IS IMAGE EVALUATION TEST TARGET (MT-3) 1.0 I.I Hi^ IIM 1^ 1^ 12.2 2.0 m III !.4 I™ 1.6 sm n ^j^ > ^;. w C/>^ '/A Fhot ^ Sci^ces Corporation 23 WEST MAIN STREET WEBSTER, NY. 14580 (716) 973-4S03 ^ \ iV V "% v 4^ > ^ "o^ ^•*i^»c,' ^^^\ ^^ ^ ^^ .Va^* f^ i/.. & CIHM/ICMH Microfiche Series. CIHM/ICMH Collection de microfiches. Canadian Institute for Historical Microreproductions / Institut canadie.i de microreproductions historiquas T«chnical and Bibliographic Notat/Notas tachniquaa at bibliographiquaa Tha Instituta has attamp^ad to obtain tha bast o/iginai copy availabia for filming. Featuras of this copy which may ba bibliographically uniqua. which may altar any of tha imagas in tha raproduction, o( which may signifies ntly changa tha usual mathod of filming, ara chackad balow. □ Colourad covars/ Couvarture da coulaur □ Covars damagad/ C( D D D D D D Couvartura andommagia Covars rastorad and/or laminatad/ Couvartura restaur^ at/au palliculAa [~~] Covar titia miasing/ La titra da couvartura manqua Colourad maps/ Cartes gAographiquas 9n coulaur □ Colourad inic (i.a. othnr than blua or black)/ Encra da coulaur (i.a. autro qua blaua ou noira) I I Colourad plataa and/or illustrations/ Planchaa at/ou illustrationa •n coulaur Bound with othar matarial/ R'4li4 avac d'autras documants Tight binding may causa shadows or distortion along intarior margin/ La rt liura sarria paut cauaar da I'ombra ou dc la distorsion la long da la marga intirk ura Blank laavas addad during rastoration may appaar within the taxt. Whanavar possibla. thasa hava baan omittad from filming/ II sa paut qua cartainas pagas bianchas ajoutias lors d'una rastauration apparaissant dans la taxta. mala, lorsqua cala Atait possibla. cac pagas n'ont paa 4t4 filmias. Additional commants:/ Commantairas supplAmantairas; L'Institut a microfilm* la maillaur axemplaire qu'il lui a iti possibla da sa procurar. Las details da cat axamplaira qui sont paut-dtra uniquas du point da vua bibliographiqua, qui pauvent modifier una imaga raproduita, ou qui pauvant axigar una modification dans la mithoda normala da filmaga sont indiqute ci-dasaous. r~~] Coloured pages/ n Pagea da coulaur Pages damaged/ Pages endommagias Pages restored and/r- Pages restaurtes at/ou pelliculAes |~~| Pages damaged/ p~i Pages restored and/r- laminated/ FT] Pages discoloured, stained or foxed/ \JL1 Pages dicolories, tachetias ou piquies r*7| Pagea detached/ uLj Pages d«tach«es Showthroughy Tranaparance Quality of prir Qualit^ inigale de I'impression Includes supplementary matarii Comprand du material supplimentaire Only edition available/ Seule Edition disponible r~1j Showthrough/ r~n Quality of print varies/ r*n Includes supplementary material/ r~1 Only edition available/ Pagea wholly or partially obscured by errata slips, tissues, etc., have been refiimed to ensure the best possible image/ Lea pages totalement ou partiallemant obscurcies par un feuillet d'arrata. una peiure, etc., ont M filmies A nouveau de faqon A obtenir la meilleure imaga possible. This item is filmed at the reduction ratio checked below/ Ca document est film* au taux de reduction indiqu* ci-dessous. 10X "^X 18X 22X 26X 30X y 12X 16X 20X 24X 28X 32X Thtt copy filmed h«r« has b««n raproducad thanks to tha ganarosity of: D. B. Weldon Library University of Western Ontario (Regional History Room) Tha imagaa appaaring hara ara tha bast quality possibia considaring tha condition and iagibillty of tha original copy and in icaaping with tha filming contract spacifications. L'axamplaira filmA fut raproduit grica i la g^nArosit* da: D. B. Weldon Library University of Western Ontario (Regional History Room) Las imagas suivantaa ont iti raproduitaa avec la plua grand soin, compta tanu da la condition at da la nattati da l'axamplaira filmA, at 9n conformity avac las conditions du conirst da filmaga. Original copias in printad papar covara ara fllmad beginning with tha front covar and ending on tha last page with a printad or illustrated impres- sion, or the back cover when appropriate. All other original copias are filmed beginning on tha first page with a printad or illustrated impres- sion, and ending on the last page with a printad or illustrated impreaaion. Lea axemplairea originaux dont la couvarture en papier est imprimte sont filmte en commenpant par le premier plat at an terminant soit par la darniAre page qui comporte une empreinta d'impression ou d'illustration. soit par la second plat, salon le caa. Toua las autres axempHires originaux sont filmAs m% commen^ant par la premiAre page qui comporte une ampreinte d'impression ou d'illustration at 9n terminant par la darniAre page qui comporte une telle empreinte. The last recorded frame on each microfiche shall contain the symbol —^(meaning "CON- TINUED"), or the symbol y (meaning "END"), whichever appiiaa. 'U signifie "A SUIVRE". le symbols y signifie "FIN". Mapa, plataa. charts, stc, may be filmed at different reduction ratios. Thoaa too large to be entirely included in one exposure are filmed beginning in the upper left hand corner, left to right and top to bc:tom. aa many framea aa required. The following diagrama illustrate the method: Lee cartea, planches, tableaux, etc.. pauvent Atra fiimte A dea taux da rMuction diff fronts. Lorsque le document est trop grand pour itre reproduit en un seul cllchA, il est filmA « partir da I'angle supArieur gauche, de gauche d droite, et de haut en baa. en prenant le nombre d'images nteessaire. Lea diagrammes suivants illustrent le m^thode. 1 2 3 1 2 3 4 5 6 ■{ ^!r- M ' K- ^■^^ •■a ws* A COMPLETE COMPOSITION BOOK. ?uViAed fey ^. S. ¥SYI0,tion. / ' 2. Select your subject at least one week before ivi iting your composition. 3. Read whatever vqu can find bearing on the subject, and take notes. 4. Talk about the subject with your teachers and friends, and note down their opinions and suggestions, 5. Think about the subject, and make a memorandum of such thoughts as you intend to put in the composition. It ic the only sure way of keeping them. 6. Write an analysis of your subject j that is, determine how you will treat it, and arrange the headings in their pro- per order. Hand the analysis to your teacher for criticbras, suggestions or revision. 7. Write your composition. Express your thoughts in sim- ple language, following the heads of the analysis, and de- veloping each in turn. 8. Revise your composition. a. Cut out all superfluous words and sentflncei, h. Kewrito all senteuces that are awkwardly expresseO. c. Add such seutences and ornamants of rhetoric as are needed to perfect the composition. a. Read over your composition carefully with reference to spelling, capitate and punctuation. 9. Copy your composition. a. Select paper of the same size as this book. h. Kule flne lines with a pencil frem top to bottom of ebch page, and at the same distance from the loft hand edge of each page as those in this book. c. Write the subject of the composition a few Tines from the top ear tne ihousaud eight hundred ands«v*nty-ilx, by B. A.Ta}ior & Co.,iii th* Office of the MUiUter ot A«rtouUiu». * 2 THE COMPLETE COMPOSITION BOOK. The system for signs for rhetorical errors are intended more especially for advanced classes. The principles given should receive careful attention. 6. First attempts at composition writing should be made in the teacher's presence, and with his assistance. The sugges- tions given in connection with the lists of subjects will assist in grading the work. In the more advanced classes pupils may be referred to the directions in the previous column, which give the method pursued by most writer's in preparing essays, orations, sermons, etc. 6. There are advantages in writing both the original com- position and the copy in this book on adjacent pages. Re- serve the first page for an index of subjects. Write the original compositions on the left-hand pages continuously, and copy the compositions as corrected on the correspond- ing right-hand pages. This enables the teacher to deter- mine by a glance from one page to the other whether the pupil has made the necessary corrections. PUNCTUATION. THE PERIOD [.]. Rule 1. — Insert a period after a'ery complete sentence that ■■. not an exclamation or a question. Rrevity is the soul of wit. A soft answer tumeth away wrath. A merry heart maketh a cheerful countenance. Rule 2.— Insert a period after every abbreviated word, and every title or heading. Amt. Capt. Co. Col. Cr. Do. Doz. Dr. Esq. Gen. Gov. Hon. Mr. N. B. Prof Sunt. U. 8. Vii. The Hanging of the Crane. By H. W. Longfellow. Boston: James R. Ossood &Co. Part 1. Exercises tor Printing and Writing. THE COMMA [ , J. Rule 3. — Insert a comma after each word in a series of words alike in grammatical construction. Hamilton, Porter, Spencer, are high authorities in Philosophy. Bryant's poetry is always healthful, bright, and vigorous. Repvitation, virtue, happiness, ucpends greatly on the choice of companions. Arithmetic, Grammar, Oeography, History, are my principal studies. a. If the last word of the series is preceded by a con- junction, the comma is not inserted after it. Hamilton, Porter, and Spencer are high authorities in Philosophy. The sun, moon, planets, and stars are all la motion, i'rench, Latin, and Drawing are my principle studies. b. If the words in the series are severally connected by a conjunction, the comma is not inserted after any of them. Hamilton and Porter and Spencer arc high authorities in Philosophy. The earth and the air and the water teem with life. The king was a brave and pious and patriotic man. c. If only one word follows the series, a comma is flot inserted after the last word. The king was a brave, p'ous, patriotic man. It was a dark, dismal, desolate region. Rhetoric is an important, useful, interesting study. d. If the series is composed ot pairs of words, insert a comma after each pair. Sink or swim, live oi- die, survive or peri-li, I give my hand and my heart ,o this vote. Liberty and union, now and forever, one ;i .1 inseparable. Poverty and distress, desolation and ruin, . illow a civil war. Regret for the past, grief for the present, and anxiety for the future, are plague* that trouble most men. Speak as you mean, do as you profess, and perform what you promise. Rule 5. — Insert commas to separate from the rest of the sentence parenthetical words, phrases, and clauses. True eloquence, Indeed, does not consist In mere speech. Aristocracy is, in fact, the embodiment of pride. The ship leaps, as it were, from billow to billow. There !», It must be admitted, something attiuctive in such dreamy specula- tions. Rule 6. — Insert a comma or commas to separate from the rest of the sentence adverbs and adverbial phrases wiien they are used as connectives, or to .modify, not single 'vords, but phrases or clauses. On these facts, then, I then resfid my argument. I proceed, thirdly, to jxiint out the better method. Lastly, let me repeat what I stated at the beginning of my lecture. His statements were, for the most part, in accordance with the facts. Rule 7. — Insert a comma or commas to separate from the rest of the sentence a relative clause v/hich simply ex- plains the antecedent. Thompson, who was blessed with a good memory, always recited his lessons per- fectly. Avolfl rudeness >f m^nners, which must hurt the feelings of others. The girl was much attached to her teacher, who loved her dearly, a. If the relative clause restricts the meaning of the antecedent, no comma is inserted. The man who is faithfully attached to religion is worthy of confidence. The printing-pres.* is the lever which moves the world, 1'urn not back from the good path on which you have entered. Rule 8. — Insert commas to separate words or phrases contrasted with each other. strong proofs, not many words, produce conviction. Measure your life by acts of goodness, not by years. The student who understands a lesson, not tlie one who memorizes it, should be marked perfect. Rule 9. — Insert a comma or commas to separate from the rest of the sentence a word or clause denoting a person or thing addressed. Scholars, you must study your lesson. Thank you, sir, for your attention. I rise, Mr. President, to apnintof order. Allow me to suggest, my good friend, that you attend to your own business. Rule 10. — Insert a comma to separate an absolute clause from the rest of the sentence. The shower being over, wo departed on our Journey, To confess the truth, I am to blame for the accident. Generally speaking, his conauct has been honorable. Rule 11. — Insert a comma to separate a dependerJ clause fr ' 1 the one on which it depends. RiJLE 4. — Insert a comma af r each phrase or clause in : grammatical construction. Dare t- do right, whatever evil may surround you. Make men intelligent, and they become good citizens. Be studious and diligent., and you will become learned. Rule 12. — Insert a comma before a quotation closely con- nected in grammatical construction with the preceding words. Remember, " Of two evils, the less is always to be chosen." A common remark is, "Time and tide wait for no man." An important lesson is, " Learn to think and to disorin-.'nate," The subject of the composition was, " Always sjieak th^ truth." Rule 13. — Insert a comma after a subicit and its modi- fiers only when it is necessary to prevent ambiguity. To be proud and inaccessible, id to be timid and weak. He who teaches, often learns more than his pupil. ■ He who stands on etiquette merely, shows his own littleness. The slroams of small pleasure fill the lake of happiness. Rule 14. — Insert a comma or commas to separate, from each otlier, and from the lest of the sentence, nouns, per- sonal pronouns, and phrases, when in apposition. Scott, the great novelist believed In Christianity, I, afrii nil, will 1>e with you soon, The pupils of the school, bright boys and girls, were attending to their ttudiee. IIop«, 11)6 balm of life, soothes us under «v«ry misfurtuue. 1^ ^ THE COMPLETE COMPOSITION BOOK. 3 I H I Rule 15. — Insert a comma w/iere a ivord is understood, unless the connection is very close. Converaation makes a ready i.^an ; writing, an exact man. Labor brings ple.uiure ; idleness, pain. The young are slaves to fasliiou ; the old, to custom. General Rule. — Insert commas when they will prevent ambiguity, or help to present moi^e clearly the thought con- tained in ihe sentence. THE SEMICOLON [;]. Rule 16. — Insert a simicolon to separate two clauses oi & sentence contieded by for, but, and, or an equivalent word, if one is complete in itself and the other added for the sake of contrast or explanation. Some persons make a long story short ; bu^ most persons make a short story long. Make a proper use o( your time ; for Ihe loss of it cannot be regained. Hodosty is one of ihe chief ornaments of jouih ; and i( is always recognized with pleasure. Rule 17. — Insert a semicolon to separate the members oj a sentence when either member is composed of parts sepa- rated by commas. It i8 the first point of wisdom to avoid evils ; the second, to make them bene- ficial. From toil he wins his spirits light, From busy day the peaceful night ; Rich, from Ihe very want of weal'h. In heaven's best treasures, peace and healih. Rule 18. — Insert semicolons to SG^^axaXt successive clauses that have a common dependence on one principal expression. Thegreatest man is he who chooses the right with invincible resolu'lon; who resists ihe sorest tempta ions from wiibin and without ; who bears Ihe hea-'iest bvirdens cheerfully ; who U calmest in storms, and most fearless under menace and frowns ; and whose reliance on truth, on virtue, and on God, is most unfaltering. Rule 19. — Insert semicolons to separate short sentences that are slightly connected in thought or construction, and together form a compound sentence. Ask, and it shall be given you ; seek, and ye shall find ; knock, and It shall be opened unto you. Touch not; tas'enot; handle not. Wisdom is the principal thing ; therefore gc*. wisdom ; and with ail thy get ing g«t understanding. Rule 20. — Insert a semicolon before the adverbs as and namely when they precede an example or specification of particulars. When a parenthetical expression is short, the marks of parenthesis may be omitted, ai d commas used instead ; as, " Every star, if we may judge by analogy, is a sun . o a system of planets." We have three groai bulwarks of liberty ; namely, schools, newspapers, «nd the oallot-bux. THE COLON [:]. Rule 21. — Insert a colon after a clause complete in itself, xifollotved without a conjunction, by some remark, inference, or illustration. Never flatter jxjople : leave that to such as mean to betray them. Study to acquire the habliof thinking: no study ismoruimimr ant. Yes : you can do it ; you have done it. Good temper is like a sunny dav : it sheds a brightness over ovcrytliing. Rule 22.— Insert a colon to separate the p-incipal mem- bers of a setitenee, '\l either of them cor tains clauses sepa- rated by a semicolon. Be of good cheer : it is I ; be not afraid. „ , . ,, , ■. As we ixTCeive the shadow to liuv* moved along the dial, but did no see \t moving ; and it apiwars . hat the grass has grown, though nobody e\ er saw it grow : so ihe advances we make in knowledge, as they consist of such miiiuie siejM, are preceivable only by the distance. Rule 23.— -Inser . a colon before a quotation, speech, or series of particulars, \i ioxmo-Wy mixodnc^di by the preced- ing nentence. Remember this precept : " Do unto otliers as you would that others should do Uiito you." Mr Chairman : I could not feel otherwise than highly complimented, etc. The fo'.lowing were the Importantpoinis in his argument: 1. Whatever, etc.; 2. Whatever, etc ; 3. Therefore, etc. THE INTERROGATION POINT [ ? ]. Rule 24. — Insert an interrogation point after every direct question, whether it requires an answer or is put in an inter- rogative form for the sake of emphasis. Have you studied your lesson? To purchaie heaven, hught wiih gold ? Are frleud^hlp's pleasuies to be sold 1 THE EXCLAMATION POINT [I]. Rule 25. — Insert an exclamation point after every sen- ttnce, clause, phrase, or word, intended to convey strong emotion. Would that we had maintaintd our humble stale, sod continued to live in peace and poverty 1 Bah I that's the third umbrella gone since Christmaa. What were }ou to do I Why, let him go heme m the rain, to t>e suie. Rule 26. — Insert an exclamation point after every inter- jection. If the interjection forms a part of a sentence, clause, or expression, insert the exclamation point after the entire expression. Oh I m'lhing ti further (rem my thoufiht* than to deceive yon. Uh that all cla^ses ol scciuty were boih enlightened and virtuous ! When, my countrj men f will you begin to txert your po«erT THE DASH [ — ]. Rule 27. — Insert a dash where the sentence breaks off ab- ruptly, or where there is a sudden turn in the thought. It you will give me your attention, I will show jou — but stop 1 I do not know that you wiiji lu i-ee Was I here ever- but I scorn to pursue the subject further. He sometimes counsel t«kes — and someiimts uiuff. THE PARENTHESIS ( ). Rule 28. — Inclose in a ■^9XtTi\}cit%\% expressions occurring in the body of a sentence, and nearly oi' quite independent of it in meaning and construction. Consider (anu m ky the consideration sink deep into your hearts !) the fatal con- seqiiei.ccs ut a wiuked liio. While thfy with to pleuse, (»nd why shouldtbey not wish It?) thi-y disdain die- honorable means. QUOTATION MARKS [" "]. Rule 29. — Inclose in quotation marks expressions and passages belonging to another, introduced into one's own com- position. Plato, hearing that s< m9 asserted he was a very bad man, said, ' I shall take care so to live that nobody will believe them." A quotation within a quotation requires only single marks. Soma one has said, " What an argnment (or prsytr is contained it the words, 'Our Father which art in Heaven.' " THE APOSTROPHE [']. Rule 30. — Insert an apostrophe in a word where a letter or Utters are omitted. The apostrophe is also used to de- note the possessive case, 'TIs (or It IS ; I'll (or I will; o'er (or over ; don't for do not. A (rieud's advice. The sun's rays. The miners' strike. THE HYPHEN [-]. Rule 31. — Insert a hyphen to separate the parts of a compound w&rd, and, at the end of a line, when one or more syllables of the last word are carried to the beginning of the next line. Ouod-natuied ; ;wenty-one ; glasi-house ; one's-teI(. The hyphen should never be used to divide a syllable at the end of a line. imimitirirri lpli^"l 4 mmm warn mm wmm THE COMPLETE COMPOSITION BOOK. CAPITALS. Rule 1. — Begin with a capital Ihe first word of every sett' tenet. Be w1>« tO'Juy ; 'tli niidnen to defer. The air bltea sbrrwliy ; it It very cold. Hen Bbould be tiuthful, as well m boy*. Rule 2. — Begin with a capital the first word of every line oj poetry. But pleaaurea are like porpim upread ; You Mice the fl 'wer. It* blO' m i« shed ; Or, like the mov-fail in the river, A mi meot white, then melts forever. Rule 3. — Begin with a capital the first word of every clause., in a series of clauses, when they are separately numbered. Happinew depenili very much upon five thipga : 1. Oood ) ealth ; 2 A reason- able amount «t wealth ; 8. The honor and estetm of fiienut ; 4. Social en]o> menta ; B. Domeitio happiness. Rule 4. — Begin with a capital the first word of every quota- tion^ precept or question, if introduced in a direct form. |(2)tree(.) Longfellow sayn, " L''am to labor and to «alt." ilndireci ) Lonnfeilow nays that wh nhoulri " learn to l«bor and to wait." T( Direct) R< mrmbrr tho old maaim : " Honemy la the best policy " I Indirtft.) Rtmtmbtr tint " honeaty Is the best pclicy." S Direct ) Tile queRtiun is, " Why do you not attend to your work !" (Indirect ) I desire to fwow why you do not attend to your work. Rule 5. — Begin with a capital every proper name. Amartoa, Europe ; England, France, Oeimany. New York. Boston, Chicago ; London. ?iirls, Berlin. Bryant, Curtis, Holland. Rule 6. — Begin with a capital words derived from proper names. Oermsn, French, Irish, Oreci'>n, Italian, Americsn. The Christian rellHion. llie Spauith laoKuage. The Augustan age of English literature. Rule 7. — Begin with a capital aU appellations of God and of ycsus Christ, and generally pronouns relating to God and Christ. Jehovnh, Lord, Creator, the Eternal, the Alm'ghty, the Supreme Being. The Hetsiah, the Saviiur, the Redeemer ; Holy doe. Pro) lut. Hasi«r. These are Thy glorloua works. Pitrent of good. Almighty ! Thine this univernl frame. Thus wondrous fair : Tnjaelf how woudrous then. Rule 8. — Begin with a capital titles of honor and respect. Hy dear Str, retpee ed Friend, nr Hadam, dear Father, or SUter. His Excellency the Oovernor-Oentral of the Dominion of Canada. His Worship the Mayor of Montreal. Rule 9. — Write with capitals the pronoun I and the in- terjection O. I cannot Ac %s I would ; so I must do as I can. When, O m^ couutrymen I This, O men of Athens ! Rule 10. — Begin with a capital common nouns when per- sonified. 'lien shall be love, when genial Mom appears. Like penaive Beiuty imiling in her tcais. Rule 11. — Begin with a capital names of religious denomi- nations. The Proteetanti, the Catholics, the Methodists, the Presbyterians. Rule 12. — Begin with a capital the days of the week and months of the year. SuKdav, Monday, Thursday, Friday, 8a) bath. January, March, May, July, September. Rule 13. — Begin with a capital the important words in the subject of a composition. Nraes^ity is the Mother of Invention, A Mnoiiltght Walk at the 8(a->iile. The Pan Is mightier than the Sword. Rule 14.— Begin with a c; pital words of primary im- portance, if they indicate some great event or remarkable change in religion or government. The Msgra Charta, the Reformation, the Revolntion, the Noiman Conquest, the Rebellion. Rule 15. — Begin with a capital the words North, South, East and West, when they denote a section of country. He came from the North. He bought a (arm in the South. Boston u east of Chicago. Boston is in the East and Chicago in the West. Ti NOTES AND LETTERS. A NOTE OP INVITATION. Mrs. Brown requests the pleasure of Mr. and Mrs. Smith's company, on Tuesday evening, the 19th inst., at eight o'clock. 76 Remsen St. A NOTE AOOEPTING. Mr. and Mrs. Smith accept with pleasure Mrs. Brown's kind invitation for Tuesday evening, the 19th inst. 1 16 Pierrepont Street. ANOTHER FORM. Mr. and Mrs. Smith's compliments and acceptance for Tuesday evening, April 19th. March 30, 1876. A NOTE DECLINING. Mr. and Mrs. Smith regret that it will not be in their power to accept Mrs. Brown's kind invitation for Tuesday evening, the 19th inst. 116 Pierrepont Street. iiNOTHBR FORM. Mr. and Mrs. Smith's compliments and regrets for Tues- day evening, April 19th. March 30, 1876. [The answers to notes of invitation are not always strictly formed like the above. The following may be used : — ] With many thanks to Mrs. for your kind invita- tion, Mr. begs leave to express his regret that pre- vious engagements will prevent him from participating in the festivities of Monday evening next. London, Feb. 6, 1876. Mr. regrets that his engagements compel him to decline the polite invitation of Mrs. — <•• for the evening of Feb 8. Toronto, Feb. 4, 1876. A BUSINESS NOTE. London, Ont, March 22, 1876. Messrs. Adam Stevenson & Co., ) Toronto, Ont. j Gentlemen : Enclosed I send you $3.50, for which you will please to send me, for one year, your excellent Magazine " The Canadian Monthly Very truly yours, Geo. Robinson. /»o/ Int J.J. De and i Gent) Yo delay ToG |25( Si) iJiitiiiMfiii «»Mtii ■■ wm THE COMPLETE COMPOSITION BOOK. SUPERSCRIPTION OP ENVELOPES. t^y^^ ^eu^j M^m/. Politenesa of Misa Clark. BUSINESS FORMS. 1. A BUSINESS LETTER London, Ont, Jan. 20, 1876 J. J. DiNSMORE, Esq., 35 St. Paul St., Montreal. Dear Sir, — Your communication of the i8th inst. is rec'd, and in reply, etc Yours truly, Geo. Thompson & Co. 2. A BUSINESS LETTER. 25 St. Paul St., Montreal, Feb. 20, 1876 Gentlemen, — Your favor of the 20th ult. came to h-nd in due time. I delayed answering it, etc Co., or order, Two Thousand Five Hundred -^ Dollars, value received. S. Thompson & Co. 4. A BANK CHECK. No. 437. London, Feb. 25, 1876. '^ht (Eanabian ^rnxk of Commerce, Pay John Roberts & Co., or order, One Thoitaand Five Hundred -^ Dollars. SloOO-^ S. Thompson & Co. 5. RECEIPT. $1500-^ London, Ont., Feb. 25, 1876 Received of S. Thompson & Co. One Tbousand Five Hundred -^- Dollars, the same to apply on note dated Jan. 25,1875. John Roberts & Co. -J. Yours respectfully, J. J. DiNSMORE. To Geo. Thompson & Co., London, Ont. 3. PR0MSI80RY NOTE. $2500-^ New York, Jan. 25, 1876. Sixty days after date, I promise to pay J ohn Roberts & CORRECTING COMPOSITIONS. 1. MECHANICAL ERRORS. Signs to be placed in the margm of the composition by the teacher for the purpose of calling attention to errors and indicating corrections to be made by the pupil. ^.— Begin a new paragraph. Place this mark before the first word of the new paragraph. No IT ■ — 1^0 iwt begin a ncro paragraph at this point. A. — Insert at this point wlmt is left out. Write or indicate in the margin what is to be inserted. f, — Is this trite ) Does it exp;-ess the correct idea f Draw a line under the doubtful word or expression. 0- — O^nit ; leave out. Draw a line under what is to be left out. Tr — Transfer. Inclose in a parenthesis what is to be transferred, and connect it by a line with a caret (a) inserted at the point to which the transfer is to be made. Or— An error in Grammar. Draw a line under the word or words in which the error is found. Sp.— An error in spelling. Draw a line under the word that is misspelled. p. — An error in Punctuation. If the error consists in the use of a wrong mark, draw a line under it. If it consists in the omission of a mark,, insert a caret ( A ) at the point where the mark should be. Attention may be called to the rule riolated by writing after P. the number of the rule ; as, P. 1. P. 2, etc. If necessary to give the pupil still more assistance, write in the margin the correct market punctuation. Cap.— This letter should be a capital. Draw a line under the letter that is incorrect. No Cap.— This letter should not be a capital. Draw a line under the letter that is incorrect. ILLUSTRATION. A pupil hands in the following composition to be cor- rected. ,«» «*»»■»' 6 THE COMPLETE COMPOSITION BOOK. NEW YORK. The country round nfw yorh it lurpataingly and exquisitely beautiful. The climate ^ as I have already intimated . J« somewhat of the very warmest What it would be without the sea-breezes which comes from its beautiful bay, I will not throtc myself Cap. Sp. P. 10. NoH Gr. . Tr. Tinto a fever (or my reader*) by inquiring. If The tone If I P. 17 of the best society in this city is like that in Boston, here f and there, it may he, with a greater diffusion of the mercantile spirit, but generally polished and refined, and most . always . hospitable. The teacher, after marking the corrections, as indicated in the above, returns it to the pupil whose work it is to re- write the composition and correct the errors. The signs in the margin direct him to make the following corrections : Cap.— to write N and Y, in New York, with capitals ; gp._to spell correctly the word underlined ; p.— to insert the pioper punctuation marks at the points indi- cated by the citiets ; 0.— to leave out the word " very"; No H-not to begin a paragraph ; Gr— to correct the grammatical error in the word underlined ; Tr. — to transfer the words inclosed in the parenthesis to the point indicated by the caret and the line ; t— to begin a new paragraph ; p. 17— to insert in the place of «b« punctuation mark under, lined the one required by Rule 17 ; f — to use a word that will ezprees more exactly the idea than the word " dift'usion" does ; A — to insert the word "most" at the point indicated by the caret. The pupil, after making the corrections in accordance with these directions, hands in the following corrected com- position. The pupil should also hand in a written statement giving reasons for corrections. NEW YORK. The counti-yround New York is surpassingly and exquisitely beautiful. The climate, as I have already intimated, is somewhat of the warmest, ffhat it would be without the sea-breezes which come from its beautiful bay, J will noi throw myself or my readers into a fever by inquiring. The tone of the best society in thii city is like that in Boston; here and there, it may be, tvith a greater infusion of the mercan- tile spirit, but generally polished and refned, and always most hos- pitable: DICKENS. 2. RHETORICAL ERRORS. Important principles to be observed ; and signs to be made in the margin for the purpose of calling attention to errors. PURITY. Pu. — The sentence against which this is placed contains a WOrd Or expression that is not pure English. 1. Do not use wordS which are colloquial, except when narrat- ing a conversation ; as, Fd, wouldn't. 2. Do not use words which are so new as not to have been adopted by writers of good reputation ; as, enthuse. 3. Do not iise foreign words or expressions when the meaning can u well be expressed in English ; as, 'hauteur, dernier t esoi t. PROPRIETY. Pro.— This sentence contains a word cr expression that is contrary to good usage- 1. Avoid all slang expressions ; as, quick as a wink, like split. 2. Be careful to discriminate between WOrds derived from the same root ; as, gliding, glancing. CLEARNESS. 0._This sentence contains words, or an arrangement of words or clauses, that render the meaning doubtful or difficult of com- prehension- 1. Avoid long sentenced, and the too frequent use of " and.'* ?,. Parts of a sentence most closely connectei should be placed near each other. 3. Avoid technical terms. STRENGTH. S.— The sentence against which this is placed contains an arrange- ment ot words or expressions that fails to make the strongest im- pression on the reader. 1. Do not end a sentence with a preposition, or an unimportant word. 2- If a sentence has two members, place the shorter and Weaker member first - 3. Avoid digressions from the main topic and long sentences in parentheses. HARMONY- H.— The sentence against which this is placed contains words, or an arrangement of words and clauses, whose sound is not pleasing tO theear- 1. Avoid the use of words containing a series of unaccented syllables ; as, inhonpitableness. 2. Avoid the use of words that cause a recurrence of the same sound ; as, in an inelegant way. 3. Avoiu a succession of short sentences, and also a succession of long ones. PRECISION. Pre— This sentence contains a word that docB not precisely express the writer's meaning. 1. Be careful to discriminate in the use of synOUymS ; as, di/end, protect; strict, severe; need, xcMit. ILLUSTRATION^. A pupil hands in the following composition to be cor- rected. The teacher underlines the rhetorical errors and calls attention to the principles violated by the use of signs in the margin, SUNRISE AT SEA. Pa. 1. Mvxk hat been said of the sunrise at sea ; but it ean^t compare with the sunrise on shore, nor, like the latter, Pu. 2. enthuse the soul. Pre. 1. '~ It lacks the accompaniments of the songs of the birds, the awakening hum of men, the glancing upon the trees, C. 2. the hills, the house-tops, and the spires, of the first beams, to give it life and spirit. But there is something in thefrst gray streaks, stretch- H. 2. ing along the eastern horizon and lighting in an indtstmet S. 3. way the wares raised by yesterday's storm , which com- H. 1. Tines with the illimiiabteness and unknowabU depth of the sea, and grces you a feeling of loneliness and dread, C. I. and nothing else in nature can give it. The pupil, after making the corrections indicated, hands in the following corrected composition : V THE COMPLETE COMPOSITION BOOK, on that is like split. 1 from the ; of words or lit of com- e of "and."' li should be s an arrange- ongest im- limportant ind weaker ; sentences i words, or an pleasing to unaccented if the same D a succession ot precisely i ; as, di/end. to be cor- errors and use of signs : but it can't e the latter, of the birds, |ij pon the Ireest e first beamt, •eaks, itretch- an i ndistinct I, which com- tile depth of IS and dread, :ated, hands SUNRISE AT SEA. Much hat been said of the sunrise at sea ; hut it cannot compare with the sunrise on shore, nor, like the tatter, enkindle the soul. It needs, to give it life and spirit, the accompaniment^ of the songs of the birds, the awakening hum of men, the glancing of the first beams on the trees, the house-tops, the spires, and the hills. But there is something in the first gray streaks, stretching along the eastern horizon, and throteing an indistinct light on the face qf the deep, which combines with the boundlessness and unknown depth of the sea, to give, as nothing else in nature can, a feeling of loneliness and dread. FIGURES OF RHETORIC. 1. SIMILE. A Simile is the formal comparison of one thing to another that resembles it only in certain particulars. The comparison is usually denoted by like, as, or so. True friendship is like lound health, the value of it ii seldom known until it ia loat .The morning dew sparkle') like diamonds. 2. METAPHOR. A Metaphor is an implied similarity. The namp, act, or at- tribute of one is given directly to the other. Sin if a bilter sweet, *nd tho floe colors of the serpent by no meant make amrnds for the poison of hix ntlng. Friendship is lo plant cf hasty growth. 3. SYNECDOCHE. A Synecdoche is the name of a whole given to a part, or the name of a part given to a whole. The name given to the thing always implies something more or less than is actually true. T^n thouba d were on his right hann. The king abdUated his tbrnne. 4. METONOMY. A Metonomy is the name of one thing given to another so related to it that the name of the one suggests the other. Gray hairs ihonld be respected. The pen is mightier than (he 8w»rd. 5. HYPEBBOLE. An Hyperbole is an expression that represents something as better or worse, greater or less, than isactua'ly true. A rescued land Sent up a shout < i victory fr< m the flfid That rocked her ancient mountains. 6. lEONY. Irony consists in stating something in a manner so as to be understood as meaning precisely the opposite. They boast they come but to improve onr Bt«te, enlarge onr thoughts, and free us from the yok« of • rror. Yes, th< y will give enli|$httredfteedcm to our minds, who are themselves the slaves of pahSion, avarke, ai d pride. 7. APOFHASIS. Apophasis is the pretended suppression or omission of what is actually being stated. This figure is also called Parallpsis and^OmlS- sion. I will not rail him villain, because it would be vinparliamentary ; I nill not call him tool, becauje ha iiapprns to be Cnai cellur of the Exchtqu^r. 8. ANTITHESIS. Antithesis consists in bringing into contrast unlike things for the purpose of making the expression more striking. Night brings us rloui s, but morriiig ushirs in the 1 ght. The vault) ot time and iu h m rs ; the impcrtaai e tl eternity and its glories. 9. EPIOBAM. An Epigram is a brief statement which gives force and point to a thought by a peculiar use of words. The wi>h is father to the thought. The easiest wsy tf doing a thing is to do it. Summer hssset in with its usual ceverity. He ia k man of piibclp.e in proportion to his Interest. 10. INTEBBOOATION. Interrogation consists in putting opinions in the form of questions lor the purpose of expressing them more positively. Who fhtll se^israte us from >ho love (>f Christ? Shall tribulation, or distress, or persecutiuu, or famine, or r akedness, or peril, or swoid ? 11. EXCLAMATION. An Exclamation is an expression of emotion or surprise in the form of exclamatory sentences and interjections. Ob ! that I c >u1d return once more ti< peace and iunocence ! . A horse ! a horse ! my kingiioni (or a horie ! 12. APOSTROPHE. An Apostrophe is a sudden change or turn in the thought by which the object is directly addressed, instead of being spoken of in the third person . Death is swallowed up in victory. Doith ! where is thy sling ? O Orave t where is thy victoiy t 13. PERSON IFICATION. Personification consists iu attributing life and action to an inanimate object, or intelligence to au inlfiior creature. Maiiioiy looks bark, witli vain regrets ani tears. While liimerii g i.'.r the urn if wasted jears. The waves danced in the sunliuht ol tt^e m«ri iii|j. 14. VISION. Vision consists in representing past events as occurring at the present moment, and imaginary scenes or objects as actually present. S )ldlers I fr»m yonder pyramirts, forty centuries look down up n you ! NuW dawns the morning ui the Ref4.rmittion. 15. CLIMAX. A Climax is a series of words, clauses, or sentences, ar- ranged in a manner tO maka the deepest impression by placing the weakest first, and the stronger ones in order. It is a crime lo put a It man citizen in boi ds; it Is tte height of guilt to scourge him; little less thin (ikrricloe to put him to death ; what, name, then, shall I give to the aot ol cruci yiiig him ? SUBJE lfaMHK^ COMPOSITION. OBJECTS. Letters. Mosquitoes. Lakes. Kites. Monkeys. Uountains. Carpets. Squirrels. Rivers. Guns. Flies. Cities. Matches. Frogs. Villages. Knives. Grasshoppers. Bridges. Pins. Oysters. Farms. Houses. Birds. Gardens. Barns. Horses. Flowers. Fences. Dogs. Clouds The subjects under this head are intended for first attempts at COmposition-'tVriting. The teacher should talk about the subject, prepare a set of questions, or write a model composition for th-e purpose of interesting the pupils. Children in the lower classes, if properly encouraged, will regard exercises in composition as the most pleasant part of school work, itoes. s. opper s. •8. 2. AMUSEMENTS. If the pupils are not familiar with the particular amusement as- signed as a subject, the teacher, or one of the class, should expliJja how it is conducted. FIshin?. Blind Man's Buff. Huiri.,g. Hide and Seek. Sailinj^. Pussy in the Comer. D injing. Snap the Whip. Skutlii);. Who has got tlie Button ! 3. IMAGINARY SKETCHES. Imagination in children is very active, and when unrestrained by facts, their compositions are original and interesting. Imaginary sketches, however, should be required only to such an extent as may be necessary to give confidence in expressing their thoughts. The History of a Tree ; a Pin ; a Brick ; a Picture ; a Clock ; a Table ; a Book a Knife ; a Ring, etc. A Trip to tlie Moon. A Thousand Years hence. A Talk with Robinson Cruse A Journey through the Garth. After the Battle. A World witliout Water. 1 Libi-ary. What I intend to do Vacation. 4. REPRODUCTIONS. The following methods of training pupils to reproduce thoughts of another may be profitably employed ; olliers will gest themselves to the experienced teacher. 1. Bead a short selection to the class and require the pup' state in their own language the important thoughts. 2. a. Assign a ^Oice selection for the clas^ to atndv. Croquet. Marliiks. Ball.' Authors. Proverbs. m f ^ -r-*«BS5;*^. 8 THE COMPLETE COMPOSITION BOOK. b. Require them to reproduce thp substance of the selection, imitaticg the style, without referring to the bose of noting defects- d. Require the pupils to rewrite and perfect th' ir comi>08itrons. These lessons will afford the teacher the most favoial)le opportunity of instructing the class in punctuation, in the USe of consise and grammatical language, and, more especially, in the use of different expressions for the .same thought. The reading books will furnish abundant material for selections. 5. TRANSLATION OF POETRY TO PROSE. This exercise cultivates a variety of expression and thought, and calls attention to figurative language. The selections may be sim- ple CT difficult, according to the advancement of the class. Arrange tlie words and clauses differently, introduce new words and sentencps, and rynke such changes as will destroy the rhyme and measure. The Ride of Paul Revere. Selections from Thomson's Seacons. Tlie VilUce Blackthou. Tlie Landing of Columbus. The Landli.g of the Pilgrims. ^ HISTORICAL AND BIOORAPEICAL SHEICHES. j^Require pupils to write out in their own language the more jttnt parts of lessons in history. ij^p«[nire pnpils in the more advanced classes to consult his- Jfund cydopedias and prepare sketches of great persons cam ■i;**-"-^ The following list will suggest others : August UK. Waahington. War of the KosM. Constsntina. Lincoln. Battle of Waterloo. Charlemagne. Newton. The Pint Steamboat. Cromwell. Socrates. The Fir«t Telegram. Columbus. Napoleoiu Battle of Thennopyln 11. ARGUMENTS. One of three methods may be pursued in argumentative lompositions. 1. Th3 student may present one side of the (luestion. 2. The student may present the arguments on both sides of the (question, and draw a conclusion. 3. Two students may write on the same subect and discuss it by answering each other's arguments. Is the pen mightier than the sword? Is the mind of woman inferior to that of man ? Do savage nation:! i>o8se8<< a right to the soil ? Is alawyer juittifled In defendinga bad cause? Is private education better than public ? Is It proljable that the planets are inhabite d T Will our govenmient endure for a thousand years 7 Is private life preferable to public life ? Should judges be elected by the people } Ought woman to vote ? Is tlie exisbonce of political parties beneflcial to Canada ? 12. ESSAYS. The student should first prepare and submit for revision an Outline of the essay. The teachers thus enabled to arrange the differ- ent paints in their naturalorder, and make such suggestions at the beginning us will enable the student to treat the subject in a com- prehensive manner. ' * J ,; Ambition. Ancestry. D'scription. Revenge. Cruelty. Perseverance. Reverence, Wibhes. Premises. Punctuality. Advetalty. Cubtoms Tit f ». H ippiness. Luxury. Riches. Poverty. Music. Poetry. Patriotism. Contentment. Humtllty. Benevolence. Generosity. Honor, Shopping. Calling. Talking. LaughiDg. Teising. Flattery. Solitude. Company. Cooiiing. Lying. M luotams. Fo-ests. Chivalry. Honor. H'lnenty. E.hi. Mirrors. New.Hpapors Dream'. Novelties. Curiosity. Fashion. Gossiping. Freedom Circumitancet. The Power of Habit. The Tendencies of the Age. KnowThvMIt A Mother's Influence. AdVAnt«|ies "f Order. Tne Village Belle. The VilliMce Bells. SuperstltlKus Siittii. Fashionable FuUiei. They say. Life of a Soldier. Lifd of a Sillor. Lite of a Farmer. Life of a Merchant. The Fine Arts. Speak the Truth. Idlenesi and Ind'Jslry. Objects and Obstacles. Intent and Accident. No and Yes. Theory and Practice. Tact and Talent. Courage and Rashness. Labor ar.d Genius The Fickleuess ot Fortune. Pro»e and Poetry. The Ruins of Time. The Study of History. Tlio Study of Gtometry. The Choice of an Occupation. Earth's Batilo-Fields. The Starry Hiaveai. Public Libraries. L te is a School. Writing Compositions. Is Personal Merit or Pjwf rful F lends the most to be desired t The Imp^rtiince ' f Foiming H« )its of Close Observatioa. Where there's a Will, there's a W»y. The Difference between Ancient avd Modem Ideas of Liberty. Has Civilization been mos' effectually Promoted by War, Cjiamarce or Mi-'sionary Enterprises? Cut your Coat aseordii g to your Cloth, A Uniform System of Weights and Measures for all Natioua. How Blessings Brighten as thev take their Fliitht. Imoortarca of Forming Good Habits, liie Diffusion ot Scientific Knowledge among the People. Every One is the Architect of his own Fortune. Education — Physical, Intellectual and Mural. A Method for Arran,';ing the Materials of a Composition, Ancient and M dern Civilization C 'mpared. The Gjod Old Times are no Bevter than the Pre'cnt. Prosptfts for Young Men in t:>e diffareutLeameil Prufrgslons. The Reciprocal Influen e of Literature and Morals. Arbitration as a Means of Settiing D fflculties between Nations. Women should receive the same Wages as Hen, for the same Work. T&e tttiiie Education U-t Y-ning M^n arid Y.-.ung Lidies. The Tandency of the Age. Malce Hay while the Suo ahinrs. Our Duties to S'^hooi C mpanions. One O lod Turn Deserves Another, Penny Wise and Pound Foolish. The AHvantagPS of Enrly Rising. Every Cloud has a Silver Lining, The Effects of a Pleasant Word, . The IJeal and the Real. Paddle your own Canoe, .^, ^ ^w ^ 1 ■4 N \. i r^KahimtA-m