Chapter XXVI: Appendix: A. Suggestions to Teachers

The Course of Study on pages xx-xxvi contemplates five days a week for the study of English. The text which is to be the subject of the term's work should first be studied for a few weeks. After it has been mastered, three days of each week should be given to literature and two to composition. In practice I have found it best to have the study of literature occupy three consecutive days,--for example, Tuesday, Wednesday, and Thursday. This arrangement leaves Monday and Friday for composition. Friday is used for the study of the text-book and for general criticism and suggestion. On Monday the compositions should be written in the classroom. To have them so written is, at least during the first year, distinctly better. The first draft of the composition should be brought to class ready for amendment and copying. During the writing the teacher should be among the pupils offering assistance, and insisting upon good penmanship. Care at the beginning will form a habit of neatness, and keep the penmanship up to a high standard.

The arrangement suggested is only one plan. This works well. Many others may be adopted. But no plan should be accepted which makes the number of essays fewer than one a week; nor should the number of days given to literature be smaller than three a week.

During the second year, if the instructor thinks it can be done without loss, the compositions may be written outside of school hours and brought to class on a definite day. A pupil should not be allowed to put off the writing of a composition any more than a lesson in geometry. On Monday of each week a composition should be handed in; irregularity only makes the work displeasing and leads to shirking. Writing out of school gives more time for criticism and study of composition, and during the second year this extra time is much needed.

By the third year the pupils certainly can do the work out of school. As the compositions increase in length, more time will be necessary for their preparation. The teacher should, however, know exactly what progress has been made each week; and by individual criticisms and by wise suggestions she should help the pupil to meet the difficulties of his special case.

In order that the instructor may have time for individual criticism, she should have two periods each day vacant in which to meet pupils for consultation. To make this clear, suppose that a teacher of English has one hundred pupils in her classes. She should have no more, for one hundred essays a week are enough for any person to correct. If there be six recitation periods daily, place twenty-five pupils in each of four sections for the study of literature, composition, and general criticism. This leaves two periods each day to meet individuals, giving ten pupils for each period. These should come on scheduled days, with the same regularity as for class recitation. The pupil's work should have been handed in on the second day before he comes up for consultation, in order that the teacher may be competent to give criticisms of any value. The inspiration of the first reading cannot be depended upon to suggest any help, nor is there time for such a reading during the recitation.

There will be need of class recitation in argument. Ten days or two weeks are all that is necessary for text-book work. This should be done before pupils read the "Conciliation." In the reading constantly keep before the pupils the methods of the author.

Every teacher should be able to do what she asks of the pupils. No person would dare to offer herself as a teacher of Latin or algebra until she could write all the translations of the one and solve all the problems of the other. Yet there are persons who have the audacity to offer their services as teachers of English, when they cannot write a letter correctly, to say nothing of a more formal piece of composition. If an instructor in physics, who had asked his pupils to solve a problem in electricity, should say to each unfortunate person as he handed in his solution, "No, that isn't right; you'll have to try again," without offering any help or suggestion, and should continue this discouraging process until some bright pupil worked it out, or perhaps some one guessed it, we should say that such a person was no instructor at all. We might go so far as to question his intellectual competency. We certainly should think him quite deserving of dismissal. Still many teachers of English do nothing more than say, "It isn't right. Make it so." If the teacher does not know how to do the thing she asks the pupils to do, she should not be teaching. And even when she can do it, she will often benefit herself and the pupils by actually writing the composition. In this way not only does she gain command of her own powers of expression, but she finds out the difficulties with which the pupils have to contend. Every teacher of English composition should be able to do some creditable work in English; and every teacher of English should put this talent into actual use.

Numerous examples of correct paragraphs, well-made sentences, and apt words have not been included in the text. They have been omitted because they can be found in the literature study. It is better for pupils to find these for themselves. It will put them in the way of reading with the senses always alert for something good; and all good paragraphs and sentences lose something of their beautiful adaptation when torn from the place of their birth and growth.

So, too, there are no long lists of errors. One hundred pupils in a term make enough to fill a volume. When a teacher knows that Sentences is to be her next subject she should begin three months in advance to get a good collection of specimens. These should be classified so that they may be most usable. By the time the class comes to the study of Sentences some new, live material will be on hand for illustration.

In the pupils' exercises each week those errors should be singled out and dwelt upon which are the special subject of text-book work. If the pupils are studying Coherence in sentence structure, select all violations of this principle in the week's exercises, and by means of them nail that one principle down instead of trying to lay down the whole set of principles given in the chapter on Sentences. Alongside of this collection of mistakes in Coherence of sentences show the pupils the best examples of tight-jointed sentences to be found in the literature they are studying. Point out how these sentences have been made to hold together, and how their own shambling creations can be corrected.

Some teachers will fear the amount of literature required. It may seem large, especially in the first two years. It certainly would be quite impossible to read aloud in class all of this. However, that is not intended. There would be but sorry progress either in the course of study or in the power to analyze literature if the class time were taken up with oral reading of narration and description. The whole of a short story or one or two chapters of a novel are not too much for a lesson. The discussion of the meaning and the method of the author should take up the largest part of the time. Then such portions should be read aloud as are especially suited to an exercise in oral reading. In this way the apparently large list will be easily covered within the time.

Moreover, there is distinct gain in reading much. If only three or four pages be given for a lesson, the study of literature degenerates into a study of words. A study of words is necessary, but it is only a part of the study of literature. Such a method of study gives the pupil no sense of values. He does not get out into the wide spaces of the author's thought, but is eternally hedged about by the dwarfing barriers of etymology and grammar.

B. THE FORM OF A COMPOSITION.

THE MARGIN. It is the custom to leave a margin of about an inch at the left side of the page. In this margin the corrections should be written, not in the composition. There should be no margin at the right. The device of writing incomplete lines, or of making each sentence a paragraph, is sometimes adopted by young persons in the hope of deceiving the teacher as to the length of the composition. Remember that pages do not count for literature any more than yards of hideous advertising boards count as art. Write a full page with a straight-lined margin at the left.

INDENTION. To designate the beginning of a new paragraph, it is customary to have the first line begin an inch farther in than the other lines. This indention of the margin and the incomplete line at the end mark the visible limits of the paragraph.

THE HEADING. The heading or title of the composition should be written about an inch and a half from the top of the page, and well placed in the middle from left to right. There should be a blank line between the title and the beginning of the composition. Some persons prefer, in addition to the title, the name of the writer and the date of writing,--an unnecessary addition, it seems to me. If they are to appear, the name should be at the left and the date at the right, both on one line. The title will be on the next line below.

Jay Phillips. Jan. 27, 1900.

The Circus-Man's Story.

"There was once an old man whom they called a wizard, and
who lived in a great cave by the sea and raised dragons. Now
when I was a very little boy, I had read a great deal about
this old man and felt as if he were quite a friend of mine.
I had planned for a long time to pay him a visit, although I
had not decided just when I should start. But the day Jim
White's father brought him that camel, I was crazy to be
after my dragon at once.

"When bedtime came, I had made all my plans; and scarcely
had Nurse turned her back when I was on my way. It was
really very far, but I traveled so swiftly that I arrived in
a remarkably short time at the wizard's house. When I
rapped, he opened the door and asked me in.

"'I came to see if you had any dragons left,' I told him. 'I
should like a very good, gentle dragon,' I added, 'that
would not scare Nurse; and if it is isn't too much trouble,
I should want one that I could ride.'"

THE INDORSEMENT. When the composition is finished, it should be folded but once up and down the middle of the page. The indorsement upon the back is generally written toward the edges of the leaves, not toward the folded edge. I prefer the other way, however; and for this reason. If in a bunch of essays a teacher is searching for a particular one, she generally holds them in the left hand and with the fingers of the right lifts one essay after another. Indorsing toward the folded edge insures lifting a whole essay every time; while if the edges of the leaves be toward the right hand, too many or too few may be lifted.

The indorsement should contain: first, the name of the writer; second, the term and period of his recitation; third, the title of the essay; and fourth, the date. In describing the class and period, it is well to use a Roman numeral for the term, counting two terms in each year, and an Arabic numeral to denote the period of his recitation.

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PENMANSHIP. The penmanship should be neat and legible. Not all persons can write elegantly; but all can write so that their work can be easily read, and all can make a clean page. Scribbling is due to carelessness. A scribbled page points to a scribbling mind; clean-cut handwriting, perhaps not Spencerian, but a clear, legible handwriting is not only an indication of clear-cut thinking but a means and promoter of accurate thought. Moreover, as a business proposition, one cannot afford to become a slovenly penman. Every composition should be a lesson in penmanship, and by so much improve one's chances in the business world. And last, the teacher who has to read and correct the compositions of from one hundred to two hundred persons each week demands some consideration. No one but a teacher knows the drudgery of this work; it can be much lightened if each pupil writes so that the composition can be read without difficulty. By doing this, the pupil is sure of better criticism; for the teacher can give all her attention to the composition, none being demanded for the penmanship.

C. MARKS FOR CORRECTION OF COMPOSITIONS.

In correcting compositions certain abbreviations will save a teacher much time. Some of the common ones are given below. Underscore the element that needs correcting, and put the abbreviation in the margin. In case the whole paragraph needs remodeling, draw a line at its side and note the correction in the margin.

Cap. Use a capital letter.
l. c. Use a small letter.
D. See the dictionary for the correct use of the word.
Sp. Spelling.
Gr. A mistake in grammatical use of language.
Cnst. The construction of the sentence is awkward or
unidiomatic.
Cl. Not clear. The remedy may be suggested by reference to
certain pages of the text.
W. Weak. As above, point out the trouble by a page
reference.
Rep. Repetition is monotonous; or it may be necessary for
clearness.
p. Punctuation.
Cond. Condense.
Exp. Expand.
Tr. Transpose.
? Some fault not designated. It is well to use page
reference.
P Make a new paragraph.
No P Unite into one paragraph.
[Greek lower-case delta] Cut out.
^ There is something omitted.

[Transcriber's note: The paragraph symbol cannot be displayed
with ascii characters. It is best described as a reversed
"P" with two vertical lines. We have substituted an upper
case "P".]

In addition to the above very common corrections, many others should be made. Instead of abbreviations, it will be better to refer the pupil to the page of the book which treats of the special fault. For instance, if there be an unexpected change of construction, underscore it, and write in the margin "226;" on this page is found "parallel construction" of sentences. It may be well to use the letters U., C., and M., in connection with the page numbers to indicate that the fault is in the unity, coherence, or mass of the element to be corrected. The constant reference to the fuller statement of the principles violated will serve to fix them in the mind.

D. PUNCTUATION.

Punctuation seeks to do for written composition what inflections and pauses accomplish in vocal expression. It makes clear what kind of an expression the whole sentence is: whether declarative, exclamatory, or interrogative. And it assists in indicating the relations of the different parts within a sentence. While there is practically uniformity in the method of punctuation at the end of a sentence, within a sentence punctuation shows much variety of method. Where one person uses a comma, another inserts a semicolon; and where one finds a semicolon sufficient, another requires a colon. It should be remembered that the parts of a sentence have not equal rank; and that the difference in rank should, as far as possible, be indicated by the marks of punctuation. Keeping in mind, also, the fact that the internal marks of punctuation,--the colon, the semicolon, and the comma,--have a rank in the order mentioned, from the greatest to the least, a writer will use the stronger marks when the rank of the parts of a sentence demands them, and the weaker marks to separate the lesser elements of the sentence. The sentences below illustrate the variety which may be practiced, and the use of punctuation to show the relation and rank of the elements of a sentence.

1. Internal punctuation is largely a matter of taste but there are definite rules for final punctuation.

2. Internal punctuation is largely a matter of taste; there are, however, definite rules for final punctuation.

3. Internal punctuation, the purpose of which is to group phrases and clauses which belong together and to separate those which do not belong together, and to indicate the relative rank of the parts separated, is, to a great extent, a matter of taste: on the other hand, there are definite rules for final punctuation, the object of which is to separate sentences, and also to assist in telling what kind of a sentence precedes it; that is, whether it be declarative, interrogative, or exclamatory.

Looking at the first sentence, we find two elements of equal rank separated by a comma. Some authors would prefer no punctuation at all in a sentence as short as this. Again, if one wished to make the two elements very independent, he would use a semicolon. There would be but little difference in meaning between no punctuation and a comma; but there is a wide difference in meaning between no punctuation and a semicolon. The independence caused by the use of the semicolon is felt in the second sentence, where the words are the same except one. In this sentence a colon might be used; and one might go so far as to make two sentences of it. Notice that in these two sentences the question is how independent you wish the elements to be, and it is also a question of taste. In the third sentence, there are elements of different rank. To indicate the rank, punctuation of different value must be introduced. The two independent elements are separated by a colon. A semicolon might be used, if a semicolon were not used within the second independent element. This renders the greater mark necessary. Look at the commas in the first independent element. The assertion is that "internal punctuation is a matter of taste." This is too sweeping. It is modified by an explanatory phrase, "to a large extent;" and this phrase is inclosed by commas. Moreover, the long clause indicating the purpose of internal punctuation is inclosed by commas. The use of a semicolon in the second part falls under the third rule for the semicolon. If one should substitute for this semicolon a comma and a dash, he could use a semicolon instead of a colon for separating the two main divisions of the sentence. However, the method in which they are first punctuated is in accord with the rules generally accepted. The simplest of these rules are given below but one must never be surprised to find a piece of literature in which the internal punctuation is at variance with these rules.

CAPITAL LETTERS.

1. A capital letter begins every new sentence.

2. A capital letter begins every line of poetry.

3. All names of Deity begin with a capital letter.

4. All proper names begin with capital letters.

5. All adjectives derived from proper nouns begin with capital letters.

6. The first word of every direct quotation begins with a capital letter.

7. Most abbreviations use capital letters.

COMMAS.

8. A series of words or a series of phrases, performing similar functions in a sentence, are separated from each other by commas, unless all the connectives are expressed.

"Her voice was ever soft,
Gentle, and low,--an excellent thing in woman."

"Good my lord,
You have begot me, bred me, loved me: I
Return those duties back as are right fit,
Obey you, love you, and most honor you."

But, "shining and tall and fair and straight," because all the connectives are expressed.

9. Words out of their natural order are separated from the rest of the sentence by commas.

"To the unlearned, punctuation is a matter of chance."

10. Words and phrases, either explanatory or slightly parenthetical, are separated from the rest of the sentence by commas.

"Then poor Cordelia!
And yet not so; since, I am sure, my love 's
More richer than my tongue."

However when phrases and clauses are quite parenthetic, they are separated from the remainder of the sentence by parentheses, or by commas and dashes. The comma and dash is more common, and generally indicates a lesser independence of the inclosed element.

"Then Miss Gunns smiled stiffly, and thought what a pity it
was that these rich country people, who could afford to buy
such good clothes (really Miss Nancy's lace and silk were
very costly), should be brought up in utter ignorance and
vulgarity."

11. The nominative of direct address, and phrases in the nominative absolute construction are cut off by commas.

"Goneril,
Our eldest born, speak first."

"The ridges being taken, the troops advanced a thousand
yards."

12. Appositive words and phrases are separated from the remainder of the sentence by commas.

"In the early years of this century, such a linen weaver,
named Silas Marner, worked at his vocation, in a stone
cottage that stood among the nutty hedgerows near the
village of Raveloe, and not far from the edge of a deserted
stone-pit."

13. When words are omitted, the omission is indicated by the use of a comma.

"Fairest Cordelia, that art most rich, being poor;
Most choice, forsaken; and most loved, despis'd!"

14. A comma is used before a short and informal quotation.

"In the bitterness of his wounded spirit, he said to
himself, '_She_ will cast me off too.'"

15. A comma is used to separate the independent clauses of a compound sentence sufficiently involved to necessitate some mark of punctuation, and yet not involved enough to require marks of different ranks.

"But about the Christmas of the fifteenth year a second
great change came over Marner's life, and his history became
blent in a singular manner with the life of his neighbors."

6. Small groups of more closely related words are inclosed by commas to indicate their near relation and to separate them from words they might otherwise be thought to modify.

"In this strange world, made a hopeless riddle to him, he
might, if he had had a less intense nature, have sat
weaving, weaving--looking towards the end of his pattern, or
towards the end of his web, till he forgot the riddle, and
everything else but his immediate sensations; but the money
had come to mark off his weaving into periods, and the money
not only grew, but it remained with him."

SEMICOLONS.

17. A semicolon is used to separate the parts of a compound sentence if they are involved, or contain commas. It is also used to give independence to the members of a compound sentence when not very complex.

"The meadow was searched in vain; and he got over the stile
into the next field, looking with dying hope towards a small
pond which was now reduced to its summer shallowness, so as
to leave a wide margin of good adhesive mud."

"As for the child, he would see that it was cared for; he
would never forsake it; he would do everything but own it."

18. Semicolons are used to separate a series of clauses in much the same way as commas are used to separate a series of words.

"I love you more than words can wield the matter;
Dearer than eyesight, space, and liberty;
Beyond what can be valued, rich or rare;
No less than life, with grace, health, beauty, honor;
As much as child e'er loved, or father found;
A love that makes breath poor, and speech unable;
Beyond all manner of so much I love thee."

19. A semicolon is generally used to introduce a clause of repetition, a clause stating the obverse, and a clause stating an inference.

(Many examples of the last two rules will be found in the discussion of compound sentences on pages 202, 203.)

COLONS.

20. A colon is used to introduce a formal quotation. It is frequently followed by a dash.

"Under date of November 28, 1860, she wrote to a friend:--

"'I am engaged now in writing a story--the idea of which
came to me after our arrival in this house, and which has
thrust itself between me and the other book I was
meditating. It is Silas Manner, the Weaver of Raveloe.'"

"On the last day of the same year she wrote: 'I am writing a
story which came across my other plans by a sudden
inspiration, etc.'"

21. A colon is used to introduce a series of particulars, either appositional or explanatory, which the reader has been led to expect by the first clause of the sentence. These particulars are separated from each other by semicolons.

"The study of the principles of composition should include
the following subjects: a study of words as to their origin
and meaning; a study of the structure of the sentence and of
the larger elements of discourse--in other words, of
concrete logic; a study of the principles of effective
literary composition, as illustrated in the various
divisions of literature; and also a study of the aesthetics
of literature."

"What John Morley once said of literature as a whole is even
more accurate when applied to fiction alone: its purpose is
'to bring sunshine into our hearts and to drive moonshine
out of our heads.'"

22. A colon is used to separate the major parts of a very complex and involved sentence, if the major parts, or either of them, contain within themselves semicolons.

"For four years he had thought of Nancy Lammeter, and wooed
her with a tacit patient worship, as the woman who made him
think of the future with joy: she would be his wife, and
would make home lovely to him, as his father's home had
never been; and it would be easy, when she was always near,
to shake off those foolish habits that were no pleasures,
but only a feverish way of annulling vacancy."

23. A colon is sometimes used to mark a strong independence in the parts of a compound sentence.

"He didn't want to give Godfrey that pleasure: he preferred
that Master Godfrey should be vexed."

THE DASH.

24. A dash is frequently used with a colon to introduce a formal quotation. The quotation then begins a new paragraph.

(Example under colon.)

25. A dash is used alone or with a comma to inclose a phrase or clause which is parenthetic or explanatory.

"'But as for being ugly, look at me, child, in this
silver-colored silk--I told you how it 'ud be--I look as
yallow as a daffadil.'"

(Example under comma.)

26. A dash is used to denote a sudden turn of the thought.

"I've no opinion of the men, Miss Gunn--I don't know what
_you_ have."

"'It does make her look funny, though--partly like a
short-necked bottle wi' a long quill in it."

27. A dash is frequently used when the composition should be interrupted to indicate the intensity of the emotion.

"No--no--I can't part with it, I can't let it go,' said
Silas abruptly. 'It's come to me--I've a right to keep it.'"

"And my poor fool is hang'd! No, no, no life!
Why should a dog, a horse, a rat, have life,
And thou no breath at all? Thou'lt come no more,
Never, never, never, never, never!--
Pray you, undo this button:--thank you, sir.--
Do you see this? Look on her,--look,--her lips,--
Look there, look there!"--

28. A dash is sometimes used alone before an appositive phrase or clause.

"For the first time he determined to try the coal-hole--a
small closet near the hearth."

PERIOD, EXCLAMATION POINT, INTERROGATION MARK.

29. A period closes every declarative sentence.

30. A period is used after abbreviations.

31. An exclamation point follows an expression of strong emotion.

32. An interrogation mark follows a direct question.

33. An interrogation mark is sometimes used in the body of a sentence, when the writer wishes to make the assertion forceful and uses a rhetorical question for the purpose.

"The shepherd's dog barked fiercely when one of these
alien-looking men appeared on the upland, dark against the
early winter sunset; for what dog likes a figure bent under
a heavy bag?--and these pale men rarely stirred abroad
without that mysterious burden."

34. Quotation marks inclose every quotation of the exact words of another. When one quotation is made within another, the inner or secondary quotation is inclosed with single marks, the main or outer quotation is included within the double marks.

(Examples of both may be found above.)

SUGGESTIONS FOR TEACHING PUNCTUATION.

At the time the pupils are studying the rules for punctuation they are reading Hawthorne or some other author equally careful of his punctuation. In his writing they will find numerous examples of the rules for punctuation. Let them take five rules for the comma, finding all the examples in five pages of text. In the same way furnish semicolons, colons, and dashes. When the rules have all been learned, they should be able to give the reason for every mark they find in literature. Next place upon the board paragraphs not punctuated, and have the pupils punctuate them. Remember that there is not absolute uniformity in the use of the comma, semicolon, and colon; though in each author there is a general adherence to the principles he adopts. Punctuation should be consistent. Insist that the pupil punctuate his written work consistently.

E. SUPPLEMENTARY LIST OF LITERATURE.[57]

HAWTHORNE . . . . . . . A Wonder-Book for Girls and Boys. TENNYSON. . . . . . . . Enoch Arden. LONGFELLOW. . . . . . . Tales of a Wayside Inn. WHITTIER. . . . . . . . The Tent on the Beach. MACAULAY. . . . . . . . Lays of Ancient Rome. DICKENS . . . . . . . . A Christmas Carol. KIPLING . . . . . . . . Wee Willie Winkie, and Other Stories. KIPLING . . . . . . . . The Jungle Books. HAWTHORNE . . . . . . . Twice-Told Tales. HAWTHORNE . . . . . . . Mosses from an Old Manse. DICKENS . . . . . . . . The Cricket on the Hearth. BROWN . . . . . . . . . Rab and his Friends. OUIDA . . . . . . . . . A Dog of Flanders. HALE. . . . . . . . . . The Man without a Country. DEFOE . . . . . . . . . Robinson Crusoe. POE . . . . . . . . . . The Gold-Bug. SCOTT . . . . . . . . . Marmion. SCOTT . . . . . . . . . The Lady of the Lake. BROWNING. . . . . . . . Herve Riel, an Incident of the French Camp, and other Narrative Poems. FRANKLIN. . . . . . . . Autobiography. COOPER. . . . . . . . . The Last of the Mohicans. LONGFELLOW. . . . . . . Evangeline. LONGFELLOW. . . . . . . Miles Standish. DAVIS . . . . . . . . . Gallegher, and Other Stories. MAUPASSANT. . . . . . . Number Thirteen. MISS WILKINS. . . . . . Short Stories. MISS JEWETT . . . . . . Short Stories. POPE. . . . . . . . . . The Iliad. ALDRICH . . . . . . . . Marjorie Daw. LOWELL. . . . . . . . . The Vision of Sir Launfal, and Other Poems. IRVING. . . . . . . . . Tales of a Traveller. IRVING. . . . . . . . . The Sketch Book. POE . . . . . . . . . . The Fall of the House of Usher. WHITTIER. . . . . . . . Snow-Bound. BURROUGHS . . . . . . . Sharp Eyes; Birds and Bees; Pepacton. GOLDSMITH . . . . . . . The Deserted Village. SCOTT . . . . . . . . . Ivanhoe. DICKENS . . . . . . . . David Copperfield. SHAKESPEARE . . . . . . Julius Caesar. SHAKESPEARE . . . . . . The Merchant of Venice. IRVING. . . . . . . . . Rip Van Winkle. IRVING. . . . . . . . . The Legend of Sleepy Hollow. BRYANT. . . . . . . . . Selected Poems. GRAY. . . . . . . . . . An Elegy in a Country Churchyard. TENNYSON. . . . . . . . The Princess; Idylls of the King. DICKENS . . . . . . . . The Pickwick Papers. BURNS . . . . . . . . . Selected Poems. DRYDEN. . . . . . . . . Alexander's Feast. BYRON . . . . . . . . . Childe Harold. GEORGE ELIOT. . . . . . Silas Marner. COLERIDGE . . . . . . . The Rime of the Ancient Mariner. MACAULAY. . . . . . . . Essay on Milton. RUSKIN. . . . . . . . . Sesame and Lilies. EMERSON . . . . . . . . Friendship; Self-Reliance; Fortune of the Republic; The American Scholar. ARNOLD. . . . . . . . . On the Study of Poetry; Wordsworth and Keats. LOWELL. . . . . . . . . Emerson, the Lecturer; Milton; Books and Libraries. HOLMES. . . . . . . . . The Autocrat of the Breakfast-Table. ADDISON . . . . . . . . The Sir Roger de Coverley Papers. WORDSWORTH. . . . . . . Intimations of Immortality, and Other Poems. KEATS . . . . . . . . . Selected Poems. SHELLEY . . . . . . . . Selected Poems. SHAKESPEARE . . . . . . Macbeth. SHAKESPEARE . . . . . . A Midsummer Night's Dream. SHAKESPEARE . . . . . . As You Like It. WEBSTER . . . . . . . . Bunker Hill Monument Oration; Adams and Jefferson. GOLDSMITH . . . . . . . The Vicar of Wakefield. MILTON. . . . . . . . . L'Allegro; Il Penseroso; Comus; Lycidas. DE QUINCEY. . . . . . . Confessions of an English Opium Eater, and Other Papers. JOHN HENRY NEWMAN . . . Selected Essays. THACKERAY . . . . . . . Henry Esmond. STEVENSON . . . . . . . Virginibus Puerisque. STEVENSON . . . . . . . Memories and Portraits. SCHURZ. . . . . . . . . Abraham Lincoln. GEORGE WILLIAM CURTIS . Selected Addresses. CHARLES LAMB. . . . . . Essays of Elia. STEVENSON . . . . . . . Travels with a Donkey. STEVENSON . . . . . . . An Inland Voyage. BURKE . . . . . . . . . Conciliation with the Colonies. LINCOLN . . . . . . . . Cooper Union Address; Gettysburg Speech. CHAUCER . . . . . . . . Prologue, and Two Canterbury Tales. MILTON. . . . . . . . . Paradise Lost, and Sonnets. CARLYLE . . . . . . . . Essay on Burns. TENNYSON. . . . . . . . In Memoriam, and Lyrics. BROWNING. . . . . . . . Rabbi Ben Ezra; Saul; A Grammarian's Funeral. THOREAU . . . . . . . . Walden. AUSTEN. . . . . . . . . Pride and Prejudice. GEORGE ELIOT. . . . . . Romola. SHAKESPEARE . . . . . . King Lear. SHAKESPEARE . . . . . . Hamlet. MACAULAY. . . . . . . . Essay on Johnson. THACKERAY . . . . . . . Vanity Fair. LOWELL. . . . . . . . . Democracy; Lincoln. STEVENSON . . . . . . . Lantern Bearers; A Humble Remonstrance; Gossip about Romance.

* * * * *

INDEX

Abstract vs. concrete, 89, 90.

"Adams and Jefferson," Webster's, quotation from, 176.

Adjectives, 78.

"Alice in Wonderland," a story without facts, 25.

Allegory, 261.

Allusion, 263.

Amphibrach, 273.

Analogy, use of, 137.

Anapest, defined, 273;
interchangeable with iambus, 278.

"And," use of, 192.

Andersen, Hans Christian, his "Tannenbaum," 12.

Anecdotes in exposition, 97.

"Annabel Lee," quotations from, 271, 278, 279.

Anti-climax, 210.

Antithesis, 227.

"Apologia," Newman's, quotation from, 160.

Apostrophe, 261.

Argument, 4, 128-137;
from cause, 133;
sign, 133-137;
example, 137.

Arnold, Matthew, quotation from, 159;
quotation to illustrate repetition, 167;
to illustrate sentence structure, 222.

Arrangement, in narration, 29-32;
description, 74, 75;
exposition, 108-114;
argument, 138-141;
sentence, 222, 223.

Association of ideas, 103.

"Autumn Effect, An," quotation from, 17.

"Baa, Baa, Black Sheep," its purpose, 7;
beginning, 29;
length of sentences in, 33;
time for the action, 36.

Balanced sentences, 227, 228.

Ballad, defined, 285.

"Barbara Frietchie," a narrative poem, 4.

Bates, Arlo, quoted, 35.

Beauty, gained by use of figurative language, 258.

Beginning of a story, 29.

Bellamy, Edward, his "Looking Backward," 7.

"Biglow Papers," quotation from, 51.

"Birthmark," Hawthorne's, 24.

Blake, William, "Tiger, Tiger," quoted, 282, 283.

"Bonnie Brier Bush, Beside the," 25.

Bookish words, 242.

"Break, Break, Break," quotation from, 283.

"Bridge of Sighs, The," quotation from, 270.

Brief in argument, 138, 139.

Browning, Robert, vivid narration of, 23.

"Burial of Sir John Moore, The," quotation from, 277.

Burke, Edmund, quotation from his speech on "Conciliation with the
Colonies," 116;
that speech analyzed, 142-147;
quotations to illustrate paragraph structure, 171, 175, 177, 188;
quotations to show sentence structure, 200, 209, 214, 226.

Burroughs, John, his knowledge of his field, 9;
quotations from, 158, 160.

"But," use of, 192.

Capital letters, 303.

Cause and effect, 133-136.

Characters, number of, 35.

Chaucer, Geoffrey, quotation from, 245.

Choice of subject, 8-12.

Choice of words, 78-80, 239-255.

"Cinderella," 12.

Clearness and coherence, 180-193, 224, 225.

Clearness gained by use of figurative language, 258.

Climax, 139-141, 211, 218;
defined, 262.

Coherence, 20;
in narration, 31, 32;
in description, 74, 75;
in exposition, 116-118;
in paragraphs, 180-193;
in sentences, 224, 225.

Colons, 306, 307.

Comedy, 286.

Commas, 303, 304.

Comparisons, use of, 77, 98;
paragraph of, 165;
confusion of, 259.

Composition, 1;
oral and written, 2;
conventions of, 2.

"Conciliation with the Colonies," Burke's speech on, quoted, 116, 171,
175, 177, 188, 214, 226;
analyzed, 142-147.

Conclusion of a story, 23.

Concrete facts, use of, 89, 90.

Conjunctions, use of, 190, 191.

Connectives in sentences, 228, 229.

Consistency, 25.

Cooke, Josiah P., his essay on "Fire," 8.

"Copyright," quotations from Macaulay's speech on, 159, 172.

Correction, marks for, 300.

Curtis, George William, quoted, 111.

Dactyl, defined, 272;
interchangeable with trochee, 278.

"Daisy, The," Wordsworth's quotation from, 274.

"Darkness and Dawn," 8.

Dash, 307, 308.

"David Copperfield," description quoted from, 65.

"David Harum," its construction criticised, 22.

Davis, Richard Harding, small number of characters in his books, 35;
simple plot in his "Gallegher," 36.

Deduction, 129.

Definition, a, 91-94.

Description, 4, 49-80;
an aid to narration, 34;
and exposition, 91.

Description and painting, 50.

Details, in narration, 22-25;
paragraph of, 163.

Dickens, Charles, his "Nicholas Nickleby" as an exposition, 5;
description from his "David Copperfield" quoted, 65;
quotations from Mr. Micawber's conversation, 253.

Dictionary, use of, 237.

Differentia, 92, 93.

Digression, 22.

Dimeter, 274.

Discourse, forms of, 3-7.

"Discussions and Arguments," Newman's, quotation from, 97.

Dramatic poetry, 286.

Dynamic point of sentence, 221.

Elegy, the, 285.

Eliot, George, her "Silas Marner," 13;
quotation from, 152-156.

Emerson, Ralph Waldo, primarily an essayist, 9.

Emotional statement, 115.

Emphasis, how secured, 110-112, 115, 116, 217-219.

End of a paragraph, 175-179;
of a sentence, 208-212.

"English Composition," Wendell's, quotation from, 94.

Enthymeme, 130.

Enumeration _vs._ suggestion, 52.

Enumerative description, 54.

Epic, the, 284.

Epithet, 260.

"Evangeline," quotation from, 277, 278.

Events, order of, 29, 30.

Everett, Edward, description from, quoted, 71.

Examples, paragraph of, 171.

Exclamation, 262.

Exclamation point, 308.

Exclusion of details, 22, 23, 26.

Exposition, 4, 89-120;
and description, 91.

Facts in stories, 25.

"Faerie Queene, The," quotation from, 281.

"Fall of the House of Usher, The," descriptions in, 34;
quotation from, 69, 71.

Familiar images, 76.

Farrar, Canon, as a writer of sermons, 8.

"Feathertop," 13.

Figurative language, 257;
value of, 258.

Figures of speech, 77, 250, 257-268.

Fine writing, 253.

"First Snow-Fall, The," quotation from, 274.

Fiske, John, his "History of the United States," 25.

Foot, a, in poetry, 272;
one kind may be substituted for another, 277-281;
first and last foot of a verse may be irregular, 281, 282.

Force, gained by use of figurative language, 258.

Foreign words, 243.

Francis I. quoted, 113.

"Function of Criticism at the Present Time," Arnold's, quotation from,
222.

"Gallegher," simple plot of, 36.

General terms, 89, 248-252.

Genung, J. F., on paragraph structure, 162.

Genus and differentia, 92, 93.

"Gold Bug," length of sentences in, 33.

Good usage, 222, 223, 239-245.

Grant, U. S., his "Memoirs" have no plot, 16.

Hackneyed phrases, 253.

Haggard, Rider, 12.

Hawthorne, Nathaniel, a story writer, 9;
his "Feathertop," 13;
his descriptions in "The Marble Faun," 34;
quoted, 50;
quotations from, about "The Old Manse," 58, 59;
descriptions from his "House of the Seven Gables" quoted, 66;
from "The Old Apple Dealer," 67.

Heading of essay, 297.

Heptameter, 275.

"Herve Riel" as a piece of narrative, 23.

Hexameter, 275.

"Hiawatha," quotation from, 270.

"Historical Sketches," Newman's, quotation from, 52-54.

Hood, Thomas, "The Bridge of Sighs" quoted, 270.

"House of the Seven Gables," descriptions quoted from, 66.

Hugo, Victor, his description of Waterloo quoted, 67.

Huxley, Thomas, example of his use of comparison, 98;
quotation from, to illustrate paragraph structure, 161.

Hyperbole, 263.

Iambus, defined, 272;
the common foot of English verse, 272, 279;
interchangeable with anapest, 278.

"Idea of a University," quotations from, 95, 171, 193, 203, 210, 247.

Illustrations, their value, 97.

"Impressions de Theatre," quotation from, 63.

"Incident of a French Camp, An," as an example of a short story, 23.

Incident, the main, 20, 21.

Incidents, order of, 29, 30.

Inclusion of material, 24.

Indention of paragraph, 297.

Individual arrangement of paragraph, 181-188.

Individuality of author, 8.

Indorsement of essay, 298.

Induction, 128, 132.

Interest, 11, 12.

Interrogation, 262.

Interrogation point, 308.

Introduction of story, 23.

Inversion, 262.

Irony, 262.

Irrelevant matter, 22, 23.

Irving, Washington, as a story writer in the third person, 27;
description from, quoted, 54;
short characterization quoted, 70;
description of a coachman quoted, 75;
quotations to illustrate paragraph structure, 164, 183;
to illustrate sentence construction, 202, 203, 219, 220, 229.

Jonson, Ben, quotation from, 280.

"Jungle Books," 12;
quotation from, 78.

"Kidnapped," quotations from, 15, 165;
its unity, 27.

"King Lear," its plot, 16;
quotation from, 60.

Kingsley, Charles, "The Three Fishers" quoted, 271.

Kipling, Rudyard, his "Baa, Baa, Black Sheep," 7;
his "Jungle Books," 12;
his use of climax, 21;
as a story-teller, 22, 27;
small number of characters in his stories, 35;
quotation from his "Light that Failed," 60;
description quoted from his "Jungle Books," 78;
quotation to illustrate sentence construction, 201;
his "L'Envoi" quoted, 252.

"Lady of the Lake, The," quotation from, 269.

Language _vs._ painting, 49-52.

Lanier, Sidney, "The Science of English Verse," cited, 269;
quoted, 273.

Latin words, 245-248.

Le Gallienne, Richard, his essay on pigs, 10;
quoted, 257.

"Legend of Sleepy Hollow, The," 27, 29;
description in, 34;
quotation from to show paragraph structure, 163, 183;
to show sentence structure, 202, 219.

Lemaitre, Jules, criticism of Zola quoted, 63.

Length, of a description, 63, 64;
of a paragraph, 151-156;
of a sentence, 178, 179, 204, 205.

"L'Envoi" to "The Seven Seas," quoted, 252.

"Les Miserables," its intricate plot, 16;
quotation from, 67.

"Light that Failed, The," quotation from, 60.

"Little Dorrit," large number of characters in, 35.

"Little Red Riding Hood," 12.

Logical definition, 91.

"London Bridge," quotation from, 282.

Longfellow, Henry Wadsworth, "Hiawatha" quoted, 270;
"Evangeline" quoted, 277, 278;
"The Village Blacksmith" quoted, 279, 280.

"Looking Backward," as a novel with a purpose, 7.

Loose sentences, 212, 214, 215.

Lovelace, Richard, quoted, 112.

Lowell, James Russell, his "Sir Launfal," 13;
quotation from "Biglow Papers," 51;
from a "Song," 52;
from "To W. L. Garrison," 89;
from "The First Snow-Fall," 274.

Lyric poetry, 285.

Lytton, Lord, quotation from, 241.

Macaulay, Lord, quotation on Milton from, 96;
quotation to illustrate comparison, 98;
his essay on "Milton" analyzed, 106;
last sentence of that essay quoted, 111;
that essay as an example of proportion in treatment, 114;
his denunciation of Charles I. quoted, 115;
further quotations from his "Milton," 117;
his speeches on "Copyright" and the "Reform Bill" quoted, 159, 172,
193;
quotations from the "Milton" to illustrate paragraph structure, 164,
166, 168, 178, 182, 184.

"Macbeth," 13.

Maclaren, Ian, 25.

Main incident, 20-26.

Major term, 129.

"Marble Faun, The," description in, 34.

Margin of composition, 296.

"Marmion," 27, 29;
quoted, 276.

Mass, 20;
in description, 64-75;
in exposition, 108-114;
in paragraphs, 174-178;
in sentences, 207-212.

Masson, David, 104.

Maupassant, Guy de, quotation from his "Pierre et Jean," 56;
from his "Odd Number," 156.

Meredith, George, quotation from, to illustrate paragraph structure,
161;
sentence structure, 205.

Metaphor, 77, 260.

Metonymy, 250, 263.

Metre, kinds of, 273-275;
variations in, 276.

Metrical romance, the, 284.

Middle term, 130.

"Milton," Macaulay's essay on, quotations from, 96, 98, 111, 115, 117,
119, 164, 166-168, 178, 184;
analyzed, 106.

Milton, John, quotations from, 241, 245, 248.

Minor term, 129.

Monometer, 273.

Mood in description, 59-62, 67-69.

"Mosses from an Old Manse," quotation from, 50.

Movement of story, 32, 33.

Narration, 4, 13-37.

Narrative poetry, 284.

National usage, 242.

"New Testament," quotation from, 241.

Newman, Cardinal, quotation from, about Athens, 52;
quotation on theology, 95;
quotation to illustrate the use of specific instances in exposition,
97;
to illustrate paragraph structure, 160, 171, 177, 193;
to show sentence construction, 203, 210;
to show use of words, 247.

"Nicholas Nickleby," as an exposition of school abuses, 5.

Nouns, 78.

Number of characters, 35.

Observation, its value, 55.

Obverse statement, 95, 96;
paragraph of, 169-171.

Octameter, 275.

"Odd Number, The," quotation from, 156.

Ode, defined, 285.

"OEnone," quotation from, 51.

"Old Apple Dealer, The," quotation from, 67.

Omniscience of an author, 27.

Order of events in stories, 29;
of words in sentences, 217-219.

Outline, use of, 32, 109, 110, 138, 139, 174.

Palmer, Professor G. H., quotations from, on composition writing, 101,
112.

"Paradise Lost," quotations from, 241, 245, 248.

Paragraphs, 151-195.

Parallel construction, 192-194, 226, 227.

Particulars in exposition, 96;
paragraph of, 163.

Penmanship, 300.

Pentameter, 274.

"Pepacton," 9;
quotations from, 158, 160.

Period, 308.

Periodic sentences, 212-216.

Personification, 77, 260.

Persuasion, 4.

Philippians iv. 8, 241.

"Physical Basis of Life," Huxley's, quotations from, 98, 161.

"Pierre et Jean," quotation from, 55.

"Pilgrim's Progress," 13.

Place of a story, 29.

Plot, 15-20, 36.

Poe, Edgar Allan, his sentences, 33;
his use of description in "The Fall of the House of Usher," 34;
quotations from that work, 68, 71;
"Annabel Lee" quoted, 271, 278, 279.

Poetic feet, 272.

Poetical words, 254.

Poetry, kinds of, 284-286.

Point of view, 56-59;
change of, 58;
mental, 59.

Position of words in sentences, 217.

"Praeterita," Ruskin's, quotations from, 169.

Premises, 129;
false, 131.

"Present Position of Catholics in England," Newman's, quotation from,
177.

Present usage of words, 244, 245.

"Prince Otto," quotations from, 72, 73.

"Princess, The," quotation from, 251.

Pronouns, use of, 188, 189.

Proportion in description, 73;
in exposition, 104-108, 114;
in paragraphs, 179.

"Prose Fancies," 10.

Provincialisms, 242.

Purpose, of an author, 6, 7;
in description, 59-62.

Quotation marks, 308.

"Quo Vadis," 7.

Rapidity of movement, 32.

"Reform Bill," quotation from Macaulay's speech on, 193.

Refutation in argument, 141.

Repetition, its value, 94;
paragraph of, 167.

Reputable words, 239-241.

"Richard Feverel," quotations from, 161, 205.

"Richelieu," quotation from, 241.

"Robinson Crusoe," has little plot, 16.

Royce, Josiah, quotation from, 242.

Ruskin, John, 49;
quotation to illustrate building up a paragraph, 169;
his "Sesame and Lilies," 239.

Saxon words, 245-248.

Scale of treatment, 104-108.

Scansion, 275-284;
requisites for scanning, 283, 284.

"Science of English Verse, The," quotation from, 273.

Scott, Sir Walter, as a story-teller in the third person, 27;
his dull introductory chapters, 31;
"The Lady of the Lake" quoted, 269;
"Marmion" quoted, 276.

Selection of material in narration, 21-28;
in description, 56-62;
in exposition, 102-104;
in argument, 138.

"Self-Cultivation in English," quotation from, 101, 112.

Semicolons, 202, 203, 305, 306.

Sentences, 200-230;
simple and compound, 200, 201;
long or short, 204, 205.

Sequence of events, 29, 30.

Serial arrangement of paragraph, 181-188.

"Sesame and Lilies," 239.

Sienkiewicz, Henry, his "Quo Vadis," 7.

"Silas Marner," written for a purpose, 13;
example of a plot, 20;
time consumed in the story, 36;
quotation to show paragraph length, 152-156.

Simile, 77, 261.

Sing-song, natural tendency toward, 269, 276.

Slang, 240.

Slowness of movement, 33.

"Snow-Bound," narrative or descriptive?, 4.

Song defined, 285.

Sonnet defined, 285.

Specific words, 248-252.

Spencer, Herbert, on the philosophy of the periodic sentence, 212.

Spenser, Edmund, "The Faerie Queene" quoted, 281.

"Spirit of Modern Philosophy," Royce's, quotation from, 242.

Spondee, 273.

Stanza, 275.

Stedman, E. C., an authority on literature, 9.

Stevenson, Robert Louis, his "Treasure Island" and "Travels with a
Donkey" as narratives, 4;
quotation from "Kidnapped," 15;
his "An Autumn Effect" quoted, 17;
unity in his stories, 27;
descriptions from, quoted, 62, 72;
examples of personification from, 77;
his unusual use of words, 79;
quotation to show paragraph structure, 165.

Subdual of subordinate parts, 219.

Subject, 8-12;
common, 11;
interesting, 11;
in exposition, 99, 100.

Suggestion _vs._ enumeration, 52.

Suggestions to teachers, 257-260.

Suggestive description, 55.

Summary, a, 119.

Superlatives, 80.

Syllogism, 129-132.

Synecdoche, 250, 263.

"Tannenbaum," 12.

Technical words, 242.

Tennyson, Lord, quotations from, 51, 251, 283.

Terms of syllogism, 129, 130.

Testimony, 136.

Tetrameter, 274.

Thackeray, W. M., quotation from, 157.

Theme in exposition, 100, 101.

"Three Fishers, The," quotation from, 271.

"Tiger, Tiger," quotation from, 283.

Time of story, 35.

Title in exposition, 102.

"To W. L. Garrison," quotation from, 89.

Topic-sentence, 157;
its position, 157-161.

Tragedy, 286.

Transitions, 118, 119.

"Travels with a Donkey," narrative or descriptive? 4;
absence of plot, 17;
quotations from, 62, 65, 157.

"Treasure Island," a narrative, 4;
plot simple, 16.

Trimeter, 274.

Trochee, defined, 272;
interchangeable with dactyl, 278.

Type-form of paragraph, 162.

"Ugly Duckling, The," 25.

Undistributed middle, 131.

Unity, 20;
in narration, 21, 22;
in description, 56-64;
in exposition, 102, 103;
in argument, 138;
in paragraphs, 173;
in sentences, 205.

"Uses of Astronomy, The," quotation from, 72.

Value of observation, 55.

"Vanity Fair," example of a plot, 19;
quotation from, 157.

Variations in metre, 276-284.

Verbs in description, 79.

Verne, Jules, 12.

Verse, a, definition of, 273;
how named, 275.

Verse forms, 269-291.

"Village Blacksmith, The," quotation from, 279, 280.

"Vision of Sir Launfal, The," 13;
quotation from, 67.

Vocabulary, need of, 236.

Vulgarisms, 240.

"Wake Robin," 9.

Webster, Daniel, quotation from, to illustrate paragraph structure,
176;
his use of words, 247.

"Wee Willie Winkie," its climax, 21.

Wendell, Barrett, quotation on printed words from, 94.

Whittier, John G., his "Barbara Frietchie" and "Snow-Bound" as
narratives, 4.

Wilkins, Miss, small number of characters in her books, 35.

Wolfe, Charles, "The Burial of Sir John Moore" quoted, 277.

Words, 235-256;
choice of, 78, 79, 80, 254-260;
reputable, 240, 241;
national, 242;
in present use, 244, 245;
Latin and Saxon, 245-248;
general and specific, 248-252.

"Wordsworth," Arnold's essay on, quotations from, 158, 167;
"The Daisy" quoted, 274.

* * * * *

FOOTNOTES

1. See pp. 13, 14, of the Report of Committee on College Entrance
Requirements.

2. See the first essay in _Prose Fancies._

3. Unless otherwise stated, all page references are to the Riverside
Literature Series.

4. _Biglow Papers,_ No. X.

5. Tennyson's _OEnone._

6. _Historical Sketches,_ by Cardinal Newman.

7. _Pierre et Jean,_ by Maupassant. Quoted from Bates's _Talks on
Writing English._

8. _Impressions de Theatre,_ by Jules Lemaitre.

9. _The Marble Faun,_ by Nathaniel Hawthorne.

10. _Travels with a Donkey,_ by R. L. Stevenson.

11. _Les Miserables,_ by Victor Hugo.

12. _The Stage Coach,_ in Irving's _Sketch Book._

13. _The Jungle Book,_ by Rudyard Kipling.

14. _To W. L. Garrison,_ by J. R. Lowell.

15. _Idea of a University,_ by Cardinal Newman.

16. _Essay on Milton,_ by Lord Macaulay.

17. _Discussions and Arguments._

18. _Essay on Milton._

19. _The Physical Basis of Life,_ by T. H. Huxley.

20. _Self-Cultivation in English,_ by Professor G. H. Palmer.

21. Speech on _Conciliation with the Colonies,_ by Burke.

22. A text-book on Logic, such as Jevons's, should be used to
illustrate the kinds of argument more fully.

23. _Silas Marner,_ by George Eliot.

24. _The Odd Number,_ by Guy de Maupassant.

25. _Vanity Fair,_ by W. M. Thackeray.

26. _Idyl of the Honey-Bee,_ from Burroughs's _Pepacton._

27. _Essay on Wordsworth,_ by Matthew Arnold.

28. Speech on _Copyright,_ by Lord Macaulay.

29. _Idyl of the Honey-Bee,_ from Burroughs's _Pepacton._

30. _The Physical Basis of Life,_ by T. H. Huxley.

31. See Scott and Denney's _Composition-Rhetoric._

32. _Legend of Sleepy Hollow,_ by W. Irving.

33. _Essay on Milton,_ by Lord Macaulay.

34. _Kidnapped,_ by R. L. Stevenson.

35. _Praeterita,_ by John Ruskin.

36. Speech on _Conciliation with the Colonies,_ by Burke.

37. Barrett Wendell's _English Composition._

38. Oration on _Adams and Jefferson,_ by Daniel Webster.

39. _Present Position of Catholics in England,_ by Cardinal Newman.

40. Speech on _Conciliation with the Colonies,_ by Burke.

41. Speech on the _Reform Bill of 1832,_ by Lord Macaulay.

42. _Idea of a University,_ by Cardinal Newman.

43. _Legend of Sleepy Hollow,_ by W. Irving.

44. _Idea of a University,_ by Cardinal Newman.

45. _Idea of a University,_ by Cardinal Newman.

46. _Speech on Conciliation with the Colonies,_ by Burke.

47. _Legend of Sleepy Hollow,_ by W. Irving.

48. _Function of Criticism at the Present Time,_ by Matthew Arnold.

49. _Speech on Conciliation with the Colonies,_ by Burke.

50. _The Spirit of Modern Philosophy,_ by Josiah Royce.

51. See Lowell's _Biglow Papers,_ Introduction to Second Series.

52. _Idea of a University,_ by Cardinal Newman.

53. From _The Princess: a Medley,_ Part IV.

54. From _The Seven Seas,_ published by D. Appleton & Co., New York.
Copyright, 1896, by Rudyard Kipling.

55. In any piece of literature there are many figures. The following
should be used only to make pupils familiar with varieties of
figures. They will find many more in the literature they read.

56. The treatment of this subject is based upon Lanier's _The Science
of English Verse._

57. See p. xix.