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ELEMENTARY
ENGLISH COMPOSIT ION
SY FREDERICK HENRY

SYKi s M·A·Ph·D ·

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THE corr. CLARK COMPANY
LIMITED W ~ W mi m TORONTO

1900

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ELEMENTARY ENGLISH COMPOSITION.
PART !.-NARRATION.
C HAl'TER 1. - HOUSEHOLD TALES.

LESSON I.
MEMOR IZATION.-FR OM

EnterC'f"l according to Act of the Pn.rliament of Cn.nadn, in the yt•1\ r m1 e t houi;mn<I
nine )111ntlre<l, by FtUUHUll t.:K l:l&.''U\.Y 8't'KKH, in the o mee of the Minititer of

Agriou Iture.

"THE

LADY OF THE LAKE."

Then each at once his falchion drew,
Each on the ground hi s scabbard threw,
Ea ch look'd to s un, an d stream, and pla in,
As wh at th ey ne'er migh t see aga in ;
Th en foot, and poi nt, and eye opposed,
In dubious strife th ey darkly closed.

- ·Sir I-Vidler Scott.
TIIEME: JA CK OF CORNWALL.

In the days of good King Arthur there lived in Corn wall a lad named Jack. He wa s a h rave boy , and his
ambition was to kill all the g iants who lived o n the h ig li
rocks and troubled the people who dwelt below. After
he h ad killed three or fou r of these giants, he heard of an
enchanted castle, kept by a g iant anc a bad fairy. T hey
seized people, ca rri ed them t o the castle, and there turned
them into beasts a nd birds.
So Jack dete rmined to go to the rescue. H e pu t o n
his coat that made him invi s ible, and cl imbed up to the
castle. Hanging 011 the castle ga te was a trum pet , an d
under it these lines:"\Vhuever can thi s trum pet blow,
Shall cause the gi:rnt's ove rth row."

NA lW ATI ON : HOUS EHOLD 1'ALE8.

l!JNGLJSIJ COMI'OSJTION .

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J ack boldly sei zed the trumpe t a nd blew a shrill
blast, and as he blew the gates fl ew open and the ca~tle
shook. 'When the giant .a nd th e fairy hea rd the sound
of the trumpet they quaked with fear. J;:ick killed the
g iant with h is sharp sword, a nd the fairy fl ew away in a
hi g h wind. Th e people who had been cha nged into birds
and beasts retu rned to their own shapes.
J ack's fame spread through all the la nd, and the king
gave him g reat rewards.
EXERCISE* I. A .- Tcll somethi ng about each of
these: ( 1) good King /\rthur, (2) a giant, (3) a castle, (4)
blowin g a trum pet, (5) rewards.
B.- Re-state the follow in g sen tences, b ut use other
wo·rds t o express the meaning of the itali c ized words:( 1) He heard of an·mc!ta11tcd castle. (2) Jack determined
to go to lite resme. (3) Jack boldly se ized the trum pet.
(4) He bl ew a s/ml! blast. ( S) The g ia nt and the fairy
quaked with fear. (6) Jack's fame spread t!troug!t all t!te
land.
C.-(1 ) Tell what Jack's ambition was . (2) Tell how
Jack reached th e gia nt's castle without being see n. (3)
vVhy h ad no one blown the trumpet before?
CAP IT AL L ETTERS.
I.

Note the kind of letkr used at the beg innin g o f a
:In the d:tys of good King Arthur ...

~en t e nce

H e w::is a brave boy.

Note the kind of letter used to begin a ll the important words in a title:J ac k of C ornwall.
2.

T he C hildren in the Wood.
T he Dis:ippointed F ox.
* Exercieee on the text nrc ~ 11i; gcst i o mf

ror co11,·t rsat.ions lJctween

teacher an<l

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EXERCISE I !.- Re-w rite these sentences, tak in g care to
p ut in the cap ita l lette rs needed :- (1) the best book to
read is Andersen's fairy t a les. (2) many hu ndred years
ago C haucer wrote the cante r):iury tal es. (3 ) the poet
Gray is the author of th € eleg y in a country churchyard.
(4) o ur next story will be c;;illed the children in the wood.
(5) S hakspere wrote the mercha nt o f V enice, the merry
wives of Windsor, all's well that end s well. (6) Milton
w rote Paradise lost; T enn yson, the id yl ls of t he k ing:
Browning, The rin g and the book. (7) ha ve you read
Alice in wonderland?
TIIE PARAGRAl'll.

U11iry.-Note that the story is gi ,·e n in three parts or
paragraphs. The sen tences tha t tell why Jack fought the
giant :i re pu t in one paragraph; the sen tences that tell how
Jack killed the giant are put in one paragraph; the sentences
that tell of Jack 's reward go in to one paragraph . Each paragraph, then, mu st tell one and only one chief _part of the story.
The paragraph must have unity.

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.Jlfa.rgin.-Notice that each paragra ph has a. margi n to rig-ht ;µid to ldl. or it . Ju
writin g , leave a. margin to the le ft aide or th e page. A m a r~i n is also nectK."A.ry 11.t the
top Ill\( ! tht bottom of the sheet.
lhd~11tation. ·-- Noti ce that the ftrst lin e of each p&.rn.g-rr..ph hM n. widN n1n.rg-i n tha.n
the lines that follow. lmi tate this in writing.

RE PRODUCTI ON .-Tell th e story o f " Jack o f Cornwall" in your own words, following this outline:Title .
introduction: The coun!ry- Whcre it was.
Th e time- \ Vho was k ing.
Jack- Who he wa s.
The g ia nt-Whe re he lived anJ what lie did.
The Story : Jack's resolve. His preparations.
The ca ~ tl e - Where it was.
The trum pe t- What was writt e n un der it, who blew
it, an d 'vhat happened.
T he people capturccl by th e giant-What Jack's
d eed did for the m.
Conclusion: Jack's fame and recompense.

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ENGLISH COMPOSITION.

NARRA'l'JON: JJ(J USEIIOLD TALl?";:).

LESSON II.
MEMORIZATION.-FROM "THE CHILDREN

IN THE \VooD. "

These pretty babes, with hand in ha nd,
\Vent wandering up and d own ;
And never more could see th e man
Approa bing from the to wn:
Their pretty lips with blackbe rri es
\,Ve 1e all besmeared and dyed,
And when the y saw the darksome ni g ht
Th ey sat them down and cried.
- Old Ba!!ad.

TIIEME: THE CHILDREN IN TH E

Woon.

A gen tleman o f N orfolk died a nd left his two little
chil dren , a boy and a gi rl, to the care of their un cle.
In his wil l he bequeathed a fortu ne to the children, but
o n the con d ition that if they sh ould die be fore they
were g ro wn up , the money was to belong to their uncle.
Now t he uncle was a wicked man and wanted the
m oney fo r himself. So he hired two wretches to take
the child ren away and kill them.
But one o f these ruffians fel t sorry for the pretty little
'things, and tried to save them. He slew hi s companion,
and we nt off, leavin g the children a lone in \Vayla nd
W ood. They were merry all d ay and ra n about gatherin g b lackberries ; but when nigh t came th ey g rew cold
and fri ghtened. They lay on th e g ro und and fell asleep
in each other's a rms. The robins took p ity on them a nd
covered them over with dead leaves. Their pity was of
no use, for the child ren di ed of the cold before mornin g.
The·wick ed un cle took the m oney, but littl e good he
got of it. Everything went wrong with him, and at last

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he died in jai l: And the ruffian who left the .chi ld ren to
. perish a lone in the wood himself died mi se rably.
EXERCISE I. A.-Tell somethin g about each of the!'e:
(r) a n uncle, (2) a fortune, (3) a will, (4) gathering black berries, (S) the robins, (6) a ja il.

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B.-Re-state the follo win g sentences, but use othe r
word s to ex p ress th e mean in g of the itali cize<l word s:(1) He beq11eatlted a fortune to th e children. (2 ) The
wicked un cle wanted t!te m oney f or /1i111seif. (3 ) One
of the ruffians fe lt sorry for the prett; 1 !ltt!e t/1ings.
(4) The robins took pity on them. (S ) He got 110 good
of it. ·

C.-( 1) T ell who was to take care of the children
whe n their fat her died. (2) Tell why the uncle wanted
the children killed. (3) Tell why the ru ffia n left the
children in the wood. (4) Tell what h appened to the
uncle; and what to the man .

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D.-What part of th e sto ry docs each paragraph tell.
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3. Note the ki nd o f let ter used with proper names,
proper adjecti ves, personifications:Norfolk, Grende l, the Danes, a S wede.
There H onour comes, a pilgrim gray.
4. l\ote 'the k in d o f letter used in beg inn ing a iine
o f poetry : ~ ·
T hese pretty babes, with Jund in hand,
W ent wanderin g up and down .
How sleep the brave who sink to rest
By all th ei r country's wishes blest I

5. Note how th e lir,.;t wo rd of a direct quotat ion
begins :The man cried out, "You are hurt. "

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CAPITAL LETTERS-( Continued).

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ENOLISI! COMPOS1TJON.

NARRATION: HOUSEHOLD TALES.

The general mannget telegraphed, "Despatch the train at
once."
1\nd they bnicnted the.it lord's death, saying, "He wa ~ of
all kings the mildest and most gentle."

LESSON III.

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Ry "tlit('Ct "Q'H:)tntion" we mean giving the cxnct word11 oi the speA.k:er or wr!ter;
henc'ie 'if we change these words we must not use the en.pit.al let.ter or the marks ot
l'.j\1otntio11 (" ") :The mnn c ri cll out that you were hurt.

The general manager telegraphed that they should despatch the train at once.

EXERCISE 1I.- Re-write these sentences, takii::.g care to
put inthecapi tal letters need ed :---(r )S lavesca<mot breathe
in england. (2) When g reeks joined g ree k;s, then was the
tug of war. (3) There is a Reaper whQ..~ name is death.
(4) "ch a rge, chester, charge! on, st;:m~ey, on !" were the
last words of marmion. (S) a.rt is long and time is
fleeting. (6) The prince of wales is heir apparent to the
throne of England ; the duke of york will succ~ed him.
(7) The shilling came out quite bright from the mint,
and sprang up, a nd shouted, hurrah l now I 'm off into
the \.vide world. (8) Such was the custom of Branksome hall.
(9)

From greenlancYs icy mountains,
from India's coral s trand,
where :tfric's su nny fountains
Roll down their golden sand.

REPRODUCTION.-Tell the story of " T~· Chi1dren in
the vVood" in your own words, followiog· this. outline:Title.
/11troduclion: The father's dcath-Wht the children were left to
the uncle's care.
The fortune-Why the uncle wanted the children
dead.
Tile Story : The unc.le's resol ve.
The ruffoms-Why one killed the other.
The wood- The place where the children wandered .
The robins - What they did for the children and why ·
the y did it.
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The death of the children.
Conclusion : The fate of the uncle and his tool.

MEMORJZATION.-SONG FROM

"J\s You

LIKE

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Under the greenwood tree,
Who loves to lie with me,
And tune his merry note
Unto 'the sweet bird's throat,
Come hither, come hither, come hith er;
Here shall he see
No enemy
But winter and rough weather.
\Vho doth ambition sh un,
And loves to live in the sun,
Seeking the food he eats,
And pleased with what he gets,
Come hither, come hither, come hither;
Here shall he see
No enemy
But winter and rough weather.
- William Shal:sjJere.

THEME: LITTLE RED RIDING-HOOD.
Once upon a time a little girl lived with her mother in
a cottage near a wood . She often wore a pretty scarlet
hood, and for that reason was called Little Red RidingHood.
One day she was sent to take some butte r to her grandmother, who lived on the other side of the forest. Her
mother tied on her red hood and bade her walk quickly
and not talk with anyone she met. As she walked
through the wood, a wolf met her, and making his
voice as pleasant as possible, asked her where she
was going. F orgetting what her mother had said, she
told him. The wolf left her and trotted on ahead.
Pretending he was Red Riding-Hood, he got into the

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NARRATION: BOUSEliOLD T A LES.

ENGLIS H COMPOSITION.

grand mother's cottage, and th e n ate up the poor old
woman. He p ut on he r night-cap, and got into he r bed.
When Red Riding-Hood came and kn oc ked, he told
her to come in. But she said, "\Vhy, g randmother,
what great eyes y ou h ave !" The wol f said , "Tha t's to
see you the better, my child." "But . wh at great ea rs
you have !" "That's to hear you the better, my child."
" But what lo ng a rm s you have I" "Th at's to hug you
the better, my dear." "But what sharp teeth you've
go t!" "That's to eat you all up!" And with that he
jumped out of bed and ate u p the poor littl e girl.
EX ERCISE I. A . -Tell somethi ng about each of these:
(r) a wood, (2) a cottage, (3) a red h ood, (4) a wolf, ,
(5) wa lk in g in a wood , (6) a nigh t-cap.
B.-Re-state the fo llowin g sentences, b ut use ot her
word s t o express the meanin g of th e itali c ized words:
(1) Her mo ther bad,e., her wal k q uickly. (2) Making his
voice as pleasant as p ossible, he asked her. (3) The
wolf trotted ahead. (4) He ate up the poor old woman.
(5) Why, g randmother, w/iat great eyes y uu luwe !
CA PITAL LETTERS-( Co11li11ued).

or G od .

The same m:age is customary with pronou ns referrin g
to Deity:Grant us Thy peace upon our homeward way ;
With Thee began, with T hee shall end the day.

7. Note the kind of letter use d with (i) titles of
h onou r or distin ction ; (ii ) of sect or party ; (iii) day:;
of the week, month s, fe sti vals ; (iv) res id ences ; streets:(i) L ittle R ed Ri ding -H ood; the Govern or-General of
Canada; the Presiden t of the U nite<l States.

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(i ii ) W ed nesday; the month of August ; Christmas, E aster
M onday, New Y ear's D ay.
(i v) "The Elms," R ottingdean; No. ~-t, Qut:c11 Street
W est.

8. N ote the letters used in names o f impo rtant
historical events : The French R evolution; the Declaration of Indepen dence·
the R eformation.
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9. Note that the pronoun I an d the in terjection O
require capital lette rs.
0 is preferred to oli when used as a mere Mign of the vocati\'e, o r when formin~
part of nn excl:uuatory phra.se :- 0 Brutus I O the aighL t

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Oh is preferred when used as an independent exclamo.Li on :- " Oh !" ·c rit."'1 1 t.he

maiden, ' 4 'tis on ly a pa.ge."

IO. vVo rds that need special prominence a re sometimes written with capitals.
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EXERCJSE IL- Re-write these sentences, taki1w ca re
to put in the ca p ital letters needed:"'
(1)

6. Note th e kind of lette r used with title s of God : The A lmight y, H<.:avcnl y Fat h<.:r, H oly S pirit, S on

(ii) The Presbyterian s and B aptists; th e Lil 11::rals an<l

C onservatives.

Henve nl y father, se nd thy blessi ng
On thy chi ldre n gat hered h ere .

(2) New Y ork city has its central park. (3) Baltim ore
has ?- vast public w_ood ;allccl cl_ruid .hill park. ( 4 ) The
president of the u111ted .:.itates lives 111 the white house.
(5) The queen of great Britain lives in Wind so r castle.
(6) What is meant by the norman co nq uest, the restoration, the reform b ill? (7) Was the French re voluti on
a greater eve nt than th e American war of indepe nd ence ?
(8) The protestant reform ation gave ri se t o many sects,
sue~ as luthe ran ~ calvinists, presbyterians. (9) In A ustral 1a _and ne \~ Zealand christmas and new year's day
co me 111 warm weather. ~10) Tennyson was appointed
poet-laureate of England m r850. (11) His predecessor

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ENGLISH COMPOSITION.

was \Nor<ls wo rth, whose home w;is ryclal mount in the
lake country. (12) Rome is called the e ternal city, the
city of the seven hills. (r 3) 0 pit eo us spectacle I o
noble Caesar! o woful clay!

NAIWA1'10N: BO USEllOLlJ TALES.

As shi n es the moon in clouded ski e s,
She in her poor attire was seen ;
One praised her ankles, one h er eyes,
One her dark hair an<l loveso me mi en.
So sweet a face , such angel grace,
In all that land had never b een :
Cophetua sware a royal oath :
"This beggar maid shall be my queen '"
-Alfred, L ord 7~.,111y.1 1 1 11.

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REPRODUCTION.- Tcll the story of "Red RidingHood " in your own words, following this outline :
Title.
Inti·odudirm : The time - \ Vhcn the story happcne<l.
The place-The cottage- Wh e re it "'a~ ;-ind what it
was like.
The person-The girl ; her red h ood ; her name.
The wood- Near which she liveJ.

Th e Sto1y:

Conclusion:

The errand-\Vhy she went into the wood.
The comma nd · \Vh:1t her mother forhad<' her.
The wult -·i lie kmd uf aniinal he was, :ind how he
C:t ll 1C tn '-'.>C ; 1L tu tiic iitt if• h irL
The gTandn;other's cntt :\g e - -\\'i1er« the ""lf and the
1ittie g11 i \\'Clil.
\Vint the "'olf cli<l to the g randm other.
\Vh;it he said to Red Riding--Hood .
What happened to Litt le Red Riding- -Hood.
State wh :i l th is story sholl's of the danger of <.k:din:;
with our cnc:nics.

G r imm's ve~ i ou should

1111 r el\d

to th e

clA!'.1-tf !\~ R

concluiiion ~· t.he Le~soH.

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C1NDE1n-:1.1.A.

Th"' sto r_,. ~ho111<l l1(' rca.rl to the da..ig in C rimnl'S versio11.
omlly tt.fk:n\1tril~. fvllowi11~ the outliue licluw.

lt. flh11ulO l!f· r.. ,iewffi

T'L\l.lC Li<TlTi'"·

I. N o te the use of italic letter,; t" indic;ttc unp lLt t ic
c•r s pec ial word s > - ·
To indicate ita lic lt-ltcrs iu 11 11urn11Cript (liJS.), dra.w a. line u11de; the ktt. 1_.rn ,
.A tidi·tl(t·fl'H F'u i·01 1'u.lf'1'.

St >--

An ad1nirahl e sern1011 - yct why wa s su1-!1 a '.:ienn o n pre; 1c 1i c d)
\\ . ii:l t /111 1 r' )"OU l1C l'!l dt •i11::-;
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lit.'re?

2. ;\'otc the way \1> indicate forei;,;11

\\C>nl.s:

\V e h c·ard 1h c Frc'!Wh «h"uti11 g "Vfre I« r oi .' ,.

\\'e fullow the J .atin m:ixi111, fesli11a lmk. h:i s kn s i(J\\·h ·.
The Latin abl1re\"ial1ions in eo1n111011

! YSSO:\' IV.

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Eng:li!"h:

t.!J., ·i .,,., l~ iz ., "''", M e

frequf'ntly \H•ed w ith o11f. ita l i<·\;.

3. Observe that ti tles of books, newspape rs , rnag-a;.:ines.
shi ps, etc., requi re italics when not set off by quutaL.i o n
Her a rm s across her breast she laid ;
She was more fair tha11 words ca n say
Bare -footed came tlw iwi;;; ar ll1:tid
nc frl re the b i; ;:: c'' )"• lw i l l.1.
In robe and crown tile kin;; s te pt down,
To meet a nd g-reet her 011 her way ;
~' 1t is no \.i,·011dc r,'' said tiic l(>rds,
' l Slu.: is l llulc LH. :aui.iful tlian <lay."

m;trks :- -

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Shakspere\ King.fol1n (or" King John").
F.vcry month comes St. 1·\iic/10/as (or" St.

:\1chn1Js ,.

Nelson's ihg-sh1p, the Vidor)' (or" \ ' ictory .. ).
\\"ith

Encli~Jt

!itl•'l'.!, q11ota!i o r1 l1 1u.rh:; :;.r e Jirdnahl c ; with r.irt-iJ..:"IL t ill PH, i t al i• ·H_

· Re -write the foll o win<' t111llc r ii n i 11 ~ tl1,.
words need i 11 g italics. ·l ( 1) l coukC"not poss ibiy clo
F:>:Fk('T c; F

ENGLISH COMPOSITION.

NAliRA 1'ION: HOUSEHOLD TA.LES.

that! (2) The pipers played the Campbell s are comin' !
and Au ld Lang Syne.
(3) D own went the Royal
George, with all her crew complete. (4) "That I can't
remember," said the Ha tte r. "You mu st remember,"
rem arked the king. (S) As often as a sh ip struck, the
crew of the Victory hurrahed. (6) The greatest Greek
poems are Homer's Iliad and Odyssey, the g reatest
Latin poe m is V irgil 's £neid. (7) One of the most
notable of French stories is Saint-Pie rre's Paul et
V irginie.

LESSON V.

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(8)

MEMORIZATION.--LA UGH ING SOKG.

When the green woods lau gh with the voi ce of joy,
And the dimpling stream runs laughing b y ;
\Vhen th e a ir does laug h with our merry wit,
And the green hill laughs with the noise of it ;
\\' hen the meadows laugh with th e lively g reen,
An d the g ras shopper laughs in th e merry sce ne ;
\\'h en Mary, a nd Susan, a nd Emily
With th eir sweet, round mouth s sing, "H a, ha, h e!"

Our friend, Dan P rior, told , you know,
A tal e extremely a propos 1 (all j>rii p o).

'Wh en the pai nted birds la ugh in the shaclc,
\Vh en our table with cherri es a nd nu ts is sp read ;
Come live, and be merry, and j oin wi th me,
To sing t he sweet chorus of" Ha, h a, he ! "

(9) The Body-guards respo nd with Vive le roi ! and fire.
(10)

You may see him pass by th e little" Grande Place""
An d the tin y Htitel-ck-ville" ;
He sm iles, as h e goes, to the fle uri ste<, Rose,
An d the pompie r 5 , Theoph ile . ...-1<

1To the point, npt.

'Pu blic tj(1un re.

COMPOSITIO N I . -Tell
following this o utline:-

:!Town hall.

•Flo rist.

THE

Af'i remnn.

the story of "Cinderel la,"

7i'lle.
/11/rod11.ctt'on: Cinclc rclla - H er n ame ; h er home.

The step-moth er-P refe rs her own dau gh ters.

Tlze Story:

C{/11clusion:

The ball -To wh ic h the prou d step-sisters go.
Cinderella's grief-She sits in the ashes.
He lp comes-The Fairy God -mother.
Th e pump kin coach whose steeds are mi ce.
S he goes to the ball- Th e o ne condition.
The ball- Th e Prince- The clock strikes twelve.
The sl ipper dropped - The coach a pumpk in again.
The Prince's proclanut ion-T he step-s isters in vain
try on the slipper- It fits Cinderella.
The marriage of Ci nde rella and th e Prin ce.

COM l'OS!TION 2. - T ell th esto ryof "Dick\Vhittin g ton."

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TAR-BAHY.

11/i!lirw1 /I la/.:c.

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The Rabbit, the F o x, and . the Coon once li\·ed close
together. The Fox had a fine mel o n- patch which h~
allowed no o ne to touch. On e morning-, as he was
walkin g in his garden, he saw tracks, and kne w th:1t
so me on e had been stealing hi s melon s. Ev ery clay he
saw fresh tracks, but though he watched and watched,
he never cou ld catch anyone. He told his trouble to the
Coon, and the Coon said he was sure the Rabbit ll';1s ti1e
thief. So the Fox made a man out of t ar and set it in
his garden -patch.
\Vhen the moon rose the Rabbit stole out of hi s house
and made for th e melon-patch. \.\Then he sa w the man
of tar standin g th ere li e called out, "\\/ho's tha t st andin g
there ready to stea l the Fox 's melons?" Hut the 'L1rRaby said not hin g'. Th en the Eabbit got an g ry, a11d
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See J. C. Uanis , " U11 cle H.e1uud," a.ml L. <.;. J.'yri1e llc, "Pla.11t.u.tio11 Child Lite."

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NARRA'l'ION: HOUSEHOLD TALES.

ENGLISH COMPOSITION.

lhi t the Tar-Baby, but hi s hand stuck fast in the tar.
Then the Rabbit said, "Let me go, or I will hit you
·w ith my othe r hand:' But the T a-r-Baby sa id nothing,
and the other hand was.. soon fa st to the ta r. It was the
same with first one foot, and then the other. When)he
Fox came along he found the Rabbit stuck fast to the
Tar-Ila.by. He carri ed h im to the, Coon's ho use and
sa.id, "Here's the man who stole my melons. What
shaB I do to h im?"
/
The Coon took th,e F ox aside and said, "A sk him
·whether he'd rathe r be thrown into the fire or into the
briar-patch, and wh ichever one he chooses throw him into
the other." But the Rab bit overheard the m, a nd when
they gave him hi s ch oice J1 e said, "Please don't th row
me into the briar-patc h, I'LL be scratched up. Throw me
into the fire." 1 S o the F ox lifted him and threw him
into the b ria rs. Th en th e R; bbit kicked up his heels and
laughed, and called back, "Good -bye, Fox! Farewell,
Coo n! I was bo rn and ra ised in the briars ! " And
with that he scampereQ o ff l1ome.
EXER CISE I. A. - Make a sentence abou t each of
these : ( r) a rabbit, (2) a melon-pa tch, (3 ) tracks in the
gard en , (4) a coon, (5) tar, (6) a briar-patch.
B.-Re-state the fo llowin g sente nces, but use other
w ords to express the mean ing of the italicized word s :
(r) A fine melon-patch. (2) ' He saw t'Yacks. (3) The
Rabbit made f or th e me lon patch. (4) The Tar-Baby
said nothing. (5) What shall J do to him?
C.- (1) Tell why and how the Fox -made~ Tar-Baby.
(2) Tell why the Ra bbit chose to be thrown into the fire.
l' UNCTUAT IO N.
Tlze Pen'od or Fit!! S top.-- I. Note the means to indi cate the end of a declarative o r imperative se nte nce:-

15

The rabbit, the fox, and the coon lived close together.
E nrth, with thy thousand voices, praise God.
2. Note the means to indicate the end of a titl e of a
chapter, etc.:-

The Tar-Baby. (See above.)
The Merchant of Venice.
The period is frequently omitted in •uoh a case.

3- Note the mea ns to indicate abbreviations:The Rev. J. C. Smith; Dr. and Mrs. Curill; John Henry
Jones, Esq., M.A., LL.D.

4. Note the use of the period after Roman numerals :-

'···.

Henry VII.; "Hamlet," Act III., Scene i., line

22.

The period ie frequently omitted in such a case.

.
,'f';·•',

I.

~·

EX ERCIS E IL-Re-write .t he followin g and punctuate
correctly:- ( 1) T he Parisian sails at nine o'clock AM and
the Tu nisian at two o'clock PM. ( 2) The sugar weighed
ten lbs three oz (3) Hamlet's soliloquy o n death is in
Act I II, scene i of the play. (4) Lieu t-Col Smith an d
Capt Rodgers set out fro m Regina, N W Ter, Jan 6th.
. (S) The largest cities of the United States a re N ew York,
NY, Chicago, Il l, P hil adelphia, Pa, Boston, Mass
EXERCISE !IL-Re-write the following, abbreviate
where possible:-( r) There were present th e Reverend
Joseph Jones, Doctor of Divinity, Professor J acobs, and
Messieurs Black and Wright of Washin g ton , Distri ct of
Columbia. (2) W e go there by the Grand Trunk Ra ilway. (3) Your manuscri pt has been sent with the manu scripts (MSS) of J a mes Learned, Fellow o f the Roya l
Society, to Macmillan and Company, Lnndon, E ngla nd.
(4) Address the lette r to Mister Joseph Blank, 822 Saint
Ma ry's Street, Hamilton, Ontario.
REPRODUCTI ON .- Tell the story of the "Tar- Baby "
in you r own words, followi ng this outline:-

Tille.
Introd11ction: The three animals-Where they Ji ved .
Tlte Story :
The melo n-patch - -Who ow ned it ; what he sa w th ere.
The Coon-W ho accused the Rabb it.
The Fox-Who set the tra p.
The Rabbit-How he fought th e Tar-Ilaby.
The Pu nis hment-The plo t of th e Coo n.
Conclusio11: The Escape-The Rabbit's choice- how he escaped .

CHAPTER IL -F ABLES.

LESSON VI.
M EMORIZATION.-fRO M

CO!-Il'OSITION I. T ell the story, H ow the Fox went
a-hunting and the Rabbit bagged the Gam e. Outline:-

CJ

i

The Fox a nd the Rabbit grow almost fri ends-T he Fox asks the
Rabbit to go hunting--The Rabb it says he is too busy-T he Fox
has a lucky day and brings back a g reat bag of game- The Habbit
loafs all day - In the even in~ he sta rt s ou t-Sees the Fox cow in gJ )rops down in the road as if dead-T he Fox comes along - loo ks
at t he J{abbit- Thinks him ni ce and fat, but does not take him ·when he has passed , th e Rabbi t jum ps up, takes to th e wo0ds,
runs on ahead, and drops down again as if dead- The Fox co m es
a long, th inks rabbit s :ire going to wast c- l'ut s down h is bag and
starts bac k -to get th e first r:i bbit he saw-The J\abbit jumps up,
_,..\' steals the gam e-bag and ru shes off home'.

1

l

r

COMPOSITI ON

z. Tell the story, The Rabbit finds his

The Rabbit meets the T errap in (tortoi se)-B rags of his swiftness .
-The Terrapin vows he can outrnn the Rabbit - A race is a rran ged
-The Te rra pin assembl es hi s fam ily- Everyone of th em look s just
like him. On the day of the race the Te rrapin puts o ne of his
family at th e first mile post, an c ti1e r a t the next, and so on-Stays
at th e winnin g-post himself- Another rel at ive meets th e Rabbit at
the starting--post-" <;o"- Off start s th e Rabbit-At the first mil epost he secs a terrapi n crawl out of the woods j ust ahead of him-At
th e second a terrapi n era wls up j ust before he gets there-At the
goal th e re is the Terrapi n, who carries off th e prize.

---+-

AD DITIONAL

THEMES.

COJ\t POSITION r. Tell the story of "Puss-i n-Boot s. " 1 :z. Tell
the sto ry of th e "Sleeping· ilcauty." 2 3. Tell th e story of "Lucky
Jack. " 3 (Hans im (;hid•.) 4. T e ll the story of T he "Ugly
Du cklin g ."•
' HeM1 Perraull,'s ve ndo 11 . i \'('r~i o ns hy Perm.ult, Ori m m . a.nrl T em1yRon ("Tho
;t Orimm 's ·· Fairy Ta.Jes."
• Andersen's " t'al ry Tale15. ''

Da.y Drcn01 ").

"To

AUTUMN."

Season of mi sts and mellow fruitfuln ess !
Close bosom-friend of the maturing sun ;
Conspirin g with him.J10w to load a nd bless
\Vith fruit the vines th at round the thatch- caves run ;
To bend with apples th e mo ssed cottage trees,
And fi ll all fruit with ripeness to the core ;
To swell th e go urd and plump the ha ze l shells
With a sweet kernel ; to set budd in g m ore,
And still m ore, later flower s fo r th e bees,
Until th ey think warm days will never cease,
For summer h as u'erbrimmcd th eir clammy cells.

- .Jolin A'eals.
THEM E:

Uae direct narration in giving t he words epoken.

';<- Match. O utlin e : -

17

N A RRATION: FABLES.

ENGLISH COMPOSITION.

16

THE DI SAPPOINT ED

Fox.

O ne day in autumn, when the grapes were ri pe, a fox
stole into a vineyard. Spread out on trellises above
him were g reat masses of luscious g rapes, a nd he lon ged
to h ave a bunch. He made many and ma ny a jum p,
but the grapes were high, and he could not reach th em.
Tired out at last, he said to himself, "Bah! I don't ca re.
The g rapes are sour!" and went away.
EXERCISE I. A.-Tell something about ( r) autumn,
(z) a vineyard, (3) a trellis.
B.- Re-state the followin g sentences, but express
with oth er words the meaning of the ita licized words :
( r) A fox stole into a vineyard. (z ) He saw masses of
luscious grapes. (3 ) l le longed to have a bunch. (4) At
last h e was tired ou t.
C.-Why did the fox say the grapes were sour?
~

..,..•
18

NARRATION: FABLES.

ENGLISH COMPOSITION.

Title.
lnfroduclion: The season- When it was.
T he vineyard-Where it was and h ow it looked.
The Story:
The fox in the vineya rd- T ell h ow he got in.
The fox and the grapes- Tell wha t he di<l and what
h e tri ed to do.
The fox 's feelin gs- Tell what he said when he could
n ot get the g rap ~s.

PUNCTUATION.

T!te Comma.- The punctuation p oint chiefly used in
the subd ivi s ion of the sentence is the comma (,).
The envelope was addressed ·: John Henry Alford, Esq., 1332,
Vi ctoria Road, Halifax, N .S.
I. Note the means to mark off a word of address : -

Corn e, den r cl1iltjren, come away down.

[

Rome, thou hast lost the breed of noble bloods.
2. Note the mea ns to mark off words in apposition:-

Our great old grand mother, tlie Earth.
There stood Perseus, a beautiful young man, with golden
ringlets and rosy cheeks.
Note thn.t som etimes n dttHh (- ) Is uaed for this purpoee, or a comma and a duh: .
He sa'~' a. pretty "lg ht,- -u. great, brown, aha.rp--nosed creature.
Note thnt if the nppositive noun is a part of th e titl e no point must be utte."'CI : The Apostle Jo hn; King William the Conqueror; James the First.

EXERCISE I I.- Study the fabl e above and seek to
explain the use of each com ma employed.
EXE RCISE I I I. - Re-wr ite the followin g sentences,
pun ctu ating th e m correctly:-( 1) Dear master I can go
no further. F a rewell kind master. (2) Blow, blow thou
winter win? . (3)_ God sa ve . th ee brothe r. (4) 0 my
poor Rosalin d whither wilt tho u go? (S) E ngland with
a!I thy faults I love thee s till my country. (6) Phys ician h ea l thyself. (7) He their sire butchered to make
a ~~oman hol iday ! . (8) The poet Milton wrote his g reat
epic poem "Paradise Lost" in blindness. (9) Rule a
space of the size o f an envelope (see p. 72), and write on
it, correctly placed and punctuated, this address: Miss
Alice Lucy Cary 22 View P lace Laketon Ont.
REPRODU CTION - Tell the fable of the " Fox and the
Grapes" in y our own words, following this outline;-

COMPOSITION I. Tell a simil a r story of a h orse that
tried in vain to get into a field o f clover. 2. Tell a
similar story of a boy th a t tried to get on the ba 11 team
and failed. 3. Tell a simil ar story abou t a m an who
tri ed to get a place on th e railway and failed. 4. Tell
a similar story of a disappointed shopkeeper or fa rmer.
5. T ell a s imilar story of a gi rl who sa w a ri ng o f a
peculiar kind in a jeweller's s hop; he r admiration of it ;
her va in efforts t o buy it ; her re mark when she found
that she could not succeed.

r '.

I:

*,.r
~

LESSON VII.
MEMORIZATION.-FROM "TH E LAMB."

Little lamb, who made th ee ?
Dost thou know wh o made th ee?
Gave th ee life, a nd bid thee feed,
Dy th e st rea m, a nd o'er the mead ;
Gave th ee clothing, woolly, bright ;
Gave thee such a tender voi ce,
Making a ll the val es rejoice ;
Little lamb, who made thee?
Dost th ou know who made thee?
- ~Villia111 Jllal:r.
T HEME: THE WOLF

AND TIIE LA MB.

A lamb was peacefully paddlin g- in a brook. A wo lf
came to the same spot and began to drink higher up

20

H enry IV. di ed , !ea11ing his so11 lo succeed. ( Parti cil'i al phrase.)
Henry .IV. dying, his son succeeded. (AL>sol ute phrase. )

the strea\n. vVishing t o qua rrel with the la mb, h e
asked in a hars h t o ne why h e was disturbing- the wate r.
The lamb, surprised at this unju st a cc usation, repl ied
humbly," Si r, you see that I am drinking lower down,
a nd that t he water runs from y o u to me, and that consequently I do not disturb the wa te r." "Rogue," said the
wolf, "you are the sheep who spoke ill of m e six m onths
ago in my absence." "I was not born," sa id the la mb.
" The n it was your brother," said the wolf. " I have no
brother, on my ho nour," said the lamb. At th ese wo rds
th e wolf, seeing that it was usel ess to reaso n a11y lo nger,
cried, " Rascal, if it was neithe r y o u n or y o ur brother, it
was your fat her, and it is all th e same." Th e reupo n he
seize<l the poor iamb and tore him t o pieces.

4. Note the punctuation with parenth etical expres
sions : There is, ltowever, a limit at which forbearan ce ceases to be
a virtue.
It takes all sorts, tltey say, to make a world.

5. Note the p un ctuation in the foll ow in g : One day in au tu mn , <i'l1c11 the ,i;·ra}cs ·ii'erc n/,·, a iox st vic
into a vine yard. (:\n important clause added .)
·whe n I3tit:i.in first, at H eaven's command, aro,;e.
portant, and, as it we re, add iti o nal phrase.)
Nn w comes th e ::Ju 11 day d111 ncr, 1e/11d1,

is a 111e,i! of some i111purla11ce.
add iti onal d e tail.)

EXER CISE I. A.-Make two conn ected s tatem e nts
about each of the se : ( 1) a brook, ( 2) wal king in a brook,
(3) dis t urbing wale r, (4) a lam b, (5) a wolf.

h'.-Re-state the foiiowi ng sen tences, but use oth er
words to express the meaning of t he italicized wo rds :
( 1) A la mb was peacefu lly paddling in a b roo k. (2) The
wolf asked why t he lamb was dist11rbt'11,i; the wa te r. Cl)
You spoke ill of me si x months a go. (4) Yuu s po ke <,f
me in my a bsrnce. ( 5) He saw that it w as useless. (6 )
It was useless to reason. (7) It is all the same.

i

I
!

PUNCTUATIO N -

1{.l'/,'l!i!l_;..," lo {,111rrrrrl ";t!i/-~· !hr· .1.nl!I:, }:c ;i. ...; ked .

T/1 011.:;!1 /if sl(/y 111r, yd wi ll

I rusi

7. J\ulc the

J,cf<>re

jH lll C tll<Ll11J11

Ti1e k i :1.:..: :i.11sw crcd,
c Llu~~'.

in d 1r1.·( t

" ;vu:<',

city

tradl'.<;:11 :111.

:-

:1;;suci:tl•; .

( C::lll~1· 0,

.....

him.
;i

direct qu,,t;t\i,,11 :-

('\•1u11 c :au"c:

Sir 7 !iom11s , r e:11111."

\ '\ u11 :1

11:n r:iii c iii .)

' ' l)er!laps ti /1asn'I

(I /It', :•

.'\ i i1 ~ c vc11turL'd lo r1.·i11 ;lrK.

...r--'

When t he qu o tnlion is long !he colon ( :) or colo n n111l da.sh (:- ) 11 1fly hf' 11 ~rd 10
Th e ir1'1irccl Jl"J rr :1:; u11 d"1"'" r1"t· r' 1·11ni r t: a 1·1 1111na. > ·
Tl1t· kin~ Jtt1 :-rn l'red S ir TJiq 1n :lS U1<\ l h t· !·il1 11ul ! rdt1n1.
1

111

1

r
I

p1·1r;t~C )

followin ~~

TV!un the bad 111e11 combine, tile !,'Oild 111 u;;t
separated hy contrast.)

He said to himse lf, " Dalt ! I don 't care."
in direct n:1 rrat irm.)

( Co ntinued).

(-Tiu Comma (Co ntinued ).-3. Note th e pu nctuation
th e fn llo w i n ~~ : .~

I

t o th e

(1\n a<lj cct i\·ai cla•1"c " Lati ns

6. l\ote t he p u nctu;tt ion in the

C.-(i) Tell what w;Ls the woifs oujcct in makin gfal se a ccusations ag;t in st the b mb. (2) Te ll why h e
saw it w;ts ttselcss to go on with his prc.:texts.
'-.,J'

21

NARRATION: .PABLES.

ENGLISH C01VIPOSITION.

I.

I\

l·~XFRC: f SE i I. -- ~t 1 :d:' the punci~i.~! i(Ji~ . ,;- ~ht ~ :--:<1r\·
abov e, and e \'p !ain the lhC <>I. e; 1cli C(J 1111 11,t c11q1i<Jynl.

22

ENGLISH COMPOSITION.

.NARR ATION: FABLES.

.....-]EXE RCIS E I fI.-Punctuate the following, assigning
reasons for the points used:-( 1) The nearer hills which
bordered the valley were half submerged. (2) i\11 work
even cotton-spinning is noble. (3) Horatius quoth the
consul as thou sayest so let it be. (4) I thrice presented
him a kingly crown whi ch thrice he did refuse. (5) Right
as usual said the Duchess. (6) Then the Queen left off
quite out of breath and said to Alice "Have you seen
the Mock Turtle yet?" (7) I never was so ordered
about . in my life never. (8) The heathen Chinee is
peculiar which the same I would rise to explain;{(9) S hakspere was not of one age but for all time.
(IO) Week in week out from morn till night you can
hear the bellows blow.

LESSON VII L

(11)

In winter I get u p at night
And dress by yellow candle-light;
In summ er quite the oth er way
I have to go to bed by day

REPRODUCTION.-Tell the story of the "\Volf and
the Lamb" in your own words, following this outline:Title.
.l11troducl1on: The place-What it was.
The lamb-Wha t h e was doing.
Tlze Story:
The wolf- Coming and seeing the lamb.
The accusations of the wolf and replies of the lambhis disturbi ng the wa ter-speaking ill of him in
his absence.
The wolfs acti on -- Tell what he did.
Conclusion:
The moral to be drawn from th e story-The pretenses of the tyrant.

COMPOSITION.-Change the circumstances to suit,
and, I. Write a similar story of a pike and a minnow.
2. Write a similar story of a wren and a butcher-bird:
They are on the same limb of a tree-The butcher-bird
says that the wren is shakin g the limb-The wren says
she is too li ght to shake it, etc. 3. Write a similar story
of one school -boy bullying another.
'

MEMORIZATION.-FROM

"A

23

HAPPY LIFE . "

How happy is he born and tau ght,
Th at serveth not another's wi ll ;
Whose armour is h is honest though t,
And simple truth his utmost skill. .

l .,,.. ''·r..
t

..

I',

t.

1·

.
I.
I·

t ·-~

.

;

I

Thi s man is fr eed from servile bands
Of hope to rise, or fear to fall ;
Lord of himself, thou gh not of lands ;
And having nothing, yet hath all.

-Henry .Wotton .

THEME: THE COUNTRY MOU SE
TOWN MOUSE.

AND THE

Once upon a time a country mouse invited his fr iend
and relative, a town mouse, to visit him in the fields.
The invitation was duly accepted, and the country
mouse opened his heart and laid his store hospitably
before his guest. There were peas, and barley, and nuts
-everything, he thought, that would suit the palate of
his dainty friend . The town mou se condescen ded to
nibble a bit here and a bit there, But at last he
exclaimed," What a wretched life you lead here, amon g
your rocks, and woods, and fields! You really must
come with me and I will show you in town the life th a t
is worth living." The country mouse very humbly agreed,
-and the two set off to town .
Arrived in the city, the mice made their way to an
elegant apartment in whic h the remains of a great banquet
were spread. They found there all the delicacies and
luxnries of the city. The country mouse tasted one dish
after another, and was full of delight at his new fortune.
But suddenly a door opened, people came in, an d th e

·,.. •,

24

ENGLISH CVl'vIPOSl:.L'ION.

two fri g hte ned mice made their escape only with difficu lty. When all was again q ui et they ret urn ed to their
repast, but once m ore they had to run and hide the mselves in te rror. Fina ll y the co unt ry 1~1"u ,.;c 'i ;tid to lii~
friend, "This fine life is all very welt fo r Y"ll; l1 ul 1
prefer to eat my g rai ns of barley in peace and sec urity. "
And he sca mp ered back to the fields, a nd n ever visited
the city again.
EXERCISE I. A.-Tell somet hin g abo ut each o f t hese :
(1) a country mouse, (2) a t own mouse, ( 3) a n invitation,
(4) a mo use's dinn e r in the fi eld s , ( 5) tlie town mou se 's
op inion of the co untry, (6) a mou se 's dinne r in the city,
(7) the clangers o f city life, (8) the country m ouse's
opinion of the city.
B.-Re- writc the fol lowing se nten ces , but use o ther
words to express th e mea11ing- of t he italicized wo rJs:
( 1) The invi t:-i ti o n was duly accepted. ( 2) T he co11ntry
mouse opened !ti's !teart. ( .\ ) He !azd !tis store lwspita/J!y
before his ~u c st. (-t ') A11 ti;: 11 :.:: c11u!d .mi'! Ins p11/,i.',-.
( 5) T he town m o use m 11drscrndtd t n 111 hhle a hit.
(1 1) Tlic v went t11 ;u 1 di;,; 1111! r1/1r 1r/1 11<"1il.
( /) Tl 1is fi1 1c
life is ti,// very w ell for you. \ K) He sr·a mpo·rd bad· to
the fields.
C.- ( 1) Tell why the tn\\'n m n 11 ~e d es pis e d th<.'. co11ntry life. ( 2) T el l why the count rv mouse r~ave up the
pleasu res of th e city. (.) ) \Vi i:ci 1 1llUlhC 11;\s ri ,c; ht?
\ \ ' h ·;

?

E XER C IS IO: l f.-(1 ) \\:ri te the invi tat ion that you
imagine the cu uutry muu"e se nt tu the tow n m o use.
(2) \Nritc the an:;wer that yo11 imag in e the town m o use
sent accepting tbe invitati on. (Sec p . 74.)

PUNCTUAT !Ol\i - ( Contin"ed).
Tlte Comma (Contin11ed) --8. No te th e mean s to mark

orderly re lation of successive words in similar rel a tion:There were peas, and barley, and nuts. (Successive nouns.)

NA Ii /!A T!OS:

V ·l liU;:{

Clo1·cr, Sweet l;crn , Co\\'s l1p 1 Butte r-cup, ;rnd in" 't " ( thei r
playmates, besot1~hl him l o relate o n<! oC h1, , 1u ril·,; .
They were all dripping wet, cross, and un c vmfurtal,lc.

(Suc,•.

Cl'~ :-ii vc :1djc ct1vcs ) .
.,Arid" with t.w o word ii 11 C'(' d ~ 11 0 ('Q nin\!l. :-TIH·y Wt: r e id! c r 0~:oi lt.nd 11two!llfo rt al.I·· .

E very fe ath er

\\''.lS

pme, l1right, glitterin g g11ld.

.Ii
i.

object is whi te kid

r

Sink o r swim, live o r die, s urviv e or perish, [ g ive my hand
and my hea rt lo this vote. (Successive pairs of wurds.)

Not.e tha. l the eomnin.

ii~

~lon:·g.

omitted

w·1 en

the adjeetive

nHLk es 11p o. 1.J1raRf! .

th e n '"''e write , - L11q;c while ki<l

It t l11 ·

g-lm · e~ .

9. Nute the means to marl.; ellip sis :-Caesar had his Brutu s ; Charles tilt: Vi rst , L' e. h:t<lj L: ,
Cromweli.
Th e commn. nrnr he o mi t te<l it th t! 8e nse Is

cl~a r

wiLho ut it : W or t h rnak c,.;

tli ~

11 1a11 1

t.h (; wiuit ut it the fd.low.

i '

IO. >T o t e the means to indicate cl au ses in a com puund
or comple x sentence :Sudde nl y a door opened , people ca1ne in, :u1J the 1n1c«
" ' ' :1p1«L
"i "l1 c p in 1..~ s ro c ked, t he stunn cJdicd, :u1d the

1: .1111c s i l': t;H·(i

lH.·:1\ 'l" il\\'.t r (J.

'i'h c

c:t\(·rptll;·1r puffc:1 i

;i \ \';1y

\\" t ~li<>ll l ~ 1 1 1 · : 1 k1i1 .~, 1H 1t ;1t ::1-..t

1 1

un folded it s arms, too k tlit: hook :ih 011t ut its mvutli, alld s:u d,
"So yo u think yo u're cl1:111 g nl, d1> yuu?"
Ex ERCTSE i I I. - Stud y the fable
ti 1L: t: 'i C o f ca c i1 c111111na l'iDj i l oyn! .

above ;u1r! c x phi 11
.. ,.,

1V. -- \Vritc a!ld p unc tu; lt c: ( t) Th e .'ill !\
µas:;es thro ugh di rt y places ycl re ma111s pure a s \i , (,, , "
(2) He liked the g reat wide stran ge pbcc, an d tl1 c
cool fresh bracing air. (3) AJdress yo ur lette rs to 111:·
bankers Messrs. D row !l S hipl ey and Co. I .c1nd o 11.
(4) There was a Duck and a Dodo a L11ry .u1d ;111
Eaglet and several other curiou s creatures. (5) A t
midnight t he storm abated the rolli ng cl o uus parteJ
and the stars gl ittered keenly above th,: ~kcpin g
camp.
(6) F rom all these furrow i11 ;;; l'lou g hsh arcs
EXLlZU:OL

.

·~

.

213

ENGLISH COMPOSITION.

from the feet of oxen from a labourer here and there
who was breakin g the dry clods with a hoe the
wind carried away a thin du st like so much smoke.
(7) Ditches and banks of g ravel denuded hillsides
stumps and decayed trunks of trees took the place of
woodland and ravine. (8) And what With th"! innumerable variety of greens the masses of fo liage tossing in
the breeze the g limpses of distance the descents into
seemi ngly impenetrable th ickets the continual dodging
of the road which made haste to plunge again into the
covert we had a fine sense of the woods and spring-time
and the open air.
REPRODUCTION.- Tell the story of the Country Mouse
and the Town Mouse in your own words. Outline:-

Tt'fle.
lnlroduclion: The two friends; the invitation.
Tile Story: THE FIRST SCENE-Tell abou t the two mice d ining
j·n the country, and th e rem a rk of the town mouse.
THI·: SECOND SCEN E.- Tell about the arr ival in town
of the mouse, the dinner in the city, and the remark
of the cou ntry mo use.
Conclusion : The de pa rture of the coun t1y mouse.
COMPOS ITION I. Write a similar story about a wild
song-bird and a tame canary bird. 2. Write a similar
story about a wil d rab bi t and a tame rabbit. 3- Write
a similar story about a country boy (or girl) and a town
boy (or g irl).

ADD IT ION AL

THEMES.

COMPOS!T!ON.-Write in your own words, or imitate in a suitable
story, the fcllowing 1 :- I. The Fox and the Stork. 2. The. F ox and
the Crow. 3· The Wind and the Sun. 4 The Fox without a Tail.
5. The Country Maid and her Milk-can. 6. The Frogs ask in g for a
King. 7. The Lark and her Young Ones. 8. The Miller, his Son,
and their Ass.
1These fables may be rentl to :he cln!'S frmn A-~op's "Fn.hles," a new ve rsion by
ThomruJ Jn1ne~, pu11IL~ hed by J oh11 M.urrtl.)'.

io the "Thirtl Re...ler."

Son1e of ..+)top's Fa.hies are given briefly

NARRA TION: STORIES FROM TJIE BIBlE.
CHAPTER llI.-STORIES FROM THE BIBLE.

LESSON

IX.

MEMORIZATION.-PSALM

XXlll.

The LORD is my Shepherd; I shall not want. He maketh me to
lie down in green pastures : he leadeth m e beside the still waters .
He resto reth my soul: he leadeth me in th e paths of righteo usness
for his nam e's sake. Yea, though I walk throu gh the valley of the
shadow of death, I will fear no evil: for thou art with me; thy ro il
and thy staff, they comfo rt me. Thou preparest a table befo re m e
in the presence of mine enemies: thou anointest my head with
oil ; my cup ninn et h over. Surely goodness and mercy shall follow
me all the days of my life: and I will dwell in the house of the
LORD for ever.
THEME: DAVID AND GOLIATH.

There was once i"n the land of Judea a rosy-checked
lad who kept his father's flock in the 0 11tly ing fi elds.
Thou gh young and of no g reat size he had more than
once shown his hi gh spirit. Wild beasts used to come
to harry the sheep, and he had ofte n to dcfenJ h is fl ock
against thei r attacks. This lad, by name Da\'id, was
sent by his father t o ca rry _food to his brothers who \ITrc
in the camp of King Saul, fighting agai nst the Philistines.
Now the Philistines h <id a champion, Goliath of Gath,
a mighty man of gigant ic stature, whose spear's staff was
as a weaver's beam, and his spear-head of almost t went y
pounds' weight. This man came daily to cry to the men
of Israel, "Choose a man for you. and send h im to fi gh t
with me. If he be able to kill me, then will we be thy
servants; but if I prevail over him and kiil him, th en
·shall ye se rve us." Hut th e re was no man in brae] to
match hini in stature, no r in th e s trength of bis ar111our.

,.

28

NARRATION: STORIES FRO.~f THE BIBLE.

ENGLIS !I COlvIPOSITJON.

When David h eard the words of Gol iath hi s h ea rt
burned that his nation should be so defied, and h e
ent reated Saul to send .him to fi g ht th e gigantic Ph ilist ine. But Saul was doub tful, because David was only a
youth and unproved . At last he consented, a nd gave
David armour and a sword. But David had had n o
experience with these things, and they weighed him
down. Casting them aside, and takin g only hi s sling,
he ran down the vall ey. As he wen t he picked up five
smooth ston es from the brook, and p ut the m in hi s
shepherd's po uch. \ Vhen the Philistine drew near, David
ran to meet him, and as he ran he fitted into his sling a
pebble from his wallet, :iml lo ! the stone h e thre w at
Goliath Aew a nd struck th e g iant on t he forehead, a nd he
fell to th e earth. So David p rev:iiled over the Philist ine
with a slin g a nd with a ston e. Then, because he had no
sword, h e ra n and stood upon the Phil istine, and drawing
the man's sword out of its sheath he cut off his head with
it. When the Philis tines saw their .champi o n dead, they
fled. David rece ived much hono ur from the people, a nd
was made the Kin g's a rm our-bearer.
EXERC ISE I. A.-Make two connected statements
abo ut each of the fo llowin g : -( 1) Judea, (2) keeping a
flock, (3 ) wild beas ts, (4) Phil is tine, (5) David's courage,
(6) armour, (7) a sword, (8) a sl in g, (9) shepherd's
pouch.
B.-Re-state the follow ing sentences, but use ot he r
word s t o express the meaning o f the italicized words:( r) In the 011tf)1i11g fi elds. (2) A mighty m a n of gigf/11/ic
stal11re. (3) 1f I prc1ml over him ye shall st!rve us.
(4) l J is h eart b11rnn i that his nat ion s ho ul d be so defied
(S) He m trea!t'd S aul. (6) I l e was only a youtlt and
11npi-ovfd. (7) The J'hi li st ine drew uear . (8) David
rfcci<•ed muclt /1011our.

2!)

C.-( 1) T ell what was Dav id'.s .usual occupa~i?n.
(2) Tell why David went to th e k111g s can'.P· (3) I ell
why David would not \~car the .a rm our g iven him. by
Saul. (4) Tell how David prevailed over the Phil1st111c.
PUNCTUATION-( Continued).

Quotation JV[ar!.:s.- I. Note the means to indi ca te
quotation ('' ") :Goliath cried to the children of Israel, " Choose a man fu r
you."
"I'm sure I'm not J\da, " she said, "for her hair goes 111
such long ringlet s."
"You arc old, fath er \Vil\iam," the young man said.
\\'he n th e qu otation is state1l, hut not in ex:t<·t w o nh~, 110 marks of quotatio 11 are
used : The young man said father \Villiarn wa.e old.

2. Single quotat io n marks ( '' )sho uld be used \1·hcrc
the quotation occurs within a q uoted passa g e.
\V e rl'.::td thi s in the !\tuck Turtie's story: "A lice could hL·:ir
him si <'hin" as if his \wa rt wnuld lire:ik. '\Vh:ll is his sorrrnd '
she asked fhe Gryphon. 'It's all his fancy, that. '" (Quotation
within a qu otati on.)
8ingl c '111otnti o11 marks nrc frequc11tly used with titles of hooks.

Tile Apostroplti!.-I. Note the sign of the possessive
case:Man's inhumani ty; St. James's church; Keats's · poems.
(Possessive of si ngular nouns.)
l'ropcr noi111 s cndini; in~ freq11c-> ntily a.rewritten with only( ' ) in the posaesl!live. >i ote
t.ho spt>cial plirnses with •· emkt!," ~udi u.:t "for co n ~it-nce' ~ake," ·•for goo<lne-s.-t' !'1..1.ke.'

The ladi es' c:ipes ; th e Germ:rns' schola rship; the Romans'
honou r. (Possessive of plurals in s.)
The chil dre n's hour; the mi ce's party; Engli~h mcn 's ;iride.
(Possessive of plurals by vowel ch;-1 nge.)
The npostrophc is not

rt:'111ireJ

wit.Ji the possessive pronoun~. i ~ . ht·r~.

011rH, y o \l rM,

thei l'H.

2.

N ote the means to indicate el ision of a letter or

ktter!'i ·-

30

ENGLISH COMPOSITION.

NARRATION: S'l'ORIES .FROM THE BIBLE.

Whoe'er has travell'd life's dull round.

LESSON X.

The Revolution of '76 [i.e., of r 776]; the men
1745].
of '45 [i.e.,

MEMORIZATION.-PART OF PSALM CHI.

Th e Lord is merciful and gracious, slow to anger, and plenteous
He will not al ways chide: neither will he keep his
in mercy.
anger for ever. He h ath not dealt with us after our sins; nor
rewarded us according to our iniquities. For as the heaven is high
above the earth, so g reat is his me rcy toward thern that fear him.
As far as the east is from the west, so far hath h e removecl our
transgressions from us. Like as a father pitieth his children, >O the
Lord pitieth them th at fear him. For he knoweth our frame ; he
remembereth that we are dust. As for man, his days are as grass:
as a flowe r of the field, so he flourisheth. For the wind passeth
over it, and it is gone ; and tl1e place thereof shall know it no more.
But the mercy of the Lord is from everlasting to eve rlasting upon
them that fear him, and his righteousness unto children's child ren ;
to such as keep his covenant, and to those that remember his
commandments to do them.

3- Note the peculiar plurals of fi g ures and letters:'You r 4's and 7's are alm ost as hard
s and 11 's.
to distinguish as your

tz

EXERCISE IL-Explain each apostrophe used in the
sto ry above.
EXERCISE I I I p
sons:. - unctuate correctly, assigning rea( l)

Say n ?t good -night,but, in some brighter clime
13id me good morning.
,

2
( ) Every subjects duty is the ki nds. but e
b" , ·
soul is his own ( 3) M. d
f' '
very iiu Jects
the
d I
..
' W your ps and c[s. (4), Whom
{3P ~ ov<1i:_d 1e_young , was sa id of yore. (s)' A jolly
1
p ac.$ said h<J m times of old !(SBut something ails it now 11

(6)

(7)

.

(<

:>-:ris pJ~asant su n; to sec ones name in print;
A books a Book altboug!; theres nothing int.
1,AYou are old/ather W illiam ,the young man said
nd your h.11 1 has become \ •cry white .
J
And yet you incessantly stand on yo 1; head
Do you think at your age it is right ~ 1
:I'

TI!EME: THE FINDING OF

.

Mose.;.

, The second chapter of Exod us read to the cla..q~ will furni sh the model and the
tna.terial ot th is stndy. The st.ory shoul<l l;e reviewed orally, according- to the outline
below.

RE~RODUCTION.-Tell the story of David and Goliath

m your own words, using the follow ing outline·Title.
.
Introduction: K
] udea--Tb
e
country
of
D
.
I
av1c.
.
cep1 11g ti1 e nock - David defends it from b. t
David 's brothers- The need of David t eas s. I
camp of King Saul.
o go to tie
The S lor:r:
The Ph'l·
·
G
1 1st1n es- .oJiath the g iant the' 1
.
The chall
D .
1r c 1amp 1on.
'
.
•
Dav· ' . c_nge- . av 1c1.l?cnrnttcd to fight Goliath .
td s p1 eparat1 ~n - J he a rm our which he could
not wear; _l;1s sl ing; the pebbles from the brook
The battl e- J be dea th of Golia th .
·
Conclusi(ln: Flight of the Ph ilisti nes.
David's reward.

31

.

.i

I

J '
I

!.:
I·

l

EXERCISE I.-Secure brevity in the followin(';, by using
one word in place of the italicized words :- ( r) The
Niagara district abounds in places where they grow grapes.
(2) We saw a great many people gather at the door.
(3) The speaker was often cheered by tlwse who came to
hear him. (4) The great writer is a great doer of ,r;ood
deeds. (S) He g·ave me the book as somet/1i11g to rc111i11d
me of the occasion. (6) The men w!to wert! captured were
released. (7) The man w!to tltinks always of himself i,.;
even more odious than the ma11 w!to eats to e.rass.
(8) This is a list of tire men w!to owe me monq. (9) If ere
is a second list of tlwse whom I owe money to. ( 10) One's
life is of more importance than zultat om belz'c;1rs.
(Ir) Judge not according to what things seem to be.
(12) Cromwell and Milton were living at tlu same time.

32

ENGLISH COMPOSITION .

NARRATI ON: STORIES FROitf 'l'IJE FiJRLE.

( r 3) The sec re tary gave t he records to tlte man wlio
came after ltim.

(S) Birmingham has two chief stations viz the New

PUNCTUATJON-( Con tinued).

. Tlte S em ico/011.-I. Th e semicolon (;) indi ca tes a very
marked division in a co mpound senten ce:-

Honour and shame from no co nd iti on rise·
Act we ll thy pa rt, there all the honou r li es.'
The sem icolon marks here a separation o f the ch ie f
cla uses, and also the connectio n of the two.

.

2 . lt is th e usual mark wh e n the clauses have s ma ller
d ivis ions m a rked by commas: -

To watch the corn grow, or th e blossoms set ; to draw hard
breath over ploughsha re or spad e ; to read , to think, to Jove,
to pray, a re th e thmgs that make men happy.

3. Note the punctuation in the follo win g:-

Street Statio n and the Snow Hill Station. (6) Every
nation has its poet; e-g· 1 Greece , its Home r ' Rome its
Virgil · Eng land, its S hak spere-1Germany )ts Goethe. (7 )
The ' ~ flutterin g of th e fan" 1s the last .)and indeed thl:
m as terp iece of the whole exerc i se ~ but . if a lady Jocs
not mi s-spend he r tim e, she may make herself mistr c ~ s
of it in three m onth s. (8) It is no d oubt a g reat pr i\i lege to vis it foreign count ri es; to travelrsay_ in Mexico o r
Peru ; to cruise among the P ac ifi c is lands. (9) H untin g
and sh ootin g are th e only business o f hi s li fe .fo x- hounds
and pointers lie about in every pa rl ou r,ancl he is hi m se lf
like P istol always in boots. ( 10) In the hcd ges , crim son haws a nd sca rl e t hips a re wrea t hed with hoary
clemat is or neck lac:es of co ral briony-be rries; t h e brain bl es
bu rn with many -coloured fl ames.;the dog--wood is bronzed
to purple;.,and he re a nd there the spi nd le-wood µ u ts fur lh
its fruit, like k nots o f rosy buds, on fra il delicate twi gs.

There arc more convenient weights and meas ures than the
Engli sh ; e.g., the metric system of F rance.

C O MPOS ITI ON.- Tell the story of "The Fi nding of
Moses," usi ng- the follow in g o utl in e :-

The smnicol on is thus used with ns , vb:. (,·id eJicet, namely), e.g-. (exeni pli grntia
:u.1 ex1u11plc), i. e. (id eill , that itt), when followed Ly exam Jett .

Title. l11 troduct1011: The Israeli tes captive in Egypt -- Pharanh
orders all the baby boys tu be kiiled - i\luscs burn.

~o r the snke

?'

rnetu.nccs, ::ipce1 licn l10ns.

P

'

IL-Explain the uses of the semicolons
that occ ur in " David a nd Goliath."
EXER C ISE

. EXER C rSE r I T. - Re-write, punc tuate co rrectl y, g ive
1easons :-( 1) 'N e a r ~ a wonde rful people.it was neve r
our governm e nt whi ch made us a great nati on · our
governr~cn t has bee 1: o::ver a drag
o ur wheei s. · (:2)
Hon o u1~ com_e by d 1hge r1 c.e ; ri ches sprin g from economy.
(3)_ M_en s evil manners live m brass ; their virtues we
wnte 111 wat~r.

0:1

(4)

A}l
A ll
All
All

Nat ure is but Art un k n own to thee :
C hance, Direc tio n, which thou canst not see ·
Discord, Ha rm ony n ot unders tood
'
p a rti a l Evil, uni ve rsa l Good.

I

~~
.

l
~
;

f

Th e S t my: I-li s moth e r weaves a lit tle bo:1t c-,f rnslws and daubs
it with p it ch-She sets thi s afloat o n the N il e, p11 h the baby in it,
and hides it am ong th e reeds on the ri ve r b a n k·- H is siste r watch e s
al a little d istance- P haraoh's da ug hter comes to b;i t hc in the r ive r
- Fin ds the bahy a nd re sc ues him - Th e sis ter, Miriam . com<·' 11 p.
and th e prin cess send s h er for a nurse- She fe tch es hn motl:er Thus Mnses esc a pes d eat h, to be brou ght up in Phar:u)h'-; C<>11rt in
all th e Je;1rn i11).; ,.f the l ·: .~v!'l i;u is .
Conclu sion : The marvellous
from the life thus preserved.

3

r esu l t~ to

Egyp t and the Israel Hes

·•·· ';...

34

NARRA'l'lON: STORIES .FROM THE BIBLE.

ENGLISH COMPOSITION.

_ _ - - . ( 7) The shore extends ---, - -- ,
. d grows - -, - - , _
_ _, (8) ,The w111
· (9)h The
·
d s - -, - - , - - . (IO) We return ome
fog descen

LESSON XI.
MEMORIZATION.-PSALM I.

- , - , - . lJ

Blessed is the man that walketh not in the counsel of the
un godly, nor standet h in the way of sinne rs, nor sitteth in the seat
of the scornful. But hi s delight is in the law of the LORD; and in
his law dot h he meditate day and ni gh t. And he shall be like a
tree planted by the rivers of water, that bringeth forth his fruit in
his season ; hi s leaf al so shall not wither; and whatsoever he doeth
shall prosper. The ungodly a re not so: but arc like the chaff
which the wind ~lrivet h away. Therefore the un godly shall not
stand in th e judgment, n o r sinners in the congregation of the
ri ghteous. For the Lord knoweth the way of the righteous : but
the way of the ungodly shall perish.
THEM E:

PUNCTUATION-( Continued).

The Colon.-I. The colon (:) is usually a mark of a
.. . ·
greater d1v1!;1on
1·n the clauses of a senten ce than that
denoted by the semicolon :You see me, Lord Bassanio, wh ere I stand,
Such as 1 am : though for myself .alone
1 won.Id not be ambitious in my wish,
To wish myself mu ch better ; yet, for you
I wou ld be trebled twen ty_ times myself ;
A th ousand times more fair.
\Vhen the subordinate clause! t.re su bd .IVl"ded b y s emicolons
.
' t he ma.in cln.uses are
usuati 1. separated l!y colons.

GIDEON'S VI CT OR\'.

l;
.

35

Note the punctuation in the following : -

The seventh chapter of Judges, nasigned lo the pupils for prh·ate read ing , will
furnish th e mate rial and model of this study. The .story may be re ,·iewed in cla.se
and the outline mn<le.

2.

EXERCISE I. - Gain brevity in the following- by
usin g one word in place o f the italicized expression;
e.g., Italy is a country bordering mt tlzf' sea= Italy is a
maritime country:-( r) The boy that is easily frightened
suffers much from those wlto are at scltool with l1im.
(2) The boy given up to thought wi ll prove the better
scholar than th e boy given up to talk. (3) This cottage
covered with 11i11es is situated quite near to the forest.
(4) In the distance you see a castle entirely surrounded
by the oceaTL. (S) That is the Duke's seat, and that of
lzis ancestors. (6) The family have held it for ten generatt;:ns, one following after anotlzer. [/.,

The story is as follows: "'Ne were separated by a

EXERCISE IL-Gain fullness of expression by adding
appropriate adjectives to each of the following; eg. , The
sailor sank unkn1?/led, uncoffined, and alone. (I) The·
weather is - -, - - , - - . (2) The road is - - , - - ,
(3 ) The river Rows - - , - - , - - . (4) The
valley lies - -, - - , - - , beneath our eyes. (5) The
sky i s - - , - - , -- . (6) The sea spreads before us

Quoth the Raven: "Nevermore."

storm in the latitude of 73°" · · · ·

.

The colon is frequ entl y slrengthened hy " d ""h • in whi ch caec 1ht! quoLatwn
usually forms a.new parllgraph.
(
Comma 7) when the quoti&.tion conlaios
The colon 18 preferred to the comma see

I

several sentences.
to) le req uired· d
l . ·1 t ..
Wh en tho qu otation depcndt1 directly 6n a preced 1n~ wor no IJ I . I I
Th e Queen never left off ti houting ••Off with his hea<l ! "o_r "c H~ wit\ ltr iea.< .
Note also the puolishers' imprin>,- New York; The Macn11ila11 Co.
.

Tlze Daslz.- I. Note the punctuation of the following,
where the writer sudden ly breaks off his discourse:From the toµ of tl1e mountain, he could see -what could
he not see?
2. Note the effect produced by the pause that the
dash suggests here : . .

' 'r

Strike -for your altars and your fires ;_
Strike-for the green graves of your sires.

.. 3- Note how the parenthesis is marked in the fol' lowing:-

NABllli'l'lUN: CL ASSICA L MYTBS .

ENGLISll CO.MPOSITION.

C HAPTER I V.-CLASS l C AL

Farewell ! for in th at word - th at fatal word - there breath es
despair.

Her voice was ever soft, gentk:, and low,-an excellent thing
in woman.

, sONG

MEMORIZATI ON. - ! \ RIEL S

Old Crimes is dead that good old man
We ne'er shall see him more.

(4) Sweet is reve nge espec ially to women.

(Indi cnt.e t he hrol<en word 1't of !he Npeo.1'er.)

ADD IT IONA L TH EMES.

J oseph sold into Egypt (Genesis xv). 2. The
story of Dani el (Da ni el \'i). 3. The story of the Prodigal Son
(Luke xv). 4. The story of Ruth (Book of Ruth).
COMPOSITION I.

N "THI': TEMPEST ."

THEME : E CHO.

In faith 'twas strange 'twas passing stra nge ,
'Twas pitiful 'twas wondrous pitiful
She wished she had not heard it yet she wished
That Heaven had made her such a man .

(6) The ancie nt time-piece says to all Forever never
never forever. (7) The illuminations bega n before we
arrived and I must confess that u pon ente ring tile
gardens I fo un d eve ry sense overpaid with more than
expected pleasure the li ghts everywhere glimmering
through the scarcely moving trees, the full-bodied
concert burstin g on the stilln ess of the ni ght th e natural
concert o f the bi rds in the more retired pa rt of the
g rove vyin g with t hat which was formed by a rt the company gaily d ressed look in g sat isfac tion and the tables
spread with va rious delicacies all conspired to fill my
imagination '\vi th the vi sionary happiness of th e Arabian
law-gi ver and lifted me into an ecstasy o f admiration.
COi\IPOS ITION . D raw up a formal outline and tell the
story o f "Gideon's Victory."

I

\.Vhere th e bee sucks, th ere suck I :
l n a cowslip's hell I lie ;
There l couc h when owls do cry,
On the bat's back I do fly
After sum me r me rrily.
Merrily merril y shall I live now
U nder ~he b lossom th a t han gs on th e b°.u gh.
_William ::,/iakspo1.

EXERCISE III.-Punctuate, assigning reasons:( 1) The question th en is this Had C ha rles I. broken the
fu ndamental laws of Eng land? (2) At last the Gryphon
sa id to the Mock T urtle drive on old fellow.

(5)

i\IVTIIS.

LESSON XII.

Th e comma. is likewise used; see Comma 4. Someti mes the two n.re C'ombined.
Th e dash indic.n.tes nlso omitted wo rds or letters :- ll is Gm e the D- o f W-.
1t. is sometimes used with exempli fica.iiomi :-The answer is in three won1n-health,
pen.ce, competence.

(3)

37

,.

/n

In olden days there was a nymph or spirit Jiv'.1f1g
E J o She h ad a O' J t io r
the wood s whose na me was c • .
.
."' . . '
.
torics 'vVhcnever she tuld <l s t rn)
te llin g cl 1arm 1ng s
··
.
·
.t a 11d listen with no notion 1iow time
h er hearers wo u11
c 51 <
•
•
was
was assing. Even Jupiter, kin g of gods a nd ~en,
.
P
J 1·1 I to hear the wonderful ta les that
. .
amo ng those w 10 1<ec
·•
d J un o g1C\\
Echo told. But Jupite r had a w11e, a n
, an r b ecause he left beaut iful Olympus, th e home ol
g. yods to o to the woods where Echo Jived a nd told
the g . ,
gl t as a dan gerous matter to in cur the wrath
her stones.
w
.
l
··
·1 Q
of Heave n, and Juno p urn shed rnppy, me1 l y
f
o t 1e ueen
. f eech She could
Echo by takin g from he r the powe1 o sp
·. .
d
re rett s tori es; she could on ly m1m1 c an ret el l no mo p d~ f others This troubled her so that
peat the last wo r s o
·
·
T
~ : ined away, and at last she beca me only~ voice . . o
sh_ p
h arhe r call in rr among t hehdls , send1ng
this day you may e
"'
back th e last word s of eve ry cry.
, I A - Make two connected sen~c~Kes_abo_ut
EXERCISE · ·
] ( ) livin g 111 t11e
each of the followin g :-( 1) a nymp1, 2

38

ENGLISll COMPOSITION.

woods, (3) the ancient gods, (4) mimicking a person,
(S) the echo among the hills.
B .-Re-state the following sentences, but use other
words to express the mea ning of th e italicized words:( r) Echo had a gift for telling cltarming stories. (2) It
was a dangerous m;.itter to incur tlte wrat!t of Juno.
(3) ] uno took from her t!te power of speec/1. (4) Echo
was so unhappy that she pined away.
C.-(r) Tell how people listened to Echo's stories.
(2) Tell ~vhy Juno was angry at Echo. (3) Tell how
Juno punished Echo. (4) Describe an echo.
Gai°: variety of expression by notin g many aspects of
an action ; e.g., the door creaks and ba11gs; the boys
laug lt and s/1out.
EXERCISE II.-Add two or more verbs descriptive
of the sounds made by eac h of the following: ( 1) The
wind. (2) The trees. (3) Th e sea. (4) The fire. (S) The
clock. (6) The tea-kettle. (7) The bell. (8) The chain.
(9) The waggon. (IO) The crowd.
EXERCISE III.-Add to each of the followin c:r the
verb that expresses its characteristic cry; e.g., Th~ owl
!toots. (r) The dog - - . (2) The hound-- . (3) The
c~t - - . (4) The hen - - . (5) The pig---. (6) The
pigeon - -. (7) The cow--. (8) The sheep--.
(9) The hors; --. (IO) The colt---. (11) The frog
(12) file cow - - . ( 13) The sparrow - -.
p4) The wolf - -. ( r 5) The lion - - . (16) The
Jackass--. (17) The cricket--.
PUNCTUATION-( Continued).

Tlte Exclamation Point.-Note the means to indicate
exclamation in sentence, phrase, and word:0 that I had wings like a dove !
Come, ho! and wake Diana with a hymn.
All the perfumes of Arabia will not S\\'eetcn this little hand.
Oh, oh, oh !
\Vhi spering with white Jips-"The foe! Th ey come!
They come ! "

39

NATWA'l'lON : CLASSICAL MF1'HS.

Tlte Interrogation Point.- The Interrogation is used
to mark a direct question. Note th e punctuation of the
following :"Oh say, what can it be?"
"A barrowful of wlwt?" thought Alice.
Where be your gibes now? your gambols? you r son_gs?
your flashes of merriment, that were wont to set the table m a
roar?
\Vhere the questions are slight subdivisions of the continued discourse capital

letter~

a.re not. re(1uired.

Where the question is ind irect (cf. p. 6) the interrogation poi nt is uot. needed:He asked what good ca.me of it.

.

·l

EXERCISE IV.- Re-write and punctuate the following;
assign rea;;ons for each point yo u u ~e :~(!) A l~orse a
horse My kingdom for a horse cned Kmg Richard.
(2) He asked you if you went home. (3 ) He asked you
did you go home.
(4) Ch arge,Chester,cha rge lon, Sta_nley. on !
\ .Ve re the last wurd s of M anrnon.

( 5) Peace ho how now what news.
tail our cat has got.
11

(6) vVhat a monstrous

(7) \.Vhat can ennoble sots, or sl:i.ves or cowards
Alas not all th e blood of all the Howard ·.
•,

It

(8) If a fish came to me 1said the Mock Twtle _and told
me he was go in g a journey) I sho~Iu. say, ~1th what
porpoise ' ' bon't you mean purpose ~aid Alice. (9) 0
mighty CaesarJ d_ost thou Ii~ so low tare all t~y conquests_, glories / triumphs, spoils 1 shrunl< to this little
measure. ~
REPRODUCTION.- T el l the story of "Echo" in your
own words, using the following outline:Title.
Introduction: Time- The woods - Where Echo lived.
The stories Echo tol d.
T!te Story:
Jupiter- Chief of h er listeners:
Juno 's wrat h- The reason for 1t.
Echo's punishment- \Vh at became of her.
An ec ho now - \Vhere you have hea rd one and what
Conclusion:
it w;is like .

40

\

ENGLISLI GOMP08lTION.

f '

lf.'

LESSO!\ XIII.
Mi,;MORIZATION. -STANZAS FR 0~1 "CH tLDE

. '

HAROLu."

."I·' . .
I

Adieu, adieu! my native shore
fades o'er the waters blue;
The night-winds sig h, the breakers roar,
J\nd shrieks the wild sea- mew.
Yon sun that sets upon the sea
We follow in his flight;
Farewe ll awhile to him and th ee,
My native land-Good Night.

I

' ,,I

With thee, my bark, I 'll swifily go
Ath\\'art the foam in g brin e;
Nor care wh:1l l:tnd thou bear' st me to,
So not again to mine.
Welcome, welcome, ye dark blue waves!
And when you fail my sigh t,
Welcome, ye deserts a nd ye caves!
My native land-Good Night !
-Lord Byron.
THEME: JASON AND THE G OLDEN FLEECE.

Once two little children, in peril of their lives, were
rescued by a faithful ram, who carried them away on
his back across the sea towards a far country called
Colc his. One of the children fell into the sea and was
drowned, but the othe r was brought safe ashore. The
ram, however, was so exhausted by hi s long swi m that
he lay down and died . In memory of this good deed
the fleece of the ram was changed by the gods into
pure gold, and hung on a tree in a sacred grove , where
it was guarded day and night by a fierce dragon.
A young prince named Jason, sta rted out from Thessaly, with forty-nine heroic companions, to win this

i,'

i

I.

'f.

~

I

I

NAB.RATION: CLASSICAL MYTHS.

41

Golden Fleece. They sailed in a ship called the Argo,
an<l were in consequence known as the Argonauts.
After many and strange adventures they reached Colchis. Soon after their arrival, Jason bade the Argonauts
man their vessel and be all ready to get away again
quickly. He himself set off for the g rove to kill the
dragon and carry off the Golden Fleece. So terrible was
the dragon that Jason had small chance of success.
But the princess of Colchis, named Medea (me dealt),
came to his aid by throwing a magic powder down the
dragon's throat. The monster fell into a heavy sleep,
and Jason, seizing the precious fleece, ·rushed back to
the Argo. The rowers were seated on their benches
with their oars in the a ir ready to fall into the water.
On came Jason, and making one bound he leaped on
board. The heroes raised a mighty shout, to the sound
of which ::he galley see med to leap over the waves.
Thus Jason achieved his quest.
EXERCISE I. A.-Makc two connected sentences
about each of the following:-( r) a fleece, (2) the sea,
(3) animals swimming, (4) a grove, (S) a dragon, (6) the
Argo, (7) magic, (8) rowing a boat, (9) a galley.

B.-Re-state th e following sentences, but use other
words to express the meaning of the ital ici zed words:(I) The ram was so e.r:ltausted that he lay down and died.
(2) In memory of this deed the fleece was changed to
gold. (3) The fleece hung on a tree in a sacred gro\·e.
(4) After many adventures they reac!ted Colchis. (S) They
were in consequence known as the Argonauts. (6) They
were ready to get away. (7) The princess came to !tis
aid. (8) Thus Jason achieved lzis quest.

C.-(1) Tell why the ram carried the children away.
(2) Tell why his fleece was changed to gold. (3) Tell

42

ENGLISH COMPOSITION.

what Medea d id to help J ason. (4) T ell why he bad e
the Argona uts be ready and waiting fo r hi s return.
EXERCISE IL-Gain brevity by reducing to one word
each of the following it a licized expressions ; e.g-., The
play was pre pared in a lmrry=The p lay was hurriedly
prepared. (I) The farmer returns towards !tis !tome.
(2) He sees his son shooti ng in a careless tnamier at
squirrels. (3)_ He thinks he has negle.c,l:ed his. work on
purpose. (4) fhe lad is clever beyond wltal is common.
( 5) Yet he creeps, like a snail, not at /us ow n wis!t, to
school. (6) At school he sits £11 an uncomfortable state
till tb e bell rings. (7) Then he rushes out like a storm,
in a nortlter/;1 direction, to his favou rite haunt by the
creek. (8) \iVhat will beco me of him in lite time to come?
E x ER C!SE I IL-Ga in fullness of description by observin g- th e various ways anything acts or happe ns; e.g-.,
The teacher spo ke at 011ce, quietly but firmly.
EXE!{CISE IV.-Add one o r more suitable adverbs
descriptive of each of the following :-1. The wind blew
...... about the old house. 2. The fire burned ..... .
in the stove. 3. We drew our chairs ...... round the
hearth. 4. Th e n .... .. Jane began to speak. 5. She
t?ld us .. , .. . the story of the Halton ghost. 6. We
listened . . . . . . . 7. Jack g rew .. .... afraid. 8. Alice
crept ..... ~ to her mother. 9. Even the older ones
were .. . ... affected by the tale. 10. Outside the snow
drifted ... . .. about the house.
p UN CT U A TI O N -(Continued).

)·

EXERCISE V.-Correct the following as to punctuation
and capital letters; assign reasons for the changes you
make :-(1) Fl?w dO\~nfold rivuie90.the se~. (2) Lord
Ronald gave his cous11) lady Clare) a ldy-wh1te doe..
(3)

Break brea k break
At the foot of thy crags 0 sea

(4) On the top of each was a most dreadful bogy all
teeth horns and tail which was the crest Sir John's

NARRATION: CLASSICAL MY'l'liS.

43

ancestors wore in the wars of the roses. (5 ) The win d
blew a gale from the north the trees .roare~ th ~ corn and
the deep grass in the valle;-:s fled 111 wh1te111ng surg_es
the dust towered into the ai r alung the road and dispersed like the smoke of battle.
(6)

And whi le he whistled long and loud
He h eard a fierce rnerrn aiden cry
o boy th o' thou art young and proud
I see the place where thou wilt lie.

(7)

wh enever the moon and stars are set
whenever the wind is high
all ni g ht long in the dark and wet
a man goes riding by

'

(8) I thank you for the snip of cloth commonly calle~ _a
pattern at present I have two coats and bu t one back 1f
at any time hereafter I should find myself possessed of
fewer coats or more backs it will be of use to me.

REPRODU CTlON.-Tell the story of" Jason a nd ~h e
Golden Fleece" in your own words, usin g the following
outline:-

i .·
I

I
'l

Title.
.
Th f . 1 f l
Introduction: The time-The children in penl.e a1t 1 u ram.
The Golden Fleece- How t he ram's fleece came to
be turned to gold.
The grove and the dragon- How t he fleece was
g uarded .
Tlte Story: Prince Jason and his crew- \ Vho went . to get the
fleece. Medea and Ja son-The mag ic powder ;
how the dragon was overco me.
The achievement of the quest- How Jason escaped
with the fleece.
Co11c/usio11: A com ment on Jason's heroism.

~t. '

'-

NARRATION: CLASSICAL MYTHS.

ENGLISH COJIPO::JLTION.

LESSON XIV.
ME~tORIZATION . -VoLUNTARt F:s.

'

In an age of fo ps and t oys,
\\' antin g wi sdom , vo id of ri ght,
Who shall move heroic boys
T o h;mu<l all in Freed om's fi., ht Brr.a k sharply ()ff th eir jolly g a~ 1 e~ ,
Forsa ke th eir co111 rad es gay,
And l! Uit proud ho111es and youthful dames
F o r famine, toil, a nd fray?
Yet on the nimbl e a ir ben ig n
S peed nimbler messages,
That \\'aft the brea th of grace divine
To hearts in s lot h and case.
S o nigh is g rande ur to o ur dust
So n ea r is Goel to m a n,
'
\Vh cn Dut y whi s pers low, Thou must,
The youth replies, J can.

- Ralph I-Valdo Emenrm.
TH E ME:

P 1m s E U :5 ANO MED USA.

On a n island in the midst of th e sea there Jived three
terrible sisters ca lled Gorgons. Th ey were monstersh al f wo men and hal f d ragons. Th ei r fac es were beautiful, but they had braze n hands, a sca ly sk in, and in stead
of !:air, snakes. Worst of al l was the terri ble power o f ·
th ei r eyes, for whoever looked one of th em in the face
was forthw ith turned into sto ne. Of th e three the most
formidable was named Medusa (me dew'za).
Hearing of these fearful bein gs, Perseus (per' slwos a
/I
young Iiero wh o th irsted for advent ures, set o ut to cut
off ~ed.usa's head wit h its snaky locks. The gods came
to his ai d : Pluto lent h im a wonderful helmet that made

'i
I
l

45

him invisible; Minerva a shield so bright th at it could
be used as a mirror, and Mercury a sha rp cu rved sword ,
and his own winged sandals, which enabl ed the ir wearer
to fly like a bird.
Binding on the sandals, Perseus fl ew over sea and
land until he reached the island where the Go rgons
lived. He dared not look down at th e land for fear he
should gaze on the Gorgon's face and be turn ed into
stone. U:;ing th e bright shield as a mirror, he saw
reflected in it t he three Gorgons asleep on th e seashore. He took his sharp sword, and with his eyes fix ed
on the image in the shield, flew down a nd cut off the
head of Medusa. The hissin g of her snakes arou sed her
sisters, but they could not follow Perseus, because, th an ks
to Pl uto's helmet, he was in visible. Perseus escaped with
Medusa's head and presented it to Minerva in token of
his gratitu de t o the gods, t o whose help he owed his
success. P leased with the g ift, Minerva placed the horrid
head on her sh inin g shield, so that her enemies when
they looked on her in battle might be turned in to stone.
EXERCISE I. A.-Make two connected sentences
about each of the following :--( 1) the Gorgons, ( z) the
island of the Gorgons, (3) Perseus, (4) the helme t of
P luto, (S) Mercury's sandals, (6) Medusa's head.
B.-Re-state the followin g sentences, but use other
words to express th e meaning of the italicized words :( 1) They had twi11ing snakes instead of hair. (2 ) P erseus
thirsted .for adventures. (3) He used the bright sh ield
as a mirror. (4) TILanks to Pluto's hel met he was invisible. (5) She placed the horrid head on her shield.

C:----(1 ) Tell what help the gods gave Perseu s.
(z) Tell how Perseus avoided bein g turn ed into stone.
(3) Tell what Perseus did with the head of Medusa.

46

NARRATION: CLASSICAL MYTHS.

ENOLISll COMPOSITION.

EXERCISE IL-Unite the short sentences in each
group into one sentence; e.J;., I was dead tired. You
may fancy this= I was dead tired, as you may fancy.
(r) I awoke. It was broad day. (2) W e had scarcely
i:a.sse? the hea?land. The sho re opened out. (3) I was
tn111kmg _of this chance. I was watchin g till the sai lor
turn ed his back. I stood ready to drop into the sea.
(4) Everybo?y len t a hand. The work went on briskly.
( S) The sold ier did not fire. He was afraid that he would
alarm the enemy. (6) The bridge was built. There were
great difficulti es to overcome. (7) Supper was eaten.
We gathered round the camp fire. John told the story
of his adventure.
EXERCISE I I I.-Complete the statement in each of
the following:-(1 ) judge not lest...... (2 ) The little
fish will gro w big provided . . . . . . (3) How small a
thin g . is. man un less . . . . . .
(4) They would have
escaped if . . . . . . (5) The Ind ians could not have
discovered them had . . . . . . (6) T.h ey came to Canada
in order that . . . . . . (7) They return ed to Scotland
although . . . . . . (8) I cannot meet them here for . .. .. .
(9) Will it satisfy you, suppose . . . . . . ( 10) While' ,
. . . . . . and before . . . . . . the deer scented them and
escaped.
REPRODUCTION. - Tell the story o f "Perseus and
Medusa" in your own words, u.sing the following outline:Title.
lntroductio11: Th e Gorgons- \Vh o they were what they looked
like, what they could do.
'
The island-Where th e Gorgons lived.
Tlze Story:
Perseus- 'Who he was; hi s adventurous spirit; how
the g-ods aid ed him.
Th e adventurc---1·1ow he found l\T edusa and succeeded in hi s enter prise.
Perseus's g-rat itude-v\lhat he did with the Gorgon's
head.
Conclusion:
Minerva's approval.

47

LESSON XV.

.
f

\

MEMOIUZATION. -FROM "EDINBURGH AFTER FLODDEN."

News of battle !-news of battle!
Hark ! 'tis ringing down the street ; And the archways and the pavement
Hear the clang of hurrying feet.
News of battle! who hath brought it?
News of triumph ? Who should bring
Tidings from our noble army,
G reetin gs from our gallant King?
All last night we watched the beacons
Blazing on the hills afar,
Each one bearing, as it kindled,
Message of the opened war.
All night long the northern streamers
Shot a cross the trembling sky : ·
Fearful li ghts that never .beckon
Save when kings or heroes die.

-William E. Ayloun.

!
~·
l

THEME: THE FALL OF TROY.
The city of Troy had for years resis-ted the attacks of
the Greeks. Valiant men had fallen on both sideseven Hector, and Achilles (ak £!' tz), and Paris. Then
a certain Epeius (i! pl' us), by the counsel of the goddess
Athene (at!t i!' 11i!), devised the trick whereby Troy was
at last taken. The Greeks made as though they had
given up the siege; they burned their camp and sai'.ed
away. However, they did not go far, but lurked bchmd
an island a few miles from Troy. They left after them
o n the Trojan shore a g igantic horse of wood, inside of
which the bravest of the chiefs had hidden themselves.
In the morning the Trojans gathered around the
ho rse, hesitatin g whether to convey it into the city or to
destroy it. At this point a cunnin g Greek, who had let

,.

ENOLI::JH COi'vfPOSJTION.

NARRATION: CLASSICAL MY'flIS.

himself be made prisoner, led the people to believe that
if the wooden horse were once brou g ht in side the citadel
it would be the safeguard o f Troy. The d el uded
Trojans then took the ho rse in triumph through the city
up to the c itadel.
That night they feasted, for they
thought that the war was ended. But while they
rejoiced the Greek fleet silently 1·e turned. The chiefs
came out of the wooden horse and began to attack the
city. They se t it on fire and threw open the gates for
the Greek army to enter. In the battle that ensued the
Trojans were utterly defeated. So Troy fe ll.

village. (S) The mariner is gone. H e has a bright eye.
He has a beard hoar with age. (6) These are the
"Waverley Novels." Scott wrote these novels in his
later life. They are the masterpieces of rom a ntic fiction.
(7) Some boys m ~~e up a fis_hin t:: party. They went to
the deep pool. I.he pool lies JUSt below the bndge.
They began to fish at the pool.
Do not overbalance the main statement by too many
subordinate clauses. K eep your sentences clear and
nimble. Subordinate clau ses can often be better expressed by a word, or phrase, o r simple sentence.

EXERCISE I.- Compose sentences usin g the following words :-( r) resi st, (2) valiant, (3) devise, (4) depart,
(5) camp, (6) lurk, (7) hesitate, (8) safeg ua rd, (9) citadel,
( ro) delude, ( 11) defeat.
EXERCISE I I.-lVIake a brief statement about each o f
the following, so as to summari ze the whole story:(I) The sieg e of Troy. ( 2) The men who fell. ( 3) Epeius.
(4) The Greeks. (5) The wooden horse and the Trojans.
(6) The attack of the Greeks. (7) The fall of Troy.

Toron to th e chief C'it.y of Ontario, llnd which L long desired to "isit," bec:n1 sc "and''

48

TJIE SENTEN CE.
Complex Smtcmc.-The complex sentence e nables us
to modify a simple assertion by a subordinate assertion .
Study the folloll'ing, underlin in g the main statement:Vari ety is the very spice of life, that gives it all its flavour.
.
Whith er thou go<.:st I will go.
The stream, which "'incls through th e park, makes a bend at
the foot of a gentl e bank that sweeps down from the house.
EXERCISE [IL- Reduce to a complex sentence eac h
group :- (1) 'We sat in the old farm-house. Its wind ows
looked over th e bay. (2) The fl ame lit t he battle wreck.
The flame shone round him. (3) I have found the
shee p. The s heep was lo st. (4) T remember the village.
I was born i11 th e vill age. T went to ,;choo l-hou,;e of the

49

E~pecinlly avoid con!'tructions with "o.n.<l who," "and whi ch,'' etc., unl ~RS y~ u
have already used "who, " "which" in A. like clause. Do not say : "I nrrn·e<l in

must co~nect lik.e coni:Jtructiona. \\.rite: '' 1nrrived1n Toronto, which i ~ the chi ef city
of Ontario and which I loPg desired to visit." Or more simpl y : "I arrived in the
chief city ~t Ontario, Toronto, which I had long desired to vi.it."

EXERCISE IV.-Improve the following sentences by
reducin g the number of relative clauses: (r) I stopt
on the way to speak to the dcctor whom I found attending a little gi rl who had been slidin g on th e ice and who
had broken her wrist. (2) John came t o his fath er who
told him that he mu st pay for the window that wa s
broken with the mon ey whi ch his uncle gave him wh en
he found the purse whi_ch he had lost. (3 ) Th e cliffs
\vhich are steep and high at this point are cove red in
summer with heath er which decks them in beautiful
colours which blend with the red sandstone and the
rrreen foliage, which is something to be seen. (4) The
~un was on e given the boy on his birthday and which
had never before been discharged, which made him a
little afraid to fire it. (S) The valley, which ex tends fo r
twen ty miles and which surpasses in fertility all other
distri cts, needs ma ny days to exa mine, even if you take
the railway that trave rses it on the west and th e steamboats that ply upon the river which fl o ws throug-h it.
REl' lWJ>UCTION.- Study the form of previous outl in es
on pp. 39, 43, 46; draw up an outline of "The Fall of
Troy;" re prod uce the story.

50

ENGLISH COMPOSITI ON.

N ARRATION: CLASSICAL MYTHS .

LESSON XVI.

the dark ; I felt th e li;iwscr shck(·n once m ore, and wi1h a ;.:<> <•d ,
t(111;.:l1 effo rt, c ut the I.1st 1;1n<'s th1<n1 ,;li.

Ex E i.: CIS E.-Com porn1r.l tho.~e se ntences in eac h g r"'I! '
that have a real conn ect io n in thought : - ( 1) \Ve ]'LJllcJ
easilv. \Ve landed at the mouth o f the nvcr. Tlw11,
bcn,iinr' to our left \\'C bc (T:1n the ascent of the ,; J,,1 >1:.
(2) Th~ street was 'smali. ~·l t \\'as what is caik·d q1;i<:t .
It drove a thriving trade on the \\'eek-clay s. ( :)l T h e
nig ht grew darker. The sta rs see med to s ink d n·i!LT
in the sky. Driving cioucls occasionally h id them fr" m
h is si g ht. He haci never felt so lonely and dis111H.1.
(4) I rose softly. I sl ipt o n my clothes. I opened ~ he
door suddenly. I beheld one of the most bt.:autifui
groups a pai nter coul d imagine It cons iste d of a boy
a nd two girls iovciy as se raph<;.

MEMOR I ZATION- " EDINBURGH AnTP
( L...1
,,..o fl 1·I!/ II(d) •
. " r.IODDEN'"
r '"'
.:. ,

N cws of battle ! ·who hath brought it?
All are thro nging to the g-a te ;

" T•Vrzrder - wardcr / open quickly /
1lf<L11- is !/11s a lime l o w ail .r "
And the heavy gates are opened:
T he n a murm ur long and loud,
And a cry of fear and wond e r
B urs ts from out th e bending c rowd.
For th ey see in b a ttered harness
Only one hard- s tri cken man;
And his weary steP.d is wou nded,
i\nd liis check is pale and wan ;
Spearless hangs a b loody banner
In his weak and drooping hand \Vhat 1 can th:it be ]{andoiph Murray,
Captain of th e c ity Land?

•.

T HE SENTENCE. -( Continued ).

Tile Compound Smte11ce.- The compound sentence
e nables us to m ake two or m o re principal s tate ment5
in th e same sentence. Su ch st;item e nts, to be t hus
joinf'rl, mll ~t ha\'e a real co1111 cct i"'1 i11 ' tlmu <' ht ·To
compound sc!llenccs \\"e may use cvnjullctions Jik~ and,
but, e tc., or we m ay put them siJe by side, markin g the
divisiun by comma or semicolon.
~h e. u snnl C~ ·or<li 11:itri .c0 n j11n<'tion " :\rP: nnd . or, nnr. "itlwr . . 11r , i wit!H'r .
~or, '.1 ut, not on ly . . . b11t. T he follow in g hnve likewiAe co-o rrllnating- force: AI~.
hkc \YH:ie, t.h cn, n r-, · u1·tlid~~, y t!t; !.:be 1 etc .

l awoke one mornin g- and found my se lf famou s.
\\'c 11;,d nu power to anch o r th e sl11p, yc l dan· d not i,.,,,c], lwr.
/ \ t. l.1 ~t the u re cze came; t he schooner sidled ;i nd drew nearer in

k~RT7EF~~ '.I'

-tji~~~~·5e

r-

C OMPOSITION. - Ulysses and the Cyclops.
Tille. fn/rodudirm : Fall o f Troy- Departure of the \.ree k
pn nces -Uriven far and \\' ide before they reach home , lii ys'e'
(J'C'i:U 11.s' /~ ) fart11 e:,~ .

-Aytoun.

---r7- ,· : ,,.·

GJ

."!
!

L

Tiu: Story : He sets sai l from Troy- Re ach es the land "f th< ·
Cyclops (sr'k!ops)- Sees a g reat ca ve-Takes twelve cf Li s me n
and e nt e rs it-Finds lambs and kid s, basket s of chee se a nd pailc;
of mi lk-Th e Cyclops is away- His companions wi sh to t.< k1·
provi s ions a nd depart - U lysses wants to see the Cyclops- Hi s
wi s h is ~ rat ified --The Cyclops returns - a mighty gi :u1t, t" •-·11 1.,
fr c: l in ln· i~ht or innrc. h:ts Uut one eye, wliich is

i11 th e 1111d dle () f
tlrc - .'-1ecs U ly-, '-'t"S and L i ~ c o1 n 1i:t11: o n -.:. -A sk s who they 3.re-Thcy say th ey are Greeks and be g ht hp 1-

his fnrc [H·; td - \i-Ltkcs

;1

t:1l 1 :~· - - H c ~n:1t c h c s u; ) tw o o f t11t-l11, te:\rS ;i nd c_:;it s t : H·1 n·- · L,;, ..,
down to ske p- !Jevours tw o more for breakfast-Cue s iurth : 1 .~ a111
-Ulysse s finds a ll\i ght v pole, hig as a shi p's m cht - Fr"rn tl:i s he
cuts a fathom's leng th -Hc s ha r pen s and h:1 rdens it in the 1·11eThe Cvclops comes lwme - E:.ts tw o rnnrc m e n - \ \'hilc h e sll'C i"
Uly sses heats his pole an d thru sts it into th e Cyclop,'s ,.ye.

Co11dusio11 :- Ulysses anJ 11is surviving co11iraLles escape to thc· ir
ship.

!

--·

,-.. ;;

.b'NGLISH COMPOSITION.

NARRATION :

"EDINH URCII AFTER FLO!JDEN"

MYTJJS.

53

Sludy t he three ways in which subordination is here
effected.

LESSON X VII.
MEM ORIZATION -

CLAS~ICAL

(Conlt"nued).

EXERC TSE.- R ed uce the following groups each to a
long sentence :- ( r) The hunter walked th rough the
wood. The hunter saw a d eer. The d eer was clnnk111g
at a pool. (2 ) He closed his eyes. He seemed to sec
his native village. It was as if in a dream . The vi l:agc
lay in a quiet valley. (3) 'Ne turned from the main
road. vVe we nt up a narrow lane. The lane was th ickly
shaded by forest t rees. We came in sight of the cotLt~~c.
(4) I found the old a ngler. He was seated o n a_ be nch.
The bench was before the door. He was smoking his
pipe. It was in the soft evening sunshine.

J{ight bitte r was th e agony
That wrung that soldier proud :
Thrice d id he st rive to answ er,
And thrice he groa ned al oud.
Then he gave the riven banne r
To the old ma n's shaki1w hand
Saying- " That is all I bri71g ye '
From the b ravest in the land !
Ay ! ye may look u pon itlt was g uarded well a nd long,
By your broth ers and yo ur chil d ren,
By th e va li an t and the strong .
One by one they fell around it,
As the archers laid th en1 low
Griml y dyi ng, still unconq uered,
\Vith their fa ces to th e foe."

COMPOSITION.- Tell of "The
Ulysses," following this outline :-

-Ayl orm .

TIIE SENTENCE-( Continued).

The Long Sentmcc.-The long se ntence compa red
wi_th tl~e sho:t se n tence may say more, rnay express
thmgs m the ir relative importance, a nd mav ha ve the
charm o f rhythm.
Compare thi s grou p- o f s ho rt
sentences w it h t he co rrespondi ng long sentence :-, A . T hey passed .t hrou g h the ravine. T hey ca me to a hollow.
fhe hollow was like a small amphi th eatre.
The hollow was
su rro un ded by pe rpend icular precipices.

The ma in thought is their a rrival at a peculiar holl o w
- all else must be subordinated to that chief no tion.
Hence:
·
B. Passing th rough a ravine , l!t1y r11me to" !tollfl1o, like a s mall
amphitheatre, s urrounded by perpendicular precipices.

Home-Coming

of

l£

Title. / 11/roduction: After many years and mu ch wandering
Ulysses returned to hi s own city.

i

Tire Story: Comes to his pal a ce- The old dog, Argus, which
he h ad rai sed h imself, kn o"'s his master, but no one cl~e docsHe wags h is tail and droops hi s ears-:- Ulysses wi pc;'_;i""1'' .a tearAsks h o w so fine a clO'" cou ld be left m the co urt- I he swine-herd
says, "H e be longs to~' maste r th a t died far a"·ay. _!he G•reiess
women tend him not "- /\ s he spoke th e dog died- l wc nty year '
he h ;td wait ed and now at last he saw his m;lsl er - U lysses' wifr.
Penelope (pen el'op e) had heen besieged with sui to rs-A t la sl, in
despair, she p rom ised to brin g out the great bow of UlyssC's, :ind
to marry him who could wield it-The nex t day wa s the day of
the tri al --l'cnelope says, "Herc is the bow of the grl"at lJlyssP'.
\ Vhoso shall bend it easiest in hi s hand s, and shoo1 an ar ro"'
most eas il y throug h these twelve rin gs, hi m \\'ill I f.,llrnv "-All
the suitors tr y and fail - Then U lysses hand les the gre at bowStrings it without effo rt-Takes an arrow from the quiver- Lays
th e notch up on th e strin g and dra ws it- The a rrow passes throt1);h
eve ry ring and stands in th e wall beyond-Th en Pen C'lope knows
him for her hu sband-They weep ove r each oth e r and kiss each
other

I'

~1

l
.,,
I,

.

Conclusion: Comment on the joy of the return home after
twenty years' absence.

j

"l

:'.'I

'J

N ARRA TION: CLASSICAL MYTHS.

LESSON XVIII.

COMPOSITION. - Tell the story of " O rpheus and
Eurydice."

MEMORIZATION .-0RPHE US.

T!t eme. fntroductiflJ1 : The sweet singer, Orph eus (m"/ews )All liv ing things ch arme d hy hi s mus ic : birds, trees, strea ms .
T!te S tory: His beautiful young wife, Euryd ice (yew rid'i .«')
--A se rpent stings her and she dies-Orpheus seeks he r in the
Land of th e Shades- His mu sic wi ns a passage a cro >s t!t c Riv er
of Death, a nd m akes th e watch-dog of the pass let him enter
the land of the 'dead - Pluto, kin g- of the Lower \ Vorld , g rants his
praye r and resto res Eurydice to him --13 ut there is o ne conditionHe must not look back at Eurydice till th ey a re out of th e Shades
- They n ear th e Upper \Vo rld- ·-Orpheus c;innot forbea r g iv ing
o ne b ackward glance-His wife must return to tl1e Land of Shades.

Orphe us with his lute ma<le trees
And the mountain tops that freeze
Bow th em selves wh en h e did sing;
To his music plants and flowers
Ever spring; as' sun and showers
There had made a lastin g spring.
Everything that heard him play,
Even the billows of th e sea,
Hung their heads, a nd then .a y by;In s weet music is such art 2 ,
Killing ca re a nd gr;i ef of h ea rt
Fall asleep, or hea ring die.- vVil!iam S !taksj>ere.
1 ao

55

ENGLISH COMPOSITION.

if.

•that (understood).

EXER ~ ISE.-Ga in brevity, subordination, and rhythm
by reducrng each of the following groups of sentences t o
one compact long sentence:-( 1) I parted with the o ld
~ngler. . I inquii:ed after his place of abode. I happened
LO be near tl:e ~Illage.
It was a few evenings later. I
had the .c~ no~rty to seek him out. (2) I found him.
He was ltvmg 111 a small cottage. The cottage co nta ined
?nly o ne room. The cottage was a perfect curiosity in
its method. The cottage was a perfect curiosity in its
arrangement. (3 ) It was on th e ski rts of the village. It
was on a g reen bank. It was a little back from the road .
It. had~ s mall gard en in front. The garden was stocked
with kitchen herbs. The garden was adorned with
flowe rs. (4) His schoolhouse was a low buildin g. It
was composed of only one room. It was rudelv const:ucted of logs. The windows were partly glazel The
wrn;Iows were partly patched with leaves of copy-books.
(5) fhe s_ch ool-hou se stood in a rather lonely s itu ation.
It stood 111 a r_Jleasant sit uation. It stood just at the foot
of a wood}'. h ill. I_t had a brook runni ng cl ose by. It
had a form1clable b irch t ree grow ing at one encl of it.

Conclusion: The gri ef of Orpheus till his death.

. ''~

LESSON XIX.
MEMORI ZATION. -FR OM

"A

\V1 SH . "

Ha ppy th e man whose wish an d care
A few paternal ac res b ound,
Content to breathe hi s native a ir
In his own g round.
Sound sleep by ni ght; stud y and ease
Togeth er mixt, sweet re creation,
And inn ocen ce, which most does please
With med itat ion.
Thus let m e live, un seen, unknown;
Thus unlamented let me die ;
Steal from the world, a nd not a ston e
. Tell where I li e.
-A!l'xaJ1der P ope. (Written at t!te age of t wd11,• j.

EXERCISE.- Turn each clause in the following into a
simple sentence, whenever the clause is really an independent principal statement:Th e pupil must 8edulouely avoid Jong compound sentences jo ined arbitrarily h.,.
and'-4', lml'x, so's, and tlurn'R.

(1) I am not goi ng to relate the voyage in detail, it
was fairly prosperous and the ship proved to be a good

.-;

ENGLI::JJI COMPOSl'l'ION.

NARRA'l'lON: STORIES-ANClENT 111 ::31'0 1\1".

ship, the crew were capable seamen and the captain un derstood his business. (2) The crowd surged
about the entry and some made th ei r way in but others
were crushed against th e barriers but one poor woma n
was overcome with fear so she cried o ut for hel p so a
passage was made for her and she escaped. (3) The
boat" sank by the ste rn and so far there was no harm
done and no lives were lost and we cou ld wade asho re in
safety but there were all our stores at the bottom and
only two guns remained fit fo r service. (4) The fair
breeze blew and the white foam fl ew and the furrow
fol lowed free and we were the first that ever burst into
that sil ent sea. (Co mpound by p un ctuation o nly.) (5) It
was o n an autumn day when th e grapes were ripe and a
fox sneaked in to a vi neyard and th ere he saw a g reat
many bunches of g ra pes hangin g on hig h, so he tri ed to
reach them and jum ped a nd jumped but he could not
jump high en oug h, so he could not get them and he got
very ti red at ljist, so he said to himself" P shaw! I don 't
care, the g rapes are sour anyway."
COMPOSITION.-Tell the story of" King Mid as."

CHAPTER V.-STORIES FKOM AN CIENT Jll STORY.

56

7i"/le. /11/rod11dirm: Silcn11 s, the jovial Satyr, often d runk, once
lost hi s wa y- Broug ht to King Mid as he was royally receiv ed - His
pupi l, th e youn g god Bacchus, offers th e King as recompense any
gift he will choose.
T/1e S tory : J\I idas's choi ce is th e Golden Touch- · th a t is, th a t
everyth ing he touc hes shall turn to gold- Result as to f1ow ers,
books, food , drink- The g ift is a curse, not a blessing-- Prayer to
Bacchus-The g-od in pity takes it away.
Co11cl11sio11: l\ lid as bathes in river Pact'olus- ls free fr om the
fatal g ift- The ri ver sand s are s till go lcl'cn to -day. -k
AD DlTIONAL THEMES. 1

COMPOSlTlON- I. Phaeton. 2. Niobe. 3. The Garden of the
Hesperi des. 4. At alanta's R ace. 5. Kin g Admetus. 6. Hero and
Leander. 7. Pyramus and Thisbe. 8. Ulysses and the S irens.
9. Ulysses and the Lotos-E;tters. Io. ·Scylla and Charybd is.
II. Nausicaa.
I2. The Death of H ercule s. IJ. Theseus and
Ariadne. 14. I phi ge nia. 15. Th e Dea th of Hector. 16. Laocoon.
1 ~fatc rird for these ''nm positions is fo und in Gayley's "Classic Myt.hs in J!.ngliah
Literature." (Doat on: c:im11\ml Co .)

.57

LESSON XX.
MEMORIZATION.-FROM "THE ISLES OF GREECE."

The isles of Greece ! the isles of Greece !
Wh ere burning Sappho loved and sung,
Wh ere g rew the arts of war an d peace,
\ Vhe re Delos rose and P hoebus sprung!
Eternal summer g ilds them yet,
But all, except their su n, is set.
The mountains look on MarathonAnd Marathon looks on the sea ;
And musing there an hour alone,
I dreamed that Greece might still be free;
For standing on the Persians' g rave,
-Lord Byron.
I could not deem myself a slave.

TH E ME: TIIE BATTLE OF MA RATHON.

For a century and a h~If the cities of Greece struggl ed
against Persian invasions, until at !ast the Greeks
themsel ves under Alexander invaded and conquered
Persia. Early in this struggle Darius ( dar i' us) , the
Persian King, sent heralds to Greece demandin g earth
and water as tokens of subjection to him. S ome of
the cities weakly yielded, but Athens and Sparta, the
leading cities of Greece, refused.
Darius in wrath moved his forces a gainst them , and
encamped on the plain of Mar'athon, supported by his
fleet, which lay in the bay of the same name. Athens
had great cause to fear, for Marathon was but twentytwo miles from the city; yet no Athenian dreamed of
submitting without a blow for freedom. The Athenians
sent for aid to Sparta. So swift of foot was t he courier

58

ENGLISH COMPOSITION.

NARRATION: STORIES-ANCIENT HISTORY.

Phidippides (fi dip' ides) that he made the journey of
one hun dred and fifty miles in forty-eight hours. Sparta
promised her help, but by ancient custom the Spartan
troops might not set out until the moon was past its
full.
This mea nt a delay of five days, during which
time Athens might fall and Greece be ruined.

(4) Marathon, (5) the line of an army, (6) the wings of
an army.
B .- Use other words to express the meaning of the
italicized words:-( I) Darius demanded earth and water
as tokens o.f subjection. (2) Some cities weal;/)' yielded.
(3) They would not subm it wit/tout a blow .for .free1om.
(4) The moon was past the .full. (S) Baj/led at all po111ts,
the .Persians withdrew.
C.-(1) T elJ how "earth ancf water". could be tokens
of subjection. (2) Tell something about Phidippides.
(3) Tell why the Spartans did not come to the help of
Athens. (4) Tell what you think of the Athenians at
Marathon. (S) Tell what you think of Miltiades.
EXERCISE II.-(r) Point out three complex sentences
in the preceding story; re-write the subordinate parts as
si_nple sentences. (2) Point _out three compound s~n­
tences ; re-write the parts as simple sentences. (3) Po~nt
out three sentences having subordinate parts with
participles ; re-write the subordinate parts as simple
sentences.
EXERC ISE II I.-State in a sen tence or two what each
paragraph of the story is about.
REPJ{ODUCTION.-" The I3attle of Marathon.''

The Athenians, by the advice of their chief general,
Miltiades (mil ti' alt des), marched straight to Marathon. Looking down from the hilJs they saw the great
Persian army, which must have out-numbered their little
band almost ten to one. The Greeks, descending to the
plain, spread out in a long thin line, and ~barged across
the open at a full run, sounding their war-cry as they
advanced.
So furious was their onslaught that the
Persians could use neither cavalry nor bowmen. The
Persian line on both wings broke and fled to the sh ips.
In the centre the Greeks, breathless from their long
run, were driven back. Hut Miltiad es brought up his
victorious wings, and attacking the Persian centre with
his entire force soon had the enemy in full flight. The
marshes swallowed up many of the flying men, hundred s
fell by the swords of the victors, bu t a vast number
made good their escape to the ships. The Greek loss
was only one hundred and ninety men.
The Persian fleet would fain have attacked Athens in
the absence of the Greek forces, but Miltiades, divining
their p ur pose, marched back his weary troops and
reached Athens just soon enou gh to save it. Baffled at
all points, the Persians sailed away, and Athens, for the
time, was safe.

I. A.-M;ike two con nected sentences about
(1) Persia, (2) Alexander the Great, (3) an encampment,
EXERCISE

! -;;

i'·

\.

·~ ·;

......

59

Title.

Introduction : Greece and Persia-Their relations.

'
I

TM Story:

.

I
I

Conclusion:

Darius and Greece-His heralds and demands; how
the Greek cities treated th em.
The invasion- Marathon ; Persian arm y and fleet.
Sparta-Phidippides; Athenian request; Sparta's
delay.
The Athenians-The march to Marathon.
The Greek formation- Their charge acros s the open.
Th~ onslaught-Impetuous attack; surprise of l'ers1ans.
The battle-The wings ; repulse of Greek centre ;
fresh attack on Persian cen tre ; defeat of Pcr,; 1ans.
The Persian fleet-- Danger to Athens; return of th e
Athenian troops; s<tfety of tli<" city.
The departure- The g lory of Athens and Miltiades.

58

ENGLISH COMPOSITION.

NARRATION: STORIES-ANCIENT HISTORY.

Phidippicles (.fi dip' ides) that he made the journey of
on e hundred and fifty miles in _forty-eight hours. Sparta
prom ised her help, but by ancient custom the Spartan
troops might not set out until the moo n was past its
full.
This meant a delay of five days, during which
time Athens might fall and Greece be ruined.
The Athenians, by the advice of their chief general,
Miltiades (mil ti' alt des), ma rched straig ht to Marathon. Looking down from the hills they saw the great
Persian army, which must have out-numbered their little
band almost ten to one. The Greeks, descending to the
plain, spread out in a lon g th in lin e, a nd cha rged across
the open at a full run, sou ndin g their war-cry as they
advanced. S o furiou s was their onslaught th a t the
Pers ians could use neither cavalry nor bowmen. The
Persian line on both win gs broke and fled to the shi ps.
In the centre the Greeks, breathless from their long
run, were driven back. .;.B ut Miltiades brought up his
victori ous wings, and attacking the Persian centre with
his entire force soon had the ene my in full flight. The
marshes swallowed up many of the flyin g me n, hundreds
fell by the swords of the victors, but a vast number
made good their escape to the ships. The Greek loss
was only one hu nd red and ninety men.
The Persian fleet wo uld fa in have attacked Athens in
the absence of the Greek forces, but Miltiades, divining
their purpose, marched back his weary t roops a nd
reached Athens just soon enough to save it. Baffled at
all points, the Persians sailed away, and Athen s, for the
time, was sa fe.

(4) Marathon, (S) the line of an army, (6) the wings of
an army.
B.-Use other words to express the meanin g of the
italici zed words:-( I) Darius demanded earth and water
as tokens of subjection. (2) Some cities weakly yielded.
(3) They would not submit wit/zout a blow f or free~om.
(4) The moon was past tile full. (S) Ba.filed at all po1I)ts,
the -Persians withdrew.
C.-(1) Tell how "earth and water ... coul d ?e. tol_<ens
of subjection. (2) Tell something about Ph1d1pp1des.
(3) Tell why the Spartans did not com e to the help of
Athens. (4) Tell what you think of the Athenians at
Ma rathon. (5) Tell what you think of Miltiades.
EX ERCISE II.-( 1) Point out three com plex sentences
in th e preced u1g story; re:write the subord inate parts as
si .11 ple sentences. (2) Pomt out three compound s~n­
tences ; re-write the parts as simple sentences. (3) Po~nt
ou t three sente nces having subordinate parts with
participles ; re-write the subordinate parts as simple
sentences.
EXERCISE II I.- State in a sentence or two what each
paragraph of the story is about.
REPRODUCTION.-" The Battle of Marathon."

EXERCISE I.

A .-Ma kc two con nected sentences about
(1) Persia, (2) Alexander the Great, (3) a n enca mpment,

59

Tille.

Jntroduclion: Greece and Persia-The ir relations.

Tire Story:

Conclusion:

Darius and Greece-His heralds and demands; how
the Greek cities treated th em.
The invasion- Marathon ; Persian army and fl eet.
Sparta-Phidippides ; Atheni an request ; Sparta's
delay.
The Athenians-The m arch to Marathon.
The Creek formation -Their charge across the open.
Tbe onslaught-Impetuous attack; surprise of Persians.
The battle-The wi ng:s ; repulse of Gree\ centre ;
fresh at.tack o n Pe rsian centre ; defeat of 1 crs1ans.
The Persia n fleet - Danger to Athens ; return of the
Ath enian troops; sa fety of th e city.
. .
The departure- The g lory of Athens and Miltiades.

60

NARJL4.'1.'ION: STOREIS-ANCIEN'l.' HD:>'l.'ORY.

ENGLISH COMPOSITION.

L E SSO N XXL
MEMORIZATION.-FROM

"THE

SIEG E 01' CORINTH."

They fell devoted, but undying;
The ve ry ga le their names seemed sighing :
The waters mu rmured of their name ;
The "·oods were peopled with their fame;
The silen t pilla r, lone and gray,
Cla imed kindred with their sacred clay ;
Despite of eve ry yoke she bears,
The land is glo ry's still and th eirs !
'Tis still a watc hword to th e earth:
When man would do a deed of worth
He points to Greece, a nd turn s to tread,
So sanctioned, on the tyrant 's head.
-Lord Byron.
THEi\l J·: : THE DEATH OF LEONIDAS.

The time came when the Spartans nobly redeemed
the credit they had lost by leaving Athens alone to fight
Darius. Darius was dead, but Xerxes (zer' zez), his son,
came in his place to subdue Greece with an incalculable
host. The cities of Greece held a congress, and determined, among other measures, to defend the narrow
m o untain defiles by which alone the invaders could
enter their country.
Leonidas, King- of Sparta, was sent to keep one of
these, known as the l'ass of Thermopyl:e (titer mop' i/e).
His force was very small , only three hundred S partans
and a few men from othe r Grecian cities. When Xerxes
drew nea r the pass he laughed this little band to scorn,
a nd ordered his army to advance and se ize th em forthwith. Forward went his troops, into the narrow dt:file,
wh ere only a few could fight at once. The light arms,

61

slight shields, and open formation of the Persians were
no match for the close ranks of the Greeks, armed with
long spears and heavy shields. The Persians fell by
hundreds, while the Greeks lost but few. For two days
the fighting continued. Even the "Immortals," the
flower of the Persian army, were routed.
But the gallant Greeks were at last betrayed . A
recreant Greek guided the Persi a ns over th e mountains
by another pass. They attacked the defenders of
Therrnopylze in the rea r. Hemmed in, the Greeks had
to choose between flight and destruction. Leonidas
declared that the ho nour of Sparta would not permit
her king to yield a pass he was sent to defend. His
gallant band were of one mind with him. They must
conquer or die at their post. They could not conquer,
but they could die, and sell their iives dearly. Th e Persian host came on, but time and again they were driven
back. One by one the Spartans fel l. As their spears
became broken they fought with their swords, a nd then
with their daggers. Leonidas was killed, and around
hi s body his men fought fiercely until the last man fell
dead.
This inscriptio n was written for the monument that
marked their grave:-" Stranger, tell the Laceda:moniansl that he re we lie in obedience to their orders."
Such glory as theirs is imperishable.
1

Spartans.

EXEfZCISE I. A .- -Express in other words the meanin g of th e italici zed words :-( 1) The Spartans redeemed
t!te credit they had lost. (2) Xerxes brou g ht into Greece
an i11calc11lable host. (3) Th e cities held a cougrtss.
(4) The army drew 11ear the pass. (S) Xerxes lattglwi
the little band to scorn. (6) The "Immortal s" were the

.ENGLISH COkIPOSI7'ION.

NARRATION: S'l.'ORIES-ANCIENT lID:iTUUY.

flower of the Persian army. (7) They chose between
fligltt and destruction. (8) Such g lory is £mperislzab!e.
B.-(l) T ell why Xerxes invaded Greece. (2) What
measures did the Greeks take to defend t hei r country?
(3) What advantage had Leonidas and hi s com pani ons
against the numbers of the Pe rsians ? (4) Why did they
resolve to die at th ei r post ?

fo rm a ives a reat force to the sentence. At times, th :re "' declarative
"'
fore the
sentence can be put with more fo rce
'
as an exclam ation.

62

EXERCISE II.-SUMl\lARY.-Write a sentence about
each of the f911owin g, so that th e six sentences make
a s umm a ry of the story of the death of Leonidas:( 1) Xerxes. (2) The Greeks. (3) Leonidas. (4) The
Persfans. (5) Betrayal. (f>) The monum ent.
TI-IE SENTEN CE-( Conti1lued).

T!te lnterrogatio11.-Compare the two forms of the
following sentences : A.
B.
A.
B.

T hou wouldst not have a serpe nt sting th ee twic e.
Woul dst th ou have a serpem sting th ee twice?

j~

I am not my brother's keeper.
Am I my brother's keeper?

We notice, first, that sentence A is declarative, a nd
sen tence B interrogat ive; second, that sentence B, thou gh
interrogative, does not call fo r any a nswer ; it is a declarative sente nce t hat has been put as an interrogation
to gain force. At tinies, therefo re, the declarative sentence, t o gain force, can be put as a question .
T!te Exclamation.-~ompare the two forms of the
.following sentences :-

'

·.I ·
'.

1$
'

',
I
~

~

·~

~ ,'

;J

.,

A. The lit lake sh in es ve ry bright ly.

.

B. How th e lit lake shin es!

' .1

A . I would g ive m y kingdom for a horse.
My k in gdom for a horse I

j

~

B. A horse! a horse!

We see, fir st, that sentence B is an exclamatory
sente nce o r exclamation ; second, that the exclamatNy

-

'

Ex ERCISE II I.-Turn the followin g declarati ve sen tences into effec tive interroga tions or exclamation s:( 1) Blessings brighten as they take th eir 0 igh t. ( 2) It
is growi ng very lat e. (3) The m~ple leaf _is_ a very cl;ar
emblem. (4) We had a very deli ghtful visi t. (5) \ ou
ca n hear the tramp of the boys as they are marcl_1111 g.
(6) The brave who d ie blest by all their country's wish es
sleep very wel l. (7 ) Our cat has got a monstrou~ tail .
(8) Life is not so clear as to be purchased as the pnce of
slavery. (9) I am not hurt a scratch. (10) I w1;>h .r
were wise. ( 11) It is a ve ry great p ity , Iago. (12) fh1s
is a Daniel come to judgment. Y oung man , l honour
thee hi ghly.
R EPRODUCTION.-Draw up a formal outlin e of the
story of the death of L eonid as , following previous plans.
T ell the story of "Leonidas," following the ou tline you
have made.
LESSON XXI I.
MEM ORIZATIQN. -

i

"

'

~j

:
'

0DE.

How sleep th e brave who sin k to re st,
By all th eir country's wishes bles t !
\ Vhe11 Spring, with dewy fingers cold ,
Returns to deck their hallowed m ould,
She there shall dress a swee ter sod
Than Fancy's feet h ave ever trod .
By fairy hands their kn ell is rung;
By forms un seen their dirge is sung;
There Honour comes, a pilgrim gray,
To b less th e turf th at wra ps their clay ;
And Freedom shall a while repair,
To d well, a weeping hermit, there!
- l¥i!liam Collins.

,,)

60

NARRATION: STOREIS-ANCIEN'l' HISTORY.

ENGLISH COMPOSI1'10N.

LESSON XXL
MEMORJZATION.-FROH "THE SIEGE OF CORINTH."

They fell devoted, but undying ;
The very gale their names seemed sighing :
The waters murmured of t heir name;
The woods were peopled with their fame ;
The silent pill:ir, lone and gray,
Claimed kindred with their sacred clay; .
Despite of every yoke she bears,
The land is glo ry 's still and theirs!
' Tis still a watchword to the earth:
When man would do a deed of worth
He point s to Greece, and turns to tread,
So sanctioned, on the tyrant's head.
-Lord Byron.

THEM E : THE DEATH OF LEON IDAS.
The time came when the Spartans nobly redeemed
the credit they had lost by leaving Athens alone to fight
Darius. Darius was dead, but Xerxes (zerzlz), hi s son,
came in his place to subdue Greece with an inca lcul able ,
host. The cities of Greece held a congress, and determined, among other measures, to defend the narrow
mountain defiles by which alone the in vaders could
enter their country.
Leonidas, Kin g of Sparta, was sent to keep one of
these, known as the Pass of Thermopy l;:e (th er mop' ilc).
H is force was very small, only three hundred Spartans
and a few men from othe r Grec ian cities. When Xerxes
drew near th e pass he lau ghed this little band to scorn,
and ordered his army to adv<ln ce and seize them forthwith. Forward went his troops, into the narrow defile,
where o nly a few could fight at once. The light arms,

61

slight shields, and open formation of th e Persians were
no match fo r the close ranks of the Greeks, armed with
long spears and heavy shields. The Persians fell by
hundreds, while the Greeks lost but few. For two days
the fighting continued. Even the "Immortals," the
flower of the Persian a rmy, were routed.
But the gallant Greeks were a t last betrayed. A
recreant Greek guided the Persians over the mo untains
by another pass. They a ttacked the defenders of
Thermopyla'. in the rear. H e mm ed in, the Greeks had
to choose between fligh t and destruction. Leonidas
declared that the honour of Sparta would not permit
her king to yi eld a pass he was sent to defend. His
gallant band were of one mind with him. They must
conquer or die at their post. They could not conquer,
but they could die, and sell their iives dearly. The l'ersia n host came on , but time and again they were driven
back. One by o ne the Spa rtans fell. As their spears
became broken they fought with their swo rd s, and then
with their daggers. Leonidas was killed , and around
his body his men fought fiercely until the last ma n fell
dead.
This inscription was written for the monument that
marked their grave:-" Stranger, tell the Lacecl;cmoniansi that here we lie in obedience to their orders."
Such glory as theirs is imperishable.
1

l.

..'

Spartans.

EXERCISE I. A .-Express in other wo rds th e meaning of the italicized words :-( r) The Spartans redce111cd
tlte credit they had lost. (2) Xerxes brought into Greece
a n i11ca/c11/ab!e host. (3) The c ities hel d a congr,-ss.
(4) The army drew 11ear the pass. (S) Xerxes !a11gl//'{I
the little band to scom. (G) The "Immortals" were the

I
:;

62

ENGLISH COlrIPOSITION.

NARRATION: S'l'OBIES--A NCIEN'l' lll::S'l'URY.

flower of the Persia n army. (7) They chose betiveen
flig!it a nd destruction. (8) Such glory is £111peris!table.
B.-(1) T ell why Xerxes in vaded Greece. (2) What
measures did th e Greeks take to defend their country?
(3) What advantage had Leonidas and his compa ni ons
against the numbers of the Persians? (4) Why did they
resolve to die at th eir post?
EXERCISE ll.-SUMl\!ARY.-Write a sentence about
each of the f911owing, so that the six sentences make
a summa ry of the story of the death of Leonidas:( r) Xerxes. (2) The Greeks. (3) Leonidas. (4) The
Persiq.ns. (5) Betrayal. (/)) Th e monument.

Thou wouldst not have a serpent sting thee twice.
Wouldst thou have a serpenr sting th ee twice?

We notice, first, that sentence A is declarative, and
sentence B interrogative; second , that sente nce B, thou g h
interrogative, does not call for any a nswer ; it is a declarative sentence that has been put as an interrogation
to Rain force. At tinies , therefo re, the declarative se ntence, to gai n force , can be put as a quest ion .

0DE.

How sleep the brave who sink to re st,
B y al l their country's wish es blest !
vVhen' Spring, with dewy fingers cold,
Returns to deck their hallowed mould,
She there sh all dress a sweeter sod
Than Fancy's feet have ever trod.

A. The lit lake sh ines very brightly.
JJ. How th e lit lake shin es!

We see, fir .~t. that senten ce B is an exclamatory
sentence o r exclamation ; second, that the exclam atory

·n

MEMORIZATION. -

T!te Exdamation.-<;,omparc the two forms of the
following sentences : -

A. I wo11lcl give my kin g-dom for a horse.
My k in g-clom for a horse!

EXEJ{ CISE I I I.-Turn the following declarative sentences into effective interrog-ations or exclamation s : ( 1) Blessings bri gh ten as they take their ~ight. (2 ) It
is growing very late. (3) The maple leaf !s. a very cl~ar
e mblem. (4) We had a very deli ghtful v1s1t. (S) \ · ou
can hear the tramp of the boys as they arc marching.
(6) Th e brave who die blest by al l their country's wi shes
sleep very wel l. (7) Our cat has got a mon strou ~ tad.
(8) Life is not so dear as to be purchased as the pn_ce of
slavery. (9) I am not hurt a scra.tch. (10) I 11·1:"~;
werewise. ( 11) Itisavery g reatp1ty,Iago. (12 ) ln1 s
is a Daniel come to judgment. Young man, [ h ono ur
thee highly.
R EPRODUCTION.-Draw up a formal outline of the
story of the death of Leonidas, follow in g previous pbns.
Tell the story of "Leonidas," following the outline yo u
have made.
LESSON XXI I.

I am not my brother's ke eper.
Am I my brother's keeper?

B. A horse! a horse!

.h

J

T!lE SENTENCE- ( Continued).
Tlte /nterrogatio11.-Compare the two forms of the
follow ing sentences:A.
B.
A.
B.

form g ives g reat force to the sentence. At times, therefore, the declarative sente nce can be p ut with more force
as an exclamation.

..,.•.
·.:'

!

By fairy hands th eir knell is run g;
By forms un seen their dirge is sung;
There Honour comes, a pilgrim gray,
To b less the turf that wraps their clay;
And Freedom shall a while repair,
To dwell, a weep in g hermit, th ere!
- !Vi/liam Collins.

',,

'·
'34

NARRATION: STORIES-ANCIENT HIS'l'URY.

ENGLISH COMPOSI1'10N.
TH EME : MAR CUS

Cu1nrus.

For three years Rome was ravaged by the plague. In
the .second year of the pestilence the Tiber, overflowing
its banks, flooded the grea t circus and put an end to the
public games. Then in the middle of the Forum, the
great open place for the courts of justice, the earth s uddenly cracked and a g reat gulf yawned. At this last
misfo rtun e the Romans thou g ht that th e anger of the
gods was kindl ed against th em, and th ey hastened to
ask the oracles what they should do.
The o rael es
answered that the gulf would never cl ose until the best
and st rongest that the Roman commonwealth possessed
sho ul d be cast into it. This answe r was puzzling. What
was the true strength of Rome?
One man understood. A noble youth, Marcus Curtius, who had gai ned great fame by brave deeds, said
that the true st rength of Rome lay in the courage and
devotion of her citizens. Putting on his armour and
mounting his horse, he rode to the edge of th e g ulf.
Before the eyes of the frightened and astonished people
he devoted himself to death for the sa fety and glory
of Rome, plunging with hi s horse h ~a dlong into the
yawning and bottomless abyss. The people ru shed up
and threw the ir treasures in after him . \Nith a surge
the edges of the gap came t ogether and the g ulf closed.
Thenceforth the place was known as the Curtian L ake, in
honour of that young hero who did not h old his life too
dear to be given up for his city.
EXERCI S E I.- 'vVrite brief sentences about each of th e
following , so as to make a summary ol the story of
Marcus Curtiu s:-- ( 1) The plague in Home, ( 2) th e
calam ities that ensued, (3) the oracles, (4) Marcus Cur-

' '
'.
l

65

tius, (5) his deed, (6) the people's actions, (7) the
Curtian Lake.
THE

'

"

SENTENCE-(Continued).

Loose Sentence: Periodic Sentence. - Compare the
sentences below with respect to the place held in -the
sentence by the main statement:-

; '

A. The mist crept slowl y up the valley as the s un went down .
B. As the su n went down, th e mi st crept slowly up th e vall ey.
A. Feed thine enemy, if he hunger.
B. If thine enemy hun ge r, fe ed him.
A. Tact carries it against talent, for all the practi cal purposes
of life.
B . For all th e practical purposes of life, tact carries it a ga inst
talent.

Sentence A , in which the subordinate pa rt concludes,
is called loose. Sentence B, in which the main statement ends with the sen te nce (period ), is periodic.
The suspension o f the main statement ti ll the close of
the sentence is sometimes effected by ce rtain words.
Compare:A. He was a man of taste, as we ll as of judgment.
B. H e was n ot only a man of taste, b11./ also a man of judgment.

Th e main statement, vvhich in A co ncludes in th e
middle, is in B suspended by means of the italicized
words to the end of the sentence.
\\'ords that hdp the suspense or the pe riodic sentence nrc :-Ei ther . . .
whether . . . or, neither . . . Hor, not only . . . liut, now . .. rH)w, H11 ch , ct,c.

nr,

A sentence may be a compromise,-th at is, periodic
in part and loose in part; t.g.,
Instead of the rollin g tide, th e ;1rched bridge, and the l.:ippy
island s, I saw nothing but th e Jong holl ow valle y of Bag(rad, "ith
oxen, sheep, and camels grazing upon the sides of it.
5

t '

(ii)

NARRATION : STORIES-ANCJEN'l.' HISTORY.

ENGLJSII COMPOSITION.

The loose structure is th e easy, natural, graceful form
of discourse; the pe riodic structu re is effecti ve for point,
emphasis, stateliness. Both forms are good, but ne ithe r
form may be carried to the extreme. Variety in the
structure of sentences is best.

., ,

EXERCfSE IL-Re-w rite as good period ic sentences:(!) Give tl~n.e enemy drin!< if he thirst. (2) Miss Bates
and Miss 1'atrfax walked mto the room, escorted by two
g~n tlem en. (3) A ll is not gold that g litte rs. (4) I am
witty myself, and I am the cause th at wit is in other
me n. (S) Y ou have rated me many a time and oft in
the Rialto. (6) It is not good and it ca nnot come to
good . . (7) Do as the Romans do when you are in Rom~.
(8) His strength was ren e wed in the cool air a nd sile nce
and among the sleeping houses. (9) The thin g is true
accordi ng to the law of the Medes a nd Persians 1 which
a ltereth not. ( ro) Do not be a borrower and do not be
a lend er. (r r) I think monarchy a nd a ri stoc racy valuable and useful, but th ey a re va lu able a nd useful as
means, not as end s. (r 2) We passed that corner wh en
we made a party upon any Su nd ay.
REPRODUCTION.-Draw up a formal outline of the
s tory o f Marcus Curtiu s. Tell the story.

LESSON XXIII.
MDIORI ZATION. -

FROM "HORATIUS."

For Romans in Rome's quarrel spa red neit her la nd nor go ld,
Nor son nor wife, nor limb nor life, in th e brave davs of old.
Then non e was for a party; then all were for the s;;lte;
Then the great man helped th e poor, and the poor man loved the
g rc:i t:
T hen lands were fa irly portioned ; the n spoils were fairly sold.
The Rom;ins were like brothers in th e brave days of old .
-Tito mas Babington 111acaulay.

.,

·'

67

EXERCISE I.-Re -write as good loose sen tences:( r ) When gi vers prove un kind ri ch gifts wax poo:.
(2) Found in t he way of ri ghteousness the gray head is
a crown of g lory. (3) S hinin g amidst the trees, at a
distance o f a mile, the fire, at firs t g lance, we could not
notice. (4) In woma n an excellent thin g, - ever soft,
gentle and low was her voice. (5) Not from chance, but
from art comes true ease in writing. (6) Folded together
in deadiy wrestle, each with a ha nd upon th e other's
throat, I saw Hands and his compan ion. (7) It is old fashioned, but choicely good, poetry.
EXERCISE I I.-Recast the followin~ sentences tha t
are faultily loose :- ( 1) We came to our journey's end ,
at last, with no s mall difficulty, after much fatigue,
throurrh deep roads, a nd bad weather. (2) There are,
besid~s the above-mentioned, innumerable retai ners to
physic, who, for want of oth ~ r pati~ nt s, amuse .themselves with the stifling o f cats tn an air pump, cuttrng up
dogs al ive, or impaling o f insects upon the point of a
needle for microscopical observations; besid es those that
are employed in the gatherin g of weeds, and the chase
of butterflies; not to mention the cock le-shell merchants
and spicier-catche rs. (3) Let m~ t ell y ou, ~his kind. of
fishincr with a dead rod and lay rng rn ght-lrn es a re like
puttin"g money to use; for they both work for _tl:ei r
ow ners when they do nothing but sleep, o r eat, or rejoice,
as you know we have done this last hour, and sat as
quietly, and as free from cares und er this syca.more, a3
Virgil's Tityrus and his Melibceus under their broad
beech tree.
COMPOSITION.-The story of Decius.
The con fli ct between the Romans and the Latins-The pitched
battle near Mo unt Vesuvius- The oracle consulted- The ge neral
of one side and the army of the othe r must perish-Th e Romans
resolve to save th eir army by losing their general- Decius a ccepts
his fate-Devotes himself to death-Am1s himself at all pointsSprings on his horse-Spurs into the ranks of the enemy- FallsThe Roman s filled with hope charge and gain th e victory.

,'l

'34

ENOLISII COMPOSITJON.

N.AJUUTION: STORIES- ANCIENT lf!STOli Y.

TH EME : MARCUS CURTIUS.

tiu s, (5) his deed, (6) th e people's act ions, (7) the
Curtian Lake.

For three years Rome was ravaged by th e plague. In
the second year of the pes tile nce the Tiber, overflowing
its banks, Aooded the great cirrn s and put an e ncl to the
public games. Then in th e mi ddle of th e Forum, the
grea t open pl ace fo r the courts of justice, the earth suddenly crac ked and a g reat g ulf yaw ned. At this last
misfo rtune the Ro mans thought that the anger of the
gods was kindled ag ainst th em, and th ey hastened to
ask th e oracles what th ey shou ld do.
Th e o racles
a11swerecl th at the gulf would never close u ntil the best
and stro ngest th at the Roman co mm o nwea lth possessed
should be cast into it. Thi s answe r was pu zz ling. vVhat
was the true strength of R ome?
One man un de rstood. A noble youth, Marcus Curtiu s, who had gained g reat fame by brave deeds, said
that the true strength of Rome lay in the courage and
devoti o n of her citizens. P utting o n hi s armour and
mountin g his horse, he rode to the edge of the g uif.
Before the eyes of the fri gh tened and a stonish ed people
he devoted himse lf to death fo r the safety and g lo ry
of Rome, plu ng ing with his horse headlong into the
ya wning and bottomless abyss. The people ru shed up
a nd threw their treasures in afte r him. vVith a surge
the edges o f the gap came toget her and t he g ulf closed.
Th e nceforth the place was kllOWil as the C urti a n Lake, in
honour of that yo u n~ hero who did nnt h old hi s life too
clear to be gi ven up fo r his city .
Exrmc rSI·: I. - \Vrite brief sente nces <"\bo ut e;-ich o f the
fo llow in g, so as to make <1 summary of the sto ry o f
Marcu s C urt iu s: - ( 1) The pl:tg- uc in H ome, (2) the
calamities t hat ensued, (3) the oracles, (4) Marcus C ur-

o!i

TIIE SENTENCE-( Continued).

L oose Sentence : PeriodiC Sentence. - Comoarc the
sentences belo w with respec t to the place held in the
sentence by th e main stateme nt:A.
B.
A.
B.

t
I

The mi st crept slowly up the val! y as the sun we nt down .
As th e sun went down, th e mi st cre pt slowly up the valley.
Feed thine enemy, if he hun ger.
If thine enemy hunge r, feed him.

A. Tact carr ies it a ga in st talent, for all the p rac ti• ·al purp oses
of life.
B . For all th e practi ca l purposes o f life, ta ct carries it :u:ain-st
talent.

Sentence A, in which the subordinate part concludes,
is called loose. Senten ce B, in wh ich the main statemen t ends ll'ith the sentence (period ), is periodic.
Th e su spe nsi on of the main stat ement till the cln.sc of
the sente nce is sometimes effected by certain \\orri s.
Corn pare:A. Ile w;is a m a n of ta ste, ;is well as of judgment.
B. He was 11(1/ (ln/y ;i man o f ta ste, /111 / 11/so a man of judgment .

The main statement, which in / / concludes in tl1c·
mid dle, is in lJ suspen d ed by mc;rns of the ita lic ized
word s to the encl o f th e sentelll:e.
\Y orrll'I that h t: lp the S11!-!per 1 ~e <i f tl 1e )'t:riod ir· ~entenrc arc :-- Eitht>r . . . , 1r ,

wheUll·r . . .

(I f' ,

neither .. .

11 or,

not. o n ly . .. lint,

11ow

11,,w , ~1 w!1, •· k

A sentence m;iy be ;L compromise,-th:tt i', pcri()(lic
in part and loose in p:trt; r.g.,
Ins1ead of the rolling tide, the arcl ll"d Lnd g c, ;ind ti"' i1.1pp 1,
is land, , I saw n" thing lrnt th e lon g hollow valley of Hagd<td, "1 th
oxen, 'beep, and camels ;.;razin;.; LlJ! O ll the , i,ks uf it.
5

·'{:
;r'

·I
66

NARRATION: STORIES-ANC1EN1' HISTORY.

67

ENGLISH COMPOSITION.

The loose structure is the easy, natural, graceful form
of discourse; the periodic structure is effective for point,
emphasis, stateliness. Both forms are good, but ne ither
form n1ay be carri ed to the extreme. Variety in the
structure of sentences is best.
EXERCISE IL-Re-write a.s good periodic sentences:(r ) Give thine enemy drink if he thirst. (2) Miss Bates
and Miss Fairfax walked into the room, escorted by two
gen tlemen. (3) All is not gold that glitters. (4) I am
witty myself, and I am the cau se that wit is in other
men. (5) You have rated me many a time and oft in
the Rialto. (6) It is not good and it cannot come to
good. (7) Do as the Romans do when you are in H.ome.
(8) His strength was renewed in the cool a ir and silence
and among the sleeping houses. (9) The thin g is true
according to the law of the Mecles and Persians, which
altereth not. (ro) Do not be a borrower and do not be
a lender. (1 r) I think monarchy and aristocracy valuable and useful, but they are valuable and useful as
means, not as ends. (12) We passed that corner when
we made a party upon any Sunday.
REPRODUCTION.-Draw up a formal outline of the
story of Marcus Curtius. Tell the story.

LESSON XXIII.
ME~IORIZATION.-FROM "HORATIUS."

For Romans in Rome's quarrel spared neither land nor gold,
Nor son nor wife, nor limb nor life, in the brave days of old.
Then none was fo r a party; then a ll were for the state;
Then the great man helped the poor, an<l th e poo r man loved the
g r<:at:
The n land~ were fairly portioned; then spoils were fairly sol<l.
The l~omans were like brother'i in the brave days of old.
- Thomas lJabinglon fifacaulr1y.

EXERCISE !.-Re-write as good loose sentences:(r) When givers prove unkind rich g ifts wax poo_r.
(2) Found in the way of righteou sness the g ray head 1s
a crown of glory. (3) Shining amidst the trees, at a
distance of a mile, the fire, at first g-}ance, we could not
notice. (4) In woman an excellent thing, - ever soft,
gentle and low was her voice. (S ) Not from chance, but
from art, comes true ease in writing. (6) Folded together
in deaClly wrestle, each with a hand upon the other's
throat, I saw Hands and his companion. (7) It is oldfashioned, but choicely good, poetry.
EXERCISE I !.-Recast the following- sentences that
are faultily loose :-(r) We came to our journey's end,
at last, with no small difficulty, after much fatigue,
through deep roads, and bad weath er. (2) There are,
besides the above-mentioned, innumerable retainers to
physic, who, for want of other patients, amuse _themselves with the stifling of cats in an a ir pump, cutting up
dogs alive, or impaling of insects upon the point of a
needle for microscopical observations ; besides those that
are employed in the gathering ,of weeds, and the chase
of butterflies ; not to mention the cockle-shell merchants
a nd spider-catche rs. (3) Let me tell you, this kind of
fishing- with a dead rod and lay ing night -lines are lik_e
putting money to use; for they both work for _thei r
owners when they do nothing but sleep, or cat, or reJoice,
as you know we have clone this last hour, and sat as
quietly, and as free from cares und er this sycamore, as
Virgil's Tityrus and his Melibreus under their broad
beech tree.
COMI'OSITION.-The story of Decius.
The conflict between the Romans and the Latins- Th e pitched
battle near Mount Vesuvius - The oracle consulted- The gen eral
of one side and the army of the other mu st perish - The Romans
resolve to save their army by losing their general- Decius accepts
his fate-Devotes him self to death-Arms himself at a ll pointsSprings on hi s horse- Spurs into the ranks of th e enemy- FallsThe Romans filled with hope charge and gain the victory.

'l4

N.AJWATION: STORIES-ANCIENT HISTORY.

ENOLISH COMPOSI'I.'JON.
THEME:

MARCUS CURTIU S.

!."

•'

I

For three years Rome was ravaged by th e plague. In
the second year of the pestilence th e Tiber, ove rflowing
its banks, flooded the g reat circus and put an end to the
public games. Then in the mi ddle of the Forum, the
g reat open place fo r the courts of j ustice, the earth suddenly cracked and a g reat gu lf yawned. At this la st
misfo rtun e the Roma ns thought tha t th e anger of the
gods was kindled against them, and they haste ned to
ask the oracles wh at th ey shoul d do.
The o racles
answered that the g ulf would neve r close un t il the best
and strongest that the Roma n commonwealth possessed
sho uld be cast into it. Thi s answe r was p uzz lin g . What
was the true st ren gth of Rome?
One man understood. A noble youth, Marcus Curtius, who had gained great fa me by bra ve deeds, sa id
that t he true streng th of Rome lay in the courage and
devotion of her citi zens. Puttin g on hi s armour and
mounting his horse, he rode to the edge of the gulf.
Before the eyes of the fri ghtened and astonished people
he devoted himself to death for the safety and g lory
of Rome, plungin g with his horse · head lon g into the
yawning a nd bottomless abyss. The people rushed u p
and threw their treasures in aft er him. With a surge
the edges of the gap came together and th e g ulf closed.
Thenceforth the place was known as the Curtia n L ake, in
l1011our of that young hero who did not hold his life too
dear to be gi ven up for his city.
EXERCISE I.-\V rite brief sentences abo ut each of th e
following, so as to m:1ke a summary of t he sto ry of
Marcus Curtius: --( 1) The plague in lfome, ( 2) the
calamities that ensued, (3) the o racles, (4) Marc us Cur-

..

65

tius, (S) his deed, (6) the people's actions, (7) the
Curti an Lake.
TH E

S ENT EN CE- (Continued).

Loose S entence: Periodic Sentence. - Compare the
sentences below with respect to the p lace held in the
sentence by the main statement : A . The mist crept slowly up the va lley as the su n wen t down.
B. As th e sun we nt down, th e mist crep t slow ly up the valley.

:,

A. Feed thine enemy, if he hunger.
B. If thine enemy hun ge r, feed him.

A. Tact carries it against talent, for all th e practical purposes
of life.
JJ. For all th e p racti cal purposes of life, tact ca rri es it agai n<St
talent.

S entence A, in wh .ich the subordinate part concludes,
is called loose. Sentence B, in which the main statement ends wi th the sentence (period ), is periodic.
The suspension of th e main statement till the close of
the sente nce is som etimes effected by certain words.
Compare:A. He was a m a n of taste, as well as of judgment.
B. He was not only a man of taste, but also a man of judgment.

The m a in statement, which in A concludes in the
middle, is in B suspend ed by mea ns of the italicized
words t o the end of the sen tence.
'Vord!t that help the suspense of the periodic l:le11tcnce are :- Eithe r . . .
whether . . . o.r. neither .. . no r, not o nl y . . . hu t, now . . . 11ow, such, etc.

<ir,

A sentence may be a compromise, -that is, periodi c
in pa rt and loose in par t; e.g. ,
Instead of th e rolling tide, th e arched brid ge, and the h.1pp)'
island s, I saw noth in g but th e long hollow valley of llag d-:id , 11 ith
oxen, sheep, and ca mels graz ing upon the sides of it.
5

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NA.RRA.TION: STORIES-A.NClEN'l' HISTORY.

67

ENGLISH CO!lfPOSITION.

EXERCISE IL-Re-write as good periodic sentences:(1) Gi".e thin_e enem y clrin~ if he thirst. (2) Miss Bates
and Miss Fairfax walked mto the room, escorted by two
g~ntlerne n. (3) All is not gold that glitters. (4) I am
witty myself, and I am the cause that wit is in other
men. (5) You have rated me many a time and oft in
the Rialto. (6) It is not good and it cannot come to
good. (7) Do as the Romans <lo when you are in H.ome.
(8) His strength was renewed in the cool air and silence
and ar:iong th e sleeping houses. (9) The thing is true
accordm g to the law of the Medes and Persians, which
a ltereth not. (ro) Do not be a borrower and do not be
a lender. (11) I think monarchy and aristocracy valuable and useful, but th ey are valuable and useful as
means, not as ends. (12) We passed that corner when
we made a party upon any Sunday.

i:, ./.

REPRODUCTION.- Draw up a formal outline of the
story of Marcus Curtius. Teli the story.

LESSON XXIII.
ME~tORIZATION.-FRo~r "HORATIUS."

For Romans in Rome's quarrel spared neither land nor gold,
Nor son nor wife, nor limb no r iife, in the brave da vs oi old.
Then none was for a party; then all were for the s~ate ;
Then the great man helped the poor, and the poor man loved the
g reat :
Then hinc!s were fa irl y portioned; then spo il s were fairly sold.
The Romans were like brothers in the brave days of okt .
-T!tomas Babington ftftu:aulay.

Ex J-:KCISE !.-Re-write as good loose sentences :( 1) 'vVhen g iv ers prove unkind rich gifts
pour.
(2) Found in the way of righteousness the gray 11ead 1s
a crown of glory. (3) Sh ining amidst the trees, at a
distance of a mile, the fire, at first glance, we could not
notice. (4) l n woman an excellent thing, - ever soft,
gentle and low was her voice. (S) Not from chance, but
from art, comes true ea.se in writin g. (6) Folded together
in deadly wrestle, each with a hand upon the other's
throat, I saw Hand s and his companion. (7) It is ol<l fashioned, but choicely good, poetry.
EXER CISE I I.-Recast the following sentences that
are faultily loose :-{1) 'vVe came to our journey's end,
at last, with no small difficulty, after much fatigue,
throu gh deep roads, and bad weathe r. (2) There are,
besides the above-mentioned, innumerable retai ners to
phy sic, who, for want of other pati ents, amuse _them selves with the stifling o f cats in an air pump, cutt111g up
dogs alive, or impaling of insects upon the point of a
needle for microscopical observations; besides those that
are employed in the gathering of weeds, and the cha<;c
of butterflies; not to mention the cockle-shell merchants
and spider-catcher·. (3) Let me tell you , this kin cl of
fishing with a dead rod and layin g nif~ht-iines arc _like
putting money to use; for they both work for _t !1c1r
owners when they do nothing but sleep, or cat, or 1-cjo1ce.
as you know we have done this last hour, and sat as
qu ietly, and as free from cares under this syc;unor<e, a_.;
Virg il's Tityrus and his Melibo=us under their broad
beech tree.
COMPOSITION.-The story of Decius.

\q::

The loose structure is the easy, natural, g raceful form
of discourse; the periodic structure is effective for point,
emphasis, stateliness. Both forms are good, but ne ithe r
form n1ay be carried to the extreme. Variety in the
structure of sentences is best.

~

r

!

.! .

..

Y• ' .

:

The conflict between the Romans and the Latin s - Th e pitched
battle nea r Mount Vcsu,·ius - The oracle consulted ----Tlie general
of one side and the army of the otl1cr must pcrish --Th c Ro mans
resolve to save their army by losin g their general - Decius accepts
his fate-Devotes himself to death -- Arms himself at all points -Springs on his horse-Spurs into the ranks of the enemy - Falls-The Romans filled with hope charge and gain the victory .

·li

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68

ENGLD:3H COMPOSITION.

LESSON

xxrv.

MEMORIZATION.-FROM "THE LAY OF THE LAST MINSTREL."
Breathes there the man with soul so dead,
Who never to himself hath said,
This is my own, my native land !
·whose heart hath ne'er within him burned
/\s home his footsteps he hath turned
'
. From wandering on a foreign stran;I :
If such there breathe, go, mark him well;
For him no minstrel raptures swell;
High though his titles, proud his name,
Bo undl ess his weal th as wish can claim ;
Despite those ti tles, powe r, and pelf,
The wret ch, concentred all in self
Living, shall forfeit fair renown '
And , doubly dying, shall go do:vn
To the vile dus t, from whence he sprung,
Unwept, unhonoured, and unsung.

-Sir Walter Scott.
THE SENTENCE-( Contiuued).

T!te Balanced Sentence.-Observc the form of the
following : Love me little, love me long.
I could have better spared a better man.
The whole head is sick, and the whole heart faint.
Th e Puritan hat.eel bear baiting, 1101 because it gave pa in to the
bea1, but because 1t gave pleasure to the spectators.

In each of ~hese sentences, it will be noticed, one part
is set off against another. This constitutes the nature
of the balanced sentence. The parts thus set off ma
be single words, they may be whole clauses ; they ma~
balance by sound or by st ructure, or by both.

NAlWATION: S1'0RIES-ANCIENT HISTORY.

69

EXEH CISE.-Make changes in the foll<;>wing that will
give a balanced structure :- ( l) This will kill or make
him well. (2) The path of virtue is not a peaceful
path. (3) In the day of prosperity be joyful, but con sider when you are unfortunate. (4) Not th a t I loved
C.:esar less but that Rome was dearer to me. (5 ) It is
better to go into the house of mournin g than where
people feast. (6) This may be play to you but we find
it mortally dangerous. (7) They think t oo little and they
are very loquac ious. (8) \Vhen reaso n is against a man
he will not favour an appeal to reason. (9) \V e can easily
forgive those who weary us, but we cannot pardon those
who find us tiresome. (10) Heroes carry into effect
what poets imagine, and they are therefore of th e same
race. (I 1) N otbing is mo re amiable than tru e modesty,
and there is nothing to be more despised than the contrary. The one guards virtue but false modesty leads
it astray.
COMPOSITION.- Tell the story of "Regulus."
The war of Rome and Carthage, the chief city in Northern
Africa- Romans invaded Afri ca under R egu lus - Defeat of Roman
army and capture of Regu lus-Held captive during- fiv e ycar·s Was sent by the Cart hag inians to Rome to sue for peace ·Promised to ret urn to Carthage if peace were not ma de - ] le
addressed th e Roman senate against makin g peace, which w•rnld
only h elp Carthage- Dissuaded them from ma king an exchange of
prisoners-Then went back to Carthage to be put to deathComment on such austere patriotism.
ADDITIONAL THEMES.
COMPOSITION.- I. The Ga ttie of Salamis. 2. The Ex pedition of
the Ten Thousa nd. 3. Macedonian Co nquest of i\iltt:ih. 4- The
Expulsion of the Kings from Home. .S. Ca nn;c. 6: Th e Assa ss in a tion of Julius Cesar. 7. The Roman Conquest of Britain.

;.

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:~
i··

;·
I

•y.

iO

ENGLISH COMPOSITION.

LETTERS.

71

C l-IAVrER V. (SPECIAL) LETTER F O RMS.

---1

LESSON XXV.
B US INESS LETT E R.'.

(a)

I. Tlte I-leading.- The letter begins with the heading

(b)

which states (a) th e place of writin g , and (b) the time
of writing. The head ing is put in th e upper rig ht ha nd
corner of th e sheet.

(c)

The Directiou.-I n business letters the direction
incl ud es (c) the person to whom th e lette r is written;
(d ) his full add ress. Thcdirection is placed in th e upper
le ft h a nd corner below the seco nd lin e of the headin g.

,'•.

2.

3. Tlte Compli111e11tary Opening. - Pl ace the complimentary opening (e) below the direction.
In commercial lette rs, the usual complimentary openings are :-Dear Sir, My Dear Sir, a nd (rarely) Sir;
Dear Sirs, My Dear Sirs, Gentlemen; Madam, Dear
Madam, Ladies, Dear Mesdames.

4. Body of tlte Letter.- The letter proper ( f) should
be brief, s impl e and clear. In form it follows th e usual
paragraph laws. Sec pp. 82, 85 , 88 ff.
5. The Conclusion.- The letter has a conclusion o f two
parts, (g) the compl im e ntary ending, (h) the sig nature of
th e writer. Th e conclusi on is put in the lowe r right hand
corner of the sheet. If the s ig nature is m ade by a clerk,
his initials prece ded by p er (by) arc placed be low.
The us ual forms of complime nta ry e ndings to bu siness
letters are :-Truly yours, Very trul y y o urs, Yours
truly, Yours faithfully , Yours respect ful ly , l rem a in,
Dear Sir, V e ry respectfully yours, Believe me, Very truly
y o urs, etc.

(d)

:?2 SMITH ST., SMITHVILl.E, ONT . ,

F ebruary
MESSR S. POYNTER BROTHERS

&

20, J 899.

COM PA NY,

J9 JJ"y S treet, Toronto, Ont.

(e)

DEAR S I RS: -

(f)

Twn 71·cel.·s "/(", 0 11 I ·rlwuary 6, I 111ailrd lo ) ' OU
P. O. order )or $2.oo, one yrm"s su/Jscnp!irm lo

f

" Good Tim es." As I l1<~11e since r ecch 'f'd neitlier
lite 11wgaz i11c n or any acknmvledg ment of /lie or dn-,

~"

I conclude litlll my Idler must liave miscarried.
)'ou will oblig-e me v ery 111uc/1 by notifyinK me, al
your earliest co1111e11ience, of lite 11011-raeipt of lite

l
I

t

,.

order, t!tat I may make inquiries at /!tis P ost Office.
(g)

(h)

Very truly yours,
JAM!:S C. SMITH

6. T!te Superscription or Outer Directio11.-0n the
envelope of th e Jette r arc placed th e name, titl es, anc.1
exact and full address of the person to whom the letter
goes. These are placed towards the lower rig ht of the
envelope. The stamp must be affixed in the uppe r right
hand corner.

ENGLISH COMl'OSJTlON.

72

LE'l.'1'ERS.

- - - - - - - - - -- - . - - -- - - ---

l=_

BUSINESS FORMS.
I. CHEQUE.

No. 98.
Toronto, July 3, J9QO.
To !lie CANADIAN BANK OF COMMERCE.

fifessn. Poynter Brol/iers &-' Co.,

NORTH-WEST TORONTO BRANCH.

Pi1blis/1a s,

Pay .....................Messrs. Poynter Bros. &-' Co ......... ............ .or ordt'r

I

L___

J9 flay Street,
T oronto,
Ont.

Twenty-jive ...

of n11/ for June, J900.

in full

T. C. BLACA'

$25.50.
· -- ·

- -- - - -- - - --·- - ---'

7- Paper.-The usual form of business letter paper is

about eight inches by ten ; the paper itself is usually
white and unruled. The envelope to suit this size would
be about six inches by three and a-half; it should match
the paper in colour.
I.-Study the form and pos1t1on of each
part of the preceding lette r, then make a careful copy of
it on a sheet of business letter paper. Study the address
of the envelope and copy it on a proper envelope.
EXER CISE I I.-Re-write, having regard to form and
punctuation, thi s answer to the letter above ; address the
envelope to contain it.
EXERCISE

O ffice of" Good Times" 19 11ay Street Toronto, Ont. February
1899 Mr. James C. Smith 22 Smith St . Smithville Ont.
Dear S ir Your letter of February 20, is to hand and due note has
been made of the contents. Our books show · that your o rder for
$2.oo, one year's subscription to "Good Times," was received,
and your name placed on our mailing list fur March. You will
doubtless receive the March number of "Good Times" in due
seaso n. Th e date on the mailin g tag is our usual receipt. If you
de s ire your subscription to begin with the February number, and
will not ify us to th a t effect, a copy of the February issue will be
sent to you. Thanking yot1 for the subscription we remain Truly
yours Poynter Broth<:rs and Company pe r J. W.
22

73

If we desire th e cheque payable to ourselves write

Par aelf," t-tc.

i.

2. RECEIPT.

No. 334.

Toro11to, July 4t/1, J900.

1Recei\1eb from Mr. T. C. Black, cheque for T wenty-fi11e
Dollars a11d Fzjty Cents, in full of rent for June, 1900,for house
N o. J2 f!Valton St.
POYNTE R BROS. &-' CO.

$25.50.

3· PROMISSORY NOTE.

Due September 15, 1900.

l\.'o. 64.

Toronto, July J5, J900.
Tltree 111011/!ts after dale I promise to p ay lo the order of
Ml.::SSNS. POYNTER BROTHERS &> CO.,
al the Canadian Ha11l.· ef Commerce, Norllt-wcsl Toronln Hrrmd1,
T/1ree flu11d1·ed and Fzfly ~. lO!f lJollars
with interest al five per cent. Value recei7Jed.
OLI VER T. NEIL
Ir a joint note read:

"\Vf~

jo inUy and

sen~ ra.lly vromi~e."

etc.

01.1nrn. T . l\'K1L.
SAM ur.1. NnL.

It pnyable on 1lemand read:

11

On dema.rul, I 1Jromi1e, " etc.

74

ENGLlSH COMPOSITION.
LE1''l'BBS.

COMl'OSITION I.-(i) vVrite a letter ord e rin g va riou s
seeds (specify) from a seed -merchant, o r a boo k (spec ify)
from a bookselle r. Address the envelope. (ii) Write on
behalf of the merchant, the answer to the.:: order, enclosing th e account. Address the envelope. (iii) Write out
a cheq ue in pay ment o f t he account. Write the letter
accompan y in g the cheq ue fo r pay me nt.
I

COMPOSITI ON 2.- Write a lett e r asking fur a place that
is vacant in an office, facto ry, o r h ouse. State reasons
for des iring em ploy me nt-ne cessa ry details o f yourse lfage, health , educati on, di sp os ition to work, assurance
o f fidelity and g ra titu de.

'\

Yours, my dearest Coz, most cordially , 1
WILLIAM COWPJ·: R.

1 Th e ending i s that of" letLc r of J a n. I, 178>.

Form.- T he fo rm o f the fri e nd ly le tt er, iL 11 ill be
noticed, differs fro m that of the busin ess let te r in t he
following :- (i) The heading ofte n o mits th e ho me
address when it is well known to the pe rson addressed.
(ii) The direction is omitted or put below th e l.iody o f
letter (see L esson xxvii). (iii ) Th e com plim entary
openin g is very varied :--My D ear Smith, D earest Tom ,
e tc., a s th e occasio n requires. (i v) The complim en tary
ending re flects the personal relation of the write rs :- !\lost
sincerely yours, Your affectionate Moth e r, Lovingly, e tc.
In le tters of the greatest intimacy th e signature is often
the Christian name only.

CoM POSITION 3. - 'vV rite a letter as from a te nant to
his landlo rd, complainin g o f the bad state o f the roof
and one wall, and a skin g for immediate repairs.

L E S SO N XXVI.
L E TTERS 0 1'" S OC IAL INT E RCO U RSE.

Letters of Friendsliip.-The friendly lette r 1s as it
were a little ta lk put o n pa per, in which ease, frank
cordiality, grace, animation, and a large personal element
blend.
Here is a letter of the poet Cowper to his cousin, Lady
Heske th:The Lodge, Sept. 15, 1787.
My D earest Cousin,On Monda y las t I wa s invited to meet your friend Miss J- a t
th e Hall, and there we fo und her. Her good nature, her humorous manner, a m! h e r good sense are ch a rming ; in so mu ch that
even 1 who was ne ver mu ch addi c teu to speech-making, could not

help say in g at parting, I am glad that I h av e see n yo u, a nd so rry
that I ha ve seen so little of yo u.
I am m aking a gravel walk for winte r use, unde r a warm hedge
in th e o rcha rd. It shall he furnisl1 ed with a low se;it for your
a ccomm odation, a n cl if yo u d o but like it l s hal l be ' " t i;,li erl. · l 11
we t weath e r, or rath e r aft e r we t we;ith e r, wh e n th e str eet i, d irt y, it
will su it yo u well, for lyin g on an ea sy dec liy it y th ro ug h it s wh ole
lengt h, it m us t of course be immedi <Hely dry.
Yo u are ve ry mu ch wi s hed for by our fri e nds at th e !foll- how
mu ch by me I will not tell you until th e second wee k in Oc tobe r.

l
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I

Paper.-Letters of social intercourse sh ould be writte n
on the b est plain paper the write r can afford. The
standard size of note paper is seven inches by four and
a-half (also six and on e-half inch es by four and thrccq uarters) ; but sm a ll e r sizes are frequently used . The
paper should be unrul ed, white or sli g htly t in ted , wit h
plain ed ges. The envelope should ma tch the ]MJie r, an d
enclose the lette r when folded once. The stan d ard si ze
of the envelope is four and three-quarter inches by three

76

and three-quarters (also five inch es by three and onehalf); but the size varies with the pa per.

LESSON

EXERCISE I.-Copy out, correctly placed and punctu a ted, this letter:T o some Ameri cnn i:.chool children, wh o had sent Lord T ennyson nn alhurn

77

LETTERS.

ENGLIS H C011'IPOSJTJ ON.

LETTERS OF SOCIAL

Farringford March 1885 lil y Dear Young Frie nd s Your C lu-i s tma s greeti ng only reached me the day be fore yes te rd ay, and it was
very welcom e. I thank you heartily for h avi ng take n so mu ch
t rou ble to show us that what I have written g ives yo u pleasure.
Such kindly memorials as yours make me hope that, tho' th e
nationa l bond bet wee n E ngla nd and Am<:ri ca was broken th e
natural one of blood and la nguage may bind us close r and close r
from centu ry to cen tury Believe me your true o ld fri e nd Tennyson.

I l.-Copy o ut on note paper, correctly
placed and punctuated, t he following' letter :19 W a rwi ck Crescen t October 10 th 1865 My D ea r Tenn yson
When l came back last year from m y h olid ay I found a Ri ft from
yo u, a l.JOok; thi s time I find only th e blue a nd gold thin g which,
such as it is, you are to take fro m me. I coulct no t even put m
what I pleased, but I have sa id a ll abo ut it in the word o r two of
preface, a s a lso th at I beg leave to sti c k the bun c h in your buttonhole May I beg too that Mrs. Tennyso n will kindly re member me?
Ever affectionately yours Robert B rownin g.

C OMPOS ITIO N I. - \Vritc a letter, on note paper,
addressed to a near rela tive, describing the littl e incid ents and experiences o f th e first day of school foll owing
a vacation.
COMPOS ITION 2. - \Vrite an invitatio n to a boy o r

l NTER CO URSE.-( Continued).

Formal L etters.-Letters addressed to strange rs on
matters of social intercourse differ little in form from
purely business letters.
The parts of .the direct ion .
g iving (c) the person addressed and (d) hi s ful l add ress,
are omitted fro m the introduction and add ed at the
foot of the letter, beginning opposite the signature.

ot hitt

po<:mli co pietl l1y tli e mr-;f'Jv ea.

EX ERCISE

XXVI I.

.'
~

~~

'·"

I1 We/ling/on Crescent, Toronto,

(a)

January 4,

(b)
(e)

If)OO .

Jlfy Dear Sir,-

Very truly yours,

J.C.
(c)

Walter Horrocks, Esq'.,

(d)

Race Lodge,
T/iornbury,

SMI TH

girl friend ask ing him or he r to spend a day with you
for some particular purpose, fishing, pic-nic, etc.
COMPOSITION 3.-Write the reply to th e foregoing

invitati on.
Compositions on t,hern('~ in later exercieea should freq uent ly be writ.ten in th e form

of JettenJ.

Engli•h.

Letter-writing b one of the best schools of training in easy and graceful

Formal fn v itations. -lnvitat ions to form a l dinners," at
h omes, " balls. , etc ., are written and answered in the
third person.

;'.,,

L E 'l''l.'ERS.

ENGLISH COM I' OS l'l'ION.

78

JV[r. an d 1J.frs. Joscp!t S m i th p rcso1t t/1d r .-0111p li 111c11 /s lo
i11r. Edson and request tile hon our o/ his co111/m11y lo di111ur on

F r iday evc11in.£[, the et:tjlit/1 o/ .January, at seven o'clocl.:.

31 l•Vest o11 Road,

(a)
(b)

Jlf 011day Jlf onlinf{.

- - --·- --·- - - - -- - - --

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

Not.c the position on the p1lg-e o f the p lace a.11d date of w ri t i11 Jl. The ex prcHSlon
•• pr eseut compli1nents " is o f t.e n omi tted. " Th e honour of th e co 111pa.ny" . . . it.4 pre-

rerred to " the pleasure of " . . . in puli lic a nd ve ry form al aff11i n:t.

Jltb-. Edson accept s w ith ple11.wr e JJ!f r . and 11/rs. S mitlt's

kind inv itation lo dinner on Friday evening al seven o'clock.
Tlte L od![f ,

(a)

(b)L
I

,_,.._'

;·
-~·

C OJ\l l'OS ITION 2.-\Vrite, o n note p a per, M r. Hor rocks',;
reply.
CO MPOS ITION 3. - (a) \\Trite a fo rm:il invitation frum
Dr. and M rs. Black t o Mrs. ;rncl Miss Ne il, :tsk ing th L·m
t o dinne r.

(b) Write Mrs. a nd Miss N eil's reg rets.
COJ\ rPOSITION 4.-Vv'rite a .fri endl y let te r CJf thanb
for a boo k loan ed, e x p ress in g the pl easure it gave , ;t sk i n~
for the loan of anoth er.

kfo nday E11enin,i;.

The answer or regrets would rend :11 M r. Ed son r egrets t hntn previ ouit e ngt\ g-e111 e11t (n.1 >8e 11ce rro111 tow11 , clrcu 111 t1 f.nnce1(

will prevent him from accept ing," etc.

Ca rds- " A t

COJ\r!'Oc;ITION 5.- Write, whi le on a vi sit, a letter
home, te llin g o f sa fe arriva l a nd p leasant do in gs an d
h appen in gs.
(O~ l l ' O~ ITI OI'\ 6.-- \ Vrite a let ter wh ile
telling of the incid en ts of t ra vel.

f-! 0111c. " -

011

; \ JOUrIH ' }".

C OJ\ IPOSITION 7. -\ Vr ite a let ter t o a rehti\·e ;nny
fro m ho me, te llin g the littl e incid e nt s o f hom e life t ak ing
place in hi s a bsence.

Al H ome
On T!tursday, J u ne twcnly:Jtf!/1, a t nine o'clock 1>.Jl.f.

1Ja11c£11.t;.

I
I

C OM POSITI ON I . Co py e x actly, on note pape r, the
form o f the le tte r fro m Mr. J.C. Smith t o M r. Ho rro cks,
as above. A s th e body o f t he letter, h a ve Mr. Smith
en q uire a bo ut th e add ress o f Mr. H o rrock s's brother in
Au stral ia , t o whom Mr. Smith d esires to wri te co nce rning a rela tive.

COJ\ll'US TTION 8.-- P repa re a form al ca rd of invitation
to a concert :it your school.

~-

•. ·.

..:·J

(a)I 31 Jlforlon Road.

-- -

--~

- - -- - ---'

I n plare of " An a11 ~ w er i~ reqn eRtt.'<1" wt! fretp1e ntly 11_se t he let.ter::i H.. S. v. r
R1;J>M1cl1• z x''il 1;o u .~ ·p lait, An swer ir you please.
An eveni ng " At. H o m 1~ "w:1un. Jl y llcn rMt he word • • Can.I~," or •· l>a11 cini:," etc.

81)

NAltRATION: MEDl.JEV AL STORIES.

ENOLISil COMPOSITION.
CH APTER Vl.-!'<I EDL'EVAL STOR IES . .

LESSON
MD!ORIZATION. -

XXVITI.
" Tl-IE EAGLE."

H e cl asps th e crag with hooke d hand s ;
Close to the sun in lonel y land s,
Ring'd with th e azure world, he sta nd s.
Th e wrinkled sea be neat h him c rawl s ;
H e wat ches from hi s m ount a in walls,
And lik e a thunderbolt h e fall s.
-Alfred, Lord Tennyson.
TIIEJl!E:

BEO W ULF AND GRENDEL.

Many hundred years ago. there li ved a king of the
Danes call ed Hrothgar. Thi s king built a banqueting
hal l g rea ter than man had ever before hea rd te ll of, and
the king an d hi s warrio rs used to feast in it with great
reJ oic rn g. But the revelry disturbed and angered a
m onste r, Grendel by name, who dwe lt in the nei g·hbouring moors and fens. One riight Grendel stole out to see
the lofty hall, and found the warrio r t roop sleeping in it
after their feast. He seized and killed thirty of the m
and hurri ed back to his de n. \Vhe n mo rnin g broke th e
wa rri ors mad e g reat lamentation for the ir missing comrades. The next night th e mo nste r came again and
seized fresh prey. _This he did for many winters, till
no one durst stay in th e lofty h all that King Hrothgar
had built.
Now in the la nd of th e Goth s there wa s a mighty hero,
named Beowulf (bny'iJ wo{(). When he hea rd of the
woe of th e Danes he set sail with fourtee n comrades to
aid th e m. J\11c1 the Danes rece iv ed hi111 with welcome
and bade him good speed in his tm (k rt ak in g-.

''

81

The Goths and Danes feasted together until such t ime
as Grendel was wont to co me. Then the Danes departed
and Beowulf lay down amo ng his warriors. He kept
neither his helm et, sword, nor shield : "For," said he,
" I recko n myself in no wise less powerful th an th is
Grend el ; and since he kn ows not how to give and take
sword cuts, I will meet him withou t weapon, and may
s uccess go to whom it is meet ! " Then came Grendel
from the moor through the mist, and when he saw so
many warriors in the hall his mood turned to lau ghter,
for he promised him self a full feast. But as he seized
and tore one of the sleeping warriors and devoured the
lifeless body, he felt hims~lf grasped with the dead ly
hand-grip o f Beowulf. He felt afraid, but he could stir
never a step. The hall rang with the strife ; the noise
rose hig h. At last the foul monster got a deadly throw;
his shoulder cracked, its bones rent asunder, and Beowulf
had the victory. Grendel, wounded to the death, fled to
the fens, and the hero of battle set up the hand, arm, and
shou ld er of Gre ndel under the gable roof. Th en, with
mu sic and so ng , Goths and Danes rejoiced together.
EXER C ISE !.
A.- Re-state the followin g, but use
ot her word s t o ex press the meanin g of th e ita li cized
words :- ( I) He bu i1t a brmqueting-1/(/11. ( 2) The revelry
was heard over th e moors. ( 3) The warriur-troop slept
in the hall. (4) Th e m orning broke before they missed
the ir comrades. (S) Th ey bade Beowulf good speed.
(6) Grendel was wont to come. (7) May success go tu
whom it is meet. (8) The hall rang with the st rife.
(9) Grendel was woun ded to deat!t.
B.- (1) Tell who King Hrothgar was. (2) T e ll of
his great hall. (3 ) Tell why Beowulf cam e to Denmark.
(~) Tell how he was received by the Dan es. (S) Why
did he encounter Grendel unarmed?
6

ENGLISH COJ.fPOSITIVN.
THE

PARAGRAPH.

7!1e Paragrrrplt.-The paragraph is a clearly arranged
g-roup of sentences treating- of one part of a subject.
I. Unity.- The paragraph trea ts of o ne part of the
subjec t ; it must have unity. When the sentences are
grouped on paper the reade r is helped to group the m in
thou g ht. See p. 3, where mention is made also of
margin and indentation.

Topz"c Sente11ce.-The open in g sentence introduces
to pic of the pa rag raph, so that the mind is prepared
the discussion to follow. Such a sentence is called
topic sentence. Notice the re lati on of the open sentence to the paragraph in the following:-

2.

the
for
the
in g

H e rei n, I think, lies the ch ief a ttraction of railway travel. The
speed _is so easy, and the tr;1111 d1stttrbs so littl e the sce nes throu ·h
wh: c h 1t takes us, that our hea rt becomes full of the placid it y a~d
s t1llnes_s of the country; and while the body is borne forward in
the fly ing chai n of carriages, the .thoughts alight, as the hum our
moves them, at unfrequented stations ; th ey make haste up th e
poplar alley that leads to ward the town ; they '1re left behind with
the signalman, as, shadin g hi s eyes with hi s hand, he watch es the
long tra m S\\'Cep away mto th e golde n distance.

Sometimes th e first sentence is only a link sentence
joinin g the p;Hag raph just ended with that which is to
follow; or it m;i.y be clearly introductory, when th e topic
sentence immediately follows. In narrati ve composition
the topic sentence is suppressed so as to excite curiosity;
the openi ng sentence need only fitly introduce the group
of actions making up the incident treated in the
paragraph.
l T. - State in a se ntence or p hra se what
each parag raph in the narrati ve above treats o f. Has
each pa ragraph unity?
EXERCIS I·:

83

NARRATION: MEDIAlV.AL S'J.'ORIES.

Ex ERCISE II I.- Does th e ope nin g sente nce of each
introdu ce the topic of the paragraph?
ExEl,CIS E I v .__:ln what respects i,; this paragraph
faulty?
The crocodile docs not attempt to swallow a large .prey '1t on ce,
b ut ge nerally ca rri es it away, and kee ps it for a cons1derabl: time
in its j aws in so me deep h ole b eneath a rock or the t oot of . t t1.ce,
wh ere it eats it a t leisure. The to ng ue of the crocodile is so unlike
that 0f an y othe r creature that it can hardly be called by the same
name. No po rti on of it is detached from th e flesh of the lowe r
jaw; it is lik e a thickened membrane extend ing from the gullet to
about half-way along the leng th of the jaw.

REPRODU CTION.-Make a formal outline of the story
of Beowulf and Grend el, and reproduce the story, attendin g closely to the structure of the paragraphs as rega rds
unity and opening sentences.
LESSON

xxrx.

Mr.~IORIZAT!ON.~Oor..

I-low-sleep the brave, who sink to 1est
I3y all their country's wi shes bkst !
"Whe n Sprin;;, with dewy fingers cold,
Returns to deck th eir hallow'd m ou ld,
s11e there s hall dress a sweeter sod
Than Fancy's feet hav e ever trod.
Uy fairy hand s th ei r kn ell is run g,
By forms unseen their dirg·e is s11ng :
There Honour co mes, a pi lgrim gray,
To bl ess th e turf that wraps their clay;
And Freedom shall awhile repair
To dwell a weeping hermit th ere !
- If 'i/lia111 Colli11.>.
T IIE ME:

BEO\VULF

ANIJ THE Dl.:.AGOK.

In Beowulf's country on th e sea-shore there

a
hu ge m ound or barrow, in which were stored the sh ie!Js
\1· a,;

84

ENGLISH COMPOSITION.

N A RR.A 'l'lUN: ME.Ul./E V AL S'l'OW ES.

85
t •.

a.nd bracelets and drinking c ups o f a rac e of kings lon g
srnce dead: One day a dragon discove red this hoa rd, and
a fter the custom of d ragons, stayed to g ua rd the treasure.
Many y ea rs had passed when an outlaw ca me to the
sea-sho re and saw the mound a nd its treasure.
He
thought that if h e carried away a .rich g ift from the
treasure h e mi ght buy fo rg iveness with it from his lord.
He seized a tankard bossed with gold, and fled. The
mon ster, asleep with in the barrow, was aroused, and
ru shing forth with fury, laid waste the _country round
about.
Tidings came t o Beowulf, now king, that the land was
devastated. He went forth with eleven chosen ones to
slay the destroyer. But wh e n his men beheld the
monster b_reathing forth fire, ten of them slunk away into
the woods, leavi ng only \.Viglaf, a Swede, to s tand by
his kin g. The fiery breath of the dragon · consumed
Wiglaf's shield an d forced him to take refu ge be hind h is
lord. Beowulf smote the m onste r full on th e h ead ·
but his weapon flew in pieces agai nst the dragon's ho rn;
hide. T he fou l creature fastened hi s teet h round th e
king's neck; hi s life-blood g us hed fort h. Young Wi g la f,
not heed in g the fire, s mote the m onster und ernea th
driving his sword deep where the sk in was less hard'.
Straightway the fire of his breath grew less. The king,
recovering himself, drew his war-knife aMd pierced the
dragon in the m iddl e, killing him. So these two wo n the
victory.
B ut alas! Beowulf the . king was poisoned by the
drago n's b ite. He di ed with th e words," Death has tak e n
all my kin s men in to his keeping: I must a ft e r them." I I is
wa rriors burned h is body, a ccordin g to ancient c usto m,

on a g reat fun eral pyre. To cover hi s a shes they built
a cairn on a hi gh sea-ness, where al l ships going by cou ld
see it an d remember the heroic kin g. And th-ey lamented
th eir lord's death, sayin g," He was of all k in gs the mild est and most affable, thou gh with al a lover of glory."
EXERCISE I. A.-Write sentences about each of th e
following :-(1) The sea -shore, (z) bracelet, (3) a dragon,
(4) an outlaw, (S) a tankard, (6) a sword, (7) death,
(8) a cairn, (9) sea-ness (or promontory).
B.-Re-state the follow ing sente nces, using other
wo rds to express the meaning of the_ itali cized words:( r) The treasure belonged to a race of k in g s long since
dead. (2) The dragon, after t!te custom of dragons, stayed
to cruarcl
th e treasure he had di scovered . (3) He thought
b
to buy forgiveness from hi s lord. (4) Th e m o nster laid
waste the country. 5. Tidings came to Beow u lf. 6. The
mon ste r breat!ted fort!t fire. 7. Wigl a f t ool.: refuge un der
his lord's shi eld. 8. Death took Beowulf into !tis keept"ng.
THE PARAGRAPH.-( Contillued).

3. Continuity.-The sentences must not only he grou pcd,
they must be well grouped. They .mu :<t follow 0 11 e :rn()th or
methodically as "the consecutive steps in a progressing thought."
A peculiar feeling it is that will rise in tl1 e Traveller, when turning
some hill range in his desert road, he descri es lying far lJelow,
embosomed among its groves and green natural bulwarks, and all
diminished to a toy-box, the fair Town, wh ere so many souls, as_ it
were seen and yet un seen, arc driving th eir multifari ous tr;1 ffic.
Its white steeple i.s th en truly a star-ward porntrng finger; th e
canopy of blue smoke seems like a sort of Life-breath : for always
of its own unit y, the soul gives unit y to what so ll looks on w1tl1 Jo,·e;
thus does the D1velling-p lace of men, in itself a congeries of houses
and huts, become fo r us an individual, -al most a person. Hut what
thousand other th ough ts unite thereto, if the_plnce has to ourselvc· s
been the arena of joyous or mournful experiences ; d perha ps th<:
cradle we were rocked in st ill stands th ere, if ou r lov ing ones still
dwell there, if our buri.e<l ones there slum be r.

!:

':.

86

.ENULlSH COMPOSITION.

Notice th at th e topic se ntence speaks of the peculiar feeling
of a travel ler at the sight of a distant town. The paragraph
dev elops this topic in a reg ular rneth ocl: the suggestions from
th e steeµle, smoke, indi vi dual ity of the town, the recollections
of childhood, the thought of the living, the sacred memories of
the departed. All th ese ad vance in regular, impressive order;
the paragraµh has continuity or method.

In narrative composition, continuity demands that we bring
forward deta ils in the ord er of their occurrence.
ExE1.: c rsE IL-Show the continuity o f the paragraphs
in the story above.

EXERCISE I I I.--Study the following paragraphs, and
show if they ha ve unity, good topic sentences, a nd a
methodic seque nce of details :In a lo ng ramb le of the kind on a line autumnal cl ay , Rip had
un con scio usly sc rambled to o ne of the hi ghes t pa rt s of th e Kaatskill
m o untains.- He was after hi s favounte spo rt of sq uirrel shoot in g,
a nd the still solttudes had echoed and re-ec hoed with th e reports of
his g un. Panting a nd fat igued, he threw him self, lat e in the afternoo n, on a g reen kn oll, covered wit h mountain he rbage, that
crowned th e brow of the precipice. From an openi ng between the
trees h e could overlook all the lower co untry for many a mile of
rich wo odl and . He saw at a di stance the lo rdly Hudson , far, far
below hi111 , moving o n its sil ent but maj estic co11rse, with the
reflec tion of a purpl e cloud, or th e sail of a J;1gging hark, here and
th e re s lee pin g on its glassy bosom, and at last losing it self in the
blue hi g hland s .
. On tf1e o th e r side he looked down into a de e p mountain glen,
wtld, lo nely, and shagi;ed, th e bottom filled with fra g men ts from
th e impending c liffs, and scarcely light ed by the reflec ted ray s of
the setting sun. For som e time Rip lay musin g on this scene;
evening wa s gradual ly advancing; the m ountains began to throw
their long blue sh adows over the valleys ; he saw that it would be
dark long before h e could reac h the villa ge, and he heaved a heavy
sigh when he thought of encountering the te rrors of Dame Van
Winkle.

REPRODU CTION.-Tell the story of Beowulf and the
Dra gon, g ivin g· especial a tte ntion to the unity, topic
senten ces, and continuity o f the paragraphs.

NAJWA'l'JON: MEDUEVAL S'l'OWES.

87

LESSO.N XXX.
MEM O RIZATION.-FROM

"BONNrn DUN Ulm."

He waved his proud hand, a nd the trumpets were blown,
The k ettle-drums clashed and the horsemen rode on,
Till o n Ravelston' s cliffs and on Clermiston's lea,
Died away the wild war-notes of Bonnie Dundee.
Come fill up my c up, come fill up my can,
Come saddle th e horses and call up the ma n,
Come ope n your gates and let me gae' free,
For it's up wi'' the bonnets of Bonnie Dund ee.
-Sir T-Va/lr:r Swtf.
1g-o.

!:wi th.

TIIEME: THE STC)J{Y OF TIIE RlllNE-G OL D.

.:
I

Three gods of the Northland once came to ea rth in
di scruise
to hunt on the banks of the rive r Rhine: one
t>
of them was 'vVotan, father of the gods, and another was
Loki, the god of Fire. Loki spea red an otter, and was
skinn ing it, when a g iant , Rodmar, came up , and angrily
told them that they had slain, not a real otter, but his
son who had just taken an otter's sh ape. He demand ed
th e price of his blood -go ld enough to fill th e otte r's
skin. Loki went forth and captured a rich dwarf, and
took from him as ran som a golden hoard which the
dwa rf had stolen from the fairies of the I\ hine. Hut the
dwarf in his wrath laid a curse upon whoever should
possess th e gold . Loki only laughed, and returning to
Rod mar, covered the otter's skin with gold. l k ad ded
to the gold the t:irnhelm, a helmd that made its wearer
invisible, and a magic rin g that gave wealth to its owner.
But the curse soon showed its magic power. Rodmar's
rerna1111ng so ns, Fafnir and R ega n, quarrelled with and
slew their fathe r, and then fought with one another for

~i

~ .,.

88

ENGLISH COMPOS11'10 N

.NA JWATI ON : MEDI./EVA L S 'l'OlllES.

th e Rhin e -gold. F a fni r wo n it, an d tu rn in g h imse lf into
a d rago n, watched th e hoard nig ht and day.
T HE

(b) By sub,;tituti on of prono un s: At noon I stop t at th e Ca pta in's doo r.
left liim.

PARAGR A PH - { Continued ).

lie was lyini; as we haJ

(c) By periphrasis :-

4. E xplicit R ef erence. -The sentences of a parag ra ph

O f Si lver we had heard n o more. T hal /ormidable sM-f1r i11,.;
m an w it!t on e leg has a t last gone clea n out of m y life.

mu st not only fo llo w o ne another in good o rder, they
mu st also defi nitely and e x plici tl y indi cate their re lation
to o ne a nother. St udy th ese sentences :I ha ve al ways prefer red Cheerfu lness to Mirth.

89

(ii i) Demonstratives and sim ila r words of relation :·w e m ay divide t he cle rgy in to Ge neral,;, F ield Officers, and
subalterns. Among tl1e firs t we m ay reckon b ishops, deaco ns, and
a rch-deacons. Among lite second a re . . . T!te nst are the

The latter,

I co ns ider as an Ac t, th e former a s a Hab it of the Min d.

Mir/It

(iv) A dverbs a nd ad ve rbi al phrases:-

is sho rt a nd trans ie nt, C/1ee1/11!ness fixed a nd pe rman ent. T hose
a re oft en ra ised into the g reatest t r:mspo rt s of Jl1irtlz, wh o a re subject to the g rea tes t D ep ress ions of Mela nch oly ; On lite ,·ontrary ,
Clzeerju/11ess, t ltoug !t it does n ot give th e mi nd such an exquisite
Gladness, etc.

The day wo re on ; noon passed and noth ing had bee n seen .
At !e11gl!t, toward three in the aft ern oon, etc.
The sport sm en began to beat. They h ad do ne so fo r some t im e.
wh en, e tc.

The top ic is the supe riority of cheerfuln ess ove r m irth.
T he top ic sentence expresses this no ti on. W e see t hat
the second senten ce refers to the fi rst by demonstra tive
p rono un s: " the latter, " "the for mer." T he third sent ence expresses a clea r conn ec tion by re petition of the
o ri g in a l words of the topic. The fo urth sente nce g ives
furth er rep eti tion. This sentence itself is a contrast e xp ressly ma rk ed by add in g th e phrase " o n the contrary."
Th is e xpressio n of the continuity and relation of sentences is ca lled e xplicit reference.

EXERCJSE.-Make a list of the words of reference in
th e story above.
R EPRODUCTION.-Tell 111 your ow n wo rds the story
of th e RL1ine-gold. ____ ____

LESSON X X XI.
ME M OR I Z AT I ON . -

The means o f e x plici t refere nce are of va rious kin ds:-(i) Co11junctions and conju nctio na l phrases : " I un de rstand,'' said h e, win cin g. Hui yo u mu st see her.
.vas a pi ti fu l sight. For though she had . . .

It

(i i) R epetition-(a) of t he literal words:T h ere n ever was such a goose. Bob said he d idn't believe there
ever was such a goose cook ed, etc.

.'

FROM

" S I R CA l. A HA U ."

My good b lade carves th e casq ues of m en,
My tough lance thrusteth sure,
My streng th is as th e streng th of ten,
Becau se my h ea rt is pure.
T he sha tteri ng tru m pet sh rille th hi gh ,
Th e hard bra nds shi ve r on the stee l,
The spl int er'd spea r- shaft s c rack a nd fl y,
T he ho rse an d ri der reel :
They reel , they roll in clang ing lists,
An d when th e ti de of combat sta nds,
Pe rfu me and fl owe rs fa ll in showers,
Tha t li g ht ly ra in fr om ladi es' ha nds.
- A 1.fr ed, Lord Tennyson.

).

N A RRA TION : .MED l.fE VA L fi'l' ORIE:-S.

ENG LISH COMP0011'10N.

T H E P ARAGR A PH- ( Continued).

T11E ~ 1 E: T 11 E F o RGr Nc; o i: HALM UNG.

A p rin cess na med S iegl in d (zt"'g!int) fl ed a way from
he r e ne mies a nd took refuge in t he cave of a croo ked
d wa rf, Mi me (ml'111a), who 11·as by t rade a smi th.
T here she died , leav in g her litt le so n S ieg fri ed
(zlg'.frl't) to the ca re of the dwarf. She al so le ft fo r
the. boy t he pieces of a bro ke n s wo rd call ed Balmung,
whi ch had belonged to hi s hero-fathe r. Now Mime
wa nted to get back for the d wa rf peop le th e R hin e-gold
t hat Lok i had taken from the m. He kn ew th at the
sword Balm ung was t he only weapon tha t coul d k ill th e
d ragon Fafnir, who gua rded the treas ure. But try a s he
would h e could not mend the blade. A t last it was to ld
M ime that only o ne who had never known fea r co uld
fo rge Balmung a new. l3y that time Siegfri ed was
g rown tall and s t rong. He did no t k now wh a t fear
meant, and he set abo ut weld ing togeth er th e pieces
of the s word.
For seve n days a nd nig hts t he fires g lo wed , the
spar ks neve r stopped flyi ng-, an d t he rin g in g o f th e anvil
a nd t he hi ss ing o f hot meta l sou nded continua lly . O n
the e ighth day t he s woi·d was fas hi o ned. T o try its
edge t hey la id a thread o f woo l o n water, and the kee n
blade lightl y pa rted t he slender thread. M im e was
delig hted, but Sieg·fr iecl was not yet sat isfi ed. He bro ke
it aga in , a nd we lded it and tempe red it still more.
Only when the sword had s moot hly d iv ided a g reat pack
of wool, t he fl eece o f ten sheep, was he sa tisfi ed. Th en
he. s wun g the mighty bl ade over hi s head, say ing," See,
M ime, so serves S iegfri ed's Sll'ord !" and brin g ing it
d own o n t he stee l anvil he cle ft it in twa in.

91

5. Parallel Constmction. -S uccess ive se ntences havi ng-

,.
l

a com mon bea ring a re bes t wh e n co nstru cted alikeparallel construction. (Compa re ba la nce in t he sentence,
p. 68).
Suppose it should n o t be don e e n o ug h ! Suppose it s!t(l1t/d
b reak in turni ng o ut ! Suppose somebody s/1011/d h:we g nt over
th e wal l o f t h e b ac k -y ard a n d s t o le n it !

EXE RCISE.-E xa min e th e foll ow in g par<q.,: rapl1 :- (1)
·w h a t is the the me o f th e pa ragra p h? H as the parag raph unity ? (2) Is th e openin g sente nce a good topic
sentence ? (3) P o int o ut the o rder o f t he development
o f t he top ic (co nti nuity). (4) Point o ut any words that
express conn ectio n (ex pli cit reference). (5) Point out
a ny sig ns of pa ra lle l co nstru ctio n in the sente nces.
I t is in the country that the En g li shman gives scope to hi s
nat 11ral fe e lin gs. He breaks loose gladly fro m 1h e cold fon n:tliti<:,
and ne)jative civ ilities of to wn ; throw s off his habit of shy re 'l.,.,., ..
and b eco m es joyous and free -h e a rted. He manages to collect
ro un d him all th e con ven ie n ces and elejja nc ies of polite li fe . a n d to
ba n ish its r estra in ts. Hi s cou n try-sea t abounds wit h e\Try re q u isite, e it her for st ud io u s ret ire m e nt , tas tefu l gra ti fic: 11 i""· or rural
e xe rcise. Books, pa in ti n)jS, mu s ic , h o r ses, d<1gs, a nd sp1>rl ing· im p le m en ts o f all kind s , a rc a t hand . H e p u ts no co n st r:tint upon
hi s g- u c~ts o r him se lf, but in t h e tru e sp i1·it of hospit:ility pro v ide•
t h e m ea ns o f c 11joy m c nt , ;in d leaves c very()nc to parta ke ;i ccording
t o hi s in c li na ti o n .

RE PRODUCT! ON.- T e ll o f th e Forg in g o f Bal mung.
COi\TPOS ITT ON.-T ell o f S ieg fri ed a 11cl th e D ragon .
Siegfried, b ear ing th e wo n d erful swo rd Balm un g, wen t out to the
Gl it teri ng Heath to fi n d t he dragon a n d , if possib le , to learn \\' h:11
fear was; fo r h e h ad a longi ng t o k n ow what thi s terrible fc:ir " ·:is
of wh ich me n spok e. \Vhe n h e ca m e to the m outh of the clra).:011\
cave h e s t ood and blew :1 b l:l s t o n h is h o rn , and out ru shl'cl tlw
creatu re.
Bu t s ti ll Si eg fr ie d kn ew n o t fea r , :"Incl rai,in g Balmung
h e bega n th e fig ht. T h e st r ugg le was fierce , h ut t h e young hcrn
was s trong a nd Balm1111 g wa s s h a rp, a nd e re lon g the d ragon kl!,
brea thing hi s las t li e ry brea th . Thu s S ieg fri ed was m a s ter (Jf th e
golde n h oa rd . But h e wa nt e d n o n e o f it e xcept t h e T:nn h elm. nr
h e lm e t o f d ark ness, and th e wo n de rful rin g . Wi th th ese he s e t off
in sear ch o f m or e a dv e ntu res.

,,

,}

92

ENULii:iJ-I CUMPOJ:311'ION.

LESSON xxxrr.
MEMORIZATION.-FROM "Tin: LADY

OF SHA LOTT."

A bow-shot from he r bower-caves,
He rod e betwee n the barley -sheaves,
The sun came dazzling thro' the leaves,
And flamed upon the brazen greaves
Of bole! Si r Lancelot.
A red-cross knight forever kne el'd
To a lady in his shield,
That sparkled on the yellow field,
Beside remote Shalott.
Th e gemm y bridle g litter't! free,
Like to some branch of stars we see
Hung in the gol den Galaxy;
The bridle-bells ran g merrily
As he rode clown to Ca melot.
And from his blazon 'd bal d ric slung
A might y silver bugle hung,
And as he rode his annour rung,
Beside remote Shalott.
-A Ifred, Lord Tt·nnyson.
THEME: TllE COM IN(; OF ARTHUR.
Arthur, son of Kin g- Uther of Britain, was taken at
his birth by Merlin the E nchanter, and entrusted to Sir
Ector to be brought up. When Uther died, many
men desired to be king. But th e people prayed Heaven
for a sign, and, behold, before the church door they found
a great stone and on it an anvil of steel, and stuck therein was a fair sword, with letters of gold, "Whoso pulleth
out thi s sword from this steel and anvil, is ri g htwise born
king of Britain." This sword each of the lords tried to
pull out, but it would not stir.
Now Arthur, with Sir l ~ctur a11d his fuster-orother, Sir
Kay, rode to the New Yea r\ to urnament. Arthur, going

NAJWATJON: llfEDLrEV AL STORIES.

into the churchyard, took the sword and lightly pulled
it out. Sir Kay would fain have said that he himself
had drawn out the sword. But when he replaced it in
the anvil, he could not pull it out again, and as before it
yielded only to the hand of Arthur. Thus men knew
that Arthur was to be their king, and by ge nera l consent
he was so proclaimed. As king he heard rn a ny complaints of wrongs done and these he righted for the
betterin g of hi s people. He founded, at the feast of
Pentecost, his order of the Round Table, and ail hi s
Knights swore to refrain from evil and to do good.
THE PARAGRAPH.-( Continued).

6. Trmzsition.-Much of the ease of good writing is
due to the modulation of the sentences ; one sentence
glides into the other without jolt or effort. This is
effected by carrying the thought of the concludi ng
sent e nce into the beginning of the sentence to foll ow.
(i) Sometimes easy transition is · attained by takin g
up the last word or thought of the preceding sentence :H e walked slo wly along , throu g h the la urel path whi ch led
straight to l/1e /ill/!! c!mrt/1.
Tlze c/111rch stood a ll alone there
unde r the great limes.

.l\

(ii) The repetition may occur in a subordinate clause:" Arthur son of Ut/1er," etc.

" W/1en Uther died .. .. "

(iii) Sometimes inversion brings forw a rd some explicit
reference to blend the sentences together : 1 have always preferred cheerfulness to mirth.
T/1e latter I
consider as an act, the former as a habit of the mind.

The normal order would be " I consider the latter."
EXERC:ISE.- Point out any means of transition you
no tice in the preceding story.
REPRODUCTION.- Tell

of the Coming of Arthur.
:·)

···'

94

NARRATION: MEDI/EV AL STORIES.

.ENGLISH COMPOSITION.

LESSON
MEMORIZATION.-FRO~l

"And what did you see or hea r?" said A rthur.

xxxrrr.
"l'vfo wrn

"I saw nothing but th e water," said Bedivere, "and I
heard nothing but the wind and the waves."

n'ARTHUR."

And slowly an swe red Arthur from the barge:
"The old order ch ange th , yielding place to new,
An d God fulfils Him self in many ways,
Lest one good custom sh ould corrupt th e world.
Comfort thyse lf: what comfo rt is in m e?
I have lived my life, and th a t which I have don e
May He within Him self make pure! .. "
So said he, a nd the barge with oar and sail
Moved from the brink, like so me full- breasted swan
That, fluting a wil d carol ere her death,
Ruffles he r pure cold pl um e, and take s t he flood
With swa rthy web s. Long stood Si r Bedivere
Revolvin g man y m emories, till th e hull
Looked one black cl o t aga inst th e verge of dawn,
And on th e mere 1 the wailing died away.
-Alfred, l..ord Tm11yso11.

"Ah, Bedivere," said the king, "you are the last of my
knights, and you will not obey me!" And he sent him
forth again.

·,'

' Jake.

TllEME :

95

Tl!E PASSING OF ARTl!UJ.t.

In Arthur's last terrible battle the kin g was wounded
unto death. He call ed his knight Sir Bed ivere a nd bade
him take his swo rd, Excalibur, throw it into a nearby
lake, and then co me back and tel l what he saw. Hedivere took the sword, went to th e lake, and was about to
throw it when the jewels in its hilt caught his eye. His
heart failed him , a nd he hid the sword, and went back.
The king asked what he had seen, and Bedivere answered,
"Nothing but th e rippl e washing in th e reeds and the
water lappin g on the crags." "Then you did not throw
the sword ," said the king, and he sent him again.
Again S ir Bedivere started forth to throw the sword ,
b11t ag;1in the je wels gleamed, and he hid the sword on ce
more and return ed.

This time Bedivere took the sword and went fast up
the hill. Swinging it overhead, he Aung it far from him
into the waters of the lake. An arm clothed in white
samite 1 came out from the lake and took th e sword.
Bedivere we nt back and told the king, and he knew it
was time for him to depart fro m this life. Then Bedivere
carried Arthur to the lake, and a barge came up, in
which were three queens. Arthur bade Bedivere put
him in the boat, and the queens received him g rieving
over his wounds. Then as the boat moved off, he bade
Bedivere not grieve, saying that as king he had done his
work, and when his wound healed he might come again.
t

velvet.

T!IE

PARAGRAPIL-(Co11ti1111ed ).

7. Proportion.-The paragraph varies in length from
one sentence to many. Its length should have proportion in keeping with the . importance of its particular
topic in the deve lopment of the whole compo~ition.

"t

8. Rl~.:vthm. -Musical Aow is essential to good composition; the paragraph, when read aloud, should have a
noticeable rhythm that unconscious! y suggests to the
mind the unity and completeness of the thought treated
in it. Read a loud, as e xamples of rhythm, the paragraphs from Hawthorne, pp. 1 50, 186, and Irvin g, pp.
I 38, I 54, etc.

ENGLISH COMPOSITION.

06

EXERCISE.-Study to improve the foliow in g- passage:
(1) Should it be in two paragraphs? (2) Try to re arrange the subordinate clauses of each sentence so as to
give easier transition and better rhythm. (3) See if
parallel construction can be had in the seco nd and third
sentence. (4) Add a word of explici t reference in the
sentence that introd uces a contrast. Re-write your
result.

.NAIW.AUON: 8TOJUES - MU1Jl!:liN JIJ:)'l'iJJ:I'.
C ITAPTF.R Vll.-STOR!FS

Note n.t1d copy U1t1 pl\rn.!{mph ~11·11dun· (•r 1l1t1 l.~) 11v .. 1·Mal.iornt lwtwt·*"11 Art.hur tt-11'1

Dedivere.
CC1MPOSJTION.-r. The Story of Enid. 1 2. Lancelot a n<l Elaine. 1
3. The Storv of Faust. 4. Fortunatus. 5. Hereward the Saxon.
6. Robin Hood. 7. Sir Thomas Spens.
I See Tennyson,

11

ldyHs of the l\.ing-.''

J\lOlJEl'N 111STCH:.\'.

:;

LESSON XXXIV.
Mr:MORIZATION. -

" RULE,

BRITANNL\."

\Vhen Britain fir st, at I l eaven's command,
Aro se fr om out the azure main,
Th is was the charter of the land,
And guardian ang els sang thi~ st rain :
"Rule, Britannia, Britanni" rules the wavesBritons neve r shall be slaves!"

The storm still followed me, when I retired into my cab in. The
whi stling of tl1e wind through the rigging sounded like funereal
wailings. As the sh ip laboured in th e weltering sea, the creak in g
of the ma sts, th e strainin g and groa nin g of bu lkheads were fright·
ful. It seemed as if Death were raging- round this floating pris on,
seeking for his prey, as I heard the wav es rushing along the
sides of the ship, :i.nd roaring int o my very ear; th e 11wre sta rt in ~
nf a nail, the yawning of a seam, mi ght g ive him entr:i.nce. A fine
day, with a t ra nquil sea and a favourin g breeze, soo n put all th ese
di~mal re fle cu ons to fl igh t.
1t1s 11nposs1bl e to res ist the jjladden inginllucn cc of fine weather and fair wind at sea.
ll ow lofty, li ull'
gallant. a ship a ppears-how she seem s to lord it over th e d eep,
\vhen the ship -is decked out in all her canvas, every sail swelled,
and careeri ng- gayly over the curling waves.

REPRODUCTIO.N . -Tcil the story of the Passing uf
Arthur.

FIZO~!

\l7

The nation s not so blc ~ c;'d as thee
Must in their turn to tyrants fall,
\Vhil e thou sh,dt flouri s h great and free,
The dread :incl envy of them all.
Still mnre majes tic shalt thou rise,
J\lore dreadful frolll each foreign stroke,
A s the loud bla st that tears the skies
Serves hut to root th y 1ntiv e uak..
-

._Ja!l/1'.\'

,.;;

f/1 1J l/! Stlll .

During th e battle of Crecy, Kin g Edward I I I., posted
nn an eminence hy a windmill , was watching the pr<J~rc.ss
of th e battle into which he had sent his snn, Erh1·:inl,
the Black Prince, to win his spurs. A messen ge r came
in haste to the king, saying that the prince was
hard pressed and entreating him to come to his aid .
The king replied, " Is my son dead, unh orsed, or so
badly wounded that he cannot support himself?"
"Nothing of the sort, thank God," rejoined the k11i~__:J1t;
"but he is i11 so hot an engagement th a t ht: Jia,; grc;1t
need of your help." The king answered, •· N<>w, Sir
Thomas, return to th ose th:tt sent you, and tell thL'tn
from me nut to send aga111 fvr me this day, or expect
7

). j~ •

· ~ 11~

""''-'

.t.

'

98

ENGLISH COMPOSITION.

NA BRATION: STORIES-ftlODERN lllS'l'ORY.

that I shall come, let what will hap pen, as long as my
son has life: and say that I command them to let the
boy wi n his spurs; for I a m determ in ed, if it please God,
th a t al l the glory anJ honour of this d ay shall be g iven
t o him and to th ose into wh ose care I have entrusted
him." The kn ig ht retu rned to hi s lords, and related the
king's an swer, which mightily e ncouraged the m, and
m ade th e m repent that th ey had eve r se nt such a message.
When th e batt le was over a nd the English had won
the clay, King Edward came d own fro m his post,
advan ced to the Prince o f Wales, embraced and kissed
him, sayin g ," Sweet son, God g ive you good pe rseverance.
Y o u are my son, for most loyally have you acq uitted
yourself this clay. You are worthy to be a sovere ig n."

E>:E l ~ C I ~E IV. - Stucly the steps o f tb c d evelopm ent in
thi s paragraph; show that its st ru ct ure is cl im a cteric:-

- Ad11plt!d from Frnisrnrl.

EX ERCISE !.-Subst itute equivalen t exp ressio ns for
the italicized wo rds:-( 1) Edwa rd I I I. was p osted on a n
emin e nce. (2 ) He watched tlte prog-ress of tlte battle.
(3) The pri nce was lwrd pressed. (4) They e ntreated
the king to come to !tis aid. ( 5) Let the boy win !tis
spurs. (6) The Engli sh won t/ie d tl.J'· (7) You have
acquitted J'otrrseif loyall y.
Ex ER CISE I I.-( r) If the fi rst para g raph of th e preceding were divided, where should the d ivis io n be made? (2 )
I s th e first se ntence a good to pic se ntence? (3) Point
o ut th e steps in t he developme nt (continuity) o f the story .
EXER CISE III.-Re-write the se ntence " Now, Sir
Thomas, . .. . ent ru sted him," makin g of it three o r four
s hort se ntences.
THE PARAGRAPH-( Contitmed).
9. Climax. - A subj ect ca n, at times, be so treated that
t he steps in its clcvelopm ent ri se hi g her and higher,
increasin g- ll1 inte nsity of force til l the encl. The
para g raph has then the st ructure ca ll ed climax.

''

\1\1

" \ Vh en I look u po n the tombs of the g reat, every e m oti on of
en vy dies in me; wh e n I read th e epitaphs.of the beautiful. e ver y
in o rd in at e d e s ire g oes ou t ; wh e n I m ee t with th e grief of p:1rc nts
upon a tombs tone , my h ea rt melt s with compa ss io n ; wh e n . I see
the to111b of th e pa re nt s th e 111 sc lves, I cons id e r th e van it y of
gri eving fo r th os e whom we mu st qu ickl y foll <;w: wh e n r. see th e
kin gs lying by th o se who deposed the1n, wh e n l con si d e r nv:1l w11.'
s ide by s ide, o r th e h oly men that d1v1ded the world with their
conksts and disputes, I reflect with so rrow a n d a ;; toniohnwnt on
th e li ttle competit ion s, factions a nd debates o f mankrnd. \\h e n I
read the several date s o f the tomb s , of some th at di ed ye ste rd ay ,
and some s ix hundred years a go, I cons ider that great da y when we
shall all of u s be contemporaries , and make our a ppe aran ce
t og ethe r. "

REPRODVCTION . -T ell the story o f the Black Prince
at Crecy.
Put each direct narration in a paragraph.

LESS ON XXXV.
Mi,:~ 1 0R 1 Z ATI ON. -- F1w~1

"CO N CORD M o N U \IE N T

By th e rude brid g e that ar ch ed th e f1ood ,
The ir flag to Ap ril' s breeze unfurled,
Herc o nce the emliattlcd fa rmers stood ,
And fired th e sh ot heard round th e wo rld.
The foe long- since in s ilen ce slept ;
Al.ike th e co n que ror sile nt s leeps ;
Anrl Time the rui ned b rirlg e has swe pt
Down th e dark stream \d1ich scaw;tr<l c re"J>' ·
O n thi s g: ree n b a nk, Jiy tli1 s soft stream,
\ Ve set to-da y a Yotiv e stun e,
That m e m o ry may th e ir d e ed redeem
\Vhen, lik e o ur sires, o ur sons :t re go ne.
Spirit, th at m ade th ose heroes dare
To di e , o r leave th eir children free,
Hid T im e a nd Natu re gen tl y s pare
Th <· shaft we raise t o th e m and Th ee.
··- Nt1!f>li I V,dd1> Flll<'1 S{ll/.

__J

102

ENGLISH COMPOSITION.

NARRATIUN: STORIES-MODEltN HrnTORY.

LESSON XXXVI.
MEMORIZATION.-.FROM "ScoTs, 'VHA H.u;."

forgot the sacred character of the place, a 11d struck
Comyn with his dagger. Running out, he told his fol lowers that he was afraid he had slain the Red Comyn.
" I will make it surer," said one of them, and they \\'ent
in and dispatched the wounded man. To the encl of his
life Bruce was haunted by remorse for thi s cruel, passionate deed, and he long-ed to go on a pil g rimage to
Jerusalem, thinking, after the fashion of his clay, that so
he might make amends for it.

10:1
'

Scots, wha 1 hae' wi'• \Vall ace bled,
Scots, wham' Bruce has often led ·
Welcome to your gory bed,
'
Or to victorie.
Wha 1 for Scotland's king and law
Freedom's sword will stroQgly draw,
Freeman stand, or freeman fa'5?
Let him follow me !

Lay the proud usurpers low!
Tyrants fall in eve ry foe!
Liberty's in every blow !
Let us do, or die !
11clw.

::11av~ .

:'!with..

41.chom.

- Nol>rrt Burns.

r._rau.

T!!El\IE: BJWCE

AND

COMYN.

Early in the fourteenth century, whe n Scotland was in
g reat turmoil, there were two prominent claimants for
the throne, Robert Bruce, Earl of Carrick, and John
Comyn, known on account of his fair skin as the Red
Comyn. After th e defeat of Falkirk they both submitted to Edward I. of England, and even bore arms
against such of their countrymen as were still fi rrhtinor
o
o
ior freedom. But at last Bruce repented of this and
VO\:ed that in future he would do all in his power to
deliver Scotian~! from the foreign yoke. Accordiugly
he left the English army, and went to Dumfries to seek
an· interview with his rival, the Red Comyn. He wished
to induce him to join in the effort to expel the foreign
enemy. They met in a church before the high altar,
but what passed between them is unknown. However
they came to high words, and Bruce, always passionate:

"
't.!;

.'

•;

J
. u'
'

-Abridged from Scott's" Tales of a Crandfzt/1cr."

EXERCISE I.-Express in other words the meanin g
of the italicized words:-( I) Scotland was in great
turmoil. ( 2) Bruce vowed to do al/ ill /us power.
(3) He delivered Scotland from t!te foreign yol.:c.
(4) Comyn would not join in t!te ej/ort. (S) Th e
warriors cam e to !tig!t words. (6) To t!te end of !tis life
Bruce lamented his deed. (7) The king w as luumted by
remorse. (8) The knight went on a pilgrimage, after
t!te faslzion of !tis day. (9) He sought to ma/.:e amends.
THE SENTENCE-( Continued).
Correctness.-Errors in the agreement and government
. of words, in the use of auxiliaries and participles, in the
for m of adverbs-in short all errors in grammatical
construction must be avoided.
EXERCISE II.--Re-write the following, correcting the
solecisms:-( 1) Who are you speaking to? (z) You arc
not the man whom I thought you were. (3) Each of the
boys have learnt th ei r lesson well. (4) You are older
than me. (5) Having much myself, I could not deny
John my help, and he my only son. (6) Nobody knows
it but you and I. (7) Everybody is sure of themselves.
(8) You go with your sister, and leave Laura and l\fay
and I to do the dishes. (9) You will get your share after

~

.,l>

•,

ENGLISH COMPOSITION.

NARRATION: STORIES- MOJJERN llISl'ORY.

May a nd I. ( 10) Neither example o r precept are abl e
to res train him. ( I I ) A painte r and a glazie r i:; on e
occupation. ( 1 2) Either you or I is to blame. ( 1 3) The
army are commanded by Lord Roberts. (14) Th e numbe r o f the peopl e were immense. ( 15 ) A number of men
was seen going away. · ( 16) Those sort of apples do not
kee p so good as these sort. ( 17) Them as says nothin g
.te ll no tales.
REPRODUCTION.-Tell the story o f Bruce and Comyn.
COMPOSITION.-Write a letter to a near relative telling of your school work.

European assistants could be counted on the finge rs of
one hand. Yet he managed to convert his ri ve r steamers
into ironclads, to build new ones, to mak e and lay clown
mines, to place wire entanglements, and to exec ute frequent sorties, while he kept up the spirits and courage
of hi s followers and baffled a fanatic and determined foe
for over ten months .
A relief expedition was plainly necessary, but so
dilatory were the proceedings of the governm ent that it
was September before Lord Wolsel ey was abl e to leave
England. Then everything was dor:e that could be
done, but the delay was fatal. Gord on him self had a
strong presentiment of the end, for in his journ a l there
is this in the entry of October 13, 1884: •· \Ve are a
wonderful people; it was never ou r goveri1m e nt whi ch
made us a great nation ; our go\·ernment has been
ever the drag o n our wheels. It is, of cou rse, on the
cards that Khartoum is taken un der the nose of th e
expeditionary force, which -will bejust too late."
By the middle of January the state of the garrison
was desperate. Gordon continually visited the posts by
night as well as day, and encouraged the famished men.
The Mahdi determined to storm the city before the re lief
could arrive. The attack was made in the early dawn of
the twenty-sixth of January. The defence was but halfhearted, treachery may have been at work; at all events
the garrison was too exhausted by privation to make a
proper resistance, and Gordon was killed on his way to
the stone mission chapel which contained hi s ammunition, and where possibly he meant to make a last
stand. Just two days later the relief arrived.
The news of his death was received with a burst of
grief and indignation which knew no national limits: a

104

LESSON XXXVl I.
MEMORIZAT1 or-;. -

T1-1E KN1 c; 1-n" s To~lll­

\ Vhe re is the g rave or Sir Arthur O'Kel lyn?
\.\There ma y the grave of that good knig ht be?
By th e side of a sp rin g on the breast of H elvell)' n,
Under the twigs of a you ng birch tree.
The oak that in summer was sweet to hea r,
And rustled its leaves in the fall of th e year,
ls gone,-and the birch in its stead is gro wn.The knight's bones are du~t,
And his good sword ru s t ; His soul is with th e saints, I trust.
-Samuel Taylor Coleri1<r;e.

THEME: THE FALL OF KIIARTOUM .
In the month of March, 1884, General Gordon, who
had been sent to effec t the evacuation of the British
from the Soudan, found himself hemm ed in, in the city
of Khartoum, by the followers of the Mahdi , or false
proph et, and without any immediate chance of assistance from without. From the first attack, March 12,
until the fall of Khartoum ten months later, Gordon
ca rried on the defence of the city with consummate
skill. His resources were sma ll, his troops few, and his

105

106

N ARRATION: STORIES-MODERN JII.S1'01ff.

ENGLISH COMPOSITION.

107

LESSON XXXVIII.

hero had been thrown away. \Vh e n in the summer of
I 898, Kitchener's victory of Omdurman put an end
forever to the sway of the Mahdi, there were few that
did not feel that a long outstanding debt had been paid.

MEMORIZATION.-FROM "THE LADY OF THE LAKE."

Soldier, rest ! thy warfare o'er,
Sleep the sleep th at knows 'not breaking;
Drea m of battled fields no m o re,
Days of danger, night s of waking.
In ou r isle's enchanted hall,
Hands un seen thy co uch are stre win g,
fairy strains of mu sic fall,
Every se nse in slumber d~wing.
Soldier, res t ! thy warfare o'e r,
Dream of fighting fields no more ;
Sleep the sleep that knows not breaking,
Morn of toil, n or ni ght of waking.
.
- - Sir ~Vidler Scott.

-Based iapart on th e adiclc in the" /Jlct ionary uf /\·atiuual Biogra11h!/."

EXER CISE I.-Exprcss in other words th e meanin g
o f th e italicized words:-( 1) Gordon was se nt to e ffect
the evacuatio n of the Soudan. (2) Gordon carried 0 11
tile defence of the city. (3) T he proceedings of the
government were dilatory. (4) Everything was done
that could be done. (5) The government h as b ee n a
drag Oil our wlieels. (6) It is Oil t/ze cards that KhartoU1n will be taken. (7) Treachery may have been at
work. (8) At all events the garrison was exhausted.
(9) The news was recei\·ed w it!t a burst q.f grie.f.
EXERCISE I I.-Re-writc the following, making necessa ry correct ions : -( 1) He don't improve hi s case by
talking. (2) The rive r has overflow n its banks. (3 ) Y ou
have mistook your man. (4 ) The child has tore the
music I had began to play. (5) Lay d ow n and rest.
(6) Raise up and look about you. (7) We laid down
when we see him safe in camp. (8) Toronto is lain out
with great regularity. (9) The sun had arose while we
laid in bed. (IO) Was you willin g to walk such a
distance wh en you saw what the weather was like?
( 1 1) The easiest thin g of the two is to tell your father.
( 12) "Waverley" is one of the novels that ne\·er tires
one in re-read in g . (13) The heat o f passion as wel l as
the ind olence of indifference are to be avoided. ( 14) \\Till
I be able to meet you at John's? (15) I will not be able
to go. ( 16) If you would be able to go, I would easil y
fin d you. ( 17) He injured in stead of helped his caus~ .
(18) You look pleasantly to-day. ( 19) Floll'ers s mell
sweetly. (20) This book is as good if not bette r than that.
REPRODU CTION.-Draw up a fo rmal o utline of the
death of Gordon-Tz'tlt!, l11trod11ctio11, Story, Conclusion.
Tell the s tory in your own words, followin g your outline.

THEME:

Tl! E TRUE STORY OF CASAHl 1\r\ CA.

In August, 1798, a French fleet of thirteen vessels b y
off one of the many mo uths of the Nile. The admiral
believed his position impregnable, but he had to do with
Nelson. The English admiral steered his squadron ~o
as to attack the French from b oth the seaward and the
landward sicle. Caught betwee n two fires, the French
fourr ht valiantlv but shi[J after ship was ove rpO\\-Crcd
"'
',
until only two were le ft.
In the h ottest of the fight rode the French flag -ship
· t.. I-Ier captain , Louis de Casabianca, had on board
0 rze11
as sea man his son, Giacomo de Casabianca, a bra\·e and
ambiti o us youn g fello \\' of nineteen; both (lf them \n:re
nativ es of the island of orsi ca. The En gl ish fire prm-cd
too much for the French ship. The captain gave hi s
final order: ''You have d one nobly, my lad s, fo r the
honour of the Republic and the valour of th e French
narne. All is lost. Save y ourselves."

\

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ENGLISH COMPOSITION.

NARR.AT ION: STORIES-MODERN HISTORY.

The sailors threw themselves through the port-holes
into the sea, and the English boats rescued as many as
possible. But when Giacomo would have urged his
father to trust to the mercy of the enemy, he declined,
sayin g : "No, my son, do you drop over at once; but I
go not. My post is here."
"Then, I, too, remain," the sailor son replied. "If it
is your duty, it is mine also."
Standing upon the towering quarter-deck of the
Orient, the only spot as yet untouched by the ri si ng
flam es, t he wounJcd father and the faithful son pleaded
with one another for the right to die. But the father
would not quit his post; he would die with honour: and
the son, in whose veins ran the blood of heroes, would
not leave him. The entreaties of the French sailors
and the warnings of the English rescuers were alike
unh eeded.
Then came a tremendous explosion ; a volcano of
flame burst out ; and side by side father and son went
down, as the ch;trred and smoking Orient was swallowed
by the hun g ry sea.

and son were 11atives o.f t!te Island fJJ Corsica. ( 2) The
English fire was too nmc!t .for the French ship. (3) The
son urged his father to trust to tlte mercy o.f tlte enemy.
(4) He resolved to die wit!t !tonour.

108

Thr / Hll stury rnny li•! rt' otl ·i a 11 lf ,.roic /la.ppenings," by Elb·ri<lge S. Brookw.
Jfrs. ll cm.a,u.,.·IJ •· Ca~ o.l1i<uH·11. " i"' 11'ell k11 uu·n.

Exr-:r.:crSE I. A.- Usc phrases in place of the italicized words, and express the meaning of the following :(1) The admiral believed his position impregnable.
(2) Nelson attacked the French fleet both from the seaward and the landward side. (3) The French fought
valiantly. (4) You have done nobly. (S) The warnings
were un!tecded.
B.- U se words i11 th e place of the italicized phrases,
and express th e m ea11i11 ~ of the following:-( r) Father

109

SENTENCE-(Continued).
Order for Clearness. -The order of words in an English
sentence is of the greatest importance, for the relation
and emphasis of words are largely determined by their
position in the sentence. When we mean to qualify
particular words we must place the modifiers near.
Note the differences in the effect of the following:THE

Success can only be achieved by industry.
Success can be achieved only by industry.
The officer saw many of the slain, riding through the
valley.
Riding through the valley, the officer saw many of the
slain.
Ex ERCISE I I.-I mprove the following by ~roperly

placing the modifying words:-( I) People cease to
wonder by degrees. (2) I scarcely ever remember hearing of such a case. (3) He is to have the hou se and
wood for fuel. (4) The enemy were un willin g even to
grant the indul gence. (5) He was me rely able to walk
to the gate. (6) I am nei ther acquainted with the
author nor his books. (7) Virtue can render youth
honourable as well as old age. (8) He not only gave
me advice but help. (9) Let us consider how little we
deserve and how much we enjoy, in order to correct the
spirit of discontent.
(10) Few people learn anything
that is worth learning easily. (I I) They followed the
advance of the exploring party, step by step, throu gh
te lescopes. ( 12) He replied that he was prepared for
the position , and left to take it.
REPRODUCTfON.-Draw up a formal outlille and tell
the story of Casabianca.

110

ENGLISH COMPOSITION.

NAIWATION : S'l'ORIES- MODERN HI STORY.

LESSON XXX IX.

The flan ks o f t he Au strian host began to advance, so
as to enclose the s mall peasa nt force.

MEMOR! ZATION . -FROM "LUGA NO, THE

1,/\KE."

Then Arnold von \-Vink e lried (fon 1•i11' !.·el r'"d ), o f
Unterwa ld en, cried, "I will open a passage," a11d ru shing
forward he gathe red in to his own breas t a ll the spea rs
h e could g rasp. He fell , but over hi s body the Swiss
wedge rushed through the opening h e had made. At
cl ose quarters the heavy armour and long spears of t he
Austrian s were only a n e ncumbrance. They gave \\'ay.
R a ther than fly, Duke L eopold g rasped hi s sta ndard
wh e n its bearer fe ll, and, rallying hi s me n, pc ri sheJ in
the thickest o f th e fi ght. The Sw iss lost hardly a tenth
of the number who fel l on the Austrian s ide.

" 1-l e, too, of battle-martyrs chi ef !

\Vh o, to recall hi s daunted peers,
For victory shaped a n ope n space,
By gathering with a wide embrace,
Int o hi s sin gle breas t, a shea f
Of fatal Austrian s pea rs."
- /Vil!ia m I Vordswort/1.
FRO~! " H ORAT I US."

Then o ut spake brave Horatius, th e capta in of th e gate:
" To eve ry man upo n this eart h d eath cometh soon or late.
And how ca n man die bette r th an fa cing fearful odd s,
For the a shes of hi s fathers, and th e templ es of his gods."
- Tlto11111s Babin,r:;ton Macaulay.
TH EME :

Tim BAT TLE

111

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'

1',·

...
'.·

On the ninth clay o f July it was long a custom for th e
Swi ss to assemble on th e site of the battle to hear a
serm on of th anksgiv in g fo r the victory that g ;t \'(: th e m
th ei r freedom, and the ro ll of nam es o f those who fell.
Afte r this th e re was a se rvice in the littl e ch;ipcl, o n the
wa lls of whi ch we re painted th e deed s o f Arnold vo n
Winkelried and his gallant co mrad es on th: tt c\·e n lful
day.

OF SEMPACII.

T he •vonderful little rep ublic of Switzerland had a
h a rd stru gg le for ex isten ce. Powerfu 1 nei g hbours coveted the m ounta in st ro ng hold, and more than once the
hardy m o untai nee rs fought a ba ttle of life and d eath.
r n I 397 t he bra ve pca~a nt s o f th e F o rest Cantons
cam e to the su ppo rt o f Luce rne against th e Duke o f
A ustria. Thirtee n hun d red of the m took up a position
in the woods around the littl e lake o f Sempach. The
Austrian forces opposi 1i g them were in large numbers,
d ra wn up in a solid, compact bod y, with an unbroke n
lin e of spea rs projecti ng beyond the wall of shields and
im pe netrable armour. Th e Swiss, few in number, had
no arm o ur to s peak of. Some had boa rd s by way o f
shi clc.ls, so me had halberts, {>thcrs two-hand ed sword s o r
bat t le-axes. They d rew thems elves up in the form of a
wedge a 11 d ru shcJ upo n the se rried spea rs, but in va in.

EXER CISE !.- Express tlt e se nse of th e italiciz ed
phrases in a worcl or two :-( I) Sw itze rland lwd a /ltlrri
struggle for ex iste nce. (2) The Forest Cantons uwtt: to
tlte support of Luce rne. (3 ) The Swiss troops tool: 11p 11
positiun in th e wood s. (4) Th e Au st ri;,in forces we re i11
large numbers. (S) The Swiss had n o armour to spea!..·
o.f. (6) So me h ad boa rd s bi' way of shields. (7) Th ey
drew th emselves up in t!te form of a wer(:;e.
EXE!K ISE IT. - Divid e the pre c cd in~ a ccount o f
S crn pach in to three parts, pointin g nut, first, th e se nten ces that make th e introduction to t h e str1ry ; secfJnd,
th e se nte nces th at tell th e sto ry; and t h ird, th e scnl<' 11 n :-;

J

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112

NARRATION: STORIES-MODERN IIISTOlff.

ENGLISH COMPOSITION.

that make the conclusion of the story. Give in a brief
sentence or phrase the sum of each paragraph.
THE

SENTENCE.-( Continued).

Sentence Stress -A sentence has normally two emphatic places-the beginning and the end. Words that
stand in either position acquire emphasis; words that
stand in the middle hold an unemphatic place.

(i) Opening stress:The novel ef c/1aracter has this difference from al l othersthat it requires no coherency of plot.

(ii) Middle unstressed :"Trade, without e11/ar_E[i11g /lie Brilisli Territories, has
given us a kind of additional Empire."

!

EXERCISE II.- Re-arrange the parts of the following
~entences to _improve the emphasis:- ( r) Cassius, there
~s no terror 111 thy threats. (2) Quoth the Consul, Let
1t be as thou sayest, Horatius. (3) You have quickly
gone out, wh~n I tl~ou ght you slowly went out. (4) [

see the Gladiator lie before me. (5) He said that the
Spaniards looked on these barbarous pastimes with
pleasure. (6) Our troops were forced to evacuate thei r
position, after a loss of a hundred men, in spite of the
utmost efforts of heroic courage. (7) I would neve r lay
down my arms, never! never! never! if I were an
American as I am an Englishman.
REPRODUCTION.-Te ll the story of the Battle of
Sempach, after making an outline,-Title, l11troduct1o11,
Narrative, Conclusion.

(iii) End stress : -

LESSON XL.

His life wJs gentle; and the elements
So mix'd in him, that nature might stand up
And say to all the world, This was a man!

Of the opening and the final st ress the latter is the
more important, but as the emphasis of the former may
be increased by inversion (see p. r 1 5) the two frequ ently
attain eq ua lity.
It follows from these peculiarities of stress that only
emphatic parts should be found in emphatic positions,
and that only unimportant parts should hold the unstressed position. "As in an army on the march, the
fi g hting columns are placed front and rear, and the
baggage in the centre, so the· emphatic parts of a
sentence should be found either at the beginning or at
the end, subordinate and matter-of-fact expressions in
the middle." (Bain.)
\Vh e re there arc two mod ifying exp ress io ns th e lo nger
us ually takes the more emphatic position.

113

MEMORIZATION.

They never fail who die
In a great cause ! The block m ay soak their gore;
Their heads may sodden in the sun ; their limbs
De st run g to city gates and castle walls;
T3ut s till th eir spirit walks abroad. Though year s
Elapse, and others share as d a rk a doom,
They but au g ment the d eep and sweeping thoug hts
Which overpower all ot hers, a nd conduct
The world at last to freedom.
-Lord llyron.

THEME: THE HEROISM OF DAULAC 1 .
The settlement of Canada was the work of stron ab
men, even of heroes, and countless daring deeds fiil the
annals of both the French and English settlements.
One of th e most heroic of the French pioneers was
Adam Daulac (doll la!.:' ), the young commanda nt' of th e
g·a rrison of Montreal. H e had sta in ed his n;im c 111
1

Sec J'arkma11'1i "Uld H.C>>("i mu" for n fuller aecou nt.

•' fourth Hen.tier,·· p. 1;,:J ,

114

NA RRA 'NON: S'l'u J: //;'.'! -- VO DER.V JIJSTO t.' ».

ENGLISH COMI'OSITJON.

France, it \\'as said, and had come to the New \,Yorl<l to
seek by some noble deed to wipe out the reproach.
\Vorel came that the fierce Iroquois were g athering on
the Ottawa on the ir way to attack l\Tontrcal. Daulac
proposed to the young men of the city that they shotild
band together and waylay and harass the I nclians in
their descent of the rive r. Sixteen young men caught
his spirit, and, striking hands with him, took an oath
to fi g ht to the death. Having gained the governor's
con sent, they t ook the sacrament toge ther, and went
forth on th ei r heroic mission.
J o ined by a few Huron and Algonquin allies, th ey
ascended the Ottawa and entrenched themselves in the
ruin s of an old pali sad e fort at th e foot of the Long
Sault (so) r;ipid s. The y eliing Iroquois we re soon upo n
the m , but were beaten back again and aga in. For five
days th e ckfcnders we re harassed day and night with
fire ancl attack from two . hundred braves. Pent in the ir
narro\\" fort, they fought and prayed by turns. They
were without water, and therefore could n o t swallow the
c ru sh ed Indian corn , or " hominy," which was the ir only
fuod. One by one the [ ndian a; lies crept over the
palisades and joined the e nemy; one Al gomp1in chief
and a few Hurons alone rema in ed faithful to the last.
Then the Iroquoi s, recruited by a larger party, once
more attacked the fort. The French were at their posts,
and every loopho le clartccl fire. The bodi es of the fallen
Iroquois we re piled so deep that the palisades ceased
to be a shelter. Not till all b11t five of the garrison
. were dead, and these were terribly wo11ndcd,cl id thcJittle
ba nd of h eroes yield. The en e my made th e ir way in
with a burst of trium ph;u1t yells. 1-:-our of th e survivors

I 1.-.

were quickly dispatclwcl, th e last, having lik t: IH•lliJ1 t«
m ake it worth while, was tortured.
But the brave blood was not shed in vain. Canada
could breathe freely , fur the Iroquois had had 11ghtlll~
enough. If a ni e re handful b ehind a palis;tde co u ld clef"~·
so many braves, what might they not expl"ct of g re;it ~r
forces behind sto ne walls? So they slunk back t u thc·ir
lodges, leaving the settlements to enjuy for a time tl1e
hard-won peace.

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;

. . ~.

EXER C ISE I. A.-(i ) What is the them e of the forego in g story?
(ii) 'vVhat ,.,entcnce.c; serve as an introduction to this theme? (iii) \Vhat sentences [from ...
to .. .] give the Narration? \Vhat sentences sen·e ;ts
Conclu'.; ion i'
'

H.- (i) Notice the five p a ragraphs in \1·liich th e "torv
is printed. .( ii ) 'vVrite a sentence for each par : tgr;ipl~ .
t:ell111;::; wh::tt 1t is ::tbout. (iii ) Show the lK:1ri11« "f each
.
,... ,
,. '
.
.
:-.
sentence o t tile t111rn paragraph upo n its t o pic.
-

'

. C.- (i) l'icl.; 0:1t three ~c 11tcnccs tli;1t h:11·c ~~ood 1>pcr1 tng stress. (11) l hrce that have unimporta11t \\'or<ls i11
the middle position.
(iii) Three that h;l\-c ~~o<HI fin;tl
s trc,.,s.

T ll I·: S ENTE:\l' L - ( C~1 11/i111ffil).
ltl(lersio11 for f~mpltasis.-\Vc have pn: \·iou siy 11uticed
inversion for the sake of easy transition fro111 sentence
to sentence (sec p. 9.).) Inversion for empha sis also
occurs. Compare these sentences :A. Diana of the Ephesians is great.
fl. Creal is Diana of the Ephesians.

A . Conquer like Douglas, or die like Douglas.
fl. Like Douglas conquer, or like Douglas die .

The usual g rammatical o rd e r of subject and predicate,
verb and modili cr, is seen in A; but in B the order is

116

NARRATION:

ENGLISII COMPOSITION.

STORIE~-MODERN

lllSTOKi".

J 17

inve rted.
Thi s unusual orde r attracts attention and
gives e mphasis to the part tak in g an unu s ual place.
Ex1·: 1.:crsE IL-Re-write th e fo ll o win ~ sen tences,
imp roving the emphas is of e mp hatic parts by inversio n:
( 1) The hel p of ma n is vain. (2) The work went on
day a fter d ay. (3) The matter with whi ch this class of
novel d eals is dan gerous. (4) E liza cr icJ, "What a
pretty bo x! Did y ou brin f; it for me all this distance?
You are too good to me." (S) Th ey did no t cease to be
friend s, thoug h they became rivals. (6) I Ie that hath
his quarrel j ust is thrice a rm ed. (7) " It might. have
been," arc the sadd est o f all wo rd s o f pen o r tong ue.
(8) The h ouse was adorned wi.th out with bea utiful creeping vin es, and had fin e pa intings and statues within.
(9) I tru st th a t wh e n you come nex t, I shall see yo u.
(ro) I do not love th ee, Docto r Fell; I cann ot te ll the
reaso n wh y ; but I kno w full well thi s alone, I do not
love thee, Doctor Fell.
REPRO DUCT ION. -Draw u p a fo rmal o utline of the
s to ry of Daulac; tell the story in your own words.

COMPOS ITION

I .. -

The I Tcroin e of "Castle Dangerous."

Cas tle Dangerous," its blockhouse- Madeleine
Ve rchcres (7!er sl!,i r'), aged fourt ee n, left in charge - \Va lb li y the
river to m ee t expecte d visitors - Secs so me .1rn<J1 1 oi~ rn111ing- Cains
the fort, shouting," Aux ((!'IJ/t"S .'(ti =arm ' ) A u x 11rm es /"- Inm a tes
stupefied with fear-She takes command, looks t o the de fences
inspi res her two little brot hers with her own brave spirit- H e;
visitors are seen approaching- She goes ou t herself to warn th em
-Th e l n<lians, feari ng a tra p, do not m oles t her- She brings her
friend s safely into th e fort - Posts he r guard - 1-l okl s the fort for a
week - Sleeps little, her he:icl re s tin ~ on her ar ms fo ld ed over her
g un - \ Vorcl of he r need tak en to ~l o nt real by labourers wh o liad
esca pecl th e I ndia ns-Spla sh in g of paddl es heard-Voi ces speakin g
French-The rescue part y- The In dians depart.
OUTLINE. -

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COl\IPOSITJON 2.-Tell th e story of N apoleo n and th e
S entry.
Use th e details in t he picture above. The sen try is fo rg iven
because of the recen t h a rdships and g reat victorie s of the army,
but . ..

COMPOSIT ION 3.-Th e Caµture of Q uebec.
Alll>JT IO:'\AL

THEMES.

COMPOSITION. - I. The Battl e of ll :istin gs.
2. The T~ attk ., {
Cn:cy. 3· The Defeat of t he Annada. 4. Th e C ha rge of t l>< ·
Ligh t Briga de. 5. Williall\ \ Vallace. 6. Brn ce a nd tlic Spi de r.
7. The Heart of the Hrnce. 8. \Villi a m T ell. 9. Jo:rn of 1\ re.
IO. The Fall of th e Bastill e. Ir. T he U eath o f th e S\\'i ss \.uan! ;;.
I2. T he Di scove ry of America.
IJ. The Conq11cst of l\k xico by
Cortez. I4· J;1 c<1ues Cartie r. IS. The 1-lassacre of th e l'ril'st s of
the ll uron :\!i ss ion. 16. T he L:in <l ing c,f t li<: T'il ;.; r i11 1 F.i tli e: s .
17. The Di scovery of the l\.l ississip pi. I8. The Outb reak of the
Am e rican J\ evolutio n. 19. Barbara Fri etch ie. 20. I .aura Secord.
2x. The Battle of Q ucens to n Heights. 22. The Relief of L:id ysmi th.
23. The Defe nce of Mafek in g.

d

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118

ENG LISH COltIPOSl'l'lON.

NAIWA 7'ION: INCIDENT.

CHAPTER VJJT.-INLlDENT.

LESSON XLI.
M1·:MORIZATION.-FROM "MAl{M ION."

The train from out the cas tle drew,
But Mannion stopp'd to bid adieu: "Though some thin g I might plain'," h e said,
"Of cold respec t to stranger guest,
Sent hither by your King's behest,
\ Vhil e in Tantallon's towers I stay'd;
Pa rt we in friendship from your la nd,
And, noble Earl, 1·eceive my hand."But Douglas round him drew his cloak,
F(lldcd his arms, and thu s he spoke: " l\ly manors, halls, and bowers, shall still
Be open, at my Sovereign's will,
To each one wh om he li sts', howe'er
Unmc et to be th e owner's peer.
My castles are my King's alone,
From turret t o foundat ion-stoneThe hand of Douglas is his own ;
And neve r shall in friendly grasp
The hand of such as Marmion clasp." (Co11ti1111t!d, p. 122).
1

oomµlu.in.

::pleit.SE.>.

TI!Ei\tE:

.'
<

. ·<

• . J.o

Wl

\Naverley's m~re immediate guard, we re near the tnp uf
the ascent, and the remainder strag gled after them at a
considerable interval.
Such was the situation of matters, when the pedlar,
miss ing, as he said, a littl e doggie whi ch belonged to
him, began to halt and whistle for th e animal. Thi s
signal, repeated more than once, gave offence t o the
rigour of his companion, who signifi ed g ruffly that he
could not waste his time in waitin g for a useless cur.
"Very likely," answered the pedlar, with grea t composure; "but, ne'ertheless, I shall take leave to whistle
again."
This last signal was answered in an unexpected
mann er; for five or six stout H ig hlandcrs, who lurked
among the copse and brushwood, sp run g into the hollow
way, and began to lay about th e m with their claym ores.
Gilfillan, unappalled at this undesirable apparition, cri ed
out manfully," The sword of the Lord and of Gideon!"
and, drawing his broadsword, would probably have done
as much credit to the good old cause as any of its
doughty champions at Drumclog, wh en, behold! the
pedlar snatching a mu sket from the person who was_
next him, bestowed the butt of it with such emphasis on
the head of his late instructor in the Cameronian crcecl,
that he was forthwith levelled to the ground. In the
confusion that ensued the horse which bore ou r hero was
shot by o ne of Gil fi llan' s· party, as h e discharged his fi relock at rnndom . Waverl ey fel i with, and in clcecl under,
the animal, and sustained some severe contusions. Rut
he was almost instantly ex tricated from the fallen steed
by two Highlanders, who, each seizing him by the arm,
hurri ed him away from the scuffle and from the high·

- Sir T-Valli:r S cott.
Tl!E RESCUE OF WAVERLEY.

Edward " ·a.,·crtey, n. prhmner i11 the haurl of the Ring's soldiers, is reHCued br 1he
followen1 or liis fri cml, Fergus Mach·or, Bil ardent Juoobit ,e.
.

The rays of the sun were lingering on the very verge
of the horizon, as the party ascend ed a hollow and
somewhat steep path, which led to the s ummit of a
risi ng g rou nd. The foremost of the band, being the
stoutest and most active, had I)Ushed on and havin cr
,
"'
surmounted the ascent, were out of ke n for the present.
Gilfillan, with the pedlar, and the small party who were
L;

121

ENGLISH COMPOSITION.

NARRATION: JNCTDENT.

road. They ran with great speed, half Sltpporting and
half dragg ing our hero, who could, however, distinguish
a few dropping shots fired about the spot which h e had
left.
- Sir vflaltcr Scot/. A bridged fro m "l·Viwerley."

3. Correlation e.f D etails.--Th e details of the narration are
interd ependent, each conu ibuting its part to the main effect of
the story. Each incident springs from the incidents that
precede, or fr om the character of the persons of the story.
4. E conomy o.f D etni!s.-The story is tol<l with ft.:w details;
many acti ons are altogether omitted; stress is bid on the
signifi cant actions.
5. Sufficirnry o.f De!arls. -"l"h e details presented suffice to
make probable the result of the action.
REPROD UCTION r. - Tell the story of the rescue of
vVave rley, following the outline abo 1·e.
Ex ER C!SL-Study the episode con cernin g th e resc ue
of Richard (Scott 's "Talisman," cit. xxi., "Fourth
Reader," p. 259). Note how far it illu strates the foregoing principles of narration.
·
REPRODUCTION 2.-Make a plan and tell the story o f
the rescue of Richard.

120

NARRATION .
Note first, the se nte nces that se n ·e as int roduction to
th~ incident; the n obse rve the details of the in cident,
and the order (order of time) of their occu rre nce; notice
the few details selected to te ll the s to ry, a nd the many
details o mitted or m e rely suggested by ge ne ral terms,
"in the co nfu sion ," "a few dropp ing shots," e tc.; observe,
further, that the detail s chosen have a di stinct bearin g
on th e result-they are sufficie nt reasons for the outcome
of the action.
I11trod11ctio11: "The rays of the su n . . . . a considerable
int er val. " These sentences give the twilight, the broken
and difficult path, th e straggl ing order of the march,
whi c h all made the re scue possible. H e re we have the
scene and s ituation out of which the a ction grows.
J)efails of t!te Narratz'on: "The pedlar, missing," e tc. , to end.
The pedlar whi s tlin g as a sig n;il ; appearance of the
Hig hla nde rs; attack and Gilfillan 's defence; pedla r's
attnck on hi s companion; co nfu sio n in ranks ; \ \laverley's horse shot; \ \laverley 's fall in the scuffie; Highlanders hurr y hi II\ off
Conclusion: "But he "·as alm os t in stantly seized, . . . he had
left." The rescue effec ted .

In this examin ation we see certain principles o f
effec'ti ve narrati on :I. T/1e Introd11dio11.-The first sentences bring before us
the scene and time of the action.
2. S equence of Delails.-Dctails in narration are presented,
point by point, in the order of occurrencc,- in order of time.

I'

COMPOSITTON .-Tell a story of a rescu e, suggested by
the picture above.

124

ENGL ISH C01vIP OSI7'111N.

the sta nda rd, o r whom he judged capab le of a crim e so
mea n.
At las t t he troops o f the Ma rq uis of Montse rrat passed
in order before the King of E ng la nd. Before hi s goodly
band came Conrad, ga rbed in s uch ri ch stuff tha t he
see med to blaze \\" it h gol d a nd silve r, a nd t he milk -wh ite
pl um e, fasten ed in h is cap by a cl asp o f dia m onds,
see med ta ll enough to sweep th e cl ouds. Ily culti vatin g
R ichard's hu mo ur h e ha d atta in ed a certa in degree of
favo ur with him, a nd 11 0 soo ne r was h e co me wi thin his
ken tha n th e K in g of Engla nd desce nded a step or two
to meet hi m.
Conrad was com mencing his reply with a smi le, wh en
R oswal , the noble hound, utterin g a furi o us an d savage·
y e ll, sp ra ng forwa rd. T he N ubi a n a t the sa me t ime
sl ipped the leash, and th e h oun d, rushin g o n, leapt upo n
Conrad's noble cha rge r, and se izin g th e Marq ui s by the
th roat, pulled h im down fro m the saddle. The p lumed
ride r lay ro lli ng o n th e sand, a nd the fri ghtened horse
fl ed in wild caree r th ro ugh t he ca mp.
"Thy ho un d hath pul led dow n t he rig ht quarry, I
war ra nt him ," sa id th e K in g to t he N ubia n, " a nd I vow
to S ain t George he is a stag of ten ty nes ! 1 -l'luck the
d og o ff, lest he t hrottle him."
Cri es arose of- "-C ut the slave a nd h is hound to
pieces !"
B ut th e vo ice of Richard, lo ud a nd sonorou s, was
heard clea r above all othe r excla ma tions- " ll e di es the
deat h wh o inju res t he hound! H e ha th b ut d one his
· duty, afte r th e sa~aci ty with which Goel and na ture have
endowed t he hra ,·e anima l.- Stan cl f"r lh fo r a fal se
1

IJra11ChCR or horn "!,

N.A UR A 'I'I ON: IN CIJJ EN 7'.

traitor, th ou Co nrad , Ma rqui s of Mo ntserrat!
peach thee of t reaso n ! "
-Sir TVa/ler Scott.

1:!5

1m-

From "7/re Talisman. "

NA R RATIO N-( Continued).

Study the fo regoin g narra tive. Note fi rst the sente ncP.s
th a t serve a s Introd uctio n to the in cident, giv ing the
sce ne an d situ ati on ; then observe the deta il s of the
incident, a nd the orde r of their occurrence; notice the
many det a ils o mitted or merely suggested ; show that
t he deta ils add uced a re sufficient to account for the out come ; thereby j udge if the Principles of Narration I, 2,
3, 4, S are illustra ted in the ex tract.
F urther not ice th e inc reas in g in terest of th e detailsfrom the general ma rch of the Cru sade rs to t he indi vi d ua l t roops of Mo ntserra t, to the Marq uis h imself, the
a t ta ck of Roswal, the attempt on the clog's life, R ichard's
s plendid impeachme nt o f th e tra itor. This interest is
d eepened by va ri o us devices : first, the a utho r uses st rik ing situations (poi nt the m out) a nd dramatic la nguage,
direct narra tio n in th e crisis of th e story ( point to
instances), and dra matic action (illustrate); an d, secondly,
all t he whil e that the deta ils ca rry us on to t he o utco me, we get no certain hint of the issue. Our curiosity
is piqued a nd o ur im aginati on a roused a s the chain of
circumst ances is built up ; the pl ot thi ckens t ill th e conclusion, when a t o nce th e issue fin a lly surpri ses us, and at
the same tim e sati sfi es a ll th e de mand s o f the plot. From
thi s we may note add iti ona l principl es of na rra tion:-

6. Climax of I nterest. -· T he det:lil s of the n:lrr:ltion are
arra nged in th e orde r of th eir incre::isi11g irnport:lnce, so th at
th e interest lx:co m1:s definit e an d d eep as the conclH'i io n is

12G

ENGLISH COMPOSITION.

AAIUiATION: JX CJ1.JE,\'1'.

reach ed. /\ s m eans to in crease th e plot-interest, striking situation, drnmatic lang uage, direct narrati o n, e tc., are e mployed.

Th ud 1 THUD! came on th e h e avy man,
Rap! RAP 1 th e m et tled g r~y ;
But

7. The Dwouwtoti. ---T he

iss ue of the inc ide nt mu st h e to
so r11 e extent a s urpri s~· to the reade r. The turn the s tory takes
to set ri ght all th at has gro'rn t<J.ngled must b e slurp and effect iv< -. c·l :. ; t· tht · ~ t nn· f:11i~ fh t.

lll\'

che st nu t

rn:t1T \\';l. S

of l>lo(ld

'.'">(I

ra re

Th at :.lie :-;l1i,weil 1IH·1n al! tlw \vrty.
Sp ur 011 ' 'pu 1· <•ll '.-! duf'fe,1 my kil,
/\nd "'i-;\i ed t l1e 1ll :di good -d:iv .

tu li e effec tiv e mu st
issu,e fro m th e fo rc es brought into play in th e d eta il s of the
s tory ; it must satisfy the d e mands of th e p lot and th e c uriosity
and inte res t of th e read e r.

Tlic y .-. pLl'.'\iicd throu .L:h 111ir y r ut ;ln< l pq () J,
Spli nt e red through fe nc e an d rail ;
Hut c he st nut Kall' sw it c he d over th e g at e -- ] saw thl' m d roop an<l tail.
To Salisbury to wn - hut a mile of down,
Once o v e r th is b rook and rail.

1:.XEIZC ISE !.- Stu dy the narrative " T he i\.escue of
W averl ey," and j ud ge if the l' rin ci ples of Narration 6 , 7, S
a rc illustra t ed in th;it ex tr act .

Trnp '. T r;ip ! l heard their echoin g· hoofs

8. Tiu Cu11d 11<ir111 .-- Th e

Cunl'lu ~ i o n

]1 ;\ ;;; t th e w;i.l1s nf n1o ssy ston e;
~rlH:

R EPlWDU CTI ON.-Te ll th e story o f th e "Templar's
Detection," followin g the plan and method o f S cott.
E X ERC I SE IL- Examine Scott's '' Lochi m· ar" ("F o urth
R eader." p. 69). in illustratio n o f the principles of
n a rration .

I.-Selcct the de tails of l11tro<luction,
Narration, Conclu s io n in "Loch inva r"; make an outlin e
of it as a narrati(Jll : tcli the stn rv, hav in g· r q .; ;trd ill C<>Illpos1 :1 g t u tli e pr illc ip;c::; uf n.irr,t ti u ll.
COMPOSrTrON

CoM I'OS ITI ON 2. --- Sekel th e det a il s fo r lntroclllc t ion,
N arr::ttion, C o nclus ion from t h e 5to ry to ld in the follow -

111g poem; make a p lan fo r yo ur 11arrative similar to that
o n p. I 20; te ll the st ory of "The Cwal ier's Escape."
TH E CA VA LIER'S r: s c APE.

Trample! trampl e ! went th e man,
Trap ! trap ! wen t th e gray:
But p;id ' /w// P l\ f) 1 lik e " 1li i11 g- th at was m a d ,
My c hes tnut broke a wa y.
It wa s ju st liv e mile s l rrnn Sal1 sl11 1ry to wn,
And but one hour l<1 day .

,,,-

J _,

ro:111 th_·,\· on :\t ~l st;q_~-~e ring p ;1c t',

Hu t blood is h e ll e r 1l1a11 hon•·.
1 patt ed old 1-:ate and gave her tli c oµur
F m I knew it was all my ""·n.

j

1
j
l

Bu t tr;irnplf" ! tr:un p1c ! can1~ tlicir :-.tcc<i s ,
/\nd I""'' their wulf's n·,., ll111 n;
I felt lik<' '1 roy:d h:irt al hay .
/\nd made me rc<J. dy to t nrn .
looked where highest grew the I.by,
i\nd dcrpcst :ncherl th e fern.

.,

·. ; -~

fle w :it th e liht knav e's sall ow tl1ni;tt,
()n e i d 1)\\·, and !J,~ wa s dnwn .
Th e ser nnd rog ue fired twi c e, :rnd mis -;ed;
i ~!i ce d !li e v il! ;:d n ' s c r ow n:
Clove through tl1c n ·-;t :tnd l]qgged h r: l\·e I-.:a1e,
V;ist , fast to Salisbu ry town.
Pa d! p;id 1 :Jin· CllliC llll the )..,\·cl :i \Ltrd ,
Th ud! t hud ! u po n th e s and ;
\Vn h a g leam o f s1Yords and a burning match,
i\nd :1 shak in g o f ilig :ind hand .
l\ut one lo n g· bound and I pa ssed th e gate ,
Safe fr o111 t lic c antin,.: b and .
, -- I I ·,r/I ,. ,. T/u>nil,1n

1·.

128

EN<JLl i:ilf CUMPOi:i11'10N.

NA R IL ITION: I NCIDENT.

L ESSON XLI II.

Th e g irl "'ill be e nd eav ourin g to ti e the han dkerc hi ef rou nd th_e
man's a rm so as to sa ve him; but he, holdrn g hi s fan h above hi s
g reates t worldly lov e, will be softly preve uting her."-jo/m 1:"11erett
fafi!!azs.
'

M EMOR IZJ\TION.-T1rn

STATUE

OF jUSTI CI·:, FROM

"EVAN G ELINE. "

12!1

Once in an an cient city whose n:ime I no longe r re me mbe r,
Raised aloft on a column . a brazen statue of Ju st ice
Stood in the public square, u phold ing th e sca les in it s left hand ,
And in it s ri g ht a swo rd, as an emble m that ju ;tice pres id ed
Over the laws of the land, and th e hea rt s and ho me s of th e peop le.
E ve n th e b irds had built th e ir nests in the sca les of th e balance,
Having no fear of th e sword that llashed in th e s un s hin e abo ve th e m .
But in th e course of tim e th e Jaws of th e lan d we re co rrnpt ed ;
Might too k th e place of ri gl 1l , and the wea k we re opp re ssed , a nd
t he mighty
Ruled with an iro n rod . T hen it c han ced in a nobleman 's pa lace
Tha t a neckla ce of pearls was los t, a nd e re lo ng a susp i<ion
Fell o n an o rphan girl who lived as m ai d in th e ho useho ld.
S he, afte r form of trial co nd e mn ed to d ie on th e scaffold,
Pati e nt ly m et he r doom :it th e foo t o f the statue of Justice.
As to he r Father in heaven her inn oce nt spi rit ascended,
L o! o'er the city a te mpe s t rose; a nd th e bo lts of the thunde r
Smote th e statue of bronze, and hurled in wra th from its left hand
Down on th e pavement below the cla tter in g scales of th e bala nce,
And in the hollow th e reof was found the ne st of a mag pie,
Into whose cla y-built wa lls the neck lace of pearls was inwoven .

-Henry l.Vadswort/1 L o11,r:jellow.

EXERCfSE.-Sclect the deta il s of Introdu cti on, Narration, Conclusion in th e forego in g; make an outlin e lik e
th at on p. 120.
CO MPOS ITlON 1.-Tcll the story o f t he Sta tu e of
Justice, having regard in co mposing to the principles of
na rration.

ADD ITI ONAi. THEMES. 1

CorvtPOS ITI ON 2. -T ell the sto ry illu strated by the
picture, "The Hug uenot ," by John Everet t Mil lais.
"It is a sce ne su pposed to t ~ke place on th e e \· e of the m assacre
of St. Bartho lome w's Day . Tw o lo ve rs in th e ac t of p:trtin g, th e
woman a Pap ist and the ma n a Pro testa nt. The badge worn to
distinguish the forrnel' fro m the latter was a white scarf on the left
arm. Many were b:1 se enough lo esc:ipe murd er by wearing it.

l'

I

COMPOSITION I. - The Trial by Combat (S cott' s " T al isman,"
ch . xxviii., "H.S. Reader," p. 179). 2. Fitz- Jam es and Roderi ck
Dhu (Scott's "Lady of the Lak e," V., xii-xvi ). 3- The Compet iti on of th e Archers (Sco tt's " I va nhoe," ch. xiii., "Fou rth R eader,"
p. 164). Sh yloc k a nd Antonio (S hakspere's "Merc hant of Veni ce,"
"Fou rth Reader," pp. 31I, 3zr, and "H.S. R eader,'' p. 40).
4 "Lord U llin's Daug hter," Campbell ("Third l~cader," p. 127).
1 In prep:tr(\tion for the"' c compo~itions , th e poems or extract~ n 11\ y lie rca<l alond to
the c lass , then discussL"1 1, afte r whi ch the outline should. he mo.de o n the l>la.ckboard

and in the exercise books.

9

130

ENGLISH COJIIPOSITJON.

5. "Lucy Gray," William \Vords worth ("Third Reader," p. 27).
6, "The T hree Fishers, " Kin gs ley (''Fourth Read er," p. 2 20).
7. "H ow They Brough t th e Good News fr om Ghent to J\i x,"
ll row ning (" Fourth Read er," p. 285). 8. "The \Vreck of the
Hesperus,'' Long fell ow ("Third Read er," p. 74). 9. "The Sands
o' Dee,'' Kin gs le y (id, p. 38). IO. "Incid en t of th e French Camp,"
Browning (id., p. 14 1). II. "The Pied Pi pe r of Hamel in," Browning. 12. "Th e Diver," Schiller(" H. S. Reader," p. 294). 13· " T he
Bell of Atri, " Long fellow ("Fourth Reader, " p. 1r1). 14. The
Battle of the Round House, Stevenson, "Kidnapped,'' ch. x.

~

;...:-...'-.~:~ '·..'.". ·.1
<l.

; J

_,

COMPOSITION 15 1 .-An Adven ture with \Volves. 16. An Esca pe fro m India ns. 17. The Wreck of the -. 18. An Adventure on the Hiver. 19. A. Dog's Heroic Deed. 20. The Mystery
of the Ho use at - . 21. The Diary of - - . 22. Shooting the
Rapids. 23. An Accident at Niaga ra Falls.

:..

: ·'

The pupil h1 requi red to gather the material for tht..1:1e cornpo1:1itious for lih11Melf or
t.o imagine the det.<ills.
J

Study in Description, Leuon LIX, Composition 2.

131

.,l

::;.v~

··C'·"· •

2- :~:r

{-:t~~~~~'·?~

lJESCIUP:I'lUN: PLAN'l'S, ::iIW UBS, 'l.'REES.

PART IT. - DESCl\Il'TION.

T1n: ~a::

LESSON XLIV.
MEMORIZA'l'ION.-FoRBEARANCE.
Hast thou nam ed all · Ll1c birds with o ut a gun?
Loved the wood-rose, and left it on its stalk?
At rich men's tables ea ten bread and pulse?
Unarmed, faced d;-ing-er with a heart of trust?
And loved so well a hi g h behaviour,
In man or maid, that thou from speec h refrained
Nobility more nobly to repay?
'
0, be my friend, and teach me to be thin e!

-Ra!p/, I I ~lido Emerson.

D escripti on portrays in words individual objec ts,
scenes and persons. Observa ti on is the chief source
of the material for descriptive writing; the mind alert
to note the appearances of things a nd persons will
store an infinite number of details, a treasury of memories
from which .the writer can draw at will. "I kept alway~
two books Ill my pocket," says Stevenson o f hi s boyhood," one to read and one to write in. As I walked
my mind was busy fitting what I saw with appropriat~
words; wl:en I sat by the roadside, I would either read,
or a pencil and penny version book would be in my
hand, to note down the scenes or com memorate so;ne
halting stanzasl."

DESCRIPTION.

The sim~lest for.m of description is to bring together
all the de~atls-an inventory, as it were, of all the parts
of t~e Object, for pu rposes o f identification. Works of
a scientific nature abound in such descriptions.
"Metnorit'11 a.nd Portrn it s," hy aoh(' rt Loui.iJ Sterc11sn u.

J:l:!

T11E TRAILINC ARBUTUS.

The Trailing Arbutus, Mayf1ower, or Grou nd Laurel,
as it is variously called, belongs to the hea th family o f
plants, and is found in the woods or upland pastures
during the month of April. Its slender stalk is tough
and woody-fibred, and trails close to the ground und er
dry leaves and dead g rass. The oval leaf is an evergree n,
also tough of fibre and rough to the touch, but us ually
worm-eaten and rust-spotted. The flower spreads into
five rounded points and varies in hue from an exquisite
white to a deeply tinted rose. These blossoms are
gathered in close clusters along the e nds of the stalk
and branches, and ex ha le a sweet and spicy fragranc e.
The entire pl a nt, with its g ree n and rus ty leaves, hugs
the earth so closely th a t o ft en only the ti ps of the flowery
clusters show here and there am ong the d ried leaves.
Nature, too, keeps fast th e secret of it s growth, and th e
Arbutus refuses to live in man's care for more than one
or two seasons.

CH APTER 1. - PLANTS, Sll R U HS, TJ{ EES.

1

133

I

Analyzing the d esc ription abow we see that it brings
forward the details of the object described in an orderly
fashion , with regard only to truth and completeness.
Frequently a drawing accompanies such a descriµtion
to ensure exactness, for the clear presentation of truth
of fact is here all important. This kind of description
is nothin g more than a simple inventory of the qualities
of the object, arranged in a methodical manner. This
methodical presentation involves the statement of the
theme and the orderly sequence of details.
Introd11ction. -A general definition of th e Trailing Arbutus;
its family relation ship; its habitat.

l::i+

ENG LISH 00.UPU;:>JTJON.

DESCRll'TlON: PLANTS, ::>HlWBS, 1'REE'8.

D eso-iplio11.-Stalk.

LESSON XLV.

Le:if.

MEMOKIZATJON.-FROM

lnclividual flom:r.
Clu sters.
Mode of gro1V th.
Characte r.
I. Tiu Statement of the Tlteme. - To write clearly and e ffective ly, a writer must kno\\' very definitely th e th eme of his
d iscourse. Especial ly in abstract themes it is ·of adva ntage a t
once to state the theme, and defin e its nat ure. Th e reader,
on the oth er hand, find s such a statem e nt of thr me almost
ind ispen sa ble, because ll'ithout it he ca nn o t easi ly und erstand
the ge nera l drift of the wri te r's t hought , nor can he grasp hi s
subseq uent statements in the ir proper relation. In Narration,
whe re cur iosity must be aroused, we keep th e reader in
suspense as to the rc:il dri ft of the story by withh o lding a
de finite state ment of the th eme.

2. Definition. - Wh ere the descri pti on is sc ien tific in nature,

the statement of th e th e me is usually accompanied by an exact
definition of the object in the broad ge nera l re lations. In
litera ry descriptio n a ge nl'.ral out line is preferred (sec p. 140).
3. Ser;11e11ce o/ Details. - The det:iils an.: brought forwa rd in
:i r:iti onal order: first, th e body of the plan t ; the n its leaves,
the n its individu ::i l f!oll'crs; then the cl usters of fl owers; then
how the plant gro ws; fina lly, its esse nti::il! y wild h:ibit. Thi s
o~cle rl y pla n helps to ens ure o n the writer's p:irt atte11tion to :ill
necessary details (econom y and suffic iency of de ta ils ), whil e it
guides the reader to a clear and faithful mental image of the
olJj ec t.
REPRODUCTION.- Describe
followin g· th e o utline abuvc.

l Jii

the

Trailing

Arbutus,

~-· -~

.,

·\

"To

THtc

DM sv."

With litt le here to do o r see
Of things that in the g rea t world be,
Swee t daisy ! o ft l talk to th ee,
For thou a rt worthy,
Thou unassuming common-place
Of nature, with that h omely face,
And yet with something of a grace,
Which love makes fo r th ee !
- iVzlham l·Vordswort!t.
STYLE.

Cardinal Qualities.- The first necess ity of discourse
is to be intellig ible. Co nfu s io n and ambig uity in th e
meaning of word s, disorde rly a rra ngement o f sentences,
would render intercourse by means of words difficult, and
make lite rature impossible.
The first esse ntial quality
o f writing, then, is Clearness.
Yet a writer may be clear and not be effective. It is
ne-cessary not only t o h a ve what we write understood,
but to have it tell upo n the reader. Every writer s eeks
not m erely to express him se lf, but also to impress his
words with some degree of strength or force. A second
essential q ua lity of s tyle , th e n, is Force.
Yet one may write so that one's meanin g is clear a nd
one's expression forcible, and because of faulty g ramm;ir
or vulgar language, still be ineffect ive as a writer. Things
offensive to good taste, vu lgarism s, harshness of expres sion, coa rseness, mu st b e absent from good writing, while
on the other hand , some e levation and beauty in the
treatment of a subject and in the flow of the language,
are necessary t o good writing.
One third essential
quality, then, is Taste or Beauty.

i

ENGLISll COMPUHTTJON.

J, \

COl\ IP O ~ITI ON 2. - - After makin g
describe the Dandelion.

Other qualities a re at times present in good writing:
simplicity, abstruseness, brevity; pathos; wit, humour, satire; harmony, elegance; hut Clearness, Force,
and Taste are cardinal qualities.
STYLE: CLEAJrnEss.
I. Choice of TVonfr- Our language is full of synonyms, yet few are so exact that they may be used for
one another \\"ithout discrimination. Clearness requires
that where several words have a common element
of meaning, we must use the word that suggests the
shade of meaning we require.

an

outline as before,

Dear cun un un flower, that grow's t be,iJe tl1 e way,
Fringing the dusty road with harml ess golJ ,
First pledge of blithesome :\1a y,
Which children pluck, and, full of 1nide, uphold,
High-heart ed buccaneers, o'eiJoye d that th ey
An Eldor'1do in the g rass hav e found,
\Vhi ch not the rich ea rth 's ampl e round
May mat ch in wealth - - thou art mure dear to 111 e
Than all the prouder summer blooms may he.
- James Russd! /_(!we/!.

Though I am always sair)/(s, I do not know what it ts to be

Col\I POSIT ION 3.-Describe the Daffodil

melanc!to!y.

,::r

t:

"I \\'and er\I lonely as a cloud
Thal iloats on hi t:h u'e r vales and hills,
\Vh e n all at once I saw a crowd,
A ho st of golden daffodils,
Bes ide the lake Lieneath th e trees,
Fl11tterinb" and dan c ing in th e breeze."
- // 'i!/i,w1 I /.~1rrls1emlk

One may be in !taste, one shoukl not be in a !turry.

EXEl{CISE I.- Write sentences bringing out th e differences in meaning o f the following-( 1) Glance: glimpse.
(2) Assault: attack. (3 ) l\falice : spite. (4) Robbery:
theft. (S) Illusion: delusion. (6) Observance: observation. (7) Occupation: occupancy. (8) Cliaracter:
reputation. (9) Resolution : decision. ( 10) Difficulty:
obstacle : hindrance.
EXERCISE II.~Distinguish :-( 1) Vacant: empty.
(2) Lonely: solitary. (3) Nocturnal: nightly. (4) Continuous: continual. (5) Farther: further. (6) Eternal:
everlasting. (7) Beneficent: be nevolent: philanthro pic.
(8) Sorry: grieved: hurt. (9) Marine: maritime: naval.
(10) Resolute: stubborn: obstinate: self-willed.
EXERCISE III.-Distingui sh:-( 1) Remember: recollect.
(2) Answer: reply.
(3) P ersuade: convince.
(4) Deceive: impose on. (5) Give: donate. (6) Peruse:
read. (7) Propose: purpose. (8) Surrender: capitulate.
(9) Excuse: forgive: pa rd on. ( IOj Ask: request : beg:
beseech: s~1pplicate: implore.
COMPOSITION !.-Write an outline of a description of
the Daisy, following- th at of the Trailing Arbutus; then
write a composition, following your outline.

/1.ESCL·U P'l'lON: l'LJ.NTS, SHRUBS, 1'Ht:ES.

COMPOSITION 4.-Describe th e Apple-tree.
Pl:tce of growth-ReL1ti1111 to the crab-applc - Trunk,- Lcavcs
ovate, woolly be neath, acute, c re nat e - Flowers,- shapc, colou rs,
fra grance, cluster- Fruit,-shapc, colour, fragTanc c, taste -- lmp ortance to mankind.

COMl'OSITION s.-Draw up an outline of a description of the Maple-tree, and then describe it.
The tree I love, all the greenwood abov e,
Is the maple of SJlnny branches.

·,:'

·~

The maple, it glows with the tint of th e rose,
\IVhen pale are the spr in g -time regions,
And its towers of flame from afar proclaim
The advance of winter's legions.
-- C/1ar!cs G. /). Ro/10'/.r.

138

ENGLISH COMPOJ:il'l'ION.
ADDITIONAi.

DESCRIPTION: BIRDS ANJJ INSECTS.

THE~JE S .

COMPOS ITI ON.-I. The B riar Hose . 2 . \Vat e r- Lilies. 3.
7.
Sunflowe r. 4- Hollyhock s. 5. The Violet. 6. Lilacs.
\.Vhe<t t Plant. 8. The Buckwheat Plant. 9. Indian Corn . IO.
I vy Plant. II. Sea weed. 12. The Beech Tree. 13. Th e
T ree. 14. The Chestn ut T ree. 15. The Willow Tree. 16.
Grape Vine. 17. A Vine yard. 18. A Pinc Fores t.

T he
The
The
Elm
Th e

C llAPTEI-: I 1. - BIRl>S AND I NS ECTS.
LESSO~

XLV I.

MEMORIZAT!ON. -f RO~! "TH~;

GREEN L INN l,T."

Upon yon tuft of hazel t rees,
That twinkl e to th e i:usty breeze,
Behold him perched in ecs ta sies,
Yet seeming still to hov e r;
There! where the flutter of hi s win gs
Upon hi s back and body flings
Shado"· s and sunny glimmeri ngs,
Tha t cover him all o,·e r.
My sight he dazzles, h a lf deceives,
A bird so like th e dan c ing leaves ;
Then flits, and fr om the cottage eaves
Pours forth his song in g ushes ;
As if by that exulti ng- st rain
He mocked and treated with disdain
The voiceless form he chose to feig n,
\.Vhile fl ut teri ng in the bushes.
- /;Vitlia m Wordsworth.
THEME : T II E BOBOLIN K.

The happiest bird of ou r sprin~, a nd o ne that rivals
the European lark in our esti mation, is the bob-o-lincoln ,
or boboli nk as he is co mm o nly cal led. He arrives when
Nature is in all her freshness and fragrance-" the ra in s

I
I

1 ~9

a re o ver and gone , the fl owers appear on the earth, th e
time of th e si ng in g o f bird s is come, a nd the voice of the
turtle is heard in the land."
This is the chosen seaso n o f revelry of the boboli nk.
He comes am idst the pomp a nd fragrance o f the season;
his life seems al l sensibility a nd enjoyment, all son g a11d
s unshine. He pe!'ches o n the topmost twig of a t ree o r
on some long flaunting weed, and as he rises and si nks
with th e b reeze, pours forth a succession of rich tinkling
notes, crowding Qne u pon a no ther like the o utpo urin g
mel ody of the skylark, and possess in g the same ra pturous
character.
A s the yea r advances, as th e clover blossoms dis appear, and the spr in g fades away into summ er, he
gradually gives up his e legant t astes and habits, doffs
his poeti cal s uit of black, assumes a ru sset, dusty garb,
and sinks to the gross enjoyments o f common vul gar
birds. His notes no lo nger vib rate on th e ear ; he is
stuffi ng hi mself with the seeds o f the tall weeds 0 11
wh ich he lately swung and chanted so melodiou sly.
He has become a gorma nd.
In a little while he g rows tired of plai n, homely
fa re, a nd is off on a gastronomica l tour in quest of
fore ign luxuries. W e next hear of hi m with myriads
of hi s kind, banqueting among the reeds of the D elaware, and grow n corpulent with good feeding. He
_has changed his name in travellin g. Bob-o -lin coln no
more, he is th e reed-bird now, the much-sought titbit of
Penn syl vani a epicures. Whereve r he goes, pop! pop!
pop! e very rusty firelock in the country is blazing away.
Does he ta ke warning and reform? Alas, not he!
Incorrigible epicure! again he wings his flight. The

·I
i

'1
i

l

140

l >Ei::iCIUPTlllN: /ITIW S ANI> I NSECT:',.

ENO f,JS lf COM POi:JITTON.

rice-swamps of the So ut h inv ite h im . H e gorges himse lf among the m almos t to b urs tin g ; h e ca n sca rce ly
fly fo r corpul ency. He has o n ce more c han ged hi s
name; and is now the famous rice-hird o f th e Caro linas.
Last s tage o f his ca ree r,-be h o ld him sp itted wi th
dozens of his cor p ul ent compa ni o ns, a nd se rved up, a
va unted d is h, o n the table o f so me Southe rn ep icure !
Such is t h e story of th e bobolink, o n ce spiritual,
musical, admired, the j oy of the m cadDws, and th e
favourite bird o f spring; finally, a g ross littl e sensuali st
who e x piates his se nsuality in th e ki tc he n.
-

ff ·a.d1ini;lo11 h "l'ill,£:.

A hri1(i;erl.

OUTl.l\'J·: .

Title.

The bobolink, th e happiest of sprin g hir<l s,

T!u m t' :
(7e11c:rn l /11 /rod11t ·lio11:

1Jel1tils:

co111 in g- with tin.: ~ pri11g ' s frc:, hn e:-.s and

frag ran ee.
Life of th e bobol ink in spring - so ng.
Life of th e boboli nk in s umm e r -~ c h a n gc
in pltlmagc, loss of song, merely an eater
Autum n lifc--the recd bird of the Delaware
]{ i ve r.

Conclusion :

\Vintcr - thc rice-bir<l of th e Caroli nas -ultim ate fate.
Ge nera l summary of the preceding, with
an tlnde r-lying moral.
DESC:R I I'TlON-( Cr!lltinued).

Th e pl a n of the foregoing desc ri pt ion docs not diffe r
g reatly from that of "The Trailin g A rb ut us." Notice
first h ow this desc ript io n illustrates the princip les o f
description, 1, 2 , 3. Observe n ow th e o pe ning of this
d esc r ipti o n.

4. Genera.I Oulline.- A gcncr:i. I stateme nt gives the whole
impression of the object- its happy character, its importance

14 1

as a song-bird . \\' hen the th eme involves many and co mpli cated de tails, one or more o penin g se ntences, genera l in
character, m:iy greatl y aid th e clea rn ess and fo rce of th e whole.
\Ve can add , th en, a fo urth principle of description :-The
descri pti on may ope n with a statement or two outlining th e
whole subj ect or giving a general impression of th e 11·hole.

5. Eronottl)' of Details. - Apply here th e principle of Na rration, p. 121.
6. S11jfide11cy of Drtails. - J\s fo r Narration , p. t 21.

7. Cr111dusion.-The advantage oi a Gen cr:il Introduct ion
we saw abo ve. - Similarly a sen tence or two sum marizing and
fixing the wh ole description, will enabl e th l'. reader to get the
full significance of th e object or scene. The writer may take
advantage of these final se ntences, as Irving has done here, to
ri se upon th e detai ls en um erated a nd secure a climacteric
effed, "to point a mora l · or adorn a tak," thus ending th e
descri ption in a finished, effective way. ':l.':1erc should be, th en,
in co nclusion, a sentence or two, general in nature, to sum·
m:i.r izc th e deta ils of the d<.;scription and give th e composition
elevation of tone a nd a satisfying fini sh.
STYLE IN DES CRIPTION.- The fo regoin g description
differs from that of" The Trailing Arbutus" in th e style
of d escription . The write r h e re aims, not at simple truth
o f d etail , but at lively im pressions; he would reprodu ce
by his writin g the joyousness of nature , the sun sh in y
song, the chan ges a nd ch a nces of the bird's life. Noti ce
the e le m e nts in thi s description that a rc not exactly
matte r-of-fact-the lite rary refe rences, the comparison s,
the fi g ura tive express io ns a nd picturesque p hrases. It is
, by reason of these additions to m a tte r-o f-fact that th e
d esc riptio n g lows with life. It is artistic description.

142

BNG /,JSI-l C'()MJ'OSI'l'JON.

In artistic description, the writer a ims to s uggest. The
bobolink comes, not in sprin gt ime , but wh e n "Nature is
in all her freshness and fragrance"; h e ceases to s ing,
not in summer, but "as the clover blossoms disappear."
The bird does not change his plumage, but "d off.., his
poetical suit of black," etc.

1Jb}j()JU1'1'1UN: BIRDS AN 1J INSJ!,'(,"J.'::3.

LESSON XLVII.
MEMORIZATION.-"

., .

COMPOSITION !.-Follow in g the styl e of description
in "Th e Trailin g Arbutus." \\'rite a pla in description
of the bobolink , usin g only matte r-o f-fa ct details.

A SKYLARK."

Ethereal minstrel ! pilgrim of the sky !
Dost thou d esp ise th e earth where ca res abound ?
O r, while th e win gs asp ire, a re heart a nd eye
Both with th y n es t upon th e dewy ground?Thy nes t whi ch th ou can s t drop in tn a t will ,
Those quivering wings composed, th at mu sic st ill.
Leave to th e n igh tin ga le he r shady wood :
A privacy o f glor ious li ght is thin e ;
'When ce thou dos t pour upon the world a fl ood
O f harmony, with instin ct m ore divine;
Type o f th e wise who soar, but never roam.
True to the kindred points of heaven a nd h ome !

R EPR ODUCTION.-Followin g the meth od in Irving's
account, write an art istic descri!'ti on of th e bobolink ,
enricl:ing the descri ption with suitable pict uresque e xpress ions.

-

COMPOSITION 2.-Wri te a plain description of any
barn-yard fowl.
COMPOSITION J.- \Vrite a plain, accurate account of
any Canadian song-bird-the robin, th e cat-bird, the
Baltimore oriole, th e wood thru sh, the pee-wee.

To

l·Vil/iam IVm·dsworth.

STYLE: CLEARNESS-( Continued).

!'I
~\
I

2. A mbig71011s TVo rds and R eferences. - W ords that
have double meanings must be used only where they
convey but the one meaning intended. Pronouns mu st
stand near and clearl y refe r to the noun s th ey represent.
Ex1:: 1,: crsE . -- Remove the a111biguity o f till.: fullow ing :-(1 ) He wished for nothin g more than a dictiona ry.
(2 ) I can not fin d one of my books. (3) We hav e discovered certa in indi cations o f the p rese nce of l ndians.
(4) Com mon -sense, Mr. Chairman, is what I want.
( S) Brethre n, we are met here for no earthly pu rpose.
(6) The lad cannot leave his fath e r, fo r if he leave him
he will die. (7) Out of kn owledge co mes wi sdom; we
should therefore pursue it diligently. (S) Th t' re was an
inn in the neighbourin g village, which they reached at
ten <>'cl(Jck. (9) fi e promi sed hi s father ne ver to sell his
es ta te. ( ro) Old Eng-li sh poetry was ve ry different from
what it now is. ( 11 ) The office r told the soldier that it

144

KXULJ::Jll COM J'U811'10N.

JJ.Ei:> ClU PTJON: A.NIMAU3.

would be wo rse fo r him if he did n ot kee p his post , no
matte r what hap pe ned to him. (12 ) A ny dog, fo u nd
without his master, who, o n bein g asked hi s name, refuses
to give it, will be s ho t.

CHAPTER III. - ANI!llALS.

COMPOSITION 3.- Describe, afte r K ea ts , th e g rasshoppe r and th e cric ket.
Th e poet ry of earth is nev e r dead ;
\Vh en all the birds are faint with th e hot sun
And hid e in cooling trees, a m ice will run
From hedge to hedge abou t the new- m o wn mead .

COMPOSITION-Wri te a n arti st ic description-making full u,;e of sugges tio n- o n :-4. The Hu mmin g- bird.
5. Th e B umbl e- bee. 6. Mosq uitoes. 7. E nglish Sparrows. 8. The U gly D uckling-. 9. An Owl's View of
Hersel f. IO. A Vill age uf Sa11<l -martins.

"TH E

LA DY O F TH F. LAK E."

Th e stag- at eve had drunk hi s fil l
Wh e r<: danced the m oo n on M ona n' s rill ; .
B ut when th e sun hi s beacon red
I-lad kindl ed o n Benv oirli ch's head,
Th e deep-mouth ed bl oodhounds' heavy bay
Resound ed up th e rocky way . . .
The an t lered mona rch of the wa ste
Sp ran g from hi s i1eathery couch in haste; .. .
Like crested lead e r proud and hi gh ,
Tossed hi s bea med fr o ntl et to th e sky;
A m oment gazed adown th e da le,
A m o ment s nuffed th e tai nt ed ga le,
A mome nt listened to th e cry,
That t hickened as the chase dre w ni gh;
Then, as th e hcadmost foes ap peared,
\Vith one brave bo und th e copse he cleared,
And, stret chin g forwar d fr ee and far,
Sought the wi ld heaths of U a m· Var.
- Sir Walfrr Scott.

COMPOS ITI ON 2. - 'vVrite a pl a in , acc urate d escripti on
of some in sec t- th e mosquito , co mm o n house-fly, darnin g- needl e, moth, lire-fly.

Th e poet ry of ea rth is ceasin g neve r.
On a lone winter evenin g, wh en the frost
Has wro ught a s ilence , fr om the stove th ere sh rills
The c ri cke t's so ng, in wa rmth in creasi ng ever,
And see ms, to one in dro wsin ess ha lf lost,
The g rasshop per's am ong so me grassy hills.
--.Jolm K eats.

·'"

L ESSON XLVIII.
MEM OR I ZAT JON . -fRO:ll

COM POSITTON I . -\Nrite a plain, accurate desc riptio n
o f any wild bi rd-a crow, o r chick e n-hawk, (1 r heron, or
Am e rican eagle, or sea-g ull.

Tha t is the g ra sshoppe r's,--he tak es th e lead
In summ er luxury, -- h e has neve r done
With hi s delights; for, wh e n tired out with fun,
H e rests at ease beneath some p leasant weed.

H5

f.:
i' .
_,

Tl!E~IE :

I•..

1;"'

RAB.

There are no s uch d ogs n ow. He belon g-eel to a lost
tribe. As I ha ve said, h e was brindl ed, and g ray like
Rubislaw granite; hi s ha ir short , ha rd, a nd close, like
a lion's ; hi s body thi ck se t, like a littl e bull-a sort
of compressed H e rcules of a dog. He mu st have been
ninety pounds' weight, at the least ; he had a large
blunt head; hi s muzzle bl ack as ni g ht, his mouth
blacker than any nig ht ; a tooth or two-- bc ing all he
had-crlearn
in ab o ut o f his J aws of darkness. His head
b
was scarrcLl with the records of o ld wound s, a sort of
series o f field s o f battl e a ll over it ; o ne ey e out , one e;1r

'.·;!

'h ·

0

JO

h•'.

(.

146

DESCRIPTION: ANJ.41ALS.

ENGLISII COMPOSJ'I'J()N.

cropped as close as was Archbishop Leighton's father's;
the re mainin g eye had the power of two; and above it,
and in constant comm unicat ion with it, was a tattered
rag of an ear, which was forev er unfurlin g itsel f, lik e an
old flag; and then th.a t bud o f a tail, about one inch
long-,
if' it could in any sense be said to be Iona
being
h i
as broad as long- t he mobil ity, the instantaneo usness
of that bud were very funny and surprising, and its
expressive twinklings and wi11kings, the intercommunications between the eye, the ear, a nd it, were of the
oddest and swiftest.
Rab had the dignity and simpl icity of great size; and
having fought his way a ll along the road to absolute
supremacy, he was as mighty in his own line as Julius
Caesar or the Duke of Wellin g ton, and had the g ravity
of all g reat fighters.
You must have often observed the likeness of certain
men to certain animals, and of certain dogs to men.
Now, I never looked at Rab without thinking of the
great Baptist preacher, Andrew Fuller.
The same
large, heavy, menacing-, combative, sombre, honest countenance, the same deep inevitable eye, the same look.as of thund er asleep, but ready,-ne ither a dog or a
man to be trifled with .
·
-Dr. / 0!111 Hrm/'11.

From "Rab and his Friends."

DESCRIPTION.-( Continued).
We have in the foregoing a description of a particular
object. It is not a genera l descriptio n, true of a who le
class of objec ts lik e that of " The Trailing Arbutus"
and "The Bobolink" ; the details brought forward bel ong
only to one spec ial obj ect. l t is Particu lar Description.

Study those expressions th;1t h elp to
description artistic.

141
lllak e th is

The write r aims, not to teach us the facts of RalJ's
apµearance and disposition, but to st ir our interest in
the dog, rousing us to admiration. In what way is this
done? The writer seeks here, as Irvin g docs i11 "The
Bobolink," to el1ha nce the object described uy sug-t;es tion: he makes lofty comparisons (" Ruliislaw gra11ite,"
etc. ), histor ical allu sions (" Lei g hton," etc.), and employs
picturesque diction (" fields of battle," '' tattered rag," etc.).
The plan of this description is like that vf the general
descriptions.
T/1e111e:

Th e dug " Rab."
( l'itl e and openi ng
senten ce s~ r ve as slaten1en1 uf theme. )
C.:11t:n1L f11/rodudio11: " No such dugs now .. . tri be."
JJ<·scrijJti11e lJdails : Hair.
Body_
Wei g ht.
H ead, muzzle, mouth, tee th , ,,cars, wou1H ls
of eye a nd ear.
Tail.
Disposition and character.
Conclusion:
Comparison o f dog a nd man , " Rab," and
Andrew Fuller.

Notice the statement of the theme; th e general i11trod ll ct ion o f the theme, the orderly arrangement of t lie
details, and their character; the final effect ive conclusion.
COM POSITION !.-Supposing the clog " Rab " were
lost, \vrite a plain, accu rate description as an advertisement for hi s identification.
COMPOSITION 2.-Supposing "Rab" were dead, write,
as it were, his eu logy.
COMPOSITION 3.-Describe any dog well known to
you.

,[
f..
'

I.,~

148

.ENGLISH COMPOS11'10N.

JJESCRil'TlON: BUlLIJINGS.

LESSON XLIX .

C:o~Il'OSITION

MEMOJ<IZATION.-FROM "THE TIGER."

Tiger, tiger, burni;1g bri g ht
In the forests of the night
\Vhat immortal hand o; e)'.e
Could brave thy fearful symmetry ?

"

5.-Describe the scene in the frontis-

piece.
ADDITIONAL THEMl~S IN ARTISTIC DF.SCRJPTION.

A Horse Trade (cf. Wescott's ''David
Harrum," ch. i.).
2. Our Neighbour's Goat.
3. The Last
Buffalo. 4. Animal Life in a Pond. 5. A Visit to a Zoological
Garde n or a Menagerie. 6. A Ilarn Yard. 7. A Cattle Show.
COMPLISITION.-I.

When the stars threw down their spears,
And wat ered hea ven with their tears
Did He smile this work to see?
'
Did He who made the lamb, make thee?

CHAPTER IV.-BUILDINGS.

LESSON L.

- l+'illiam Blake.
STVLE: CLEARNESS-( Continued).

MEMORIZATION.-FROM "THE HOMES OF' ENGLAND . "

3- Sentence Str11cture. -Rcvicw sentence structureunity, order of words, pp. 49, 109-as means to clearness.
COMPOSITION I.-\Vrite a plain, sc ientific description
of some wild animal--the beaver, or grey squi:rel, or
ground-hog, or muskrat, or moose, or wolf, or wild-cat.
COMPOSITION 2.-Write a plain, scientific description of some breed of clog-the Collie, or Newfoundland,
or St. Bernard, or Greyhound, or Bull-dog.
COMPOSITION 3.-Describe a blood-horse.

The stately Homes of England,
How beautiful they stand,
Amidst th e ir tall ances tral trees,
O'er all the pleasant land.
The <leer across their greensward bound,
Through shade and sunny gleam ;
And the swan g lid es past th em with the sound
Of some rejoicing stream.
The cottag·e Homes of England !
By thousands on her plains,
They are smiling o'er the silvery brooks,
And round th e h amlet-fan es.
Through glowing orchards forth they peep,
Each from its nook of leaves ;
And fearless there t.he lowly sleep,
As the bird beneath their eaves.

Gamarra is a dninty steed,
Strong, black, and of a noble breed,
Full of fire, and full of bone,
With all hi s lin e of fathers known ·
Fine was his no se, his nostrils thin'
But blown abroad by pride within ;
His mane is like a river flowing,
And his eyes like embers g-Jowing
In the darkness of the night,
And his pace is swift as light. --Barry Cornwall.

COMPOSITION 4.-Write an artistic description of
some particular domestic animal : - I . My First Pony.
2. My First Dog.
3. A St. Bernar<l Pup. 4. A Kitten.
5. Our Cows.

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The free fair Homes of England!
Long, lon g, in hut and hall,
May hearts of native proof be reared
To guard each hallowed wall!
And green for ever be the groves,
And bright the flowery sod,
Wh e re first the child's :;lad spirit loves
I ts co untry and its God !
-·· llfrs. /{, ·mans.

150

ENGLISH COllfPOSITJON.
THD.lE:

DESCRIPTION: BUILDINGS.

THE HOUSE OF SEVEN GABLES.

There it rose, a little withdrawn from the line of
the street, but in pride, not modesty. I ts wh ole visible
exterior was ornamented with qu.a int fi gures, conceived
in the grotesqueness of a Gothic fancy, and drawn or
stamped in the glitteri ng plaster, composed of lime
pebbles and bits of g lass, with which the wood-work of
th e walls was overspread. On every side, the seven
gab les pointed sharply towards th e sky, and p resented
the aspect of a whole si sterhood of edifices, breat hin g
throug h the spi r;tclcs of one g reat chimn ey. The many
lattices, with their sm<tli, di;u:i ond-shapcd pan es , adrnitted
the s unli ght into hall and chamber, while, 11cvertheless,
the second sto rey, projecting far over the base, and itself
retiring ben eath the third, threw a shad owy and thoughtful g loom into the lower rooms. Carved g lobes cf wood
were affixed under the jutting stories. Little spiral rods
of iron beautified each o f the seven peaks. On the
tri angular po rtion of the gable, that fronted next the
street, was a d ial. The principal entrance, which had
almost the breadth of a church-doo r, was in th e angle
between the tll'o front gables, and was covered by a n
open porch, with bench es beneath its shelter.
The deep project ion of the second storey gave the
house such a mcdit<ttive look, that you co uld not
pass it without the id ea that it had secrets tu keep, a nd
an evcntlu l hi .~tory to moralize upon. In front, just
on the edge of the unpa,-cd sidewalk, grew the 1'yncheon
El m, which, in reference to such trees as one usually
meets with, mig ht \\·ell be termed g iga ntic. It had been
planted by a great-g randson of the first Pyncheon, and,
though now fourscore years of age, or perhaps nearer a

151

hundred , was sti ll in its strong and broad maturi ty,
throwin g its shadow from side to side of the street, ove rtopping the seven gab les, and sweeping the wh ole black
roof with its pendant foliage.
It gave beauty to the
old edifice, and seemed to make it a part of nature.
-Natlianiel fla wt/wrne.
OUTLINE.

The House of Seven Gab les.
Tlteme:
General Introduction: Situation, gene ral aspect.
Exterior walls. Roof anc.l chimney. \\' inDescnplh1e LJd11ils:
dow s. Con s truction uf s tori es and effe ct.
Spi ral orname nts. Ent ran ee. Sugges tions of general my s te ry. Surrou11ding·,
- elm tree.
Conclusion:
Unity of the house with th e landscape.

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ExEI{C!SE !.- Examine the passage for principles
uf description : ( 1) the statement of th e theme, (2) the
general introdu ct ion, (3) the methodica l succession of
the details, (4) the selection of characteristic details, (5)
the conclusion.
EXERCISE 11.- l'oint out the phrases or sentences in
this description that appeal to the imag in a tion.
REPRODUCTJON.-Describe, following Hawthorne, the
House of Seven Gables.
COMPOSITION.-Dra w to a set sca le a plan o f the
house in which you dwell; add a plain, accurate description of the house, following this outline:-

Tlll'me:

Introduce while stat in i-; th e situation of the
house.
General Introduction: General characte r of th e whole- likeness or
unliken ess to dwellin gs in ;;ener;tl ; your
interest in it.
Details:
Exte ri or-- wall s, roof, e ntrance.
Interior- rooms, furniture, deco rations.
Conclusion :
. General comment on it s co mfort, ugliness or
beauty, etc.

152

ENG LISJl CUMPOSI1'TON.

DESCRIP1.'ION: BUILDJNOS.

LESSON LT.
MEM OR IZATI ON . - FROM "IN S C HOOL-DAYS."

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Still sits the school-house by the road ,
A ragged begga r su nnin g ;
Around it still th e sumachs gro w,
And blackbe rry vines are running.
\ V'ithin, the master's desk is seen,
Deep-sca rred by raps official ;
The wa rpin g floor, the battered seats,
T he j ack-knife 's carved initia l.

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- Jo!m Greenleaf Wht"tlier.
ST\"LE : FOR C E.

I. Sz"mphcit:J'.-The second card inal quali ty o f sty le
'.s F o rce. F o rce is ga ined in many ways. C learness
it:"elf is a m ea ns of force, for confusion and ambiguity
~1stract the attention from the though t, and weaken its
im pression. So, too, simpl icity o f words and sen te n ce
st ru cture aids fo rce, fur if \\'C must pau,;e to so lve the
meaning of difficult word ,; a nd intricate constructi ons
we forget the thought itself.

Simplicity is ga ined (i) by the use of short terms
ra ther than long ones; by definite, concrete terms rath er
than vague, abst ract on es. Compa re : Human life is tran s itory.

(ii ) By s hort sente nces rath er than complex
ones. See p. 49.
(iii) Dy familiar illu st rat ions and compariso ns.

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.k::.

The cha rcoal frescoes on its wail ;
The door's worn sill betray ing
The feet th at, creeping slow to sc hool,
Went storming out to play in g .

Our days are few.

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Jong

Ex 1·: " c r:-;r:. -Sec ure simplic ity in th e following:(1) His health \\'ill, l hope, ;t1n cli orate. (2) \\' c: cxtl·nd
you an in vit ation to be prese nt. (3) T he tru stee goes
to Toronto in connecti on with sc hoo l matters. (4) l le
will return at the earli es t practicable period . (SJ Slic
perform s on the p iano beautifully. (6) Many mc:n arc
in po7!erty who m ight hav e won !tig!t posdz"u11s i11 tit,·
com11umity.
( Use concrete terms.)
(7) ;\:n I so degraded that I should a,;k fu r charity I (S) ln that
co untry we see the ;..; reatest extremes betw ee n ri che~
and poverty, the military and the merca nt ile calli1 1;..;s .
(9) Mate rnal affecti on is m ore necessa ry to th e child
than sch olastic discipline. (IO) Docs your l\Iajcsty
imag ine tha t Job's good conduct is the effect uf 111crc
person al a ttachment and affectio n? (Cf. Job, I., 9 ).
COMl'OS lTION r .-Draw to a ,;ct scale a pLt n of the
school that yuu atte nd; write a plain d escripti o n of it.
COMPOSIT ION 2. -Describe the situat ion a nd con struction of any wild creatu re's building - a Kingfisher's
Nest, a n Oriole's Nest, a Honey-bee's Hi\·c, a Sp ider's
Web, a Beaver Dam.
COMPOSITION 3. -Desc ribe, add in g what sugges tiun s
you can of nat ural bea uty and human associations, the
Mill-stream, Mill-dam and F lour-mill a t - ; ur, The
M ill- pond and Saw-mill at - ; or, T he Ch u rch and
Churchyard at - .
ADDITIONAL THEME S IN Af:TI ST IC DF.SCRlPTI O:-<.

COMPOS lTION.-- I. Vi sit, note parti culars of, and ckscribc :rnv
place of indu st ry ;. - Rai lway shops ; a knitting fa ctory; a cotton
factory ; a cann in g fa cto ry; a cheese factory ; a planinl{ factory ;
a shingle mill ; a brewery ; a coal min e ; a foundry ; a shi p yard ;
a laundry ; a photographer's st udio; a printin g- office ; a newspape r
office; a telegrap h offi ce ; a departmental store. 2. A City Hoy's
Impressiom of a Farm House; or, a Country Boy's Impressions

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ENGLTSII COMPOSITION.
DESCRIPTION: NATURE- LANDSCAPE.

of a C ity !lou se.
3. The Log Hut o f th e P io nee rs.
4. T he
To ll -g at e I lou se on th e - J\oad. 5. Th e Ta ve rn at - · . 6. Th e
Co untry Sto re al Corne rs. 7. The B ri dg e a t - .
8. O ur
Street.
9·
Our
Vill;we
(or
Town
or
C
it
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A
M
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,.,
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.
ysterio
.
Hou se. II. A Lu1n be rman 's Ca mp. 12. Th e Cq)sy Encampment.
13. The Soldiers' Encamµrntnt. 14. A Visit to ~i n e's B irth place.

small cascades, over which the trees thre w their broad
balancing sprays; and long nameless weeds hun g in
fringes from the impe nding banks, drippin g with
diamond drops. Sometimes it would bra wl and fret
alon g a ravine in the matted s hade of a fo res t, filling it
with murmurs, a nd after this termaga nt caree r, wou ld
steal forth .into ope n clay with the m ost demure face
im agi nable; as I have seen some pestilent shrew o f a
housew ife, afte r fillin g he r home with uproar and illhum om, come dimpling o ut of doors, swimmin g a11d
curtsyinr.;, a nd s milin g upon all the world.
Ho w
smoothly would this vagrant brook glide, at su ch t im es,
through so me bosom o f g ree n m eadow-land among the
mountains ; where the qui e t was only inte rrupted by the
occasional tinkling of a bell from the lazy cattle among
the clover, or the sound o f a woodcutte r's axe from the
neig hbourin g forest.

C HAPTER V. - N AT Ul{f·: - - LANIJS CAI'E, ETC.

LE S SON LIL
MEM OR I Z ..\TI ON.-FRO~ I " TH E M I LLER ' S DAUG HTER."

O r frolll the brid g e l le; 111 'd to h ea r
Th e m ill -d alll ru s hin g d ow n with noi se,
And see th e mi11nm1·s e veryll'here
In crysta l edd ies gl an ce and poise,
The ta ll flag -fl owe rs when th ey sprung
Below the range cf ' tepp in g-s tones,
Or those three ch est nuts n ea r, th a t hung
In ma sses thi ck with milky cones ....

I loved the brimming 11·ave that Sll'am
Thro' quiet mcadoll' s round th e mill
The sleepy pool a bove the dam,
,
Th e pool ben ea th it n eve r sti ll
The m eal -sacks on th e whiten'd ;loor
The d<irk ro u nd of th e dripping wh,eel,
The ve ry air about the doo r
Mad e mi s ty \\'ith th e floating meal.

-- lVaslting lon Irving .

- A ((red, Lord Tmnyson.
TI!F J\ ll.; :

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Bl{00 K.

Our first essay [i11 fi s hing] was a long a mo untai n
brook, among th e I I ig hl ands ul the Hudson. It was
one o l those wild strea ms that la vish, amo1w our
romantic solitudes, u nh eed ed bea uties, enoug h ~o fill
th e sketch-book of a hunt e r of the picturesque. Sometimes it would leap down rocky shelves, making

155

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Frr1111 " T/1 ,• Sl.·t'ld1-l>ook. "

EXERCISE I. - Draw up a n out line o f this d esc ri ption -Theme, General !11troduct1'on, Details.
EXERCISE I f.-Th e description of a brook involves
(i) noise, (ii) variabl e movement, (iii ) beauty. Write
down in these classes th e expressions that indi ca te thest:
features of the scene.
COMPOSITION !.- Draw a map of th e co urse of
any small stream yo u know, from its source down .
marking farms, tow nships, villages on its banks, and its
end in lake or river.
State briefly a nd accu rate ly the pa rti c ulars o f its
course-source, direction, len gth , volume, nature of the
country it traverses.
COMPOSITION 2.-Describe, afte r Irvin g, a mount a in
brook.

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J!FSCJ: r rn11x: x.1ru1: ,,. - 1,A s 11,..;1 ·.11· r:.

ENC:LJS!f {;(),lff'OST'N11 N.

LESSON

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.\11:::1roRJZ,\Tk>N.-LocH K,1r1<1N1-:, nu1~1 "Tnr. l.AnY

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r: races a m;u1 but

m oney, the .. . .

"r THE

... . brin g·s .. . .
111 g-. (S) The people I co me in con Lict \\i t h ;ire il"l
b l·_:sscd \ :ith the \\·o r ld 's ~:- c 1 0J~ .
(9) 1-'hc PritJl' C ( 1(
vV:-i ks wi ll he the foture king of Engbn1~.
poet is born, the poet is 1rnt made.
Cu:-11•oc;1TIUN I. - By the C ree k
Tlinne and Co1,·r,if ./J1/rod11</i, JJ1. - Ci\·e the th,· rn e, time ,, 1
day, and puint or" \· icw fr o m \\ he re you see the s•·c·1;c.
])t'fruis. - A quiet stre;1m, lmrJcred by rus hc·s ;ind t r1·,·,; .
J\·J o~s y ston es.
Hirds. Boy fi shing. Catt le sLtmling in t i1c
\\';ttn dri n ki n ~ , <Jr w111tling tlwir 1\·;1v d"wll to t he strca:·11.
Crmdus1im '- A tiiuug h t, v11 t l1c lJc:lllty of the scene.

LAKE."

Ti1e broom's toug-h r oo ts hi s ladder madt>,
Th e i; azei saplings Je nt their aid;
And thu s an airy point he \\' o n,
\\'l1 <,;rc, ;..:lc;u niug will 1 t;ir · '.t"'tt:ng- s un,
On e hurni ~ h 'd ~ het't nf l i1· i11~ g-n id ,
Lo ch Katrine lay hene:11h him ro ll 'd
In all lier iell;,;ti1 far windin g lay,
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'With promont o ry, c ree k, :i nd ha v ,
And is iancls that, e m purpled hr ig l;t,
Floated amid the livelier ligh t,
And 1noun ta in, , th;it !ik~ .~i:·1n t <; s t :1ncl,

1

To sentinel en chanted lancl .- Sir vVa!!t'r .Scott.

Crl\J i'0S!Trr1r-:. 2. - Uescrihc: the scene in this picture.

STY IF : FOF'.CF -- ( Cell!ttttttd i.

2 . Order f/f I iif/rds.-See p. 1 1 5.
3. Bre11it_y.- An impo rtant source o f fo rce l ies in the
numbe r of words employed. The g re at virtu e of w rit ing, in this respect, is brevity; u se just wnrd~ <'"llounh
for the full exp ression of the idea. If we are d iffuse a~cl
prolix , we wea·ken the im pression of the th o ug ht.
4· .A111p!ijicrrtio11.- At tim es, the idea calls fur amplification, by r e p e titi o n of ll'o rd s and periphrasis.

Alon e , all, a ll al (•n e !
· Tho u noteless blot upon a reme mbered name!

. .. l1i1n. (5) The miser h<ianls
it. (r>) ldicnc;;s brings J><>\'Crt:-, llllt
(7) She ]o.,kul p;ti e an d ll'l·a k-1• ,, ·k-

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5. C.mtrnst.-Force is gai ned by the u se of contrast:
This may be p lay to y ou, 't is d eaf It to us.
Many a re ca ll ed , but j ·w are chose n.
EXERCISE. - Use one o r o ther of these means of force

t o strengthen th e followi nt; :- ( 1) T would neve r la\.'
dow n my a rm s. (2) The hn 11r r.r departure h:l <> :Hrive rl
and we g·o ou r 11·a vs - I to die· :11 1d
(\) Thi s is the'.
s u111 and s ubstan ce, th e .... of the gospel. ( 1) Courage

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C O\ll'OSITION

3 .- Ciwose a

point of vi«w

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Like o r h:1\", or s ea shore that yo u know, ;wd desc ri be tile
:scene visil.ile at that pvi11t

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ENGLISH COMPOSITION.

DESCRIPTION: NATURE-LANDSCAPE.

LESSON LIV.

At the foot of these fairy mountains, the voyager may
have descried the light smoke curling up from a village,
whose shingle roofs gleam among the trees, just where
the blue tints of the upland melt away into the fre sh
green of the nearer landscape.

MEMORIZATION.-FROM "MICHAEL."

If fr om the public w;iy you turn your steps
Up the tumultu o us brook o f G ree n-head C hyll, 1
You wi ll suppose that "'ith an u p right path
Your feet mu st s tru ggle; in such bold asce nt
The pasto r:il mo untain s front you, fa ce to face.
But, co11ragc ! for around that boisterou s brook
The 111011ntains have all opened out the mse lves,
And made a hidden valley of th ei r own.
No habitation can be see n ; b11t th ey
vVho journey thither find themse lves a lone
\Vith a few sheep, with rocks and stones, and kites
That overhead are sailing in the sky.
It is in· truth an utter solitude.
- I l''il/i<1m Ii 'ords1N>rl/1.
I narrow 1nou11tai11 gull y.

TllEME: THE CATSKILL~.

vVhoever has m ade a ·voyage up th e Hudson, must
remember the Kaa tsk ill mountains. Th ey are a dismembered branch of the great Appalachian family, and
are seen away to the west of the rive r, swelling up to
a noble h eight, and lording it over the s mroundin g
country. Every change o f se;lson, every change of
weather, ind eed every hour o f the d;ty, pruduces some
change in the mag ical hues and shapes fJf tlH.:se m oun tains; and they arc n:ganle<l by all the good wives, far
and nea r, as perfect barometers. \iVhen the weather is
fair and settled, they are clothed with blue and purple,
and pri.11t their bold outlines in the clear e venin g sky;
but sometimes, when the re;;t o f the land scape is clo ucilcss, they will gathe r a hood c,f gr;ty vapr1urs abou t th eir
summits. which, in thL: la;;t ra ys o f the s~tt in g s un, will
g low a nd light u p ii kc a crow n of glory.

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I Vashin.f!lon lr11in_t;.

From " T!te Slctch lJo(J/c."

DESCRIPTION-( Co11ti1111ed).
EXERCISE I.-(i) Draw up an outline of this description. (ii) State the mere matters of fact of this descri ption. (iii) vVrite out the expressions that suggest human
associations. (iv) V\1rite out the expressions that indicate
colour and form.
6. Poi11t of View.-In the description of the" House
of Seven Gables," p. I 50, Hawthorne chose his point of
view outside the house, and described his scene from
one fixed point of view. He introduced no detail that
was not visible to him from that one point. In thi s
description we have a touch of a favourite device o f
writers in describing various parts of a sce ne. A building cannot be thoroughly described without seeing it
from several points of view-at a distance, near at hand,
inside from hail to room, etc. A river can be thorou ghly
presented only by noting its characteristic features at
various points (see Irving's description, p. I 55). A road
is an ever changing panorama of scenes. A village
yields abundant variety from home to home and street
to street. How can all the details of a scene, not fully
visible at one point of vi e w, be presented? Irving h ere
shows us the favourite d e vice. Fie imag ines himself a
traveller- he sees the mountains at a distance, th en
drawing near he distinguishes the details of the littl e
village- smoke, shi ngle roofs, etc. This shifting point

JGO

DESCJUP1'JON: NA'l'U IW - LA N USC.A l ' /!;'.

ENG LDill COJi[J>OSI'l'IUN.

of vi e w- the traveller's view-i s a g rea t aid to cl earness,
for the details of the clcscriµtion arc by 111ea11s o f it well
group ed and eas ily g rasped . It adds to a cer tain narrative interes t to the description. It is indispen sable when
we wi sh, as in t he case of a road or ri ve r, etc, to g ive a
pan oram ic view.
Ri-:1 •1,o n uc TION.-Desc ribe the Cats kills.
co~ tl 'OS fTION I.- ( 1) Draw a map s h n win ~ the
situati on o f any ran ge o f hills or mo untains with whi ch
you are fam iliar. {2) State plainl y and acc urately the
fa c ts concernin g y o ur su bjec t - s it uat io n, heig ht, ex te nt,
char.1 cte r o f trees , minerals, farms, import a nce a s wate rshed, e tc. (3) Desc ribe so me a spect o f na tural beauty of
th e range, in the sp irit of Irving 's d esc ription.
Co ~JPO S IT IO N 2. - Dcs cribe th e valh:y pict ured he re:There lie ~ a ·va le in I d a, Jo,·e li e r
Than ;ti! the vall eys of Ion ian hills.
Th e s wimmin g- rapour slopes athwart th e g le n,
l'uts forth an arm and c reeps fro111 pine l<> pin e,
J\nd lo it e rs, slow ly dra wn. ()11 e ith e r hand
Th e lawns ;rnd me adow -led ge s midway dow n
l-Lrn g ri ch in fl'l \\T rs, and far be low th e 111 roars
Th e long brook fallin g throu g h th e c love n ra,·ine
In cataract aft e r c a taract to th e ~e a.

Co~ IP OSIT I ON 3.-Choose some fix ed po int of view
as h ere, and describe a View from a Barn D oor:T h rough th e am ple open doo r of th e peaceful co untry b a rn,
/\. su nlit pa sture field with catt le a nd h o rses feed in g-,
And ha ze a nJ vi sta, a nd the far h ori zo n fa ding away.

O r, A Vie w fro m my \\'indow, Vi e w from a T owe r or
C hurch Stee ple, Vie w on the Prairi e, View from Dufferin
T e rrace, Quebec.

LES SO N

lli I

LV.

l\ IE ~ I O RI Z ATlllN . - Tllt·: .J >RIMEVAL FOREST, FKO~t

"EVAN CE LI NE."

This is th e fo res t primeva l. The murmuring pin es a nd the hc1 ll lo ck s,
I3 earded with m oss, and in ga rm e nts green, in di stin ct in the
twili g ht ,
Stand li ke th e Druids of o ld, with \'oices sad an tl pro phetic,
Stand like h a rpe rs h oar, with b eards th a t res t on tl1 e ir l>0 so111 s.
Loud from its rock y c;1ve rn s , th e deep-voiced ne ig hbourin g- ocea n
S peaks, and in accent s di sco nsolate a nswers th e wai l o f th e fore s t.
- ! ! t!llr.J vViulsw11rlli Lo11g/dlu·w.
TII E M E : TITE MAINE 'NOO DS.
Th e b eauty o f th e road it self was re markable. Th e
va ri o us eve rg reens, deli ca te and beautiful spec imens of
the larch, arborvitae , bal 1-sµ ruce, and fir-lx il sa m, fro m a
few in ches to many feet in height, lin ed it s s ide.;. J 11
some places it was like a lo ng front yard, th e trees
sprin g in g u p from the sm oo th gTass plots which unin terruptedly bord e r it, and are made fe rtil e by its was h;
while it was but a s te p o n eit her ha nd tu the g rim ,
untrodd e n wi ld e rness, wh ose ta ng led laby rinth <Jf li vin g,
fallen, and d ecaying trees on ly the deer and m oose, the
bea r and wolf, can easily pe netrate . . . L eaping ove r
a fence, we beg an to foll ow a n obscure tra il up to the
north e rn bank of th e P enobscot. Th e re wa s now no
road further, th e rive r be in g the only hi ghw ay , a nd but
h alf a d oze n log -huts, confin ed to it s banks, t o be m et
with for thirty mil es.

On eith e r hand , and beyond, \\'as a wholly uninha bit ed
The e ve rg reen
wild e rn ess st.r etch in g t o Canad:t.
woods h:1<l a sweet and bracin g fra g ran ce; the a ir 11 ·; 1-;
a so rt of diet-dr ink, a nd we walk ed on l>u oy;rntly in
11

EXGJ,JSlI CO.\/POSl'f'fl1N.

JJE'i::ICJUL'TIUN: NA'l'UKE- LANJJSCAPE.

Indian file, st retchin g our legs. Occasionally there was
a s rnall opening on the bank, rn:icle for th e purpose of
log-rollin g , wh e re 11·e got a sight of' th e ri1· e r, -- always a
rocky and ri ppl in g stream . The roar of th e rapids, the
note o f a whistler-duck 011 th e river, o f the jay and
ch ickad ee arou nd us, and of the pi geo n-woodpecke r in
th t: ope nin gs, were the sou 1H.b that we h eard.

LE S SON I.VI.

](;2

:,

'·

- ff, ·nry T/11n·e,111.

I"r(l!ll

!V! E i\IOR IZATION. -

"/11 Iii.: ,1fai11e 1Voods."

EXEIZChF.- (i) Draw up an outline of this d esc ription.
(ii) Poi11t out the vario us sce nes o f this description.
(ii i) Point ou t the passages uniting these by m eans of
the traveller's point of view.

\Vill ows whiten, aspe ns quiver,
Little br..:ezes dusk and shiver
Through the wa ve th a t run s for ever
By the is land in th e river
Flo"'ing· down to Camelot.
Four g ray "·alls, and four g ray to\\'ers,
Overlook a space of flowers,
And the s il e nt isle e mbo we rs
The Lady of Shalott.
- A I/red, Lorri 7i·nnyso11.

CoMl'OSlTION !.-Describe, as if y ou were walking
toward s and throu gh, any wood or natural park familiar
to you. r. The \Voocls o n t he - - Farm. 2. A \Valk
Throu g h the Avenue. J. A Cedar Swamp. 4. A Timber
Limit. 5. An Orchard. 6. A Ride Throu g h the Forest.
7. A Fon..:st C leari ng.
1

Co~IPOS!T I O\f 3.-Describc, u si n ~ th e traveller's point
of vi ew , any g rc,1t rive r :- - I. /\. Tro ll ey-rid e or Dri\·e by
the Ni;q; ara l-~ivcr. '.!.The St. Lawrence from an R . and
0. Steamer. 3. A Canoe Voyage from - - to - - .

upland.

ST\'LE: FOl{ CE-( Continued).
5. - Figures of .Speedt.- Dcviations from th e ordin;iry

COMPOSITION 2.-Dcscribe thi s scene:A land of strea ms! so!llc, like a downw:ml smoke,
Slow-drnp11 i11g ,·c ils of thin11 est fawn , did go;
Anti so me thrn' w:wc rin;:- li ghts a nd shadows broke,
J ~o lli11 g· a slt 11nbrn11 s sheet of foam be lo w.
Th e)' '"w tile glea 111i11 ~ ri ve r seawa rd fl o w
From the inner land : far off, three mountain .. tops,
Three s ilent pin na cles of a g·et! snow,
S t')od sunsct-flush'd : and, d e w'd "'ith showe ry drops,
U p-clomb the sha<lo\\'y pine above the woven copse.

F l(()M "T111·: L\UY OF SHALOTT."

O n e ith e r side th e ri ve r li e
Lon g field s .,f barley anti of ry e,
Th a t cloth e the wold' :rnd m ee t th e sky;
And through the fi e ld th e mad run s by
To many -tow e red Camelot.
And up and down the peopl e go,
Gazi11g wh e re the lili es blow
Round an island thac b e low,
The island of S hal ott.

l

forms o f expression arc very e ffec tive 'm ea n s of force.
U nu sual sentence structure- interrogation and exclamation, p. 62, climax, p. 98, and contrast, p. 1 56, ha\'\.:
already been noted. Figurative compa rison is a freq uent
mean s to convey and impress ideas.
The comparison may be expressed by li/.:e. as, as d
o.1•ere, seem, etc.-- the simile:-·
His soul was lik e a star and dwelt apart.

Or the comparison may he implied in the assertionthe metaphor:All flesh is grass.

•!

"'

",I
I

·1
,,""
ij

Hi4

I l]~'SCJUl"l'lON .- .N..1 'l'URE

E.\ff.' /,JS /I COMl'OSlTJON.

1\~ai11, \\'e \l'i,.;h tu present, nut tlic \\'h<>it: "lij<'d of

which ll'e speak, but a parti cular part prvrnincnt t" vtH
minds:All hands (i.1•., all men) to the pu111ps;
"'he n we put a part for UH• whole, an indi vidtml for the spccieti, tlu~ tlg-ure i~
synecdoche {ni n Pk' d•Jk fl.

O r ~we may use somethi ng- associated with the obj ect-a concrete adjunct:Cm gray hairs (i.e., old age) make folly ve nerable?
\\'h en we ww an dTect, for the C..'\ UHe , th e instrume nt for th e Rg(• nt., the concrete
adj1111ct fo r the thing it.sea , th e ti~urc is metony111y (me tun' eh m1; }.

EXEl\CISL - Express forcibly by means nf a fi g- ure of
speec h :-( I) He slep t like a
( 2) She seemed as
happy as a . . . . (J) The snow lay li ke
.. upon the
L11Hiscape. (4) But now we see as through .. ... darkly.
(5) A contc-ntecl mind is like .... ; a di~co11te11tcd mind
iike . . . • (o) There was about him an t1tjinite number
of upturned faces. (7 ) A short period o_f time may
destroy an emp ire. (8) His he art was . .. . t o receive
and . .. . to retain. (9) A sharp tongue is t!te only t/1i11g
that grows keener in .... with constant use. ( ro) They
17.li/Jrt'SS th e pnnr
(T r) Likr? ... thou :trt g-onc, and
fore ver. (I 2) 1 n the noon tide heat every jlo;ucr was
J11ot1'011!css.
(13) Tiu instr11mo1ts of f'1·11cc are 1nighti c r
than tile £11stn11no1/.r fl( 7r111r. ( 14) The re:bO!l 1s a.s
plain as
( r 5) Perhaps in thi;; 11 c~;lectnl gr;tve
may lie trnk1HJ11·n l1> (;u11c SO!lh' pod ur so111,· st<llt's1111111.

/' [[ r:No.u EJ1i.·I .

\\'iti; llanioh 1>:1rr•>11 ' ' : :ind ;i h:i 1elwornl,
Hv autu1un · lllltters li:Htll~<.:d, tlouri~lws
c 'reen in J. cuplikc hollow of the down.
1 Ancient, i;rave rno1111d~.

Co~IPOSITION 2. -Descrihe the scene presented 111
the lines from" The Lady of Shalott," above.
ADDITIONAL THEMES.

A Cruise ;dung the Shores of--- . 2 . .'\
}{iver in Flood. 3. The llre:tkillg of the Dam at -- -- - . 4· ,\
River Ford. 5. :\ Tnrnt Stream. 6. Runnin:.; the --- l\.ap ids .
7. The \Velland (or other) Can:tl. 8. Li fe on a L :u1<1l Hc•:1t.
9. The Bay of Fundy. ro. The Great Lakes. II. The I l:t:bour
(OMPOSITION. -

I.

at Vancouver, or E s quirnault, etc.
( OMPOSIT ION. - 12. A Day in the Country.
13. The l'1cturcd
Focksofl.akeS11perior. 14. Thef'lainsofAbraharn. 15. \luokc·ka.
16. The islancls of the Ceurgi;tn Hay. 17. The Tlio110:11id hl:rnds .
18. A Canyon in the F<>ckics. 19. Tile \'ic\\' from li:u:ff.
COMP<>Sl'l'ION. - 20. Tl1c ---- ;\l;nsh. 2I. The l_',,r1wr of a Sn:ike
Fe nce. 22. The \Voods on Fire. 23. Burnt Lands . 2 4· :\
]\>tato Field. 25. A Visit to a Vineyard . 26. J\n 1\pj1le H:in-e>t.
27. J\ gcrl\:ral view of some im po rtant Can:1dian city )'\Ill know.

'J!APTEl{ VI. -N ATURJ•: i\Nll NA'l'lll\.:\I. l'llEl\0\JJ·::\A.

LESSON LVI I.
MVofOl<IZATION. -SEA SUN(;.

CO.\ l l'US!TlUN I. -

Dcsuibc the scene "f tlic f1shi11g

viliage lJriel1y presrntcJ

111

th ese lines:~-

Long- lines of cliff breaking· have left
J\nd 111 tl•c cha"'111 ai·e

f1•ill1l

:1

<"' hasm;

;ind yellow ~:tn1b;

He· yon d. n·d rn()f~ ;t1JP11t :t n:1rrow wh:irf
In •.:lu ...;,tcr ; :lwn :1 1noiii1i«r'1l i_hurch; ;u1d higher
A iong- st r eet <·liinhs to ont''- l:ill ~ tcnv1-r d 111111
1

And hi!,:h in hcal'en behind it a g ray down

1\ wet ~lief·t :tnd a Jlu\\'ing ~ea,
:\\\'ind that follows f.1st,
And ti il s ti1c white and ru'itiing s:til,

J\rnl 1Jcnds tl1e gaiLint 111ast.
And bends the g<tllant wast, my uoys,
\Vh il c iih· the ca;;le free,
Away the goud ship flies, and k:i -..· cs
Old England on the lee.

.,
l

J\Nt: LlSll ('OM l ' US J'l'i<J N.

()lj

DHSC:JUJ"l'JON: J'<'A 'l' U/! E - l'f/XAll .1 /H.\' .1

see m ed possessed by th e full rni :..:ht of ib wr:1th. r11 , Ji i11 ::
to be g:tthe r cd to the c()1 11 po.s it 1n11 o f ;u1<>li w r 11111 11..,tn.

There's tempe s t in yon horn \:'. d 111 uo 11,
1\n d lii.;h tn in g- in yon cl rH1d ;
And hark , the mn :,ic, mariner s !
'I'ht..: win d is piping ioud ;
Th e \\'ind is pip in g lo ud, m y b oys,
Th e lightning fla shes free ;
The hollow oak o ur palace is,
Our her itag e the se.-..

U 11 J u lating hilis we re clia11 g1:: d

t hro ugh them) we re lifted ll \l tu hills; ma .~ .s c .s ,,f \\· ;1 t n
shivered and s honk the he:1 c h with a bor>1ni 11'.~ ,1,: 111,i ;
every sh ap e tu111ultuously nilled on . as s«1J11 ;1 ' 111.il lc-. 1,,

,\ STO JUI.

\\ ' liHi

\\";t '-'

hi \ )\\'111 ~: d (· ;ul

uecamc m o re anu m o re terrine.

J\ s w e

(1J1

'-'l1rt1 ·c.

it:) fu rcc

L . ng- bc lore we saw

tl1e se .-1. 1l:; spr.ty wa:; u11 uu r lip:;, anJ sh<Jll'crcJ s:tlt 1·ai11
upon us.
Ti 1c ll' ct!('r \\"~ts out, over mile.-; ;. 11d m1ics of
the 11at cou ntry ;Hipce11t tu '{armuuth; and eve ry sheet
ancl puJcilc la si 1ed its banks, and ha d it s s tr ess o f l1tt lc
breakers se ttin g- h eavily towa rd .s u ~ .
\Vhen we c;:i nw
w ithin s ig ht o f th e

SC<t ,

the waves n n th e h11ri zo n , caught

al i1 1lerv<11s ;dJuv e the roilillg abyss, \\ ell.: like gli rnpsc.s
uf .;u1 othc r sl1 u rc \\·ith tu\\'C r::; ~uid bu i ld i1i i-;s.

The trunu1duu s s ea itsdf, \\i 1en.i cutild tl11d ;, uniuu1L
i•au .s e tu lu, .L ;tl 1t , 111 the ;L~iL1ti•!ll u f tl1c Lii 11J 111g \I i11 d ,
the

il yiil;_:

;--;l lllil'~

fuu11dcd me.

. LJ);;

-... ; li11l,

;u1d tlH·

j

:i

-~

.-. I i. t i le'

·;~

.. 1

}

j

z11ll i

'1

th e idc;ti shore 01 1 the Ji, >11 1. • t11, \\1t h 11'
t o \ve rs a nd IJuihi111~:-; , r 1i:-;c ;u1t! (cil ; tli t · l l()l J\I ·, 111 \\. i·.t<
pl;1cc a\\'ay;

stru ggled on, nearer an d neare r to th e sea , fr o m ll'hich
i !l1ghty

..dI

v alleys (w i t h a solitary s tu rni -1.;irJ ~u 1ncli111 e-; ,,l.1111!lli1 1:-:

\.Vhe 11 t he chy oroke, it oicw i1ardc r and hard e r.
til i:-;

·~.

u11dt1bL111 ~

Lu \;, Jkys,

c h ;rng·e its s ha pe and pla ce, and heat anu(Ji ,·r
THD!E:

11:;-

d\\ · f11l

[l\Ji:>L· ,

t 't1!l -

,·\s the lii ::li \\ ';tt<.- r:- · w:tlls t· t11 1t · r• 1li i11 ;~ i11.

a11cl thick

[ sc:e111cd tu sec

;1

re111

li11~:

.;,,:'

.1 11<! 1q1l1t-.1\·:1: , ,:

~ t 1 l 11 at u r( "

- C!t.u

/t_ '.'i

/Ji'--/..'L'llS .

.LJ drr/Jft·J

JF1 !/J/

'·

}) ,1 , .,-J

( , / 1/ 1r1 J:>/.I..,

\1

Exuzc:rsF. ( i)- Show th;1t th is dcscripti • 111 i, \111tl<"1 1
fr o 1n the t'ra\· e ile~'s poin t o f \'lei\'. ( ii J- U11t!1 11c tl1 c· • k~­
cri p tion : J/1 c 11l!', Gnu-rid /11/ror/11(/1,>n. /) ,·/111!.1 /''''"11/0/

c;,-11cr.-il C~11 1c/11si.0 11 . \i11 J--- l-lic ,tu1111 i111· 1Jln·s \d r,, ,,,. ,
(/; ) m otio n; (c) di s tanc e . Uass under th c·sc h« .1ri .s , t h··
mos t strikini( descript in: lcr111 c; of tl1 e cxtr:1<:t . (11·) -Tlw
st11rrn j,.; 1k~u i b c · d i11 ;u 1l h1· -. t;tli11~: it ' 'ff«, l « 11 ti:«
observe r; point out t iie c: li ic f clc~cripti\'l: [1,1 1,~ lie s lktt
in1·o i\·e liurna11 cx i'eri c·11u:.
C o ~!J'()SfT!il:'\. --- Foiln-.\·i w:

of trea tment, descr i be
sl1ur<:.

:.1

I Ji,·k<"11s 's 1•L111 ;1 111 1 111''' k

~ turi11 u11 the sc,1 -s i1•>1c "1 i.th1:,... ·.

a11d, al t h eir li1~~hcs t , t11111liicd int() s 11rf. t hcT l()ukt'> I ;t_s
if the le a s t would c11 gu : 1· the· toll'n .

.'\ s tl1c

rcc ulinc•:

wave s\\'e pt b;1ck with a hn;ir,;e ro :rr. it sr·c mcrl to scoop
uut Jcq' c 11·es in t he lw:1ch. :ts if its purp<"c \\'l"rt · ti ,
11111kn11111 1· the c: tr tl 1. \Vil<"11 s" 1:11· wl1 it t·-!1.-, 1.l 1·,] liill,, 11 ·,
tiiu11der c d

u 11, <tild cL1<;hcd t i1u11sc:h·1·s 1<> ]'it-c1 ·s l><"f<Jrc

t hey reached Lile la11 d , c vny fr;1 ~111 en t uf the btt: 11· liulc

. ,:.::-. ~.:·.·.:-;.

.
:1

ENULl:i/1 OU MPU8I'l'IUN.

J1E:::!C'/UJ"J'ION: NATURE

1':~1 , 1;( 1:; 1-:. !iar/Jans111.1-:\\·ni d the 11s,· , ,!' tlw " '""'·,.
J\J, gent, p:uits, pan !, :o;>ec, pliotu, cx:1111, , () -cd, ~..1·1n, a
steal, to s uicid e, tu susp ic ion, to burglarize, tu u1thusc.

LESSON LV ilL
MEMOR IZ.\T!O N.-" MY HEART LEAPS UP."

l111proprit:ties, -- A void the ll:iC of :--- 1':1r ty f"r 11i;u1 '1r
person; individual for man ; c it izen for rn;u1; a\·ue<tli• •n
for vocatiun; neglige nce for n egl ect; b:tl: u1cc fur IL''~ •>t
remainder (except in accounts); sedio11 f"r <.li~tri c t;
ge ntlem a n for man ; iady fo r \\· o man: fc111:dc f"r wo11u11 ;
enormity fur enormousness; haply for l1<1p pily; hL·:dtl1y
for whol esome; less for fc\1·er; qu ite a r1 u111lJcr uf fu r a
g reat number; likely for liable: posted for i11lormed;
allude fo r refer; demean for de base; mutual fu r cu111mrn1;
transpire fo r happen; a gg ravate for pro\'oke; cdculatc o r
reckon or guess fU1· think or suppose; cXJ>L·ct for s1qi·
pose ; endorse an opi ni on for appro\'c; \c;irn f, lr ti:ac!i ;
lay fo r l ie ; raise fo r rise ; like for as if.

My heart leaps up ll'htn I beh old
A ra inbow in the sky;
So was it when m y life lJegan,
Su is it noll' l am a man,
Su he it \\'hen I shall grow ol<l
Ur let me die!
The C hild is father o f th e Man :
And I could wi sh rny da ys to b e
Ilound each to eac h by natura l p iety.
STYL E : TASTE AND

/Vi!h wt I Vordswort/i.

D !·~ A UTY.

\Vritin g n ot only must b e clea r and forcible, it must
conform to good taste and have e ven some clements uf
beauty. In fla ted language, a parade of Jc;irnu ! or
fore ign word s, constructions that arc not Eng lis h, the
mis use of gooJ w.:•rcls, arc all cont rary to r;ood t a-.;tl'. O n
the other h a nd, the melody o f r,ood writing·, its happy
p h r'1scs, the no bility and se renity o f its th ought , win 11s
by the c h a rm of beauty.

Clwia o/ Wurds. -'vVe mu st use g ood Eng lish. The
sta.ndard of En~lish i.s the present us;ige of ai l cultivated
En gl ish -speak ing people. J\ good styl e eschews bombast that strut;; lx·yond the t hought; it docs not admit
barbarisms --slang, wh ethe r nf the s treet or col lege,
foreign words not naturali zed , which a litt le knowledge
tempts the young writer lo e mpluy in place of good
English t e rm s; it admits n u \\' Ords in un au th o rized
meanings (improprieties) ; it avoids wrong or foreign
constructions (solecisms).

/'JIKVUJ!L'.\'.I .

J

!.-Desc ribe plainly and :1ccurately
2 . Ti1t:
so m e natu ral phenomenon: -- I. S11( 1\ 1· 0aLcs.
Northern I ,i gh ts. 3. Sun-dogs. 4 . A l\.:1in1Jo,1·. 5. . \ 11
Eclipse. Ci. 1\ \Vill-u'-tlic-\Visp. 7. J\ i\I i r:q'. (:. 0. J kll'.
9. Fog. JO. Kinds
Clouds. I I. J\ Clu ud-liur.st, etc.
COMPOSITION

or

Cu~ll'USlTJUN
'fhcrc

\ \ · ;1 s

2.--Describe the folluwin:-; scene: --·
a roar in g in tli(• wiwl all ni;...:h1 ;

The: rain <:a11le heavily c111d fdl in tlo<Hi o ;
But nuw the su n is ri , 11lg· cal111 and b1igl11 ;
Th e bird s are s ingin g in the d>stant woods:
()ver hi s own s wel' t voice the ~tock - dl• \' c' lno(ids :
The py make s ans"·er :is the 111a~:pie cl i;tt!l' 1' :
And ail the ai r is tilled with pleasant nois e: ul w:ttcrs.

All things that love the sun are out of doors:
'The sky rejo ices in t i1e inorning\ h irtli :
The grass is bright with rain -drops ;-on th e moors

170

EXU LIS !l COJl/I'US!T10N.
Th e hare is running ra ces in h e r mirth ;
And "'ith h e r fe et s he fron1 th e pla,hy e:nth
Rai s e s a 1n i>t; that glitt e rin g in the s11n,
l<un s with her al l the way, "'hcrever s he d o th run.

COl\IPOSITI ON 3. -:\ l{ainy Day in Town.
(Th is outlin e is from th e g irl 's p oint of view). Two s ides - d is c 0111fort and pl ea s ure - D e tai le d e ffec ts o f discomfo rt, h c h av iottr of
urnhrella, ou rs elve s, s kirts; state of s tre e ts and s trec t·c ars, and
s h o ps and pa ss ing wagg·o n s ; t emper.
Details of pl e asurc F re s hn e :;s of :iir, tree s a nd gTass; ~li s t en ing of th e wet pavements
in the e vening lam ps ; a nn1 s ing in c idents; sympat h y with th e
s pirit of the s torm; th e re turn hon1 e t o warmth, dry clothes,
fireli g ht, and th e afterg low of hea lt h fu l •: xe rc is c.

C O \!POSITIO~ 4. - 1\ Jfainy Day in the Co untry.
Importan ce of ra in to v egetation ; lon g drou g lt t affec tin g road s,
crops, spring s, c reek s ; anxiou s wi s hes for ra in ; sign s of rain ;
adv e nt of the rain; n a ture of the sto nn , conti nuan c e ; effe ct on
r o ads, gutt e rs , s trc:u11s, nors; effe ct on pers ons, a s p ec ts o f cla nge r
- li g htnin g - ·or b eatit\·-- rai n bow- in t h e stor m ; genera l as pec ts
afte r the· s torm.

COMl'OS!TION 5.-Dcscribe the follo11·i11g sce ne:The sky is c h a nged ! and suc h a c liange ! o h niµht,
And stonn ;111 d d;irknc ss, ye arc won dro us ~trn 11 g:,
Yet lo\·cl )' in yot t r s t rc n g th , :t s is th e I ig h t
Of a d:llk e ye in ,,·o rnan 1 F :1r a lot ig ,
From pe ak to pea k, the r:1llli ng cra gs among
Leaps the liv e thunder ' Not from one lone c loud,
B ut eve ry mount :tin n ow hath found a t o ng ue,
And Jura answers, through h er misty s hroud,
Back t o the j oyous Alps , \\'ho c all to h e r aloud .

COM POSITI ON 6.- D esc ri be a st o rm 111 \\'hich th e
e le m en t o f destructi o n abo un ds. Use the personal
element of fear to e xpress th e ch a racter of the storm : I. A Hail-storm am on~ Orcha rd s.
2. A Cyclone on
the \Nestern Pra iri e. J Storm at Sea.

J1J~'SClUJ"l'IUH:

.NATUliH- l'll HN U.llHX.l.

171

LESSON LIX.
:\!1·:!\ I OR I ZAT I ON. - FR O ~ ! "T!IE TA S K: TllE \\'JNTFH Fv1o:N1:o;r;.·'

N ow st ir th e tire and c lose th e slllltt c r,; f.1st.
Let fall th e c urt:1in s, whee l th e sofa round,
And ll' hilc th e liubbling an d loud h is sing urn
Thru\\'s up a :; tc amy column, and th e c up s
That che e r but not in e li ria te, w:1it on ea c h,
So le t u s welcom e peaceful evening tn .
·- If 'ii /ia 111 Co;, f<r .
SFASONS-T l! Ei\ TE:

\ V INT ER

LANl>~<·A1·1 ·: .

The wind has gent ly murmured throug h the l>linrb, <> r
puffed ,,·ith feathe ry soft ness a g ;tin st th e wi11rl< J11·s, a :1d
occa sio11ally s ighed like a s umm e r zephyr liftin g t he
leaves alo ng, th e livel o ng· ni g ht.
But \\'h il e tlw
ea rth has slumbe red all the air ha s bee n ali ve 11·ith
feathery flak es descending, a s if so 111e llOrthern Ceres
re ig ned, showe rin g h e r s ilve r grai n ove r all the fi e ld s.
We sleep, and at length aw;1Le to the st ill reality of a
winter mornillg. The s 11 ow li es 11·arm as cott<>n or do\\'n
upoll the wi1al11\\'-sill; tl1e liro:td c ned s;1sh :111d fm s ted
pa11es ad mit a dim a11d priv;1te li g ht, ll'hi c li e til 1:1n ccs tl1c
sn ug ch eer within. The still ness of th e m u rni1 1g i'i imp ressive. The flollr c reaks under our fed a s 11 c 111 0 1·e
toward the wind ow to look abroad thruugh s<>me ckar
space over th e fi eld s. \Ve see the roo fs st: u1d un der
th ei r snow burd e n. From the ea1"Cs a nd fen ces hang·
sta lact ites o f snow, a nd in thl~ yard stand st:tb gmitcs
cove rin g some co ncealed core. The trees ancl shrubs
rear white arms t o the sky on every side; and \\'h ere
were walls and fences, we see fanta s tic forms strctchin:-;
in frolic gambols across th e dusky landscape, a s if 1i;tturc

.
t.

,i

(·

172

BNGLTSJl COMPOSI1'10N.

had st rew n her fr esh designs o ve r the fi e lds by ni g ht as
models for man 's art.
-flozry Tlwre1111.

.From" A lVintcr's lf ~ t!l."

(i).-D raw up a formal ou tlin e o f the
preceding description.
EXERCISE

(ii).-This description impresses (i ) th e sil e nce o f the
s now-fal l a nd o f the winter morning, ( ii ) the abundance and (iii) varied forms o f the snow. \Vrite out
in classes the express ions that convey one or other of
these impress ions.
(i ii).-Show t ha t the point of view in ti1is d escript io n
is fixed. a nd that all de tails o f the scene are brought
forward from one fixed point.
C011 I l' OSITION !. -Descr ibe th e as pec t of a farm and
form -b uildin gs , a v illage, or city during a snowfall.

Coll!l 'OS ITIO N 2.-D esc ribe the scene,p. 13r.

3. -D esc ribe an Autumn Land sca pe,
u sin g th e suggesti o ns of the following:COM POSITION

Fi ll ed was the ;1ir with a dreamy an d . m ag ica l lil;ht; a nd th e land scape
Lav ;1 s if n ew-c reated in all the fr c,.;J in ess of c hiidh o(id.
l'e i1ce sec 1n ccl to reig n u po n t'.a rtlt , and th e rc, tl ess h ea rt o f the
ocea n
\Vas for a m omen t co nsoled. i\11 so unds we re in harm o ny b lended .
Voices of c hildren at play, th e cro"'i ng- o f cocks in the rm11yards,
\ Vhir o f wings in th e drowsy air, and the coo in g of pigeons,
Ail \\' e re s ubd u ed and low a s th e murmurs of lov e , and th e g rea t
s un
Looked with the eye o f love throug h the go ld e n vapors around hi111.

Tl1e111,: and General Statemenl.-i\spect of serenity and

abundance.
Dtsrnflio11: Air. earth. lake or <wc:in: ll'i!d du c ks, srp1irrds,
sni; 1ll l> irds; li;irn:st fulncss.

Co11c/11s1(m: Summa ry of th..: preced ing details.

L1BSCHIP'l'IUN: NA1'U1U~- ·PHENUMENA.

LESSON LX.
MEMORIZATION.-FROM "!!EAT."

By hi s c art 's side tlie waggoner
l s s louc hin g s lowly at hi s ease,
Half-hi dden in th e windl ess blur
O f whit e dust pu ffing t o his knees.
Thi s waggon on the hei g ht above,
F ro m sky to sky on either hand,
Is the so le thin g that seems to move
l n all the h ea t -h e ld land.
Beyond m e in th e fi e ld s the s un
Soaks in th e g rass and hath hi s will ;
I co unt th e m;irgue rit es o ne by one;
E ve n th e buttercups a re s till.
O n th e broo k yo nd e r n o t a breath
Di s turbs th e sp ider or th e rnicl ge.
The wa te r-hu gs draw cl ose benC'ath
The coo l gfoo m of the bridge.

- A rc/1 ibald Lampman.

Ex E IZ C IS E. -Co rrect the so lec isms in the fol lowing- : -

( 1) This ph eno tn e na is n o ti c~a bl e_ whenev~r the. sun is
sa nk . (z) Ea ch o f the pupt! s wt!I read 1n their tun~.
( 3) You look charmingly to-day.
(4) It 1s nob?dy s
else bus in ess but mine. \5) Let th ey ;.ii o ne be punished
who have done the wrong. (6) He alone tru sts those
whom he knows are honest. (7) Neither prai se or blame
affect hi s course. (8) The jury hav e brought in th e ir
ve rdi ct. (9) Having· lost his way, I sen t out a party in
search of him. ( 10) T saw no other man than be p rese nt.
( 11) Y o u are o lcl er than he r. (12) Nobody c~n help but
b e cross when their clothes are wet. ( 13 ) Will yo u try
to pe rso nally influen ce all your associates. ( 14) Had I
have kn own it Tshould ha ve to ld you. (I 5) I would John
was he re. ( 16) C le rgym en m o re th a n those of othe r
professi o ns will use the book. (I 7) The man blamed it
on me. ( 1 S) He was not there, at least, not as I know

I

;,

ENC:LISll COMPOSITION.

lJESCRIP1'ION: P EH SONS.

on. \19) I fav<; you got my book with you? (20) I
differ with you as to the facts of th e case. (2 1) Eat
your dinn e r and 11·he11 y o u arc throu g h , com e alo ng-.
(22) I will go i11 a few ho urs th o ugh I do no t wa nt to.
COM l'OSlTION I. - A M icl su mm e r Day.

Lowell, "Sir Lal!nfal "). 6. A Slimmer M o rning's \V al k. 7. ;\
S ummer Day in School and in th e Collntry . 8. Tl1 e Dog D ays .
9. A S umm er Night in th e T ene m en ts. IO. Moonli g ht (d. \lcrchant
of V e ni ce, Ac t v.). II. Si g- ns of Fall. I2. The Tre es in ,\11tumn.
13. The E nd o f Alltuinn (cf. Bryant's "D eath o f the Fl.,wers ·°).
14. Trees in \Vinter. 15. Th e Lake Shore in \Vint cr. i6. Slippe ry
Walkin g . I7. Jack Frost as a n Artist. 18. The First Snow Fall
in the C ity.

174

OUTLINE. - /\ hot s11mmcr d a y - s ti lln ess o f trees, dai s ies, buttercups, bird s, brook; l'i ct ure of th e dtt'> ty rua d, - wa ggo n , driver,
only 111ov i11 ;.; object seen; he:it in a ir and fields ; effec t on cattl e,
in sects; touch of contrast in th e coo l s h;1clow of th e brid ge. ( Co m pare Lampman's "I le:ll ," in ",\mong· the Mill et. ")

CO~l l' OS lTl ON

CHA PTER VlI. -PERSO NS .

LESSON LXI.

2. - Dcsc rib e the sce ne s uggested by

these lin es

MEMORIZATION. -

The day is done, a nd the darkn ess
Fal b frurn tlic win gs of N igh t,
As a fc;ither is wafted dow nw a rd
From an ea g le in hi s flight.
sec the lig h ts of the vi ll age
Clc:un through th e rain and th e mi st,
And a feel ing o f sadn ess comes o'e r me
Tli at 111y sn ul cannot re s ist !
A fe e lin t-:· o f s adn ess and lo ng ing,
That is not akin to pa in ,
1\nd resem bl es sorrow only
As th e: n1 is t re".: mhks th e rain.
Co~ll' OSITlON

3. - Dcscribe so m e aspect of th e day
o r ni g ht: 1. Sunrise (c f. l.on gfc ll o w's "Daybreak").
2 . .Eve nin g .
3. Sunset. 4 . ~f uo n-ris c .
5. A Wint e r
Evening (in doors o r out o f doo rs). 6. A Sta rry Night.
ADDITION .-\ I. Tll nl !':.:;.

1

LO~ll' OS !TICJ N . --~ I.

h rst Si gn s of Spr in g-.
3. A Diary of Sp ring-. 4. ~l:i r c h .

Hcolt , I f.).

ll1 · 11r.\

- Eduttrnd Hutke.

Sprin g I .and5. ,\Jun e Day (cf.

2. , \

Thon·a u . "\\'ald c11, " "t·:."1 .-ia.n~. etc.' '

HISTORICAL

WELL-

1 Su::'°'c::itivc n.~adin~ .. "ill hi· fn1111d i1 1 1ltc w ~ir k:-1 of ,lohn B11rr u tt ;: li ~: " Wi11tcr S1111 shi11 c, " "l.111: 11 l'll. 11wl Wild il ont·y ," "Hird ~ and l'(wt8," ' ' P c p :1\'T.011, " •· \\'u.k e l(.ohin"

( l· :t1 i11hur ~ h: Uuui.,:·las, 1/-).

Fran ce, th en the IJauphiness, at Versailles; and surely ne,·er
li g ht e d on thi s orb, which she h ard ly seemed to tou c h, a more
d elightful vi sio n. I sa w her ju st above th e h o riz o n, decor;1ting an d
cheering the elevated sphere she j11 st bega n to move in - glittering
like th e momi11g star, full of life, and splendour, and joy.
Lit t le
did I dream, when sh e added titl es uf veneration to th ose (Jf distant,
e nth usias ti c, respec tful l1>Ve, that s he sh ou ld eve r be olilit;nl t•J ca1ry
th e sharp a ntidote ag ainst di sg race con cea led in tl: at h" " "n ; li ttle
d id I drea111 th at I s hould ha ve lived to see s uc h di ,;1>ter s Lilien
u po n he r in a nati on of gallant m e n, in a n ation of 11H.: 11 of l1onour
and nf cava li e rs. I thou g ht te n thou sand swo r<ls mn -;t li:n'" le:q>cd
fr om th e ir scabb a rds to .a venge even a look that threaten ed her wit h
in sult. B ut the age of c hi val ry is gone; that of so pl1i -;t n,, 1-i:ono·
mist s, and calculators has succeeded; and the glory o f Europe is
extinguished forever.

I.

Use, where posB ihlc , t he ]dan of a walk or driv e iu th e::ol' ()p:o;c rip t ious.

scape:.

MARIE ANTOINETTE.

It is now sixteen or seven te en years since I sa w th e Quee n of

(Loudo n:

Prorn "Reflections on t he Fre Hcli Urr .. /1di"11."

PERSONS- THE!\IE:

OLIVER

CROi\l-

P ERSONAL APPEARAN CE.

"His Highness," says White locke, "was in a ri cli but
p la in suit- black velve t, with c loak of th e salllc; aliout
his hat a broad band of gold." Does the read er StT h im?
A rather like ly fi g ure, I think. Stands some five feet

BNGLISll COMPOSITION.

DESCHIPTION: PERSONS.

ten or more; a man of strong, solid stature, and
dignified, now partly military carriage: the expression
of him valour and devout intelligence-energy and
delicacy on a basi s of simplicity. Fifty-four years old,
gone April last; brown hair and moustache are getting
gray. A figure of sufficient impressiveness-not lovely
to the man-milliner species, nor pretending to be so.
Massive stature; big, mas,.;ive head, of somewhat leonine
aspect; wart above the right eyebrow; nose of considerable blunt aquiline proportions; strict yet copious lips,
full of all tremulous sensibilities, and abo, if need were,
of all fiercen esses and rigours; deep, loving eyes- call
them grave, call them stern-looking from under those
craggy brows, as if in life-long sorrow, and yet not
thinking it sorrow, thinking it only labour a nd endeavour: on the whole, a right noble lion-face and hero-face;
and to me royal enough.

COMPOSITION 2.-Study the portrait of some great
man or woman,- Queen Victoria, Lord Robert:;, Lord
Kitchener, 1 George \Vashington, Lincoln, Tennyson,
vVor<lsworth -- and describe what you can see of the
appearance and character of the person represented.

176

-T/wmas Cizr!y!e, " O!i<1cr Cromwdts L cllcrs and Sjicecltes."

STUDY OF DESC I-:.Il'TION.-The writer seeks to give
us a visual image of a st ri king figure. His introduction
tells what the ordinary observer would notice- the
clothes of the man. He then states his theme impressively by a rhetorical question. Then follows the
general outl in e, all the more striking from its low pitch.
General details follow on methodicaily,-stature) carriage, expression. Then more definite details are added,
-age, hair, moustache, head, wart, nose, lips, brows,
eyes. A general summary, now hig-h pitched, concludes.
COil!f'OSITION I .-Draw up a formal outline of the
foregoing description. Describe Cromwe ll 's personal
appearance in y()ur own words, using the plan and
details of the model.

177

1Sec a.li;o 0. W. Ste,·ens, "With Kitchener to J{}1arr.oum."

COMPOSITION 3.-Describe some one you know or
see frequently whose persona l appearance interests you.
ADDITIONAL THEMES.

1.-Alfred the Great.
2. Queen Elizabeth.
3. Mary of Scots. 4. \.Villi<im of Orange. 5. Nels on. 6. Wellin gton. 7. Sir \Valter Scott. S. \Volfe. 9. Montcalm .
COMPOSITION .

LESSON

LXI I.

I
'!
ji

MEMORIZATION.-Ros~= AYLMER .
•i

Ah ! what avails the sceptred race,
Ah ! what the form divine !
What every virtue, every grace !
Rose Aylmer, all were thine.
Rose Aylmer, whom these wakeful eyes
May weep but may not see,
A night of memories and of s ighs
1 consecrate to thee.
- l Vidler S1mc1xe Lawlor.

FICTITIOUS

CIJARACTER-TIIEl\fE: ]\JP VAN
WINK I.E.

The great error in Rip's compos ition was an in.superable aversion to all kinds of profitable Jabour. It could
not be from the want of assiduity or perseverance; for
he would sit on a wet rock, with a rod as long and
heavy as a Tartar's lance, and fish all day without a
murmur, even though he should not be encouraged by a

E NGLI:sli CO J\f PUSITIUN.

DESCRJPJ'ION: p 1.;Rs o 1. .-s.

s in gle nibble. H e would ca rry a fo wlin g -piece on his
sho ulde r for h ours t ogethe r, trud g in g through woods
and ,; \\'amps, a nd up hill and do wn dal e, to sh oot a fe w
squirrc b or \\' ild pi geo ns. H e wo uld ne ver re fu se to
a ss is t a neigh bou r, e \·e n in th e rou g hest to il , and was a
fo remo,.;t ma n at a ll country frol ics for hu s kin ~ In d ian
co rn o r buildin g sto ne fe nces. Th e wom e n of the
village, too , used to e mpl oy him to run th<.:ir e rrand s,
and t o d o s uch littk odd j ubs a s their less obliging
husba nd s would not do fo r them ;- in a word, Rip was
read y to atte nd to an ybod y 's liu ~ im:ss but hi s o wn; but
a s to cl oi n:,:- fam ily d uty, and keepin g his farm in order,
h e foun d it im poss ible.
In fact, h e cl ec larecl it was of no use to work o n his
fa rm; it was th e most p es t ilent litt le pi ece o f g round in
the wh ole co untry; everything about it we nt wron g,
and would go wro ng in sp ite of him. His fen ces were
co ntinu a ll y fallin g to p ieces ; his co w would either go
a st ray, o r get am ong th e cabbages ; weed s we re sure ~ o
g row qui ck e r in his field s th a n anywhe re else ; th e ralll
a lw ays made a po int of s etti n ~ in ju st a s h e had some
ou t-d oo r \\'ork to do; so t ha t th oug h hi .~ patrim o nial
esta te had <hl'in dkd a \\':t)' unde r hi s ma11a g·e 111 e11t, ac re
by acre, unti l th ere \\'as little m o re left than a me re
patc h o f Indian co rn a nd potatoes, ye t it was th e wo rstconditionccl farm in the ne ig hbourh ood.

in g o r huntin g. I Tc co uld wo rk o ut o f good -hearted nL'Ss
for ne ig hbo urs. But he could not wo rk hi s o wn farrn .
H e expl a ined his neg lect o f it by d ecl a rin g it was a n
unluck y spot,- fences, co w, weeds, rain - all we nt wron g .
G en e ra l res ult as to the farm sho ws conc re tely by e ffect
Rip's unfo rtunate di spositi on.
C OMPOSITION !.-Draw up a formal o utlin e o f tli e
for ego in g d esc ripti on. Describe Rip's chara cte r, fol1 0 11 in g the pl a n and d e tails o f the m odel.
Co~1 r os 1TI ON 2. - R ead Irvin g's " Legend o f Sleep)'
H o ll ow," (" Th e Sketch-Book ") and d esc ri be th e pe rson;d
appeara nce a nd characte r o f Icha bod Cran e.
C OMPOS ITI ON 3.- A characte r s tudy fro m a n Ei ghtee nth Cent ury essay: Sir H oge r d e Co ve rl ey , S teele,
" S pectator," N o. 2 ; \N'ill \ Vimbl e, Addiso n, "S pec ta to r,"
Jul y 4, I 7 Ir ; The Trunk-Make r, Addi so n, " Spectato r, "
N o. 235; Di ck Minim, the C riti c, J ohn so n, "Id ler,"
Jun e 9, 16, 1759 ; Tom F o li o, Addi so n, "Ta tl er," N o.
158, Ap. 13, 171 0 ; The Political Uphol ste rer, Addi so n,
"Ta tlcr," N o. 155 , J\p. 6, 171 0.

178

-

/ f ',1s!ti J1J.:l o11 /r;;i 11g .

From " T!t e S kdd1 -Hook."

ST UD V OF DESC' R! PTI ON .-This is a d escription
The auth o r emphasize,.; first th e chief
o f chara cte r.
c ha racteri sti c of l\ i p-- his di slik e o f labo ur profitabl e to
himse lf. Then he d e fin es, amplifies, and illu strates this
charac te ri stic. Rip cou ld b bour- a t unprofitabl e fi sh-

17\l

E xt·l' pt lhe fi nst, tl 1c.He a re t:o 11 ta incrl i n " Ei g l1tcc 11 th Ce11tury Essay i sl~," ct.I. D oln;1111 .
(Lo11do 11: h cga11 J•aul , 1/6. )

L ES S O N LXJ I I.
i\ IEM O RI Z AT! ON . - FR O~ l

" THE L\DY O F '1'111•'. LA1'E. "
An d ne 'er did G rec ian c hi se l tra ce
A Ny m ph, a N ai a d, or a G race,
Of fin e r form, or loveli e r fa ce !
\Vliat th oug h the s un, with arde nt fro wn,
Had s li g htl y tinged he r c heek wi1h brown, The s portive toil, whi c h , short and lig ht,
H a d d yed h e r glowin g hu e S•) bri g ht,
Served too in ha sti er swell to sh o w
S h ort g limp ses of a bre a st o f snow:
Wh a t thou g h no rul e of courtl y g ra ce

180

E.\.GLJSJl COMJ'OS11'JON.
T u 111 casu rcd lll nod h:td trai11 'tl h. ·r p:t cc,
A foot m o r..: light, a s te p lllore true,
Ne'e r fr olll tlH: h e ath tlow"r d ;" J1 'd th e dew
E'en th e slig·ht h:trcbcl l r;ti sed its head,
FLtoti c fro 111 her ;1iry tre;1d :
\\. hat th ough upon h e r speec h there lnni t:
Th e a ccents of th e mountain to ng ue, Thnsc s ik e r so111Hls, so soft, so d e ar,
Th e li st'ner h eld h is brea th to hea r '
- Sir ~V,ifler S eo/I.

Ex u: c rs E.- Corrcct the e rrors in the fo ll owi ng : ( 1) N o thing can prevent so g reat calamit ies as a tranqu il mind. (2) People ll' ho think like you do arc few.
(3) l ll: pied earnest ly to be allow ed to re turn th e p urse.
(4) The: armed m en were obliged to be taken o n boa rd.
(5) How d isti nctly docs it rec ur to m e:, but I presume,
m o re so to the hero, of an exp,t:r,i t nce rela ted to me so me
time ago. (G) It mak es us kind ,Of ti rl:tl to hea r him talk.
(7) One resu lt o f my reading was m y unckrt akin g a trip
in sea rch of some bea utiful sce ne whi ch books told me
th at the wid e wo rl d possessed. (S ) \Viii you go to town
at three or at fou r o'c lock? (9) I \~i ll go as soon as you
a rc ready. ( 10 ) I will not go \Vlt)1'o ut it cl ea rs off

DESCRIP'l'ION: PERSON::!.

LESSON LXl V.
MEMORIZATION. -T HE

G LAIJIATO I{.
l lAROLll. "

DY I NG

CO \! l'O~ !TI ON

2. - D<.:scribe a cha racte r in fi cti on.

CO~ll'OS rT ION 3. - .J{c;td "The l\T e rch a nt of Venice,"
and d esc ribe th e c haracter o f Shylock o r P ortia.

ADD ITI ONA L
CO~ I PO ,_ I T I ON

T HE ~ IE S .

I. - A Ch"ra c tc r in a co m edy of Shakspere- Falst.tff, Jaqu es, Sir Toby l \clch : Jfosalind, \'iol:t. 2 . A C harac ter in
a tragedy of Shak spc rc- · l{ om eo, i\ ! a c lic th, O th e llo ; Jul ie t, Lady
i\Lt cliet h, Desdemona. 3. ,\ Ui:1 ra c te r frn 1ll ( :e,irhe Fliot - !\dam
Ledc, To111 T ull i,·e r, T ito i\lck111a; Dinah 7' 111rri s, i\·Ia hg·ie Tulliver,
J~omula.
4. J\ Ch: tract e r fr om J)i ck c ns -- 7\li cawber, l'i ckwi ck, Sa m
\.Y e ller; :\ s nes, Il ora. I.ittk Nell, t:t c.

FRO~!

"C JJIL DE

I sec befo re me th e Glad iator lie ;
I le lea ns u po n hi s hand ,- h is manly brow
Consen ts to dea th, bu t conquers agony.
A nd his drooped head s ink s g-rad11ally low,
And through hi s s ide the last drops, ebb in g slow,
Fro m th e red gash , fa ll h eavy, o ne by o ne ,
Like th e fi rs t o f a thund e r-sho we r; a nd n ow
The a rena s wims around him, - he is go ne
Ere ceased the inh um an s ho ut which hailed the wret ch
wh o wo n.
He h eard it, bu t h e h eeded not-his eyes
\V e re with his h ear t, and th a t was far away;
He re ek\! n ot of th e life h e lost nor prize,
ll ut \\'he re h is rud e hut by the Danube Jay,
T!t ere were hi s yo ung barbarians a ll at play,
T!t ert! was their Dac ian m other- he, their sire,
Butc he re d to mak e a Roman h ol iday -J\11 thi s rush ed with hi s bl ood - shall h e exp ire,
And un ave nged ?-..\rise , ye Go th s, and g lut you r ire.

- Lord Ry ro11.

Co~ !POS ITT ON

r. - D <.:scribe El le n Douglas as tlcpictcd
in the lines a bo\·c.

l~I

TllEl\IE:

TIIE COWBOY .

Certai nl y th e 111an aspiring t o th e titl e o f cowboy
need ed to have s te rn stuff in him. He niu st be equal t o
the leve l o f th e rude co nditi on s o f th e life, o r he wa s
soon fo rcctl out of the socie ty o f th e cra ft. In one \1·ay
or an o the r the ranks o f th e cow-pun c hers were fill ed.
Yet the type re m ained s in g ul a rl y fix ed. It wJ s as
thou g h the m odel o f the co wboy h ad bee n cast in
bro nze, in a h eroic m oul d, t o whi c h a ll asp ira nt s were
compell ed to conform in line and d et ail. The envi ron ment had prod uced its type. Th e cowboy had been

182

RNOLJS.H COMPOSITION.

burn.
A rncrica had ga ined
another character.

another citizen, history

DESCRIPTION: PERSONS.

183

LESSON LXV.
ME~!ORIZATION. --- TllE ]'LOUGH .

He who sought to riJe by the side of this new man,
this .American cowboy, needed to have courage and
constitution, a heart and a stomac h not e;1sily Jaunted,
and a love for the hard grou nd and the open sky.
They were many who were fit so to ride. Of these the
range asked no questions. L e t us not ask whence the
cowboy came, for that is a question immaterial and
impossible of answer.
Be sure, he came from among
those who had strong within them that savagery and
love of freedom which spring so swiftly into life among
strong natures when offered a brief exemption from the
slavery of civilization. The range claimed and held its
own.
Grim , taciturn, hard -workin g, faithful, it was this cowboy of the range who made the mainstay of the enti re
cattle industry. \Vithout hiin th ere could never have
been any cattle industry. He was its central figure and
its re liance, at the same time that he was it s creature
and its product.
- F. llm~i;k

From "Tit,, Story of t!te Cowboy."

Hy per111iasio11 of the puhlisliers, :\lessrs. D. Appleton & Co.

STUDY OF DESCRIPTION. f.-(1) Draw up a formal
outline of the preceding description. (2) Give reasons
for the paragraph divisions in the extract. (3) Select
sentences that have a special degree of force.
IL-Show by various details that this description 1s
one of a class, not of an individual.
COMPOSITION.-Describe the Cowboy.

Above yon so mbre swell of land
Thou sccst the dawn's gTavc orange hue,
\Vith one pale s treak like yellow sand,
And over that a 1·cin of blue.
The air is cold above the wood s ;
All silent are the ea rth and sky,
Except with his own lonely moods
The blackbird holcls a colloquy.
01·er the broad hill creeps a beam,
Like hope that gilds a goocl man's brow,
And now ascends the nost ril -s tream
Of stalwart horses co me to plough.
Ye rigid Ploughmen, bear in mind
Your lab our is for fuwre hours;
Advance-s pare not - nor look behind:
Plough deep and straight with all your powers.
-Rid1<1rd Jlengist I !on1t•.

STYLE: T ,\STE-( Co11ti1111ed).
2. Violiltions of good taste arise, as well, from the 11.sc
of colloquialisms in furmal composi tion, the introd11 ctio11
of s lancr, cant phrases, trite quotations, unnecessary
foreign °words, the conventional bombast of political
orations, the exaggerated, inflated style known at times
as newspaper English.

3. A sentence is spoiled by harshness of sound_, .perverse alliteration, poetic rhythm, disagreeable repet1t1ons.
On the positive side, beauty of style is the crowning
charm of literature. Familiarity with g·reat writers and
their nobility of thought and harmony of expression will
conduce to some measure of beauty in one's own style.

184

ENOLJSII CO M POSITION.

. E>.:1·:J.:.\ ·h1·:. - Re-write in ;..;ood ta,;(« thv l"llmvi ng :(I ) l le was !ll ost dead :vi th the hc;tl ( ~ ) Jn C hi cago
jV ~ trr. t o m;tk c culture hum : · (3 ) \'cJL1 will ha ve to

11 us t lc if y ou wan t t o get <thcad of Ja c k. (4) J [e',.; the
best man I k now in tha t )int.:. (S ) Mr. Geo rge has been
m ak in g a v isit to hi s parental domi c ile. (6) He will
re turn in two wee ks to th e la nd o f liberty a nd th e ho me
o f th e free. (7) The o bliging ho tel clerk and the obseq uious porter cont ributed their utm os t attention t o o ur
every requi re ment.
(X) The citi ze ns of this free and
enl ig hte ned rep ublic w ill have an oppo rtunit y on
Tuesday of cxe rc isi1 w t hei r birthri.,ht o f the franc hi se.
(9) The njfaire o f J\londay ni g h t ~arne off with rr reat
lclat; the M isses Oak~s m ade their d /b11t in th e bcalf.11tonde, and~ 1 we re " the observed of a l I observe rs."
(ro) It ain t '· 110 use, yo u're apt tl> make mi ,.;tak es, and
I 'd o ug h t to have so me one cbe there. ( 1 I ) No pupil is
a ll owed to read a loud ll'hi lc there a rc o th e rs in th e rou m.
( r 2) \Nhe n the old doctur w;ts dead h is cklcst so 11 ca me
in hi s stead. ( r 3) I ask tha t th at same m e rcy that was
accorded him be give n to me.
(.

I

COJ\1l'OS ITION I. - Make a s tudy o f o ne o f the followin g Country types : - 1. The Canad ia n F a rm er. 2 . The
Fa rme r's Wife. 3. The Farmer's Boy. 4. "The Hired
Man. " 5. "The I fired Gi rl." 6. Th e..: ,\g t.: nt.
This arnl imhserpieut gT01lJI~ of stwlit·~ may l H: tfo1t ril. 11ttd a1no 11g 1rn.~ 1111Jers of the
cla."ls; the bl•!i!L tles•·ri1•ti1111 1d e1u.:h t.nx: m ay be !ickctcd, u11d t he whok gro up rea.<l
al oud by the tea.c hcr or th e writ c r::1.

C OMPOS ITI ON 2. - Vil!11g1: Typi:s.
Make a study o f
o ne o f th e followin g :- 1 _ T he Co untry D oc to r. 2. The
Ministe r. J. The Post m as ter. 4. The Sc hool Teach er.
5. Th e Dlacksmit h. 6. T li c Landl o rd . 7. /\. Vill age
Oracl e. 8. The Stag-e-Dri,·c r. 9. J\ Local Cele brity.

3. - Clt) ' 'l)'f'«s.

J\Take a s tud y of o ne
o f the full o 11·in :; :-- r. The l' ost man. 2 . Th e P o licema n.
J The Ashman.
-I· Th e ;\ [ilkman.
5. Th e I ce m a n.
C O.\I l'US IT ION

D ESClUI''l'lUN : PER.SUNS .

18il

6. The Ca b m a11 7. The Mes se nge r B<>y. ~~ . The lbnk
Cle rk.
<) . Th e I lute ! Cl e rk.
J O. The Buot-black.
I 1. Th e Orga 11 -g rind cr.
1 2 . "Bana n' !"
r 3. "Rags a11d
Bo ttl es !"
14. The Dude.
I 5. Th e W a rd Poli ti cian.
ADD ITI ONAL

THEM ES.

CO MPOSIT ION I. - T!te City Slwp .
A study of one of the
followin g typ es :-- 1. Th e Sales woman. '.!. The Cas h Girl. 3. The
H a birna l Shop per. 4. Th e Bargai n Hunt e r. 5. Th e Shop -lift e r.
CO ~I POSITI ON 2. - T!te J11!a11d S l f!l111cr.
A ,t ud y of one of th e
following :- 1. 1 he La nding. \ ' iew of steamer fru111 the wliarf- whi s tle- approach - bell rings for back wate r -- de ck · h:rnd wail s " ith
smal l rope coilecl - 1hro ws to the wharf- ha\\·ser clr;tggcd out, loo p
o ver mo oring· post - g:rn g plank let dow n - s11rnc passenge rs cunic
a s hore, so me go on boa rd - wh arf-ha nds beg in to handle fr eight - ru s h to and fro with tru cks loaded with c rate s, barrel s, bo,cs- a
horse and waggo n are pul on lioa rd - ohcep arc d ri ve n o n with
diffic ult y- las t cal l-bcla1e d passe ng e r rt1 >h c:s up - all aboard --ga ng pl ank drawn-engines s tart -wale r c hurn s up white -- whi s1le
blows- off a ga in. '.!. T he Capta in . 3. Th e :\ I ate. 4. Th e I l ee k
H a nel. 5. The S toke r. 6. The Cook. 7. Th e A 111eri ca n Touri , 1.

Co ot POSITION 3.- T!t e N ewsjHrjJer. A Sllllly of o ne o f the f11ll ow in g typ es :- 1. Th e Reporter. 2. The Editor. 3. Th e Co rnpooilor.
5. Th e Prin ter's Devil.
6. Th e Newsboy.
4. Th e Press man .
7. "Con s ta nt ]{ eade r. "
Co~ I POS ITI ON 4. - T/i e Railway. A s tml y of one of th e folio\\._
'.!. Th e Tra in -cl es patche r.
3. Th e
ing :- r. Th e Ticket Ag e nt.
Engineer. 4. The Fireman. 5. Th e Conduc tor. 6. The Brak eman. 7. Th e Flag -m an. 8. Th e Co mm e rc ial T rn1-el ler. 9. T he
N en·ous I 'asse ngn.

COMPOS ITI ON 5. - ;V,11io1111 / l )tpcs :-- !. J o hn l\ull.
Sam. .l Johnny Ca nu ck. 4. l 'aduy. 5. Sandy.

"

ln c lc

Cu~ l l' ()S ITI ON 6. - J /istorical 7}'/Jcs :- -1. The Jacobite 1 • 2. The
l'ur ila n ". 3. Tli e Cavali c r' 1• 4. The C h;irli s t'. 5. The Unit ctl
E m pire Loyalist. 6. Th e Voyage ur. 7. Th e Fen i;in.
•sec ~Lwa ula y's "Epitaph of a Jaco bite. "
ch. viii, Hee. l. : 1 scott'~ "Fortunes of Nig-t:I."

~c r ee n ·~ "~ h nrt, ll i s tn r ~ ·

oi E 11gl a.1 1d,"
'J\ing-:ilcy's "A l to n Locke."

181)

DESCRIP TJ(JN : A SSEMBLIES, OAMES.

E NGL1i:31l CU1'1PUS11'10.V.

LE SSON LXVI.
ME M OR I ZAT!ON . -fRO~ ! "THE C RO W DED S TIU .ET ."

Let m e m ove slowly th roug h th e s tree t,
F il led with a n eve r-s hiftin g- t ra in,
A mi d th e so und of s teps that beat
Th e murmurin g" \\'alk s like autumn rain.
H ow fa st the Aittin g- fig u res co m e 1
T he mild, the fier ce, the sto n y fa c e;
So111e brigh t \\'i th thou g ht lcos s mi les, and so m e
\ Vhe re sec re t tea rs h:we le ft th e ir trace.
T h ey pass- to toil, to str ife , to rest ;
T o ha lls in wh ich the fea s t is s p read;
T o c ha mb e rs where the fu nera l g ue> l
In si len ce s it s bes ide t he de:1d .
- l Vil!iam C11//,.' 11 H ryanl.
P E RSO NAL

G ROU PS-T llEME:

AT

TllE

T OW N

l' UM I'.

Noon, by the north clock! Noon, by the eas t! H igh
noo n, too, by th o ~e hot sun bea m s wh ic h fall, sca rcely
as lope, upon my h ead, a nd a lmost mak e th e wa ter
bubble a nd s moke in the t rough un de r my nose. Truly
we p ub li c cha rac te rs have a to ug h time o f it! Summer
an d wi n ter nobody seek s me in va in ; fo r, a ll d ay long,
I am see n a t the bus ies t corn e r, j ust above th e m a rket,
stretchi ng out my a rms to ric h a nd poo r a lik e; a nd at
ni ght I hold a Ian te rn o \·cr in y !t eacl , both to sho w wh e re
I am an d keep peopl e o ut of the g utt e rs.

At th is sultry noon t ide I am cupbea re r to t he parc hed

187

po pul ace, fo r wh ose bene fit a n iro n gobl et is chained to
m y wa ist. L ike a dra m -sell e r o n th e m a ll, a t mu st<.:rd ay, I cry a loud to a ll a nd s undry in my p la in est acce nts,
a nd at th e very ti p top o f my voice- I !ere it is, g en t le m en! Here is the good li q uor! \ Valk u p, walk up,
g entle me n, wa lk u p , wa lk u p ! H e re is th e un ad ulte ra ted a le of father A d a m. W a lk up, ge ntle men , wa lk
up, and help y ourse lves.
It would be a pity if all this outc ry sho uld dra w no
cus to me rs. H e re th ey co me. A h ot day, gentl e m en.
Quaff, a nd a way aga in . Wh o ne xt? O h, my little
fr ie nd , y ou are let loose from sc hool, a nd co me hi thec. to
scrub your bloomi ng face , a nd dro wn th e memory of
cert a in taps o f t he ferul e, a nd ot he r schoo l-boy t ro ubles,
in a d ra ught from the T own Pump. Take it, p ure as
th e curren t o f y our youn g life. T a ke it , a nd m ay you r
hea rt a nd to ng u e n ever be scorc hed with a fie rcer thi rst
th a n no w. Thi s thirsty d og, with his red to ng ue lol ling
o ut, d ocs not scorn my h ospitality, but st a nd s o n hi s
hind legs, a nd la ps eage rly out o f th e t ro ug h. S ee ho w
li g ht ly h e cape rs aw ay aga in!
One o'clock. Nay th e n, if the dinner-bell begins to
spea k , I m ay as we ll ho ld my peace. He re com es a
p retty y o un g g irl of m y acqua intance, with a la rg e stone
p itche r for m e t o fi ll. May she dra w a hu sba nd whi le
dra wing he r water, as R ac hae l d id o f o ld. I fo ld out
your vesse l, my cl ear! Th e re it is, fu ll to th e bri m ; so
no w run ho me, peep in g at y o ur s wee t im age in th e
pitche r as y ou go ; and forge t not, in a g lass o f m y own
liqu or, lo drink- " S u ccess to the T o wn ]'ump."
-Nat!ta nid lfawllwrne. Abridged from "Twfre 7(1/d 1ldes."

188

ENOLISJI COMPOSITION.

STUDY OF DESCRIPTION.-T he theme here treated is
the various people who come to the Town Pump. The
met hod of desc ri ption is fresh and inte resti ng. By
attributin g personality to the Pump, anJ writing the
descriptions a s if the obsen·ations of the central object,
the auth o r secures a unity o f treatment and adds a n
clement of perso nal interest that enhances the va lu e of
the descriptions. Note that the author chooses a significant moment for the Pump's m ed itati o n. Point out the
t ouche,; of humour in the description.
CO!\Il'OSJTION r. -Follow in g the plan and meth od in
the preceding desc ri ption, write one of the following:r. Remarks from the Town Clock. z. Reflections o f a
Mirror. 3. /\ Book's Opinions of Its Readers. 4. A
Pian o's Me m o ries of Its Players. 5. A Livery Horse's
Opinions o f l\Iankind.
Co:--rrOSITION 2. -Parties of Pleasure.
Describe
with special reference to the persons present, one o f the
folloll"ing· :- I. A P ic ni c Party. 2 . A C hri stm as Party.
3. A Dinnn Party.
4. J\ftcrnoon T ea.
5. J\ Ba ll.
6. Ou r Ca111pillg Party. 7. J\ Church Social. 8. At
the Skatillg Rink.
CO\ I l'USITI ON 3. - A sse111blies. Describe one o f the
following, as if you were writing a newspape r repo rt:I. The - -- Co nc e rt.
2. A
Public Meeting.
3. A
i\Iceting o f the - - Cl u b. 4. Vi,:;itors in Town. 5. ·
The - - Trial (a court -roo m scene).

DESCRIPTION: ASSEJfBLIES, GAMES.

1S!J

LESSON LXVII.
i'vJ EMORI ZATION.-BEFORE \VATERLOO-FROM "(HI LDE
I-IA ROLD."

And there was mounting· in hot haste: th e steed,
The mu stering squadron , and th e clat terin g car,
\V e nt pour in g forward wi th im petuous speed,
And s wiftly forming in th e rank s of "·ar;
And the dee p thunder, peal on pea l afar;
And near, the beat of the alarming drum
Roll sed up the soldier ere th e morning sta r ;
\Vhil e thron ged the cit ize ns with terror du 111b,
Or whisp ering with white lips- " The foe ! They come ! They
con1e ! "

And wild and hi gh the "Cameron's g·a th erin g" ro se,
The war note of Loc hi cl, which Albyn's hill s
I-lav e heard, and hea rd, too, li ave her Saxon foes:
How in th e noon o f ni g ht th at pibroch thrill ~
Savage and shrill! Hut with the breath wh ich fills
Their mo untain pipe, so fill the mountaineers
With th e fierce nati ve daring which in st ils
The s tirrin g mem o ry of a thousand yea rs;
And Evan's, Donald's fame rin gs in each c lan s man's ca rs!
- / ,f/rd h'. yron.
NARRATIVE

DESCRIPTION-SCENES OF f\ CTION.TIIEME: A Fox H UNT.

A faint but knowing whimper drove othe r thoughts
o ut o f all h eads, and Lancelot began to stalk slowly with
a dozen horseme n up th e wood-ride to a fitful accompaniment of wandering ho und-mu sic, where the choriste rs
were as invi s ible as ni ghtingales among the thi ck cover.
And hark! th e sweet hubbub suddenly cra shed into o ne
jubilant shriek, and then swept away fainte r and fainter
among the trees. The walk became a trot-th e trot ;i
canter. l\cd -coats, flashing lik e sparks of fire across th e

i

I

lI
'!

190

ENULISJI COJ l POSI7'ION.

1;rey gap o f mist, th e n a whippe r-in, bringing up a
b e late d h o und, burst into th e pat h- way, s mash ing and
plunging with s hut eyes through ash -sap lin gs an d hassoc k g rass; then a fat farmer, sedulo us ly pou nding
through the rnud, was overtaken and bespattered in
spite of all his s truggles ;-until the lin e strea m ed o ut
into the w ide and ru s hy pas ture, w hi le ri gh t ahead,
c h imi ng and jan g ling sweet mad ness, the dappled pack
danced and wa vered through th e ve il of mist.
On and on-clown th e wind and d own the vale; and
the cante r became a gallop, and th e ga ll op a lo ng,
straining s tride ; and a hundred horse-hoo fs crackled
like flame amon g the stu bbles a n d thun de red fe tlockdeep along the heavy meadows; a nd every fe nce thinned
t he cavalcade, til l the madness began to stir a ll b lood s,
and with grim, earnest , sil ent faces the initiated few
settled themselves to their work, till th e rolling g rasslands spread o u t in to fla t black ope n fall o ws, and here
and th ere a long melanch oly lin e o f t ;dl elms, wh ii e
before them the hi g h c h a lk ranges g'leamecl above the
mi st like a vas t wa ll of e m erald ena m ell ed with s now,
a nd t h e windin g rive r gli tte ring- a t their feet.
The h o unds ca ug ht sight o f the fox, burst into o ne
frantic shriek o f joy- and then a s udd en and g- h as tl y
s til ln ess, as mut e and breathless they toil ed up the hillside, ga inin g o n their vi ct im a t every st ride The patter
o f th e horse-hoo fs and the ra t tle o f rolling flints died
a wa y above . . . . In th e road beyond th em the h o unds
w e re just kil li n~ their fox , st ru gg ling and gro wlin g in
fi e rce group~ for t h e re d g"bbe ts o f fur, a panting,
ste<lm in g rin g of h 11rse .s ro und th e m.
- Ck1r/,·s A'ing'.i!ty.

/ldap/c·d from " Yeast. "

JJESI ' JU l "l'IUN: A::JSEJ[IJJ,IJ;·s, (.' . I .1u;,...;,
ST U I1\" 0 1· D1·: SUUl'TION.-( I ) \Vhat i .~ th e i;. ,i11 l .. 1
vi e w fr om ll' hi c h th e fox hunt is d ~sc rili cd? :-)Ji,111· th:tt
al l th e d e tail,; arc brought forward fr n 1n th e Jl<> i11t ., f
view c h1,se n_ (2) l' o int uut a num be r 11f 1·xl'r'''"i"11~ tli:1t
co11\·ey t h e id ea of s11-ift phys ical lll O\'t:m e11 t. U) ~,.1c-, · 1
ex press io n s that s uggest e xciteme nt.
(4) .SIH11\' th:it
th e re is <t climax in the development of t lie 'cL·111"
(5) Show l1111v the \\'rite r ble nd s t h e beauty 11f 11:iturc
11·ith t he d esc ri pt io n o f th e hunt.

...•
"

...'·

!. - Desc ribe , follow in g the phn ;u11I
m et hod o f the ex trac t, any co ntes t o r g:rnic i11 11·hi c h
you ha ve take n p ;ut o r been g reatly int e r<-:s tL'll ·
1\
La c rosse .i\I atc h (or F oot ball, Cr ic ket, Bascb;1ll. H:i., h :t ball). 2. A Tennis Tournament. 3- /\ Spelling \hl<'h_
4. /\ Eoad ]{<"tee o f Bi cycles. 5. The Rq. ;att:t :it
Co:-. r POSIT I ON

Thi".4 and f'!\ (· h of t.h r- t h n• e following ).!"r() ll)I ~ 11 1hy he a..: .. ig-rH·d f1J f (1 /w ex f'rci..: 1· . i lit ·
vn ri ou"' t h t' n1 e8 h cing- di ~ t r i l n1ted 1 fo r th e ~akc o f ir1t i: rt·~t 1t1 11 l \ (u·it·! \ , ro \a r i·•ll'l
pup il.'!.

Crn 11•osI TJ ON
2. - .Sporls. l>esc nbe a11: · "l" "t •·1
am useme nt yoll de light in . Seek to u11dcr ,t;111tl ;llJ d
ex press th e pleasure yo u experience :- 1. l\uttin !--'. . "
Bird's- nes ting-. 3. Toboggan in g. 4. Coasting. 5. S11oll'sh oc i11 g
6. Skating.
7. Ca 11 or: i11 g . S. S:1i li11 ::
<1
Walking_ IO. Riding. r I. Dr ivin g-.

Cn~ T l'OS ITI ON 3. - !nd11strial Cro11f'-'"
I Jc.s crill<' the
sce ne in o ne o f the follow in g :- - 1. 1\ l lan-c.-;t l '1ci d .
2. /\n App le-Parin g (Q uilting, Barn-rai s ing , o r o ther)
Bee. 3- S uga rin g-o ff 4. Threshin g Thy. 5. f. .,g!--'. ill !--'.
on a \:u1: 1cli:in f{i ve r. o. S alm c111 Fish e ry . 7. O n llr;:rnl
a Fi -; hi11 ~~ Rnat o n the Banks-(sec Kiplin g , ''' C1pt;1i11s
C o u ra ge uu s.' ")

~·

.

...

,:

'.

f)".

;

~.

l;'.\'1:/.[ ,...;/I
C1'>\l I'< 1-:ITI\ l:\

1·11.i/ /'r1S/'j'/11.\'.

s;,,,;

4.

c .;( ,'1 /r

s

1'11

t /1 ,· l

tf) '.

I'.\ I\ I

Dr scrihc

one of the fol lowi ng, hav in g re~ard chiefly to the perso ns

I I I.

_,;....

concerned

I. The l't·"i'!' · \V,· 1':1 ss 11 1 thc Street.
to \Vnrk
3. '.)t r cct \\',,rLrr1cr1-Uigg i 11g a
Sewer, :\l ctki11 ~ :t l.: oarl. 4 hlli11g tli c \\ :1krrng-Cart.
5. An Ac c id e nt. 6. A iZunaway. 7. The l'assing- of
the Fire-Engine. S. A Fire. 9. 1\ Riot. I O. Election
Returns. I l. lJeparturc of the :::lold1crs. l ' News of
2 . Cnin g·

Victory. 1 3. The S o ldiers' lZcturn .
I 5. Six O ' Clock, at a Fac tory Doo r.

·~

q. :)chooi is Uut.

The , Jwrt ;;ton·. cn mp;ired 11·ith ir 1ciclc:11t . h:t '> ;1 11 iri n
fic'.r! of \'il'll'. dee per i11~i c.:iit inti' lif,., finer ;·1r ti , ; ,, rn ,· t !i , ":
Th,· .«trl·: 11r1 "' c11T t1111 ;;t;u1cc j, lo11g1·r. ch:1r·:1<'c < r r r111 ; 1::c::t1"rl, :lilrl t li " \ 1.t; 1l cr·(,. ,· t lli<>ll' rnu11dul .rr 11! "' '"J 'i<I<
The si 11>1·t ' t"n· m ;11 · lw ;1 .'im 11lr: r1:i1Tatl\ ·f:" . ;1 i>l i< >r t t .t k
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RYr;{,[,';/{ roil r/'0S!TTIJN.

JYSSON

Having g-r:1 sped the parts of the story , we tu rn to write
the story ibc lf. In the simplest form of treatm e nt, set
down (iv) first ,-the time o f the s to ry, whi ch may be
very vagu ely "On ce upon a time," or very exactly, the
year or period ; then \1·h atcver cl csc ri pti,·e account o f the
p lace and s ituati on is 11ecc-; sary. Then bring forward
(ii i) th e chara cte r, desc ribing those c har:1ctc ristics of
person o r di s position out o f whi ch th e sto ry springs.
Then pass into the pl ot (see princ ip les of narration,
pp. 12 0, 1 25 f. ). The motive (iv) is developed in the
details of the sto ry.
Corn·tis ITI ON I. - The Story of Grumble Tone (Ella
Wh eele r Wilcox ).
( 1) ;\ io tin-, the fai sc ici c<t that :1 <ii sco nt c nt eci lllind ca n trn d hap-

pint·ss

i>y cli:rn:;c. (2) l'l<>t, ( ; ru1nl1le T on.: lean· s his father's farm
becau>c . . . -- ;:oes to sea ; Jea,·cs s hip hec;1use . . - -goes into
foreig- 11 land s; cn111plains of fore ig n l.111 cls becau se . . . - vis it s
for e ign c iti es and co urt s ; di,l ikcs th e lll be cau se . .
- gro ws old,
returns hollle :ind dics s till di scc>r1lent cd. (3) Character, discontented mind, not ""e ing· tli:it happine ss is rhidly of its own lllaking.
(4) Se tting', the boy's hom e :ind fa rm life (very bri efly i11dicated).

COM l'O STTT ON 2. - I n imitation of Addison's" Adventure of a Shilling."'' Tatl e r," Nn. ::?49, 1 t e ll the sto ry of a
Doila r Hiil. 3. The 1\dvc11turcs of a Drop of \Nater
(see S h elley's "Cloud '"). 4. The l' c rson:tl l l istory of a
Looking-Gla,.;"· 5. The Story of l\1y K11ife.
6_ The
Adventures of an Umb rel la 7. Th e Story o f a Broom.
P up ils familiar 11·ith l\fr. Kipling's "Jungle Book"
stories and Mr. Seton-Thompson 's "Biog raphy of a
Grizzly" and " 'vVilcl Anima ls I Have Known," will
b e t e mpted to write th e hi<1gr<1phy ur a .~.~umed autobi(Ji-;raphy of f;unili;u· ;l!1i11i;t b, ·" • Ille p:irlicular dug,
canary, horse, sq u i rrcl. g- rnu nd-hog, clc.
1 Jttpri11t.ed

in l•olto.io11'r1 '' E i~ hlt· c nfh ('e11t11ry E s~nys." ( L o11don : H c:ga11 Paul c.nd Co)

M1·: \tOl<JZATION.-"SHE

LXIX

IJ\n:1:r J\\t O N<: T11,.: L:-;T J(ul>t1L:-<

WAY S. "

She d"·elt :1mung the untrodden ""Y'
Beside the s prings of U uvc, 1
A maid whu111 tli c1 c \\'<:re none to praise
And very few to love :
A violet by a nwss y ,,to ne
Half hidde11 from th e eye '
Fair as a star, when only one
Is shining in th e s ky.

l

She li\'cd unknown, and few could know
\Vh en Lu c y ceased to lie ;
1\ut she i< in lH'r g ra,· e, and, oh,
The d 1fkren cc to mt: '.
11.illirrm ll 'ordJ7i'"'t!1 .

...

l:!

1

Beau t iful ri\' e r in IJer byshlre.

THEME:

THE

CIJILlJ

l'vluc;11·1Al\i.

He pt::iyecl for hi s lo rd ship's levee,
He played for hc1· lady s h ip's whim,
Till the pour littl e ht: ;1d was he:ivy,
And th e pour little IJrain \\utilJ ,w im.
/\.nd th e fa ce grew peak ed and eerie.
And the l ~rge eyes s trange ;rnd l1ri g ht,
And th ey said, too late, " He 1~ \\Tan· ~
Ile skdl re:i t fur ;it lc;1>t t<• -lllgl1 t
But :1.t dawn, \\'lien the bird:--. w ere ''': 1kint; ,

i\s tl1cy ,,·atchcd in thL' ;-. ik11t r1111J11 }
\V it h the sound of a s train ed cord brea king,
A someth in g s nappetl in the gloom.

'T

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a

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, ~f l1is 'iol1) !1 CT!lo1

And th ey he:lrd him stir in hi s lied:
"Make room for a tired little fellow,
Kind Cod!" was the 1;1'1 111' said.
- .·i11sli11 f> 11/ 1s1'!! .

.

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'.I'll I!: 0 1/UH'I' :-i'l'()/:l ·.

COM /'0 Sl'l'JU N .

lUJ\l l'OS ITl U N 3.- Tell this simple s to 1y :- ·
"Two chil dre n in two nc ig hbo11r vi lla ges
!'la yin g· mad pranks a lung· th e h cathy lea' 1 ;

The m otiv e o f the story h e re is th e s 11dd 1.:11 ckath o f
a child-musi c i;u1 thrnu g h ovcr-cx c ik111 e nt ;u1d o ve r-wo rk,
coinc ident with the breaJ..:i11g of the st ri11 g o f hi .~ violo nce llo in his si ck -ro<JJ!l. St ud y the tlevcluJ>Ill e 11t of c :1ch
part o f th e plo t; nu tc h ow the int e rest ri ses , a11J h uw
s triki11 g· and e ffect ive i:; th e co nciusio 11.
Th e sto ry
galll s in j>lot int e res t br departin g fr o m th e s imple
plan uf br in g·in g fu r ward its p;uts. l111 ·c r ~ io11, brin g in g
a part uf the act io n befo re the setting-, is a fr equent
d e vice fu r a s uccessful openi ng-.
CO\l l 't >SlTJ<)N

•

Two stran gc 1s 1ncc tin g al a ft!:itiva l ;

Two lovers whi s p c rin ;,: b y an o rc hard w;d l ;
Two li ves bu111 H: fas t in o n e \\·ith go ld..: 11 ..:a >(;;
1·\\'0 grav es gra::,,s -g n..: en b e;:, id e a gray c ln1r ch -t ow er1
\ Vash 'd with st ill rain s and dai >y -blu"'on1 ccl:

Two childre n in on e haml e t ·b o rn and br ..:d;
So run s the round of life from hour to hour. "
1

1n eud vws.

(O ~ll 'OS I Tl OI\' 4. - -Tell a s h o rt story, takillg a ,; ,;cc nc

this p ict ure.

!.-Tell th e s tory o f the C hild -!\l us ician.

Uete rrnin e what you will mak e th e n10th·e , plot, chanl(_·te r anJ sett.i ll ~ uf t he sU.i ry
before beginning to write.

CU\1 POS I T I O N 2. - Tell the s t o ry s ug gested by this
picture .
i·

'r:

. .'

~-.

l\JS

EN GLJ::il/ UUM f'IN:il'l_'JON.

C<J\ l l '<JS ! TIUN s. - Tell a s ho rt sto ry Sllg·gcstccl by
\ Vordswo rth's lin es "S he dwelt am o n;; the untrndde n
\\'ays," quoted above.

l' r\l·n I\ ' .

l·: \:l'OSJ ' l'I ON

C IL\l'TU( l. - 11 0 \\'

T ll! NG~

,\ I.: F \1.\l i L.

Cor.J J>OS !TfON 6. - T e ll any st ory o f i11teres t that you

h a \·e read.
Co\I I '<>S I TI ON

7.- Tell any s to ry of in k rL"S t that you

ha ve h eard told of real people.
l\ODl'l' IONAL THEMES.

C(1:.11•<JSITl<JN I. - \ Vo rd swo rth's "M icha e l." 2. Co wper's " John
Gi lpin." 3· \ Vhitlier's ";\lau d M iilk r. " 4. Tenn yso n's " Dim 1 "
(" F nurth Read e r, " p. I li). 5. T enny s on' s "Lady Cl;ire " ("Fourt h
!{eade r," p. 1:? 8). 6. Tenny son's " Lord of Burle ig h. " 7. T enn yso n's "Edwin G ray. " 8. T e nnyso n's "En och Ard e n." 9. Tennyson's ". Lancelo t and Elai ne." IO. Lon g fe ll ow's "He ll of A tri "
("Fou rth Reader," p. 111 ). II . L.ong fe ll c,w's "Bird s of Killin),(worth. " 12 . Arn old 's "Forsa k en i\l e rman " ("Fourt h R eader. "
p. 298). IJ. \V o rcls wonh's "Reveri e o f J>oor S usa n. " 14. \ Villi:11n
\Vat son's "A Lute Pial'ern 15. Aldr i ch'~ "Th e Face .-\ g ain s t the
l'an e ,. (" F o urth Reader," p. 74). 16. Th e scene o f th e s tory within
th e li g ht o f a street lamp : the time, whe n th e li g ht is Jll'ar go in g
out: t he \':1t astrop he s imul taneolis with th e la st Jli cke ri11 g t; leam
(I la wtl1orn c) .

LESSON LXX.
The e xplan a ti o n of th in gs i:-; E'\ I'< lS ITI <i:--:. \\ 'lic1 1c\T r
w e see k to exp ress clea rly t he 11a ture (, f ; t p ri 11 c iple, the
m e th od o f d o in g a thin g , th e plan of a 11i:1•·lii11c, th •·
essential c haracter of an obj ect , we c:-; poun d . TJi,·
ho use kee pe r's rec ipe fo r lll <tkin g cu rra; ll jclk , J·:11, l1d\
e x pla na ti o ns of th e prope rt ies of ;t tri ;111gk, t!tc '"' ' ~i;ll c·r·,.,
st ate m e nt o f th e m eans o f s to rin g e lect ri c ity, t h e c·c<> 110m ist's cl ucicL1t io n of the c h a rac t c r of mo11ey , t li e tcaclicr·s
expla natio n o f a rul e or a pa,;sa g·e , arL· ;di L~J '"'i ­
tions. This kind o f co mposi ti on is o f h i~ h ':tlue i11 the
practical world.
Ttll ·: ~II ·::

MA KI N<:

l'L .\N U T

Bl, ITT I .L.

O ne o f th e ve ry b es t 1if h o 111 c- mad e c; 11 1<li c -, is pca11t1\
brittle. It h;1s th e g rea t 111 c rit of he i11 g " ;1.s ily 11 i:i11", :lll<i
o f almost always t urnin g ou t \\'Cll, i1 <>l rc" s 1ilt111 g i11 :1
di s m al and m essy compo und that re fthl' S 1o h :t r• J..11 .. r
beco m e any thin g but a sticky sy rup. /
To mak e pea nut b ritt le, s he ll your p e;111u h a11d ru b off
the brow n inne r s kin; th e n put the 11ut.s <in :1 lne<t1l
boa rd, a nd c ru s h them wit h th e roll in g p111 un til tit<-y an:
broken to the siz e o f coa rse ly g ro u nd coffee. \f c:asu re
the broken nu ts a nd take jus t '' ·" tnu c h gr ct nul atl'<i ,; u;._;:1r
as you ha ve peanu b . Put the s u ~a r in an iru n s kil let ur
saucepa n on th e .fire, with o u t a drup uf 11«1tcr, and ,;t1r
l!J ~

.f

J.;S1:1,1....;rr ('(JJ[]'OS l'l'IIJN.

EXPO::>l'l'JON: 'l'HE NA 'L' UH H OP Af..l< ' llL\'/t,'8.

s tc; td il y. as t he suga r melts ;uid tmns brown. \Nh e n the
\a,; t trace of suga r melts into syr up, pu t in the pea nuts,
st ir a t o nce and pour o ut into but te red tin s. A ll this
last 111ust be done ve ry qu ickly. o r the ca nd y will harde n
as you hand le it.

C IL\l'T E IZ II. - TIIE N1\T lJ IZL O F MA C lll NES.

~00

STU il\. (> I,. Ex1 •os 1T IO:\. - This expos itio n, however
si 111 plc. fullull' ,.; a definite plan. Ucfi 11 it io n and ge nera l
introdu cti o n ; the exposit io n proper, - the orde r and
number o f deta il s, determined by th e nature o f the
th eme, and brought fo rward as if a narration . . The
purpose he re is to make plai n. Th e val ue of thi s mode
of writin g cl e pcncl s, therefore, on the s im;Jlicity , cl earness,
a nd ad eq uate ful lness of the explanat ion.
CO\!J'()S!TlON !.-Fo ll owin g th e model above, tell
how to make one of the fol lowi 11 :,;: -1. Butter. 2. Cheese.
3. T o mato Soup. 4. Maple Su ga r. 5. Currant J elly.
6. Coffee. 7. Plum Pud d ing.
COt-1J'US IT! ON 2. -Tel l ho w to
following :- I. Mortar. 2. Plaster.
5. C ider. o. Wine. 7. A Kite. 8.
o r Tenni s Court, or Coif Lin ks.
Ph otograph.

make o ne of the
3. Paint. 4 . Silo.
Base ball Dia mond,
9. A Boat. IO. A

C<>\l l'US JTIU:..: 3. - Tcll how one o f the following is
m ade : - 1. A Crock.
' ;\ C hina Plate.
3. Bricks.
4. G lass. 5. 1\ '.\lirror. 6 . Matches. 7. Paper. 8. Wall
P;q1e r. 9. A Book.
Co~! f'OS ITl ON 4.-Tcll how to g ro w one of the
fol lo \\'i Il g :- I. Indi a n Co rn. 2. Tom atoes. 3. Celery.
4. Mushrooms. 5. Straw be rries. 6. G rapes. J. Hyaci nth s. S. S11· cet l'eas.

:WJ

LES SON LXXJ.
THE\IE:

A l'I ANOFOl.:TE.

A Pianoforte is a str in ged musical in strume nt , played
It is mad e up o f fo ur pa rts : th e Fram e, the
Strings, th e K eys a nd Act io n, the Case.
The Fram e is the large ha rp-s haped fo rm on ll'hi ch
the strings a re st retched. I t is made of iron o r stee l, so
as to withstand the tremendous strain o f the st ri ngs and
hold th em in tune.
The St rin gs are made of steel wire, and vary in s ize
and le ng th in o rd e r to prod uce th e diffe re nt tones.
Below the st rin ~s is th e so undin g boa n.l , a large thin
board without knot o r fl aw, fastened to th e fram e at its
edges. The vibratio n o f thi s board when a stri ng is
sounded g reat ly improves the to ne o f t he strin g .
T he Ke yboard consist s of a row o f keys comm ulli cating with the s trin gs by mea ns o f wh a t is called the
" Act ion." T ouch a k ey and at o nce a littl e "hammer,"
made of wood cove red with felt, jumps up and strikes
t he strin g.
A s y ou to uch th e key a small piece of
leathe r, ca lled th e "damper," is rai~ed off tl1c strin g so
th a t it m ay vibrate. As y our fin ge r is re moved, the
dampe r returns to st ill th e vibration of its st rin g and
prevent a ny jall gl in g with subseque nt notes. Th e" lo ud "
pedal lifts a ll th e dampers fro m th e strings, a nd so aids
in g ivin g· lo ud a nd co ntinuin g to nes. The "soft " pedal
moves a dam per upon all th e s trin gs.
The Case is the box that ho lds tl1e fra m e, strin gs, a nd
act io n, a nd the legs o n which the piano sta ll ds. l t is
by k eys.

I

..I.

I·
I
:

"

ENUL I 81l COJ! i' OSl'f'fli N.

lo' .\ ' I '' 1:-il '['[(! .V: 11 J;' Fl N f 'l'JU N <1F 'f'/1' 11 .\/S.

m ade of durable, we ll- seasoned \\'OoJ , ofte n bea utifully
\\' o rk ed a 1al o rn ;u n e11tcd.
CO~! l' US I T l\ l N I . -- Draw up a fo rm a l o utlin e o f
the precedin g pa s,.; age. F o llo\\'i ng the plan o f thi s
passage, d ra \\' up a formal o u tli ne and e xplain the ~ r~ n­
c i pk of con st ru ction of o ne of the fo l 101\·in g :- I. l he
Cu111rnu1 1 l' u1np. 2 . A S to\'l.: . 3. A l' e fri g crato r. 4· A
Co 111rn u 11 L ock. 5. /\ Com bi nati o n Luck. G. A C anal
Lock.
7. A Water Wh ee l.
8. A Wind Mill. 9. A
L oco motive 1-:ii g im:. 10 . A L ime-Ki ln. I I. A Ca mera.
12. 1\n l cc- C re;un Freezer.
13. A Soda- Vvat cr Fountain. 14. An Electric Battery. 15. A Trolley-Car.
CO :O.l l' OS IT! O :\ 2.- Expla in the ope ration o f o ne of
th e foll o wing :-- 1. The Post Office (co ll ect io n , so rtin g,
forn-; 1rdin ....,,
« d eli,·erv
2. Th e N e wspape r (coll ec... o f m a il).
ti o n , ;;o rtin g, printin g o f matter, dc.:l ive ry ). 3- A Bank.
4. An l n;; ura ncc Co m pany. 5. A Town Counc il. 6. A
Municipa l Elec tio n. 7. i\ G e ne ral E.lcc ti o n.

throu g h a g loo m o f c lo uJ ,.; , a nd g litte rs fo r a m o m e nt ;
ch eerful ness kee ps u p a k ind of d ayl ig h t. in th e mind ,
and fills it w it h a s teady and perpetu ;tl se re nity.

202

-_J or,·fli .·1rlrli.1n11 .

:!n::

i-i "1>1!1" 7'/1 ,· ·''f>,.d a lor. "

.ST li ll \' <ll: l ·~Xl' < l :-i l T l <>:\. - Th e furc go in g parag ra p h
s how s ho w th e mea 11i11 :.,:- o f a term m ay be made ck ;u· by
comparison wit h anoth e r o bj ect havi ng so methin g o f th e
same quality , and by th e analogy (J f we ll -known o bjects
(daylight a n d li g htnin g ) s tandin g to each o th er in a
s imihr re lati o n.
EXER C I SE I.- R e -state 111 your own wonb th e compar i,;0 11 o f ch ee rful11 css and mirth, and th e anal ogy of
th e dayli g ht and lightnin g .
Ex 1-:1.:CISE I !. - Expla in the t e rm m c lanch ul y by
compa ri so n w ith g r ie f a nd sad ness, usin g th e a nal ogy
o f s torm, twili g h t, ni g ht .
EXEl~CISE I [ I.-E xpla in t h e te rm C() ur; q,~ e by co m parisun with rashness , audac it y, a nd h e ru is lll .
Ex l·'.RUS" l V .- I·: xp l<tin th e tc nn hum h ie by co mpari so 11 w ith s hy, h;1 shful , m eek.

CIJAl'TEI.:. 111. - DEF!NITJ ON 0 1.- Tl<: RM S.

'.? . Tt-11-:.\I J·: : 'vV IIAT IS !' 1.:1 .. ,\ l 'llli\'1 ; ?
Preac hin g is t h e co rninuni catio n o f truth by m a n
to man. [2] It has in it t\\'O essential e k nll:nh , [a] tru t h
and [b] perso nality. [3 ] Ne ithe r o f th ose ca n it s p; tre
and st ill b e p reac hin g . [4] The truest truth, th e m os t
.autho ritative s t ate ment o f G od 's will , co mn111 n icatL·cl i11
a ny o the r way th an t h roug- h th e pe rso n al it y of 111<111 to
m e n, is n o t preac hed tru t h. [SJ Suppo .~ e it \\'ri tt e n 011
the sky, s u p po se it ernboc.li c.: d 111 a bo uk tl i; 1t has Ji,·c 11 .~ o
lo ng he ld in reve re nce a s th e direct utt e ra nce uf C <>d
t ha t t he vivid p c.: rsona lity o f th e m e n ll' li u ll'nite it s pa:..:cs
has well ni gh faded o ut of it; i11 11 c ith c.: r o f t hese c a ses

LESS O N LXX I I

[ 1

1. T11u,n: : C 111·: 1·:1.:.FU L N Ess.

I h ave a lways preferred chee rtuln ess to mirth. The
lat t e r I co nsid e r as an ;1ct, th e fo rme r as a habit of the
mind. M irth is s h ort an d tran sient , ch ee rfulness fixed
and p erm ane nt. Those are o fte n ra iseJ into the g reatest
transpo rts o f mirth, who a rc su bj ect to th e g reatest d ep ress io ns of melan cho ly. O n t he contra ry, chee rful~ e.ss,
t ho ug h it does not give t he mind s uch an exqu1 s1te
g lad n ess, preve nts us from fallin g into any d epth s o f
sorrow. M irth is like a fla ,;h o f li g h t nin g tha t l:.ireaks

"

J

204

f-,' X l 'OSJ1'/<1.Y :

l\NOLJ::)Jf C<Jilll'US11'I O.V.

is the re any preach ing. [6) A nd , o n the ot he r ha nd, if
m e n s peak to othe r men that whi ch they d o not cla im
for tru th, if they use th e ir po we rs o f pe rs uasio n o r of
e nterta in ment to make o t he r me n li ste n to th eir spec ulat io ns, o r du their will, or appl a ud th e ir cl e \·e rn ess, th a t
is no t p reach in g e ither. [7] The firs t la cks perso nality.
[Sl The seco nd lacks truth. [9] N o w preachin g is the
bri 11 g ing of truth throu g h pe rso na I ity . [I OJ I t must
have b o th clements.
- / >hi l!ips f,'r(!o/.·s.

" I 1·d1ll't'S

on J'read1i11f:."

STum· OF E:--:1·11sn 10 N. - - \ Vc h ave h e re first the
dd111 it iu n [1]. Thi s cl e l1nitio n is re pea ted [2] to throw
emphas is on its two points (a) truth a11d (b) person a lity.
Th e write r turn ~ t hen to co nsider th e absence of eith er
o f th ese . quali ties. He denies [3) th a t truth without
pe rsonal it y o r perso nality without truth is preachingobverse iteration. H e repea t s thi s de ni a l [4] w ith respect t o pe rsonality (b). I le supports hi s statem e nt in
[4] by ex amples- exposition by exemplification [5],
and repeats th e denial [31 as res pects pe rs ona lity (b).
Turni 11i..; to truth (11), he supports [6] i11 hi s denial [3] by
exam ples. Th e n [7] stat es the c le m e nt lackin g in [5],
and [SJ the elc1n ellt b ck in g in [6 ). The te rm thus
c leared up by o bve rse ite rati o n, is no w de fin ed as at first
[9], anJ its two cle m ent s once m ore e mph as ized [10].
CO ~! l'llS ITION I. - Define and
illu st rate what is
mea nt by o ne of the follo win g : - 1. Gentleman. 2 . S nob.
3. States man. 4. Hero. 5. Poet. 6. Phil osoph er.

COM l'OS ITJ<>:'\ 2.-Expla in th e differe nt m ea nings of
one o f the followin g wo rds:- 1. Bank. 2. Vessel.
3. Craft. 4. Print. 5. 1Tum o ur. 6. Grace. 7. Air.
Consult. n. good <licti•1nnry for cty rn o l o~y l\nd mea.ni ugs.

J 1 /~'1"f1\TJ. 'JU.V

UF 'J'EfiJ/S.

L ESSO;\! LXXIll.
Fxpos iti o ll is nut limited to th e i1 1te llcct ual p rocc%es,
but at tim es has assoc iated w it h it a ll the art s of pe rsuas io11 , (see pp. 2 1 3 ff). Expos iti o n th e n dr:t ll's us by it s
g race a11d suggest io n o r s timul ates u s by its hi g h
concepti o ns.

3.

T!!E~!I ·: :

l i'\ ll!A N

SU:\ !\IEI,.

The halcyon pe ri od o f o ur autumll wil l alll' ays in
some way be assoc iated ll' it h th e ln diil n. I t is red ;u1d
yellow and d usky like him . The sm o ke o f his campfire seems a ga in in t he air.
T he m e m () ry of h im
pervad es th e \1·oocls. I I is plum es and m occas i!l.s ancl
blanket o f ski11 s form j ust th e cost um e th e seaso n
de m and s. I t was do u btless hi s ch ose n pe riod . The
goJs sm il ed upo n him th e n, if eve r. Th e tim e of th e
chase, th e seaso n o f th e b uck and t he doc, a nd of th e
ri pe11in g of all fo rest fruit s ; th e time wh e n all men arc
in c ip ie nt hunt e rs, wh e n the first frosts have gi ve n
pun ge ncy t o th e a ir, whe n t o be ab road o n th e hi lls o r
in the woods is a del ig ht bo th o ld and you ng feel,-- if
the red abo ri g in e ever h a d hi s s umm e r o f ful lll ess a!ld
co nte ntm ent, it must have bee n at this seaso n, and it
fitly bears hi s name.
- j oltn l»urrrllt.f:lts.

From" A ul1t111Jl Ti'dcs. "

STU OV OF E:--: POS! T! ON .-Th e th eme is th e propri e ty
of th e term Indian Summer. Th e fir st se nt c ll ce gi \·cs
th e g-enera l expla na tion o f th e t e rm - th e a s~oc i ilti o n o f
th e _Indian and t he seaso ll ; th e n fo ll o w de tail s vf th e
co nn ecti o n of t he two, and a su ggesti o n in e xpl a nati o n
of the term " summer "; the gene ral co nclu s io n re -states

HNU /,/:•;J/ C0 .11 /'1),-;/'f'/().\'.

Kll'O.'il'l'WN: L>EFJ N /'J'W N IJF 1'/t' J;.11;-;.

the th e m e, as ,.;omcth ing de111onst ratL'< L Study the m eans
by ll'hich th e b;tre c xpos itiu11 is h e re e nri c h ed.

of nobl e path u.s in this passage.
a s;,oci ations.

Ct>\ ll'11 s 1Tf(17\. - Exphin one (if tht: fol low in g : 1\ pr il Foo l.s ' Da)·. 2. Ch ri stmas. j. !·:aste r. 4. St.
Val e 11 t i11 e's Uay . 5. Father Tiin L-. 6. 1':I Dorado.

C<J\ll'OSITIU:\ !.-- Defi ne wha t th e Briti , h Fl ;1g s tan d ,fo r.

I.

+

T'11u11·: : Tin: Fl..\ t ; oi: 0:-; 1·:·s Cuu:-: TR\'.

One rnu 't have b een a so ldi e r, o ne mu s t have passed
th e (runtier and m arc h ed 0 11 roads that a rc no lo nge r
th ose o f (i n e's m1·n h nd ; one must have bee n far fro m
one's cou ntr y, severed from c1·ery wo rd o f th e t ong ue
that one ha.~ spnkcn from in fa ncy ; o ne mu st h ave sa id
to hirnst:lf du ri ng clays of fatigu e th a t all th at re m a in s
of the absent co untry is that s hred of s ilk which flutte rs
yo nde r, in the ce ntre of the battal ion; 01.1e mu s t have
had no o t her r;tlf y in g point in the smoke o f battl e than
that bit of torn s tuff in ord er t u un clersta11cl, in o rde r to
feel all that that sa cred t hin g th at o ne calls the flag
contains in its f<J!cls.
Th e fla ;,;-, i11 n-ry t ni th. p ut i n a s in :.-~lc word, re ndered
palpable in ;i ,.;i t1 ;,:- lc ol)jcc t, is ;ti! th;tt wa,.;, al l that i,.; the
l ife of each one CJ( u,.;: the h ea rt h where yo u we re born,
th e b it of J;u 1d 11·hc re yo u g re w up , the m o th er who
rocks yo u , the rathe r \\'ho sco lds yo u, th e first year, the
fir ,.; t tear, the hope,;, t h e dreams, the fan cies, th e reco llections; it is all t hese joys at o nce, a ll gat h e red int o
o n e n ame, t h e finest of all n a m es : our Co untry.
- )11!1 '.1· C/11rdic.

" T/1e Flag."

STt JI>\. \lF F\l'()c;JT!110: - T he d efi ni t in n h e re is made
by bri n~· i 11 g f11r11·; 1rd the chie f associat io ns o f th e t e rm.
St udy thL·ir 11;tt urt.: so as to sec the deep, tru e sprin g-s

l\'lake a li st of th e,.;c

Cu\t l't >SI TI ON 2. - Dcfine what I fo rne i,.;.
CU .\l I'OS !Tl ON 3.-Defi n e wh a t th e Cross syrnbul i/.t.:s.
ADDITIONAi.

TH E~ I ES .

CtH f POS JTJON I . Th e Theo ry of Ti cks. 2 . Th e l' rin. :iplc of
th e Barome ter. 3. Good Nat ure.
4. Th e l'l e::isurcs of Country
Life. 5. Th e Pleas ures of C it v I. if..:. 6. Com m e rce ;15 a Fa ctoc
in U nitin g l\ lan k in d .
7. Th e Uses nf Reading .
8. H o\\' t~.
!{cad. 9. T he ter m " D og Days." IO. Explain ll' it at :i !\!o,·d
is as c ulllpared \\'iih a T:tl e, a .S tory, a l ~o1ll : 111 ce . II. T IH·
D ra111a and the No l' c l. u. Th e Kin ds of P oe try : Epi c, l. "1 ic.
Na rr :di,·c, Dramat ic . IJ. Kind s of Co ve rnrn e nl s: Mo nar c l""
Despot ism , O li garc h y, R ep ubli c. I4. Th e Literat11 1c o f l '<>wn
and th e l.iterat11 re of F ac ts ( De CJuin cey ). IS. C:in:ida's Oh li g a ·
ti o n s to Great llrita in . 16. I rnpe ri a l Federation: \Vh at it is.

. l/:U UJ !HNT: I'Ul:Ji,' AIWU!ll/;'J\"'/'.

PART V.-ARGU MENT.
C HAl "fl ~R l. - l' UR E ARGUMENT.

LESS ON LXX IV.
Discourse intended to convince on e o f the truth or
falsity of a sta teme nt is ,\Rl;U~IENT. To establish a new
fact we proceed frnrn r5articular in stances to a conclusion.
Observing the d eath of many human beings we conclude,
i\ll men are mortal. N oti ng that a large class of
phenomena can be explained o nly on the assumption of
the rotundity of th e e;1rth \1e conc lud e, The ea rth is
round . This method of reasoning from particulars to a
conc lu sion is induction.
But we may deduce a conclusion from facts already
known - o ut o f t11· 0 statements d e riving a third . ("r) All
men are mortal (majo r premise, general statement). (2)
Socrates is a ma11 (minor pre mi se, particular statement).
(3) Therefore Socrates is mortal (conclusion). This is
deduction. This logical form of two premises and a
conclusion is called a syllogism. In popular speech
one premise is usually und erstood. We say simply,
'rhis novel is a failtire because it lacks action and
character; !Jut the full sy llog ism would be, The novels
that lack action and character are failures (major premi se). This no\-cl lacks act ion and character (minor
premise). Therefore this novel is a failure (conclusion).
In ordinary reason in g the inductive and cleduGtive
m ethods are usuall y e mployed side by side.
Erroneous rcason in r; in I ncluction arises when the
nature of the facts d oes not warrant the conclusion
drawn, or when the numbe r of cases observed is in208

sufficient
to establish
it·. 1·-<..rrors ·in ( 1e cl uct1ve
·
.
. .
reaso nin g
nnse from th e falsity of either premi,;e or o f th e conclu sion alleged to be drawn from the pre mi ses. Cunfusion
as t o the sense of the terms of the proposition is also a
fruitful cause of e rror. ·
Th e trenl.inent of t.lu~ hl.ws and err ors of r easoni ng belung-s tu a 11 ttdnrnr·t -< I sllHh- of
The te<1cl.1cr is rder red, for the de,·doµme11t, of this pr'H't'~S ,if c"nq:n:- it,1 0 11 , l o :~b li ott and 8l:eic·y'l'.I " Engl ish L e8so ns for l1)1g·lh-Jh l'.::ople," J ! ill'~ · J 'riiu..: iplt·s
of Jt h e toric," J ev on s's "Logic ," o r Bak~r·s "Pri11cipl etS of Aq;u111e111alilor1.''

-~fl! 11111 e11l.

Form of A rg11111e11/.- The form of an argurne11t mny
be noted in Euclid's demonstrations. There we fin.I first
the e nun ciation of what is to be proved- - -the proposition:
Then follow the stateme nts that te nd to create belief in
th e Proposition- the proof. The statement <>f the result
of the proof is the conclusion.
/\n ~xtenclcd argumentation involving sc\·cral arguments 1s gene rally introduced IJy an exordium, stating
the nature and importance, and foreca,;ting th e course of
th e discussion. Thi s exordium usually precedes the
definite e nunciati on of the Propos iti on. Such an aruumentation generally has likewise at the end of the l'r~of
a recapitulation of the arguments, called the peroration.
The Peroration serves as a brief, forcible introducti o n to
th e Conclusion.
Proof that consists of reasoned staten1 e nts of tht:
write r in favour uf hi s O\\"n position is direct. l'rouf
that consists of the refutation of th e proo f of the opposite
proposition is indirect. To refute an unsound argu·
ment, ~~u may ironica lly assume the truth of th e oppu;ite
propos1t1on and push it to the ext re me , when it is found
to be absurd (reductio ad absurdum). That reading is
harmful because it is liable to abuse, would IJe proved

~ ..

210

HNU /, [SJI COM J'OS L'J.'W N.

absurd by sho\\'i11g t hat th is 1rnuld p ro ve that eating is
likew ise ha rm fu l. Or you may show that the opposite
co ncl us io n in 1·o lves alternati ves, each of wh ic h yo u prove
e rro neo us (the dilemma). O r you m ay tak e all poss ibl e
co nclu s ions or th eo ries othe r th ;u1 yo ur ow n, and sho w
o ne by one t h:1t th ey mu st he e x clud ed, leaving yo ur own
concl us iun as a lone sat is fac to ry (method of residues).
E:-.:1·: 1zc·1:-;1·:. - Exctmi11e th e truth o r fals ity of th e co nc lusi o n in the followi n ~ :- r. All g ra ss is g reen ; leaves
are g ree n ; therefo re leaves arc g rass. 2. A ll F' r ~ n c h­
men arc fond of frog s' legs; jtJllll Bul l is no t a Frenc hman; t he re fu rc: J ohn Bull is no t fo nd o f frogs' legs.
3. N o thin g is be tter than wi sdo m; bread is better t ha n
nothing; the refore bread is bette r th :rn wisdom (:.Jewco rn e r). 4. r\l l men a re endo\\' ccl with r ea~llll; all foo ls
a re m e n; th c rc fqrc all fo o ls are e ncloll'e d 11·ith reason
(Abbott-Seeley ). 5. Some clever m e n arc dishonest ;
n o good man is d ishon es t ; t he refo re so me cleve r m en
a re good. 6 . F oo tball sho uld · be stopped because it is
th e Gu.1 ,.;c of m;u1y accidents. 7. I l e must be g uil ty ,
lx:ca use he blu ,;he,;. 8~ .'\JI me11 sh u u ld sw im beca use
sw imming expand,; the chest. 9. !'overly is th e best
t eac h e r, fo r f .in col n, Gar fi eld, Ed iso n , Ca rlyl e , Burn s,
\\' e re all poor. I O. ]'\,) good ma n would use suc h an
argument, for it is o ne employed by l\Li c hiavell i hi111 se if.
1 I . That man is :lll L: ne my n f re lig io n, fo r he never g oes
to c hurch. 12. G reek be in g a d ead lan g uage, is o f no
u se to liv in g m e n ( I !i ll). 13. V o lun ta ry compe titi o n is
a gond thin g in trade, ;rnd so mu st \Jc a good t hin g in
e d11 catin11: p.t rl·1 1t-> s li n 11ld not IJ,; forced tu send th eir
c hildren t" ,.;c liu<Jl.

A}{(;(l.'fli'NT: PURE ..I l!O UMEN 'l.'.

:.!11

...

LESSON LXX \ '.
I N I >UL' Tl \ E

T 1L\T

1\E :\ ~ONll\( ;

Al\ DIA LS

Y ! W ~l

Al\Xl. llC.\ ' . -

F IZO\ I

C 1.: c 1: 1. T1n: .\ T\11 ::--:T.

St: FF 1·: 1.:

T lll·'. \ 11-: .

Th ese poor animals ju st look , and · tremble, an d gi\·e
fort h the very in d ications o f su ffe rin g that 11c ch. T li L:1 rs
is the d istinct c ry o f pain. Th e irs is th e u11cqt1i1ocal
physiog no my of pa in. Th ey p ut on the s;1m e a spec t uf
terror o n the cl emo n,;trnti o ns o f a m en a ced b low. · Th ey
ex hi b it the sa m e d i,.;to rti u ns uf agu ny after the inf11ctii >1l
o f it. Th e bruise, or the b urn , o r tl1e fra c~ ur L-. '" the
deep in c is ion, or the fi e rce e nc o unte r ll'ith one of l'lju;ti o r
St< pe ri o r st re ng t h , just affects th ~ m similarly tu uur~eh·e- .
Th eir bl ood circ ul ates as o urs. T hey h ;1 \·e puk1ti ons in
va ri o us pa rts of th e body lik e ou rs. They s icke n, and
th ey grow feeble with age, a llcl, fin a lly, t hey die just as 11c
d o. They possess the same fee li ngs; and, 11 hat expc1ses
th e m to like suffe rin g· fro m an oth e r q uart e r, th ey posse,;s
the sa m e in st in c ts with o ur ow n s pec ies. The li ulless
robbed o f he r whelps cau ses th e 11·ilderness t o rill g aluud
with th e procl a m a ti o n o f he r w ro ngs; or the bird 11-h<ise
lictl c household h as been sto le n, fill s all d saclclc 1 1~ a ll th e
gro\·e wit h m elodics of deepe,.;t path os. [Th e rcl"re , etc.]
- -Tht1m11s Cli11/111c·rs.

From "Crudt_v

;r.

/11.· I11i111d !s."

C0\1!'0:-;!T I O N !. - O utli ne the a rgu m e nt of tl1 e 1•rcceding pa ss;i ge. l\. cpr()clu ce th e aq.;umenb 111 y<>u r <11111
word s, stat in g- th e p roba bl e co nclu sion .

Co~ 11 ·o s rT 1 0 N 2. -. \iVritc a s imil a r a rg um e nt co ncernin g th e plurality o f ill ha bited pla ne h.
OUT LI N I·: :

J>rojr>.1·itio11 . . Th a t othe r p l::met s of <>ur s ys ti·in

( Saturn, Ju piter,

Ma rs, et c .), are inhabit ed.

J'rooj. - l'oi11ts of

.d

212

ARGUMENT : l'EHSUASJON.

BNC:Ll81l COMPOSJ1'ION.

simila rity b etll'ce n th t> m a nd the earth; revoluti on rn11nd th e sun ;
th e ir source of li g ht fr om th e s un ; re volution o n th eir O ll'll ax is ;
m no n s ; law of g ra vitation. Cond1tsiun. - Fro111 the se simi la riti es
we c11n c l11de a probable furth er agreement that the other pla ne ts
are, lik e th e ean l1 , th e habitati on of livin g c reature s.

CO .\Il'0:-; 1T1 0N 3. - Prove th e propos ition: That the
Earth is round.
OUTl.I N E:
i /11· /'n•position. C11m11/a/i11e /'n10/: (i) The app eara nce of th e 1·csse l sinking b elow the ho riz on, and of th e Ja nel
ri s ing to the a µp roachin g ves se l. (ii ) The trave ll er goi ng north or
south, seei ng new s tars and losi ng o ld ones . (fri) Sailors c ircumnavi gati 11g the earth. (h The phenomenon o f dawn, sunrise, etc.
(7 1 ) En g in ee rs a lloll' in g a dip o f e ig ht in c hes in th e mil e in constru.:ti ni; a ca n:il. (7•1) Th e round s hadow of the earth during an
e c lipse of th e 111oon . (1•1i) Th e globular character of th e membe rs
of th e pl a net ary sys te m to whi ch the ea rth belongs. Conclusion.
1

'

.

Queen of Scots) was just ifiable. 2 . That tli c dcpo~i~irni
of James I I. was . nec essary to En g li sh freed u m. .) [ ktt
the American R e voluti on of 17 76 was ju st and wise.
4. That Queen Elizabeth mu st be co nside red a greater
soverei g n than Quee n Victoria. 5. That Bue r tyranny
justified the Briti sh intervention of 1899 in the afLtirs
of the South African Republic.

C HAPTER

11. - l'ERSUASION.

)

Co~1 l'u:-;1no N 4.-Show bri efly by indu ctive reason-

in g the truth of one of th e following propositions:I. That H eat expands Bod ies a nd Cold contracts them.
2. Th a t Gra\·itation affects a ll Bodies.
3. T hat Oxygen
is necessa ry to hu111an life. 4. That Lig ht travels faster
th a n So und. 5. That Cold reta rds Decomposition.

Cu ,\I 1·u.-; n1 n:--: 5. - That Elect ricity wil l supplan t Steam
a s a motor powe r.
0U Tl.I NE: JJ1c Propositio11. Tlte Proof : Noticeable
in sta nces o f the displacement of steam: city machinery,
suburban trolley cars and electric railways, etc. The
reasons for the di spla cement-comparison of expense,
conveni ence, etc. Present limitations in use of electricity
-dissipati on of energy in long distances, etc. Conclusion.
CO~ l POSIT IO N 6.-Submit the pure argum ent in
support or refutatio n of one of the following' propositi ons :-1. That the execution of Charles I. (or Mary

LESSON LXXV!.
Pure argument is rarely found e xcept in th e propositions ~f science. Th e in suran ce agent, th e lawye r seekin g to influence the jury, the preac her exhortin_g h is
hearers, are not satisfi ed with mere intell ec tu a l co nv1 ct 1on.
Conviction may res ult from many thin gs bes id es a rg ument ; it may come from i ~norance, superstition, prejudice, passion. Convictio n to iss ue in act ion mu s t ha\·~:
the s up port of the fee lin gs. Arguments tha t appeal to
our sympathy, our pride, our ho nour, th at seek to mo ve u s
t o action, are of th e nature of P ERSU AS!ON. "Ded u ction~
have no power of persuas ion. The heart is commonly
reached, not throu gh the reason, but through th e imaginati on, by means of direct impressions, l>y the test im ony
of facts and events, by history, by description. Pe rsons
influence us, voices melt us, looks s ubdu e us, deeds
inflame us."-(Cardinal N ewman.) The orator, th e
preacher, the advocate, found their success on their powers
of persuasion.

AlW U.M.E1\1 T: P EHSU.18/UN .

HNU LISI/ COil'lPOSI'l'ION.
TIIL\a:: TIIAT ,\ N J\ 1·1·FAL T O Till·: J'FcWL E I S J UST.
A pll r livri o f

l\

:; pcct: li d c\ i\ t: rl.'d i11 Bi n11in gfou11 , Deec rnlier 4,

1.~U O,

in fav ou r of t,he

H. efo nn Bill.

The,.;c oppo nents o f o urs, some of th e m in Parliament o p e nly, and many o f them secretly i11 the press,
have cl 1aq,:·ed us witlt being the promuLers uf a dan~er­
CHIS cxc it e m e 11t.
They ha1·e the clfru11tcry Lu ::>ay Ll1.it l
~1 m the fri e nd of p ublic disorder.
I am o n e o f th e
peuplc. S urel y if t he re Le u1 1e thing· i11 a free cuu1 1try
111r>re d c <tr than ;lllotlier, it is that any 011e of the people
may speak o p enly to th e . people . Ir I s p ea k t o the
p eop le of th e ir ri g hts , and i11 cl icatc to th e m th e \\' ay to
sec ure Lli e rn. - 1f l spe ak of th e ir dan ge r t o th e mon o p ol is ts o f p ull'e r,-am I nut a wise co un sel lo r, buth to
th e peo ple a nd to thci"r rulers?

\\'hi ch mal,cs th e \\' Orlcl to s hudd e r, am l r es p <n hiii lc for
th at ca tas t roph e ? I did n o t build th e 11 1<>u11t;1i11, ••r (iii
it with explos ive materials. I 111<.: reh· warned t\1e 111c11
that were in J;_u1ge r. So, now, it is not I 11·\ 1, > ;i1n ~timu ­
\rl.tin g- lll e ll t<> th e Yi o lent pur-.;uit .,f tht-ir ;1 , L111111lcciged
C•J1htituti1>1i:1l

ri ~hh .

If a cla ,.;.s has failed. kt us tn· tlit· 11otl i<>11.

Tl1:tt i.s

ou r faith , that is our purpose , t hat i:-; our cry . 1..-t 11:;
try tht: n :uion . Th at it 1s \\'liic \1 l1:1s (;1 ;1, , \ \,, ,., ,.liil'1
thC" sc cC1u11tlcss 11u111 l "·r s ,,f tht• pc o plt- t '' 1lt" 11i:111 1I :1
cl1,tnge; and fro m tl1Dt' g·:ttlicrin g s. s u bl ime i1 1 th 1r
1·ast11ess and their rt· .s<>l 11tio1 1, l t h 111k i sc :t, " -" it 11 •·; .·
abo\'\:: th e hill -t vps o f time, t h e g lirn1 m:ri n i-:S '.i· 1 lw ' i. 1\111
of a better and nobler day fur tilt cuu11try , ;i11tl l·u r th e
peopl e that I love so we ll.

Su ppose I stallCI a t the foot of Vesuvius o r F:tn;:i, a nrl ,
seei ng R haml e t or a ho m es tead planted o n its s lope, 1
said to the dwel le rs in th a t hamlet o r that h o mestead,
"Vuu see that vapo ur whi c h a scends from th e summit o f
tht: mountain. Th a t vapo ur may b ecome a de11se black

STUI>Y 01· l'H~:-i U,h !ON . J/1 ,; ,-J1 g 11111 <11!
The
argum e nt begins with a re futation of th e cii;1rge t ii:1t

smoke, that will obscure the sky. You see the tricklin g
of lava from th e c re 1·ices in the s ide of th e m o untain.

pri nciple that popular d isc u ss ion is the 1 ig lit oi tl1c
penple, of whom h e is "n e. Th e ri g· ht 1o :id d 1c>s t lie
ru l ing clas ~es is ad111ittnl; he ha s d(l1:t: iii.s dut y ll)
them in w C1 rr1111 6 tli c rn .,r d.111 t; n; 11 i.s" i11 , · , u11.;t·l i i11:~.
th e n , he aq~ u es th<1t 11i s appe;i\ tu tile.: 1w"\) k is 11·j _,,._
T!i,·11 follow s the argument fr1•1\l .\11:tl" g)'
\ 't·- 111·111'; ;i11,\
the <1 11 \ v ol 11· ;1r!1i11 :~ th e \>C»j•le uf da11 ,~c1 <•ll ' ,-rupti»11.
11 ;i ti o na-I clisco ntcnt ;111<\ the d11tv c>f \\'arni11 1; tl1u:T 11 ]1,,

That t r ick li11 g of i<ff<t may become a riv er o f fir e. Y o u
h ea r that mutte ri ng in the b o wels of th e m o untain.
That lllUtl er in g Illa)' become a bellowin g thunder, th e
1·oice o f a v io lent C•J11vul,.;i o n, that may shake half a
cont in e nt. Yuu know that at yo ur feet is th e grave of
great c iti c,.;, for which th e re is no resurre ct ion, as hi st o ri es and ari s toc ra c ies have p assed away, and their
nam e,.; ha1·e b ee n kn o wn no more forever ."

If T say this to th e cl11-ell e rs upon the s lope of th e
mountain, and if there comes hereafter a catastrophe

th ost: \\'ho a ch ·oc ate the appeal t o the people f"n1u1t
dan ge rous diso rder. Th e spc;tl,t:r sets ll[> t\i,· gc 11 , r.tl

an : i11 cL u1 ger from it.
:'\.s h e is 11 ot th <' c 1u s c of th ··
volcano's eruption, so he is n o t the foment er uf nat i1q1;tl
disc o nt e nt.
l·~ ith e r the clas s e s <1r the ma ss"s lll\l sl :1d
But the classes have faiied to re m e d y nati11n:il gricl';111 ces,

r} '

'.;

216

ESC: US1I C0.1ff'USI'l'10S.
. I /\l! UMEST : f'Et:s1 : c1s111.\"

therefurc the people 111u .~t act. The people !eel the need,
they are moving, and their movement m eans national
sai vat iun .
The elements o f Persuasion lie in the personal touch
('' 1 am o f the people"), in th e ep ithets d iscred itin g the
oppo11ents or his vi ew s (" effrontery," .. monopolists of
puwer,' ' elc.), in the terrible impressiveness of the
analugy; in the iteratio11 of great words, nation, faith,
cry, countless numbers; in the vision o f the happy
' future which th e extension of the franchise will bring
nea r.
CO~ l l'USIT ION I. - I. State s imply t h e pure a rg ument o f th e passage. 2. R eprod uce the argu me nts with
what stre ngt h of appeal you can g ive th e m.

CO\l l'OS ITIO'.'i 2. - 'vVrite an appea l 111 favour of
popular ed ucatio n, that education should be free, obligatory, a nd univc rsal.
(O\IPOSITIUN 3.- 'vVritc a plea· for the esta blishm ent
o f a free publi c library in you r town.
Co~11•os 1 TtUN 4. - Refutc fro m history the propositi on that the s uffrage is the birthri ght of manhood.

CO~ l l'OSIT ION 5.-1\efute the proposition tha t judges
should be e lected by the people.

TitL\11-::

l'u·: .·\

1wi:u1n ·:

TO
J\: o:-1 ~11tii

was the l l.'ader of

Cul\1.1;10.,;;

Lours

liy

\

\\. 11.111 \JJ.

Ku:-,:-,t : TIJ.

the T111n g-a ri a n rev o l11t iu11 (•f \ ."'·P( l11d \\ ;l-.i

('npl' with th e powe r o f .-\ ust.ria awl H11s.,.ia.
1·1l r rit·d

1111 :

:lll 1\11H·ri1·;u1 fri~<lle I •, l-:11~ L u1d .

l it- e!;1·cq...-d l" Tttr k •· .'

1k \ i"ik•l tin:

L ' r1l\l

ii

l it1 ;1l•l •·

"1, .. ,.. ·· ti'"

.'-! .. 1..... 111

J 1. •·•

fr,

\<.H ...

11 1)., .1,

1 ~:'1, :LJHI wa~ H·i."t"J\1..:d with ~ r·· .ll l·1.th1hLl.-. 111

I \\'ii ] suppose now that th e oppos iti <'n made t<> ti11.;
re.s olution to we\co111e Louis Koss uth is effedi\e. l \1 i;J
s up pose that the measure is d e feated. \\ 'here, then, si r,
sha ll he fine! welcome and repose? Jn his 011 11 lx::tutilul
native land, at the base or 0 11 th e s!.ipes of the Carpathian hill s? No! the Austrian despot re i ~ n s absol ut ely
the re. Sha ll h e fi nd it in Germany, east or Wl'.st, fl(Jrlh
or so uth? No, s ir; the despot of A ust ria ;1 11 d tile
despot o f Prussia re ign absolutely there. Sh;tl! lie fi11cl
it un der the sunny skies of [taly? No, s ir ; fur th e
A ust ri an m onarch h as crushed Italy to the e:i. rth. Sh ;Ll]
he find it in S iber ia, or in th e froze n reg ions of the
No rth? No, sir ; for the l<.ussian cza r, who dro1·e him
from h is native land and forced him into ex il e i11 Turkey,
will be ready to seize the fugitive. The scaff() ld awaits
him there. \Nhere, th en, shall h e go? 'vVhe1e else on
the face o f broad Europe can he filld refu ge but in the
la nd of your forefathers, in Britain? There, God be
th a nk ed, there would be a welcome and a home for him.
Are you prepa red to give to th e world evidence thit you
cannot receive the represen tative o f li berty and rep ubl icanism, who m England can ho nour, shelter, and protect?

But will this tran sac tion end the re? No, sir. Beyond
us, above us, there is a tribun a l hi g her and greater than
t h e Congress of the United States. It is th e tribullal (>f

l·:S1:LJ;:J ll G1U1\ll'U:il1'fUN.

ur

(Jr

th e p ub iic Uj >illi u n
t he \\'o rid - thc [)ll bl iC OjiitliOn
ma n k i11 d. :\Jill befo re t ha t tri lrnnal d ocs til e U nited
Sta les h o ld u p th e ri ~ ht han d an d an s wer " Al o t G uilty? "

Yo u say th a t you \\·ere wi lling t o g ive K oss ut h a welcome, bu t t h a t he d emanded m o re. H ow d id y o u kn ow
th at h e "de 111 a11dcd m ore?" But, yo u re p ly , he was
ovc rh c; 1rd to say that h e e x pec t ed arm s,. m e n, m o ne y,
" m a terial ;ti d , a 11d i11 te n ·enti u 1i." Ove rh eard? \Vh at !
clicl yo u <kl i1·e r J( oss ut h fro m Ru ss ia n s ur ve illan ce· in
Turk ey to csL tbl is h an es pio na ge ove r him o f y o ur o wn?
S ham e ! s h a m e to th e co untry th a t so li g· htl y rega rd <; the
sa nc ti t y o f th e c harac te r or a s tran g·c r and an e xil e !
Y o u say th a t Ru s~ i a mi g ht h ave t a k e n o ffe n ce. Is
Am e ri ca , th e n, b ro ug h t so low that s he fears to g ive
offe nce 11·he n co m1nand ed by th e law s of n a ture and o f
n at io ns ? \Vha t ri g ht h ad Russ ia t o prescri be wh o m y o u
s h o ul d recei ve an d ll'h o m reject fr o m y (J ur hospita liti es ?
Le t n o s uc h hu m ilia ti o n b e co nfessed .

e lcrnc ll h nf the an.'. t l l! W1 1t--- i "hi~ m1 11 h<':tuti f11; ", ;;'-, .
b nd, " th e d es pnts o f r\ 11stria , l'ru ~'i a , l\1h - 1:1 . .. tJi ,·
sca ffo ld," p11bli c op illi o n o f m a 11ki 11 tl . e t c.) : i11 tlh: ;1 :1pctl
to th e pe rso ns addrc~se d - A m e ri c a 11s, J,,,·c-r.". nf lil;en1·
d esce n d ant s o f En t; li s hm e n ; t o th e s pirit uf c 1n u Lttin11 .
t o th e ho 11 o ur a l!d pr id t~ !>f l1i s c uunl1 y111e 11.
C 1 1.\ ll '<>~ ITI\>."\ I. -- 1. S Lttc th e lllll'C a rc: 1111lt 'l1l nf 1ii1 ·
q uotf'd p; ts-<;1ge. "' l< c prndu ce t h e ;u·:l,ll il t('J1 !, 1ll :ti; i11';
the appe:1i c- :fr:ct i1·e by pe rs u :1sic;I1 .
C() \Jl 'Oc; ITI <JN 2. --Writ e al! ;1ppca l f1 ,r " 111 1.' 111 ,, ri.il
tci th e C 1na d ia11 sol di e rs ll'h o di ed i11 S il 11 th , \ frict.
C( J\Tl'OSIT lOi\ 3. - W rite a p lea f(JI· t he rc:td i11'-'.' <>r'
S h ak s pe re.
C< J\ll 'OSIT TON 4. - \Nritc ;t pka fo r tlt e cxcl usi 11 n •if'
th e C hi nese rro m C a nada.
Cu \ I l'O>'lTl ON 5.- 1. A p le;t i11 favo ur o f the re;idin,.:
o f nove ls
2 . /\ p lea aga in st th e read in g o f nu1c ls as
co m pared w ith bi ogra ph y, hi story , a nd travels.

- I f?i/li 1w 1 H. Sewanl.

l' r·: J{>'l ' .\c;I1i:-.1 .- Exami11 e firs t t he n;-tture o f
t he a rg u rnc11l : t he ironica l ;iccepta n ce o f t h e o ppos ite
p roposi ti o n and its red uctio n by re,; icl ues ; the arg um e nt
fro m mo na rc hi ca l Ln gl an d to re publican A m e ri ca (all
t he m o re reaso 11, 1i ft1r lior i) ; the esse nti a l jus ti ce of th e
affirmati ve; th e rc:f11 ta t io n o f the a rg ument th a t th e
11-clco m e 11·u uld i11vol ve mi lita ry inte rve nti o n; destru cti o n or the p roo f .or that. J\ efut a ti o n of th e a rg um e nt
for th e nega tive th;1t the we lco m e wo uld be offe nsive to .
Ru ss ia. A ccep t th i,; a nd it humiliates Am e ri ca .
S T U i l \ ' ()i-'

P c r:> uas io n li e.~ in t h e llature of th e subj ect --welco m e
to a n e xil ed patri o t ; in th e rhe t o ri cal h eig hte nin g o f the

LESS O N
TiiE :\11 ·: : Tii :\T Till ·:

LXXVI I I

i \SS,\ >'SI N:\TJ (J;\'

( Ji ·

(..' ,\J ·>:\I'

\VAS ) US T.

Ci /1~~·01. The no b le Brutus i .~ a sce nd ed : S iicl!ce !

/3mt11s . Be pat ie nt till th e last.

I< o m a n s, c0t~n t ry mcn, ;ind love rs ! h ea r m e f1 1r m _1· ca use :
and b e s il e nt, th at yo u ma y h ea r; bel ie ve m e fo 1· tni ll e
ho no ur; an d ha ve res pe ct to min e ho no ur, th at yo u
m ay be li eve : ce ns ure me in yo ur ll'i scl o m; ;u1d a 11·;ike
yo ur senses , that y o u may th e be tt e r j11d ge. r f t h e re lie
;tn y in thi,; a sse mbl y , any d ear fri e nd of C 1e.-:ar's, t•> hi111
I s a y, th ;tt Brutu s' love to Caesa r wa s 11 0 l e.~s lh<tn hi ~ .

220

EN<!LIS lL COlliPOSI 'l'ION.

_-rnuw1E1v·1·: I'El•SUA SION.

If t hen th at fri end de mand why Brutus rose again st
C aesar, t h is is my answer,- No t that I loved Caesa r less,
b u t th a t I loved Rome m ore. H ad yo u rat he r Caesar
\\'ere living, and die all slaves; tha n t ha t Caesa r we re
dead, to live all free-men? r\s Caesar loved me, I weep
fo r him ; as he \\·as fo rtu nate, I rejo ice at it ; as h e was
valiant, 1 honour h im: b ut, as he was ambit io us, I slew
h im : T he re is tea rs, fo r hi s love; joy , fo r hi s fortun e;
ho no ur, for h is va lo ur ; an d death , for h is a mbiti o n.
Wh o is he re so ba se th at wou ld be a bo nd m a n? If
a ny , spea k ; for h im ha ve 1 offe nded. Wh o is he re so
rude th at would no t be a l<.01 11a n ? If a ny, speak; fo r
him h ave I offe nd ed. \ Vho is he re so v il e th a t will no t
love his country? l f any , speak; fo r h im have I o ffended .
1 pause fo r a reply.
Citizi:11. N o ne, Bru tus, no ne.
Bru tus. The n none have I o ffe nded. I have d one no
more to Cacs;:ir than ro u shall clo to Bru t us. Th e q uest io n o f h is death is enro lled in the C apito l; his g lo ry not
exte nu at ed, \\·he re in h e w,1s wo rt hy; no r hi s offences
en fn rcccl, for 11·hich he suffered d eath. li ere co mes his
budy. mourm:d by Ma rk /\ ntony: who, th o ug h he had
n o hand in hi s d eath, shall receive th e b ene fit o f hi s
dy in g . a p lace in the common wea lth: As which of yo u
sh a ll no t ? W it h this l depa rt: T ha t , as I slew my best
lover fo r the good of Rome, I have the sa me dagger fo r ·
myse lf, whe n it sh all p lease my co untry to need my
death .
-- - lf 'il/i,rm SlrahjJerc . From " }11/ius C11csar."
STUil\' ul' l'f'){Sl l.\ SI0:-.1 - !. O utl in e b ri e fl y t he a rg um e nt p 1T,.;L·11tcd he re:. 2. Po in t o ut t h e cle me nts o f pers uas io n acl dcd to t he arg ument
An t.o n v''i rl'f 11ta1ion nf Brn t11~·s arg-u111e11t i8 ll fin er in stance of
should lie Stutlil!d 1 bu i. i 1 i"H toO lo ng fo r q11 o tat.io 11 IJ ere.

Perena.1:1ion, o.ud

COM POS ITI ON I.-1. P rove , u sin g B ru t us's <l rgurn ent
a nd appea ls, th at C aes<lr's a ss ass in ation \I as just. Or.
2. R efu te thi s propos it io n, us in g f\ nto ny's argumc: 1t
a nd appeals.
Co:\! l'OSTTION 2. - 1. Reproduce at kn ;..;th a nd ll'it h
fo rce l' ortia's arg u m e nt fo r t he convict ion ,,f S hy] (,, \.;
O r, 2. · R efut e P ort ia' s argu me nt'.:; to show tli;tt Shy l iJck · ~
convi ct io n was l>ad law .
A lJ!J l TI ONA L

TH

E~ J

ES.

Th e follow ing th emes a re su itab le for d eb:ites. Th e cl:tSs m:iy
tak e sid es, a n d th e l>cst of t he writt e n exe rc ise,; u sed 1,y the write rs
in infonn :tl d eb at e . The a rg ue rs o n th e n<"ga t i,·e s ide of a pro·
posi1io n may take three cou rses to oppose the p rnpo'>ition : (i )
Refute a ll t he a rg um e nl s o f th e affin n :11i,·e, ( ii) ])i , pr1J\C the
propos itinn itsel (, (iii) P ruve a conlrary propo si tion , which thereby
ov e rthro"' s th c propos ition. Th e l>11rclcn o ( proo f lies o n the
speake rs fo r the <i ffi rm a ti ve; i f th ey do n ot positi,·cly pro\' e their
propositi on t hey lose th e ir case.
DEBATF. 1. That C1>11nt r y L ife is mnrc co n d11 c i,·c to happine ss
th a n C it y l.i(c. 2. Th a t 1h e l' o e t is a g reater he nefact1>r nf h 11 111 :11 1ity
th a n th e l. q~ i s l ato r. 3. Th at th e Pen is mii.;h1i e r tl1;111 1!1e Sn"rd.
4. Tha t the present C<•1ht it11tion of Can :1d.1 is p r(' ft· i:il >l e t.i th .11 •
5. T ha t th e Sen :u e "f Ca11ado1
o f a n ln dere nd c n t J{cp11bli c.
s hould h e e lecti ,·e.
6. T hat St ri kes ar e j1 1s 1i1ia!Jlc.
7. Th :i t
0. That Capit.d
T ra d c-lln io n s h :1ve h enel i tcd wnrk ing -11w n.
P unish111 e n t s h ou ld be aboli s hed. 9. Th at \ 'i ,·i section sho ul d !)('
p ro hi b ited. 10. T ha t th e Abo liti o n o f S la\C:iy in t he G11i1ed S:alf·"·
was wise. 11 . T hat th e Eni.;li "h h a\'!; a kce 11 (' r st:n"~ of lt 1111 1o t1r
lh an t he A me ri ca ns . 1 2. That t he Lady came out (set: i\1r. S1ock·
tern 's sto ry " T he L ad y o r th e T ige r "). 13. Tlt :i 1 L;i ch· i\la cl,et h
" ·as ~e sp o nsihle fo r Ma c beth 's fall. q . Th at JL1111 1ct "'a s m:td .
15. 'fh a t \ Vu n ls\\'orth is a greater P oe t th an Tenn yso n. 1 (., Th:1l
\Valt \\' h i1111a n is t h e l'o 1·t o( J\ m c ri ca r;l!l 1c r than l .<Jlli.;fcllo".
17. T h:it i\fr. K ip ling, j ud i.;ed by t he scv nest >t:t11dar<i s, i' ;1
notable poe t.

!.

r.'"
',

. Ital. Underline for italics (seep. 11 ).
Pt. Pu11c t11ati<: n is fault y; find ou t the error aucl correct.

•

Pt.. =Use p eriod (pp. 14-15). Pt. , = Use comma (pp. 18, 20-21 , 24-25). Pt. " - Use
•1uolntion marks (p. 29) . Pt. • = Use apostrophe rightly (pp. 29-SO). Pt. ; = 'Use •emJ- ·
colon {p. 32). Pt. : = U•e colo n (p. So). Pt. - = Use clash (p. 85). Pt. I ={Joe exclamation poi ut (p. 38). Pt. ? = Use interrogation mark ( P- 89).

S. Th e sentence •lruclure is faulty.
8.1 = Tho sentence lacks unity, or is loo long or involved (p. 49). 8 . 2 = The part
should be suborui notecl 10 •orne main statement (p. 52). 8. 3 = The pan; should be
made an independ cntstatemcnL (p. 55). S.Interrogat1on, Exclamation,.Ba.lanc9,
etc. = R ecnsC tho s entence, as interrogation (p. 62), exclamat ion (p. 62), lOO!!e or periodlo
,
(p. 65), balance (p. 68).

ii Some l:iw o f th<: par:'lg raph is no t observed.

~I O = Lacks indentat ion or mof'!(in {p. 8). 'll 1 = Lacks unity (pp. 8, 82). 'If 2 = See ·. •l
toplo eente nce (p. Stl. 'IT 3 = Lacks methodical arr angement (p. 85). 'If f, =Lac.ks '.
explicit reference (p. 88). 'II () = .Recast in parallel conetructi1>n (p. 91) . '!! 6 = Tranel}.-.,.
tion not observed (p. 93). 'II 7 = Lacks proportion. , f 8 = Lacks rhythm (p. 96). ,
~ ·9 = Recnet as climax (p. 98).
1.i:'

... , '.. Cl. The sentence Is not clenr.

,
· ' Cl. 1 = The word is lnexnct (p. 136). CL 2 = Word or refere11ce i• ambll{Uous (pp. '•;
100, 148).

\ .

F. Force is not

I

a tta inecL
F . 1 = Make •implc (p. 162). F. 2 = Rearrange for emphasio (pp. l12, ll ~). F . 3 a
De brief (p. 156). F. 4 = Amplify. F .11 = Adel contrast (p. 156). F. 6 = U•e a fl1rure
of spceeh (p. 163-164).

T. Some rnlc

or good

\
I.

\

taste ;, 11 o t observed.

\i

T. l ::s Correct t he lml"ho.rltm1 i111propriet v or KOh-olHm
.
(µ. 168). T. 2 _,. A\' old the
colloq uiBlis m, td tc sa)'in g, '' t-0. (p. 18.~). T . = Correct th e fau lt• of oo und (p. Ula ).'
1

1

3

\

Nar. See Principles ofNa rrntion, pp. 120- 121, 125-1 26.
Des. See Princ ipl es o f Descriptio n, pp. 133- 134, 140-141, 146-7, 159-16o.
Exp. See Exposition, pp. 200, 203-7.
'Arg. See Argument, pp. 208 ff.
Per. See Persuasion, p. 213 ff.

\
i

\

\t

? The statement is cl onbt ful as to matter of fact.
? Or. The statement isco~1ied or not o riginal.
/\ Someth ing is o mitt ecl .
~ Some fault is tu be a tt e nded lo.

t
>t

•

Tr. T raii..; p,>:-:c.
11 O m it (dd e, s t r ike o ut).

A. A h igh order uf 111nit ; B, good ; C . fair; D,
bad.

unsati sfa~tory ; E ,

Double lell ers, BB, c lc. , very good, etc.
222

.

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