sinks to rest
Tho children rnug
Sow your seed

~

LESSON II.

LESSON IV.

A compoun1l adjective modifier may be suppli ed to complete tho following sente nces.

Oompo1iwl rulccrbial modifiers may be annexed to com·
plote tho following se ntences.

MODEL.

J\IODEL.

1\fEK SHO GLD m.: HAl'PY.-Cood and vfrtuous
men sho ul d lJe happy.

LESSON III.
Complex a'll!erbial modifiers may be ndded to complete
the following id ea~ .

l;
:

T im

HOUSES

WERE

DUILT. -Thc

houses wcro

l

built mpidty and very well.
:;
EXEROISE.

EX:EI!CISE.

flowcrR bloo m profusely.
river flo1Ys rapidly.
min fell quietly.
stags r\;wquickly .
o'.\k grew :<lowl y.
days pass swiftly.
moo act nobly.
philosophers reason correctly.

,.

l

IIo acto<l

d

Flowers droop
Tho eta rs shin e
Tho wnves da~h ed
Tho ghss wns colored
The b r eezo blows

I'

ii

;·:
!
i

Gool1 nrtiAts paint
Tho Eoglisl1 langunge sl1011Jd be spoken -

-

LESSON V.
Adjective an<l C/.llverbial ndjnncts can be employed in tlio
following oxprossious, to reoilcr th orn complcto and more
elegant.

30

1fODEL.

Tm; QrrEEN VISITED Sou>MON.-The Qnccn

Slieua vi sited Solo in on in tlie m idiit

ef

ef li:iii glory.

EXEP.CISR.

The 11·iso men
111 tlic morning
A !Joy
Tlie lnd i:in
Tl10 eveni ng stur

Tho domo
A \Yalk

Tlie

g .~lc s

rnmA

prepare
ri ,,cs c11rly
will soon ~lccp
shines
is t lie largest
lm 1ugl 1t ns
S«ll<ls Ja\'IL

Tlie 101•0
The od es

crowns us
were written
w as p11L>lisl1c<l
w ere wontlc rful

'l'lie Me

Th o gentle wi11 <l
Th o hopes
Boys appear
The h11ppiness
The tlrcams

AN J~U'ERATIVE SENTENCE is one nscd to express command, e n treaty, or exhortati on, as :
"Strike for yonr altars and yonr fire t> ;'' "Gi\·e m e
a calm, a thankful heart;" ''As much as Eelh in
yon, live peaceably with all men."
AN INTEJmOGATIVE SENTENCE is one in which a
question is asked, as : " ?.Inst I lea vc tl1ec, l'aradisc ?"
AN E:\IOTTOXAL SENTENCE is one in ''"1 1ich sn<l·
den or inten se fe eling is exp ressed, as : "Hark! he
comes !" "0 li appine:;s, tlion cou1cst n0t again 1"

\\" Cllt

Tl1 e vulrnuo

Tl1 e o!:cli~k ~
1\1l:11 n a nd Eve

were l1nppy
waf" odor s
r cntlcr lif0
to be equ:il

consists
Yi\Ilish

LESSON I.
Form declara/'iloc sen tences from each of the foll owing
words.
JIWDEL.

AuTUMN.-Autnrnn brings a golJen lwn:rst to
tl1e lmsoandnian.
EXERCISE.

Indolence.
Ind ust ry.
}foppinei'R.

Letter-raper.
GRAUMATIOAL

FOR~(

31

rnACrICAL COMI'OSITION.

rnACTICAL ·COl\Il'OSJTI0:-0 .

Intempemn c0.

Soldiers.

Cliil rity.
I'risoners.
rrwtographs .

Cotton.
T'in e -a p pk~ .

Sn o w-il ak cs.

OF SE:-<TENOES.

Sentences arc di \· ided according to tlicir gram matical constrnctiun into fonr classes, viz: Altirmat~Ye, Imperative, Intcr rngativo, an(l Emotional.
AN An·unrATIYE S1<:NTE ;-.."c 1.; is one in whi ch an
assertion is made or dc1 1i ed, as : ]\[y so n! longs for
th~ beautiful; He is not liappy.

LESSON

IL

Form imperatine sentences in which tlie 11nn oxcil worJs

will be incor porated.
M ODEL.

Go ring the bells, and fire the gnns,
And fling the starry banners out.

32

rRACTICAL COMPOSITION.

rRACTICAL

33

co::.rrosmoN.

I

1

EXEIWISE.

Sb out.
l~ing.

Troa<l.
Deli eve.

Stnnd.
Trnst.
Tell.
Con sider.

EX.E R Cl SE.

\

Enter.
Triumph.
I:cjoice.
Lauor.

LESSO.N III.
Transpose the following sentences so as to make them
interrogative.

f

Wonder.
Terror.
Rovercncc.

Admiration.
TI:ippiness.
Condescension.

J_,ESSON V .
Trnnspo:;o tho following a,Uirma tive sentences, nnd ren<lor each of tbcm imperative, interrogative emu emotio nal.
l\IODEL.

MODEL.

Flowers droop and die m the stillness of
noon.
Do flowers droop and die m tlie stillness of
noon?
EXEr:OISE .

"All Ja:,or is nolilo and holy."
" The wincl is blowin g off tho slwro."
"Heaven scern.s opcuing to my view."
"
" The puro in bcnrt shall meet tl""ain
0
•
"IIo giveth Ili~ bolo"cd sleep."
"There's a new foot on tb e floor, my friends,
. And a new focc at the door, my frien<ls,
The new year's at tho <loor."

LESSON IV.
Form sentences to express a variety of emotions.

Sorrow.
Contempt.
Joy.

Night's silvery v eil hung low on .Tor<lan's
1)0SOJ11 .

H ang low night's silvery veil on Jordan's
bosom.
Did nio-ht':> siherv veil li::i.nir low on Jonl:rn's
bosom 1
How low on Jordan's Losom hangs the silvery
veil of n ight !
~

.J

.....

EXERCISE.

" The light wind of morn is stirring."
"Tlio tiJo of t ime rolls lmck .
''Sweet 'vn.s tl1e dtnvn of every 1norni ng.''
" Tho rni stB of tl1 c morning are rolling away."
"Cities rise aml sink, like l>uulilcs ou tho water."
Silence broods over the city.
Tl1tl \\'inds ancl waves are ]tushed to sleep.
" Our life is l>ut a <lrcum."

MODEL.

AwE.-Lo ! He comes, with clouds desccndrng.
S.rnxEss.-On tbc winds the bell's deep tones
arc swelling ;- 'tis the knell of the departed year.

AN AL YTICAL

l~ORM

OF SENTENCES.

*The four grammatical forms of sentences

may

* Some ttulhors divide sentences into !Jut two forms-Simple
and Compound.

PRACTICAL COMPOSITION.

Pl:ACTlCAL COMl'OSlTJON.

each be snbdividecl into three others, viz: Si1nple,
Complex and Co11ipo1.tnd.
A Sr.M!'LE S1·:NTENCE is the expression of a single thongh t, as : "Sbo wrea th ed li er face with
smiles."
A Cmn'LEX SENTENcri: is the exp ression of a
thought wlll1 one or m ore s ubord inate ones whi ch
cannot be expressed i ndepend ently, as: "Man
ca nnot live by b read alone, but by e ver.Y word
that procee<lcth out of the mou th of God ."
A Co.111rouND SrrNTENCl'; is the exp ress ion of two
or more thou ghts, each of wlii ch is compl ete in
i tsel f, as : " I was born au American ; 1 Ii ve an
Am eri can; I shall die an Am erican ."

MODEL.

34

I

LESSON III.
.
l '1'
tcnc
••s
ou
.
, .• fr om t. t<~ 1u,ww1ll;;.
F o rm ump< ) 1·1n<'' C""'1

::llODEL

"!llOlJEL.

Sir J o1rn, th e nigl1t is lilack an d lon g ,
The hi ssing wind is blco.k.

EXEllOISit.

riction.

Trnth.

Tempest.
Shadows.

love the gentle

Sl1e loves eve ry tl1ing
" I nm monarch
"
" Try not tli« pas~
"
Wh e n we d ie,
w lien w e nrri veil at the ho11 sc,
11 u liv es in th o l1 ouse, wliidt
A~ k him if She ca 11 not u111lurstu11d w hy
l'nt the <JU Cstioo, if
" U ucasy l ies the ],end, "
"
"Who steals my pnrso, "Ile Rnid to the winlls an<l wa ves,

OcEAN.-Roll on , thou deep and dark blue
oce:m.

Morni ng.
Window.

THAWS.-1

EXEJW I SE.

Let the pu pil form simple sentences in wl1ich tho following wor<ls wiJI be employed .

Monuments.
Cl imo.

THE GEN'l'Lt.:

thaws th a t you can trnce.

LESSON I.

Monarchs.
Heaven.

LOVE

Wnves.
Strnnger.
Voices.
Cottur;o.
Billows.

LESSON JI.
Form complex sentences from the following words.

35

Jo:XEHOISE .

"•·

" The J1rarth is swept., t!t o "Como bnck ! come back !" " The lightnings flashed nnd"
The birds sun;; anrl Tile el iccrfnl fire l11azes, an<lTbc ship raised li er sail s
Th is is n ot my home, but -

_.....

"

~·

'

36

l'RACTIC.AL COMPOSITION.

She is a gootl mother, and he
R eturn un to mo. and" Oome unto mo all ye that labor and aro h eavy laden,

and

LESSON IV.
Sometimes thr.ro :iii a eombinatiuu of words
t hat seems to indicate a connection with somo
idea, but, lacking a pred icutc1 cnnnot form a sentence. S11cl1 expressions arc called P1mAsEs, as:
Dy the way; In shor t.
EX EHOISE.

Point out the ph?'a,qcs in tho full owing sentences:

PRACTICAL CO:IIPOSITION .

37

l\IODEL.

Thon never canst retriern tliy wi thered
Ji opes.
This is a S imple sen tence, because it co ntai n»
but one complete thought. It is a D cc1arative
sente nce, because it makes an afflrn1at i011. It is
tltcrcfore called a Si mplc Declarative Se11 tcnc:e.
EXlWCI Slt.

" Como, Dis:ippoint1ncnt, com e I"
What nro you disputing about?
Th e ro was swee t and soothing pleasure in t11c r em cm

''Know t lt en thi s trnth , (enou gh for men to know,)
Vi rtue alo ne is happin ess below."
In the mean t ime, Anna visited her hom e.
Yes I ce rtainly! The tlay will soon dawn.
ln trnth, th ere is nothing to expect from h er.
In the fi rst pllice, wri te tho lesson with cnro.
l"o r all th at, they intend to take n ride to-dny.
For example, " th<'re is joy in tho sunshine."
"Tn fa ct, tl1 ere's notl1ing tlrnt keeps its youth,
So fa r as I know, but a tree nn d truth."
"ln t he midst of iil'c, w e arc in death ."
"Jn the volume of th o book, it is written of mo."

1Jranne.
T l10 favorite b ook of D cmostliencs " 'ns the history of
Thu cydides, wl1ich ho j,; sai<l to l11wo cop ied eight times.
"Th e mists of yo uth's morning wer e p:issin g away, tl1e
li ght that unoLservod liad shod its radianc e upon all my
l1op<'s and prospects WftR Lrenking on my soul."'
"Philoso phy, th o queen of Arts an11 dau ghter of Ile:ncn,
is tinily extemling h er intellec tual empire."
"My Lo rd and my God! I have trusted in T hee!
I 11llo re Th eo! I implore Tl1 M ! 0 libernt e n1 0 !"
"\\"lie n th o gates of r i1rmliso a ro tl1 r own open iidvro
thee, tl1y mind sl1nll Le irra<li ntoll in a mome nt."
"Ho g ive th His Loloved s leep!"
"Wl1y mn so u pon the p ast with sorro w ?"
"Death aud Wiater cl ose<l tho Autumn scene."

LESSON V.

LESSON VI.

Cri t icise tho following scloctiono, telling the analytical
and grammatical fo rm of each.

Besides Sentences and Plirascs, il 1erc :uc expressions that do not correspond to tli e defi niti on

By the by, ho went to tho coun try yesterday.

~. "{

38

PRACTICAJ, OOJ\il'OSITION.

of either. They gi,·e force and beauty to language, and may be called EMOTIONAL Exi>RESsroNs.
Transpose tho Emotional Expressions, or s upply words
to form them into sentencefl.
l\TODEL.

Ah, fool I to exult in a glory so vain.
Ali, fool that thou nrt, to exult in a glory so
vain!
llXEnCISE.

" Tl1nnks to t!1e sunshine, thanks to the min."
"Nearer my God to Thcc,- nenrer to Thee!"
"0, the poor mnriner !"
" How benutiful tho n1in !"
" Perfect thro ngh sufferin g!"
" Ilow calm tho cmtl1! liow calm tl 1c tiOil !"
"Benutifnl Zion! city renowned!"
0, v;tin attoIJ.1pt !
"Gootl luck! good luck to your hoary locks. "
" Ah! I.ho merry three!"
" Thanks! fat.her and mother-so good nnd so kind I"
" Ceaseless n8pirin g,
OcasC'Jcsg content;
Darkness or su nshine,
Thy element."
"Oh, tho pain, the bliss of dying I"
"O, impotent estate of lrnman lifo."

PRACTICAL COMPOSITION.

3!)

"
•

CI-IAPTEil

;

I

'··~

I II.

INCOJrnECT COMPOSfTION .

I Nco1mEcT CoMPOSITION consists in tlic use of
words, terms, or modes of expression, not in ac c1)rc1 ance with good nsnge, or in violation of gr::unnwtical rules.
In order to avoid incorrect composit ion, tlre
following directions may he carefully o1>sCrYcd:
Rule let. AvoiJ all commonplace or slangcxprcssions and provincialisms, as: "I thi nk,"
"can't,'' don't,'' " won't," ''I have no more to say
at present," "I enjoyed myself," &c.
Ru.le 2d. Avoid the frequent use of the pronouns I an d yoit, as : "I told you so," "I sai<l,"
"I went," &c.
Rule 3d. Do not nse tl1e word :1ot wltcn it is
snperflnous, as: " She has got a cold," "I have
got my lesson."
Rule 4th. Do not write the com position in the
first or second person, except in d ialogue, an d in
scenes in which the writer took part. The tliird
is consider ed more elegant.
Rule 5th. A voi cl trite :m•l commonplace
themes, as: Spring, Hope, An tumn, flowers, &c.
Rule 6th. Do not make use of foreign or obsolete words, except in cases where no other WOJ'(t

:-·.

f·

:: ~~

..

r'

'

'

;

;

40

41

PRACTICAL COMPOSITION.

PRAOTICAL COM.POSITION.

t,•

'.

:,

l

:;.·

expresses the meaning as well, as: wist, wot,
hauteur, inamorata, &c.
R itle 7th. A void the too frequent use of the
word ctnd.
Rule Sth. A small and unimpo1·tant word
should not encl a sente nce.
J. ule 9th . Avoid using an adjective for an
ach-erb.
Rule 10th. Do not commence a sentence with
and.
Rule llth. Avoid snperiluo11s adjectives.
Rule 12th. AvoiJ the frequent use of the word
stcvrt in descriptions of journeys, pleasure excur·
sions, &e.

LESSON I.
Correct tho following expressions undor Rule 1st.
MODEL.

That li ttle girl l1as grown a heap in the Jm;t
few months. -Tlrnt little girl has grown ,-cry
rapidly in the last few mon ths.

Tho concert at the A cademy was perfectly s11p ~ r\J.
Sl1e wears a perfect love of a l>onnet.
IIeury linrln't ou ght t o hal'e copie•l that compuoi t ion.
Tli: tt new dress becomes your complexion.
lti t!ti s yvur book 1 I r atlier guess it doc8.
Are you going to cli ur~h ~ I Hiiau't go 11nywlicre cbe.
1'

LESSON II.
Corn.Kt Lhe following expressions under Ru.le 2u.
:MODEL.

Ii"

!

I think I had better go home.
me to go home.

It is best for

EXEHO ISE.

I have nu more to wri te a t present.
I am well, anu hope you arc enjoying tl1e same 11.:ssing.
I now take up rn y pen to write.
You will come and seo mo, will you no t'?
You will please excuse all mistakes.
I hope to do bolter the next time I write you a letter.

f',.

,· ··,

·,:.

LESSON III.
Correct the sentences under Rule 3<l.
J\IODEL.

EXERCISE.

That was n ri gl1 t srna1-t chaor.o ho had of going into
business.
Y uu Let ter bclie>e tlrn t wns a good apple.
N nry ono of those cliilclren went immediately.
It bents all LJaturc !tow it rained t his morning.
Ile Lns, nt last, put his draw ers in some sort ofsbip-shapo.
Goodness mo! how the wind blew on the river.

I have got my lesson.
lesson.

I have learned my

EXERCISE.

She has got a very Lad colu on her lungs.
ITavo you got her book in your room 1
Tho merchant has got to go ou a journey next week or
tho week after.

I·
~

..

42

l'RACTICAL CO:\Il'OSITIO:'.'<.

P RA CTJ CAL CO :MP OSITION.

43
; ..

Th'.it lady _got n pair of wliite kid gloves wlien she went
out thi s morning.
Our m iniste r got a n ew cnr rin<>e lnst
.
.
She "Ot hom e s ,. , ·
':
· Pprin g .
"'
e u1 al hou rs be fore lio r s ister weot tu rido.

l.ESSO:N I V.
"o S· upply words in ordinary use ~or those taken frolll
i• re ig n 1angnages.
l\IODEL .

That was a daintv nw rcea.u . Tl
morsel.
.
J
ia t was a dainty

11.XImCISR.

• ! ~.

't •

Th e gooJ.s wns not \11111 ght lri't week .
JTe wit h others lw,·c spok en too h n•til y .
Fr i ~ nd~hip a~ w ell as ]1Jl'O rc ni!cr lifo hcantif11l.
J!.ml cncss of m :in n or,i m nk o a Lli:•agreea11lc i11 iprcs.;i,, 11.
Eve ry 011 0 of the dii!Llrcn are going in tli e country .
Jol1n, wi th all l1i'I fri e nd.g, Jin.Yo r eturncJ.
To live p l· acra1ly an<l qu ietly with all m en n;-o r cr1ui rc·J.
of all good ci ti ze ns.
How many books is t11cre in yo11r fath er's lilirnry ?
Sho d /)no it y esterday while th o family w ere e:1Lin g.
Tlio lady so t Llown in a chair, by t11 P t alil e.
Th e sun rises in the en.st, and ~it~ i11 th 0 WL·st.

EX l!llC! SE .

~he _matl c her cnt r6e i11to society nt an enrly ll"e.
w;1s a g 1·and fl· to in tl10 Elysi an Fiol<l~. "'
~llLli;"s olt o1: Cl' in.ce n p ench ant fo 1· gny sigl1ts irntl scenes.
n ' it., tlin " s!io is th e fi 11 cst Rin;.:cr i11 the co ulltry.
~l•a,t :·ou p' d ' ct at was of gl'cnt bc nl'l1t to tho insurge nts.
. t " ns n ' cry rocherch6 nffair, and refl ected great crcd 1' t
on the rn nn agc rs.
:My frioll<l saw at Saratoga, Inst summer a
nobl om:rn.
'
soi-disant

1 h e~ e

S he nlwnys tlress os a la mode, whether .
it is becoming

or not.

LESSON V .

:MODEL •

"No l essons and no tasks and no school ; no·
t hin g bnt holiday and frolic and green fields and
fine weather."
OonRECTED.-N o lessons, no tasks, no t'c11ou1 ;
notl 1i11 g but hvliday, frolic, green field s, anJ fine
weather .
The garden wn s filled with :flowers anrl fruits mul bi n1~
of vnried line an.cl cvoryt!iin;; to delight tli o eye nnd ('fi r .
Tho st LHl cnts played b11ll, and c ro<p1et an<l 0Ll 1er gaine~

:MODEL .

IIi:m and me were going to take a walk.
an d I were goi ng to take a walk.

·LESSON VI.
Correct tho following il lustra tions un<l or Hul o 7th .

E XEJ:ClSE.

Correct tho follo w in:; grmrnnatical errors.

He

l ':

I 1.-;

till th o setti n g of th e sun.

"Tbo m o/) n whi cli then ·wa~ invi,;ibi<', Jing grntln ally
gained upon tho n ights, ancl now rolls in foll s;ilonJ.or :.ibove

~- ~i .•

PRACTICAL COMPOSITION.

PRACTICAL COl\IPOSITION.

the towers and pours a flood of tempered lii;ht into every
cou rt and hall."

LESSON VIII.

Sho had no clear and distinct and correct i<l ens of tho
manner in wl1icl1 sl 1e should write and stu<ly.
Their heroes were extolled in song af/,d rni:;cJ t o tl 1c skies
and almost ren<lere<l divine.
Th e hu sban d <rnd wifo and cL!l<l and all tl1 ey loved and
l1onore<l joined in !lie saJ and mournful song.
And faith and l1opo and loYo render life benutifnl and
death trinmpl1ant.
No lifo is just aniZ lionorablo and ben evol ent, that is not
enriched by kind deeds to tLo poo r and unfor tunate and
suffering.
Ilis heart is gay and his hope bright and lifo happy.
The water leaps and roars and surges wil<lly.

LESSON VII.
Transfer or correct th o following sentences under Ilule
8 th .
1>IODJ~L.

Ex.- This is tho book I rcforrod to.
CoR.-This is tho book to which I roforrod.
EXERCISE.

Which house did she go to?
TLnt is the new bu ilding he told yon of.
This is th(} bcautif'ul boy I was speaking about.
Yonder is th e lwuse my fricncl lives in:
Solo mon is the wi;;cst rn:1n tlrnt the Di!:Jle speaks of.
These are not the paintings lie directed us to.
They rido o,·ery t!11y boonnso they liko to.
The tlrnnt! crs ro ar, lint I tremble not.

45
•

·j

~

'!

Correct tl 10 expressions uudor Rule !J th.
:MODEL.

rl
~~

l

I
1

Ex.-J oseph wrote hi:> French Exerc!$C very
good to-day.
.
Con.- Josoph wrote lus French Exercise very
well to-day.

~·:.: _, .

EXEROISE.

Tho elocutionist reads very distinct.
Tho prima douun sang very sweet.
.
Boys bcliiwe very bad in clrnrch sornct1rncs.
Ludics fre'lucutly walk very graceful.
Lit.tle child ren sometimes ~ iu g very good .
.
That s ubject is one of which lie l1as often spoke n l1gl1 t .
That title is one frequent written upoo by good authors.

LESSON IX.
Correct the violations of Rule 10th.
l\IODEL.

"And now sho s1ood in the doorway, her eyes
.
. 1oo1c "
fastened on him in a last 1rngcnng
CormECTION.-She stood in the doorway, hor
ayes fastened, etc.
EXERCISE.

And tlie day wn~ just d11wning a~ lie went furth to J ,i ~
daily toil. And wh en twilight came 110 rcturnc<l.
It was a bright summor morniug. And we lrnsle:1cJ to
prepare for n Jon~ wnlk.

,...

46

PRAcnc,u,

co~rro s n10N.

PRACTICAL

Shall the intellect of woman be cultivated? AnJ for
what ]!lll'pOSC?
A nd all things mu ~ t ham an e nd.
And clo~e r and closer wo twiuo tho tendrils of ou r l1 carts
round thus :i we love.

Poi nt out the violati ons of Rulo 1J th .
JIIODEL.

I

EXl::H ClS IC.

Jlfy po or, poo r, <l c~olate , <l ·jectc<l fr ic utl.
Tb e c1·c r- cl1anging, c1·cr- sltiftin:; sce nes of bnsy lifo !
Tho bc;111tiful green cxpnn'o lay beneat h tl 1e cloudfleck e<l, a rch in g nzu i·o <•f tl10 s ummer sky.
My panting, longi n", Lliirsting h ea rt cr ies out fur rest.
Tlic gentle, welcome tunes of li er sweet voice charm ed me.

LESSON XI.
Correct according to Rule 12.
MODEL.

We started on our jonrney.-\Vo commenced
om j ourney.
E:nmm sll.

They started from hero y estcnl uy.
1norro w.

We will s tart to-

47

Then w o started on our j o urney ni ain. \Ve must start
earl y .
\Vill you start next week? T he chi ld ren wore eager
to start.
If li e hnJ stnrtoJ sooner he would have nrri \'O c1 in time.
Wh en we sta rted from tho house it wus rnining.

LESSON X.

"By the side of a bustling street, in a neglected
:fich1, stood a time-worn tombstone."
ExPLANATTON. - N early eve r y noun has an adjective q nali ty ing it.

CO~tPOSITIOX.

I'.

48

PRACTICAL COMPOSITI ON .

PRACTICAL COJ\U'OSITION.

CHAPTER IV.
PuNOTUATION.
PrrNCTUATJ ON is tho art of separating composition into sentences and parts of sentences by characters called marks of Punctuation.
The chief of these arc the Period ' Colon , Semicolon, Comma, Dash, Parenthesis, Exclamation
an cl I nterroga tion Po in ts.
Tm; P1mIOD is nsed to indica te an aubreviation
of a word, as; Dr., and to end a sentence, as;
''Love thy neighbor as thyself."
Trrn Sr·::-ncoLON is chiefly nsed to separate a
sentence into its clauses, as ; Spring Lrings
:flowers; Autumn brings fruit. It is deri\·ocl from
two Greek "·ord s, semi, half, and colon, a member ; therefore tho primary meaning is lwlf-

member.
Tr1E CoLON is employed to separate the clauses
in a sentence where no connective can be used, as ;
Love God: no life is perfect without love; or it il:l
used after such expressions as, as follows : , and
after ~ long add ress, as; Rev. John Boyn ton, My
dear Sir : &c. &c.
·1'

T1m Co1rnA is used in tho followi ng instances.
"' For cxnmplea of tb o uso of tho colon sec ' V cbster Etlward
Ernrett, &c.
'

!

;

40

1st. \Vhcn the clements of a sentence are transposcJ, as; In tl1c spring-time , sow thy seed.
2<l . \\Then words arc used parcnt11ctically, as ;
He tkpartcd, as Le saiJ, when tlie carriage arri vcd .
3d. ''Then the w1jt:d ji; rnuJiiletl Ly a long,
inseparable adjnn<.:t, ns; The desire of doing good
to others, is al ways commendable.
4th. ·when an nd verb is used inCiepenJcn tly, a
comma separates it from other words, as; However, there was a fine audience p resent.
5th. \Vhen persons arc a<lLlressccl a comma follom; the address, as; ".My son, give me thino
heart," or in personification," 0 rniots, make room
for me ! "
6th . \Vords in apposition are separated by
commas, as ; Howard, the philanthropist, was the
lover of mankind.
7th. ·w hen quotations arc abruptly iutrodn cocl
the comma precedes the quotations, as; Says Solomon, "A wise son nrn.kcth a glad father."
8th. vVhen wonfo of the same nature nrc arranged in groups a comma is placed between each,
as ; Joy, sorrow, pain and pleasure make up onr
lives; He w rote nicely, fluently and methodically;
It is a man's duty to guide his children, to cdncatc
them, to bring them up for necfnlnoss.
Vth. ·when the snlijcct is followed by n. long
explanatory clause a corn ma separates the s11 bject

50

51

PRACTIC,\L 00.MPOSITION.

PRACTICAL COM.POSITION.

and clause, as; The man , who habitually neglects
his duty, should snffer.
Trm D.asn is used to indicate an omitt ed word,
as; Ifo lived in - Street; - a sndL1cn transition
of thou g ht, as ; The flowers had spnrng into lifewinter had passed away.
I' A.lU:NTlfESES are employed to enclose explanatory or unnecessary words, as; lluw man.)' mistakes (as yon 'lmow) people make. Parenthetical
words and clauses should be avoided, as much as
possible.
TnE ExcLAi\fA.TION PoINT is 1iscd t o indicate
emotion, as; Alas! it rains. It is used after words,
phrases and se ntenc ~s .
AN INTERROGATION PoINT is used to ask n. q nos·
tion, as ; ·who was the sweet singer of Israel 1

Tm: APosT1t0r1rn is used to show the contraction of words, as; o'er, and the Possessive Case,
as ; Jane's book.
Q uoTATfON J\Lum:s arc m1cd to enclose quotntions, 11.3; " Life is teal."

LESSON l.-(P1mrnD.)
~lace periods where required, accor<ling to rule.
]l[ODEL.

Gen. U. S. Grant is President of tlie Unitc<.1
States. A period slionlJ be place<l after Om. after U. and after S . bocanse tl 1ese arc alJbreviations,
on0 shonld be placell after U nite<l State:>, bccanse
it is the end of a sentence.
EXEROISE.

Dr Channing say~, Nothing endures but truth
She called on h er friend at No 26 :Main St
Hon Wm C ll1-yaut is editor of tho Evening-Post
"Work is tho sweet of earth's sad life "
"Tho as!i es arc cold on their nati ve hearths The smokCI
no longer curl~ r ound their lowly en bi ns Tbey move on
with a slow, unsteady stop Tho white man is upon their
heels, for terror or dispatch; but they heed him not."
"Iler blue eye \\'llS languid, her choek wos too wnrm"
Rev Dr Snow preacl1ed on the goodness of God
She put the St and Ko on her letter but not tho Co
Look in the Directory for the Pncifio Manufacturing Co
She nrri,•cd nt 8 PM and went directly to her house
The N Y Central R R is in 11. prosperous condition
Invite your fri end to come to morrow· nt 1 A 'M
}i[i~3 G ~n.'d we mu t write with blnck ink

OTHER SIGNS USED IN WRITING.

Otlicr i::igns arc used which affect words as well
clauses. There arc t he Hyphen, Caret, Apostrophe arnl Qnotalio n Markt1.
Tm; Jh-P llE!'< is ns cl to connect componnd
words and e.rp1·es. ions, as; oft-repeated, never-to~
be-forgotten talc. It is also used to indicate the
divi sion of a word into syll:iblcs, as; lic-ro.
Tim CARET denotes the omission of a letter,
t

be

word or expi·ession , as: fornne; alwnys kind; he.

"
me to come again, etc.

wh en I went aw:w

told

"

"
f,

,,.'

i

;

''

.

;

l

52

I'HACTlCAL CO:UPOSITJON.

PR ACTICAL COMPOSITION.

LESSON

LESSON IV.-(Co.MMA.)

II. -(SEMICOLON.)

Insert commas, acco rding to Rulo 2d.

Place semicolons whercv,:r r ccp1ired.

MODE L.

MODEL.

"It 1s trcnso n to nflt nru;
hca,·cn.

53

it is impiety to

EXF.!lCISI!.

Ile \vas,

..

(

~

110

' i

sition .
E:X.EllC!SE.

"Th o trnth is, tlrnt tho geni us will s t a<ly it is that in tho
mi nd whi ch doCls st udy that i> tho very nature of it."
" You uro a m:m you m·o n. rational and religious .b eing
you arc an immort"l creat nrc."
"Thero is a virtuous, ::ilo r ious courage but it 1111ppcn s to
bo fount\ least in t ho8o wlio are most a<l111ire<l fu r brave ry. "
!Io l1as a purpos<i and th :1t purpose g ives l1i111 cl111r-

" I can not see t.l1 is terrible slaughter" saiu the soklicr.
They entertainou fo r her th ey wrote a most profounu
respect.
" :May j oy be ever wi th her" saiu Lor friend .
Th e spa rks flow upward like g rniu from a tlirc~liin~ - floor ·
Ile was one of tli e most eloquent men it i~ said that the
age produced.

11ctcr.
''Thero nro tears, for liis love j0y, for liis fortune l10no1·,
fo r l1l s valo r nnd dca tl 1, for liis 1u11Li t ion."

LESSON V.-(CoMMA.)

. LESSON III.-(Co:-.ntA.)
In r rt comma•, according to Rule lat.
JIIODEL.

In tlie b right m oonligh t, he stood calm and
unh eeded .
EXI!RCISI!.

'Yhen yon h:no taken~ wal k com e in the house and rest.
U n\ e-s you come e:irly yo a will no t find n sent.
In <list:111t lnnd8 he fun 11tl r c~t for lti s w eary 8•>"1.
At the hci:; h t of her glory Athens wns beauti ful.
Tn such n cau •c our foi h~ r.; could 11o t foil of ~ u cc oss.
In lier tru e chante tcr :<1111 npp0arc11 rno>t lovel y.
For the s1ke of l111mnni:.y ron10111hc·r 11 10 p001.

.I

to speak, of a most excellent <lispo·

Point according to Rule Sd.
MODEL.

"The beautiful ·w ife, the affecti on:-tte <laugh ter,
the amiable siste r, lies low in the silent grave.''
EXEROIBE.

Th o God thnt ritles on the tempestuous cloutl rules tho
storm .
He wi th many other~ hns tasted tho bitte r w ate rs.
To be aslinrn ed of virtue which the heart app roves marks
n fe eble characte r.
"Ohildron coming homo from school look in at tlrn open
door."
"A lion cub of sord id mind avoided all tbe lion kin<l ."
This home-bred sight tbis fire-side privilege is yours.

l'ItACTICAf, COl!POSITION.

IIo tho wi:>o tho good tho benevolent passed 11w11y.
This high constitutionnl privilogo must bo protected.

PRACTlCAL COlUPOSITION.

55

LESSON VIII.-(Co-:.rnA.)
Separate tho words in apposition, according to Rulo 6th .

J,ESSON VI.-(C1)J1mA.)
Point nccorcliog to Rulo 4tlt.

:MODEL .

Paul, the Apostle, lived in the firnt century.
MODP:L.

N everthcless, he will take a ride in his carriage.
EXEIWISE.

" Antl now nbideth faith, hope, charity."
Soon th e clay of gladness will bring peace nnd hope.
"Wh creforo I beseech you by the mcrcios of Gud."
l'\otwithstanuing tho dny proved to be 11 stormy one.
Now thorc was n man whoso nam e wns Job.
Truly ho will not attend the lecture tliis evening.

llXIUlCISE.

IIenry tho Sth king of England was father of Elizabo~h
the famous queon.
My sister Amy came from Boston yesterday.
"N cwt on th e philosopher bound Scion cc with :1 cliain
wlii ch 110 found in her inmost labyrinth."
Joh'.l the beloved disciple leaned on Jesus' bosom.
Schiller the poet wrote of nnture and. its benuties.
She was the darling tho pct lamb of th e little fiook.
\,

LESSON YII.-(ComrA.)
Point according to Rule Gth .

LESSON lX.-(Oo:\tMA.)
Point according to Rule '7th.

J\IODEL.

" Good people, all, with one accord, lament for
Mn.dam Blaize."
EXEHOISE.

" Mr. Presiden t my object is ponce."
"Sir th cro aro some on tltis floor who say that they are
nboYc tho con~tituti o n."
":Englishmen look nt Ireland I what do you behold? "
Old winter go back to thy dreornloss sleep l
"You nre old father William" the young man cried."
" 0 sailor boy sailor boy never again,
Shall homo, love, or kiourod thy wishes ropny."
" 0 God thou hast blest me ! I nsk for no more I "
0 wmds si ng ye n song to me I

J\lODEL.

"That voice sl1all tran11uilize c:wh fear,
"'Tis I, be not afraid ."
EXEllOTS !i.

IIe sang tlcis song "0 for n closer walk with God."
"\Yell" said. th o squire" now, you sh :1ll stay,
And dine with me, old fri cn1l, to-day ."
"Agrcci!" s:iid tho pair" that wiil mn'k c ameuds."
"Breathes there a man with so ul so uca<l,
Th at never to himself hat h snid
'Thia is my own, my native land.' "
"Come b:1ckl C'.lmo back" he cried onco more.

56

PRACTICAL

C 0~1POSITIOX.

rRACTICAL COMPOSITION.

57

LESSON XII.-(DAsrr.)

LESSON X._:._(00::111.IA.)

Point out plrices in whi ch tho Dnsh sLould be used in
tho following quotations and sentences.

P1rnctnnto the following scntoucos ncoordin g to Rulo 8th .
:MODEL .

1\rODEL.

They toiled with p:i.tiencc, with perseverance,
wi th energy.

"vVashington !-First in war, first in pence,
and firs t in the hearts of his countrymen !"
ExrLANATION.- The Dash is n!'\ed after V\T ashington to indicate a sndden transition of ideas.

EXEROISE.

" It is tho Christian's duty to succor tho distressed to
ooun ~cl

tho wayward to soothe the aiilictotl and to instruct
the ignorant."
They fought bravely nobly triumphantly.
She wns a wise tende r be nevolent friend .
"A nd <lashing and flashing and splnshiog nnd clashing
The water comes down at Lotlore."
"Toiling r~j oicing sorrowing onward through lifo ho
goes."

LESSON XI.- (CmmA.)
Point according to Rulo 0th .
·

Jl[ODEL .

"},fan, who lives but an hour, still never dies."
EXEilOISE • .

"IIo ''" lw $teals my purse steals trasl1."
Thou "·ho inlinbitest etern ity protect ancl gn ide ns.
Tho vcs~el that w~at licrc<l tho ~torm camo into port.
Noth in g is va lu able in th is world tlrnt roqnires no offort.
Ho whom my soul lovctb is king of all tho earLb .
0 thou wl10 art invisible r eveal thysolf to mo I
The flowors tl 1nt fade soonest nro often th o sweetest.
Tl10 min thnt fell in torre nts filled th o streiims.

EXEUCISE.

I'

"My Lords ·what h1lvo I to say why ~entenco of death
should not bo pronounced upon me, accord ing to law."
Tho qniot air grow tremulous with prayer men slept nnd
drcnmed.
"Our bugles sang trnce for the !1igbt-elou<l had low ered."
"Stay, sttiy with us, rest, thot1 art weary and worn-"
"Confess thy folly, kiss the rod."
" There is pleasure in the pathless woods, there is rapture on tho lonely shore."
"Fill evory beak er up, my m~n, pour for th tho cheering
wine,
There's life and strength in ev<:ry drop thnnk Rgi vin g to
- tho vino!"
ITow warm in imagination how ricl 1 in imngc ry !
"Ilo spoke and it was done, Ilo commamled and it
stood fast."
Work earnestly I work h eroically, thy Ji fe-wo1·k will
soon be end e<l.
Let angels sing thy soul to rest, tlJCn awake iu l'ara<li~c l

LESSON

XIII.-

PARENTllESIS.

Which aro the parenthetical words 1

,

!

58

J?

ICAL

rRACTICAL

CO~[POSITION.

CO~POSITION.

51)

.

·...
.
i,~;-,,

MODEL.

;\IODEL.

""'While thus I spin and sometimes sing,
(For now and then my heart will glow,)
Thou mcasurcst Time's cxranding wing."
ANsw1m.-1'hc parenthetical wordfl arc, ":For
now and then my heart will glow." They are not
neccssn.ry fo r tbo grammatical construction, and
are therefore enclosed with marks of parentheses.

" Gold ~iroltl 0o-old brrold
Bright and yellow, hard and colJ."
ANswm•.-Thoro should bo a point after each
gold, because they are exclamatory words.
EXEROIS E.

Dack back the flood is swccpin 0 onwaru.
"Away away our fires stream bright
Al ong the frozen river."

.EXEI!CISE.

"Near, anu more near-anu can it be
Morn YcnL'1·ous than their own
A ship, wh ose seeming ghost tlrny see
Among those icebergs thrown:"
A man l1ail once a. Yicious wifeA most uncommon thing in life;
Ilia clays and nights were spent in strife unceasing." '
"Abou Ilcn .Adhem may l1is tribe iocrcase I
Awoke ono night from a doep dream of p eace."
" For if I should said ho
Ilcstow th is jewel also on my creataro,
He would adore my gifts instead of mo."
" Thou happy, happy elf I
But stop- first let me kiss awny that tear
Thou tiny imago of myself."

LESSON XIV.-E:x:cLAi\IATION Ponn.
What words should have an E xclamation Point after
them?

Jfo ha the maninc breaks his ch:1in~ once mo re.
llark bark hc:i.r yo not tho luud bcll 1
"Hurrah · .hurrah :i single ficltl hath turneu tli o cliauco
of war."
" \York -work -work
hly labor n o1·cr fla gs."

I

l"

" 'Allah Allah' cried the sick man,
·Racked with pain the long night tliroucil.."
Beautiful bcantifttl the first f1u~l1 of morn, tinting lho
o:ouds and coloring the lan<lsc11po.

LESSON XV.- Ex.cu.;-irAToriY Pmu.sEs.
P ineo Exclamatory Points after the Phrases.
l\10Dlt L .

" Thou, too, 8ail on, 0 Ship of State!"
0 Ship of State, is the Exclamatory Phrase.
ExrLA.N.ATION.-

00

I' i~ACTlCAL CO llI'OSITIO.:'<.

l'I:ACTICA.L COMPOSITION.

MODEL.

EXEltOISE.

"\Viicn storms arc brooding o'er the main,
. r
Say ! can'st thou make it cal m again
.
"Doth not wisdom cry and undcrstarnl rng

'Anc1 lo from tho nsscmbled crowd
·There rose a shout prolonged nnd loud."
" But from tho mountain summit, far withdrawn,
Came th e glad answer, Lo the Dawn the Dawn"

ntter her Yoicc 1"
E.XERCISE.

"Nearer my God, to Thcc,Nenrcr to T!t oo "

Interrogations in Prose.
Iutcrrogntions in Poetry.

" 'A sail ho a sail' cried the man on tho Ice."
"To arms to arms tho bugle sounds from far,
O, noble friend gird on thy sword and sl1ield."

UsE 01~ CAPITAL LK1-r1ms.
Capit:-ils should be used in the following cases:
l st. Cnnit:-ils should com mence every sentence
in prose, a;1d every z,i.ne in poetry.
2<l. All p roper names or wor<ls usc:l as snch.
3d. The letters I and 0 when standing alone.
4th. The :first word of a direct quotation.
5th. Words deno ting personificatwn.
6th . All important words in titles of books,
pamphlets, essays, &c .

" 0 cruelty who could rehearse
Thy million dismal deeds."
" Now for a fro lie now for a leap
Row for a mad-cap gal loping chn~o
I'll make n commotion in every place."
"0 dwellers on tho mountain-top"

LESSON XVI.- ExcLAMATORY SENTENCES.
.Tho pupil mny write six Exclamatory Sentences.

LESSON 1.- RuLE lsT.
Place Capitals according to the Rulo.

l\lODF.L.

"I am charged with being an emissary of
France !"

XVIL-lNTEirnOGA.TION

'MODEL.

"Religion expands the intellect.
. I'

EXJrnCISE.

LESSON

01

PomT.

Write six Intcrrogntire Sentences in prose and poetry.

I t enlarges

the heart."
"O dwellers on the mountain-top
The night is dark and drear;
·Comes there no far, faint gleam of day,
Our aching hearts to cheer r'

·.. ·~,

·::::.

62

PRAC11:CAL COMPOSITION.

PRACTICAL COJlfPOSITION.

EXEl!OISE.

"Never hnvo I known su ch a fireside companion as Dr.
Franklin. great ns ho was, both ns n str1tesmu n and a philoso]!her, ho n ever shono in a light more winnin g than wlten
ho was soen in the domestic oirclo. liis cbccrfulnoss and his
colloquinl powers sprcnll nround l1irn t\ porpotual spring."

63

Will you return from tho country on monday.
Ile wont south in the month of j 11 nu ary. ,,
" Strong iR thei wor u of god to succor thee.

-, ·~

·,

LESSON III.-RuLE 3D.
Put Capitals aooording to tho Rule.
:MODEL.

"1 10 that si ts above
in liis calm glo ry will forgive t.ho Jove
l1is crc:iturcs uen r each other, e'en if ulent
wi th a vain worship!"
"Good-night ;
peaco to all who tnste of sorrow I
day now hastens to its closo:
busy, toiling hands repose
till awakes the bright-eyed morrow,gootl-nigl1t."

" Life ! I know not w11at thou art."
W cop not, O mother! "·cep not hopelessly.
EXEUOISE.

i cannot forget that i am bereft.
. ,,
"F 11r, far i ha<l roamed on a desolate track.
Ilow can i tarry so far from home.
i looked forth from my casement.
i miss t he dear, kiu<l voices that i Jove.
1.
· l1t , ill
· fr1'cndtihi 1o or in
"
I was th ere ever sucu
a k rng
0

J,ESSOH IL-- llur.E 2n.
l'luco Capitals where they belong.

:MODEL.

Jienry Olny was clo<Juont and won the hearts
of hi s countrymen .
She spoke tho French hingtiage fluently.

"•Nnr."
"Thy form benign, o goddess, wear."
" 0 that this lovely valo were mine!"
nature, with thy vine-clad hills, i love thy ri ppling
0
brooks and leafy trees.

LESSON IV.- 11uu 4TIT.
Insert Capitals when r eqnired by the Rulo.

ltXEROISE.

Noah wcbstcr wa s th o auth or of an English dictionary.
philadolphia is a beautiful city.
He was sent as an ambassador to england.
The amazon is the l:ugest river in the world.
Tbe nndes are on the western coast of Sonth America.
The egyptinn mummies are great curiosities.

:MODEL.

Says Cowper, ".llo is free whom tho trn lh
makes free."
EXERCISE.

Whittier wrote, "iu God's own might, we gird us for the
coming fight."

-~

'

64

()5

rRACTICAL COMPOSITION".

PRACTIC;U. COMPOSITION.

This was her rrnyor : " father have mercy, look down on
my child!"
Qoth he, much moved, "the stream is strong and <lecp. "

J,ESSON VII. -P1w11uscuous Exi,;1,crn E ON
CAPITALS.

Place Capltllls whorernr requi red by tbo foregoing Hules.

LESSO:f V .-RCTLli: 5rn.

l\IODEI,.

Commence the word s t h at denote penionijlcatlon with
Uapitals.

"Sin " on sweet 1>ird; I listen to thy str!1in."

l!IODEL .

ExnANATION.- Sing commences wi th a cap1-

b

'

•

liXEROISE.

Como gentle spring and clotl1e the earth with flowers!

RXR!lOISE.

"The last night of tl1 e gray old year
"\Vns wearillg fast away."

LESSON VI.- RuLI;; 6m.
Place Capitals according to the Rulo.
MODEL.

Garland of Poe try.

Post.

.New York E,·cnfog

"Up from tl io rncndows rich with corn,
Olcar in tire cool septcmber morn,
t ho clustered Rpircs of fr ell ori ck stnn <l
green-walled by the hills of maryland."
i.

" Praise t h o po wer tbat blossed oyr siros,bado them kind!o freedom's fircsl ·ado them boar tho ark of god,
fcarin;:; no oppressor's rod."
"Thou shalt reign in peace with chri tit at length."
"Como l1ithcr, lr ubert ! o my gentle liubert."
. our 1rr
. f ancy. "
says wordsworth, " heaven lies about ns 1n
" Gi ,·e mo of yo t<r roots, o tamarack!"

E XEHC rs rc.

Grammatical strnctnrc of the english Jang:iage.

St. pcter's churclr . Tho academy of des!gn.
Jify t rip to niagara. Our win ter spor ts.
JI istory of little susan. Life among the monntaios.
National fourth reade r by parke r and Watson.

.

t.nl, l>ccanse it is the first word in a sc~tcncc, and
nlso n. line of poetry. Ii s alw n. capital because
it stands for a noun.

"Two angels, one of Life and one of Death,
Passed o'er tho village as the morning broke."

I work for kindly chnrity nm] not fo r son]iJ ·woalLh.
Memory and hope walk, hand in h and, through all tho
scones of life.
Como gont;Je slo<.>p and woo mo to t hy k ind om brace l

•

..

00

PRA CTICAT, CO~II'OSITION.

PRACTICAL

0 I -I APT E TI V.
DmEc-rroxs FOI~ r1mr A l:I:'>G CO:IU'OSUIONS.

*

R_ule lst. Select a sul 1ject wi thin your g rasp ;
tha~ is one of \vliich yon know something, anJ
''.·l: 1ch yon can master. In tlic themes of compos1t1on, perhaps, more than anything else, yonng
persons arc apt to overshoot the mark. It is
better to ~ft a pound bcforn _attem pting to lift fifty.
Rule -d. After the snbJect has been selected
thiw.; upon it ofte n and closely. Have somcthin;
to wri te,-w ritc it! The mere putting words to~
g ether docs J)0 t const itute tl1 011gl1t. As bngnn go
is a gro wt i, .thought is necessari ly so also.
Thought begets thought. It :increases in o-cometricnl ratio.. The g reatest dr awback to you~g persons lcarrn ng to compose well, is their aversion to
think ;-to think closely nncl frequently.
Rule 3d. J3e yourself! That is, avoid imitation . Study th e best models, but do not copy
them . Consult standard autl1ors to rcr,.nlate
yom·
0
style and cultivate your t:lste.
Rule 4th. E xpress your thoughts in the mos t
,. The Tcnchcr
must nse his or her ow n J·ud o" ment, 1·n req UlrJOg
· ·
.
,
·
pupils to com1111t to :ncmory these fam iliar directions. The Rule,
wtthout the explunnt1on, mny be nll th at is necessary.

'-

co:r.rrosITION.

67

pol ished manner. There arc_ two f:on~ s of exprcF~­
irw thon O"ht: 1st. The Lare idea, m s11n11lc wonh.
2d~ The idea, clothed in expressive a11 d beantit"u1
lall guage. The first is a tree, \Yith its l.Jouglis a~1cl
twi""s · the Beconcl is the stalwart tree, clothe(l with
::> '
•
verdure and laden with fnut and flower~
R ale 5th. ·whenever anything snggcsts a
thonn-ht, kin dred to yonr subject, note it clown.
Do n~t trust to memory-that is sometimes tre~1ch­
erons. B rin()" observation , conver;,alion an<l rca<linrr to yonr~'li<l . ·while your own mind should
0
bc a little world of creative th ought, it may be
peopled with a thonsand suggestions, and adorn ed
with the imaginings of fancy.
Rale 6tl1,. Re-write* it un til sat isfied that yon
have done yonr best. "·what is worth ~oing at
a11, is worth doing well." This adage will apply
to' C?mposition wi th peculiar force, fo r no hrnnch
of education, no task is so . mnch ncg1cctcu and
abnscd.
. .
Rule 7th. Arrange yonr thou ghts syRlc 111 at1cally. In order to accomplish thi s, vi ew your subject in its different aspects, and select the most
forcible and familiar ones. Connect the though ts
that bear upon each other, in g rou ps, and arrange
them under their proper heads.
Nothing evinces poor scholarship more than
" It is said Gibbon re-wrote his Hi.story of England fiftee n
times.

68

PRACTW.\ L CO)!PO:';ITION.

rRACTlCAL CO MPOSITION.

69

Cha r:icter of th e J\n-cicnt Romans.
Tlt c Progress of Oi vi li;~nt i o n .
The Authenticity of il10 Ilil>lo.

want of some method . Disjointed thongl 1ts,
th rown pr omiscuously together, can never be
forc ible, even if beantif'ully expresse d.
The
hearer, or reader, hccorncs lost or b cw ilu ered.
Rule 8tli. Avoid, ns much ns p os!3ibl e the
.
m:rnnen~m
of th e schools-tl1at is, avoid tho ' stereotype~ _mode or school-g irl ' and school- boys'
compos1t1ons. Ventu re into some new field, and
gather the most beautiful flo wers, and weave them
together in to g arlands e>r nosegays ; be th ey ever
so small and un pretend ing, they will be fresh and
sparkling.
R ule 9tll. Th e first sentence should be short
an d striking.
LESSON I.

LESS ON IL
Point out tho defects in examples under R ule 2J .
:JIIODEL.

Ex.-The \\·ay, to-morrow surrounds eve rywhere and therefore but necessary in terrnpts.
E xP.-'Tliis is a combination of words, but no

id.:a is expressed .
E X KI:C lSE .

Word s useful if begin bnt men why conJ.em~ sweet.
Co:iscnt nnd conte ntment not supply il<>wers rn~ nd.
Ride "·hen if th ey seo do not birds bushes try.
\Ylien over arc sons and <lnughtcrs fly npwn rJ .

EXPLA NATIONS AND EXERCIS ES UN DJm R ULES FO i~

LESSON III.

l'RET' ARI:l\G cdf: C'OS TTIONS.

Change tlic followi ng examples nnd0r Rule 4th, from a

\.Vl1y aro not tl 10 following suujects suitnulo for ordinary
school compositions?

pbin to a

ro1 i~1 1 c d foritl.

MODEL .
ll!OlJl<:L .

hmoR'.'ALITY OF TITE SouL. This is a subject
ab?nt wlnch few yonng persons know anything.
It is <t theme for mature mind, one which philosophers ha_ve studie~ and argncd upon fo1· ages,
an d of which the wisest and best know nothinO'
0
except as reveal ed in the Sacred Scriptures.
'

Uc saw tl1c light of a fire shining throngh tl1 e
wind ow.
" I n happy homes he saw tl1c li ght
Of honsehold fires glcarn warm and bri ght."
\,
EXJrnCISE .

EXERCI SE.

"The lessons ov er, wri ting time began."
"Ifo is n kin g, every inch of him."
The little boys were st ill as mi ce.

A R opnblic:m Government.
· The I>yrnmi<ls of Egypt.

if,
(·

;

70

PRACT'JCAL COlIPOSITION.

PRACTICAL COMrosmoN.

71

To-night tho your wi il eu<l.

~:.soon as it was morning we st11rte<l.
, lhey that touch pitch will be defiled."
!'.lowers gro w in tbe fiol<ls, iu tho country.
lhc mounbin 11·as CO\'Crc<l with foliage.

LES SON IV.
. Let c:1ch pupil tell what tlioa.,11t
is surrcrcsteJ by ti
0
given .
oo
10 one

" "l:'T

Jl[ODEL.
,

' ·c cannot all l>c masters"
Tl.us SllO'•rcs ts
tl
•
·
0
iat i r so me arc bor 1i l 0 ru l c, otl icrs arc born
"'
to

be rn lcd .

lcXEH CISE.

"T!iat tlto11 art J,appy, o wo to God ,,
"WI
.
" , io steals ~1 Y p1 ~·e, steals tr11 sl1."
r1,,. so rrow io r tli c tlca<l i. tl•o only sorro w fr o• 1 . h' h
\\' e l'Ofll~ C t" be <]j l'(tl'C C<J..,
d W IC
"Tl ion d ost prcse n· e t Ju.• ~t ars from \Yrong"
"WI
·
i.1 d " irrcver tlicy marcl10 J tlieir route was marked with
u

{l(J

•

LESSON V .
W'.·itc up?n. ~no of tl1e sul>joc ts given, and arran"'e under
0
th o p1oper d1 v1s1ons.
llfOD !l L .

fi TJrn DEATH
. OF O'CoxN"n
' ' . ,r,, It I.S d.I VJ'd C u. 1 l• 11 to
onr head ~, VJ7.: 1st. Tidings of l1is dcntlt. 2d
Tl 1c poc nlin.r clay of l1is dc·tth 311 Ob
.
:
•
IJ'
·
' ·
scqn1csof
n so : IC!'• . 4th. Tl1c mourning nation.
1 licro is sad news from Geno.~.
\
1 n ngod nnd
"

'vcary pilgrim, who can travel no fnrther, passes
beneath the gate of one· of lier ancient palaces,
saying with pious r esignation ns he enters its
silent chambers," ·well, it is God's "·i ll that I
shall nc\'er sec Rome. I am clisappoin tc<l . Dn t
I a~1 ready to <lie. It is a11 right." The snpcrb
thongh fad in g queen of tho Mediterranean hol<ls
anxious watch, through ten long days, o\·cr that
majestic strnngcr's 'rnsting frame.
And now
death is there-the LiLcrntor of Ireland h:is sank
to r est in tltP. cradle of Cvlnmbns.
Coincidence beautifol and most s11Lli1110 ! It
wn s tl1c very day set npart by the elder daughter
of the Ch urch for prayer and sacrifice tltronghont
the world, for the children of the sacred isbnd,
perishing by famine and pestilence in their homes
and in their native :fields, and on their crowded
paths of exile, on the sea and in the hav ens, and
on tho lakes, and along the rivers of this far distant land. The chimes rung out by pity for his
countrymen were O'Connell's fitting knell; his
sonl went fo r th on clouds of incense that r ose from
altars of Christian chnrit.y; and the monrn ful anthems which recited the faith, and the virtn e, anJ
the endurance of Ircl:rnd, were l1is becouiing requiem.
It is a holy sight to sco the obsequies of a sol.
d ier, not only of civil liberty, but of the libe rty of
conscience-of n soldier, not only or freedom, bnt

"

72

PRACTICAL COMl'OSll'lON.
PRACTICAL COMPOSITION.

of~ the

Cross of Christ- of a benefactor, not merely
o a race
of
• b
,
1'1
l
r <rj d L people, ut of ma11k1.nd
'
.
IC van t
_it~ l y suspended worlds is tlie temple wi tl1in
w i'.c l ti~ g reat solcm 11itics al"C cclcLratcd T l
nnt10ns of the earth arc monrnc1·s . "n<l tl . . . ic
f J •
' "
10 sp1 nts
: tic .Jn~t made p.c!'fcd, descending from tl1cir
oolJ cn tlironcs on Jugh, brc.1k forth into songs.
nc:1old now a nation which n ccdct!t not to
speak its inclanch oJy precedence Tl 1 J·
.
Ireland .
. .•
·
0 .uncnt ot
f.
~o m cs Joi di from palaces deserted and
I om s1ir1 11c13 restored; from 13ovnc's cl l· '
't ·
f
J
ar' water
'~~ ness o l1c1'. desolation , a1<1d from Tarn's loft '
l11d, ever ed1olllg h er renow n
D t I d
y
d r . .
l,
..
·
n · 0 11 er and
cc,Je t y ct t i,tt wa :l1 ng co1ncs from the lon e]
Jrnts on mountain and on moo r wl1 c1·c tl 1
ly
0 poop e
f tl
·
'
o
ic greenest islan d of all the SC"S ' .
. . .
. tJ
·'
" <LI C C X j>ll'Jll <>'
nl1 .1~ rnrnst of insufficient tl1ongh world-wicl~
c iant1cs. Well, indeed, may "t hey dcvlol"C O 'C nell, for they were J1is children; and lie bore tlic1~1

il

A Jo,·o

TL
;

."

~o vol1emcn;
.

• 80

stro ng • 0

, " pnro,

·

at no1tl1or age could eli:ingo nor art conl<l cu re.

.

~

EXERCISE.

Our Arncl'ican Scliools.
The J,o,·c of Art.
Cold Water.
He J.o;hnzznr's Ji'ca• t.
F11sl 1i on antl :Finery.
A Sr11d t>11t's \York.

73

LESSON VI.
What part of Rulo 7th is violated in thu subjoined illustration 1
MODEL.

Trm SEASONS. - "There are fou r scasons,Spring, Summer, Autumn and Winter. Some
like Spring, some like Summer, some like Autnmn, and some like Winter, but, as for me, give
me liberty or give me death!".,.
ExPLANATION.-Thcrc is no connection between
the Seasons and liberty or death .
EXEilCI SE.

"One of tho most striking characte ristic~ of onr ngo,
nnd tlrnt indeed which lins worked deepest in nil the changes
of its fortunes and pnrsuits, is tho gonernl diffusion of
knowledge. This is emphnticnlly the age of reading. In
other times, this was the privilege of the few; in ours, it is
the possession of the many. The principal cnuso of this
change is to bo found in the fre edom of tho press. If
Fanstus wore now livin g, ho might excl:iim, with nil the
enthusiasm of Arohimodos, un<l with a fo r nearer approach
to the truth , Give mo whero I may plnco u free press, ond
I will sh ake the world. Who can moditato on tho strains
of Milton and not feel that he t1rank <leep at
" Siloa's brook, that flowod
Fast by the oracle of God,"that tho fires of his mug.nificent mind were lighted by coals
from anciori.t altars?"
• The moue! was wriltcn by a young man of sixteen, intclli·
anu apparently as well read as oth ers of his iige.

g~nt,

74

PRACTICAL COMPOSITION.

PRACTICAL COMPosmoN.

LESSO:N" VII.
Stu,dy tfhe anne_xcu i!!ustrations of Rulo 8th, nuu write an
oxamp10 o oacl1 kmd.
llrODEL N 0 . 1.
Ho.\rn. -Tlicrc is no plncc like home. Of all tho
~pots on earth, home is the denrcst to our hearts. In
it we experience a mother's fondest love and receive
a father's bl?ssing. In it we learn our earliest lessons, and enjoy on r chi ldish s1Jorts. in it
•
L
'
.
WC pre.
pare !or our entrance into the world. There we
expe ne~co nothing of life's cares and perplexities
but all 1s peace and Jw.pp incss.
'
Let us learn t9 prize it as it deserves, for we
may not. ah~ays have a home. Let us ever look
b~ck to it wi th gratitude and affection chorishin..-kin<lly thoughts of the fond parents ~ho guided
our you th~ul stc1~s, and looked with leniency npon
our youthful follies.
]l[ODEJ,

:Ko. 2.

Ilo11rn. -Poets l1ave su ng and tnwclors dreamed
The soluier, by his camp fire, bi vouncked
rn tl: o wiluerness, longs for ils quiet scenes. The
~armer, ?ha.nting his midnight songs, amid the
1ce-clad 1'1 ggmg of his l1ome-bound vessel, sincrs a
chorus of land-ho! as he .n ears the long wisJ7ed for shore. The watchmnu, on the far off minarets
:oun ts the dreamy ho:1rs as tho midnight creep~
into the morn and brings l1im homo. The minstrel sweeps his l1and over the lyre and sings its

?f 11omo ..

)

lyrics. The wanderer wipes the tears from his
eyes, as fancy pictures a little group around the
familiar fireside.
In it, the littla child finds a resting place when
wearied with his childish sports ;-tlie wayward
boy kindness and forgiveness ;-the wi dowed
daughter a sweet refuge from the storm, that so
lately overshadowed her path ;-tho aged an d
weary a peaceful retreat,-a safe abiJing place
when the storms of p.assion or adversity sweep
over life's horizon.
Home! thou talisman against life's ills! thou
covert from tbo tempest I thou sweetest o all spots
the earth affords. Th ou art a fit type of a 1' home
not made with hands,"- a dim foresl1adowing of
blissful scenes, when the celestial gates are opened,
and the pearly streets of the N cw J erusalcm burst
upon man's enraptured view.
Sing on 0 lover of the Muses I Dream again,
traveler by the wayside I Chant a new refrain
sailo1· upon tho stormy sea. I Look fox off watchman, for what of tho night I Minstrel tun e thy
lyre anew, and wa.nderer wipe thy tears, for hom o
dravrnth near, and thou shnlt go no more hence
forever I

1;.~,

.. '

LESSON VIII.
Write six opening sentences, rnnkiog tl1cm Rhort nnJ.
striking according to Rulo 9th, and select somo from standard authorities.

,,f .•

i

76

r1u..CTICAL co:MPOSITIO~-.

I'RAC'TICAJ, CO::'!IPOSITION.

MODELS rn

A.nO'cls arc round the good man , to catch the
incens; of his p rayers.-.bf. F. Tuppe1·.
•·
Woodman , spare that tree I-Geo. P . ]J[or1 is .

rrwsE.

Man is by nature an active beiog. -Edward
Everett.
I have great fo.ith iu hal'd work.- D r. C!Lan-

;&XEllOISlt.

nin:;.

Yon have taken me prisoner with all my warri ors. -Btack IIawk.
The declaration will inspire the people with
increased courn p;e.-Daniel Webst&r.
Th e grave of those ·we loved-what a place
fo r mcditation .-- lVasllinl)ton Irvin'].

l
'

EXRll CISE.

Selection fr om Shnkspcnro.
"
"
"

"
"
"

"

"

:Milton .
Hen ry Cl!ty.
Mrs. Hemans.
J\Irs. Sigour noy.

.

I.ESSON IX.
:HODELS IN I'OETRY.

Strange is

the power of

dreams !- 11frs.

Norff)n.

Friend after friend departs. -..Jfont']07ner?J.
Cliaincd in the marke t-place he stood. - IVm.
C.Bryant.
How slow yon tiny vessel ploughs the main.
- j]frs. Sigourney

.

78

l'RACTICAL CO:IIPOSITION.

C HAPTER VI.
DIRECTIONS FOR COPYING.

AFTER a co.mposition h as been carcfnlly composed, it should be n eatly copied npon Cornmercial Note or Composition Paper. No l;lots sho uld
deface its appearance.
Rule 1st. Write only on the first and third pages of the paper ;-if more are needed, u se in the
same way, fastening the sheets together, neatly,
with a thread or ribbon according to taste.
-x- Rule 2d. Place the Title or Subject, about
two inches from the top of the page, and equally
distant from the right and left h an d edge of tho
paper.
Rule 3c7. Commence tlie leading words of tho
Subject with Capitals.
Rule 4tli. Separate the Composition into its
proper paragraphs.
Rule 5t!i. Commen ce the first line of the
Composition , and the first line of every succeeding
paragraph, about an inch, or an inch and a half
from the left hand edge.
Rule 6tli. Every line succeeding the first lino
of a paragraph should commence a half or a whole
inch from tlio left 11and edge, so that tho Jin es of
•Rule 2d may !Jc varied according to taste.

rRACTICAL COJ\Iro:;ITION.

7\)

each paragraph will fall directly urn.lcr tl1e preced ing one, aud n.11 others will foll di rectly unJer c::tch
other in a straiaht line down the page.
.
Rule 7th. Nover divide a syllable. rr there IS
not space to finish a word at the encl of a line,
divide it into syllables, accor ding to orthogTa11hical rules.-See D·icti.onary.
Rule Sth. ·w hen a word h::ts been diviJed in to
its p roper syllables, place_ a :1yph?n a~ .tl.10 ri ght
h and edge of the paper to 111d1cate its d1Yist0n, 1rnt
never pnt any at the left.
Rule Dth. Spell every word correctly. If not
certain of its orthography, consult a J,exicon .
Rule 10th. Place the name in full, :it tho right
hand side of the paper , on t he second line 1e1ow
the end of the Composition.
.
Rule 11th. ·write the 11amc of tl1c phco m
which you reside, with the montL, day of the
month and ye ar at the loft,-one lino 1Jclow the
writer's name.
Rule 12tli. Fold the edges exactly even an·J
·wess too-ether. If Commercial N otc, join t11e
i
t::>
•
• •
r
right and left hand edges; if Cornpos1t1on · aper,
join the top ancl bottom and fold twice.
R 'ule 13th. Inscribe the full name and d::tte
upon the outside, to which may be added name
of Class, &c.
.
Rule 14tli. Writo all Exe rcises and Compositions with ink. mack is preferable.

! .

·'

80

PRACTICAL COMPOSITION.

PRACTICAL CO:IIPOSlTION .

Rule 15t!i. l"'unctuate correctly ; tLat is, according to some established standard.

EXEltOISE.

Alf-irm-a-tive.
Ap-pre-hcns-i-ble.
Bc-Jon-ging.
Oord-i-al-i-ty.
b ec-lnm-a-tion . .

LESSON I.
Correct the following violatio us of Rule 3d, putting Oapitu1s where they belong.

EX EllOISE.

Tho love of beau ty.
The poetry of trutl1 and of fiction.
My first flower-gar den.
Visit to a star.
J, jfo of marie antoinctto.
Pnssngcs in tho l ife of Thorwnldson.
The angel 's visit.
A chapter on clrenrus .
A wiotor scene.
Summer wanderings.
Light s nnd sh adows of city life.
My home in the country.

LESSON II.
Oonoct tho mistakes in di vision of syllables, under
Rule 'lth .
JIIODELS .

Ex. -Man-i-fcs-tat-ion .
Oor. -:M:an-i-fest-a-tion.

F;1l-si-fi-cat-ion.
I•'als-i -fi-ea-tion.

Af-fiic-tive.
Ar-cLi-tcct.
Bcl -li-ge- r e nt~

Forc -i- blc- nc~s .

J\fODITL.

Example.-Scenes in gcthsemane.
Oorrection.- Scenes in Ge thsemane.

81

!! '

Im-port-u-ni ·ty.·
:Mng-ni-fic-ent.
:Mar-vo-lous.
Pl au-si -lJle.
Pro-vi-sion.
So rm-on.
Spen-king.

Cru mb-Ji ng.
Dec-Jar-a-tion.
Im-pli-cit-ly.
In-gen- u-ity.
Man -i-fos -ti ng.
Of-fen-si ,'e.
I' o-et-i-cnl..
ne-act-ion.
Sleep-in-csH.
Un-at-ten-ding.
'

LESSON III.

... ·

Diviue the following worus into their propor syllal!lcs.
l\IODEL.

Ex. -Ineomprchensibility.
Oor.-In-com-pre-hens-i-bil-i-ty.

I\~._,

.'

EXEllOIBX..

In significantly.
Mnsc11line.
Business. ·
S imultaneous.
Sinuosity.
Decidedly.
Determinately.
Forwardness.
Humanity.
Knuckled.

Inscpnral>lencss.
November.
Ja flore scence.
Observation .
Ex citomont.
De::lc riptive.
Emuoci pntion.
Geographi cally.
Jewel er.
Lamentation.

i'

•l_J:

,I

82

Pll.ACTICAL COMPOSITION.

Parliament.
Weariness.
Zodiac.

Writiog.
Yawning.
Zoology.

!

1·

t

83

CO~Il'OSITION .

in l:mgauge, or most sol>lime in idea. Y ca, ware
poetry a gem, .it wonld be the cl1oisest watc1;;
were it a flower it wonld be the sweetest perfume.

CoR.-Poetry comprehends \~·hutever is purest
in language, or r.1ost sublime in idoa. Y oa, woro
. poetry a gem, it would be the cleverest water,
were it a flower it would be tho sweetest perfume.

LESSON IV.
Oorroct tho follo,ring violations of Rulo 8th.
M9DEL.

Ex.-" The desire of being useful has in it
-self a kind of eloquence."
Con.-The desire of being useful has in itself a kind of eloquence.

J<:x1m01sE.
"Tho paintor can imctato, tho poet J iscribc, ~!1d tlio
touri st tnlk. with ccslncy of tho sublime and Lcautifu1 oh.jects
wl1ich constit.uto th e seen Lefore him, uut li e cnn only Lo
saicl to enjoy them oright, whoso tal ents, tast es nnJ nffcc~'.ons
are eoncccratcd to tl 1e glory of" liim, Ly 'd1omo nll thrngs
were roodo, and without whom was not nnytliing mo<lo tlwt
was mode."

EXERCISE.

"Tho glory ho won is impori shnble ns Jiuorty will ov
-er bo it;e] f."
"Fancy ~ po rts on airy win g, like a m eteor on a sum
-mor cloutl."
"Tho min<l rou ~t. not bo pampered with luxuries, nor frit
-torcd nway with fri>olity."
"America has furni~liod to tho world the charac
-ter ofWasliington."
"Glorious Now En gland I thou art still tme to thy an
-ciont fame, nnd \\"Orthy of thy aocestrnl J1onors."
"The iofluoncc of the female character is now felt and ac
-knowledged in all tho relations of her l ife."

PRACTICAL

"Tbe cloud caped tower, tl1e gcorgons pnlcces,
Tho solemn tempels, the great globe itselt~
Yen! nncl all which inhnbots it slrnll desolve,
And like the baseless fabree of a viseon,
Leave not a wreck behind.''

I

LESSON VI.
Uorreet tho follo\ving mis ·~ pcllcd words wit11out n
lox icon.
MODEL.

LESSON V .

Seperatc- Separate. .

EXERCISE.

Ro-~:rito the following extracts acco rding to Rule !Ith.
MODEL.

Ex.- " Poetry comprihends whatever is pu rest

Writcing- Writing.

N eccossnry.
Expidition.
Colledge.

Crcsscnt.
Dipthong.
P11roxism.

Conlos~o .

Acr1ucd11ct.
A Yinuo.

;»,:·
~~

84

Agrcnble.
Privilcdgo.
Posess.
Appnrtment.
Deludeing.
Harrnss.

Synonimous.
Rcciovo.
Beleive.
Dcciove.
Riucing.

85

PRACTICAL OOMPOSlTION.

rRAC'l'ICAL COMP OSITION.

Bachelcr.
Corrodoing.
Refuseing.
Paradoing.
Rooonoitrc.

I

@Jl{J ~ed.J a?<e ?UJI kc// <!fT,;{at \

LESSO?f VII.

aol{!tiJ,z tY

jt?cowedtf tttt.tf«:£' ma1tLecl

condact

en

ti'zee tfa?lj1Cttiza1ty

"";;

'!tlaM ,·

'lfl.-ftc,( wonp-J< -!t'tin /ame(.j e"n y out£,

The pupil may copy an extract fro1n sorno book, or 'Yrito
nu original Composition, observing tho rules under "Directions fo1· 01>pying," and according to tho following

aJ

,zuel/ a4 j'a-it:.nd.J

tit

7e ,· //,o,,.;e

j'1cat ac.-fte,vcmen !J on /k /enled f etd'.

MODEI••

kneath ,/he

/k

moated tWa// and e1z

nalwn' J caf'e?zet, mai/I1?7 k?n oat
'"
TllE DEATU OF GENERAL TAYLOR.

~J /

'ltlt t.:I . •

J,,{e

aOtt(,·

,/hat M

?lOI

ckad/

a mo~/'

0/ coar7e,

dto.?z ,- ___ _/JfMe

?1zei'a/@7;,,,y/o~ iJ ckad/

ene7y

a,re ,not cleacl

ad

ancl tka:

<!!Tkde

-4't;; coantzy ti
na& .. ale f'a1<~ o/.dtj coanl1y d)'h1y,

c&c& ale .zoullen

<!!7-i'e l'o.t/ t1ot'!te~, /k ckvoled/'abto/,
/he t(t4';jM ~<&:Jtcd:nt td ckad. !'!!lltd
tC td hd hdy O?z'l /hat iJ ckac/. W~at
•lP_,ftC,(/l/tvfCd L,j /Mm, whtch ,/t/ <0
,,ftj eye, •wdtc!f <f/tciAe citd .;;ci?Jz .,{iJ
<M:;rue; h {a.t •11)hc£ ·mack h?n 'ltJ,r-fa,1
h

'-'\

'

t ;,t

a1t-

and alfal/' kve ttoh'k a jtt7e o/ ,rftj_
/c)ll

y

€emat?u .

~me.

}!

l•"\

11

1f'

/I

'
J

,,

!'
\

~le.
_J
Non~ .-Somctimcs ii mnrgln ia left ctt both siucs of tho p0,pcr.
This is the European style, though not ll8 cleg@t in appearance.

J.

·~

8G

PRACTICAL COUPOS[TJO'N.

PRACTICAL COMPOSITION.

87

1110DEL.

TRUTH AND SINCERITY.

fo""

/h yom7

@h cJ -t11ct/

b .vc-

aod,e /o/t?crclti::e-tokt tJ-?j;{'r, wt!hu/
/oo ?Jtac/. an.z:1ety /o

@7'./e /ormdmeJ

/t~e o lhZJ.

,,:jrf'c am!

k t1oeen

-tl1Z0.?1;/ me open ot0cale.
tJ

'':J'M

~p..

W£aJ d

ahu!tl al1?ve

//,;d -ttie

l
;,:;

/o

7.
0

E

.fertc/eJ< oaz.Je./vCJ 17reeal'& /o ot/.euJ
/o

""l

ma.le
aetftre..1

an<!

/km
and

/c:

aalr-1/tecl '1.tnld'

-tlll //, rr.J,

aJ

kt?7

J<

aJ 'Ille

,:;ldtiice-l't: , ·

/hey

crave,

©t"bu'ca

I

k

c!l

Yi

p

8

"'Ii.
0

~

s

a?<t! /-tfttle1ccl, ·

w-kcd'

/hy

M

a?<e .fcal h.J

2 /izco t:t

"'

/kr/.

a1u! anh.:t ,t,,f'&J

conJ~ml'l o;J1e1cd,
ancl dtJJab-feel.

L

0..

8u
ti'\."-.
...,..__

r·""""

'

\

0

p1a?Je tJ /k tizcen.1e
kcal;;

fa

/hm-

art! dome wlfo can.-n o/

/r{;,t/l}?Cd mzt{JJ

0

./hd -ttth~·d' -ttit"I?

can ckz ao '1Vtlkat

.l'rtt ./£e,1e

<fJ

\
I

:

i

•

!
ii

I
I

i
t

!fZZl/erjt.1.

l

\

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\

88

PilACTic,u, COJl!POSITION.

PRACTICAL CO:l!I'OBITION.

89

MODE OF FOLDING COJ\Il'OSITION COPIED UPON COJlrMKREXEROISE.

CIA L NOTE !'APER.

IIow doar to my heart aro the scenes of rny cbilJhood
Th.is is my own my native land.
Livos of groat men all r emind us
w 0 can mnke our Jives sublime,
And departing leave behind us
.Footprints on the sands of time .

·I

J

. Only the actions of the just
Shnll swell and blosson in the dust.

j

"Poet blood courses t1ro bis veins"
Tho moon shed her sil>ry light oer tho landscape.

...
·:

Arter compositiolls Lave been corrected uy tbci
teacher, they shou1d be neatly nn<l correctly copied
into book13, nccording to directions previously
given.

LESSON VIII.
Whnt violations of Rnle 16th nre found in the following
sentences 1
MODEL .

The rolls of Fame I will not now explore
ExnANAno:<.-A period slrnuhl be placed after
e1·plo1·e, as it ends a sentence. Qnotation rnnrks
should also be pbcccl before tli,e, and after explore,
to denote that tlie passn;e is q uotcd.

-

rRACTICAL CO~lPOSITION.

I'RACTJCA.L CO!>l:POSITlON.

CHAPTER VIL
CO ~lPOSITION-rno ~m A:ND rOETH.Y:

I

"" Oo)[POSITION is a combination of ideas. Tho
word is. derived from the Latin word pono, to
place ; tn e prefix, com, mcaninrr with or torrct'i cr ·
. .
. .
0
'
0
•
'
an d t l ie suilix, w n, sigmfying the act ot:.. Hence
the i:icaning of the word is, literally, the act of
placi ng togetlier.
·
The si mplest form of expressing thonght is a
se'!tence. "\Vhen sentences arc combined they cons t1 ti~tc p aragraplis / paragraphs form chapters or
sectwns, an d sections pamplilets or 'books.
Compos ition is either original, sunestcd or
oorrowccl.
OmarnAL Co:'i[POSITION is that in whi ch the
t hough ts li:tve been conceived in the writer's own
mind, an d arc g inn to the world bearing tho
stamp of originality or true genius. ExamploShakspcare's Works.
SUGGESTED Co:MrosrrroN is that iu which some
other · author's ideas ha vo suggested trains of
though t, or novel exposit.ions of the sumo thouo-lit.
0
~~ampl e-J cphthah's Daughter, suggested by the
Bible narrative.
Natnral objects, or new developments in science
and art, may produce suggested composition. Examples-The Alh:11nbra by Moonlight, History of

!ll

the Electric Telegraph, and H istorical N ovcls,
&c., &c.
Bo1mow1m CoMrosrrroN is that in which not
on1y the ·thoughts, but the words, of :i. writer or
speaker are taken and re-embodied, with little or
no change. This is styled plagiarism.
""
rROSE il"D POETRY.

Composition may be subdivided into Prose
and Poetry.
I'rosc is language expressed in its common
form , and differs from versification in l1aving neither rhythm nor measure.
Poetry is language expressed with regard to :i.
certain recurrence of similar sounds, or any exact
arrangement of syllables or feet. To be consid·
ered true poetry, it must contain poetic thought,
as well as poq_tic form. Poetry is in language
what harmony and melody are in music.
rROSE COMPOSITION.*

The principal varieties of prose composition
nre Narratives, Letters, Descriptions, Essnys, Lectures, Orations, nr.d Sermons.
N nrration may be classified under tho following heads, viz : Ilistorical, Biographical and Autobiographical.
• rupils should select or compose examples of each kind.

,.

''(

92

PRACTICAL COMPOSffiO:N'.

N ARR.A.TION is the ·r cci tal or history of even ts
in tho life of individuals or nntions.
IIrsTORJOh.L NARRATION is tlrn.t in which the
loading an d strik ing occn rrcnccs in the life of a
n~tio~ are chron icled unu regularly com pil ed, con·
stitutrng what is term ed its ltistory,, as : The His·
tor.Y of France, The JI istory of G recco.
It may be snbtlividc<l into Topical Narration
which consists in the description of nn individuai
occurrence in the 11istory of the world or n ations
as: The Discovery of Gold iu California, Kane'~
Arctic Expedition , &c.
Broan.arny relates to the most important occurrences in a person's life, and generally embraces the <late of birth, the place of nativity
early education, and subsequent cnrccr, whctbc:.
political, religious, mech an ical or professional, as :
Tl1e J,ifc of Charlotte I3ron t6, J_,ife of Daniel W cb stcr, &c.
B iography includes Memoirs, which arc writ·
ten in a more 'famil iar style, and tlie transactions
are related as r em embered by tli o narrator. They
are sometimes written by th e subject of the sketcli
and sometimes by other persons, as: Memoirs of
Marie Lundie D uncan.
A uTomom~Arny is a ske tch of an individual's
life, w ith its principal feat ures and events. It
d iffe rs from biography in having been compiled
by the subject of the narration, as : Recollections

PRACTICAL COMPOSTI'.ION.

of a Busy Life, by Ilorace Greeley ; Our Schools
and School-Masters, by H ugh Miller. .
N ovEr.s arc a species of irnrrati ve. Tlicy arc
fictitious p rose compositions, the characters, p10t
and adventures being generally Invented by the
au thor, as : Sir vValter Scott's Novels ; .Kina, by
Frederica Bremer. Sometimes they arc founded
on a striking event or fact, as : Uncle Tom's
Cabin, which had for its foundation the Institn·
tion of Slavery. When the narrative is fi.11 e<l wi th
extraordinary ad venture it is called a Romance.
\ Vhen it is represented by action it constitutes
a Play or Drnrrw, and is divided into T ragedy and
Comedy. Tragedy is a r epresentation of sad
scenes, with loss of li fe. . Comedy is a humoro us
dramatic represen tati on.
Tragi - comedy is a
blending of serious and comic scen es. Slrnkspearc's \ Vorks illustrate each of these kinds.
Ilistorical N ove1s :md Romances arc those
which have for their ·g round-work some lead ing
characte rs or ·facts, interwoven and eml>C:llishml
by iiction , as : GoctlJe and Scl1iller, 1y Lonisa
Ml:ilbach.
l!IS'l'Ol:I CAL NA.RRATTON.
I~or illustrations of Ilistorical Nnrrntion tho pupil is rcforrctl to tlic various histories wri tte n by auth or•. Ho:Hling

NOTE.-Autobiog rnphy, Lectures, Orations, an-l Sc1·mons arc
hardly within the provin ce of School Composition , an<l thc pup il is

referred to st:milaril works of that nnturl'.

l'

04

rRACTICAL COUPOSITION.

PRACTICAL COMPOSITION.

from theso, nnd making extracts from memory, will bo nu
excellent exercise, and tonu to enltivato n Labit of nttontion, :mu stimulate tho faculty of correct delineation.

events in the history of the world. Such gratitude and unbounded affection were never before
r eceived by a man from a foreign nation. As he
passc<l from Staten I sland to New York, the bay
was co,•ered with barges decorated with streamers,
and when the beantifnl fleet shoved away, the
banfl struck up, "'\Vhere can one better be, than
in the bosom of his family"
During the four days he remained in the city,
it ·was one constant jubilee; and when he left for
Boston , all along his route the people rose to welcome 4im. He traveled every night till 12 o'clock,
and watch fires were kept burning on the hill-tops
all along his line of progress. 13Iazing thro' the
darkness, they out.slwne the torches that heraldc<l
him, while in th~ distance, the pealing of bells
from every church SP.ire announced his coming.
The same enthusiastic joy received him at Boston ; and when he retnrned to New York, tho
city was wilder than ever with excitement.

MODEL.

SrnoE OF CAr.Ais.-;-Edward III., after the battle of CreC.)', laid siege to Calais. Ile had fortifi ed his camp in so impregnable a manner, that
all the effor ts of Franco proved ineffectual to raise
the siege, or throw succors in to the city. The
citizens, un der Count Vic:nne, their gallant govern01-, made an admirable defence. France had now
put the sickle into her second harvest si ncu Edward, with his victorious army, sat down before
the town . The eyes of all Europe wore intent on
the issue.
At length famine did mme for Edward than
arm s. After snffering unheard of calumitieR, the
French resol ved to a ttempt the enemy's camp.
They boldly sallied forth; the English j oin ed
battle; and after a long and desperate eno·:i.,.,.ement, Count Vienne was taken prisoner and
..
'
c1t1zens
who su rvived the slan,.,.hter
roti1·ed within
1. •
0
tueir gates, &c., &c.
BROOK!,.

J. T. HEADLEY.
EXEllOlSE.

tlie

V rs rr TO THIS CouNTnY.IIis. reception . in. this country, and triumphal
ma.i ch through lt, is one of the most remarkable
LAFAYETTE'S

LAST

95

Extrnct from French History.
"
" American "
"
" Roman
"

'

.f
.i
I

TOPICAL

NARRATION.

DISCOVERY OF AllillRIOA.

It was on the morning of Friday, the 12th of

rnACTICAL COMPOSITION.

October, 1402, that Columbus first beheld tho
N cw \YorlJ . ·when tho day dawned, he snw
before him a level anc beautiful island, several
lcagnes in extent., of great freshness ancl ve l'dnro,
nnd covered wi th tr~cs like a coutinual orchard.
Thongh every thing appeared in tho wild luxuri::rnce of untamed nature, yet tho isl and was evidently populous, for the inhabitants were seen
issuing from tho ~voods, and running from all
parts of the sho re, where they stood gazing at the
shi ps.
Columbus made signal for the sl1 ips tp cast
nnchor, and the boats to be manned and armed.
He entered bis own boat r ichly attired in scarlet,
and bearing the r oyal standard .
No sooner did Le land, than he threw himself
11pon his knees, ki ssed tho earth , and returned
thanks to God with tears of joy. llis example
was follo wed by the rest, whoso hearts, indeed,
O\·er:llowed ivi th the same feelings of gratitude.
Columbus then rising, drew his sword, displayed
the royal stan dard, and, assembling around tl1e
officers of the armament, he took solemn possession in tho namo of the Castilia.n sovereigns, giving
tho island the name of San Salvador.
The natives of tho island, when, at tho dawn
of day, they had beheld tho ships, with thei r sails
set, hovering on the ir coast, had snpposed them
some monsters which had issued from tho deep

PRACITCA.L COMl'OSl'l'lON.

<J7

clnrinrr the nigl1t. They 11a<l crow<lcd to t11e
bcacl~ and wn.tchccl their movements wi th _:i.wfnl
nnxiety. Their veering- about, apparently w1thont
effo rt, the shifting an d furling of th eir sail ::, rescm u1inrr htF'e wino-s filled them wi th ns to n i ~l1 111cnt.
"' they
"' beheld
"'' their boats approach the sh ore,
When
and a nnmber of strange beings, cbd in glittering
steel, or raim ent of vari ous colors, landing upon
the beach, they Heu in nffright to their wcod s.
Finding, howev er, that there was no attemp t t o
pnrsnc nor molest them, they gr::tl1u a11y re co ~·er ~,l
from th eir terror, and approached the Spa111;ud:;,
with great awe, frequently prostrnting tlicm selvcs
on the earth, and making signs of adoration.
D uring the ceremony of taking possession, they
remained gazing in timid admiration at the complexion, the ben.rds, the shining armor and splendid dress of the Spm1iiu-ds.
The Admiral particu1ar1y attracted their atlcntion , from his commanding hei ght, his :i.ir of
authority, his dress of scnrlet, nn<l the deferen ce
which was pn.i<l him by hit> companion8, all of
which pointed him out to be the com mander.
"\Vlien they had still further recovered from
the ir fen.rs, they approached the Spaniards, touching their beards, n.nd examined their l1an<ls and
faces, admiring their whiteness. Cvlnml>us,
pleased with their simplicity, their gentlenc:is,
and the confi<leuce they reposed in beings who

. '

.~

vs

99

PRACTICAL COMPOSITION.

PRACTICAL COMPOSITION.

mnst have appeared to thom so strange and formidable, suffered their scrutiny with perfect acquicscence.
"\V ASUINOTON hvrno.

fn11y and held a scat in the Fortieth Uongrcss.
Mr. Delano was not a candidate for office at the
election last year. He is a man of weal th and ::i.
prominent member of the I'rotestant Episcopnl
Church. In politics he is intensely radical. Ile
was appointed Commissioner of Internal Revenue,
March 5th, 186!), under General U . S. Grant's
Administration.

BIOGRA.I'IIICAL NARRATION.
C0Lu11mus

DELA NO.

Colnmbns Delano wns born in Shoreham, Vt.,
in 180!), bu t removed to Oh io when quite young.
He received an excellent education, studied law,
and after his admission to the har won an extcnsi ve reputation as a criminal prosecutor and· an
advocate. In 1844 he was fi rst sent to Congress,
serving ono term and failing of a rc·election. ITc,
h owever, rctnined bis p rominent position in liis
p ol iLical organ izntion, and in 18,17 failed by only
two votes to re cci rn th e nomination for Governor.
In l SGl M r. D elano wns appointed Commissary
General of Oh io, fi lling the office with g reat snc·
ce"S and exhi biting marked power of administration. In 18G2 he fai led to receive the ropnblicau
nomination for United S tates Senator, and during
the following year was elected a incmbe1· of tho
lower house of the Ohio Legislat ure.
IIe was re-ele cted to Co ngress in 186±, and in
lSGG was defeated by General G. W. Morgan by
271 m:1j ority. Tliis election he contested s~1cccss -

_,

!

>...
t~

LEITE RS.
LETnms may be divided into thrcc classes :letters of friends/tip, business, and newspaper cor-

1·espondence.
Some ti mes Histories, Essnys and Novel s arc
written in this way, and are compiled and published in book form .
LETTERS OF FRIKNDSIIIP include family le tters,
correspondence with acqnaintances and notes of
condolence.
F A!IITLY LETTrms should bo carefully written ,
and may embrace many topics and inci<lcnts of
interest to the parties only-such as personal
affairs, health, &c.
LETTERS OF FRIENDSHIP should be writ ten in a
·free and easy style, with no attempt at effec t, and
cm brace b"'eneral topics of interest to both parties, J
wi th expressi ons of mutual regard, &c.
BcsrnEss LErmRs include Diplomatic Correspondence, Letters of Credit, &c.

N•n E-T!iis Diog rnpliy wa~ copi aJ from N. Y. !Iera!J of
March G, l 8C.V .

·i .
'·
1

j'.

1,.

100

PRACTICAI, COMPOSITION.

PRACTICAL CO:ITT'OSITION.

Busrn1iss LErrERS should bo bl'icf, concise, a11<l
"to tho p oint." All v crliiage sho ul d be avoided.
D1no:-.r.&TIC L ETnms are those by wl1ich one
government official corresponds with the r eprcscntati vc of ano ther, rehti ve to treaties, nogotio.tion e,
or any business of mutual interest. They ate
written in formal and dignified style.
N KIVSPAPER CoRRESPONDENCE consists of a description of noted places, distinguished personages,
works of art, scenes· in nature and passing events
in the country or locality from which the correspondent ·wri tes. They are addressed to the editor
of some paper or periodical.

·X· LETTERS OF FRIENDSllIP.

[To Bettine, from Gootho's Corrcspondenco with a Chil<l.]

'l'hou art a sweet-minded child; I read tl 1y
dear letters wi th inward plcnsnrc, and shall always
r ead them again wi th the same enjoyment. Thy
pictnro of what has happened to thee, with all inward feelings of tenderness, and what thy witty
demon inspires thee wi th, are real original sketches,
which in the miust of m ore ·serious occupation,
cannot bo <leuicd their high interest; take it,
therefore, as a hearty truth, when I thank thee for
~ them . Preserve thy confidence in me, and let it,
• For other Letters of similar nature sco "Cowper's Correspondence."

~

i

f

!

101

if possililc, increase. Thou wilt always he , ar.cl
remain to me, what thou now art. How c:in one
requite thee,. except by being willing t o l>e enriched with all thy good gifts. Thou thyself knowest how much thou art to my mother, her lette rs
overflow with praise and love. Continue to dedicate lovely monuments of remembrance to the
:fleeting moments of thy go0d fortune. I c:tnnot
promise thee, that I will not presume to \\·ork ont
themes so high-gifted and full of life, if they still
speak as truly and warmly to tho heart.
.
The grapes at my window, which before tlic1r
blossom, and now a second time, were wit11 essef>
of thy friendly Yi sion, swell in their ripeness ; I
will not pluck them without thinking of thee.
-write to me soon and love me. ·
FRAU RATrr GoETm:.

·.,

I

I
To nm CoL'NTEss

OF Pol>LFRKr.

July 2Gth , l 738.

I liopc, dear 11'.fauarn, you find at least so me
amusement in yo m t1·:wcls, ancl though I cnn not
wish you to fo rget those friends in Enghrnd, who
will never forget yon, yet I should be pleased to
hear yon were so far entertained as to take off all
anxiety from your mind. I know yon arc capa1lc
of n:any pleasures that the herd of mankind aro
insensible of ; and wherever you go I <lo not <lou bt
yon will find some people that will know how to

'.
'

.

102

PRACTICAL COM.POSITION.

_t aste tlie happiness of your conversation. vV e are
as much blinded in Engla;1d by politics and views
of interest as we arc by mists an<l fogs, and 'tis
necessary to have a very un common constitution
not to be tainted with th e distempers of onr climate. I confess myself very mu ch infected wi t h
the cpidcmical dnlncss ; yet, ns 'tis natural to excuse one's own faults as much as possible, I am
apt. to flatter myself that my stupidity is rather
accidental than ren} ; at least, I am sure that I
want no vfracity when I think of my Lady Pomfret, and that it is with the warmest inclination, as
well as, the highest esteem that I am ever afl:ectionately yours.
There is no alteration since yon left us, except
rn the weather, and I would not entertain yon
wi th the journal of the thermometer. I h ope
to hear soon from y on.
1._Lrny 1VonTLEY MoNTAOU.l!:.

llUl3INlcSS LETTERS.

St. Paul, Jan. 3J, 1869.

Mr. IImum GrLES,
Dc:i.r Sir,
Please forward my acct.,
for the year endinoJan. 1st ' 18()!) , and obl"1b"'
o-n
b
Yours Respectfully,
THOMAS llADDEN.

PRACTICAL

COMPOsrnoN.

103'

Havana, June 1st, 1809.

Messrs. IIoLDEN,
304: 13roa<lway, N. Y.,
Enclosed please find
check for sixteen hundred dollars, am ount or indcbte<lness to you. Please acknowledge.
V cry Respectfully,
ANTON lO v ELASQliEZ.

DIPLOMATIC COI{RESPONDENCE.
MR. ADAllIS TO

:-.nt.

SEW Alm.

Legation of the U nitcc1 States,
. London, October 11th, 1801.

Sm: I have the honor to enclose a copy of
I,ord Itussdl's note to me of the 4th inst(l.nt, in
reply to my representation of the conduct of the
auth orities of the island of Trini<la<l, rna<le und er
instructions from the Department. It will appear from this that the governor of
Trinic!ad, by hoi sting the British flag on the Govern ment flag-staff, probably desired to signify to
the officers of the Sumter, on their nrrival, 1lic
neutral character of the island, b nt that he in the
mean time forgot that the act is susceptible of a .
very different construction in the popular mind.

''

10-i

PRACTICAL COMPOSITION.

PRACTICAL CO:\IPOSITION.

· I have the honor to be, sir, your obedient
servant,

visits yonr City with a view to purclia~e goods.
Should Jic be in w:int of funds, please advance
him any :imonnt not exceeding Five Tl~ o nsa'.1d
Dollars, and draw upon us at three days sight for
the s:imc.
IIma:r.r PrnRSON & Co.
Messrs. TowN & Co., Philft.

Cu,uiLEs FRANCIS ADAMS.
I-Ion. \ V l'>I. II. Smv A 1m,
Secre tary of State, \ Vasliington , D. C.
:MR. SEW A.Im TO ll!R.

ll!ARS!I.

Department of State,
W asbington, July 23t1, 1863.

NEWSPAPER CORRESPONDENCE.
MODEL.

Sm: Your dispatch of June 27, No. 3, has
been received . The account it gi\'es us of yonr
reception and ofthc sentiments a nd feelings of the
Italian Government in regard to t110 United States
is very satisfactory to the President. "\V c are
pleased 'vith your prompt nnd vigilant attention
to the matters affecting the public interest, especially the supposed project of fitting out hostile armaments at Genoa.
Renewing my best wishes for the prosperity of
Italy under tho new ministry so happily inanguratcd, I am, Sir, ·

GEORGE

Your obedient servant,
Wu.LIAM II. SEWARD.
P. J\!1.A.nsrr, Esq., Turin.
Ll!:rmn OF CREDIT.

St. Paul, Aug. 1st, 1860.

GENTLEMEN: The bearer :Mr. George Holman,

105

.

,

I·
I

I

t

MR. EDITOR.--\Yhcn you enter N cw Y o rk yon
arc hnrried and wc:iricd, when yon enter Pli ihd clphia yon feel rcfrcslied and at case. In ti1e form er
city, men act as if ~verytl'.ing must be done to-r!~!~
wi th crreatest dispatch; m the latter, they tl11.1l...
and m~vc as if there was a to·rnorr~w in rescn';•
and work and w:iit with a quiet patience. In :N ·
Y. yon are jostled roughly, in the" City of Brotherly love," men, cars ai1d carri_agcs give ?'on eqnal
chances with themscl ves, and if. any one 1s favo1:ecl
1
it is the foot pas:,;cnger and particularly t,10
ladi;_s.
E vcryw hern yon go, in stor:s, streets, or p:1b uc
buildings yon will fi nd a qmct dcferc~cc pn1 ,l to
them. No Philadelphia gentleman wlll trea<~ on
your Jong dress and exclaim "plague on the Jas;1ion ! " bnt he will, by his manner, accord a luuy
cqn:il , if not snpe1:io_r right. . . .
.. "" .
One of the stnklllg pecnl1ant1cs to a stun,,,01
is the brgc number of females employed in the

;

., ~.

,'

100

PltACl'ICAL COM.POSITION.

PRACTICAL COllPOSITION.

public p ln.ces. They :u=o in all the principal stores,
except where severe labor is requisite. When you
enter
tho Academy of Fiue Arts , tho first I'Crson
.
18 a lady, who takes yonr ticket with tho rrcntlo
g race of the trnc wom an, who is in herself o~o of
the highest perfections of the great Artist. Jn tho
building arc hun g tho . productions of the chisel
and pencil , carried to a liigh state of perfection ;
marble and other stone is so exquisitely chiselled
~hat tl1e son! seems only wanting, to give yon an
1<lca of the highest order of beauty and skill .
One of the brgcst p aintings, which is of world wide
notoriety, was in process of renovation, ''Death on
the Pale Horse." In i t arc exhibited all tl10 fiercer
passions of man, an d tho dcstrnctivo power of dis ease, war and famine. \\Tar is rep resented ""Oin•Y
forth on. his red horse, 1)l1111""incr
011°o
n and rc·uin~
(.
b
ward rega rdless of pros trate man, helpl ess woman
and inn ocent childhood .
. There arc fine paintings of \Vm . Penn, the
p rrnce of peace makers, some in his early manhood and others in maturer life. Some ·ot: tho
statuary wns of the highest order, one O"rOn') rei)·
, , Jang syn e." The two Scotchmen
I:>
I
resen t e cl '' auld.
w ere seated , each wi th a mng of beer in l1is han<l,
and the yot of beer between them, ready to refill
the drained cnp. Even the veins in tho han<l
were so oxqnisitcly cut that you conld almost feel
tho pulse beating, and the teeth and lips spoke as

107

plainly, as if tl1e soul l>rcathecl and the ton g nc
uttered the word s of bye g one years. Ano llic r
o-roup of four fi trures contai ncd the hi tito ry ol' Tam
"'
0
O'Shantcr. The
gnde wife sit1:> Lc:;ide lii111, with
lier bonnet and homely face and g ood h eart trying
to win him from l1is love of mirtli and uccr. Burns
says of him,

Il

"0 Tom 1 huib't thou but been sac wi se,
Anu tucn tl1y a\n wifo Kuto'~ udvice."Ah, gentle dames! it gurs me greet
To think how monio counsels sw eet,
How monio longthcn\1 sago adv ice~ ,
Tlie husband frao tlio wife despises !"

On tl1c other side of him are seated t\\'v of his
boon compm1ions, one with Lis lontlicr apron
th rown off one knee, and his j olly cl1ccks so fat
and plump that the mirth bul>bles out as fast as
the beer flows in . The other has his head thrown
back, hi s mou th open :wcl l1i s teeth <lisplayocl in a
do uble row, the very picture of jollity :end good
hum or .
Dnt we arc weary, and yon too .gcnt1e friend,
and we reser ve a <losc ri ption of tho " Doctor and
his Patient! " fo r our tea table.

LILLIE Lrn m::N.

PmLADELPmA,

Dcc. 18G0.
EXERCISE.

Letter upon Pari$ian :Fashions.
"
n trip up the Iludsoa.
"
" Washiugton News.

I

108

100

rI~A.CTlCAL 00.MPOSWON.

PRACTICAL CO:AiPOSWON.

3o.

JWSINESS LETTlm .

SI'ECL\fENS FOR TIIE 001D1ENOEUENT AND
CLOSE OF LETTEHS.

1s·r.

L~TTEJ~ OF FHl!<'.NDSl!IP .

£/Jodton/ }Jam

@!Zy
*

@f/;ukiJ(lle/ /'/;

2 (}/

cJfodt(ttf !fJZJ{u?i/
/

7;P:1£ /e.:d
/reve -vze ev&t/

*

*
*

WldhM /o all /h

~ta #c.tto??ale

..f/ /

80 p.

&y. /
@ea·i &/,i .·

8tJfl.

@ea:t <!!Xz1/u .·
*

I

*

*

*

*

/um!// ./::_

.:Jo.11/

@.h-,,cnce @ flo.1 chm/ _

4TU. BUSINESS J, ETrER .

&l:t. 8, / 80 p. . ,

2/Ja/la '2~

, @Jam.-' 62J: @fl

!PZ/t<:t!, ,·

@eaz ef/i1c \~

*

"'

*
'

ef£ave

/;{e

./o.?il:J4.

~eu<

.,

;

~ «?Jtat?z.,

tJkdte.nt otavanl,.

. ' ._,./. ~. .

• .·

<f7a;7.t! @fo,,·ct~

f
''
'

I

'
'

110

111

PRACTICAL COMPOSITION.

PRA.CTICAL C0)1POSlTION.

5TII. D1PJ.Ol\£A.TIG CORRESPONDENCE.

If addressed to persons in a ci ty, the stl'cet ::rncl
num!Jer should always be writte11, unl ess the person or firm ]s so well known as to lead to 11 0

..

..

*
..
/?:1,( A"7£ co1ZJt~rctltbn,

..

mistake.
If [lddressccl to pe rsons residi ng in vi ll nge,; l•l"
towns, the co1J,nty sl1ould lie a dded . The State
should never be omitted, us there arc ci ties a nd
towns in sorn o of tl1e S tates of tl1c same nam e. J f
sent to :1 foreign land , the cowitry sh ould be :.i.dJcd .

*

ef a 11••

youu

~i'tttjt,

•·

LESSO:N I.
Write ep•"ei m(;n s uf cxcoptious to

Ll1 0

rnl e.

MvDEL.
frnr. N EW SPAl' Jrn COR ITESPONDENCE.

! '

@:!?on. @/tNace ~cet7,

$d't.fo,z o/ e!Tai't111e,
@;'f{,,tt

..
~(tJ<d,

tJc.,

@ f& ~~zU:
r, /

<tJ/J:atOlt.

0 +

ryo,z'-

@/fo'tlho/t,
//}'/) .

';;2..,ZtJtCIJ

~(/',!

C9/ f. ,

@{/?my,
@1:- ~
SUl' ERSCRIPTION OF J"TITTlmS.

should be directed i"11 a clear, large
] Letters
d
rn.n ' so as to be perfectly legible.

ExPLANATION . -Tlic first requ ires nci lhcr st reet,
number, connty nor State, as the person and office

are so well known.

j.

112

one

PRACTICAL COllPOSlTION.

PRACTICAL COMPOSITION.

TAltle seco~d reqnircs no county, as there is but
l>any in the State.

LA.DIES' SUl'ERSCRll'TIONS.

In addressing lettors to marriod ladies, oithor
her own or her husband's given name may be
used . The latter is prefe-rable, as in large places
his name is much more likely to he known in
bnsiness circles, or found in a. directory. It is
also in accordance with polite usage, as seen in
wedding cards, &c.
If the husband is deceased, his name should
not be employed, a.s no such person exists.

LESSON II.
UUSINESS ADDRESSES .

Direct envelopes ac corurng
.1·
to tho specimens.
MOD E L.

@It. Pl'!irWCJ<.:I,
14 :!!ZJ~oad <!!/./:,

!!?lJaUt?no~e,
@f?a;y/a.nc/.

LESSON III.
I.

I'

I

Address loiters in both forms.

MODEL.

@&a. ~n7 Cfia1i//on,
@f'lwtcu~n,

<!f)gn. m~?.

e;z: @fdwa,7cl.

&cc1clmy

o/ @92~£e,

Y,f{'t<1h:n7/on,

.@!CG

113

114

P RACTICAL CO;'!ll' OSITION.

rRACTI CAL COMPOSrrION .

NOTES.

A JYote is a short wri tten communication.
Notes may incl udo those of in,vitation, acceptance, regret, pulpit not ioes, 1womisi;o1·y notes, rece£pt8, &c.
]\Totes of invitation, acceptance and r egret
slionld bG b riefly yet elegantly wo rded, a nd n eat ly
·written n pon the style of paper most in v ognc.

If intended fo r a public occasion , they a re some-

. ·I

times p ri nted .

:.J. . .

LESSON I.
"\Y rito notes of invi tntion, nccepta nce, nnu regret.

t

MODELS .-INVIT ATION.

!f!lfMlon,

cfow.

.J d, I

8 tf j).

•

No. 1.

©tZ.io

PJ:/;1/e1< / o•eJenu ~z

co11;1t.C.

No. 3.
@ I/if.;

men/J ./o @fl:. a11d @/ZJ. tf&zo, and

'.tk
//'ed1Cdchy
-Pe_Jtt&JlJ

ci' ctbc£,

.i'cmM

~

/htz

@11tb./tt7h,

J!tme / -f,

7/{clne.JchJJ 1?z &cto/a

&
I

PP @fZ

.J 4 @£;10$

~

dh
I

8 O'fl.

@rtnt.J

@ti @ltome

co11yumy on

evem?7, cfJtme 2 (} t:;f, a t

J!ttLa

.!lJ;im4,

JZP/ace,

df1t t. 2 (}/;f', 1 Btfp.

115

116

117

PRACTICAI, COll!POSlTION.

PRACTICAL COl\I"POSITION.

,'.;1

No. 4.

@It:. cl ©IZ.t.

I,ESSON IL

cftmuJ @ /addon.

NOTES OF m m 1mr.

<!Yf't @!Zme,

'Yf/Cc:l11tJJ'dtyo

No. 1.

@tfi. :J?JZ,j'Nd jttNe1z/J cov'fthNenfJ

oj/a @/f{,vem/t:i ~"r.~/.

@ ft.:1.

~ancl dh:, ...{./,( k ttJ(] r'om ©ef/&,,ny _<tY6r.,
l&.trc-7 o, @#'/!.'

~om /01t1n

/kl

eiivttrtl,0.1z

/oz

a/:;e,ncc

acctytlance

<!f7'i:"awi-ty

cfJ?vemi'j' ..
t

@ fZjJ

"'C/le!J

,u,1!/ jt1evenl ;{tj

oj hi ft_oftle

NOTES OF ACCEPTANCE.

No. 1.

@f'£7cn and

lo

~.

'Y/1;.;</h accrttJ wdhjtk.Jttte.

No. 2.

@./Z;u

No. 2.

@fl:. :I!llce1<J /t·l~1e1zl,; comjttft;m t:ntJ
@tl;J.

!!!/lay,

/;e, jto/tle
e.n y,

,J!cm

@'f11tt

lo

@,(ftjJ

ancl accejtld 1t1e"ttf7 jt/eadu?e

1i1v1lttlrcm

:!?lla1lo-n' J

,:_,: f

$ //

/kt d?:ze.Jd

/he f'fu«M

o./ k z aCC1;/t1-

lk htrtd 1".t-we"lalton (oz @!1;~1cL;; rlj

/M<4200?l.

<j/ci1£, cftui. 2a; / &tf fl.

J

I

/o

@/&7 and· "!J'"'e/.J

w>flnot;nmtl

/o,z @7;,Mch_JI g,ven-

co.vyft:me121.J

·JI.

118

PRACTICAL COMPOSmON.

PRACTICAL COMPOSITION.

RECEIPT.

EXERCISE.

Notes of Imitation in two forms.
u
"
"
" Acceptance "
"
" Regret
"
" "

LESSON III.
PULPIT NOT I CES .

Cow~rnus, Ang. 2Li, 1SG9.
Received from Messrs. Craig one hundred dollars in full of account to date.
Josm'n NEw:'lrAN,
per J Ai.ms FisII.ER.

Pulpit Notices embrace notices of Snn<lay
School Anniversaries, Benevolent Societies, Temperance and Rel igious 1.Icetings, Sacred Concerts,
Funerals, &c.
These should be written as concisely as possible, wi th the hou r and date distinc tly stated, tlie
place of meeting, the street and number, &c.

LESSON V.
AN

NEW IL1.VEN", Oct.1, 1SG9.
1foRCIIANT'8 l3A:S-K.

Pay ·walte r I I. Simons, or bearer, one lnmdred and seventy-five dollars and seventy cents,
and charge it to my account.
DAvrn J . Ilourns.

Ilev. George Lansing Taylor will add ress th e
Temperance :Meeti n_!r, :Monday evening, Oct. 1st,
~t the Acade my of Music, at 7i o'clock, P. M.
1:xF.nOISll.

Write Notice of Sabbath School Anniversary.
"
"
" Racrod Concert.
" Chnrch Fair.
"
"

LESSON IV.
rROi\IISSOJ<Y NOTE.
YORK,

Aug. 4th, 1869.

$800.00.
Six months from date, for value received, I
promise to pay to James Brooks, or bearer, eight
h un dred dollars wi tli in terest. 'iVM. II. FrnLD.

ORDEI~ .

$175.70.

MODEL.

Nmv

119

Dl~AFT.

ST. Loms, Sept. S, 18W.

.

$500.50.
Sixty days after date pay John Frost, or order,
fi \'O hund red dollars and fifty cents, valuo received, and place to account of

IlENI~Y Fr,A:NDERS .

.

LESSON VI.
EXCHANGE.

NEw YoRK, Oct. 3, 18G9.
$8,000.
Th irty days from sight of this first of exchange,
second and third unpaid, pay to Peter Ray, or

120

PRACTICAL COllIPOSITION.

order, eight thousand dollars, and place to our
account as per advi ce.
CA1nER Brro's.
BRADFORD & Co , LONDON.

1110DEL.

Sr. is an abbrev iation for Senior, meaning
elder.
EX EHOISE.

DILL.
PmLADELPnIA,

121

PRACTICAL COMPOSmON.

July O, 1869.

:F. II. llorE & Co.,

To A. T. STE WART, D r.
Jan. 13th, lSGO , 50 p'cs calico, @ $7.00, $350.00
Feb. 1st,
"
25 " shirting, @ G.00, 150.00
Mar. 3d;
"
30 Cash mere shawls,
@ $15.00,
450.00

SPECIMEN OF NOTE.

I

$950.00
Received payment,
Wlien a bill is paid, the person who receives
the money for the fi rm , signs his name,- it is then
said to be 1·eceipterJ.. If no t recei pted , and the merchant or 11is book-keepe r neglects to enter it on
the books, as paid, the person to whom the bill was
made out is liable for its payment a second time,
unless he h::is some proof or witness of its payment.

LESSON VIL
Explain tho abbreviations, nnd write ndtliti onal ones.

@ ftJ . ~nhi /wwen/J
com;t1-:.i1tcn!J a?ld'1'7ae.:1./J
are

o/ @ ft.

/ea

Mi

/'

-!'t a

··,•

.the ;zlea.d-

!!?JZ:i/Z.;/ ti co.111ftan7 /o

@7X'uMc17

I

Ii
1

1~

cvcm17, ~v.
• t;''

11

4/l', a/ 7 o.' cfocL.

•

s 4 ~dh di!. , @1/. fJ/,
@11v. / ,;t, / Btf fl.

.-

I

COMMERCIAL AND OTHER ABBREVIATIONS.

Mr., Messrs., Capt., Lient., Col., Gen., 1\foj.,
Sr., Jr.: Dept. , Hon. , Esq., M. D., Dr., P rof., D .D .,
LL. D., A. M., P . M., Yds., Dols., Lbs., Merch't..

"•';-'

,.

·..

No., St.
{:

•1 ''.•

-;J/J ; J1t1J
jJJ-"'~I

111 ' ,m111

.! yJt11J11v

g/f

:Jltt1JI'

,o,:;1r

,"1 ,;-1; 1_1111un:ll'

/.!IJ 1~ 1 ; 111J p ;.w1.1//,1

r·7 _[j)

':nm z1;.1 '11110 )'1/. 1

uv i/;1

7 1

I

7 J1.Jj".1 7 1

I

r-i//711

1.~(/n/;m v

:J.t:J17t'

·r17fy-

'; f ;!!/j1;101

y; 11.!J1111111 1n i/1 h11J1.i/·

;~ f r:71

h11mv::;t'

} 17uo/

I
(I;

- ------11

:7; /;1 'J11 'r-r·1117n7 ''/111 J '.1!) 111t l//j'. 11111 r_/&
Ih117 10 Jl!fll/ } /

f"f'l/lft :Jf'IO
jJ

';. 111,tJJjll.i ; 11171r7JJ v
;;P.I

117J--:il

7 11JUJl.:J

"S<l.llVD

O ,\! lll <I:· l.\~

7 1· ?ttoj ·01 :Jf'O!.•
<ijll :JJ:J

' 27nu a111v

7 1·/} f'j?f :J l/t:J1l'iJ /t// 71 ?,?1?/0

' f'Jlj lll' V rJIV!JJ 7;-1 1711 ' :J.?1 o l ;J,?j!f// !71!V

r y 11. 111 0 1

·?/.!!)

f l JJ7!770f'

~~~~~~~~~

.

/ I. ' I

~~Jf'U}t /

,(J //1}-@

' J:J11!/

711

{';Jf'/.l/0.J';?.}/J~·

?~J / 1 ?1771/J.lj l

/.JI ()

71 17/ 1

f'/I

(Jl,J1J// f·J" '! l.f i / 1.)

7..fP ·1['J.];5 711~1/JJ'J'1orr·v N M l · 'h11211. w 1
7 1 j u t't10.1/1 7 1 w / "1;/J ; rwryl) ':y/i;;/
.,/1
?Ill 11/·Q
'J'J.'J :J_/'/
?flj /1 111 ;n:/;:m//'Jr;mv 'r 1..1p7fj;·
c.cL- /.I)0 - 71/ pym1N
/
J

·11y700!.f!.{)
/ !' / (;

' ijp 1ro;rr:JJ)j Ot' /

.(? 717- / 2/W'({i) 'rh;J1N!JJ~U

"

:Jf '/ //tJJ IC iJJ

I J JJJ/f 1f

;Jf--tl J lf/

'

-I/

I

7f.? ;)J

11 / I

/ /)

;J, / 0 1j}

J,J/·

J l f' J/ 17 f'

/j -. )

· r: :-:. 11\ .I.\. \' ! !\: .l'l"If ,\' '.- l (l'l li '.1 <! ~ V ~\ '. ·J .\'J ! :)

"J(0 LUS 0,IIC O:) "J\'J I.I:->V U J

';;mp@ l_}@
,;1,vl} l:J~'
"7.c:\ "{/}
'x:..:,J d/Y cD

•

J".l

r'~,7) ·.I '

2J:J)

12-t

rIUCTJ C,\l, cO~!POS I TlON.

rnACTICAL COMPOSITION.

/h ,J1ca.t &/Ir/ d/} !JJl:/e/ .i
1(1/!d.th dc1m 1 ey/.t.
@ti lh /1J I J1lc11fe
a ,;nc.lcoJ<, ad .th117/'fo m /k .11,Jrt h<ve, d11/t.d
/ {/· /It /h dtf/11111 1/ rj1/c 1fti111e, 1111c/ /:rcd'1-1Je f
<j/tcm 1/c «yt r/ /k c10-J.1 ,· 1/CJ?, aJ ywch a.:1
q,11km

?m.?a./1011,

//017/1,

dlf1/ i ru ck cl11(·1!y, / htt.11mctJ

/ h rtJ1t 11ctJ

y l';;·1iy /1eJ /h.J/cc/

J~SSAY.
C llAHA CTEl~ OF A TEACJIER.

aHd

ovez -1/e

'llo//c dllt1cfme, adJ/7 .t/e ,Ji'rlcrp1/ cofo1111111/t;1,
11i'c11t11tl /h
Jlu ltte.J, a111/ k11cr1 1£ l he a1ck.1.
<f!/./{e ·?Mlc?d r/ .th f 101/,ujt / ///;./e c6ry'tJ r/
/jmrl.1c/ lri1lo /h -;11auf/e k1.Jti1J.
c:f/;110//,J 'lM·.1 ./k <11CC./c1c.fe / . ?/UlfU:le
Jt

r/ ./,;,11t;,y /

C2fl

ch111!11101 !, rt

t~T!/cr/111/

/ ct ,uck lecfmc
ly/1

(/ /X //1 Cr!

-ttJ<'lJ

d til!/C VIJIO/l

f /1-111e,

1 e1t-

·lf1h1.;e

,/1e?-

a/1 ?e11Cf/ftrl tit j'l/111mi7
<Z.' £'t,;:1111e

Sil

fZ,~11

125

l

l1

+

I

-T

I

The importance of correct l1nLitB to nny i.n1li ·
·
1
v 11 11:1l cann o t be O\'Cl'""·L
' ' tcd
, · The inilue ncc ot t.li1~
, ,.
so
'"rerrt
u1i
on
the cl1ildren under i1 1:-·s
tcac l tc r i , "' · · ·
.
·
1· t ' .
care either for goo<l. or evil, tk1t it i,;l '.)' , '1'1~
' im port1111cc to t l 1cm 'as w ell. 'a:> l n 11iilMC ,
utmost
1
tl 1at his habits sh oulll be nn cxccpt10na.>lc.
t
·
'(
•
It is th e te ache r's sp 1ie rc o rn1p1 J\,·e the. cnm.
._. .
·l1'1cl1 lie moves not only 111 l e arn 111~
n111n11y 111 "
'
.
,
, ,
1.Jnt in morals an<l in anne:rs--in cvcryt li 1 n~ l11a~"'
'l'l 1.I M. l,.
I v lll •'l"
J d" > 11;ll« l '
l ovc l y :i.m1 \.)t.. ::::i<'t) Q (l n : ) lOl' t •
1 . 1trl !
1.tlt
"C!"V
Jl'l!Clt
1.Jy
CX:l.11J]>.C
bv p rccep t - u
' · .i
•
•
.
•
• J . whe r ever he is. Hi:> rnanncr8, h1::> :1 J'pc:u tcac 1cs
. t f , ·e n ·:i.
ance his character are all the su1iJC_G ~ o .1,, ,· • . . ' <l t a rq·cat extent, 1.1l" imitation l1y 1.1c
tt0n , an , o
"'
· l
' yl
· ~e 1·vcd n ot on 1;· in tic sc1H .> '
IIC
yonn1•.
. l·s o'u.,
'
•
.
1.
0
•
•
l j' 'ly in the soc ial rr;tthcrin~, nm Jll
hnt 111 I 1c :urn '
, "".
. · , tl t
.
. .
' 1·111 ' 6 Jlow Ue>:> 1rnbll', tll cn , l:l.
.
tl1c
rcl1g1
ous rncc
· !--. · · ·
lie i-;houlJ Le a rn olle\ i11 :tll thing,.;.
D. J'. P.11;1·:.

POETRY.
0

J 'v"Jc(l in to r!J1;111 e :i.ni] li/fln!.:PoETUY may b c l 1
•
•
• LI'

verse.

n
, ..
.l\.11Y1>IE is

in lnngnage, as :

rccnrrcncc ol so n.i "
,a barmonical
,

1::!G

rr:, ,\ ('Tl C ,\L CO ~!P OS ITI0::-1.

I'RA CTICA'L co:.rrOSITlON.

T~ ic rc_ :1rc so me poem s in tlic l:u1g-11:1p;c tl1at :ire
\rani1u g 1n :i. simil:tr r <'C UIT <'llCC 111' ,;n 1111d :-; at. tl1 c
<'nd nf the l in es, h1t t \\·l1icl1, nc·1·c·r ll11.:k ~~ , nlll;<f he
:1ec·<·1>1c<l a,;; Jl" C m~, as J fi a 11·:i tli: i',; C1111oe-}f 11ilr7/11r;
' ' Gi\'e me of your l1 :tr k, 0 ]~i reli T n.:<! !
·.
Of .rr1nr y cllo\1· bark, 0 Dircli T ree I
C 1·mri1w
liy
tl1c rn sl1i11 ;~r,. r i\·<··.;1·'
:::::>
•
Tall :rn d sla.tcly in the Ynlky !
I :i. light canoe "·ill buil d me
TI11ild a S\ri ft Cl1ccrnann for ::1ili 1w
'J'I. 1at r;l1all flo:i.t 11 p0n tl1c ri1· c r
''"
J, i];e a _y cllo11· lea!' in :rntn 1n11 ,'
J,i]; e a yell 0•.1· \r:1t c r-lih !"
J-: r..1si.;: -Y1 ·: 1:s1-: 18
· 111 c I ric:n
· 1. J;tng-11:1;.;c, \l'itl1 ont
r l1y 111c.
"\\''I
· ,,f i-;J> ri11g tl 1c rulii11 C0111CS.
II 1_ t 1I C s11· ee1· airs
i \ 11 11 rn her si n1pl c son~ tl1crc sce ni ;i (1) o· 11 sli
'
A strain of SOITO\\" ll' iic11 :-;ltc visil.cth
"'
lfor last yc:u·'::; \\· itl1crc<l nest. l~ut ,,·hen tlic

H omer's Il iad.
j\

Ln:iu i::; a p1 1e lll a<.h pt ct1 to J'lill :i iC, as r~ali llS

of D:t\·id, l\aLio 11al Sun;;:;, &c.
D1~.DlAT!C rv1:TJ:Y i,; lki.t \1·\1ich JS a.\:qi tccl to

!acti on , as Shakspcare',; Pbys.
D11J.\GTlC T'v1·:T1:Y is t.ktt \\·11i ch i::; 11esi ,_.; 1w<l t\l
[convey i11sl rneti o11 , :1s ¥11un g\; :l\ig11t Th·rn~'.l11s.
D i::sCRll' Tl v 1,; J' ui-:T1 :Y po rtrays e \· en t ~ , ~ n'1 1 c~ ,
am1 ::tppear:111ccs oi' n:1tnral object, ,\::c. , as T\i,,mson 's Seasons.
J!J ·: )!\ l\KS.

Tlic st\H1y of l1 1esc Y:iri ous kin<h of r .. cnH \\'ill ll-n1l Lo
cnli.i,·f\tO taste n.ml bci!:ct tl1 ou~ht, lint iL is 1111\\' i,;0 fo r a:l
pupib to attempt to compose poetry. l'0w \\'i ll s• 1rr«l'•l .
Th ~ a-..~ \vill fai1, 1h·c:·ln:--c pt)ctry, 1ike 11:ti1 1 1 i:1r~ nnt1 sc1 1l 11-

111

t.urc , j:-; r G:-\t.' rV ell fur

ln tlit1~1.' brancl1e~.

pe r son~

uat urally c1111 :-; t i LUtl'd L:) :--UU'l ·c·d

J~ e ('( 1 :1L~ 1tL lo h:t ytH ll' l11<111 ;. :. i 1L~ n~i...: 1 11nc
th e ordina ry cli:11111 c\ ot' l'r<>''" 1111\e:;o tl1c ~pir ':L of l'11..t 1·y
fvhl s li l't' wings :dio11L yuu ~Uill bid:4 yon ~11n r a11il ~i n h·

;.;-loo m

(~f

tl1c <lccp f:\\·i li_::;lit f':tlls, sl1c tak es li e r perch
1Jpoll Ili c rc<l -stcn11 1i 'd l1:1zl·l's t;]cnt!cr t wi1r
T. l iat over l i:w gs 1l1e
. 1Jror1k, allll s11its li er so
n,
n1r
Tv tl1e slow rin1lct'.s i11t:on sL.a11t cliimc."
"
FOl:'J ~

-'

., ~

1
into the fu\]11\Yill'·· kind ~ , vit.. : l ':btv r:tl, E1 ic,
"
Lyric, Dr:trn:ttic, ])id:1ctic,
:tml D csc ri 11Lin•.
- l'A STOiL\ L 1' 01·::-rs arc tlwse wl1i cl1 arc dc ccripti ve or rnr:tl seen cs, as Burn::;" l'vL:Lical \\ .-.rk~.
AJ' E1·ro is a n:trraLion of l1 crvi c dc\_,.J,,, f\ B

"A wind ca.me lll) out o f th e sea.,
Arn1 S:lid, 0 mists, rna.kc r <iom fvr me."

TlffFl·:J :I·:<-:T

l

OJ<' l'OETJU".

]'octry inay be divided, accordi ng t-o its nature,

:.....

j
1

128

l'HACTrCAL CO~U'OS!T I ON .

l'RA Cfl C ~ L

LESSON I.
Lot t!.o pupil p oint

011t

120

"A star shed do\\·11 its Hilv ery 1igl1t
On l1 1y pea rly coueh in l1eav e1t eacl 1 night;
J\.nd wel l, Ly its beam SCrell e and cl ear,
I knew the spirit I loved was nea r."

"l'li u ' llt hy tl1 0 1raY('- 11': 1.-<h o1l ,.J ,on",
A11d th0 1l:i l'i; 101•k,, ll llCO llfi llL·d,

Tli nt t.110 wi11 tv r of t'U ITO W W :l8 1lrif'il11g o'er,
11·ere niln:1t on th o ocean 11·i11 d.
Tl1 cru'$ n bnr<l c n on my l1 reast.,
A nJ my b r:ii11 is lJ11rn i11g now;
'Tis well J lt~n-o lai1l l1im l1ero to rest
·w 11oro Ll10 sc1t-1rin<l8 cool my hruw."

-;:- LlTER.\1.. Tl:AXS l'OS l 'l'lON".

Each night n. star in l1 ea,·cn slit:d do·.rn its silv ery Jig l1t 011 my pea rl y co ne 11, :.1 l '. ll ] ,y
• its ck:H
aml se re ne bcall 1, l kn e w tlic spmt I l 1Fed \\-:is
n ear.

"A1larn, far from pnr:11lisC', hi ~ fallen ycnr~ li :i<l prissu1l,
And tl1c <lrc:1tl <le:tl1 1-:rn;;cl crime to bn ry l1irn at laHt.
'\Vh:tt wilt th on here~' cri ed A1larn, nn tl wi t h nn nn g ry eye;
' 1'\1rty uf 111 y t.l 1011"ancl yc:us arc d 110 before I <lie.'
H 11 t. 1l1 c :lll;!<'l ~n i1l , ' Not su; T 1·n111e nu t n tlny t oo soo n;
Fur;;ett1'"L LlllHl th:it fo r ty li\ <·01110 Kin g lJa1·i1l'ti l> oo n ?' "

:EL J-:f: .\ N T T" ,\:\ S l'OS JT]C):'f .

E1· er}' n i;:;ht n. s tar i11 heaven ;;l1c.J it:; ~i!n'1·y
li •d iL 11po n my pearl y co ncli, a11 ll l1y it ::; ckar a11<l
11 r1citl rays I knew Llin. t tl1c spi rit of' one I l 111·ed
was l10,·er i11 g 11 car.

0

" Tl1p f.,]t],; of he 1· winl'-tl:irk viole t tlr · ~ H
(;J,iw 01·er ti1L' "ofa, fall un f.i ll,
J\11<1 sill: sit;: in tl 1e a ir uf ht' r l u 1' 1'l inc~~,
Wi th I\ ~ 1 n i lu fur cncl1 an1l Cu r all."

EXEl! O l ~ E.

"F lo~tin f; 11o wnw:inl 011 th e sta rli;;ltt,

two bri;;lit inf:in t
fo rm s I sec,
Tlicy nro rnillt\ 11 1y uwn l1 ri gl 1L11:u·l i11 g", co me fr om Heaven
to Yi sit urn."

II.

T1·m1sp(Jsitionr!fp f)etry consists in a change vf
w ords and sente nces from a p oetical to a prosa ic
order .
It mn}' be li'teml or elegmif. J,itc rnl
t ranspositio n is tl 1nt in which not 0111}' tl1c poet',;
idc:ii:;, lJ\l t \ro nl 8, a rc close ly r e tained . El egant
tr:rn~po:;itio11 i:; tlt n.t ill \rl1iclt t.!1 0 id eas :ire r etained , 11111. sy nonymou s expressi ons arc e 1nplnyed,
if n ecessary.

L'OS ITJ O.\'.

]lfc Jn J·: L.

the fau lts in tl1e f,,Jlo win g lin es :

LES ~O~

CO ~l

l
I

I

I

I
I

A.

I

" L ink ed h an<1 :incl h:11Hl wi th ·LoYc nnd Hope,
·wc'J wantl cr clo wn life' Howery slupc."

"Alas! Ll 111t <111k et tone
Is hn t t. 11 0 hollo>11· mn ~ i c ,,f :1 sl,.·ll
Th at. 1 11 (1 ck ~ tho Oce:i11; y d, tl1c t1ilgri111 l()ne
It "·ins ns loy n FJ >ul l."
• Literal trnn•pos ition mny freq11"n1l y 1,c de,:;:i nt also.

I'lU CT! Cil.

CO ~!PO !S lTlOX.

l'J: .\ CT l C:AL c m.rP OS ITlOX.

Cv1c- Drca,;t the \\";tv e , Cli r isti;rn, \\' l1e11 i t is

"J.ong ha.-o I ,;oju11rnecl ia fo1li:1,"
Tl111' tlic J,,ft.y st. ra nger Fa iJ;
"There for 11"(•:11Lh a111l idl e lrn:trnrc,
lle:tlil t a111\ yu11t l1 :lll <l ],lo ud I ,;lied."

stT1)11ges t;
\V atch for day, Cli r istiun, \rli cn the
nigl1t's lon ;;est;
Ormanl aml onward still lJe tltine en -

"J.il;c ;; 1rc· e~ 11 111oi r: ]1C:ili11 g
I:":t r o«·r t li0 l.J11 c· ~en,
Tl 1crl' ('111111...·:-; v'cr Tll C: :'te :d i11g-

(leavor,

Tli e rest that rcmainell: \\"ill lie t'vreYe r.

:-.;\rL't !. !ll C IJl() J'i C~ ot' t\ 1\.'('."

"St:1rs of lic:1Y1· n l I wo11l1l tl<• L lie ye,
Too 1l:trk n.rn lLtc s ~·; JJc,; tl1at you uften sec ;
1'!1>011 I I envy yon not yo11r light·,

] Lfa!kth too

ofL1~ 1 1

on

wo e

nntl bligl1t."

"J\: intl w otnn.n's 1il:iM rongl t 111arill ~ r s Rl!J> pli0d,
An<l sli ar<:cl tl10 wa11clercr';; blc.'isin;; wl1et t he died."

"W!1 itlicr, ' 111i1],t falli11;; dew,
Wl1i lo g\1)w I.lie lic:11· cns wi1li tl1u b -< t. , t.,·t•" ot' tby,
Far, tliro11;; h t l1ci 1· r o~y 11c~ptl1:< , d u,;i. tl11rn pur; uo
Tl 1y s ,Jit:1 ry way('
J. !:f)S()~

111.

Supply tlio omitt.rtl wor<lB in tl10 Pv c tll ~J , L:tking care Lo
n .nko t li e 1n 0 n s 11 r1' <.: 0 111 pk Le.
MOIJEL .

Ex. -" Brcastthe \\"ave , Chri stian, wlien it is
strongest;

\Vatclt fo r d:1y, Cliri!S lian, \1·l1 cn tli e
nigh t' s - - - ;
Onward and omranl still Le tl1ine
ell d e:n·or,
The rest tha t re111aiueth will be - -- .''

i:n

r:n:ncrnE.
" J? i g~ it

tho fi;;ht, C liri ~t i:u\ ~ .J~ ~ us is \)\~r lhuc ;
tl 1c ra<:c, Chri,;Li:rn ; lt e:iv en is l1e·!"oro - - ;
J le \\'lt O !inti. prr>111ised, foltc:·1;U1 111:vvr ;
Th u lovu ul' e!.c rni ty lluw,; un - - ·.

J~un

I

\

.,
I

"Lift. tl1c eye, Ul 1ri•1'i:rn , just n ~ it closctlt;
Haisc t.1 10 l1ca rt, Cl 11·i,,t. i:111, t r c it - - - ;
Tl1c,;e front tho lo'l"o ol' C l1ri s t 11 o t.!1ill;.; sl1nll se ver;
]\fount when t hy work is cl onc -p rnisc l1i :n - - !''

"Th e hu 111an rn'ir1<l, tl t ~ l111m:1n face,
1k:Llnillg wi th - - :1'11Ll grncc,
:l\hy fire tlic dullest - - and iJrnin,
Antl warm tho - - poet'::; strain."

L1~SSON

IV .

Supply tli c omi ttccl wont; in tho specimen of I31ank
V crsc, keep ing tl10 measure perfect.
~ronm

..

"The qnalit·y of m ercy is n C>t st ra ined;
It d ro ppcth, as t!J e - - r:1 i11 from hcn,'cn,
Upon the place '- - ; it. i,.; t\,·iee blessed ;
It blcsscth him that - - , anu him that takes."

132

l'l~A CTIC AL CO~l POS ITION.

The qn:ility of mercy is not st rai ned,
It droppeth :-is tlte gentle rain fron1 li r:wen ,
Upon tl 1e place beneath; it i;:; tw ice h1csscd ;
I t blesseth him tkit gi ,·cs, :wl1 l1i1n tl1:it takes.

133

l'.RA CTI CAL CO~ ll.' OS I TION .

C II A P 'I' E Tl V I I I .

EXEl: C' l:-:E.

" \\'dl clo I love t.11 0~0 ,·ario11s l1n rm onics
T l111t ri ng so gayly in Sl'ring's - - woods.
Am1 in tl10 tltickct~, anil g reen, - - ha11n ts ,
.i\n<l -- - cop'c~, ot' t l1e on rnm cr t i1n o,
/11nl in red Au tnrnn·ti - - sul it 11 cles.
"Tf t.!1011 11rt p'.lincd witl1 the "·orl<l's - - stir,
Or cmzed " · ith it, mad tu mults, a11J woigli\l dow n
"\\"i th nny of the ills orl1u111:m--;
1f t.11011 art si ck and \H•ak, o r mourn s't - - loss
or lirctltrcn gone to tliat fo r, - - la11d
T1) wl1icl1 "·c nll do pas~, - - nml i' OO r,
Tli c g:1ye,t, anl! t ho--, all alike;
Tl1 ~ 11 t11rn ioto the - - w oo<h iltlil !t ear
Thu tliri ll ing - - oftl1c forc~t birds."

Comn:cT CoMPO:iITI0:-1 is ti1at \rhich i;:; wri tten
in accortl:ll\cc wi th cstalil isl 1ed rnh:s for the 01111strnct ion ol" hnguage, aml i n cvnforrnity wi ilt tl1c
11 s a!.!; C of tlie Lest wri ters a nd orato rs.
·~\_ Yariatio 11 is sorncti:nes allowc1l rn 1·nc! ry
whi ch is calledpo.;t[c: lico1s,'. J\ew tcrnis :He :t\,,,
used, i11 hoth l'rn,;o and p•)etry, J,y :t prnn·~~ ral!1· 1l
1
"Clli11i11cr
,.., \1·o rds." Dolli i:d 1onld lJe :L\"<1id e 1l 1 y
yon 11g \\Ti tors.
T lie cl 1i cf characteristics of" co rrect cornpositiun
:-ire Pnrity, St rength, Clearn ess :rn <l U nity, to
,r liiclt rnay he ad ded Prop ri ety a11J. Ilarm11!ly,
thonglt Pn•pricty ,1-onlll seem 11a tu1~:dly to eP111e
nmler Purity, a11d Ilar l\\ ony under l..;111ty .
E:X:Ai\ll'LES CW J'Ol::T JC LT C l·:!\ SE .

"Look h ere, rny boys! wh en you 1iam1lc yer tool\
Alway s t.ry 'cm on mi ser~, for mioers i8 .fool-1 I"
Jfuuselw /,/ Wurds .

"To nll h0 nsket1, '/1011t all ho s~w ,
Tlte a ns wer Hlill "' ''" "J e n' c11 t.cncl:-J pns ! ''-

i

C. fJj/,,/in .

" \Vlt o do c~ t.lto l>c.o t !tis ci rr111!l ;,t:rni:o alJ ,, w,.,

Doc3 "· ell, act; uobly, - :u1gels cvuhl (Jv)

llu

111orc. '' ) "o 1111:;.

·~

13 t

PltA CTIC A L co ~ n'O S ITJON.

l' ~ A-

T ICAL ClD l P OSITlOX.

135

" Jn F:tffron rolio wit h t:ipc r clcrll'."- Jl ilton .
"~l : wcl ! tho yro nnd's yuu r ow11 , my lir:tvl'~." -

} .'ce. J. I' it rponl.

] , I<: 'SO N

I .-

l'tilmY

Axn r rwPmETY.

I' u m •r y consists in the u se of such \\·orJ s ancl
lll vtlL's of exp re~s i o n as gooll n sage has au th orizeJ .
!lrl)DJ-:L .

\\re nrc·d a loflier id eal to ner ve 11s for l1 ern ic
li 1·es. To Lnnw :1. 11(1 foe] on r noth in g 11 ess wi tli on t.
l'C'~relting it; tn deem f:unc·, r icl 1es, per;:;0 na·1 l1:tp1·i11css, \Jut sl 1ad l)\\'S () [" \\'Jii clt J111iil :t ll goo J is tlJ e
rrnktn 11 ce ; to \\- 0!<;0me pa i11 , priva titrn, ig no1 11 i11.r,
f'l 1 tl1at 1l1e r:;ph ere o l' ]1 lllll :m lrn o\l' lc J ,:;c, th e r 111 11i re of Yil'f11r, lrn 1li r·reh.Y ('Xle11dcd : snclt is iJ1 e
soul',; 1<·111pe r i11 wl1icl1 tlie li c rucs or tl 1e comin g
age sl1:ill i>l~ cast. \ \-l1c 11 the state ly m o1111m cn ts
e> I' 1 n i ~i t1 iv::; t cn 11r1ncn1rs "l1 :dl kt\·o \Jeeo rn e shapeless a1Hl fvrgnttc11 rni11s, the l1 11mble g ra Yos of
c:trt l1' " Ilc nrnrJ,; a11d F r.rs sl 1all still h e freshen ell
l >_y the tc:ns of flllllll.r :i.tl 111 iring rn illio11s, a ml tli c
pro11 dcst rp i taplt 1d 1:ill be the e nt rea ty ,
'' \ Vri tc me as one wh o_loved b is follow me n."
1101 ,A CE G .REIU,E Y,
EX E l ~ C J SE .

1110 1n: L.

tl 1 i.~ rnc·;\:;n1T, :·\il d i11y
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1
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1
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ll
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ea
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for
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r
:-cady h ere to i;takc ll]l O ll it. Si11k Pl' s11·1111, . :1-~
:· s111 ·v ·1 \·e
' o1· 1-1"" t·-1sli ' I· am fo r tlie lle l:l:ir:tl
. 1on ..
or u, ir
.t
1·
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Jl~
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nli
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ent
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aml
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.1 .t· " · 11 lle 11 1\· d )·in rr se11ti111ent : i111. V[ •l'l l\ •
•
"
GTOU I S ll ,l
enc; now :rnd i11L1cpendence fo reYer ! - .

:My jnd n·mc11t apj> i'O \' CS

, , . it ,

D A;s n :r. \\

i:n .~Tu : .

EXEP. C! Sll .

E xno1ples of strength .

"'

J__,ES~ () }T J IT .- - l'LL\ l ::<iESS.

Cur rccL f lie c xprc,oiO JJ S 1'n 1'tulation o [ rurity n11 d rropri1.:h-_

·sb
_ Ill
· tl ie u s-- c u- f ..:;in ·h words
c1.m s1
..
L
l
te
'""tc
t
ll1
C:
111in
1"
intcrnkd
,
:rn
tl
i;t
·
ns cun \' ey
'-'A'
,,-,
1 s nch a rr:i.n;.;cment of tl 1e words ancl dau:'c~ l 11:1L
CLEATt>: E SS

J ), , "'''· kt.
\i' e

I'

LESSO i\ I L--srnExnT IJ ·
f3T1n:xG TH con8i:-;t s in the e mploymcn~ of t11c
mo,; L f,irc i\Jlo w cml::; arnl modes of cxpres'.;1nn. Jt
rr.<]_nires t h a t t 11e sl rungest danses s1JV1ll<.l lie l 'lacctl a t tl 1c close of a se 11 tc1H.:C or tl iscumsc, :u\\L tl1c
..,t •i.. 11 ,,v 1.e.,iun
inr,o. or iu th e rn.i1.hlk .
\\" CU 1\: CS t u.
u v

1naill'

'J lint

011 t li af. yo11 \\'C:-<] :lll' :lrc of

Piil

IJllO L ll

tu

ion i.<

l'l' :1ci 1

1.lw

I H )\\' l >Cl'C·S

t, ..

tho fa ct.

by Jll)O ll .
l·0 f, >1:nd .

c ;11·s

a,mlJi guity i::i a voilkd.

·'·

13G

l'l:ACTlC A I.

CO ~ll' U S I T I UN.

PH ACTICAL COMPOSITION .

F ran klin in vo ntod ele ctri city in tli o cJ ,rntl ,;.
T he fur n ish cJ li ou so is e mpty.

1st. A mbiguous words and expressions should
lie a voided .
~ J . Ad ve rbs should be placed near t he wordti
tliey modify.
3ll. R elative chnscs shouhl bo placed con tio-u0
ous to t h eir an tecedents.
4Lli . Alljcctivcs should be placed, as near as
poss iLlc, to the nouns t hey modify.

2cl .

1st.

EX E RCI 8E. -Al\113IG UIT Y.

Ho tr:w clc<l np on e l 1ill an cl <lo wn anoth er .
Jnte mp c ra nco is a ba cl custom .
It is tL o lrnl1it of th o p ooplo to woar lo ng hair.
Ro bert F ulton discovered t h o Atcamboa t.
Tho so w iJJg machi no was <liscovcr ou in tLe l a~ L ce ntu ry .

A D\· 1rnns .

ktl, its an u kin d , o bl ig in g <li s posit io n.
Tl10 \) it.y "· as so clo rn oli Hheu Ly the ea rt1111 11 ak0, tha t t rrtvcle rs ca nn ot tell w h ere it s too1l, a t tl 1is clay.
Como anu take yo ur <li 11 uur, o ut of tl 1c g an lc n .
T l1is art icle wag ll"r itl\) rt 1.Jy 11 11 i: t11, co n r111cd ir t a d ur1;.>;co n

M ODEL .

1st. H e is neither here, nor there.
E xP LA NATION.---Thi s expr ession vi olates c1 earn eRs, as it may mean , that he is not i11 t.hi s place
or tli :it; or i t m ay mean, that his op in io ns arc
11 citl1 e r one th i11g nor the other.
2d. Trn tlt fl·a rs exam ination, n ever.
E.\Yl.A NATl\ •N.- Tli c adverb never mod ifies fea rs,
a nd tl 1cn .: fo re should lie placed 11 car i t ; as, TruLh
n ev e r fe ars exami nation.
3.J . Tl 1e man is no \r jn stly cen sured, who exercises so littl e d iscretion .
Ex 1·1.:\ N,\TJON .---Th e r elative clanse sh on l<l lie
pl:i.ccJ n ear tli e won.I man, as it modifies it ; ns ,
The
man, who exercises so li ttle discr etion ) is now
.
Justl y ccnsnre<l.

IiX E Jt C1B E .-

G entlem e n aro not r c r111 csted to s1no kc in th 0 G:rb in ~.
\ \"1L11tod . -A g irl t o tnl<o cnro of an i11fa11t o f tc- 11 1l'<'ral•:1

for l1 is o w n a111u ;;c1n c n t.
:1D . E X El :<·1:-; E. - - 1:E LA Tl \ ' I·; C l.A 1· ;.;E :;.

T he m:lll l i v ~ d in tl1u liuusu rn rr v 1111<led iiy lrc: c--<, w ],.,
h a<1 nu wi fu or cl 1iltlre n.
T h o u, Lorcl \vi i't cl d iv c r u ~ fr o111 nl lli etiu11 , 11·l1u h al l1 1•c· :·_
rn ittc:d it t o come.
J\ n oL=--crvin t;

tra\·o1cr r o<l e ov er tho 111 o u1 1t ai n, \\·lio

n ot ic c<l ove r}•t l1 ing.
At He: t, e v01·y tl ii 11g aU. ract8 u tlc n t iun t hat. lireak:; t l1u

II

of tli e SCC ll C.
Y e, t li e r c: fo rC' , Lea ch yo ur ROll S to lv ,·o 111 c r cy wh o Joyo

lll O ll<> tl •ll Y

it t u".
Ca n lo o pruRpcr i11 I.Ji u w o rlcl wl1 0 rq.( ankt.lt 110L t.1 1c ]'"Ort
1tJ 1. EXE l ~C' I :-; E.-AIJ.JE () T l \" E " .

,.

1

Tlitl rncrcli an L sol<l rm ly t.lt i.-.k m en ',; h oo t,i.
T l10 sea rn str css cn t Ll11 0 cli ihl ren '8 dre ~ses .
\Vli e n su o (:nte rcJ t h o s to re sh e c11q11irc!l for bl:t ck lad ie:i '

gl O\"C".
Ho w oro a n e w p a ir o f gol1l Rpec taclc:;.
T h a t is a lu vcly nn cl o un :; li l t.l e child.
ll:wu y o u se e11 t he t.1 1 11 c hi ldro11'" ~lipperR ?
Th ey w o vell in to tl 1c r h rnw n 11 c w h u11:;0 last s u rn rnc r.

...

138

l'J: .\CT!CAL CO~ll'O~ l 'l'I0:'-1 .

l'f:.\ CTTCAL CO" tl'OSHION.

The rn~ r C' li:rnt hill i11 .'I stock of new men ', li:its.
Sl n· 111)11 ;.; lit :i y ellO \\r covorc <.1 nC\\~ 1 nnga:d11c.
Will yo1 1 ClllllO a11d visi t m e at 111 y 11 cw fat l1 c rs cou nt r-y.
sc:it:, whl'll 1110 w0atl1er become' warm?
.
Ih vo yo u ~cc n tlrn hll ic' wltl1 Ll1c i1· rnd new cloaks?
Did you ri d\J bclti111l y0u1· bla uk ul(] l1 o r ~ c~

EXE l\C l :°'E·

] l o ii i11 in tl 10

h 011s o

\\'l1c 11 }" '"

(·rt 1110 !1>

lonl<

f.,1·

Tl 1 o n1:i ~ r e1no ved liis lJ:t;.!'g:tgi..\ hei 11 ~ nlili ,::vd

Tl1 c injustieu of t J10

pat ri c j 1.>J1.'1

l,i1:1 .
t_q

Y: l ! :l l(· .

c:-.. l1iLi ts d..._· ~uH_'l'; l ~1~· :i:JJ-

.......
Tli c dcclnr:ttion of i1Hkp onllr: ncc and Il ic c,-t:11li.- li 1111·11 t
of represe 11ta tion govc i: 11 rn c' l! L wc ro t ho ad 1iC \'Cillc,n h or u11r

JYS~OX IV.-t;srn: A s11 IJ AJ~ .\rnNY.
U 1" 1TY cu n0ists in placin g- clauses an,l sentences togct licr LLat <~re connected by some un ison of

fur cfat l1<:r,; .
.1 :ut :t few d ay~ since I wc11 t to tl1c k ill wli o r o 110 spoke.
No l'er r obto to a ~ecornl pL·rson ;oce rds Lnhl cd t0 }'Oil .

iLlca::> .

1IAnMONY consi::its in su ch an arrarwcment
of
0
worLls ancl thougl1ts as will produce smoothness
:mu melody.
l)arcnthctical wonls ancl clauses, observat ion s,
e tc ., 1Jrcak tl1c easy flow of language and violate

Clia u;;o tlic wonl; of si111ila r so uml.

The cl1:tplc ts of ch a rity and the ch ali ce of
cheeri'nln css a(lorn tl1y l i fe.
CorrnEeTroN .- Thc el 1aplcts of bencvulencc an d
the cnp of j uy adorn tl 1y lifo.

Harmony.
ltulc Isl. f .. 1·oicl using too many 11·ords of tl1e
r-;arn i..: num l.Jcr uf :-;ylJaulcs in a sente nce.
B 111e "2d. A v" icl 1vo rd:; of ~ i m ila r so t11 u.l in close

EX 1 ·: 1 ~ti I 8E .

t:Olll1t' cL i1ll1 .

Ji 1dc ~)d. A v(1icl the
rn quick succession.

U!'iC

JWLT:

V:irne, i'ul'llii l d, ~uH1 t'rk11t1:1 f;LY o r tL e flir .
Tl11.) 1\_.d,le fre L·1n:u 1 fr1·ldy fqtq. ~l1L f1it· frpt ·(10111.
Tl11• ri\·al r<i1111Pl' . .;. rrn1 e nnind tlit• n1_:! :~ ··d r ~ .. ·!-....: .

of t h e same co 11 so nan t

Tb c Lold, 1 · ~·1d 1 l d 1i-;t0rin;~ l i 1 •y:-<. 11v ~~~i.. · d :-- 1 1111•..: i, ~·1 · :1 i.

bt.

T/10 t li ongl1t.les;>, li elj'le''• l1 ot 1h.:k"' girl \\·cnL ""l'l''·';·].~, s

Co rrect Lhc foll owin ;; vioht: io11 s of Tiu lo 1st..

to li er sleepless co ueli .

J\[QDEL ,

HC L E

Tl1e small boy tl1at I saw to day will come .
Co 1mEcTroN .- T!ie iittle bny tl1at I saw to day
1s

3d .

Correct tho violati v11s of tliis Tiu lc.

comin g.

-

uo

PlL.\CTICAL COl\Il'O SITION.

l'RACTICAL COMI'OSITION.

J\10DEL.

141

OIIAPTER IX.

Yon mnst not whitt1o, whisper, whistle and
wlii rn por.
CmmEcTION.-Yon mnst not whi ttle, speak low,
whi st lo or cry.

STYLE.

SnLElfl the manner in wl1ich an in <l ivi Jual
speaks or writes.
It is of two kimls-Natnral ancl Acqnircu .
En.eh i11Jividnal has hi s O\\"ll pccuk1r rnodc 1i!'
expressing th onght. Tliis may b e t.ermecl , K a tnral
or Individual styl e.
\Vhcn it is r egnlated and 111onlllc11 , acconl ing
t o r l1ctorical rn lcs , it Lecom cs A cqni r(·.tl Sty le.
NAT URAL S TYLE may Le d iviJecl iIJto four
classes :-viz, Con c ise, Diffuse, Vigo r o~s a ml
Feeble.
CoNcrsE STYLE is that in which the thoughts,
whether spoken or wri tte n, arc expressed in the
fewest words. Its chief recomm endation is b revity,
which sometim es gives rise to force or strength .
DrFFUS E STY LI·: is that in wli ieh the tlio1 1gLts
arc freely e la1J<ir:1te(1, alHl a profn sion of w o rd s
cmploycJ to express th e speake r'r> ur au \1 1•'1·\;
mean in g . Thi s will so m etimes, tl1 ongh not ii ccessn,rily, cau se fee blen ess.
.-,
Vro cmo us DTYLE is th:1t in ,,·hi ch the f'!TOIWC'St
words are employed that can express tl 1c a u1l1Ur's
meaning, and the sentences are so arran ged as to
convey direct and concentrated t l1 c ught.
F1mllLT' STYLE is di ~ ti11gnisltcd by a supc rah un-

EXEHOISI,.

Slee p ~nft sometimes we say.
T lio lilt lo fair fairy foll d own on t.h e flo or.
Tlw ~in:; of some sons surrou 11il thei r Jives with sorrow.
TI" li t tl 1e Ln 11p a11d left tlie h<ly 1dl ;do ne.
~:a E11 glisli1llan\; En~l i sh is not always correct English.
llio Ln11Ler,; l1orn exc ites hi H horrid how1s.
T. tkc thi" aml that auil throw thorn thence and there.
\\"li en w in ,J; and w:w cs wildly warred he whispered
peace.

1

+

t-

.\

1 t~

PRAC'TICAL

PRACTICAL CO MPO SITION.

th ncc of words

ai1Ll

Or i;;i n!ll exnmplo of Co ncise Style in I'rosc.
Origin:ll cxamplo of Coneis<.J Style in T'octry.

circuitous m odes of cxpl'cssion .

I t i::; r ccog11izcc1 by r epe ti tion and circnmlocntion.

LESSON IT.

ACQC!l(lclJ ST YLI':.

Cclpy or 1nito ~0 111 0 oxuinplcs of Diffu .~ e Sty lo.

A cQtr mED STYu; c111li raees tlie · h~ m e n l::; of
to ,1·hielt 11tay b e a'1d 0cl Flow0ry ,
Al'g 11111 c11tal i1·0 a11d Xe n ·ous.
Fr.ll 11·1·: 1: 1· Snu; is th a t i n "·lii e h acl.icc tives,
r]1 ('to ri (':tl fi g :1rcs ancl ornamental express ions
a bo11nd .
A1(1: 1·:.1 i:NT.\Trv r: STYLE is tha t i11 whi ch the
N~t L 11Ltl St.r1c,

fo rnt

143

C O~Il'O S !TI OX .

:MOD E L .

"'Tis midni g l1 t's holy l10nr, an<l silence now
Is broo di 11 g-, like a gentle SJiiri t, o'e r
The st ill and pnl sclc ss w o rld. Hark! on t.11 0 winds
The b ell\; lleep tunes a rc s well ing ; -'Li:; t.li c k11cll
or tl 1c Jep ar tct1 y ear. "

or re:iso n ing is e mpl oy e d .

K1·:1n-0Ls SrYI.E js tl1at i11 whi ch (i11i ck, nc tivo
and 1· igoro ns m e n tal cm ol ion.s arn cx1>rcsscd in
cc>rrcsp011 si 1·0 wo nl:i am1 11 1:11 111 01·.

EXEl! OfRE.

D iffn sc Slyl c in I' rosc.
Dill'u;;e St.ylc in l'uctry.

'

tESSO N I.
Let tlic 1•11pi ls gi1·0 ex:1nip l0s of Cn nci:io :::ILyl0 in proso 01·
podr.1·, v ri;; in:d or ~ckct -.I.

LESSON III.
Let lhc p11pil sel ect cxarn pks of V igorous Style.

)ll)l)l>L.

' ' Tlit')' t.ltro ng h f'ait.li, s u1Jd11 c'l k i11gdoms,
WI'<>ll _:;·l 1t r igl 1tuo n::; ncss, obl: ti1 1cl1 p r vmi ~c:; , slopped
tlic mon Llis of lions, qucnc hc <l tho Yiolc ncc ortit-c,
escaped the cd;;e of the S\1·orcl , out of weakn ess
\1· crc made slrong, waxcd val ia11 t in fight , turnc Ll
t o flight t.li c armies of I.lie a licll s."

J\! Ol>i':L.

" Go ring the bell s, nntl fir e tho gnn s,
A11 d Jl ins the s ta rry banners oul;
Shont" F r ee dom!" t ill y o ur li spin g ones
Give back their cmdlc sh o ut."
EXEll CISE.

E XE l!C I,; 1·:.

~c·l,·c!

Origi n[tl Exmnplc of Vi gor ous Style.
Sclcctc c1 Ex:im pl o of Vig0r ous Style.

iu1 1 •>f C'nn r i'C Siyl u i n J'rnso.
u r (', ,11 c: •s,) ~ :1ylc in Pocl ry.

~ ck('ti"n

i

!

T
l

14 4

l'UACTICAL CO)fl'OSI TION.

I'P.A GTICAL

I~ESSON

IV.

Po int out tho r epetit ion or circu mloc uti ou iu tlte foll owin g sel0etio ns, illt1,;trnting Feoulc tityle.
Jl(()lllCL.

"Titore w<;: rc two linys, wli u w ero b rod np togeth er,
Sli :tred tlie snlllC l>ed, a1Hl fed a t tl 1c same l> oa r<l."
" Sltarccl tl1c i:;:unc b ed, nnd fed at tl 1c sa me
bo:t r d," is a rcpclit ion of the sam e idea that i;; co ntain ed in th e \1·,n·ll::; " who \\'Ore bred up together."
" "iV01\d1nnn ,;pa re th:tt tree !
To11 cl1 no t n :-ii 1 1~le bonglt ! "

:::•>, ll'L t l:cm p:is.<. 1101 Ji the su1 1-;Ji i nc arnl s}, (11\' cr,
lo\\' c r."

"A nd " ·lto of u-: tl1at. is not too goo ll to be co nsc io ns o f
l1is O\\'ll \'i ce,, 11:1' no t f,•Jt robuk0u an d h ullll,lc<l 11 11<k r t lio
cknr m11l ope n countenance <>f n ch ild ?- "·J u, t ha t J,,1,; not
fol t l1is i m pu ri ti •'~ fu11 l upon l1im in t.li c 1•rc-:c 11 cc ~f :1 Hi11}e,:s cl 1i ld ?"
·
" Yun ~<!c , (J f co1u·se, if you ' r <l n ot n ti 11 nco,
How it ll'c nt to pic('e:; nil nt oneeA ll nt once, :in<l n0Llii 11 :; lirstJ ust 1\8 1Jll1J1J1us ll o 11·] 1e n tl 1ey hnrst. "

" Tll() mornin g itsclt', fo w pcn plc, i11h:1liil.:1 11 ls of' c ities
k now 11 11y thing nhout. A111on ;.; all <Jl lr goo •l peu11 lc , uot
one i 11 n t l1onsan c1 ~ c o t l1c ;.;1 111 ri;e uuco in n ye ar. Th ey
kn o\\' 11 01.lii ng o f t l1 c 11 1or11 i11 g."
"T i11) 11 only (:otl ! Tlic1·c ;, 1111 Cu.1 li o.-dd e !"

Jl (Ull E L.

"Dear, unha ppy, fret ful c liild ,
Come a nd lot ns talk aw l1i k. "
Tlic fi rst l ine aLou 11,l:; in adj ect ives.
" I"am tlic U i)Se o f S liarvn, and th e lil y of the

E X lc l: C !:i ll .

" l.ay aH:1l u yom du:ck, 0 lli1·cJ. Tr..:c !
].ny ,-,,;i cl o you r wl,itc ,;J; i11 wrap)'t·r I"
"T,et, t licrn

LESSO N V.
I.ct tl 10 pup il l"'i11 t out the cx prccs ion• C<>:ls'. it:: tiu g- Fluwll r y St.1 le in t he an ncx cJ >" e~cct i on s .

,.al lcys."
T h is is a fi g urativ e ex p ression.

EXERC Hlrc .

Tl w juy,; tl1nt )"L'L l' liccr u,;, Ll 10 >' tunn s tha t y et

c o~1r os 1n o :-.-

" G i1·c mo nf yqnr b o11g l1 ~, 0 Cccbrl
Ot' you r strong flll<l pliant u rn nch e$ 1
My canvo to n1 .a k 0 uio ro gtendy,
Mak o Ill ore ~ t r(J 11 g :rn <l tinn lic ncnt li m o I "
"A1Hl n ow, <lour JiWo t:l1il<l rcn, wbo may thi s sto ry r c:1d,

To i<l lc, sill y, fl atte ring wonl,, I ]'ray yon ne'e r gi ve licc1l I "
" Litt.le '" li itc T.ily
Sat by u stu ne,
Droop in ::i :w11 waitin g
Till t l10 ~rn n sl1 one. "

" Si ng on, sweet thn1:;h , 11pun th o k all ess 1,o ngh;
S in g on, swc...t Lid ; I liste n to th y st rain;
Seo, nge<l ·win te r, 'm:cl li is s11rly reign,
At thy Ll itl 10 earn! clea r,; liis ft: n ·o we<l \;ro w."

LESSO:;'{ VI.
Se rm ons, E ssays, an d som e tim es booh, arc
wri ttca in Argnmcntat ivc Style.
I t fr e<picn tl y
takes the fvrm of d eb a te.

HO

l' P. AGTl CAL CO lIP OSITIO:-<.

Pl?A CT! CAL COMPOSnrO N.

T ito p upil may 11n111 e c xnrn11l c'', IL l! U
gument consists in oacl1 .

tell

in w l1at t h o a r-

MODE L.

Paul's D efence nt 1\. the ns. The a rg nn1 nt is
inte ndcll to slow ih:tt tl1c Athen ians erc<:tc <l nl tars
to and wor&liipped the" U nk nown Goel >" instead
of the trnc one.
EXEfW ISE.

Example of A rgum en ta ti ve Style in lL Sel'm on.
" in an Essay.
"
"
"
"
" l l nook.
"
"

147

\ \T c sli o11 l1l li e wa ry, th erefo re, wha t persccuti(lng
we rai se aga inst th e laliors of pu lilic 1n e11 : how

w e sp ill tl1at seaso 11 cd life of n1an, p rcsc rvc1l and
stored up in books ; since we sec a kind of ho1nic ld c niay thus be comm itted; someti mes a lll:tr ty rd(J rn; and if it ex te nd t:o the whvlc impression,
a kind of massacre, wh ereof the exec utio n en d:::.
n0t in the slayi ng of an elemental life, lint strikes
at th at ethe real aml so ft essence, the lireal1 1 ot'
r easo n itsel f; slay s a n imin ortality rath e r than a
l i!'e.
Jon:s :M11;r():s .

"

u:ssoN v rr.
\'\rite nn E ss:1y in Argum e11talil'_e Style o n on e o r m or e
of tl1e followi ng t opics.
lllOD Ef. .

A Goon IlooK.- -A , good al1nost bll a man
n;; kill a Look ; wh o k ills a man, kil b a reason abl e

c re:iturc-G ocL imn gc ; lrnt lie \rh o destroys a
good book> k il ls r easo n it8clf : k ill ::; lh c image of
God , as it were> in the ey e. 1.fall.)' a rn a11 liv es a
bnrdcn to the enrtlt; bu t a good book is the precious life-blood of a maste r sp irit, crn1almcd an d
treasmcd np on purpose to a life licyond life . It
is trnc> no age can r estore a life, whe reof pcrh :ips
there is no g reat loss; an <l rcYul ntions of ages do
not of't rcco 1·er the loss ol' a r C'jccte u trntli , fo r
tl1c want (Jf wliicl 1 wli olc 11:1tions fa re tli c worse.

ll :ll"J work .
\\' ]1;1t cu n,; t itntcs stuJy 1
·wliie li io supe ri Dr, lll in J or mnttcr ?
D <>cs th oug h t beget tho ug li l 1
W l1ic h is tho nobler : lie w lio talks bc~t, or he w Lo Ji ves
Lest?
S ho ultl dress nn J fnsl1ion Lo w om an 's lii;;l1cst aim ?

LESS ON VIII.
Gi ve examples of Ne rv o us St.y lo.
M ODEL- l'l~OSE .

"Is the ulJ G rec ia n spi ri t frozc1! in yonr veins,
tl 1at y on do crouch a 11 d co wer like a belabored
ho und beneath l1is maste r's lasli? 0, comrades !
warri ors! Th raeian s ! if we 111 11st fight> let us
figlit fo r ou!'sdves I I f ire m ns t slau ghter, let ns
R1a u ~lit 0 1 · onr oppressors I I r we ·· ':r., let it

us

PRACTICAL CO)IPOS ITIO'.'<.

bo nnJcr tho c]e[l.r sky, by the bright waters, in
noble, lio11orable battle !"
il!ODEL- -l'Ofo:TJ{Y.

"\Vor],-fo r so111c ~ood, l)(.l it 01·01· so 1il1rn·l.r;
C licnsli some i10 11·cr, be it ever so lowly;
Lnhor ! all lauor is 11 ol1lc nnd h oly;
L e t tl1y great J ccdi:; uc thy 1•rnyc r to thy God."
EXEHCJSR.

E:rnmr •lc of X enou s Sty le in prose.

"

"

"

"

" poetry.

LESSON IX.
Point ou t tho variou s styles in th e following line~.
:MODEL .

"Tltc 111 nrd crcr's sec ret l1as bec ome 11is mast er ; it bct.rny s his di sc rcti0n ; it breaks down l1is
c ourage; it con q uers hi s prndenec."
ExPLANATION.-This is an example of Concise
Style.
" 0 , save me, Hubert, save mo! ltI_y eyes arc out,
Even wi th tlto fie rce looks of these bl oody m e n."
ExrLANATION.-Tliis i s an illu stration of Nervous Sty lo.
l'::rnr:CISF..

"Ilury her wi th h er sl iinin g hair
Around her strnamin .-• Liri .. J,t ·
13n ry her wi th those lo~ks s; ra1'.o
'
l:nrob ing h e r in li ,;lit.

I' 1: .\ CT;C.\ I.

1j

CO~IPO :> JTl•):N' .

()

As >'a i11 ts "'lio, in tlt c ir n:iti\'O ~k:· ,
Tl1 c•ir g;o ltle11 lt alo<'s \\'Ca r,
Ar1111nd li er for c l1 va,l , pll re nn i.l l1i.:;:i,
Enll"rclttl1 e tl1 e s l1i11ing l1air."

"\Yo to that fa:cd city! Th0 t <> r :·pnl. e11:11c·s 'ur;.; in;.;
It b oi l:; au OHl wall :111, I tu\\· c r, p11l aco
nnd f,111ntain, a nd J'o rnpcii i:l a c:ty of tu11 iJ,, _ 1\ gcs r .,Jl
on: si:cacc, tlark ncss am] d esoht iu:1 arc in tl1e l1a lb of
buried graudcllr. Tlin forum i,; vo:cek - ~, and tl1 c pu:n pou s
mansions arc t cnaut ctl by sk eletons.
Ot lt c r gc•no ra tions
li1·0 abO \'O tl10 Llu st of Jong Jo:;t glor:·, an<l tlic s\ulllbc r of
tli c drc3111Jcss <'it.y is forgotte n."
like the mad ocean.

"lfopo is tho leading string of you th;
staff of age."

?lf1·mory tl1 c

"Now if Christ bo p rea ch ed tli a t li e rose fr om tl1c rka<l,
how say so111c among you tlrnt th ere is no rcs11 rr ud i,J11 of
tl1c dcau 1
"Dut if there bo no r es urrecti on of the dead, focn is
Cl1rist not risen," &c.
"Stand! the gro und's your own, my bravcs W ill yo give it up to slaves?
Will yo look for g r('on cr g rans ?
IJopo yo mercy still?"

150

rnACTICAL

l .'i l

pJ: .\ <...' U C: AL CO ~ll'Osll:ION" .

COMI'OSITION.

necessary to co rn pl ct e llic g ram malical constru e-

OHAPTE U

X.

fl Gt:ru:s OF S l'El':C IT.

tiun .
J'L FO NA S ~[

COJ1 Si:; t s

i11

tJic 11 Se o f S\lJi t 'rfl11 0\lS

se n te nce. It i s tlic opp1),; it e o l" Ellip c:i ~ ­
lhru:rnATOX is tl1c tran spos ilion ,,r ,,·onL in n.

w o rd s in

a

Ecntcnce.
F rou1u:s OF SPEEC H arc <leviati ons from the ordinary f orm, con ~'li' uct ion o r applico.tion of " ·o nl s.
They arc of three kinds, viz : ,x-Fig nres of Etymology, Syntax an<l Rhetoric.
F rnu nEs of Speech t relate to
· tlic con strncti on of words.
R HETORICAL FIGURES rebtc to the application
of w ords in se ntences.
F ignrc!s arc 11 sc u t0 adorn, an<l frequently to
inten s ify wri t. ten or spoke n language. They arc
t o langnagc wli at flow ers arc i11 a landscape. The
Sacred Scrip t nres contain t!10 Lest and pmest
illustrations.
Grammati cal Figures, most in nsc, arc Ellipsis,
Pleonasm an d H ype rbaton.
lU1 ctori cal I\~ nres , m ost frequently met with,
arc Simile, l\fo taphor, P erso nification, Clim ax, Antithesis, H yperbole nn<l Allegory.
GnA;-.nrATICAL

,I
ELLrrsrs is the omi ssion of one or m ore w ords
,,. For Fig ures of Et;1nolo.t:r sec Grinnmn r.

I

1.-ELLIPSIS.

Let the pupil gi\'e examples of E1\ipsi9.
MODEL.

The bra 1·0 arc n ot n.l 1rays j nst.
EXEHCJ Sll .

LESSON

II. -

ELLIPSI:3 .

Supply tho omittctl wonh ill Llic foll ow in:; sc: ntrn ccs.
i\[O D EL.

ExA~a·i.1-;.-" I kn o w Ill}' Ilt!dcc mer li1· ctl1."
CoimEcrrox.- '' I know that lllJ' lled cemcr

live th. "
E X El1 CI >F..

Ou r mind s nre as Yari ons as o ur

co un tc n ~ui r.cs

- -

"My heart whi sper~ - - Go1l is ni ~li."
o ·llAJ\BLl.TICAL FIG U RES .

I

LESSON

t

F or other Figures sec Grummar and Hhctoric.

H - -

poss ible, c1J mO :rn<l

v i ~i t

111 0 l<H11r>rrow.

"Lives !1 1 ~ r e ;i l1.':1rt. - - -o r nld ~n ·l <lcml
That ne ve r to itself liatli Fnitl
Tl1is is nu own - my n;itiv0 land."

:'. ,,·

COA ll'O S ITIO~.

I'RACTl(;AL

"Alas ! tl10 ch:wgos -

-

-

tho heart. "

" - - yo ur ba rk bo not wrockoLl on.lifo"s sto rmy sea.:,
"'Tis wi se to mnso upon tho t omb,
- - wi ser to be prcparull fo r tloom ."

I
r

"Grecco - - th e l.iirtl1 plrioo of th o a rt:i an<l tl1c p:m1<li.,e of t:1e scie nc ~s !"
"Ati.1 flowers -

-

l'RACTfCAL

CO~l:POSITIO~.

l.'.13

Spring, tho U\Yakonor I thou hast burst tlJcir sleep!"

Truly, truly tho stars aro shinin g bri:;litly.
Tho orator,

110

will <loliver

LESSO:if

11

lecturo on olocntion.

V.-IlYPERilATON.

Th o pupil mny write six examples of Ilype rbaton .

the fairy p CO i>lc<l worlJ of fbwcrs !'

:MODEL.

J,ESSON III.- PufoNAs:.r.

"By thonght, by dangers, and by toils

Tl10 pupil may compose, or select. six o xn1np~es of
rl eounsm.

The wreath of just renown is worn ."

J\IODJ<:L.

EXEP. C!SE •

.Mind, mind alnnc is immortal.
EX F.R OIRE.

LESSON
LESSON I V . -Pu:o~ A s ~r.

VI.-lhl'ERJJATON .

Th o pnpil rnay tra nspose tl10 following sentences, so thnt
Hyp erl•nto11 wi )l be avoid ed.

Corre ct th e follo wi ng ill nstrat iou s of Pleo nasm.
M ODE L.

MODEL .

;Ex.--Will yon, will yon come to my Lower?
C@.-"Will you come to my uo~\·e r?

"Do;tn tiful is the blush of moming."
The uln sh of morning is bc:rnti fol.

EXETlOISE.

EXF.P. CJ RF. .

The moon , l1 crrnlf, is <Jnccn of th o ni ght.

"011 trirdy sloth's l uxuri ous \Jc<l
W l1i ]Rt oth t·r ; r est t lic nching head
·wc'll taste tlio cl 1nrnrn of morn ."

":Ko other sl1 ccp w ere near; t ho la1nb was nll al one."

"Y ot

li e p:1s;.;ed aw:iy, :rn<l, l o, ho wns not :"

"Tli o~e ev ening bells !- tl1oso c,·e11i11g bells!"

"In thi:; po rtrait, my fai r, th y r cscmlilanco I see."

" ;\ 11<1 tl10 brigh t 11·atc r~- tli cy, too, hear t hy call,

"Thro ugh lier chn mbors ronms th e motli er."

'

l
\...

154

rr. ACTICAL COMrOSlTION.

"Ah, fond mo ther, ccnsc your sca rcl1i ng,
Comes the IO\·ed and lost n o more."

r1ucT1cAJ,

~:

"Pure Benevolence is u flowe r of !Jc:m ty rar e."

nHETORIOAL FIGURES.
Snm.E is a compariso n of one tl1ing with anothe r, and is generally introlluccd hy like, as or so.
JUETAr11or' is an implied comparison.
Simile may be con\·ertcd into metaphor by the
om ission of the words like, as, or so; or mctapyor
converted into simile by their introd nctions.
I'ERSO Nil'!CATION is a form of expression, in
w l1i ch the attri!J11tcs, or (1nalitics of Jivinrr
Lcinrrs
0
0
a rc a;;cribci.l to inanimate ol1jccts.
Cr.nIAX is a Jignre l>y whi ch \\" ords, sente nces
an<l ideas ri se in regular gradation, as tli e r ound s
of a ladder.
It rna_y be considered 1mclcr two heads, viz;. :
climax of words and sentences, and climax of

I

l

co~1rosrnoN.

155

tcnces, or ideas follow each otl1 c r wiLh di1n1:11isl1crl
force or i mportance.
Climax and Anti-Climax arc tl10 op posite C>f
.c:1ch othc r,-tho former ascends ;-the latter de scends.
ANnTrrEsrs is an express ion denoting a eontr;1st,
or opposition of ideas.
lhrEnUOLE is the bngnago of exaggeration.
.Li.LLEGOlff is rnet:.iphor eont.inHc<l tiv as to form
a species of story or talc . }'al1les and P;irables
arc a species of allcg11 1·y i11 w!.ich S 1 )mc~ nwral 01·
tr nth is incnlcalcll.
LE~SOX

I.-Snur.E.

Tl10 rnp il lll:lY ('.0IlliJ1 c t0 Ll1c fvllvwjng- cxpn.:.:) ...: iqa ~ l ...: !)

:H

to f0rn1 Sirnilcs.
MODEL.

Kx.-" Ifo sl1alt he like a - - p1a11ted by tl1c
ri vcrs of waters."
CoR.--" He sh all he lik e a tree plantoll by tho
rivers of waters."

tlwugld.
of 11.!ords and sentences is a series of
members in a sentence, or a series of sen tences
each ri :;ing in impor tance above tho preced ing.
CLnrA..x of tliour;lit is a series of ideas each ri sinp; in fnrce snperior to tho preceding, or it is tho
i:;:.irne tl1ougl1t r itiing in sncccssiv o order to a lii ghc r
anJ Joi'Lier g rad e.
AKn·CLnL\X is a figure in which words, son -

EXEll\"18E.

CLntAX

"The ungodly arc nnt so ; J,ut arc like tho - - w11 icl 1
tl10 winu drive r.Ji nw11y ."
Youth is like the mornin;; - - aml c:.rly - -.
.AJvcrsity is like tl1c - - of winter, col,l ancl cl1iliin;; lo

t110 l1 eari..
1!or yoice i;; as Sll" ee. t as tl1c - - of a lyro.
Ilis hcnrt "·as as harJ ns - - .
I

I

.
J

---

'

! '

I'HACTICAL CO::IIPOSITION.

PRACTICAL COUI'OSITlO N .

T:·cacli ery is like a - - that pierces t he heart.
Tl1e morning dc1v spa rkled liko -

Tru th "W:1lkcd the ea rth n - - , rnlin:; nations and subduing kin gdoms, with her potent sceptre.
"Oh ! syrnpnthy ! t hou - - of bl i s~,
T l1 on go lden - -, wl1iclt lJin tls
In nnion ~ w cc t tho se vered Lem
Tho bright and ki nJreJ minus."

- .

"As _,__arc to burning - - and wood t o - - , so is u
con tent ions man to kindle strif<.0."
not

157

"As - - in summer a nd as - - in harvc•t, so hono1· is
~eemly for a foo l."

"Affoction like Sprin~ - - breab throngh frozen soil at
la,;t., nnc1 the l1enrt whi ch n'ks not11in~ bnt a nother l1cnrt to
m :1ko it h!lJ •py, will n ore r seek in ~· aiii."

Convert th o following Similes into Metaphors.
l\lODEL .

IJESSON II.- M1i:urnon.

Death like a Conqn eror rej oices over hi s spoils.
Den.th-the Conqueror rej oices over his spoils.

Complete the fo llo wing illustrations of 1.Ietaphor

E XEil CISE.

l\fODEL.

I

.,

E x.-" The - - of money is tl 1e - - of all
c ril. "
CoR. -" Tue love of money is tl 1e root of all
e\·il."

Sorrow like tho misty veil of night concoal8 th o brig-htost
obj ects.
Imag inat ion like a pow erful Q11 eeu r eigns ovo r u vast
d omain.
Ifo mind w as like n wild an J tangled field.

Rx1rnc1sr..

"The dove Lefore thee flies, us nu emblem of peace."

Children nre a - - of glory to old ago.
" ITopo is nn -

"Come poace of mind, like a delightful guest!"

- to tl:o so ul, sn r e and steadfosL."

LESSON IV.

:Memory is tho lead in; - - of youth .
!:'kep is the tired hbore r 's best - -.
Love is a - - of tenclcr g ro wth .

ConverL tl1e follo\ving :Metaphors into Simil es.
MODEL .

" The sli ng of death is - - , and th e st reng th o f sin is
t he - - . "

"The watery deep , an ohj ect strange an<l new,
Before me r ose."
The watery deep like an object strange and new
Before 111e rose.

"I nm llie - - of Shitron a nJ the - - of the Yallcys."
'Ilic heart of m:rn is au open - - whi ch the eye of Deity
o '.ten pcrnscs.

,,I

l

158

rnACTrCAL

co~n·osITION.

EXERCISE.

"Scipio, the gentle cl1ief."
"Uis fri end, n C11ssius, fearless bled."
Nat ure! great I'aront ! whoso unceasing h and supplies
our ev ery want.
Wine is a strong serpcnt,-hcwaro his coils!
TJ,o ditt cring stars of ni gl1t arc jewels that sparkle
hri g i1tc~t wh e n it is tlarkcst.

Jl11pc,-tl10 g11 iJ i11g star

t ESS ON

ur l1umanity cl1ocrs tho soul.

V.--nmso.NIFICATION.

E x plain tl 10 follo wing examples of I'ersonification and
toll what wonh are personified.
'
JlfODI::L.

Flowers teach ns many silent lessons of the
frail t.Y of m:.rn.
To fl owers is ascribed the fac 1i1ty of a hnrnan
bei ng ;-the power of teaching. Flowers is the
word personified, teacli is the word expressing the
qnality of a living object.
RXImOJSii.

The moonli ;;ht sl eeps npon tl10 wave.
T he cluu<ls sw ept over the lant!scapo ns it hy <lry anil
parcl:cd with the suminer heat.
Th e snft breathings of sp ring wnko tho ft cnnrs from tlieir
winter's ~Jee p.
N aturo has a thousand voices with wliich she utterd her

truths.

l[j ()

rRAGTICAL COMPOSITION".

War dclngell tho land ·with blooJ. bu t P ence throw her
siknt mantl e o\·c r it and nature smiled ngain.
·wit<l and weird wcro the talcR tho winJ.s whi sperell to me.
Tho waves 1faoced in the snnlight. of morning.

v·

The winds sang a rcqnicm over the ruin an ll dcsol~tt i•J n
they had wrought.
Tho sli:1uo \\·s of evening creep along tho mountain sides

t',

antl gradually <lisappear.
"Memory looks hack, with vain r <'grcts rLnd te ars,
While !i11gcring o'er the urn of wastetl ye ars."

'.(·LESSON VI.-cr.rnAx

OF \\'Orms .

Point out tho 1cord;; indicating Climax in tho fuil,.win;.;
illustrations.
MODEL.

"The war is inevitable; and let it come! I repeat it, Si1', let it come !"
.
The words indicating c1imax arc let it come.
EXERCISE.
r.

"Aml now nhidcth faitl1, hope, chnrity ; tliose three, lint,
the gre:it~ st of these is cliarity."
Ho \\'as wi se, gooc1 , an<l noble.
The wn.vcs of the ocean Je:ip nn<l. <l ash anJ lm~ ak upon
tho b en ch.
Tho wind sighs, trembles nnd monns nmon;; t h o
The icicle wurnic<l nn <l melted in the sun.

)>i11 es .

.. Climax of worda o.r.d sentences frequently includes climax of
thought.

t'
,'

IGO

PJlACT!CAT, CO)fl' OSITI ON.

r n ACT ICAJ, COMPOSITION .

" ·w11ko your harp's m usic! louile r, l1 igli c r ! "

MODEL .

Ilow sail, how weak, how ilosolate l "
0 Edon I fair Eden ! blest E<l on I

"0 my son A hs:1lnm l m y so n, my son Absalom , w ou ld
Gocl I Jiau tl ictl for tl 1ec I"

I,ESSOX VII.-CLDIAX

OF SEN T EN CES .

lGl

"Socrates died like a philosopher, hut Jesus
Ohri st like a God ."
EXE IW JS il .

Sclccteil "ExnmpJcg
O ri ginal Examples

. Explai n wl1 ich of ll10 foJlo,ring untences arc cxamplos of
Cli max.

LESSO:N JX.

MODEL.

"0 foll of all subtlety, and all m isclii cf! T h on
child of the Devil, tho u en emy of a ll riglitoonsness."

Exphi n the Climax of Thouglit in tlie annc xe<l iiJn gtratiuns.

"Thou chilcl of the Devil, t hou en emy of all
righteousness,'' is of mo re fo r ce th a n" O full of
all snutlcty, and all mischief."

"To weep for fea r is cl1ildisli; to weep for
aw•er is \\·oma ni slt; to ''"cop fo r g rief is liurnan;
to ~r ecp for compass io n is di ,·i11c ."
.
· E xrLAN ATIO ~ . --E a ch tl1 ongl 1t e x pressed lll tho
clau ses con tain ing cl1ildish , woma11i,;l 1, liu 111an,
d i,·inc, r ises in strength an d i1n portancc.

EXE IW ISE.

"Vcni, Vi <l i, Yi ci." "I came, I saw, I conqu ered."
"Ilo tlicth ."

J\lO DE L.

" Yea, ho g ircth up th o ghost."

"It is ncco mpli>l1otl." " Tl1e doc<l is J one. "

Ho can stan t.! t rial. Ho cnn sb n <l a ssault. H e can stand

ncl 1·or;ity .

" Fo rLi cl it lll Y country lll c n ! " "Forbid it Ilcnvcn ! "
"I nm going to my coJ.1 nn 'l silent grave. My lnmp o f

life is nearly cxtin g ui,.Jied. ~l y race is run . T ho grave
opcos to rece ive me, nnJ I sink in to its Losom."

LESSON VIII.--cr.nr.n

OF Trroc:onT.

Tho pup il may compose or select 5ix examples of Climaz

of T!to uglit.

EXERC I S!l.

"TI. c~c

nrc tc·:tr~ fd r hi; Jo,·e; joy f.,r l1 i,; for tune ; h onor

fo r ] 1 j ~ valor; a nJ tkatli fu r lib nm \Ji t ioil ."
"Jt is goot1 to l1al' O tl 1'-'m ; gou'1 t o e nr· o11rn go tl1 on1;
good to li on0r tho1n ; go1ld tu co1111 11 e m oratc t!1v1ll."

" ·wh:it a piece of \l" o r k iH ma n ! H u w nv l,J.., in l"l'"-'''" !
How infini te in fo c 11l t ie~ ! In fur1 11 and mo Ying. liow CXJ>re-<sivo nncl atlm iraLle l In net.io n h o w l ike :in nng d ! Jn apprcl1onsi1111 l1ow like u Go el ! "
"Let 118 ma rch :ig:i inst Phil ip- let ns fi g lit f.,r our liber_

t ics - let ns conquer-or die ."
::··

.

1G2

rRACTICAL CO~ !PO S ITJO:N".

"We cnnnot h onor onr cou n t ry wi t.Ii too d eep n ro1·erencc ; " ·e cnn not love h e r with 1111 affection too pure nnd
fon:eut ; w o can not se n e lier 11· it h n11 energy of purpose or
a fa1thful11os.o; of zc;il too Etcaufast anll eurnegt_"

LESS ON :X.-A~Tr-CLDIAX.
In wl1at d ocs Anti-Climnx consist in th o anricxoll sent ences ?
:MODE L.

"In spiring rites! ·wliic!t stirnnl::tto fear; rouse
hope ; qnicke 11 dnlness, increase discernment
exorcise m emory; and infl.nenco curios ity."
Each sn cccoding c1ansc is less forcible than the
preceding.
EXF.f:CISli: .

"Dark years of t o il, an<l w o" r y wntclting, and u11tiring
zeal ll: ost pass aw a y."

" Tl1c farthest 1Tc0 t sl1all h ear it and 1·rjoico ; tl10 R ocky
:Moun ta ins ,Ji:ill fling Lack tlio g l:id sound from tl> eir snowy
crests; the Orego n sha ll s1n·ll it wi th tho voi ce of its
w nte r ~ . "

r1u c:n c ,\ r.

co ~rro srn o x .

1G 3

"\V cal th crotten bv Yanity sliall he di;ninishe1l :
b
.,
.
"
lint he tliat gatl1c r ct h by labo nr sh all 11H:rease.
ExrLAN ATION.-Thc first selection inilieaf0s r.on
trast of ideas, as zeal is contrasted \ri tli m oJcsty ;
and inn oce nce wi th fre edom.
The ~econd denotes opposi tion of id eas; :is
\\·caltli accpiircLl by vanity dimini shes, " :lii lc tl1:1t
obta ined by the opposite r1uality- l:thor, increases.
Tlic word s dcn0ting oppositi on vani t.y-Lllio r;
dim in ishcd-i ncreasc d.
RXEJ:(' J$E.

"Cliildrca' ,; cb ihl r,· u aro the cro wn of ol J mon ; nrnl tlio
glory of child1:cn uro th eir fathers ..,
"Ho tl 1nt lir1th kn o wled ge sparcth liis w orJ., : and n u:an
of uml c rstund iug is of an oxcollc n t spi ri t."
" I.earning mak es tho rnin<.h of mon, g l'ntk, i.;encrous

uml amial,k, wh e reas i 0 uor::meo makes th e m clrnrli,Ji ,
thwarting an<.1 m or ose ."
"Th o v:1n ity of t im e nml its honors, tl ic im po l"tanco of

Cltornirv and il,; glo ricg l"

"Ho fuugl 1t fo r l1i s country, hi s friend s, liis fireside ."

LESS ON

"~ic,l ior,?·i ty

can t nlk, b11 t i t i• fur gcn i11s to oliscni'."

" .K igliLLri 11 gs us c1011 u•, but 111orning u , ]1c r:; in the ligl 1t.."
XL-ANTITHESIS.

F o r cxn mples of An tithesis the pupil will find tl10 book
of I'rovcrli s r e pl et e.
Tl'l l ''"h oi hl' r t lio folJowing sclectio118 d cu oto contrast or
'

oppositiv11 1Jf illens.

:MOlllcL.

" Zealous, thonglt mod est ; inn ocent, though
free."

LESSO;{ XIL- 11 Yl'Et:r.nu :.
Correct tho f1 11l ow i11 g c xnmpk~ of Jlyp orLvlo , s11\J, til11ting more nppropri:il o wo nl s.
MODEL .

Ex. The waves 1no11ntcd np to he av en.
Co ii. The w:ivc~ r ose very l1i gh .

164

I'1'Acncu, COMPOSIT!OY.
l'I:ACT!CAL
EXEitCJSE.

War ucl11ged tho country witlt tli 1 l
. .. •
Jt rainc<l pitrhforh It .
l . e ) ood of its v1ct11n.s.
Tl
' ···
snowc, awfolh·
;o roar ut' tile li on sliu >k ti
··
tii l' ir farth es t roofs.
,. '
io tree,; of tho forest to

lfe rnlcJ l1is sul, 1'eet., wi t/1 " 1•0 1 f.
JI .
·.
" : 0 1rnn.
o 11 " f't lc:ir.., ot lilnu:l Ovv r I 11 ' l
J
1:>110 W:ts 11s bca nt·i· 1 . . .
'-' '· ~su :1!c cities.
•

•

I I.I

,b llll :111~cJ.

, 1111 d ,[ tho storm tlivy .;;ang:,
An1l llio s.'ars l1 car.1 and t110 sea."
"

\

.

0

"The golden lil:izc of tlie suu is

J.1aze."

"n·is i·o .•co

11·11s

qucn clicd in the lurid

like th e catn r:ict.,,

"I ne\'r wlll a-k ye quarter,

. ,,An~ I 11:'c r 11·iJl be yonr slave;
1.>.1t I IJ smin th e sea o f s1:J11,,htc1·

J,ESSON

•

16£:>

her bonglis nnto the sea, nnJ li er l;ran cl 1es u nto
tlie river. \Yhy hast thon tlien lwokcn d0wn her
h cdgcF, so that all the_y wl1ich pnss 1.i'y tltc w:1y <lo
ph1ck her? ,
"The boar ont of tho wood doth wa!citO it, :ttlll
tlic wil<l beast of tho field doth devonr i1." Si)t lt
Psnlm.
ExPLAN'ATroN.-Tlic Cl1i1clrcn of I sra d arc li k cncJ to a vill e bronght out of Eg.rpt. Tl10
heathen arc ~ast out, an(l God's pcn]'1c csta1Jlishcd .
They ilonri sh nml illcrcasc in stren gth, 1111til adversity comes u pon them, which j,.; syml>olizctl by
a l1 cclgc. Their enemies arc typifi ed by wilJ
bcrrsts of tl1c wood.

1 I ·
TT
" ,, '
l
swk Lcnentl1 its wwc

EXEI!CISE.

"More r:ipitl than en k·• 11·,
_' ·
"I" .
f
i; .. , 1 ~ conr~crs tlirv ramo ,,

•llCrso watc 1·rn11d o wnrnycyo~."

cO~IPOSlTlON.

.

X1U.-ALLW.:>JW.

.Ex11l:i in tl1c full ow in"'
.
o A II rgo ncs.
lllODEL.

"Tl ion Jiast bron ,.,.h t ., .
O
"'
,. v111e ont of Ecr
ion l1ast cast on t tI10 J1c"tl
. I
o.YPt;
·
1'J1ou prcprrrcdst room 1- r· " . 1011
. anc Jih
. , n tccl it.
"t
ic Oio it, and didst
1 to take deep root and it fIJ cl J
canse
ii cl tie land. The
J1ills were CO\"crcd "'.itl1 tl
JC S la( O\\' of "t
J
b o11ghs were lil·c tl1
.
,
' , . c gnocll J' c.edaJ"s
SJ i 'anc the
·
ie sent out

Dnny::in's Pilgri;:u'o Progress.

The Song of Solomon.

LESSON

XIV.-ALLEOORY.

Write nn Allegory in wbich some of tho sul0o inc<l topics
nrc introd.Ltceu .
I>!tll>EL.

'fnrn-l'AsT, Pw·:sExT, A~D l \ ;Tuiu·:. - " I am
tlie Spirit or the Past, all<l ns I stam1 upon tl1c
gmvc of bnrie<l millions, sigh to Lchol<l the min
Time l1ns wrought. I weep over hopes blasted,
lives desolated, cities and nations lrnric<l all<l lost.
Around me I \';-ould fain draw the mantle of obliv ion, and weep in sackcloth and ashes."

It',,

166

rIUCTI CAL CO)Il'OSITI 0 :-1'.

PRACTICAL CO llPOSITION.

107

,.

'-

For th came tho Pre cnt, ch<l in r oucs of
ri chness aml beauty, a11<l to nc:hin g the st rin g:> of
n gnldcn lyre, san 0 -t h ns : " 0 , Spi ri t of the Past,
I i H\·oko tl1y presence and lJoncdicti o n. Through
th ee .ll o narclis rci~ncd allll empi res il o uri tili ccl .
Ar t 1ri1111qil1cd, a11 <l Science l:ti<l lier o ffe rin gs at
tl1 y feet. J\fit s ic :rn<l Poetry ga rlan<lc<l tliy !no w.
IIen ce f,1 rllt tlio u shalt be imm o r tal. "
Then l1:111J i n hand tho Past a11J Present
walked tlic ea rth, clotl1cd with n nf~l(]ing- b eauty,
as the Fut.ure kn elt in sile nce at the ir fee t.
Ti 111e-tlio I mm or tal, wav ed h e r ma gic wand
an d spake thus : "0, Spi rit of the Past , " ·ccp no
more, for tl1y lamels shall n c Yc r fad e l A11J all
hail, Spirit of the Prese n t l Fnllil tliy n1 ission
"· ell, th:it tl1011, too, rnaycst "in unfad ing chaplets, and welcome w ith joy an 4 pc:ice the com in g
F utnrc-cbd, as she c r c r npprars to tl1 e h ea rt o f
man, in rainb ow hu es, and g:ul:rn<led with flo we rs.
Tho n nrt one and all immortal, fo r tli o u n rt each,
in thy turn, Past, Presen t, nnd Future. "

EX IU:O ISK.

Run, llroo n, Rt:11·s, Curnct.
F ;,itli, lfnpc, Ilc ncYolcncc.
V ir t11c, \ "ice, ~forcy .
Finow, Jbi11, ll a il , Sleet.
Trutli , Ficti1111.
In iagination, Ch ilt1lioo1l, Youth, Age.

LESSO::N X.V.-FAmJ,;.
Wli nt chnrnctcrn are r 0p rcscntct1 , au<l w hat i; tl 1e moral
in cad• examplo 1
J\ CODEL.

"A li ttle par ticle of rain,
That from a. p :issin g cloud dcsccnJ cd,
·was h eard thus idly to con:pbinMy brief exi ste nce n ow is e11dcLl 1.
O u tcast al ike of earth and sky,
Useless to live , nnkno\rn to diet

" It ch a ncc<l to fall into the sea.,
AnJ there an ope n sl1 cl1 r eceived it;
An d after years how ri ch was he
.
·wh o from its prison-h onsc rcli c Yed 1t I
The tlrop of r ain l1ad fo rmed a. gem
T•) Jeck a mona r c l 1,s Ll'ia <l Olli . "
ExPLA:-<An o::-. .-- A rni n-dro p is rep resented as
compLtining u cca11 sc it li:is fal_lon from tl1~ :ky.
The m o ral is tli:it vood, som e t1mcC\, rcsttlb !1u111
a ppar ent ev il.

F alile of tl1c ft)X and Gra p e~ .
"
"
r rog and 13<>y~ .
"
"
C l>arlt nntl the Fly .

.JEsop' s Fa1le".

:I

It.

:

~

' f
i ~-

'

;

168

PRACTICAI, COJ>fPOSITION.

PRACTICAL COMPOSITION.

169

EXERCISE.

LESSON

XVI. -

1·ARABLF..

G ivo wmo oxnmplcs of P11rn\J l c~, nn<l ~ h o w what trulli

is i11 lcrnlcJ to \Jc

Tho Vin eyard and untliunkful Husbandman.
Tho Fig Troe.
Tlio "for es of the Field.

in cLilrut~ 1l.

M O l>EL.

"BelwlJ a so we1· went forth to so w: anJ when
he sowed, some seeds foll by the way sid e , and the
fo wls came and dcvo med th e m up :
"Some foll npon strrny places, where tliey lrnd
not much earth; an<l fort hwi th th ey sprnng np,
b.e canse they had no d eepness nf earth : ·
'' An<l whe n the s irn was up, th ey were
scorched; and b ecause they ki.ll llO r oo t they
w ithere(l away :

"An<l some foll amo n;; th orn s ; and the tho1:ns
sprang np, and choked tliom:
" B11t othe r fe ll in to good g round, and Lro nght
forth fruit, some a lmndred fvld, some s ixty fvld,
some tl 1irty fold ."
E x1· r. Ax ATIOx.-Tliis I'aral1lc is int end ed to
illustrate t l1e receptiv n of th e Go;; pcl a 1Hl its res ul ts. The seed is tlic \ \T or<l o f God. Tli e stony
places r ep rese nt the 11:inl e necl heart ot' 111an. By
tl1e thorns i::; meant vi ce and ev il p:1ss i1)11 , \l"l1ich
ch oke tli c trntl1. The good ground i:> the heart
that is "·illing to rece ive tlie \\Tord a nd profit by
i t., and Lring fo rtl1 fr11it.

•.
I
I

I

'!

I'

'

i

1:
170

ruACTJCAL COMI'OSITION.

en APT EH,

XI.

CIU TI CIS~ r.

C1ffrrcr ~ >r is

of two kind s, Yi z : Trn e nml }'alsc.
Trw .E CwTICJ :''r is the f'urm:1t.ie>n and e xpressio!l
of cn rreet j udgments on tl10 pro<luetions of' Art
aml Literatu re. It is fou nd ed 11 pon the goo<l taste
of culti vated minils. It dis cerns beauti es ns well
ns blemi shes in Art; it draws co ncln s io ns Loth
f:ff o raLlc and nnf:tvornble; it n ot ic es t11c sty le in
w hich a hook is ' nit tcn , an<l com ments up o n its
rneri ts and defects. If, for example, it is an cd ncatio11al wo rk, it judges of its fitne ss fo r its pmpose; if a romancer of its plot, tl1e cl1:ir:1 cters de_
vdopcd, nn<l their na t uralness. Its 11 igl1cs t conceptions arc de ,·oted to mind and its prod uct ion s ;
it describes tl1cir <JU:tlitics, dcf'cct;;, peculiarities,
and Le:wties. It is jnst, yet 11 ot se vere ; searching, yet not cynical.
FALSE Cr(n1c rs>r is of tw o killlb; o n e di scovem
and commen ls upon good qualiti es alone, th e o th er
1inds only i mpe r fec t.ion s. Th e first l1as it:; o rigin
i n a dc" irc to please, tlw sc>co nJ in a desire to censure. The liigl1 cst and p urest co ne e pti o ns of mind,
wh ether p rod nc cll by t li e chise l, the pencil, or the
pen, nre said to lie" a\10\·e c riti e !s: 1i." Such arc

PRACTICAL CO)!POS !TlON.

171

tlie prodncti ons of M ichael Angelo, Hapliacl, Bectlio \· e n, tl1e G r eek p oets, &c.
Uriticisin \ri ll ine rcase tl1u pu11 il's fo nJ of kno\\"ledge hy lending
to closer ulisc l'\'fttion , it will iin proro tli o t.u;tu
by the study of p er!'cct m odels, aml ca use l1im to
r caso u close a nd draw conclusio ns ac curately.

I

I

;!
"'.
l ;·

LESSON I.
T,ct the pnpil criti cise somo work of art.
:MODEL.

" Gus tave Dor6',; painting of th e Spani ~ h Dcggars is q11ite a large w ork, and , like e vc rytl1ing
tli:<t .emanates from the arti s t's peuci I, is strong
nnd effective in executi o n, app ealin g witlt a pec uliar int e rest to the imagination. Jt r e min ds one
of tite ":Mo11n tcban ks," by the sa me ar t ist, nml,
imlec~l, the characters here r eprese n ted arc more
of 1liat order than of pi ncli cJ and s nffcring mendicants.
,.,r011\) co1 1i11riscs an :l'"e1.l
l't: n inlc beggar
" 'l'he
.
0
"
.... . .......
a nd two childre n, all arra yecl in :t v ery l•ietnrcsrlue
style o f 'loop ed :mu winJow ccl r:1 g!-((:d 11 e:ss .' Tlie
c e ntral figure, e nv eloped in a \'ul1u11i11ou s olll
cl oak, and beari 11g co nsl'i e 11ously her lic:td~ and
crncifix, her Jon ~ crn t:ch es loolll in,:.; np nH:r the
chair in which sh e si ts, fo rrns a perfo <.:t p id 11rc of
matri:u chal di3nity iu the r ol e of pi ou s imligence.
Tli c ch!lJren st and by h e r knees on eitlicr s iJ c,

'I

. !~

l

'-

l "'>

PRACnc.u, COllIPOSI'rJON.

rn.\CTICAL

•

one p ensively toyin g with l1i il tatters, and tlH
ot lier leaning in mock tragcd.r on the grarn1nme'~
kn ee, and look in g out fro m tli c heap <i f rngs,
with snnny cnrl s, a r osy "·ell-fed fac e, anLl :i.n eye
in whoso so ft, warm de pth 111 rks a rich fund of
r oguery an d lmmbn g, that at once Ji sarms tho
spec tat or, in spi te of hin1 self, o f his frowns, and
co mpels liim to contri bllte to tho already p1cthoric
treasury of tho old impos tor ."
E XEP.CISE .

I.ESS O:N lI.
lfrito n Criti cism up on some Dook.
~ lO DEL.

Tho Cross and tl1 c C rown; or, Faith " ·orking
b y Lov e, as cxcrnpl iticd in tl10 life of }'idolia
Fi :ok c.
Thi s is an i11!.cre.·t i n ~ nml impressive
r econl of tho life an<1 lal>un; of a d e vot ed 1niss iunary to P ersia, w ell J.:n0\n1 to the Chris t ian commn11i ty. J\ li ss Fi sl;e \\':ls one of tlic remarkable
\1· o incn of her day, an d tho 11 istory of li e r li/'c, togc th e 1: wi th he r w ri ti ngs, so ad111iral1ly grouped
togethe r in this \1·ork, r;J 1ou1Ll l>e rcaLl by all tho
\1·nn1en of tho country as ll'ell as tli e ~·rie 11 d s or
rn i ~s i o n s c ,·e ry II' h er e. - J\'{tt / 0 11 a( 7;.i/lj) . .11.d cneate.

C O~ll' O SIT I ON .

173

EX E P. C IR!i .

C riti cis:11 of
·"

T!cli;;io us ·wor k.
H
F i(' t i t. i u u ~ "
of an E J uc,1 t ionnl ''
:i

LESSON III.
Write a Criticism upon t11c ll efo cts seen in ~omc l'ai 11 ti •";;.
MODEL.

Tintorct, an Italian painter, i11 a p i ct lll'C of th o
Childre n of hracl gatherin g 111:rnna, l1as taL en tl1 c
precau tion to arm th em \\'ith tho 111•Hlcrn in \·\•n tiun
of gun s. A Dn tch pai11tc r, i11 a pi cture c> l' tl1c
\Vise :Me n w or:;hiping tho Holy C iiild, has dr:t11·n
one or th e m i11 a largo \rhite surplice, an d i 11 J, i,ots
anLl spnrs, and ]10 is in tl1 e a ct of p r ese n t ing iu il 10
c:l1ild a model or a Dntcl1 111:m-of-war. Du rt: r l1:1s
pa inted. the ]~xpn1 s ion oC Au;rn'. and E1·e f.'rn11: t !t e
Gard e11 o f Ed en, by an a11gc1 111 a <l rc ~s Ja~l11u 11 a­
lJly tri11nn ell \ri tlt f\ 01111 ces.-Al1line l'rcss,

,-

,:
EX El! f' IRE .

LESSON IV.
Write a C riticism upon tli c ~ ty lc of some A utLo r.
MODEL .

}\fr. Aubott wields a facile and often gr:1cef'nl
p en, but his style is usually monotonou s a 1Hl ex-

171

l 'J: ,\ CTJc;,1 L COMl'O.~ J'l'lV .'f.

t ren 1cly di ff1 1se. Occasionall j' in f'1>llo\\'i1w him
°' ~<JllO
w e g ut g"i ·11 1q1,:;cs or" p I casnnt 1·isla ,; and I•ielure
li tt le 0:1 FC'3 . !Ji :; dc~e rip l i o n or tl1 e Trn11 , fi <"ill':tti n11
scene 0 11 ]I.-111111· Tabur strik es us as 1·cry J'~licil<in s,
an d tl1c 1'0 1·c,!..; 1·nu111l c•f 1110 pi c ture of the~ F1.•ctli:w
o!'. l11 e Fi1·c T IJ11ll .'-:t11il, !l1011,,·li 111arrcJ with S•llli:
lil v11 1islic'."', is stil l p rN t,r.
"
Jn ge11c ral, lio 1re1·e r, Mr. ALb ott <•i1· es fe w
c: r idc nccs of a fe rtile i111agiuat.ion, or mn~lt arci stic
~r J ra111:1tic power, and we turn away disar"l'pninted
from the tl1ril ling sce nes of Gctl1 scmanc and Calvary, .reg 1·e tl i.ng tl 1a t h e lias pro 1·ed 11 ncq ual to 1li c
occas1n11. ): ct, desp ite th ese Jrnwhacks, he has
produced :i 111on ri;; 1·:1ph of considerabk 1·alne
\\' /1icl1 111:1)' l ie p 1., if i1a!JI.)' pe r11 sccl l1j' 1·;ui ous
el:t ,;~ es of' read ers. Tli e lmvk is :i l1ar:J ,;u me vol11.111 c, 1r ell p rint ed nm! ill11 stratcd wi th 11u1ncro 116
v1 g n<: ttes, n1:i ps, a11 ll foll-p:igc sketc hes of Biblical
scenes ;~11d e\·e nts.-l1'01md TaUle.

l'JL~CTlt; ,\L

C O~ll'OSlTT0:-1.

IXTIWDUCTION TO ClL\PTE11. XII.

Pc1 ·1ts shoulU. 1 o insLrnctell in Ll1" ltl odo of writi ng all
kinds of arti cles fonn<l in N Oll'sp:1p c rs.
publ!sh etl, sl 1oulcl 1c consu lt ctl fur modd s.

Tli o Lest pa pe rs

All tho v:l ri ons

form s of At1vcrtiscmcnts nnJ Noti ces will l'nrni8h ox :lropl c ~ .
Ti1cso n rticle s, wl1cn corrected, may be culkctc<l 11u1l pn t in
tl1 e funn of
\'i sio n.

!l.

r.1prr or 1fo nLl1ly, nml e r the Teach er's S!!p1' r-

Wl1 c n scl1 obrs lia\'C l1all suffi cie nt pra cti ce to 11 0

a1le to arran ge th e mnte ri :ils, a co r ps of cdi to r;i, Ec lcctc1l
from among themselves i11ay co1npilo tl 1em in prope r fv:·m .
T l1is will uovcl op a tu>to for Composition, tax their auilitic3,
antl excite n dc;;ree of research that will n<ld greatly to their
pro;:; l'css nnd mental cultivation.

It will also convince th em

J1 o w littl e is actually k no wn of th e manner in wl 1ich matters
co'lncctctl \\'ith every-day life arc compiled and nrrangou, as
Sty lo of ;\fay no l~ c i<l.

"

Ifarriot Il c ochcr Stowe.
'\Yrn. 0 . Dr.rant.

WC'Jl as compos etl, in pro;ier manner for pn1!icution.
There is scarncly nn im1iviuunl wl10 is not cnllcJ upon .
some time to w r ite a N oticc for th e Newspaper.

Tho n2'e

r equires that tl1ere sh oulJ be t1evolopmcot and in struction
in tlioso nn<l kintl re1l tvpics, therefore a few models nro
given to introuuco Teacher• and Pupils to this branch of
service, leaving it to puul ishcd pcrio<lic;,l,i to fornish forth or
information, anu to n.ctual wo rk in tlie school-room, us the
best n11d most 8t1ccessful m ode of obti~i21iog the desire<l r e-

176

PRACTICAL co~ r rosmo:-..

J'JtACTJCAL COMI'OSJT!ON.

s11lls, mental vigor an<l cnlturo. B os itlcs tlii,; a love fo t l
·
.
'
r 10
w orJ - a <l
, , , n nn rnter cst iu it, will lie o xc itcJ tl1 11t ·11
the t a ~k
. .
·
w1 convert
•
of compoa 1ng into II plcn~ure, nnd ina c tion will bo
snpcrscdcJ
ent.hn.~ia~m.

uy

177

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C II A P T E H, X I I .
NEWSPAl' El:::l.

,.
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.:··

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LESSON I.-Kmns.
Ki-:w s PAl'EI~S arc of

two kinds, viz.: J.'di:;iu11s

nn d S'fiitlai·.
A l~ELT G ioi; s :N EW SPA PJ<:R is one dcYot crl to
sacred pnrposcs, an<l rc:l:ttcs chiefly to sp iritnal
affa irs.
A S 1·:cuL AJt Nicw s i'Al'Ut is 011c dcY cllt·111 11 tcn1p oral or w orldly matt ers.

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_ 8 :.c 11111t ll'l•ws1wpcrs 111ay be di\·idcd into
"!.·£t11cat-£011 rd, J>olit£cal and Sensational.

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A N Eu vcxnoNAL NEwsPAPER is one that i1as
for its object th e development of tiic physica l, in tellectu al anJ moral t';tcnlties.
A r o LITICi\L N EWSPAl' l( J( is one deYotcd , chicily,
to public affairs, the admini stration of gon; rnmcnt,
&c.
A SENSATIONAL N1.;wsrAPE1t is one in wliich the
articl es appeal to, or exc:tc emoti ons.
Newspapers arc al so divided in to .D({i1ics,
Scrni-.Daities,
TVceklics, .._'-,'em'i - H"eektlcs anJ

lll ontlilies.
" Educational Papers may include Lit era ry, Sl'icutilh-, A;;ricultural, &c, , &c.

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l' ll .\ CTl C.I L COM P OS IT!O :-<.

rHA CT! CAL COUP OSIT!ON .

of the place or conntry from 'vl1i~h t11e.y .":r~tc,
it s 11 at ural r e son recs, cl imate , bns1ncss fac111t1es,
i;o vernmcnt, wi th its in ternal n.nd foreign policy,
customs, fashi ons, war 11C\\">i, &c.
The }l[ alcrictls composing a N c w ~p apcr rno
J,eadcrs or Editorials, S ummary of N cws, H ome
am1 Foreig n Oorrc~po ndencc, Sketchc3, Talcs,
l ' ocirn:, Jl,Ii sccllaneons and Local Items, ~tm t; rcs·
sio nal News , Proceed ings of S tate L c;1,;bt11 rf's ,
J3ook Notice's, Market Rates, Stock Lists, Si 1i p, 1.
l
pin~, Art Criticisms, Telc~rnm ;:; , l 'as 11•;11s an(•
.Ad1· crti :sc u1 ents, Synopsis ot L ectures, ~crrnorni,

A D.ULY
is puLl is11c d e very mornino--Snn
.
0
<1ays ~0 rn ct 1m cs excepted.
. Sic~rr-D,\Il,IES arc pnlJlisliccl m 0 rni n~ and cvc 11lll g".

arc pnlJli:>li cLl once in seve n days.
t \\" ice :1. wcci~.
J\Io_-.n·11 Lms arc issuc Ll once c \· c1·\· m onth .
J\Lc..\ ZIXE' arc pnlilishcd m o ntl~ly, and contai n
a hrgf' r nnmbcr of tr:..l cs nllll fi ctit ious stori es
poems, f:lshions, hon schol<l r ece ipts, &c., &c., thai:
is f01mc1 in N ewspapcrs.
"\\TEEKLTES

S:·:~rr-\Vi·:J.:J\ Lms arc p u ul isli ctl

L1~SSOX

II . -J~nrroi~ s ,

Ncm;pnpcrs arc co ncln ctctl a1 lll prC'p:lrCll

11 \"

Som~­

ti 111 cs the Editor and Proprietor arc th e same pcrsometimes diffe r ent pcr!"nns. Tl 10sc \\·ho ow n
the paper arc cnlkd Prop rie tors; th ose f"nrni sliin,.,.
nn tl arranging- written rnat· ·rial - Editors. JJ~ 1 r...,.~
city p:1pc rs l1:l\" c ~cnc rally a n11111 1Jcr of writ:~~-s
c1 1q)loyc(l tn f11rni sh articl e!', an t! :trc c:tll ·Ll an
Edito rial St:rff. Hcpo rtcrs an d Corres ponde nts
arc al so employed .
R1<:ron-rr: 1:s nrc p c r~o n \\"ho vi sit L cctnrc and
Onucc rL J1ooms, Cl 1nrchc!", Co nrt ~ , an d all pla ePs
of Am11 sc mc:nt, &c., and :f'11rnish an acconnt of tli c
i:;1111,

procPL'1li 11~s .
( ;,11n~ 1 :.-; 1· 0Nn 1·: /\TS

&c.
A Llvcrl ise mcnts arc cl assifi ed nccnrdin;:;- tr1
11 1cir nature anll emb race In strnctil)il, Amu< (•m cnt, Trav elin g, Lc~al No ti ces, llvnscs J~n·. Sale
n.n<l to Let., AdY crliticd L etters, \ Van ts , :iLt.1Ti<lf;l's ,

J\I.\ T1·:1n ,\ 1.s, <\:c.

pcr~ons cal led J:;f/lor.~ nnll J>ro1n ·ictor.~ .

am indi \·i,Jnals cn mmi:siu 11 cil

:. ) f"1 1rn i,,h, in th e f"vr111 of" Letters, dl'sc ripti ons

17 0

I

Deaths, &c ., &c.

LESSON III.-LEAmms.
A L ende r is the ch ief article in t11 e editori al
column . I t iti wri tten by th e pc rm:rncnt Etli;n r
or Edito r p ro. tem., bnt sorn ct i111 cs hy <>tl_1c1· ~ n r!i­
vit1u:d s,--tlic articl e st ill npp 0 arin~ as it \H1ttcn
1w the E di tor-i n-Chief. It is fo nnclcll on some
1 ~alling topic of th e d:ty in poli t.it:~ , litc_ra\nrc,
dipl oltlacy, m orals , Nali\i nal or State r1ncst1on s.

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PltACTICAL CO)IPOSITIOX.

11!0DEL.

·rrrn

I' ACIFIC

J~AILlWA

n.

"-When. the Pacific Railroad is completed to
a new
" ·ill be inangnrntod.
Inc road will then be the grand artery of the
conntry. . All other lines of railway will become
to a ccrtam extent, its feede rs. Along its cntir~
route over the great plains lateral branclics will
be .constru.cted to tap it, which will pour into it
their way side contributions to an extent that cann~t to-Jay be approximately estimated. The road
in ll not s~1pcrscdc the California ships in carryi1w
bi:lky freight to N cw York, but tltc '\vay' traffi~
will und onlJ tcdly lJc som c tliing marv elous. Already,
l , _ ·"·i .th less .than onc-tlt irtl of its· lc-no·tl
,., - 1 comp etc, J t JS e:um ng fonr tinics its opcratin<>' expenses, as oflie ially stated. Snch success is wi~l 10;1t
prccede1'.t. -when it reach es the nlrcn<ly populous
~~~~ regions of_J\fon tann, Idaho, and N cvada, the
f1c1oht to and fro m those points alone is likely to
be somctliin<r
o us . A n d popn
_
l at10n
.
"' :ilmost fobul
•
f o 11 ows the r oad as it extends · A t own or v1·11 a<>'e
rnarks each starre
'"'
.""' of its prorrrcss
o
· ·nr1
n 10 can cai cnbtc
the
quanttty
of
·wa}'
frci,,ht
tli"t
tl
d
.
••
1c roa JS
d "
o
cs. med. to carry for those g rowi ng commnniti cs
-\\'h o, rndcccl , can est imate the passenger traffic
al?nc ~ !Vli en h nndrcds of tl1on sancls of persons
with th eir f~~ccs toward tltc west, have trampccl
over the plams at the risk of the ir scnlps, how
~;;n Franc1 s~o,

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l'I:.\CTICAL COMI'OSITI ON.

181

many, pcradvcnt nrc, will ridcwl1 cn they cnn m:ike
the j ourney wi th safety in :i. few days 1 Then
comes the natural inquiq whctlter a single track,
wi th i ~s infrequent sid ings and turnouts, will l> c
able to accommodate more than the mere passenger trafi1c of tlie road , or whether travelers to the
I'acific "·ill be content t o abide a time-schedule
adapted to slow-movi11g frei ght-t rains as well as
passenger express cars. Certainly but a short
tin1e will elapse befvrc the donrnmls of trad e will
call for a second track , t o be use<l cxc1 nsiY cly ns a
frciir\1 t road over which an cntllcss 1'11\o of i;lowly;::'I
moving
vans' sl1all conti11u ously pass, ka vi ng the
other track for the nsc of impatient passengers

only."-!Iarpcr's Weekly.
WOJ~K FOli WO:Mt:N.

There is no topic, exciting a greater interes t in
th e pnblic 111i1H1, at prese nt, tkrn "'Work fo r
·women." It is almost n11iversa1ly acknowledged
that the sphere of her labor mnst l.>o enlarged.
Thi s ari ses, n ot so much from tho ngitation by a
cbss, .called "\Vornan's Rights" as from positive
n ecessity. A large mimhcr of unm arried worn cn ,
n ot inh critin~ or p os~cssing suflicient prop e rty to
live 1\'ithont empl oyment rnn st find rne:ws hy
-which to live. Iks idcs these the re arc marri ed
,\·onH~n '"hose hn sbnn<ls from sida1css , want ol'
i;ucccss or i nrlisposi ti on to labo r, do not r ecei ,· c
s upport or only partial, for thcm scl ves and farni l ics.

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PI:ACT IC AL

l'I'.ACTIC AL CO~!POSlTlON .

C O~POSlTION.

1 83

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Th e qnestion ari ses what shall these women
do ? T o answer it by a laugh or a sneer docs not
soh :c the problem. To point them to domestic
d1~t1cs, t.lic sewing machine, or literature, docs not
ofle r a i1ckl comprehen sive enough to take in 0110
h'.df tl1c ap plicants. To say that opening ii.olds,
l11th er to, \d1olly occupi ed by man is unscxinO' and
r ; 1Hle ri n~ .her.unwomanly is premature j udg~ncnt.
:he 1 ncstio n 1s n ot what is forninino or beautiful,
~n.t h ow shall life b e sustain ed? It is not whether
i t ln m o<Jcs t and becoming for a Jadv to sit b ehind
a coun ter and k eep books, bnt wh~thcr she C"I l
rn a1nt:a:n h ersel f comfortably thereby. The reply
mu st l1lll gc up on the great, predominant question,
1.r ,,·Jiat means sha'.l women r e:ilizc a competency,
:111 <l 11 ot u pon th e m111 or ones, is it b ccominrr or is it
.
.
b'
~n n c corcl ~ncc w:th preconceived opinions respect.
n 1 ~ lier field s of lab or that she should enter the
Te'. eg1:ap h-Ofiicc, D;ink, or Lecture -Room. To all
;1 1 1tl;u ler~ :lS ~o tl1 c.fe as ihi lity or prnpricty of opcn111g nny field m which wom en can show themsclrns
capal1le, \\'e move the prov ions qncstion "How
shall ,,·omen live?"
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EXE HO I S E.

MO DEL.

I:

EUROPE.

.~

'Ilic P1 l liec e> f Wales was recci ,-cd in Constanti no11le with great i:;plenJor by the S111tan.
Con spiracies ag :<!nst the Gov ernment h a ve
b een <li scoverccl at N ap1cs and Ancona, Italy,
1

and tlie ri nglcaJcrs arrested.

In the Scn:itC', Mr. Sumner introJu ccd :i. 1;ill to
r epe al the act to prc vcu t tl1 c i mp ortat.i on of ccrtai n p erso ns (slaves) in to tl1e States. Tlii s Lill , lie
said, was designed to repeal the only bw r elative
to i:;lav cry re maining upon the statn te b ooks of
the U nitcd States. Laid on the table.
GENERAL.

A dcstrnctivc fire occurred last week, nt lluwkinsville, Ga.
There is a general complaint at San :Frnneisco
in regard to the irregularity of the Ovmlund 1foil.

JYcw Yorl;, Ti mes.
LESSON

IV. -

S G;\l.\L\l(Y OF NEWS .

of Nc "' s so mct.i111c ,; pre ccd c3 the Iouilin"
011.rt : n :il. l t 1,.; g:1Ll1cre1l fr om tl1 0 \'ariou s telegrams con~
l irn~lll g cur r en t C\'C n ts, :11rd is a kiml r1f ~ y11 o p s i s of affairti iu
rnnou s pnrts of th e worhl. It is short and cun cise.

EXERC!SE.

Stimm:iry of l!'o rci;,';n N ews.

"
"

" Ci ty
"
" Country "

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CONGRESS.

. A _S1 1rmn:1?

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134

PRACTICAL COMPOSITION.

LESSON V.-nmrn

CORRESPONDF..NCE.

MODEL.

}'or the Daily News.

Letter No. 4.
D EAR L.-Wcre you ever in fairy land, not a
lnncl wl1ere tiny feet tripped _over flowery beds,
lmt one wliero thousands of pearly icicles were
pend e nt from every shrub-where the glaciers o-Jistened in the lon g, long twilight of that far off f-ind
which to ou r childish v ision seemed like the bo-Jitte rin~ st:irs in unbounded space, so distant, yet so
enveloped in mystery and beauty? Then you
could form somo id ea of tlic enchanted rc<rion
h
where the intrepid navigator, Dr. Kano, guided
l1 is vessel amid the drifting icebergs of the Polar
Sea, and where the d el ighted ·ueho1der is· carried
in imngination as he views it so beautifully delineated ns in this moving picture now in our midst.
Poets ;vrite ahont the "land of dreams," bnt
11crc is one spread b efore ns in which onr wildest
fanci es find play, w l1ere our imagination s arc lost
in vivid reality, where the impress of Jehovah's
foot is more sub limely traced than in onr flow ery
meads and tnrfy mounds-a scene of surpassing
grandeu r, magnificently wild. It looks cold, bitte r cold , yet onr beating hearts g row warmer as
we follow the windings and bounding of the little

PRACTICAL COUPOSITION.

185

vessel in its ice bound home, now in the d eep, bl ne
sea, surrounded by towering ice mountains, then
encased in a snowy mantle with its thousan ds
of t.pnrldi ng gems.
No talcs of" Arabi an N ights" e ver equaled
tl1e thrilling ev ents enacted amid those float in g
giants of tlie deep, no Moorish legends eYcr riya] cd in description the daring e xploits of th ese
bold adventurers. ·o ne scene unit ed the natural
·with the moral sublime, that of a brave command er aJdrcssin g l1is comrades a t sun rise, and
nrg ing them to n oble <l eeds.-Then again in an
icy tomu was a triple Lurial. ·who can tell the
tho ngli ts of h ollie and loved ones that filled the
hearts of tl1ose who laid them th ere to sleep, :rn J
left_ in scri l.Jed upon their tomlis the tcacl1ings of
onr b lessed gospel! How the life-tide lcn.ped and
bounded in the veins, n.lmost frozen to th eir fountain, as th ese touching mem entoes of a lost, or
wand e ring urotherl10oc1, met the gaze! A nd the
triple towers of that di stant land stand as se ntinels
t o re mind -tl1 c world that when th ey pe ri sh wi th
the Jissolving clements, the 1101.ile fo rm s rc,;ti ng
there will ari se to ll C\\' 11 eSS o[' l il'e, while th e otl1c r
towering pillar wh ose summit is crown ed "·itli
c1onds cvcl' varying, c vc l' fl oat in g, rem ains a mon ument of one wl10 went forth from .the "ci ty of
bro therly lov e," to seek and rescu e l1i s Lrothcr
man.

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Bu~ my p~wers of description fail to po rt~y
the bccrnty of those snowy shrnbs and moonlit
:notrn t:ti 1.1s of ice, ca vcs an cl caverns, an cl gl istcnrng glac1e1:s. The foot of science has left upon
tl1cm tlie impress of her footstep, with one hand
she grnsps the icy Pole, with the other she points
to the Pol.ar Sta.r in the glittering canopy above,
t'.1en tnrning with the eye of faith to Him who
nclcs upon the floods exclaims, "in wonder thon
hast made them all."
.
Votre toujours,
Lu.Lite LrNOrCN.
Rximor:m.
Descriptive Letter,
Ji'asl 1iuu
"
I.otter from Wateri ng-Pla ce.

J,ESSON

18 7

rltA CTl <J,\L u o~rPOSIT!ON.

PRACTICAL COJ\IPOSI'UON.

wns mi11night, and tho steamer was g0ing at full
spoel1, she sunk in t.l1rce hours from the trc111en clo11s sl 10e k. Thi s rock is 11•Jt laid down i11 any eh :trt ,
and so111 c se em to tl1i11k it some 11cw and s11dclcn
11ph e:w al ot' the b et! or tl 1e ocean, due to the hto
carthqn ak es and tillal waves thitt have so ag itated
the entire continent th ese few rn outl1 s p:tst.
Tlio I'aci tic :r.Inil Company, not w i thst:tm1 ing
tlioi r late h eavy lu ~scs , have given instru ctions to
establish a line of steam ers on the Amazon am\ its
t ri but:tries, and by these steamers they ·:: ill wve
n. very powcr!'nl impulse to the d cvclr. pinent of all
those rich and fer tile regions 11ithcrlo nnkn o,rn.
Th ese valley s, never Lc!'orc expl ored l>y the 1" .iot
of white man, auonncl in alm ost eve ry tliLn ,c;.
E spe cially arc th ey rich in all vari eties of "-ood,
cocoa, coffee, cotton, vanilb, rice, ancl sih cr aml
1

VI.-JTOREIGN CORRESPONDENCE.

ores.

~Ne w

MODEL .

Limn, I'cru, S. A.,
:March 1'.l,, 1860.

I bclic\·e I stated in my l:tst letter that no ono
was lost from tho wreck of the fine steamer ·Santiago, in ~he Straits of 1'.{agollan. Tho full paiticulars hav111g come to P c m from Ci1ptain King li im~el.f, he s~:ttcs that one sailo r, a servant and an
111!:rnt cl11ill were lost. The steame r wns worth
,-£ 70,000, :rnd was J1 ot insnrcd, and 11ot a ny of tho
c:lrgo was s:wc<l, as she strnck 111)on a s unkon i·ocl. Dorg1a
. l'.J::ty, JUSt
·
in
entering tho Straits, and as it'"

Tork Ti mes.

EXEllO! SE.

I.cttcr from AbroaLl.
LESSO~ V I L -SKETCH .
:MODEL.

Vrnw FRO>l Gr~AY°tl PEAK-UOCKY 1.Ioc~TAT~.
The scene before us was amJ>le r ecompense for
cl nu1>l c 1lto toil. It was the g reat sight in a1l onr
Colorado travel. In irnpressi vcncss,-in overcom-

•
188

PilA.CTICAL

CO ~IrO SJTION .

ingne3e., it takes rank with the three or four great
natural wonders of the world,-wi th Niagara Falls
from the Tower, with the Yosemite Valley from
In sp iration Point. No Swiss m ountain view carries suelt majestic sweep of distance, such sublime
combination of 11ight and breadth and depth; such
uplifting into the presence of God; such d wariing
of the mortal sense, such welcome to the immortal
thought. It was not beauty, it was sublimity; it
was not power, nor order, nor color, it was majesty ; ---it was not a part, it was the whole; it was not
man but God , that was about, before, in us.
Mountai ns and mountains cvcrywherc,- cven t1 10
g reat parks, even the unend int; p_lains seemed but
ratches among the white ranges of hill s stretching
ahove :i.nd beyond one n.notl1 er . \Ve looked into
M iddle Park below u;-; on the north; over a single
}inc of niountains into South Park, below us on
tl1c sonth,-lmt beyond both were the un ending
peaks, tl 1c everlasting hill s. To the west, the
liroadcst, noblest ranges or mountaius,-there
seemed no breaks among the rn except snch as served to mark the encl of one and tlie beginning of
another, atHl no possible limit to their exten sion.
Tl1e snow wliitcued all, C0\7cr cll m any, an cl brought
0;1t tl1c ir lines in conspicuons majesty. Over one
of t11e largest and finest, tlic snow-fields lay in the
fo rm of an immense cross, and hy this it is known
in :i.!l tl1c mountain vic\\·s of the territory. It is

Pll ACTl C,\.L C0)!POSIT10N .

189

. . . n· ' l llis promise
as if Goel h as set 111,; sign, is :sea '
. ·.,1
,.
. 1J , .
up on the very center au<l lll o it
th<'re,-.:i. eacon
.
l aucl ·11l its rrcncrf th e Continent to a1! 1ts pcop c'
.
. o - l
o •. .
I3cvoncl this nplifte.. cl. what seerne<l '.u1 >e
ac1011 s.
.;
f Yi cw l 1w ie r
.
,.., cl
tl 1e 01·11 y mon ntain in a11. the nrn t,-Cdu It 1,;
n ame
than t.h e peak upon wl11eh we s~o ~a s but bas
S ·e' ·· Peak upon some of t c • p '
op1 b,, cen ,exnlor e<l an cl is more completely cov'
n evcr
,. r
·1
than any other.
d
ere wit i snow
.
· t1·c
1 so l'ter
1. f m
T urnin rr to the eas t we fincl r e 10
.
. . • l· . ,
n
1
r
vic·10n of t11c p .nn:;
an d ·ct majestic am unenc rng ,,
.
,
) on tliev stretch in everlasting green _an~ gray
- on,
.;
l
· · t l>ecrrnrnD" to
nntil lost in the dim haze t iat 15 JU S
:::i
o
rise along the horizon .
.
I3owL1·:s' Switzerland of America·.
EXEl< C!SE.

Skctcl1 of Natural Sccnory.
"
" Scones in Europa.
"
" America.
"
"l>Iountain Viows.
I

LESSON VIII. -sKETCH.
H OME OF 11ms. TU 0~1AS I'OWf.LL.

S
men 1i vc for themselves. Others.live
' omc
d ar to tl· crn ,r\11le n.
fo r their fan1ili es or th~s~ e.
d . 'o-h to lay
irits are d1 s1ntcr cstc enon:::i
1
l
few no Jc sp
'
bl"
·c·il or \\"ith the
n
vi ew to tJic pu IC" ' '
11 l ans \\·"tJ1
1. "

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190

PUAC'l'IC.AL COlUPOSI'.l'rQN.

eye of a seer look down the avenues of timo ~nd
with the g reat h.cart ~f a p!1ilanthropist ·instiga~o
and matnre projects m 'vh 1ch oth01"S than themselves shall be most benefitted.
·
..

In the yc:u·.-·J.809-a yGar memorable ir 'oiu· ·
annals becanse Congress in the spirit of the }}ra'ifo -.
patriots of '7G inter dicted commercial intercon.rao ·
between .th: United States and. the powors .:()(,
Grca_t Bntam and France, for violation of tbei1· ·
treaties and abuse of American . scam n~tiwra
came _np_ the Hudson a· man {vl10 aftoi•ward_ bocaz:ie mtunutcly associated with almost every 1na,..
t~1·rnl enterprise in the village of N9wbntgli.
1hat m~n was ~fr. Thomas Powell. B.ow many
and vaned the rntc1·ests connected with his name
an appreciative public can teatify. .
'.
The spot he selected for his home consisted originally, of seventy acrns. Upon this ho buil; '
what is known to this day as the Powell Homo.. :
stead. The or~ginal ~':elling l1as stood for forty.
years, thongh t11e additions and modern improvements Jrnve changed the whole extei·nal appeara;1ce. Near the south wing is a thrifty horse- ·
cnestnnt, brought up from New Y 01·k in a pitchel',
by . his son, J arnes A. Powell. Its noble old
branches, crowned with leafy verdure, ha~o ,
braved tho blasts of many winte1·s, and are as
fresh and bright in this mid-summer hour as was
the gifted youth who planted the young sapling.

PRACTICAL COMPOSITION.

1()1

}'orty years has it bud<l ed and lilossom_ec1, yot its
vi<ro r an<l beauty are unimpaired, and forty years
] 1 :~vo added new experience in tli e life of the soul
that will outli rn nll the fading love1l ncss of
earth.
In front of tho mansion the Hudson, like a
sil \'Cr thread in the soft moonlight, or a. golden
girdle in the noontide effulgence, c_o nrscs rn.ajestically onward; on the south the. hills, vcncrn.ble with acre and beautiful with the llnpress of tho
cr reat Architect's hand, kiss the horizon ; on tho
~orth and west hills and dales arnl princely homes
lie clnstered as if vicing with cac!t oth e r as to
,diich slionlcl bear away the palm of victorynature or art.
As the writer' gazed upon the vac:rnt ~hair­
the room in whi ch the departed loved to sit: and
then at the noble partner who wi th calm resignation pointed to the empty seat, the heart we~t
back with hers throngh the long yearn when rn
the frc<:>hness and ardor of youth the~ stood .for
the first time upon its thresholLl-sat tor tho first
time around the table in the uew home, and gazed
for the first time npon the broad, rich acres, surr ound ed with tokens of n Fnther'R l ove, and the
of memory were unl ocked, and scenes
fl 00 cl -crates
to'
.
•
•
f
of trial and triumph, of conflict and v1cto1y, o
new tics to earth and dearer ones to Heaven, of
festal ti me::, of farewells and greetings, were spread

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192

PRACTICAL COMPOSITION.

ont like a
changeful.
NEWBURGH,

July 29th, 1859.
EXlmOIBE.

Sketch.
Story.
Ili:itorical Tale.

PRACTICAL CO>llPOSITION.

193

The arwcl wrote and vanished. The next night
It cam; a.gain, with great awakening light,
Anu showed the names of those whom love of
God had blessed,
And lo ! Ben Adhcm's name led all the rest.

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LEIGH IluNT.

EXEilOISE.

Selections from English Poets.
"
" American "

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MODEL.

LESSON

X.-llIISCELLA.NEOUS A~D LOCA.L ITKl\!S .

.A.UOU BEN ADHE:riI AND TBJJ: ANGEL.

Abou Ben Aclhem (may his tribe increnso !)
Awoke one night from a deep dream of peace,
And saw, within the moonlight of his room,
Making it light, and like a lily in bloom,
An angel, writing in a book of gold;
. :·
Exceeding peace had made Ben ·Adhem bold;
And to the presence in 'the room he ·s aid, ·
"What writest thon ~'' The vision raise4 his
head,
And with a look made all of sweet accord,
Answered, ''The names of those that love the
to rd."
"And is mine one i" said Abon. "Nay, not so,"
H cplied the angel. Abou spake more lo\v, ·
Dn t elieerl.r still, and said, "I pray thee, then,
·write me as one " ·ho loves his fellow men."

''

MODEL.

At a recent lecture Professor X. stated that
Saturn had a ring six thousand miles broad . Hans
Zimmerman was heard to exclaim, ""What for a
fincrer
lw must have !"
0
Tlie first white child born within the limits of
N cw York city was Jean Vigne; his parents were
from Va1enciennes. He was born in 1614 and
died in 16Dl.
Opals abound in Owyhee county, Idaho.
Tile remains of two Indians have been exlrnmeJ
in dicrcrincr a -cellar in Lynn. They were in a sit·
00
0
.
.
tl
ting posture, and had probably been s1ttrng ,1erc
two or three hundred years.
Philadelphia has a "Last Man :Brotherhood,"
consisting of thirty-three printers, who will hold

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PRACTIC;\L OOMPOSITION.

annual festivals until the "last .man" has to
at the tab le alone.
An.other liberal measut·e, the bill abolishing
imprisonment for deUt, passed to a second reading .,
in the llonse of Commons yesterday.
The lands on the I~aramie Plains are high, but · t
arc mostly well watered, and vegetables, small
grains, &c., thrive well.
EXEROISX.

Miscellaneous Hems.
Local Items.

LESSON XL-BOOK

PRACTICAL

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105

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A.CROSS TilE CONTINENT, UY SAMUEL llOWLES.

I!

As a reconl of travel it is admirable beyond
praise. It is crowded with information , given in
a style so fresh and piquant that even th e most
c orn 1~1on-place facts are made palatable.
Mr.
Bowles relates his experience so pleasantly, so
rrenially so free from th e taint of affec tation, that
n
'
it refreshes one to read him. Ile appears to be
overrunning with vitali ty . Ilis style is a model
of gracefol English-poli shed yet pointed, ele<Yrmt Jvet bristli:w
with pith and antithesis.- San
b
,.,, .
Francisco B tblletin.

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NOTICES.
EXEROISE.

LOCTISA OF . PRUSSIA A.ND IffiR TIMES, DY L. MUULDA.CU

No historical novelist has labored so faithf111l;:
and successfully to reproduce a complete picttne
of past times and events as Louisa Miihlbacl1 . .
Iler success in the present work is most satisfactory. By reading the volume ono gains :_in astonishingly clear and vivid idea of the causes which
permitted the overthrow by Napoleon I. of the .
empire of Charlemagne-the corruption and vice,
and wcalrn oss and want of earnest patriotism
which characterized the conrts and people of the
Germany of that period. - Utica Horning

Ilerald.

CO~IPOSlTION.

•

SdcctcJ lloo1;: N oticc.
Origi no.l "
"

LESSON XIL-.A..RT 01mrcrn111.
MODELS.
TilE KID'S PLAYGROUND.

Draith, the painter of this picture, is an eminent Jiving Ge rman arti st. Tl1e subj ect rep resents
a kiu gambolling with a calf; while a cow, goat8,
and ducks arc looking gravely at the sport. It is
a rural idyl. The management of lights and
shades, and the harmony of tl:e colora, in this
· farnrite piece, display the hand of n master.
Tlie Free 01iri8tian Oommonwcaltli says of it:

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PRACTICAL COMPOSITION.

'.' ~t is a book of only one page; but, for all that,
it 1s a great book, and tells ~s much of a story as
most of the books that describes meadow-pastllres
well watered, with thoi1· tenants-cows calves'
'
goats, ]u'd s,. and dnck~ . To oommon cye11,
liko'
ours, the. copy is just as good as the original.
That calf looks so much like our calf, as we turn
and sec her out of the window, that, for all other
purposes than the vulgar one of eating, we do not
sec bnt one is jnm as good as the othc1·. And then
that duck is so perfect that we can fancy we hear
him qnacking at the mischievous kid that is stirring np the calf."-P.rang's Oltromo.

TUE BOYHOOD OF LrnCOLN.

Tliis is one of Eastman Johnson's master-pieces. ·
It represents a young bo"y, coarsely clad in homespun. clothes, and wearing cowhide boots, ~itting
readtn? a book l~y the light of a log fire, at a big
open fire -place, m a ·western backwoods' cabin·
everything around him rude and poor-nothinO' t~
encourage him to devote himself to study tha~ he
may rise above the sphere in which he has been
placed ; but on his face, as it is brought into briO'ht
relief by the glow of the flames on the hearth, ;ne
secs the energy and intelligen ce which mark him
as "the father" of the coming "man" of America.
This picture, apart from its associations, is foll

PRA (,' TICAL

CO ~ll'O SITIO N .

107

of ar tistic cxccl1 c nces. It is tl1e only "i nteri or"
of a n Am erican log-cauin C\'C r drawn wi th artistic
fid elity l y a competent painter. It is trnc to
"'Wc ·tern life in its miuntcst detail s. Obscn-c,
also, how admirably the difficult task is managed
of tl1rowing the cabin into shade, and at the sa me
time .Ji splaying everything in it, and b ringi ng the
figure into prominent and bright relief. 'l'lie concentration of the light on the fignrc has a bcantiful cffoct, and gives a brilliancy to the composition
whi ch will insure its popnhrity among the pe ople
a t Luge, "who l ove bright pictures as they love
brigl1t days aml bright eyes." Im1ccd, the crowning merit of tlic pictu re is that it throws a h:tl o vi'
p oet ry around the rndc cl1.hin, :rnJ all that it con ..
taillf;, while it sh ows how and where our ntkrs arc
made, and "tonghcneJ for the heroic tasks" before
thoir\.-P'l'cinv's Ohromo.
EXERCISE .

Criticism of Painliugs, Chromos, &c.

LESSON

XIIT.-AnvE1msE:,iENTS.
J\fODELS.
INSTRUCTION.

Select School for Yon ng Ladies, H L:lfoycltc
Av. Instruction given in all t.h c English Branches,
French, Music and D;incing. For Circuhr::, con ..

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PRACTICAL COMPOSITION.

PRACTICAL COMPOSITION.

taining terms, &c., address Mrs. Fairfield, 14
Lafayette Av., Boston, Mass.

Wanted-Pupils in Music by a German Professor. Tei·ms $25 per quarter. Address Teacher,
38 Firman St.

AMUSEMENT.

MAlUUED.

PLYMOUTH CUORCU.

A Lecturn on Temperance will be delivered
under the auspices of the Young Mens' Christian
Association by John B. Gongh, on Wednesday
evening, Oct. Dth.
Lecture commences at 8 o'clock. Tickets 50
cents.
TRAVELING.

For New Haven , Hartford, &c. Fare $1 50. .
Steamers leave Peck Slip for New Haven at 3.15
and 11 P .M., connecting with railroad.
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REAL ESTATE FOR BALE.

For Sale-A Brick House and Lot; lot 25 by
100; ten rooms, gas, garden, grape vine, &c.; the
whole in good order. Inquire on premises, 10
Cl inton Place.
TO LET.

To Let- Two very desirable Stores and Dwellings, Nos. 235 and 237 Prince St.- Apply to W.
Torrey, 5 Hoyt St.

RosENDALE-Normrs.-In St. I~o ni s, on Wednesday, May 5, at St. J ohn's Church, by tl1e Rev.
Henry Ledoux, Joseph Rosendale to nfary Norris,
all of St. Louis.
(New York papers please copy.)
DIED.

IIoLDEN.-On Snn<lay, F lorence, eldest <laughter of Hiram and J ose1)hino Spragne, aged 14
y ears.
The funeral will take place from tho residence
of her parents, No. 125 Donglass St., Ilartford,
Nov. 4, at 3 P.M.
·
EXEROISE.

Advertisement of Young Ladies' Institute.
"
" Oonccrt.
"
Lecture.
"
" Steamboat Trnvcl.
"
"
" Railroad
"
" House to Let.
"
" Ilouse for Sale.
"
"
Gardener Wanted.
"
" Ohambermaid Wanted.

,,

WANTS .

Wanted-A First Class Cook.
need apply t0 24 Li.vingston St.

....

199

None other

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PRAC"I'ICAT,

LESSON

CO~Il'OSlTION.

XV.-SYNOPSIS OF LECTURE.

REPOKl' OF DU CUAILLU S "SAVAGE L'lFE UNDEI~
THE EQUATOn."

•

A crowded and enthusiastic audience of young
peop1e, wi th a goodly number of adults welcomed
the appearance of Mr. Paul Da Cbaillu on the
platform of the Ath::cnenin yesterday afternoon.
As ou the. occasion of his first appearance at the
.A.thronenm the lecturer illustrated his wonderful
stories of ~~tvage life by drawings, skulls, instruments of \l·n.r a nd the chase, &e.
The most rem:irlrnble story he had to tell his
young friends was that of the life and death . of
"Little T ommy." Tommy was a young gorilla
be had tan ght to behave himself. He tamed him
in three days, but he learned to get intoxicated
and to steal quicker than anytlting e1se; he b ad
plenty of opportunity to do th is. One day M r.
DL1 Chailla went to his tent for something, and
there h e found his only bottle of brandy broken
on the ground and little Tommy drunk as a lord!
Uc beat him very much, but it was of no use. At
J::is t the poor little fellow got sick, and one day he
came to tlie fire around which lhe travelers were
s ittin g, and shook hands with every body, and soon
after laiJ himself cl own anJ died. Everybody was
sorry for T ommy, for he was a general favorite;

:201

PHACTICAL COM l' OSIT[Q.N.

so the natives set up a shout, and cried, "roor
Little T ommy! he is dead I"
Leaving that part of tlie country thC'y th en
t r:1xcled in tl1e directivn of Ll1e Canniual c n1n i 1·_r.
One day wliile lrn was rvgarJinr; with l 111 11 g1·_:-'
eyes a monkey, who was eating nu ts on a l1igl1
ti:ee, he was startled by a noise, anJ soon Llic!·o
came in sight a Chief with his attendants. Th ey
were all well armed wi th spears, and sl1iclds made
of elephant skins. The Chief was very much
fri;,;hteneJ at l.Ir. Du Cliaillu's appearan ce , and
mistaking him for a spirit liegaa to l1cml. He
conld n ot say 'vho was most friglitencd, l1i111 selr or
the Chief, but as the latter fully maJe up hi s rn inJ
that he saw a spirit frolll the rnoon, he quiek ly
turned and fled . Traveling on from tl1is point
Mr. Du Ohaillu came to a village, surrouncleJ by
a fence, with a wide entrance, over which were
elcph:m ts' tusks. Skulls of men and animals were
lying about e very where. , The village was a beautiful one, b0ing laid out wilh regularity. One of
the streets was over two miles long and fifty feet
broad. The houses "·ero quite small, being- no
more than ten feet high. vVhen he entered, which
lie Jiu with some reluctance, he saw more tli an a
thousand warriors awaiting him . They were allnnned and lookccl very ferocious . E\·cry one of'
tltcm had his teeth filed arnl uluckened. lt diJ
not assure l1i111 in tlic least when on looking- ronnJ
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PRACTICAL COUPOSITION.
.r:_':.

lie saw a wo~nan running away with a. man's thigh
nndcr h er arm. Ile was asked what he wanted,
and he answered that h e was anxions to sec th e
E.i ng. H is Majesty sont word that h e could not
be seen for three dayi;, ai; tho Okoonda or wh irl'"in d would not let hi m, but in the meantime gave
directions that the traveler and his party shoqld
rccei vc eve ry attention. Ile came on the third
day and roared in aston ishment when he saw the
lcctnrcr, but said, nevertheless, th a t ho was n ot
afraid of any bo dy . Mr. Du Chaillu told him how
glad he was to find somebody who was n ot afraid
of any body, and the n they got on very woll together. On being sho wn a looking-glass tho Ring
made faces at it, but not liking the looks of thi ngs
pnt out l1i s tongue in anger. Then the Qnccn
came; she was so delighted th at he was greatly
:tfraid she would kiss him, &c., &c.
E~Jill C I S !l .

Report of Lecturo or Sermon.

'r.

