I IRST BOOK OF OMPOSITION 111 ill T BRIGGS and McKINNEY sillllil in m IP 11 iflli Hi! ! i Southern Branch of the University of California Los Angeles Form L 1 PL 1406 This book is DUE on the last date stamped below SEP 2 9 1924 ^ ?w= ^^4831 QEQ 8 JAN 5 1925 "929 J0L * X9& V. ... J > i °fy HOV 1 9 ic: MAR3 19B? MAR 4 *1AR 9 199 \ «* 331 (n-7,'22 6 196U El 23 &* JAN 7 lb3b HOV 6 1932 \W, 4 J HOV 14 OCT 1 S !84§ N 0V 4 1946 OCT 2? 194' 1/ A FIRST BOOK OF COMPOSITION BY THOMAS H. BRIGGS INSTRUCTOR IN ENGLISH IN TEACHERS COLLEGE COLUMBIA UNIVERSITY AND ISABEL McKINNEY TEACHER OF ENGLISH IN THE EASTERN ILLINOIS STATE NORMAL SCHOOL . i i , , > > > > 3 • | '•>, - • a •*, > ° ° ^ ' , > . . i * * ,° ' ' * ' ' > 5 "> > J > j » « » ' i >j> jjj j J J I 1 J > ) GINN AND COMPANY BOSTON • NEW YORK • CHICAGO • LONDON ( OPYRIGHT, 1913, BY THOMAS H. 15RIGGS AND ISABEL Mi KINNEY ALL RIGHTS RESERVED 8-4-5 . . * « » Hit gthctuctun Prcga GINN AND COMPANY • PRO- PRIETORS BOSTON T.S.A. PREFACE This first book in formal English composition is designed to furnish material for a two-year course ; it may be followed by a rhetoric of the conventional type, or, better still, by ad- ditional work on the collection and organization of material for expression in long themes and by a study of the more essential rhetorical principles. The chief difference between this book and others is its emphasis on the qualities of good composition rather than on the four conventional types, and its treatment of these qualities in a natural and teachable order. By the continuous emphasis on sincerity, definiteness, and the other essential qualities — since these, while sepa- rable in thought, are not mutually exclusive - - there is sought a cumulative effect, which cannot fail to modify the habits of pupils. Since these prime qualities are treated in this book after a plan carefully arranged and graded in difficulty, the chapters, except, possibly, that on good form, should be taught in their order. The material in the chapter on good form may be distributed among other matters as the teacher sees fit. The assignments are meant to be definite enough to guide the bewildered but not to confine the adventurous. They will be found especially to emphasize practical writing ; for example, letters, which are treated with unusual fullness. The highly ingenious teacher who can successfully carry on work in the production of artistic literature, such as original stories, poems, and plays, needs no prescribed exercises, but he will find a sound basis for such composition in the chapters of iii iv FIRST BOOK OF COMPOSITION this book, particularly in those on definiteness and variety. Suggestive material for models is chosen from the themes of pupils and from literature that is within the range of the pupils' best reading. Generally some definite study of these models is outlined, so that the point of the illustration may be felt. The class discussion of this illustrative material thus furnishes additional opportunity for valuable work in oral composition. Grateful acknowledgment is made for helpful suggestions from Mr. Allan Abbott, of the Horace Mann High School ; Professor Franklin T. Baker, of Teachers College, Columbia University ; Mrs. Fausta F. Barr, of the Mattoon, Illinois, High School ; Mr. Samuel M. North, of the Baltimore Poly- technic Institute ; Mr. Edgar D. Randolph, of the Colorado State Teachers College ; Mr. Benjamin A. Heydrick, High School of Commerce,. New York ; and Professor James F. Royster, of the University of North Carolina. Acknowledgment is also due to the following publishers, who have very kindly permitted the use of copyright matter : D. Appleton and Company, the Thomas Y. Crowell Company, the George H. Doran Company, Uoubleday, Page and Com- pany, D. C. Heath and Company, Henry Holt and Company, the John Lane Company, Little, Brown and Company, L. C. Page and Company, the Macmillan Company, and Thomas B. Mosher. The selections from Burroughs, Emerson, Fiske, Higginson, Holmes, Palmer, Robinson, and Whittier are used by permission of, and by special arrangement with, the Houghton Mifflin Company. T. H. B. I. McK. CONTENTS CHAPTER PAG] I. SINCERITY i II. GOOD FORM 10 A. Preparation of Papers 1 1 B. Rules of Punctuation and Capitalization .... 13 C. Correct Usage 25 D. Business Letters 27 III. DEFINITEXKSS 41 A. Definite Subject 43 B. Definite Details 47 C. Definite Point of View 4S D. Definite Words 55 Rules and Exercises in Good Form 76 IV. INTEREST 83 A. Letters 83 I. Friendly Letters 84 a. General Rules of Form 85 b. Parts of a Friendly Letter 86 II. Formal Letters 95 III. Pseudo-Letters 97 B. Choice of Details 99 C. Order of Details 107 D. Proportion ' 112 E. Beginnings 115 F. Endings 117 G. Climax 118 v vi FIRST BOOK OF COMPOSITION I VGE //. Devices for Interest 123 [.Conversation II. Comparison III. SUGGESl ION IV. Contrast V. Variety VI. Brevity Rui.ks ami Exercises in Good Form Y. UNITY ./. Unity of Paragraphs A'. Unity of Notes I. Invitations and Their Answers II. Notes Accompanying Gifts III. Nuiis mi Introduction IV. MlSCELl VNEOUS NOTES C. Unity ok Sentences I. Unity in Thought II. Unity or Form u. The Comma lilunder b. Disjoined Expressions c. Lack of Co-ordination J. Shifts in Construction Rules and Exercises in Good Form VI. VARIETY A. Variety in Words A'. Variety through Direct and Indirect Discoi rsi . ( '. Y vriety in Sentences I. Declarative, Interrogative, and Imperative MMIMh II. Active \ni> Passive Your. I I I. < >rder "i si n 1 ence Elemen rs I\'. Differeni Forms ok Modifiers 203 a. Adjective Modifiers 203 />. Adverb Modifiers v. Posi 1 ion of Modifiers VI. Loosi vnd I'i riodic Sentences VII. Simple, Compound, vnd Complex Sentences CONTENTS vii PAGE D. Variety in Paragraphs 216 I. Development by Details 218 II. Development by Illustration 219 III. Development Chiefly by Explanation . . . 220 IV. Development by a Combination ok Means . 222 V. Development by Proof 224 VI. Development by Cause and Result .... 224 E. Variety in Tropes 227 Rules and Exercises in Good Form 23c VII. COHERENCE 240 A. Coherence in Paragraphs and Sentences .... 241 I. Order 241 a. Of Sentences 241 b. Of Modifiers 242 II. Connectives and Words of Reference . . . 245 a. Guiding Words 246 b. Pronouns '. 24S c. Conjunctions 252 III. Loose and Periodic Sentences 262 IV. Parallel Construction 263 V. Ellipses 265 B. Coherence in the Whole Composition 268 C. Writing a Connected Composition Based on Reading 270 I. Finding Material 270 II. Taking Notes 272 III. Writing from Notes 274 APPENDIX 279 A. Symbols Used in Criticizing Themes 279 B. Words often Confused 280 I. Synonyms and Other Words 280 II. Homonyms 282 C. Principal Parts of Verbs Often Misused .... 284 D. One Thousand Words Often Misspelled .... 286 INDEX ^97 A FIRST BOOK OF COMPOSITION CHAPTER I SINCERITY All that you have to learn about good speaking and good writing might be summed up in two sayings : "' Mean what you say," and " Say what you mean." Like most important commands, these are easier to remember than to obey ; in- deed, complete obedience to the second — "Say what you mean" — involves the mastery of the art of composition. Most of the chapters of this book are concerned with this difficult art. It is of the first, however, - ' Mean what you say," — that we must first think. If we are in the habit of telling the truth, obedience to this command should not be difficult. If we do not mean what we say, why should we speak or write at all ? The first motive of speech, oral or written, is sincerity. This motive does not, of course, demand absolute literalness to bare facts. Truth and fact are synonymous only when we are dealing with fact ; a novel like " Romola " or a bit of non- sense like " Alice in Wonderland " is quite as sincere, as true in a sense, as a psychology or a treatise on the white rabbit. Sincerity is being true to ourselves. We must report as we ourselves see or feel or think ; and in order to do this we must choose a subject that we have real thoughts or feelings about, and we must use words that are our own. 2 FIRST BOOK OF COMPOSITION EXERCISE 1 - Oral SINCERl WD INSINCERE COMPOSITION Read aloud and compare these two compositions, both writ- ten by pupils in school. Which is sincere ? Which uses bor- rowed thoughts and words not clearly understood? Which pupil chose a subject upon which he could write sincerely ? Which subject is definite ? What details give an impression of truth ? UNIVERSAL PE \< 1 Universal Peace should reign throughout the world. Everything should harmonize and every day it should be carried out. All of the dumb animals are always happy and peaceful, while some people are always quarrelsome and unhappy. Cod made this world for the people to live happy and contented in. Universal Peace of any com- munity, organization, district, school, or home is that state of affairs that shows that all parties concerned are not engaged in warfare. To preserve such an admirable condition strict control must be ex- ercised over certain unruly persons who can usually be distinguished by their sinister expression and malicious tendency. Tin- once warlike nation of the United States is now resting peacefully. Peace is doing its part in the removing of grievances, when not long ago our fair land was in a turmoil of battles in which thousands of men were killed. If the people from all over the United .States, Europe, and other foreign nations should come to- gether at a certain place and declare there should be no more war or trouble between them, then would begin the reign of Universal Pi ace, and it would save the different nations many lives, and many large debts to pav. which could be used for the uses of their country. \ BUSY STREE I' SCENE 1 am standing at the corner of the Board of Trade building. elevated street cars are running at a rapid speed. They make a clanging, rumbling noise that deafens my ears. Then there are the other street cars that come whizzing by every minute. The SINCERITY 3 policeman on the corner is blowing his whistle for the wagons, automobiles, and people to stop or cross. He looks as if he would be run over, but everything passes without touching him. Now a wagon is completely on the track, and a car four yards behind it. The motorman slows down and waits for the driver to get off the track. He removes himself at his ease, and does n't seem the least bit excited. It makes me feel as if I am hardly anything on these crowded streets. I n the building I can hear the grain dealers screaming and shout- ing at the top of their voices. It sounds as if there are wild animals or a stampede of some sort inside. There are so many newsboys that I get tired of hearing " Papers, Chicago Tribune, Herald" or ,{ Latest reports of the markets. A rise in hogs." I see one little boy with his coat worn through at the elbows, his stockings all torn, and his feet peeping through his shoes, who seems to be shunned by everyone, but still he hurries along with the crowd. A coachman is driving by now. He wears a silk hat, a black sleek suit, and high boots. It seems as if the "best of care is taken of the horse and coach, for they are black and glossy. The lady in the carriage is dressed in a beautiful gown, and I imagine her, pretty wealthy, going to some reception or party. I cannot see all of the sights ,at once, nor imagine where all of this throng of people are going. EXERCISE 2 — Oral CHOOSING A SUBJECT If you had to talk or write on five of the following subjects, which should you choose ? On how many of them should you have something to say ? About which do you know too little to speak or write sensibly ? 1. Patience. 5. An Upset. 2. A Landslide. 6. Canoeing in England. 3. My Trip to the City. 7. Ascending Pikes Peak. 4. The Canals on Mars. 8. The Supernatural in " Macbeth." 4 FIRST BOOK OF COMPOSITION 9. Loading an Ocean Steamer. 17. Keeping House. 10. Making Maple Syrup. 18. A Fire. 11. Why I Like "Treasure Island." 19. A Parade. 12. Justice and Mercy. 20. A Shopping Trip. 13. A Day in the Field. 21. Swimming. 14. Caught in a Shower. 22. My Favorite Tree. 15. My First Party. 23. Behind the Bars. 16. A Visit. 24. Liberty and Equality. EXERCISE 3 - Oral or Written SPEAKING AXI) WRITING ON A FAMILIAR SIT.JKCT Speak or write on one or more of the preceding subjects, as your teacher may direct. Tell the things that make your experience different from that of any one else. Write as if you were talking-. Put your work into good form, according to your teacher's directions. EXERCISE 4 - Oral SUBJECTS OF CONVERSATION Read the following paragraphs suggested by a passage in a well-known story and then notice before your next lesson what people talk about, what you yourself talk about. Bring to class several topics that arc interesting to you, no matter how "common " they may be. Nancy was struggling with the difficulties of composition writing. Miss Lawrence gave her all the time-honored subjects of her own youthful essays— Peace on Earth, The I lorrors of War, Napoleon, Justice, True Riches, Anger; but somehow with one of these titles before her, all Nancy's efforts could produce only a few musty sen- tences. After she had inscribed " Anger " in neat handwriting at the top of a page, all her vivacious little personality seemed to congeal somewhere above her finger-tips. SINCERITY 5 " Write as you talk," Miss Lawrence feebly quoted. " But, dear me, Miss Lawrence, I could n't talk about Peace on Earth and Napoleon — not more than a sentence, anyway ; because I never do, you know ; not even about anger, though goodness knows I ought to know something about that." " I suppose you don't need practice in things you do talk about," hesitated Miss Lawrence. " And, anyway," she added more confi- dently, " those things are too common for compositions." EXERCISE 5 — Oral TWO KINDS OF INSINCERITY Compare the following piece of a composition written by a real "Nancy" with the newspaper account of an evening entertainment. Why could not Nancy be sincere in writing about " Human Barriers " ? Why is the newspaper article so glaringly insincere ? That is, which shows insincerity of ignorance, and which insincerity of purpose ? Point out specific defects in sincerity. Human Barriers Nearly every existing life is blighted more or less by some kind of opposition. In some lives promoting development, while in others it is degrading. Barriers develop from every source. If they are not overcome but left to take their course they will in turn become masters of their subjects. They make themselves shown in all lines of occu- pation and in all shades of life ; yet even this is needed for some to make a partial success. No one can escape the trials and tempta- tions of life but should accept them with a determination for the right. The birds of the air become the prey of larger birds or the victim of the hunter's careful aim ; just so we have our obstacles to overcome. 6 I [RST BOOK OF COMPOSITION Newsy Notes from Widi -Awake Wilson Wilsi >N, .March 301 Special). — The at home given last evening in the superb and palatial home of our eminent and highly distinguished to iwnsman. the I Ion. Fred A. Woodcock, in honor of the cultured and eloquent Mrs. Gross, wife of that able jurist Judge Gross, and her brilliant and beautiful daughter, the fascinating Miss Lois Gross, was one of the most brilliant and magnificent entertainments ever given in Wilson. As is well known, this charming and beautiful home is the genuine shrine of the most exquisite and princeliest hospitality, but on this resplendent occasion the glittering acme of the finest social function was reached, for refined tact and exquisite taste and excel- lent judgment and ample means contributed their richest and rarest gifts to make that lovely scene a rhythmic poem of beauty and enchantment. There were gleams of humor as cheering as the dripping of moonbeams upon the quiet bosom of a sleeping lake, not rippling but ensilvering the dreaming water ; there were flashes of sparkling wit as brilliant as the dazzling lightnings when writing in glittering pencilings upon the darkest clouds the grandeur and omnipotence of Jehovah ; there were peals of laughter as musical as the wordless songs of rippling brooks journeying to their home in the sea ; there were faces as sweet and luscious and as tempting as strawberries floating in stainless saucers of richest cream ; there were eyes as radiant and as sparkling as those glittering gems that adorn the bosom of the sky, and rob the night of its gloom by brightening the shadows with the silveriest timings of richest lustre. Yea, these are a few of the many seductive witcheries which wreathed , with garlands of rapture the countenances of the guests. The two specimens given in Exercise 5 illustrate another important aspect of insincerity, besides showing that it may proceed either from ignorance of the subject or from intent to flatter or deceive. This other important aspect, is the part that zvords play in the effect of sincerity. Even if the reporter had meant all his praise honestly, we should find it hard to accept it as sincere when it is written in such a style. The high-school student who wrote on "Human Barriers" was struggling not only with a subject about which she knew little. SINCERITY 7 but also with the false notion that she must use words rather impressive and only half understood. If she had stopped to think she would have known that blighting can never pro- mote the development of anything ; that barriers do not develop ; that source, overcome, take their course, become masters, all suggest different and incongruous pictures. She should have asked what a shade of life is ; and how the devouring of one bird by another, or the hunter's careful aim, could be called an obstacle. If we are to make any true impression on our readers, what we write must not only be our own but seem so ; and therefore we must make not only our subject but also our words our own. Following are two examples of sincere and great writing. Each writer means what he says, and says it, never stopping to think whether the word he uses is large or small, if it fits his thought. If he wanted to speak of supper, he would not call it evening meal; nor would he pick up worn-out phrases like the common walks of life or festive throng any more than he would wear clothes from a secondhand shop. His words, like his thoughts, are his own. The first example is the closing paragraph of Webster's reply to Hayne, a powerful speech delivered before the United States Senate at a time of high excitement when many people thought the Union was in danger. Webster loved the Union and the flag which stands for the Union --that gorgeous ensign of the republic. Twenty-two years later as he lay dying, he watched the flag floating on the flagstaff outside his window. It was still undishonored, for he died before the Civil War drenched the land in fraternal blood. These are his words : When my eyes shall be turned to behold for the last time the sun in heaven, may I not see him shining on the broken and dis- honored fragments of a once glorious Union : on States dissevered, 8 FIRST BOOK OF COMPOSITION discordant, belligerent ; on a land rent with civil feuds, or drenched, it may be, in fraternal blood! Let their last feeble and lingering glance rather behold the gorgeous ensign of the republic, now- known and honored throughout the earth, still full high advanced, its arms and trophies streaming in their original lustre, not a stripe erased or polluted, nor a single star obscured, bearing for its motto no such miserable interrogatory as " What is all this worth?" nor those other words of delusion and folly, " Liberty first and Union afterwards": but everywhere, spread all over in characters of living light, blazing on all its ample folds, as they float over the sea and over the land, and in every wind under the whole heavens, that other sentiment, dear to every true American heart, - " Liberty and Union, now and forever, one and inseparable ! " Webster, " Reply to Hayne" The second example is Thackeray's account of the death of Colonel Newcome, Clive's knightly father : She went into the room, where Clive was. at the bed's foot. The old man within it talked on rapidly for a while ; then again he would sigh and be still. Once more I heard him say hurriedly, " Take care of him when I 'm in India " ; and then, with a heart- rending voice, he called out, ,; Lconore, Le*onore ! " She was kneel- ing by his side now. The patient's voice sank into faint murmurs ; only a moan now and then announced that he was not asleep. At the usual evening hour the chapel bell began to toll, and Thomas Newcomc's hands outside the bed feebly beat time. And just as the last bell struck, a peculiar sweet smile shone over his face, and he lifted up his head a little and quickly said " Adsum ! " and fell back. It was the word we used at school when names are called ; and lo, he, whose heart was as that of a little child, had answered to his name, and stood in the presence of the Master. Thackeray, "The Newcomes" SINCERITY 9 EXERCISE 6 - Oral SINCERE WORDS FOR SINCERE THOUGHTS What words of Webster's do you never use ? Which have you never heard spoken ? Which have you never seen before ? Answer the same questions as to the paragraphs from Thackeray. Show by lists how Webster, rising to the importance of the occasion and of his message, uses large and somewhat unusual words ; yet Thackeray, writing of the most solemn and truly awful of subjects, uses the simplest and most familiar words. EXERCISE 7 — Oral USING NEW WORDS SINCERELY From the two selections just studied, choose five words seldom or never used by you, yet well understood. Use each in a sensible sentence to show its meaning. Find five words that you could hardly at present use sincerely. How much can you learn of these five words by carefully noting the sense that they have in context ? This chapter has been concerned chiefly with meaning what we say, and with not saying what we do not mean — that is, with sincerity of thought and of words. Insincerity of thought comes chiefly from ignorance of the subject ; insincerity of words, from a purpose to flatter or deceive, or from laziness. All the rest of this book is chiefly concerned with saying what we do mean ; for the ability to do this is not merely a matter of wishing to tell the truth, nor can it be gained in a minute or without perseverance. CHAPTER II GOOD FORM Long ago you learned something of the form in which oral and written speech should be presented. From one point of view the whole expression of your thought in words may be considered as form ; from another point of view, only the more mechanical part of this expression , is included, namely the articulation of letters, the upward and downward inflections in speech, the correct grammatical relations of words, the handwriting, spelling, punctuation, placing of material on the page - - all the outward means of making your thought quickly and easily understood. Some of these points especially applying to written work will be considered in this chapter, and further exercises in good form will fol- low in other chapters. Only the simplest and most important rules are mentioned ; you cannot afford to neglect one of them. The mechanical part of expression of thought is decided by custom, the custom of our times and of our language. There is not much need for reasoning about it. We must simply find out what the best custom is, and then form habits of following it without giving it much thought or attention. But to form these habits takes constant atten- tion in the beginning. Your aim should be to do correctly ivithout thinking at the end of this year many of these me- chanical things which now use up some of your thought and energy. Take pains now, to save pains later. IO GOOD FORM ii In this chapter the very simplest rules of form for written work are gathered, rules that you have learned, or should have learned, before. The mere memorizing of these rules and the application of them in a few exercises will, however, prove useless in fixing habits. You must apply the rules in every bit of writing that you have an opportunity to do. EXERCISE 8 — Oral Compare the two versions of the composition on page 12. What matters of form have been corrected in the second ? Notice general appearance, handwriting, placing, spelling, punctuation, paragraphing. Which is easier to understand ? A. PREPARATION OF PAPERS I. Form in General 1. Place the title, correctly capitalized, on the first line near the middle. 2. Leave a margin of at least an inch at the left-hand side of the page. 3. Leave no meaningless spaces at the right-hand side of the page. 4. Indent the first line of every paragraph, or group of sentences on one topic, at least half an inch beyond the margin of writing. 5. Never indicate a new paragraph unless there is a real division of the thought. 6. Write legibly and neatly ; use ink, unless otherwise directed. I2 FIRST BOOK OF COMPOSITION PLATE I. A THEME ORIGINAL IN MATTER, MISERABLE IN FORM tit ^t^/ous AXxX -*A/'\£l^ (U/U£^s-i- CLt-td - Vtvil JaA£(X;cJaA_ (U^oA ^a/s^JJ^ C^dLcdff cAsrvpu*. ^pU. tstrtcl it^v^y. ,/^^m,- ~fc cr - ^p-£c*sti ~Ee^is\s^uvA a^to' " PLATE II. THE SAME THEME, WITH THE FORM IMPR0V1 D JLriruL ocrvvx^T~(> JLotv-u^. -j^utrvw cn^e-w cu X\aJLL- Tii_t/ ^asJL 3- A^OUULT AATO^ CO JLjtXJU. C^JUU^J C&Jpu , OJV\J~ X^Au X^O-A^> ajvtTu^ A^msu co JLo~njcfr-Xx>^J-Jud- }^s- GOOD FORM 13 II. Endorsement 1 . Fold the paper evenly once lengthwise and write the en- dorsement on whichever side your teacher directs — always on the same side. 2. Place your name on the first line, the title on the second, and the date of handing-in on the third. 3. Place a comma after the name, another after the title, and a period after the date. 4. Punctuate the date correctly. B. RULES OF PUNCTUATION AND CAPITALIZATION Rule 1. Begin the first word in every sentence with a capital letter. Rule 2. End every sentence with a period, unless the sen- tence is a question or an exclamation. EXERCISE 9 — Written The two rules given above sound very simple, but they are not easy to follow. Nearly all beginners in composition fre- quently write two sentences rather closely connected in thought as if they were one sentence, sometimes placing a comma be- tween them. This is called " the comma blunder " and is an unfailing sign of carelessness or lack of training. If you habitually make this mistake, root it out of your work. Copy the following sentences correctly, placing periods and capitals where they should be. Notice that when punctuated properly these sentences often prove to be very short and disjointed. 1. He had only one leg, the other was cut off at the knee. 2. Squire Trelawney was a large strong and tall man, being over six feet tall, he was dark, with a broad face, roughened and reddened in his travels. 14 FIRST BOOK OF COMPOSITION 3. She was not in any hurry, she just played along. 4. The captain is standing in the doorway, he looks very neat and clean beside the others. 5. First the map is what puts them up to this, if it had not been for the map they would not have known anything about the treasure. 6. Silver, when they landed at a port in Spanish America, had got some of the money and gone, he was never seen after this. 7. The trees by the pond were mostly maples and willows, they were all bare now, standing out against the sky. 8. We saw the long, solemn procession winding up the dusty road, it was passing the cemetery. 9. The train started, we were not more than two rods from the station, but we missed it. 10. Along the meadow path beside the brook the two children ram- bled happily, they chased butterflies and pulled the heads off daisies, no one saw them slip under the fence. 11. Whoever came to the door was kindly received, mother was the most truly hospitable person I ever knew. 12. The cactus bloomed on Christmas Day. it was a delicate pink thing, as frail-looking as a bubble. 13. My lamp must be broken, I cannot turn the wick up or down. 14. We followed our guide through a low stone gateway, the court- yard inside was a scene of confusion. 15. The windmill was clacking furiously, a strong breeze had sprung up from the south. 16. No one ever caught a fairy, that is no proof that fairies do not exist, however. 17. Tommy reached out to seize the cake, his little thin hand trem- bled so that he could hardly clasp the shiny, white, sweet morsel. 18. Our horse used to be a famous racer, she will give us a sample of her former powers now and then. 19. 1 like hickory nuts better than any other kind, they are good for cake or candy or in any way you choose to eat them. 20. A sea serpent is usually supposed to be as impossible as a mer- maid, there is some truth in the tales about them. 21. The workmen in the fields were "turning out " for the night, they all had a word of chaff with McTurg. GOOD FORM 15 EXERCISE 10 — Written and Oral Look over all the themes you have written and collect any examples of the comma blunder that you find. Bring them to class for your classmates to correct. The best way to find these blunders is to read your work aloud. Rule 3. Use a question mark to close a question, an excla- mation mark to elose an exclamatory expression. EXERCISE 11 — Written These first three rules cover the punctuation and capital- ization of the sentence as a whole. Punctuate correctly the sentences in the following paragraph : What a cozy little room this is the moment I opened the door I fell in love with the place do you see the great open fireplace at the end of the room it will hold a four-foot log on the stone above it you see the motto of good cheer on each side is a many-paned window through which comes a glimpse of the garden the windows are framed in bril- liant red leaves of woodbine is there anything so homelike as books and a fire here are all kinds of books ranged in cases on each side of the room what treasures for a rainy day who knows what delightful com- rades are shut between those covers where shall I begin here is the easiest of easy-chairs I will pull it before the fire and snuggle down in luxury with the " Arabian Nights " from the top shelf in the corner my letter to you must wait. Rule 4. Begin with a capital letter every proper name of a person or a place, every word derived from one of these, and initials or abbreviations of them. Examples: John, England, India, Indian, English, American, French, R. M. Kelly, D.D. Exceptions: Names of places are not capitalized when joined to the name of some article of commerce so commonly associated with the place that the two names are taken as one ; as chinaware (or china), india ink, persian ribbon, 16 FIRST BOOK OF COMPOSITION Rule 5. Begin with a capital letter the first and every im- portant word in a title. For examples, sec the lists of theme titles in various chapters of this book. Rule 6. Begin with a capital letter the first word in every line of poetry. Note. When quoting poetry always drop the verse to a new line on the page ; never run it in as if it were prose. Example : As Browning says in " Herve Riel," " Praise is deeper than the lips." Rule 7. Begin with a capital letter a title of honor used with a proper name or instead of the name. Examples: Colonel Roosevelt: the President; Woodrow Wilson, President of the United States. Rule 8. Begin with a capital letter all special names applied to deity. Example : " Ye are the children of the Great King." Rule 9. Begin with a capital letter names of months, holidays, and days of the zveek. Example: This year Christmas came on Saturday and January will begin on Saturday, too. Rule 10. Begin with a capital letter names of things personified. EXAMPLE: The Little Red Hen said, " I will, then." Rule 11. Begin with a capital letter the first word of a direct quotation. EXAMPLE : Arthur cried out to Bedivere, " What sawest thou ? " Rule 12. Capitalize the pronoun I ami the interjection 0. GOOD FORM 17 Rule 13. Never use capital letters meaninglessly. Example : My Brother saw the Elephant ; but as I had the Measles, I could not go out to see the Parade. EXERCISE 12 — Oral Give the rule governing the use of each capital letter in the following sentences : 1. I know nothing in English or any other literature more admirable than that sentiment of Sir Thomas Browne, " Every man truly lives, so long as he acts his nature, or some way makes good the faculties of himself." 2. The old gentleman opposite all at once asked me if I ever read anything better than Pope's " Essay on Man." He was fond of poetry when he was a boy, — his mother taught him to say many little pieces, — he remembered one beautiful hymn ; and the old gentleman began, in a clear, loud voice for his years, " The spacious firmament on high, With all the blue ethereal sky, And spangled heavens." He stopped, as if startled by our silence, and a faint flush ran up be- neath the thin white hairs that fell upon his cheek. As I looked round, I was reminded of a show I once saw at the Museum, — the Sleeping Beauty, I think they called it. . . . Our Celtic Bridget, or Biddy, is not a foolish fat scullion to burst out crying for sentiment. . . . She could n't set the plate down while the old gentleman was speaking. 3. Beware of rash criticisms ; the rough and astringent fruit you condemn may be an autumn or a winter pear, and that which you picked up beneath the same bough in August may have been only its worm- eaten windfalls. 4. Do I think that the particular form of lying often seen in news- papers, under the title, " From our Foreign Correspondent," does any harm ? — Why, no ; I don't think it does. I suppose it does n't really deceive people any more than the " Arabian Nights " or " Gulliver's Travels " do. 18 FIRST I!()()K OF COMPOSITION 5. The Puritan Sabbath, as everybody knows, began at sundown on Saturday evening. 6. Our brains are seventy-year clocks. The Angel of Life winds them up once for all, then closes the case, and gives the key into the hand of the Angel of the Resurrection. 7. The True Knight of Learning, — the world holds him dear, — Love bless him, Joy crown him, God speed his career ! 8. I think myself fortunate in having the Poet and the Professor for my intimates. 9. The second of the ravishing voices I have heard was, as I have said, that of another German woman. I suppose I shall ruin myself by saying that such a voice could not come from any Americanized human being. 10. What can be more trivial than that old story of opening the folio Shakespeare that used to lie in some ancient English hall and finding the flakes of Christmas pastry between its leaves, shut up in them per- haps a hundred years ago ? And, lo ! as one looks on these poor relics of a bygone generation, the universe changes in the twinkling of an eye; old George the Second is bark again, and the elder Pitt is coming into power, and General Wolfe is a fine promising young man, and over the Channel they are pulling the Sieur Damiens to pieces with wild horses, and across the Atlantic the Indians arc tomahawking Ilirams and Jona- thans and Jonases at Fort William Henry. 1 1' ilmes, " The Autocrat of the Breakfast-Table " EXERCISE 13 — Written Supply capital letters, periods, question marks, and excla- mation marks : 1. but what are these grave thoughts to thee out, out into the open air thy only dream is liberty, thou carcst little how or where 2. o holy night from thee i learn to bear what man has borne before thou layest thy finger on the lips of care ond they complain no more GOOD FORM 19 3. when descends on the atlantic the gigantic storm-wind of the equinox, landward in his wrath he scourges the toiling surges, laden with seaweed from the rocks : from bermuda's reefs ; from edges of sunken ledges in some far-off, bright azore ; from bahama, and the dashing silver-flashing surges of san salvadore 4. Monk, is this the road to Segovia Shepherd, it is, your reverence Monk, what is that yonder in the valley Shepherd, san ildefonso Monk, a long way to breakfast Shepherd, ay, marry Monk, are there any robbers in these mountains Shepherd, yes, and worse than that Monk, what Shepherd, wolves Monk, santa maria Rule 14. Enclose in quotation marks every direct quotation. Note i . Be sure to place quotation marks at the end as well as at the beginning of a quotation. Note 2. If unquoted explanatory words interrupt the quota- tion, be sure to enclose the quotation on each side of them with quotation marks. Examples : " There are others in the party," said he. " Can't you get their consent? " " I am afraid," he replied, " that I cannot." Rule 15. J 17/ on the explanatory words follow the quotation, close the quotation with a comma unless it is a question or an exclamation,-- that is, when the words quoted would end with a period if unquoted ; if they icon Id end with an exclamation mark or an interrogation point, do not change these marks in quoting. 20 FIRST BOOK OF COMPOSITION l.\ wiii i s: "I am here.*' replied a voice. " Who are you? " I asked. I lush ! " was the only answer. Rule 16. When the explanatory words precede the quota- tion, set them off from it by a comma. Sometimes a long quotation is introduced by a colon. Examples : 1 summoned up courage to shout, " Do you need help? " At the punch-bo\vl*s brink, Let the thirsty think What they say in Japan : " First the man takes a drink, Then the drink takes a drink, Then the drink takes the man." Edward Rowland Sill Rule 17. When the explanatory ivords interrupt the quota- tion, set them off from it on both sides by commas, if they break into a sentence. Example : " Is there a single boy," queried the master, solemnly, " who will dare to tell the truth? " Note. If the explanatory words come at the end of a quoted sentence. Rule 15 applies, whether another quoted sentence follows or not. These words are, of course, then followed by a period, and the next quoted sentence, like every other sentence, begins with a capital letter. If the unquoted words break into the midst of a sentence, the second part does not, of course, begin with a capital letter. EXAMPLES: "I'm Jason."' he replied defiantly, "and this is the 0." "I can't help it." he replied. " It's the best sort of Argo I can manage, and it 's all right if you only pretend enough." GOOD FORM 21 PUNCTUATION OF QUOTATIONS Sentences containing quoted words in direct discourse are of three types according as the explanatory words " He said," or their equivalent, precede, follow, or interrupt the quoted words. The first three groups represent these types ; the fourth group is equivalent to group II with other sentences added. This last addition might, of course, be a whole para- graph, and end punctuation might vary. 1. He said, " C_ 2. He said, " C _?" 3. He said, " C ! " II 4. " C ," he said. 5. " C ? " he said. 6. " C ! " he said. Ill 7. " C ," he said, " I.e.. 8. " C __," he said, " l.c ? " 9. " C ," he said, " l.c ! " IV 10. "C ," he said. "C ?" 11. "C ?" he said. "C " 12. " C ! " he said. " C ! " Note. C = capital ; l.c. = small letter. FIRST BOOK OF COMPOSITION EXERCISE 14 - Written Punctuate and capitalize correctly the following quotations : fire fire i screamed frantically where cried hal, leaping up the stairs i ran before him into the nursery, seizing a rug as i ran, and half sobbed oh be quick eleanor and robert were standing just where i had left them, watching the leaping flames run along the curtains, mother shouted rob in an almost delighted tone i fink we 've got a fire eleanor, run to the telephone i said as calmly as possible and ask central to call the fire engine take bob with you no cried hal hastily it 's all over don't get any engine to deluge us stop, eleanor i discovered a heap of blackened curtains smoking under a rug and hal examining a singed hand Rule 18. Use the apostrophe to indicate the possessive form of every name. Examples: John's, Bess's, cat's, men's, girl's, Burns's. Burns' is also correct, though Burns's is to be preferred. Carefully avoid placing the apostrophe before the.*- which ends such words as Dickens, Holmes, and Keats. N< i ik i . Use the apostrophe and s after all names except plurals ending in s (as girls) ; after these use the apostrophe only. Nun; 2. Wver use the apostrophe to show possession with its, hers, yours, ours, theirs, his. whose. It's means it is. EXERCISE 15 - Written Use in sentences possessive tonus of the following names, both singular and plural, if a plural be possible. Use also the plural, not possessive. Washington fortune general Mary lord colonel lady mayor lieutenant GOOD FORM 23 boy farmer servant girl doctor » comrade Bess lawyer playmate bird citizen friend cat policeman Arthur dog aunt Boston horse uncle Chicago Jack cousin England man mother Mr. Jones American father Shakespeare president sister Lincoln pope brother city husband government wife parliament captain Shays Rule 19. Use the apostrophe in place of omitted letters in contractions. Examples: I'm, can't, it's (= it is), we're, doesn't, don't, isn't, have n't, let 's, etc. EXERCISE 16 - Written Supply apostrophes where needed in the following, and give the rule governing the use of each : 1. Its a pity its wing is broken. 2. Lets play soldiers and 111 be captain. 3. Hers is as happy a face as youll see in a days journey. 4. The girls books were in worse condition than the boys. 5. " Twas the night before Christmas." 6. " Howeer it be, it seems to me Tis only noble to be good." 7. " And he who follows Loves behest Far excelleth all the rest! " 8. Whose book is this with its cover torn ? 9. Havent we had a happy day? 10. " Ive said my seven times over and over." 11. " O bumblebee, youre a dusty fellow."' 24 FIRST BOOK OF COMPOSITION 12. The childrcns voices sounded tired. 13. We filled the horses mangers with hay. 14. The conductors tone was impatient. 15. Babys eyes blinked sleepily. 16. The childrcns slippers havent come yet. 17. " Leave em alone And theyll come home, Wagging their tails behind them." 18. " If shes not gone, she lives there still." 19. Hows your mother? Youre taking her some oranges, arent you? So I suppose shes better. 20. Heres wishing you a Happy New Year! Rule 20. Use a comma to separate the words yes and no from the rest of the sentence. Examples : Yes, he bought them an hour ago. No, he would n't wait. EXERCISE 17 — Oral What rules for the use of the comma have been given in this chapter ? State them. What other rules have you learned before ? Illustrate all the uses of the comma that you know, and find examples in this chapter. EXERCISE 18 — Written Supply capital letters and marks of punctuation omitted in the following : lets pretend, suggested harold, that were cavaliers and round- heads ; and you be a roundhead well then he began afresh lets pretend were knights of the round table ; and (with a rush) ill be lancelot what is it inquired Charlotte, sitting up and shaking out her curls i stood spell-bound for a moment longer, and then with a cry of "soldiers" i was off to the hedge, charlotte picking herself up and scurrying after GOOD FORM 25 is there going to be a battle panted harold, hardly able to keep up for excitement of course there is i replied were just in time come on will they be indians inquired my brother (meaning the enemy) or roundheads or what i reflected, harold always required direct straightforward answers — not faltering supposition they wont be indians, i replied at last ; nor yet roundheads, there have nt been any roundheads seen about here for a long time theyll be frenchmen Adapted from Kenneth Grahame, " The Golden Age " C. CORRECT USAGE EXERCISE 19 — Written or Oral Use in a sensible sentence each correct form given below. Be careful not to make the mistakes indicated in the second column. These expressions are all frequently used, but are childish or vulgar. Say 1. is n't, aren't 2. have n't, has n't 3. must have, could have, would have, etc. 4. had 5. have to 6. have somebody do something 7. teach somebody something fdid f saw 8 - any0ne ihr s done| anything 9. any onerd of the leave-taking begins.with a capital letter and that Yours," like all other pronouns, does notlorm its possessive by the use of an apostrophe. Here, as elsewhere, of course, abbreviations are unnecessary. ' Yrs etc." is inexcusable. The signature (6) ordinarily concludes the business letter. This should in all cases be legible, neither careless nor ornate. Some people form a bad habit of signing their names with a GOOD FORM 33 flourish that is intended to be impressive, but is often illegi- ble and absurd. If the letter is signed by another person than the writer, he should add under the signature the word by or the Latin word per, which means " by," and his own name or initials. By or per, when so used, is not begun with a capital letter. When a woman signs her name to a business letter it is not clear to a stranger whether she is married or single, and so he does not know how to address her in reply. Conse- quently a woman should prefix to her signature Miss or Mrs. in parentheses, — as, Yours very truly, (Mrs.) Mary Jones. Or she may sign her name Yours very truly, Mary Jones. and then write below, beginning at the left-hand margin : Please address Mrs. George T. Jones. The words Please address may be omitted. A married woman should give her husband's name preceded by Mrs. ; a widow, usually her own name, as Mrs. Mary Jones. In other words, a woman should indicate how she wishes letters to her addressed. Conversely, in answering a letter, address' the writer by the name signed. Sometimes, for convenience, the address of the writer is repeated below the signature. This is not necessary, how- ever, as it has already been given in the heading. If a letter consists of more than one sheet, the sheets should be carefully arranged in order, preferably being num- bered at the top. If letter paper, usually 8 by 10 inches 34 FIRST BOOK OF COMPOSITION in size, has been used, it should be folded once from the bottom, the crease being not quite halfway up the paper, then folded from the right, and finally from the left to fit the envelope. If note paper, approximately 5 by 8 inches in size, has been used, the first fold should be up from the bottom, the second down from the top. This may seem a trivial matter, but it saxes the time and the patience of the recipient. PLATES V When enclosing a stamp, never, as many people do, attach it to the paper by a part of its mucilage. It too frequently tears and is ruined when one tries to detach it. With a sharp knife cut two parallel slits in the paper, and through these slip the stamp ; or, better still, wrap it in oiled paper and en- close it in the folded letter. Always enclose a stamp when GOOD FORM 35 requesting a reply from some one who would not be expected, through friendship or business interest, to reply without it. When making an enclosure of any kind, mention the fact, either in the body of the letter or by adding " Enclosure " near the left-hand margin and below the signature. The envelope should be addressed so that the post-office department can with the least possible effort deliver the letter. To this end the stamp must be affixed in the proper place, the upper right-hand corner, the writing must be legi- ble, and the necessary items of the superscription arranged in their proper order, — first the name, then the street and number or post-office box, then the county, if it is neces- sary to give that, and finally the state. If the letter is sent in care of some one, that fact may be indicated in a line im- mediately following the name or in the lower left-hand corner. In all of the models notice the position and spacing of the items. The arrangement of details on an envelope often varies ; it should, however, be neat and easily read. PLATE VI •<> r>. 5^ FIRST BOOK OF COMPOSITION PLATE VII ^ [&1. <<=&4lfo#nd > 1-CZAe- -diL S' ■'■■■ < J&14.W&M.J The omission on envelopes of all punctuation except that absolutely necessary is often practised. In that case the super- scription would read as follows, periods being used only to indicate abbreviations. PLATE VIII James T. Lewis & Co 216 Water Street Winchester Indiana GOOD FORM 37 It is wise to write out in full the name of the city and the state. Likewise many titles, when used before a name or on the envelope, should be written out. Write " Professor George J. Benton," " Colonel Benjamin R. Bacon," " Judge Lewis C. Jenkins," 'Reverend John C. Overstreet." How- ever, Doctor and a few other titles are commonly abbrevi- ated. Titles are usually prefixed to the name if they would be used in addressing the man in speech ; otherwise, if the title is to be written at all, it should be placed in a line immediately following the name. Never write " Hon. Brown " or " Rev. Smith " or " Rev. Dr. George U. Smith " or " Prof. J. F. Royster, Ph.D." PLATE IX Punctilious writers use Esq. or Esquire after the name of those men for whom they wish to show marked respect or honor ; but when this title is appended, no other one should be prefixed to the name. One should never write " Mr. Lewis Y. Jackson, Esquire." But this use of " Esquire is a nicety observed by but few, even in friendly letters, where one is much more personal than in business. ^7235 38 FIRST BOOK OF COMPOSITION During one year the Chicago post office handled more than two and one-half billion pieces of mail matter, weighing over 175,000 tons. Of this enormous bulk 99.9964 per cent was handled without error, the records indicating only one mis- take in 27,130 pieces. But the public made more than ten million mistakes in addressing mail - - one wrong out of every 146 pieces mailed, or 0.7 per cent. The necessity for using care in writing addresses is obvious. PLATE X CM&t. J$cbcdU