UC-NRLF SB 30b T45 John 3v7ett u ^f If 'O^/cs U^^>C-W> &eJi*^ Digitized by the Internet Archive in 2008 with funding from Microsoft Corporation http://www.archive.org/details/elementsofenglisOOchitrich THE ELEMENTS' ENGLISH COMPOSITION. A PREPARATION FOR RHETORIC. MISS L. A. CHITTENDEN, TEACHER OF ENGLISH LANGUAGE AND LITERATURE IN ANN ARBOR HIGH SCHOOL. EIGHTY THIRD THOUSAND. CHICAGO: S. C. GRIGGS AND COMPANY. 1890. Copyright, 1884, By S. C. GKIGGS AND COMPANY. •CATION DEFT, f~KKIGHT & LEONARD PREFACE. This work is prepared for the lower grades of the High School. The object has been to furnish, with as little theory as possible, such a set of directions and exer- cises as, even before the pupil has attained the maturity of mind necessary for the formal study of rhetoric, will enable him to become a tolerably correct composer; at least to avoid the blunders, if not to acquire the graces, of composition. By the time the pupil has passed over the exercises in punctuation, transformation of elements, and rhetor- ical principles, he should have secured a fair degree of accuracy. Whatever additional practice may be neces- sary will be found in the Reproductions. These Repro- ductions are of course primarily intended to furnish material for practice upon the principles that are under discussion. Another and hardly less important purpose is to furnish the first step in a graded system of exer- cises leading to original composition. All writers have learned to write by seeing how others have written. The music pupil learns to execute what others have composed before he is set to composing for himself. In putting into his own words a poem, or a story, or a chapter of history, the pupil learns to select the proper 54!?! 7 IV PREFACE. points, to arrange well, to connect clearly, to adapt diction to thought, etc. This he will learn to a large extent unconsciously, but on many of these important points he will fail, and these failures will furnish the teacher with proper subjects of criticism. The second step toward original writing is found in the Developments. This is half way between the wholly reproductive and the wholly original. Here the imagina- tion is called into play in supplying the details of a plot, only the outlines of which are given. The Development furnishes also a severe test of style, for it gives abso- lutely no aid. If the pupil now shows that he does not yet comprehend the difference between good writing and poor, more practice should be given in Reproduction. The Developments will afford opportunity for the teacher to point out lack of harmony between the additions the pupil has made and the plot given, violations of correct proportion, inconsistencies of detail, faults of diction, etc. To several of the first Developments, hints have been added to guide and encourage the pupil. It will, however, be well to give him as little aid as possible. The more independent he is in his treatment of the Developments, the better prepared will he be for the original themes. But to such individual pupils as are most deficient in imagination, the aid of additional hints may properly be continued longer than to the others. With this preliminary training, there will be an easy transition to simple imaginative themes. The Development is the exact opposite of the Repro- PREFACE. V duction. The Development adds the details, the Repro- duction omits them; the matter furnished for the Devel- opment is much shorter than the required essay, the matter furnished for the Reproduction is much longer. The next step beyond the Reproduction in the line of condensation is the Summary. The matter given for the Summary is much greater than for the Reproduction, and the required essay may be made shorter. The object of the Summary is brevity of expression and grasp of thought. If these various exercises be at first applied to easy matter, stories, simple poems, etc., the pupil will be able to apply them with great advantage, in a more advanced part of his course, to the more difficult subjects of history, science, orations, etc. The Paraphrase deals exclusively with style. The passage given is short; the pupil is obliged to concen- trate his efforts on the best ways of re-expressing it. The excellence of this exercise no experienced teacher will doubt. Dr. Harris says, "One increases rapidly in the command of language when he is required to para- phrase, and to discover the advantages and disadvantages of the modes of expression used by himself and others." The imaginative faculty is usually sufficiently lively to make it early available in furnishing the material for writing, — material pleasing to the pupil and adapted to his years. But even if he does not at first succeed in imaginative work, let his efforts be judiciously guided and encouraged, and he will make the same improvement in this as in any other line of study. Imaginative is VI PREFACE. placed before descriptive writing; and it is believed that this arrangement is philosophical. As treated in this book, descriptive writing is the more difficult. As the pupil has doubtless had in the lower grades some prac- tice in the description of simple objects, it is thought practicable to advance to themes offering more variety and more pleasure, but requiring more maturity of thought and style. This work, undertaken at first to supply the author a series of exercises for oral instruction, is in every respect an outgrowth of the class-room, and it is believed that in other hands it will stand the only true test of a school- book, — the test of trial. The author desires to acknowledge most gratefully her indebtedness, for assistance and encouragement during the progress of the work, to Supt. W. S. Perry; and Prof. W. H. Payne, of Michigan University. Thanks are also due to several publishers for their kindness in allowing selections to be made from their publications, — to Messrs. Houghton, Mifflin, & Co., Bos- ton, for selections from Phoebe Cary, Adelaide Procter, Lowell, and Whittier; to Messrs. Roberts Bros., Bos- ton, for selections from Louise Chandler Moulton and Susan Coolidge; to Mr. Parke Godwin and Messrs. D. Appleton & Co., for selections from Bryant; to the Century Co., for poems from "St. Nicholas"; and to others whose names are mentioned in connection with the selections copied. THE AUTHOR. Ann Arbor, June 23, 1884. CONTENTS. PART I. CHAPTER I. PUNCTUATION AND CAPITALS. Capitals 1 Punctuation op the Simple Sentence — The Period 4 The Apostrophe 4 The Comma 5 Punctuation of the Complex Sentence — The Comma 10 Punctuation of the Compound Sentence — The Comma, Semicolon, and Colon .... 13 The Exclamation Point 15 The Interrogation Point 15 The Dash 16 The Hyphen 17 The Caret 17 The Quotation Marks 17 Combination of Detached Elements .... 19 Exercises in Composition — Reproduction I. — The Leak in the Dyke . . 24 Reproduction II. — A Legend of Bregenz . . 29 Reproduction III. — In Swanage Bay ... 34 Development I. — The Sad Little Lass ... 39 vii Vlll CONTENTS. CHAPTER II. TRANSFORMATION OF ELEMENTS. Exercises in Transformation 40 Exercises in Composition — Reproduction IV. — The Painter of Seville . . 48 Reproduction V. — Prose Readings Reproduction VI. — The Retired Cat Development II. — The Dog and the Shadow Development III. — A Christmas Pie Development IV. — Ino and Uno .... 54 54 57 58 58 CHAPTER III. PRINCIPLES OF EXPRESSION. Principle I. — Personal Pronouns 60 Principle II. — Relative Pronouns . . . . 63 Principle III. — Number of Relatives in a Sentence 64 Principle IV.— "And Which " 66 Principle V. — Participles 67 Principle VI. — Phrases and Adverb Clauses . . 68 Principle VII. — Unnecessary Repetition ... 69 Principle VIII.— Fine Effect of Repetition . . 70 Principle IX.— Omission 71 Principle X.— "And" 72 Principle XI. — Climax 73 Principle XII.— Position of Phrases .... 74 Principle XIII. — Emphasis 74 Principle XIV.— Change of Construction ... 75 Principle XV.— Thoughts not Connected ... 76 Combination of Detached Elements .... 77 Rules for the Paragraph . ...... 80 CONTENTS. IX Exercises in Composition — 9 Reproduction VII. — The Singing Leaves . . 83 Development V. — Two Kitties 86 Development VI.— The Baby Bird .... 87 Reproduction VIII. — Prose Readings ... 88 Reproduction IX. — John Gilpin 88 Development VII. — The Tragical Fate of Jack and Jill 92 Development VIII. — Little Jack's Christmas Dinner 93 Reproduction X. — The Butterfly and the Snail . 93 Development IX. — The Mouse and the Elephant 94 Development X.— Will o'the Wisp .... 95 Development XL— The White Lily .... 96 Subjects for Story 97 CHAPTER IV. PRINCIPLES OF EXPRESSION (Continued). Principle XVI. — Interrogation and Exclamation . 98 Principle XVII. — Direct and Indirect Narration . 102 Principle XVIII. — Inversion 104 Principle XIX. — Figures — Simile 106 Metaphor 107 Metonymy 108 Personification .... 109 Exercises in Composition — Reproduction XI. — In the Tower .... 110 Reproduction XII. — Prose Readings . . . 114 Development XII. — Princess Fuzz .... 114 Development XIII. — Mamma's Little Assistants 115 Development XIV. — Found Dead in the Street lid CONTENTS. Reproduction XIII. — The Romance of the Swan's Nest . Development XV— The Little Flower Girl Development XVI.— Bullfrog Talk Development XVII. — Housekeeping Reproduction XIV. — Easter Lilies . Development XVIII.— The Wish . . Development XIX. — Abou Ben Adhem Subjects for Story H8 120 121 121 122 123 124 124 CHAPTER V. LETTER-WRITING. Parts of a Letter — The Heading 126 The Address 127 The Salutation 128 The Complimentary Close and Signature . . 129 The Superscription 130 Models ........ 131 Hints on Letter-writing ....... 137 Subjects for Letter-writing 138 PART II. CHAPTER VI. THE PARAPHRASE. Rules for the Paraphrase 139 Selections for Paraphrasing — Selection I. — Sella 141 Subjects for Story 151 Selection II. — Snow-Bound ♦.,,,, 151 CONTENTS. XI Exercises in Composition — Development XX. — The House in the Meadow 158 Development XXI. — A Farm Picture ... 158 Development XXII. — A Morning Scene . , 159 Development XXIII.— Cleon and I .... 159 Development XXIV. — Requiescat .... 160 Development XXV.— The Three Fishers . . 160 Development XXVI.— The Brook .... 161 Development XXVII. — An Evening Scene . 161 Subjects for Description . 163 CHAPTER VII. ADDITIONAL MATERIAL FOR COMPOSITION. Fiction and Poetry 164 History and Travel 166 Hints on the Preparation of Essays . . . 168 Hints on the Use of Books 169 Miscellaneous Subjects 169 Marks for the Correction of Compositions . 173 PART I CHAPTER I. PUNCTUATION AND CAPITALS. CAPITALS. In writing, observe the following directions for the use of capitals : 1. Begin with a capital the first word of every sen- tence. 2. Begin with a capital the first word of every line of poetry. 3. Begin with a capital all proper nouns, and words derived from them: as — . Boston; the United States; the British nation; the Greek lan- guage; the Christian religion. 4. Begin with a capital names of things personified: as — Freedom, close not thy lids in slumber! They went to the Butterfly's hall. 5. Begin with a capital titles of honor, and official titles, especially when applied to a particular person or when they precede a name: as — The Duke of Edinburg ; President Oar field; Uncle James; Mayor Harriman. Note.— When titles like king, duke, general, etc., occur frequently and are not followed by the name, the capital need not be used. 2 THE ELEMENTS OF ENGLISH COMPOSITION. • •' • G". Begin with a capital names of Deity: as — The Almighty ; the Infinite ; the Most High ; the Divine Savior. 7. Begin with a capital pronouns referring to Deity: as — Thou that hearest prayer. Note.— If the reference is perfectly clear the capitals are sometimes omitted. 8. Begin with a capital names of the Bible, and any of its books: as — The Holy Scriptures; the Gospel of John. 9. Begin with a capital names of streets, months, days of the week: as — They live on Washington Street; the month of August ; it is Friday morning. 10. Begin with a capital names of religious sects, and political parties: as — The Protestants ; the Republicatis ; the Tories. 11. Begin with a capital names of important historical events: as — The Reformation ; the Declaration of Independence. 12. Begin with a capital the words North, South, East, West, when applied to parts of a country. 13. Begin with a capital the first word of a direct quotation: as — Cmsar cried, "Help me, Cassius, or I sink.'" 14. The pronoun I and the interjection O are always capitals. Exercise 1. — Correct the capitalization of the follow- ing examples, and give the reason for every change. 1. The Painter by his skill throws italian light on english walls. 2. Thank heaven, i'ra here! 3. In that Mansion was free-hearted hospitality. 4. Is this consistent with christian Principle? 5. I will come monday or tuesday. 6. The duke of Wellington is Dead, PUNCTUATION AND CAPITALS. 6 7. he devoted himself to the Study of the holy scriptures. 8. Every american boy is a possible president of the united States. 9. The Guests were entertained by Mayor rice at his Residence, no. 34 union place. 10. in point of real force and originality of Genius, neither the age of pericles, nor the age of augustus, nor the times of Leo X., can come at all into comparison with that of elizabeth. 11. china, india, Palestine, egypt, greece, and rome, are successively lighted up by the Majestic orb of Day. 12. He was the Author of a tract on the french revolution. 13. A Certain brahmin vowed to sacrifice a Sheep. 14. The prince of wales will succeed queen Victoria upon the Throne of England. 15. He is also called the eternal, the invisible, the infinite, the being of Beings. 16. new york City is on Manhattan island. 17. The City of new York is on the Island of manhattan. 18. During the roman occupation of england, the latin language had gradually come into use. 19. Wed- nesday is so called from Woden, our forefather's God of War; Thursday, from thor, the God of Thunder; friday, from Frea, the Goddess of Peace. 20. Do you speak french or german? 21. Have you studied greek and latin? 22. The whig Ministers were com- pelled to yield their Places to the tories. 23. o wedding-guest! this soul hath been alone on a wide, wide sea ! so lonely 'twas, that god himself scarce seemed there to be. PUNCTUATION OF THE SIMPLE SENTENCE. To enable the eye to apprehend more readily the sense of a passage, certain marks are used called Punctuation Marks. These are : — The period . The interrogation point P The comma , The exclamation point ! The semi-colon ; The quotation marks " " The colon : The dash — The apostrophe ' The parenthesis ( ) The hyphen - The caret a 4 THE ELEMENTS OF ENGLISH COMPOSITION. Though the first exercises in punctuation are restricted to the simple sentence, it is evident that the directions will apply equally well to the clauses of complex and com- pound sentences. THE PERIOD. Rule 1 . — A sentence not interrogative or exclamatory must be followed by a period. Rule 2. — Abbreviations, Roman numerals, headings, and signatures, must be followed by a period: as — Rev. James Baldivin; Mrs.W. S. Jones; Henry VIII. Exercise 2. — In the following examples make what- ever abbreviations would be proper, and punctuate accord- ing to the rules. 1. This work is edited by John George Morris, Doctor of Divinity. 2. The Reverend Henry Charles Potter was consecrated Assistant Bishop of New York. 3. Mister Henry Irving, the English actor, arrived in this country on Sunday morning. 4. The following reso- lutions were offered by Doctor Flint. 5. Colonel Howard is the guest of the Honorable James Frank Rodgers. 6. The cornerstone of the church which is to be erected over the spot where the Emperor Alexander II was killed, was laid on Thursday in Saint Petersburg. 7. The President of the United States lives at Washington in the District of Columbia. 8. Gentlemen Stewart, Clinton, and Com- pany, Boston, Massachusetts. 9. President Brown, Doctor of Di- vinity, Doctor of Laws. 10. Charles Hubbard, Master of Arts. 11. The death of Professor Chapin occurred in September, 1883. THE APOSTBOPHE. Rule 3. — All nouns in the singular, and all plurals not ending in s, form their possessives by the addition of the apostrophe and ' s : as — The boy's hat; the men's books; the horse's mane. PUNCTUATION AND CAPITALS. 5 Plurals ending in s add the apostrophe only : as — The boys' hats; the ladies' books; the horses' manes. Rule 4. — The apostrophe is used to denote the elision of a letter or syllable: as — Tve found it; he'll come to-morrow. THE COMMA. Rule 5. — Nouns in apposition are with their modifiers to be set off by commas: as — 1. Lear, Icing of Britain, had three daughters. 2. Mr. Matthew Arnold, the eminent English poet and critic, arrived in Neiv York last month. Note.— If one of the terms is a general title, the comma is omitted; as, Queen Victoria. The apostle John. Rule 6. — Nouns independent by address must be set off by commas: as — 1. My son, give me thy heart. 2. velvet bee, you're a dusty Rule 7. — A noun used absolutely with a participle must be set off by commas: as — His father being dead, the prince ascended the throne. Note.— The participle in this phrase can always be converted into a verb having the noun for its subject; as, When his father died, the prince ascended the throne. Exercise 3. — Give reasons for the marks used in the following sentences. 1. Diogenes, the Greek philosopher, lived in a tub. 2. Acquire, my daughters, the habit of doing everything well. 3. 0, are you coin.', Iago? 4. The rain having ceased, the sun broke forth again. 5. The butterfly, child of the summer, flutters in the sun. 6. The king's crown was the prize. Exercise 4. — Punctuate the following examples, and give reasons. 6 THE ELEMENTS OF ENGLISH COMPOSITION". 1. Thou Lord art the light and life of all this glorious world. 2. Tis excellent to have a giants strength. 3. That spirit being dis- missed a third arose in the form of a child crowned. 4. Brabantio a rich senator of Venice had a fair daughter the gentle Desdemona. 5. Night has been styled the astronomers day. 6. My story being done she gave me for my pains a world of sighs. 7. Fairest Cordelia thou art most rich being poor. 8. You are the queen your husbands brothers wife. 9. O sleepless God forever keep both living and dead. 10. The Queen was accompanied by her son Edward Prince of Wales. 11. James Russell Lowell the United States Minister to Great Britain is one of the greatest of American poets. Exercise 5.— Fill out the blanks with a noun in the possessive. Make simple sentences. 1. The decision was good. 2. The rays were mild. 3. The sports were noisy. 4. The wings were beauti- ful. 5. The knives were lost. 6. The life was re- tired. 7. My arrival was unexpected. 8. The recep- tion was enthusiastic. Exercise 6. — Fill out the blanks with a noun in ap- position, in the vocative case, or combined with a parti- ciple. Make simple sentences. 1. Nero was a great tyrant. 2. Messengers came to . 3. we resumed our journey. 4. Come to see my book. 5. The dwelling was that of . 6. the army began its march. 7. Accept this gift. 8. Her father is . 9. O help me ! 10. the prisoner was released. 11. Benedict Arnold died in obscurity. 12. her sister returned. Rule 8. — Two words or short phrases in the same construction are separated from each other by the comma, unless connected by a conjunction: as — 1. Slowly, sadly we laid him down. 2. Slowly and sadly ive laid him down. PUNCTUATION AND CAPITALS. 7 Rule 9. — 'Contrasted words or phrases are separated from each other by the comma: as — 1. Truth is not a stagnant pool, but a fountain. 2. It is not John, but Will Ik in. Rule 10. — If one of two words or phrases has a modi- fier that does not belong also to the other, the words or phrases should be separated from each other by the comma: as — He is to have the house, and wood for fuel. Rule 1 1 . — If more than two words or short phrases are used in the same construction they must be separated by commas: as — 1. Industry, honesty, and temperance are essential to happi- ness. 2. Industry, honesty, temperance are essential to happiness. Note. — When all the words are connected by conjunctions the commas may be omitted ; as, Industry and honesty and temperance are essential to hap- piness. Rule 12. — Words in pairs take a comma after each pair: as — Sink or swim, live or die, survive or perish, I give my hand and heart to this vote. Exercise 7. — Explain the punctuation. 1. Truth and virtue are the wealth of all men. 2. Truth, virtue are the wealth of all men. 3. Lend, lend your wings. 4. For all was blank, bleak, and gray. 5. For all was blank and bleak and gray. 6. Though deep, yet clear. 7. But not to me returns day, or the sweet approach of even or morn, or sight of vernal bloom, or summer's rose, or flocks, or herds, or human face divine. Exercise 8. — Punctuate, and give reasons. 1. Punish guide instruct the boy. 2. Pay supreme and un- divided homage to goodness and truth. 3. The rich ate and drank freely. 4 The college is a large light sandstone structure with red sandstone trimming. 5. Rash fruitless war is only splendid murder. 8 THE ELEMENTS OF ENGLISH COMPOSITION. 6. Earth and sky land and water mountain and valley bear traces of divine workmanship. 7. He could write and cipher too. 8. The babbling brook the azure sky the tangled fen of fern and flower. 9. A very round face and a very flat nose. 10. The long warm light- some summer day. 11. They flew to the better country the upper day. 12. Holly mistletoe red berries ivy turkeys all vanished instantly. 13. nis teeth they chatter chatter chatter. 14. Bottles and boxes and hammers and rocks. 15. His eyes had a fixed idiotic preposterous stare. 16. Dark dark was the garden. 17. You bells in the steeple ring ring out your changes. 18. He was thinking of an animal a live animal rather a disagreeable animal. 19. Free was its genial face its sparkling eye its open hand its cheery voice its Unconstrained demeanor and its joyful air. 20. It is great to live to labor to suffer for great public ends. Rule 13. — Participial and adjective phrases not re- strictive must be set off by commas: as — 1. The horizon ivas of a fine golden tint, changing gradually into a pure apple green. 2. Brom Bones, sorely smitten with love and jealousy, sat brooding by himself in one comer. Note.— To decide whether the phrase is restrictive or not, expand it to a clause and decide as under Rule 16. Rule 14. — Inverted phrases, and phrases standing par- enthetically between the main parts of the sentence, are generally set off by commas: as — 1. To the wise and good, old age presents a scene of tranquil enjoyment, 2. Truth, like gold, shines brighter by collision. Rule 15. — Adverbs and short phrases when used nearly or quite independently are set off by commas: as — 1. It is, then, a mark of wisdom to live virtuously. 2. Punctu- ality is, no doubt, a quality of high importance. Exercise 9. — Explain the punctuation. 1. Roland's death, too, is supernatural. 2. The stranger, how- ever, quickened his horse to an equal pace. 3. I threw open the shutters, admitting a flood of brilliant moonlight. 4. The poor PUNCTUATION AND CAPITALS. 9 man's son inherits a patience learned by being poor. 5. In short, Master Edward bade fair to be a literary wonder. 6. My proposi- tion is, therefore, true. 7. Others, perhaps encumbered with too much baggage, preferred descending the stream. Exercise 10. — Punctuate, and give reasons. 1. The English desperately assailed did not yield an inch. 2. 'Twas but the car rattling o'er the stony street. 3. Beyond are mountains piled on mountains. 4. On the contrary he is unable to come. 5. Its feet observable beneath the ample folds of the gar- ment were bare. 6. There were piles of filberts mossy and brown recalling in their fragrance ancient walks among the woods. 7. Generally speaking his conduct is honorable. 8. Mrs. Cratchit wel- comed her warmly kissing her a dozen times and taking off her shawl and bonnet with officious zeal. 9. Now and then too the long-drawn crowing of a cock accidentally awakened would sound far far off from some farm house away among the hills. 10. Its limbs were gnarled and fantastic large enough to form trunks for ordinary trees twisting down almost to the earth and rising again into the air. 11. A few rough logs laid side by side served for a bridge over this stream. 12. Away then they dashed through thick and thin stones flying and sparks flashing at every bound. 13. The school-house being deserted soon fell to decay. 14. At his easel eager-eyed a painter stands. Exercise 11. — Fill out the blanks with a participial phrase. Make simple sentences. 1. The architect built the colonel a magnificent palace. 2. He had a low forehead, and small sharp eyes . 8. The venerable man took his friend warmly by the hand. 4. By the roadside two little beggar children lifted up their doleful voices . 5. The war-worn veteran had signified his purpose of returning to his native valley. 6. The years had hurried on- ward . 7. The departing sunshine fell upon them . 8. The orator began to speak . 10 THE ELEMENTS OF ENGLISH COMPOSITION. PUNCTUATION OF THE COMPLEX SENTENCE. THE COMMA. Rule 16. — The Noun clause seldom needs to be set off except when long, or when resembling in form a quotation: 1. That you have wronged me doth appear in this. 2. Keats says, that truth is beauty and beauty truth. Exercise 12. — Punctuate, and give reasons; describe the use of each noun clause. 1. They eagerly inquired what bird it was. 2. It is an old say- ing that open admonition is open disgrace. 3. That the earth is round is now well known. 4. How he came by it I cannot imagine. 5. Who was the author of Junius's letters is still a mystery. 6. 'Tis good you know not that you are his heirs. 7. Whatever is is right. Exercise 13. — Form complex sentences by the addi- tion of noun clauses; describe the use of each clause. 1. Can you tell me ? 2. I could almost have declared . 3. How shall I know ? 4. When shall you learn ? 5. The truth of the matter is . 6. was a mystery to all his friends. 7. He insisted . 8. A crow ob- served . 9. Nobody will ever know . 10. The ancient Greeks believed . Rule 17. — The Adjective clause, when additional or parenthetical, must be set off by commas: as — I thrice presented him a Jcingly crown, which he did thrice refuse. The Adjective clause, when restrictive, is too closely connected to admit of the comma: as — He that leans on his own strength leans on a broken reed. Sometimes a clause may be punctuated as either addi- tional or restrictive, but with a different meaning for each case. PUNCTUATION AND CAPITALS. 11 If the clause is additional (that is, if it merely adds a thought without limiting the meaning of the antecedent), it may, without change of sense, be converted into an independent clause, a co-ordinate conjunction and a per- sonal pronoun being put in the place of the relative: as — I thrice presented him a kingly crown, and he did thrice refuse it. Who relates to persons, which to things, that to either persons or things. In restrictive clauses, that is general!} 7 to be preferred, if euphony allows. Note.— That is used in preference to who or which especially after the superlative degree, after who, same, every, no, all, any, each, every, and fre- quently after the personal pronouns.— Kerl's Grammar. Exercise 14. — Explain the punctuation. 1. Thou art the ruins of the noblest man that ever lived in the tide of times. 2. Age, that lessens the enjoyments of life, increases the desire of living. 8. The man that had the line in his hand went forth eastward. 4. I, that denied thee gold, will give ray heart. Exercise 15. — Punctuate, and give reasons. 1. His entrance was unheard by the officer who sat gazing at the fire. 2. Curses always recoil on the head of hira who imprecates them. 3. We naturally look with strong emotion to the spot where the ashes of those whom we love repose. 4. Woe to the hands that shed this costly blood. 5. He pointed silently to the fire toward whicli the figure advanced. 6. There are men living who could say that my life was nothing to me compared to my love for you. 7. I did send to you for certain sums of gold which you denied me. 8. Self- respect is the noblest garment with which a man may clothe himself. 9. Ichabod who had no relish for this strange midnight companion now quickened his steed. 10. The rich accepted gout and apoplexy as things that ran mysteriously in respectable families. Exercise 16.— Fill out the blanks with adjective clauses ; justify your punctuation. 1. They could find only one apartment . 2. My children appeared transported with joy. 3. Show me the room . 12 THE ELEMENTS OP ENGLISH COMPOSITION. 4. He remembered all the joyous scenes . 5. I look with pity on the crowds . 6. He never can be wise. 7. I am satisfied with those pleasures . 8. Have you forgotten the precepts ? 9. Only those books come down to us . 10. They all joined in lamenting the exile of the man . Rule 18. — Adverb clauses must be set off from the rest of the sentence by the comma unless the connection is close. The comma is especially necessary if the clause stands parenthetically between the parts of the principal clause, or if by inversion it stands first: as — 1. As they walked along the bank of the river, they saw at a little distance an old man. 2. The ship heaved so that her keel stood in air. Exercise 17. — Punctuate, and give reasons. 1. When Phemy entered the cave the laird was nowhere to be found. 2. We heard a terrific noise as if torrents of water were rolling down the mountain. 3. How much kinder Heaven is to us than we are to each other! 4. Though He slay me yet will I trust in Him. 5. If you would not be known to do a thing never do it. 6. If He but touch the mountains they smoke. 7. Language was given us that we might say pleasant things to each other. 8. The little one slumbered on as gently as if it had been rocked in a lace- trimmed cradle. Exercise 18.— Fill out the blanks with adverb clauses, describe their use, and justify your punctuation. 1. The stranger heard some one cry for help . 2. He gladly returned home . 3. How are you so unhappy ? 4. Not one of them had brought the crowns for his ransom . 5. I will obey them in this . 6. They resolved to detain him . 7. She was considered so wise a princess . 8. His diligence was so remarkable . 9. Great talent will be of little avail . 10. The king reigned but a short time . PUNCTUATION AND CAPITALS. 13 PUNCTUATION OF THE COMPOUND SENTENCE. COMMA, SEMICOLON, AND COLON. Rule 19. — A comma takes the place of an omitted noun or verb, particularly if without the comma the meaning is not clear: as — Homer was the greater genius; Virgil, the better artist. Rule 20. — The parts of a compound predicate, es- pecially if long and differently modified, must be sepa- rated from each other by the comma: as — In the best books great men talk to us, give us their most precious thoughts, and pour their souls into ours. Rule 21. — If the clauses of the compound sentence are short, or if they are closely connected, the comma is generally sufficient: as — The Normans rallied, and the day was lost. Rule 22. — If the clauses of the compound sentence are long, or not closely connected, the semicolon, or even a colon should be used: as — 1. Bolts and bars are not the best of our institutions; nor is slm irdness in trade a mark of wisdom. 2. In every work of genius we recognize our own rejected thoughts: they come back to us with a sort of alienated majesty. Rule 23. — The clauses of a compound sentence, if they contain commas within themselves, are commonly separated from each other by the semicolon; if they con- tain semicolons, they are commonly separated from each other by colons: as — Then shook the hills, with thunder riven; then rushed the steed to battle driven. 14 THE ELEMENTS OF ENGLISH COMPOSITION. Exercise 19. — Punctuate and give reasons. (Study also the punctuation of " Oleon and I," page 159.) 1. It is excellent to have a giant's strength but it is tyrannous to use it as a giant. 2. Economy is no disgrace; it is better to live on a little, than to outlive a great deal. 3. A wise man seeks to out- shine himself; a fool,, to outshine others. 4. He doth nothing but talk of his horse; and he makes it a great appropriation to his own good parts that he can shoe him himself. 5. His knife is still in his hand and strength in his sinews, anda new created aspiration in his heart. 6. Time went on^and at last, here in this hand of mine, I held the wedding license. 7. There is nothing more universally commended than a fine day;the reason is that people can commend it without envy. 8. An egotist always speaks of himself either in praise or censure but a modest man shuns making himself the sub- ject of his conversation. 9. Knavery is supple, and can bend but honesty is firm and upright, and yields not. 10. Beware of little expenses: a small leak will sink a great ship. 11. She walks beside the silent shore. The tide is high the breeze is still; No ripple breaks the ocean-floor, The sunshine sleeps upon the hill. Exercise 20. — Complete these compound sentences by the addition of one or more independent clauses. Attend carefully to the punctuation. 1. Experience keeps a dear school . 2. The count doubt- less desired to deal justly . 3. Lord Bacon was convicted of receiving bribes . 4. The next morning we all set forward together . 5. Columbus conceived the world to be round . 6. I was not content with my situation . 7. The king himself was thought to be among the slain . 8. Yonder palace was raised by single stones . 9. He spent some time in wandering among the mountains . 10. You will doubtless either squander your wealth by negligence . 11. Knowledge will always predominate over ignorance . PUNCTUATION AND CAPITALS. 15 EXCLAMATION POINT. Rule 24. — Interjections, and exclamatory words, phrases, and sentences, must be followed by the exclama- tion point : as — 1. that I had the wings of a dove! 2. Oh! how vain and transitory are all things here below! 3. Rouse, ye Romans! rouse, ye slaves! 4. Ha, ha, ha! 5. Hark! hark! I hear footsteps! (For other examples see Exercise 64.) INTERROGATION POINT. Rule 25. — Every sentence or expression asking a direct question must be followed by the interrogation point: as — 1. Why did you come so late? 2. Where be your gibes now? your gambols? your songs? your bursts of merriment, that were wont to set the table in a roar? (For other examples see Exercise 63.) The interrogation, when used where in the declarative sentence a colon or semicolon would be used, must, like the colon or semicolon, be followed by a small letter. (See last example above.) Exercise 21. — Punctuate, and give reasons. 1. God have mercy on Thy child Whose faith in Thee grows weak and small And take me ere I lose it all 2. Had then God heard her Had he sent His angel down . In flesh and blood Before her Esek Harden stood 3. Oh for the purple harvests Of the days when I was young For the merry grape-stained maidens And the pleasant songs they sung 4 I pray you what is the nest to me. My empty nesti 16 THE ELEMENTS OF ENGLISH COMPOSITION. And what is the shore where I stood to see My boat sail down the west . Can I call that home where I anchor yet Though my good man has sailed Can I call that home where my nest was set Now all its hope hath failed 5. Who does not love the Marchioness and Mr. Richard Swiveller • Who - does not sympathize, not only with Oliver Twist ,but his admir- able young friend the Artful Dodger Who does not bless Sairey Gamp and wonder at Mrs. Harris THE DASH. Rule 26. — The dash is used to denote a sudden break in the sentence, or a suspension of thought: as — 1. He had no malice in his mind, — no ruffles on his shirt. 2. I take — eh! oh! — as much exercise as I can, Madam Gout. 3. Upon that I kiss your hand, and I call you — my queen. Rule 27. — Either dashes or marks of parenthesis may be used to enclose an expression parenthetical in character, but too independent in construction to admit of the comma: as — 1. I delight and wonder at Mr. Dickens's genius ; I recognize in it — I speak with awe and reverence — a commission from the Di- vine Beneficence. 2. Approach and read (for thou canst read) the lay graved on the stone beneath yon aged thorn. Exercise 22. — Punctuate and explain. 1. Isaac of York -for it was our old friend-was at length able to explain. 2. Children dear; was it yesterday- call yet> once- that she went away* 3. "Lovely " - "Stop'"- said Mr. Weller ringing the bell. 4. I ehem I forget. 5. Perhaps he did see Nora-Heaven only knows -and so died. 6. Who does not venerate the chief of that illustrious family who , being stricken by misfortune wisely and greatly turned his attention to coals-the accomplished-the epicurean the dirty-the delightful Micawber ? PUNCTUATION AND CAPITALS. 17 7. Thou little tricksy puck With antic toys so funnily bestuck Light as the singing bird that wings the air The door the door he'll tumble down the stair, - Thou darling of thy sire - -Why Jane he'll set his pinafore afire - Thou imp of mirth and joy, In love's dear chain so strong £0 bright a link Thou idol of thy parents, -Drat the boy/ There goes my ink I THE HYPHEN. Rule 28. — The hyphen is used to connect the parts of a compound word: as — Dining-table. Fellow-student, Rule 29. — The hyphen is placed at the end of a line to show that a part of the last word has been carried over to the next line: as — It was the hail of William Rufus, the hall which had re- sounded with acclamations at the inauguration of thirty kings, THE CARET. Rule 30. — If a letter, word, or expression is omitted, place a caret where the omission occurs, and interline the omitted part: as — vMh The old walls were hung A scarlet, THE QUOTATION MARKS. Rule 31. — A direct quotation is enclosed within quo- tation marks; the inverted commas are placed at the beginning and the apostrophes at the close. If by the introduction of explanatory remarks, as, he said, the quo- 18 THE ELEMENTS OF ENGLISH COMPOSITION. tation is separated into parts, each part must be enclosed within quotation marks. Rule 32. — A quotation within a quotation is enclosed in single quotation marks. (See pages 35 and 36.) Rule 33. — In a succession of quoted paragraphs the inverted commas are used at the beginning of each para- graph, but the apostrophes are used at the close of the last paragraph only. (See pages 35 and 36.) Remark 1. — The first word of a direct quotation begins with a capital. This must be understood to refer to the whole quotation, not to the parts into which it may be divided by explanatory remarks. The capitalization within the quotation must be determined by the ordinary rules. If the quotation consists of a single word or a part of a sentence the capital is not generally used. Remark 2. — A direct quotation is generally preceded by a colon; if the quotation consists of but a single sen- tence the comma is often used. Remark 3. — An exclamation or interrogation point, if belonging to the quotation, must stand within the quota- tion marks. Apply the preceding rules to the following examples: 1. "Civility," said Lady Montague, "costs nothing and buys everything." 2. "Beginning retreat!" cried Napoleon. 3. "To the persevering mortal," said Zoroaster, "the blessed Immortals are swift." 4. Some one has said, "What an argument for prayer is contained in the words, ' Our Father, which art in Heaven! ' " (For further Examples and for the distinction between Direct and Indi- rect Quotation see Principle XVII.) Exercise 23. — Punctuate, and give reasons. 1. Eye has not seen! repeated blind Muriel thoughtfully can people see there Yes my child There is no darkness at all PUNCTUATION AND CAPITALS. 19 She paused a minute, and said earnestly I want to go — I want very much to go How long do you think it will be before the angels come for me Many many years my precious one said I shudderingly for truly she looked so like them that I began to fear they were close at hand 2. Enderley is just the same said John. Twelve years have made no change — except in us. And he looked fondly at his wife. I think the chorus and comment on all life might be included in two brief phrases given by our friend Shakespeare, one to Hamlet the other to Othello Tis very strange and 'Tis better as it is. 3. Passengers and crew men women and children crowded the forward part of the ship. John Maynard stood at the helm. The flames burst forth in a sheet of fire. Clouds of smoke arose. The Captain cried out through his trumpet John Maynard Aye aye sir Are you at the helm Aye aye sir How does she head South-east by east sir Head her south-east and run her ashore, said the Captain COMBINATION OF DETACHED ELEMENTS. By the expression detached elements is meant the dif- ferent statements into which a sentence may be resolved. Take for example the following sentence: Having these powerful spirits obedient to his will, Frospero coxdd, by their means, command the winds and the waves of the sea. This may be resolved into the following detached ele- ments: Prospero had these spirits obedient to his will. They were pow- erful spirits. Prospero could command the winds. lie could com- mand the waves of the sea. This he could do by means of these spirits. 20 THE ELEMENTS OF ENGLISH COMPOSITION. Exercise 24. — Below are given several groups of detached elements. You are required to combine each group into one well arranged simjrfe sentence. Example of Detached Elements. — Henry of Navarre was placed upon the throne of France. It was done by a tragical event. It was done suddenly. lie was the great champion of Protestantism. Combined. — Suddenly, and by a tragical event, Henry of Navarre, the great champion of Protestantism, was placed upon the throne of France. 1. The negotiations had been nearly concluded. This had been done by the Earl of Bristol. He was a special ambassador to the court. The court was that of the young king Philip IV. Philip IV. was brother of the Infanta. The negotiations were for the marriage of Charles with the Spanish princess. 2. They advanced against the champions. They advanced to- gether. Their spears were levelled. Their ranks were closed. It was a sight to make the bravest shrink. 3. Washington possessed ample means. He resided upon his estate in Virginia. This estate was called Mt. Vernon. lie was a plain country gentleman. He managed his property with a skilful economy. He engaged in field sports. He read and meditated upon the past and the present. This he did with intelligent curiosity. 4. The eagle was the general of the birds. He was hard pressed by his enemies. His enemies were the beasts. He sent the bat his commands to join the army of the birds. The swallow carried his commands. It was in vain. 5. Pan was a rustic god. He was a delightful creature. He was a grotesque creature. He had goat's horns and a tail. He had a beard, a pug-nose, and hoofs. Apollo once got into a quarrel with him. This was during Apollo's exile from heaven. It was while he was wandering about on earth. 6. Suddenly Pluto appeared. Pluto is the stern god of the un- derworld. The entrance of Hades yawned. Pluto rose up from it. He was in his chariot. He drove four coal-black horses. The horses were snorting flames and smoke from their nostrils. 7. Every year these birds visited the tomb of Memnon. They PUNCTUATION AND CAPITALS. 21 were faithful and loving birds. They cleared the ground of weed*. They brought water in the hollow of their wings. They brought it from the river JRaopUB. With this water they sprinkled the ground. They kept it green. 8. ITere he found the king of day. The king was dressed in a purple garment. It was splendid. He was seated on a throne. The throne sparkled all over with brilliant emeralds, lb' had a diadem upon his head. The diadem had bright, rays. !>. The huntsman was brave. He was Sushed with victory. He boldly dared the stranger to appear and maintain his claim to the queen of the valley. The stranger was the one who wore the white Jerkin. The beautiful Clothilde was the queen of the valley. 10. He pawed in at the central door, lie slipped softly over the Roof of mosaics. He knelt. His companion knelt. They knelt at the little altar of the Virgin. The altar was upon the left. 11. A priest, p aused out of the temple gates. This he did ten days before the festival. lie was dressed in the livery of the god. He bore a bunch of flowers in one hand. He bore a little flute of cl.i v in the other. Exercise 25. — Combine eacb of the following groups so as to make one well arranged complex or compound complex sentence. 1. Pocahontas was a beautiful Indian girl. She had saved the life of Smith. She was married to a young Englishman. His name was John Uolfe. 2. An English force soon after landed at Dieppe. It was under the command of Lord Willoughby. This assistance was timely. The king was thus encouraged to continue the contest. The contest might otherwise have been hopeless. 3. Robert was the eldest son of the Earl of Essex. He was born in 1667. He was to bo brought up in the household of Lord Bur- leigh. This was at the request of the Earl. 4. In 15G0 a Dominican monk became pope, ne was a monk of theseTerest life, lie was a zealot. He had distinguished himself as an inquisitor. He assumed the title of Pins V. 5. The fighting went on. It became evening. Then the royal- 22 THE ELEMENTS OF ENGLISH COMPOSITION". ists had a decided advantage. They compelled the enemy to retire from the town. 6. Prince Henry died. It was in his nineteenth year. It was after a short illness. It was on the 6th of November. It was in 1012. 7. London was startled. There was extraordinary news. The Prince of Wales had gone to Madrid. Villiers had gone to Madrid. They had gone privately. Villiers was now Marquis of Buckingham. 8. A slave made his escape from a cruel master. He made his escape to a forest. Here night surprised him. He was forced to take refuge in a cave. 9. Andre had crossed the river. He intended to proceed on horseback to New York. He passed through the American lines. This he did safely. He was again on neutral ground. Here he was seized by three men. They were of the American militia. 10. The lion held out its paw. Androcles examined it. He found it inflamed and swollen. He looked more closely. A thorn had pierced the ball of the foot. Prom this the lion was suffering. 11. The British troops had exclusive possession of Boston. They were harassed by the activity of the patriots. This activity was incessant. They were harassed for a month. The patriots cut off the supplies from the interior. 12. The invading band marched toward the town. They bore a tri-colored flag. An eagle surmounted the flag. Three soldiers from Boulogne had joined them. A young lieutenant from Bou- logne had joined them. He was lieutenant of the 42d, and his name was Aladenise. Exercise 26. — Combine each of the following groups so as to make one well arranged compound, or contracted compound sentence. 1. They purchased the Speedwell. They hired the Mayflower. The Speedwell was a vessel of forty tons. The Mayflower carried a hundred and eighty tons. 2. It was a bloody struggle. The General lost six thousand men. He evacuated Innspruck. This he did immediately. He marched out of the Tyrolese territory. He finally collected his army at Salzburg. His army was reduced to fragments. PUNCTUATION AND CAPITALS. 23 3. They rode forward. They aimed a straight course for the Ohio River. They rode during the whole night. They did not stop to rest. They halted in the morning. It was for a short time. They travelled all that day. They travelled the following night. 4. Washington determined to make no further attempt to hold Long Island. He embarked his troops in boats. He landed them in safety in New York. He did the same with the military stores and artillery. AIT this was done with a prudence and ability which was consummate. During the time he was favored by a dense fog. 5. Then the neat cottages were stripped of every article of fur- niture. Ilere hundreds of families had lived in comfort. They were once cheerful dwellings. Their doors were closed. The fami- lies were wandering about the country. They were seeking relief from private charity. This relief the parishes could not supply. 6. Aladdin wants food. The Genie has vanished. Straightway slaves come in. They come from some unknown quarter. They bring dishes. The dishes are of gold and silver. They are heaped up with meats and fruits. 7. The general struggled bravely. Ilis object was to carry his men through this wasting fire. His troops sustained the unequal contest. This they did for some time. The head of the column began to give way. It began to settle heavily back upon the army below. No soldier will long contend in such a useless struggle. 8. It seemed impossible to advance. But Cohorn was heroic. He flung himself in front. He cheered them on. They returned to the charge. They drove over the crashing timbers. It was like an impetuous torrent. 9. The keepers held the wicket gate open. The people hastened in. They were wearied. They were covered with dust. Achilles followed close upon them. 10. Washington embarked alx>ut half his forces on the Dela- ware. This was on the evening of Christmas. He continued his passage through the night. His passage was impeded by floating ice. He struggled with snow-storms. He landed his men at Tren- ton. This he did at eight o'clock in the morning. He surprised the outposts of the Hessians. He made the main body prisoners. This he did with very slight loss on his own side. 24 THE ELEMENTS OF ENGLISH COMPOSITION. EXERCISES IN COMPOSITION. You are now to have some exercises in connected com- position. The first exercise may be called Reproduction. The poems given are to be reproduced in prose. Read the poem until you thoroughly understand it, then lay it aside, and using the list of Topics to aid your memory write out the story in your own words. Be careful: (1) To make a continuous story, all the points of which may be understood without a knowledge of the poem. (2) To tell it fidly enough to make a pleasing effect. (3) To preserve the proper proportion of parts. (4) To avoid rhyme. (5) To avoid the language of the poem. In reading the poem, consider well which parts are essential, and which might be omitted without breaking the connec- tion, and, of the more important parts, which demand most time. REPRODUCTION I.* THE LEAK IN THE DIKE. The good dame looked from her cottage At the close of the pleasant day, And cheerily called to her little son, Outside the door at play : " Come, Peter, come! I wan| you to go, While there is light to see, To the hut of the blind old man who lives Across the dike, for me ; *To the Teacher.— The exchange and criticism of papers by members of the class is an exceedingly profitable exercise. For marks to be used in criti- cism, see page 173. PUNCTUATION" AND CAPITALS. 25 And take these cakes I made for him — They are hot and smoking yet: You have time enough to go and come Before the sun is set." Then the good wife turned to her labor, Humming a simple song, And thought of her husband working hard At the sluices all day long, And set the turf a-blazing, And brought the coarse black bread, That he might find a fire at night, And find the table spread. And now with face all glowing, And eyes as bright as the day With the thought of his pleasant errand, He trudged along the way; And soon his joyous prattle Made glad a lonesome place. Alas! if only the blind old man Could have seen that happy face! Yet he somehow caught the brightness Which his voice and presence lent, And felt the sunshine come and go As Peter came and went. And now as the day was sinking, And the wind l^egan to rise, The mother looked from her door again, Shading her anxious eyes, And saw the shadows deepen, And birds to their home come back, But never a sign of Peter Along the level track. But she said, " He will come at morning: So I need not fret or grieve Though it isn't like my boy at all To stay without my leave." THE ELEMENTS OF ENGLISH COMPOSITION. But where was the child delaying? On the homeward way was he, And across the dike, while the sun was up An hour above the sea. He was stooping now to gather flowers, Now listening to the sound Of the wrathful waters dashing Against their narrow bound. " Ah, well for us! " said Peter, " That the gates are good and strong; And ray father tends them carefully, Or they would not hold you long. You're a wicked sea! " said Peter, " I know why you fret and chafe: You would like to spoil our lands and homes; But our sluices keep you safe." But hark! through the noise of waters Comes a low, clear, trickling sound; And the child's face pales with terror As his blossoms drop to the ground. He is up the bank in a moment ; And stealing through the sand He sees a stream not yet so large As his slender childish hand. y Tis a leak in the dike! He is but a boy Unused to fearful scenes ; But, young as he is, he has learned to know The dreadful thing that means. A leak in the dike! The stoutest heart Grows faint that cry to hear, And the bravest man in all the land Turns white with mortal fear: For he knows the smallest leak may grow To a flood in a single night ; And he knows the strength of the cruel sea When loosed in its angry might. PUNCTUATION AND CAPITALS. 27 And the boy — he has seen the danger ; And, shouting a wild alarm, He forces back the weight of the sea With the strength of his single arm. He listens for the joyful sound Of a footstep passing nigh, And lays his ear to the ground to catch The answer to his cry ; And he hears the rough winds blowing, And the waters rise and fall : But never an answer comes to him Save the echo of his call. He sees no hope, no succor; His feeble voice is lost: Yet what shall he do but watch and wait, Though he perish at his post So, faintly calling and crying Till the sun is under the sea, Crying and moaning, till the stars Come out for company, — He thinks of his brother and sister Asleep in their safe warm bed ; He thinks of his father and mother; Of himself, as dying — and dead ; And of how, when the night is over, They must come and find him at last: But he never thinks he can leave the place Where duty holds him fast. The good dame in the cottage Is up and astir with the light, For thought of her little Peter Has been with her all night; And now she watches the pathway, As yester-eve she had done — But what does she see so strange and black Against the rising sun? THE ELEMENTS OF ENGLISH COMPOSITION. Her neighbors are bearing between them Something straight to her door; Her child is coming home — but not As he ever came before. " He is dead! " she cries— "my darling!" And the startled father hears, And comes, and looks the way she looks, And fears the thing she fears, Till a glad shout from the bearers Thrills the stricken man and wife : " Give thanks, for your son has saved our land, And God has saved his life!" So there, in the morning sunshine, They knelt about the boy; And every head was bared, and bent In tearful, reverent joy. Phoebe Cary. Discussion. - Conclusion.— (- TOPICAL OUTLINE. Introduction. — (- 1. Peter sent on his errand. 2. The mother's preparations for her husband's return. 3. Peter on his way to the blind man's cottage. 4. Peter at the cottage. 5. The mother's anxiety at his absence. C. Peter on his way home. 7. His discovery of the leak in the dike. 8. His brave deed. 9. His thoughts during the night. 10. His return home. 11. The thanksgiving. ) Note.— You notice that in this poem there is no gradual leading up to the story, that is there is no Introduction, neither are there any general comments at the close, that is, there is no Conclusion. There is only the story itself which in an outline of topics is called the Discussion. PUNCTUATION AND CAPITALS. REPRODUCTION IL A LEGEND OF BREGENZ. Girt round with rugged mountains The fair Lake Constance lies; In her blue heart reflected, Shine back the starry skies ; And Witching each white cloudlet Float silently and slow, You think a piece of heaven Lies on our earth below! Midnight is there: and silence, Enthroned in heaven, looks down Upon her own calm mirror, Upon a sleeping town ; For Bregenz, that quaint city Upon the Tyrol shore, lias stood above Lake Constance A thousand years and more. Her battlements and towers Upon their rocky steep Have cast their trembling shadow For ages on the deep ; Mountain and lake and valley A sacred legend know, Of how the town was saved one night, Three hundred years ago. Far from her home and kindred A Tyrol maid had fled, To serve in the Swiss valleys, And toil for daily bread; And every year that fleeted So silently and fast Seemed to bear farther from her The memory of the past. 30 THE ELEMENTS OF ENGLISH COMPOSITION. She served kind, gentle masters, Nor asked for rest or change ; Her friends seemed no more new ones, Their speech seemed no more strange ; And when she led her cattle To pasture every day, She ceased to look and wonder On which side Bregenz lay. She spoke no more of Bregenz With longing and with tears ; Her Tyrol home seemed faded In a deep mist of years. She heeded not the rumors Of Austrian war and strife ; Each day she rose contented, To the calm toils of life. Yet, when her master's children Would clustering round her stand, She sang them the old ballads Of her own native land ; And when at morn and evening She knelt before God's throne, The accents of her childhood Rose to her lips alone. And so she dwelt : the valley More peaceful year by year ; When suddenly strange portents Of some great deed seemed near. The golden corn was bending Upon its fragile stalk, While farmers, heedless of their fields Paced up and down in talk. The men seemed stern and altered, With looks cast on the ground ; PUNCTUATION AND CAPITALS. 31 With anxious faces one by one The women gathered round ; All talk of flax, or spinning, Or work was put away ; The very children seemed afraid To go alone to play. One day, out in the meadow, With strangers from the town, Some secret plan discussing, The men walked up and down ; Yet now and then seemed watching A strange uncertain gleam, That looked like lances 'mid the trees That stood below the stream. At eve they all assembled, All care and doubt were fled ; Witli jovial laugh they feasted, The board was nobly spread. The elder of the village Rose up, his glass in hand, And cried, "We drink the downfall Of an accursed land ! " The night is growing darker,— Ere one more day has flown Bregenz, our foeraan's stronghold, Bregenz shall be our own ! " The women shrank in terror (Yet pride, too, had her part), But one poor Tyrol maiden Felt death within her heart. Before her stood fair Bregenz, Once more her towers arose ; What were the friends beside her? Only her country's foes! 32 THE ELEMENTS OF ENGLISH COMPOSITION. The faces of her kinsfolk, The days of childhood flown, The echoes of her mountains, Reclaimed her as their own. Nothing she heard around her (Though shouts rang forth again), Gone were the green Swiss valleys, The pasture and the plain; Before her eyes one vision, And in her heart one cry, That said, " Go forth, save Bregenz, And then, if need be, die!" With trembling haste and breathless, With noiseless step she sped ; Horses and weary cattle Were standing in the shed ; She loosed the strong white charger, That fed from out her hand ; She mounted, and she turned his head Toward her native land. Out — out into the darkness, — Faster, and still more fast ; The smooth grass flies behind her, The chestnut wood is past ; She looks up ; clouds are heavy : Why is her steed so slow ? — Scarcely the wind beside them Can pass them as they go. " Faster! " she cries, " 0, faster! " Eleven the church bells chime ; " God," she cries, "help Bregenz, And bring me there in time ! " But louder than bells' ringing, Or lowing of the kine, PUNCTUATION AND CAPITALS. Grows nearer in the midnight The rushing of the Rhine. Shall not the roaring waters Their headlong gallop oheck? The steed draws back in terror, She leans above his neck To watch the flowing darkness, — The bank is high and steep, — One pause — he staggers forward And plunges in the deep. She strives to pierce the blackness, And looser throws the rein; Her steed must breast the waters That dash above his mane. How gallantly, how nobly, He struggles through the foam ! And see — in the far distance Shine out the lights of home! Up the steep bank he bears her, And now they rush again Toward the heights of Bregenz, That tower above the plain. They reach the gate of Bregenz Just as the midnight rings, And out comes serf and soldier, To meet the news she brings. Bregenz is saved ! ere daylight Her battlements are manned ; Defiance greets the army That marches on the land. And if to deeds heroic Should endless fame be paid, Bregenz does well to honor The noble Tyrol maid. 34 THE ELEMENTS OF ENGLISH COMPOSITION. Three hundred years are vanished, And yet upon the hill An old stone gateway rises, To do her honor still. And there when Bregenz women Sit spinning in the shade, They see iii quaint old carving The Charger and the Maid. And when, to guard old Bregenz, By gateway, street, and tower, The warder paces all night long, And calls each passing hour: " Nine," "ten," "eleven," he cries aloud, And then (O crown of Fame!) When midnight pauses in the skies, He calls the maiden's name ! Adelaide Procter. TOPICAL OUTLINE. Introduction. — Description of Lake Constance and the city of Bregenz. 1. The Tyrolese maiden serving in the Swiss valleys. 2. Rumors of Austrian war. 3. Preparations of the Swiss for the capture of Discussion. — ■{ Bregenz. 4. Scene at the festal board. 5. The maiden's ride to Bregenz. 6. Bregenz saved. Conclusion. — How Bregenz honored the maid. BEPRODUCTION III. IN SWANAGE BAY. "'Twas five and forty years ago, Just such another morn; The fishermen were on the beach, The reapers in the corn: PUNCTUATION AND CAPITALS. 35 My tale is true, young gentlemen, As sure as you were born. "My tale's all true, young gentlemen," The fond old boatman cried Unto the sullen, angry lads, Who vain obedience tried: "Mind what your father says to you, And don't go out this tide. "Just such a shiny sea as this, Smooth as a pond, you'd say, And white gulls flying, and the crafts Down Channel making way, And Isle of Wight, all glittering bright, Seen clear from Swanage Bay, "The Battery Point, the Race beyond, — Just as to-day you see: This was, I think, the very stone Where sat Dick, Dolly, and me: She was our little sister, sirs, — A small child, just turned three. "And Dick was mighty fond of her: Though a big lad and bold, He'd carry her like any nurse, Almost from birth, I'm told; For mother sickened soon, and died When Doll was eight months old. "We sat and watched a little boat, Her name the 'Tricksy Jane,' — A queer old tub laid up ashore; But we could see her plain. To see her, and not haul her up, Cost us a deal of pain. "Said Dick to me, 'Let's have a pull: Father will never know; 36 THE ELEMENTS OF ENGLISH COMPOSITION. He's busy in his wheat up there, And cannot see us go. These landsmen are such cowards if A puff of wind does blow ! "'I've been to France and back three times: Who knows best, dad or me, Whether a ship's seaworthy or not ? — Dolly, wilt go to sea ?' And Dolly laughed, and hugged him tight As pleased as she could be. "I don't mean, sirs, to blame poor Dick: What he did, sure I'd do; And many a sail in 'Tricksy Jane' We'd had when she was new. Father was always sharp; and what He said he meant it too. "But now the sky had not a cloud, The bay looked smooth as glass: Our Dick could manage any boat As neat as ever was. And Dolly crowed, ' Me go to sea ! ' The jolly little lass ! "Well, sirs, we went — a pair of oars, My jacket for a sail — Just round 'Old Harry and his Wife,' Those rocks there, within hail; And we came back — d'ye want to hear The end o' the old man's tale? "Ay, ay, we came back past that point; But then a breeze up-sprung; Dick shouted, ' Hoy ! down sail ! ' and pulled With all his might among The white sea-horses that upreared So terrible and strong. PUNCTUATION AND CAPITALS. 37 "I pulled too: I was blind with fear; But I could hear Dick's breath Coming and going, as he told Dolly to creep beneath His jacket, and not hold him so : We rowed for life or death. "We almost reached the sheltered bay; We could see father stand Upon the little jetty here, His sickle in his hand ; The houses white, the yellow fields, The safe and pleasant land. "And Dick, though pale as any ghost, Had only said to me, 'We're all right now, old lad!' when up A wave rolled — drenched us three; One lurch, and then I felt the chill And roar of blinding sea. " I don't remember much but that : You see I'm safe and sound; I have been wrecked four times since then, Seen queer sights, I'll be bound. I think folks sleep beneath the deep As calm as under ground." "But Dick and Dolly?"— "Well, poor Dick! I saw him rise, and cling Unto the gunwale of the boat, Floating keel up, and sing Out loud, 'Where's Doll?' I hear him yet As clear as anything. "'Where's Dolly?' I no answer made; For she dropped like a stone Down through the deep sea, and it closed: The little thing was gone. 38 THE ELEMENTS OF ENGLISH COMPOSITION. 'Where's Doll?' three times; then Dick loosed hold And left me there alone. "It's five and forty year since then," Muttered the boatman gray, And drew his rough hand o'er his eyes And stared across the bay, — "Just five and forty year," and not Another word did say. "But Dolly?" ask the children all As they about him stand. "Poor Doll! she floated back next tide With seaweed in her hand. She's buried o'er that hill you see, In a churchyard on land. "But where Dick lies, God knows. He'll find Our Dick at judgment day." The boatman fell to mending nets, The boys ran off to play; And the sun shone, and the waves danced, In quiet Swanage Bay. Dinah Maria Muloch. TOPICAL OUTLINE. Introduction. — The fisherman's advice to the boys. Discussion. — The fisherman's story. - ' 1. How the bay looked at the time the incident occurred. 2. The three children. 3. Dick's proposal to take a boatride. 4. The ride. 5. The accident. . 6. The fate of the children. Conclusion.— The effect of the story. PUNCTUATION AND CAPITALS. 39 DEVELOPMENT I. We will call this exercise Developme?it. It is, as you will see, largely original composition. The poet has omitted many things that your imagination can supply. For example, you can tell who the little girl was, you can describe her coming to see the king, her disappointment, the looks of the king, how he chanced to see her, etc. It will not be necessary to adhere strictly to the statements of the poem ; they may be varied at pleasure. Make a full, connected story the same as in Reproduction. Prefer direct narration to indirect. Be careful to make every part consistent with every other part, and to develop the the parts proportionally. THE SAD LITTLE LASS. "Why sit you here, my lass?" said he. "I came to see the king," said she, — "To see the king come riding by, While all the eager people cry, 'God bless the king, and long live he!' And therefore sit I here," said she. "Why do you weep, my lass?" said he. "Because that I am sad," said she. "For when the king came riding by, And all the people raised a cry, I was so small, I could not see. And therefore do I weep," said she. "Then weep no more, my lass!" said he. "And pray, good sir, why not?" said she. "Lift up your eyes of bonnie blue, And look and look me through and through. Nor say the king you could not see. I am the king, my lass!" said he. Margaret Johnson, in "St. Nicholas." CHAPTER II. TEA1STSF0EMATI0N OF ELEMENTS. Exercise 27. — Transform the italicized phrases to words, and the italicized words to phrases or to other word elements. Explain fully every transformation. Ex- amples : 1. The Tower was long a prin- cipal residence of the kings. 2. With eyes of thoughtful earnestness. 1. The Tower was long a prin- cipal royal residence. 2. With eyes thoughtful and earnest. Note.— In all the exercises of this chapter, make whatever other changes the required transformation necessitates. 1. Never even from tropical shores was richer-hued ocean be- held. 2. She began in a very solemn manner. 3. A frame of ada- mant, a soul of fire. I 4. I stood before the entrance to Henry the Eighth's chapel. 5. Great gates of brass richly carved. 6. On what foundation stands the warrior's pride, how just his hopes, let Swedish Charles decide. \'7. The sides of the mountains are cov- ered with trees. 8. He possessed a strong and lively imagination. 9. His style has all the vigor and conciseness of Swift's. 10. Shall Britons languish? 11. Dante, poor and banished, was not a man to conciliate men. <12. A complete and generous education fits a man to perform justly, skilfully, and magnanimously all the offices of peace and war. 13. Plays were originally acted in inn-yards. V 14. We waited with great anxiety for the dawn. 15. He was a cit- izen worthy of esteem. 16. The pilot proceeded to the wheel in silence. 17. He clung with still greater passionateness to two theo- ries. u8. The Friars were of necessity thrown into a position an- tagonistic to the English rule. 19. She clung to it fiercely and tenaciouslu. 29- The Council met at Trent in no spirit of concil- TRANSFORMATION OF ELEMENTS. 41 iation. 21. The English fought desperately. 22. There kings have left a nameless pyramid. V23. God is in all places and at all times present with us. 24. Will you go to that place without delay? Exercise 28. — Transform the infinitives and parti- ciples to any other kind of word or phrase element. Ex- plain every transformation. Examples: 1. The end of writing is to instruct. 2. What cause withholds you then to mourn for him? 3. Earning is having. 1. The end of writing is in- struction. 2. What cause withholds you then from mourning for him? 3. To earn is to have. 1. Too much time spent in studies is sloth. 2. I was yesterday much surprised to hear my old friend calling out to John Matthews not to disturb the congregation. Id. The poet Pope was not content to satisfy. 4. It is always a mark of short-sightedness to be impa- tient of results. /5. Dying is not sport for a man. 6. His whole aim was to encourage disunion. 7. It is not a position to be de- sired. 8. At this time the weather is liable to change frequently. 9. It shows a greater genius in Shakespeare to have drawn his Cali- ban than his Hotspur or Julius Caesar. \l 10. Being great is being misunderstood. 11. A greater curse cannot befall the most wicked than to be deprived of his peace. 12. Believing your own thoughts, believing that what is true for you in your private heart is true for all men, — that is genius. Exercise 29. — Transform at least one phrase into a dependent clause. Explain the change and decide whether it. improves the sentence. Examples : £, Read not to contradict and confute. 2. Having regained the main road, we thought ourselves out of danger. 1. Read not that you may contradict and confute. 2. When we had regained the main road, we thought ourselves out of danger. Remark. — Aim constantly at brevity. Of two forms 42 THE ELEMENTS OF ENGLISH COMPOSITION. of expression in other respects equally good, choose the shorter ; as the phrase is usually shorter than the clause and simpler in construction, it is well, as a rule, to reduce clauses to phrases or even to words. "The clause, however, has frequently the advantage in being clearer. 1. I am old-fashioned enough to admire Lord Bacon. 2. Hav- ing become a dissenter, Bunyan is imprisoned for twelve years. 3. Next morning, on looking for Mignon about the house, Wilhelm did not find her. 4. Drawing near the city, they had a more perfect view of it. 5. In skating over thin ice, our safety lies in our speed. 6. Before ordering the charge, Napoleon had carefully examined the ground. 7. He dropped the man only on his ceasing to strug- gle. 8. I observed him to be much out of breath. 9. Her brother, the Earl of Murray, was recalled from banishment to accept the regency of the realm. 10. They brought her crosses and chaplets to be blessed by her touch.] 11. I believed him to be in a lucid inter- val. 12. Joan of Arc prays you to work no more distraction in France. 13. The council of war resolved to adjourn the attack. 14. The noblest work to be done in Ireland was to bring about a reconciliation between Catholic and Protestant. 15. The general horror excited by the massacre of St. Bartholomew completed the ruin of the Catholic cause. 16. He resolved to anticipate the attack. 17. I believed him to be honest. 18. Can you tell me what method to adopt ? 19. Demosthenes is said to have transcribed six times the history of Thucydides. 20. The Spartans, notwithstanding their austerity, prayed the gods to grant them the beautiful with the good. 21. God ! that men should put an enemy in their mouths, to steal away their brains ! Exercise 30. — Transform the dependent clauses to phrases. Explain the transformation and decide whether it improves the sentence. Examples: 1. Howard resolved that he would force an engagement. 2. As this proposition is ad- mitted, I now state my argument. 1. Howard resolved to force an engagement. 2. This proposition being ad- mitted, I now state my argument. TRANSFORMATION OF ELEMENTS. 43 1. The first twenty years that Elizabeth reigned were a period of suspense. 2. The Roman church, which was enfeebled and cor- rupted by the triumph of ages, felt at last the uses of adversity. 3. The dream that the universal church would be reformed was utterly at an end. 4. He caught the wretch by the neck with a force that could not be resisted. 5. The violent bounds of the wounded pan- ther gave indications that its strength and ferocity were returning. 6. When Jeanne appeared at the French court, Orleans had already been driven by famine to offers of surrender. 7. As I have been walking in the fields, I have often observed them stealing a sight of me over the hedge. 8. I venerate the man whose heart is warm, whose hands are pure. 9. As the knight is the best master in the world, he seldom changes servants. 10. As Sir Rodger is landlord to the whole congregation, he keeps them in very good order. 11. When the troubles began, most of the people supposed themselves very loyal. 12. When he awoke", the cool gray light of dawn was streaking the horizon. 13. As our friends are absent, we cannot come to a determination. 14. And then, as she knelt at mass, she wept in such a passion of devotion, t*hat all the people wept with her. 15. Is that a swan that rides upon the waters ? 10. She only threw off the touch of womanly fear when she heard the signal for retreat. 17. The mummies which are found in Egypt are even to the present time well preserved. Exercise 31. — Transform these simple sentences to either compound or complex, or if possible to both. Ex- plain fully every transformation, and decide whether it improves the sentence. Example : Contracted compound. — A loud roar of laughter burst from the other workmen, and made Seth A loud roar of laughter from the other three workmen made Seth look around confusedly. look around confusedly. Complex. — A loud roar of laughter, which burst from the other three workmen, made Seth look around confusedly. Note.— Introduce what words are necessary, but do not change the sense. 44 THE ELEMENTS OF ENGLISH COMPOSITION. 1. On his head he wore a broad blue bonnet with a tuft of scar- let in the centre. v 2. Behind this wood, and separated from it by a high wall of stone, lay a succession of heights covered with grass. 3. On this cloth there is a massive silver waiter with a decanter on it. 4. It was a low house with smooth gray thatch and buff walls, looking pleasant and mellow in the evening light. 5. Stretching myself out upon the moss in the shade, I waited. 6. The small brown hand is laden with pearls and diamonds. 7. Night, com- ing down from the western peaks, breathed odor, and coolness, and healing balsams. 8. TJie river, roaring far below, could be reached by a single plunge. 9. The fame of Washington stands apart from every other in history, shining with a truer lustre and a more be- nignant glory. 10. Wealth gotten by ill-means is an eternal re- proach. 11. Every goblin of ignorance did not vanish at the first glimmerings of the morning of science. 12. You cannot do wrong without suffering wrong. 13. Many times Mrs. Transom went to the door-steps, watching and listening in vain. Exercise 32. — Transform to either simple or com- pound sentences, or if possible, to both. Notice the change in prominence given to different parts of the sentence. Example : The clouds rolled away to the east, where they lay piled in feath- ery masses tinted with the last rays of the sun. Simple. — The clouds, rolling away to the east, lay piled in feathery masses tinted with the last rays of the sun. Contracted compound. — The clouds rolled away to the east, and lay piled in feathery masses tinted with the last rays of the sun. Remark. — The prominent thought should be put in the independent clause; the subordinate thought, in the dependent clause. 1. Even a stray rabbit sat nibbling a leaf in the middle of a grassy space, with an air that seemed quite impudent in so timid a TRANSFORMATION OF ELEMENTS. 45 creature. 2. On the west side where the carriage entrance was, the gates under the stone archway were thrown open. 3. Yet how to compass the death of the king, surrounded as he was by guards, was no easy matter. 4. Bruce studied how he might supply by address and stratagem what he lacked in numbers and strength. 5. The river, hitherto still and glassy, reflecting pictures of sky and land, now showed a dark ripple at a distance, as the breeze came creeping up to it. 0. This was a necessary precaution in order that equality might be preserved between the two bodies. 7. The whole nation heard with astonishment that the Emperor had abdicated. 8. It became evident to all that succor was impossible. 9. Martin Luther, who was the son of a miner, was born in Erfurt in the year 1483. 10. The Indian monarch, who was stunned and bewildered, saw his faithful subjects falling around him. 11. A city that is set on a hill cannot be hid. 12. lie then dispatched James Douglass and Sir Robert Keith in order that they might survey as nearly as they could the English force which was now advancing from Fal- kirk. 13. When the king saw the English horsemen draw near, he advanced a little before his own force to look at them more nearly. 14. The very circumstance that the usurper was his mother's hus- band, filled Hamlet with remorse and blunted the edge of his purpose. _«■ Exercise 33. — Transform to either simple or complex, or if possible to both. Notice the changes in the promi- nence given to different parts of the sentence. Example : Simple. — Elizabeth' 8 patience being at last worn out, she poured her armies across the border. Elizabeth's patience was at last worn out, and she poured her armies across the border. Complex. — As Elizabeth's pa- tience was at last worn out, she poured her armies across the bor- der. 1. The path was lonely for the first hour after starting, but by and by it began to grow more animated. 2. There may be mount- ain paths leading inward from the valley, but none are visible. 46 THE ELEMENTS OF ENGLISH COMPOSITION. 3. He turned his body to lay his little stick upon his bundle, and I heard the clank of the chains upon his legs. 4. The clock struck eleven, and the duke with his body-guard rode out of the castle. 5. They proceeded, and the indications of approaching land seemed to be more certain. 6. Philip pressed the matter, and then Lord Burleigh took upon himself to answer in a high tone for his ministers. 7. The country became softer and lovelier; the road gradually fell toward Herisan, the richest and stateliest town of the canton. Exercise 34. — Transform into simple sentences by removing all the predicate verbs but one. Notice the changes in the prominence given to different parts of the sentence. Example : The tiny birds, alighting on The tiny birds alighted on the walks, and hopped about in per- fect tranquillity. the walks, hopped about in per- fect tranquillity. 1. He started to his feet, and gazed bewildered at the child. 2. The wind changed to the south, and wafted soft country odors to the shore. 3. A large black veil is carefully adjusted over the crown of her cap, and falls in sharp contrast on the white folds about her neck. 4. Juan walked in advance, listened for the tink- ling bells of the coming animals, and selected places for crossing. 5. They shot out from the shore on every vessel, seized the cargoes, and threw the crews into the sea. 6. Some of the more daring of the privateers swept down upon the Spanish coast, plundered the churches and convents and returned home with the sacred vessels. Exercise 35. — Express, if possible, by a single word the idea contained in each italicized expression. Example : A grand flourish of trumpets announced the prince and his retinue. A grand flourish of trumpets announced the prince and the persons whose duty it was to at- tend upon him. Remaek. — This is an exercise not only in transforma- tion, but in brevity. One of the principal means of stat- TRANSFORMATION OF ELEMENTS. 47 ing thought briefly is the selection of comprehensive words. A good writer puts into one word what a poor writer puts into many. Decide whether in any case the expanded form is as good as the single word. 1. The girl stood a few moments in anxiety that cannot be de- scribed. 2. They attacked the fort with a force that could not be resisted. 3. Morning arose in splendor that was undimmed by clouds. 4. TJiose who were looking on broke forth into a shout in which every voice joined, and ivhich was not produced by the action of the ivill. 5. The leaders of the troops that had been hired were nearly all slain. 6. He also felt the prejudices against the Jews which were felt by all the people. 7. He desired to give no farther trouble to those who had rendered him in his need so many kind services. 8. Meanwhile the lord of the castle, which was surrounded by attack- ing enemies, and ivhich was in danger, lay upon a bed of agony. 9. This was a strange interruption to his talk to himself. 10. Thou and I are but the blind instrument of some fatality which it is im- possible to withstand. 11. He was steady in pursuing his aims, and could not be turned aside from them. (Put as adjective in first clause.) 12. The features were so marked as to be fixed on the mind, so firmly that the impression could never be removed. (Adverb limiting fixed.) 13. He wrote for a nation so desirous of novelty and excitement that it was impossible to satisfy their desires. (Adverb in place of so.) 14. As was the historian, so were the auditors, given to asking questions, apt to believe on slight evidence. 15. His style is weighty, condensed, and not unfrequently difficult to be understood. 16. They wondered at the degeneracy of the peo- ple who were living in their time. 17. He learns to distinguish what is local from what is universal, what lasts but a short time, from what will last forever. 18. The whole plain was crowded with horsemen hastening to the place where the knights were to display in mock-fight their skill in horsemanship and with the lance. 48 THE ELEMENTS OF ENGLISH COMPOSITION. EXERCISES IN COMPOSITION. REPRODUCTION IV. THE PAINTER OF SEVILLE. 'Twas morning in Seville; and brightly beamed The early sunlight in one chamber there ; Snowing where'er its glowing radiance gleamed, Rich, varied beauty. 'Twas the study where Murillo, the famed painter, came to share With young aspirants his long-cherished art, To prove how vain must be the teacher's care, Who strives his unbought knowledge to impart, The language of the soul, the feeling of the heart. The pupils came, and glancing round, Mendez upon his canvas found, Not his own work of yesterday, But, glowing in the morning ray, A sketch, so rich, so pure, so bright, It almost seemed that there were given To glow before his dazzled sight, Tints and expressions warm from Heaven. 'Twas but a sketch — the Virgin's head — Yet was unearthly beauty shed Upon the mildly beaming face ; The lip, the eye, the flowing hair, Had separate, yet blended grace — A poet's brightest dream was there ! Murillo entered, and amazed, On the mysterious painting gazed ; " Whose work is this? — speak, tell me! — he Who to his aid such power can call," Exclaimed the teacher eagerly, " Will yet be master of us all. TRANSFORMATION OF ELEMENTS. 49 Would I had done it !— Ferdinand ! Isturitz ! Mendez ! — say, whose hand Among ye all ? "—With half-breathed sigh, Each pupil answered,—" Twas not II" " How came it, then?" impatiently Murillo cried; "but we shall see, Ere long into this mystery Sebastian!" At the summons came A bright-eyed slave, Who trembled at the stern rebuke His master gave. For, ordered in that room to sleep, And faithful guard o'er all to keep, Murillo bade him now declare What rash intruder had been there, And threatened — if he did not tell The truth at once — the dungeon-cell. "Thou answerest not," Murillo said; (The boy had stood in speechless fear) ; " Speak on! " — at last he raised his head And murmured, "No one has been here." " 'Tis false! " Sebastian bent his knee, And clasped his hands imploringly, And said, "I swear it, none but me!" "List!" said his master. "I would know Who enters here — there have been found Before, rough sketches strewn around, By whose bold hand, 'tis yours to show ; See that to-night strict watch you keep, Nor dare to close your eyes in sleep. If on to-morrow morn you fail To answer what I ask, The lash shall force you — do you hear? Hence! to your daily task." ******* 4 50 THE ELEMENTS OF ENGLISH COMPOSITION. 'Twas midnight in Seville ; and faintly shone, From one small lamp, a dim uncertain ray Within Murillo's study ; all were gone Who there in pleasant tasks or converse gay, Passed cheerfully the morning hours away. 'Twas shadowy gloom, and breathless silence, save That to sad thoughts and torturing fear a prey, One bright-eyed boy was there — Murillo's little slave. Almost a child — that boy had seen Not thrice five summers yet, But genius marked the lofty brow, O'er which his locks of jet Profusely curled ; his cheek's dark hue Proclaimed the warm blood flowing through Each throbbing vein, a mingled tide, To Africa and Spain allied. "Alas ! what fate is mine ! " he said. "The lash, if I refuse to tell Who sketched those figures, — if I do, Perhaps e'en more — the dungeon-cell ! " He breathed a prayer to heaven for aid ; It came — for soon in slumber laid He slept, until the dawning day Shed on his humble couch its ray. " I'll sleep no more ! " he cried ; "and now Three hours of freedom I may gain, Before my master comes ; for then I shall be but a slave again. Three blessed hours of freedom ! how Shall I employ them ? — ah ! e'en now The figure on that canvas traced Must be — yes, it must be effaced." He seized a brush"— the morniqg light Gave to the head a softened glow; TRANSFORMATION OF ELEMENTS. 51 Gazing enraptured on the sight, He cried, "Shall I efface it ?— No ! That breathing lip ! that beaming eye ! Efface them ?— I would rather die ! " The terror of the humble slave Gave place to the o'erpowering flow Of the high feelings Nature gave — Which only gifted spirits know. He touched the brow — the lip — it seemed His pencil had some magic power; The eye with deeper feeling beamed — Sebastian then forgot the hour, Forgot the master, and the threat Of punishment still hanging o'er him ; For with each touch, new beauties met And mingled in the face before him. At length 'twas finished ; rapturously He gazed — could aught more beauteous be ! Awhile absorbed, entranced he stood, Then started — horror chilled his blood ! His master and the pupils all Were there e'en at his side ! The terror-stricken slave was mute — Mercy would be denied, E'en could he ask it — so he deemed, And the poor boy half lifeless seemed. Speechless, bewildered — for a space They gazed upon that perfect face, Each with an artist's joy ; At length Murillo silence broke, And with affected sternness spoke — " Who is your master, boy ?" "You, Senor," said the trembling slave. "Nay, who, I mean, instruction gave, Before that Virgin's head you drew?" 52 THE ELEMENTS OF ENGLISH COMPOSITION. Again he answered, "Only you." " I gave you none! " Murillo cried. "But I have heard," the boy replied, " What you to others said." "And more than heard," in kinder tone, The painter said ; "'tis plainly shown That you have profited." " What (to his pupils) is his meed ? Reward or punishment ? " "Reward, reward ! " they warmly cried. (Sebastian's ear was bent To catch the sounds he scarce believed, But with imploring look received.) ■ ' What shall it be ? " They spoke of gold And of a splendid dress ; But still unmoved Sebastian stood, Silent and motionless. "Speak ! " said Murillo, kindly ; "choose Your own reward — what shall it be ? Name what you wish, I'll not refuse. Then speak at once and fearlessly." " Oh ! if I dared ! "—Sebastian knelt, And feelings he could not control (But feared to utter even then) With strong emotion shook his soul. " Courage ! " his master said, and each Essayed, in kind, half-whispered speech, To soothe his overpow'ring dread. He scarcely heard, till some one said, " Sebastian — ask — you have your choice — Ask for your freedom ! " — at the word, The suppliant strove to raise his voice : At first but stifled sobs were heard, And then his prayer — breathed fervently — "Oh ! master, make my father free !" TRANSFORMATION OF ELEMENTS. 53 "Him and thyself, my noble boy I" Warmly the painter cried ; Raising Sebastian from his feet, He pressed him to his side. "Thy talents rare, and filial love, E'en more have fairly won ; Still be thou mine by other bonds — My pupil and my son." Murillo knew, e'en when the words Of generous feeling passed his lips, Sebastian's talents soon must lead To fame that would his own eclipse ; And, constant to his purpose still, He joyed to see his pupil gain, Beneath his care, such matchless skill As made his name the pride of Spain. Susan Wilson. DIRECTIONS FOR MAKING THE TOPICAL OUTLINE. You are now required to make out your own topical outline. This should be done with every Reproduction before you attempt to write. Observe the following directions : 1. Make each topic as general as may be, but not so brief and general as to be indefinite. 2. Make the topics as few as possible ; minor points that would be suggested by the connection, should not be raised to the dignity of topics. 3. Make each topic completely cover its ground, but neither overlap nor repeat another. 4. A general topic may consist of sub-topics arranged under it. 5. The list of topics should present a clear, well arranged view of the whole subject. 54 THE ELEMENTS OF ENGLISH COMPOSITION. REPRODUCTION V. PROSE READINGS. To the Teacher.— It will doubtless be desirable to give also prose selec- tions for reproduction. These have been necessarily omitted. They can, however, be given at pleasure by reading the class something suitable for the purpose, as, for example, some of Hawthorne's short stories, especially the mythological ones. (See also Chapter VII.) The prose can take the place of some of the selections given, or can be added wherever more practice is deemed necessary. REPRODUCTION VI. THE RETIRED CAT. A poet's cat, sedate and grave, As poet well could wisli to have, Was much addicted to inquire For nooks to which she might retire, And where, secure as mouse in chink, She might repose, or sit and think. Sometimes ascending, debonair, An apple-tree, or lofty pear, Lodged with convenience in the fork, She watched the gardener at his work; Sometimes her ease and solace sought In an old empty watering-pot ; There, wanting nothing save a fan To seem some nymph in her sedan, Apparelled in exactest sort, And ready to be borne to court. But love of change it seems has place Not only in our wiser race; Cats also feel, as well as we, That passion's force, and so did she. Her climbing, she began to find, Exposed her too much to the wind, And the old utensil of tin TRANSFORMATION OF ELEMENTS. 55 Was cold and comfortless within : She therefore wished, instead of those, Some place of more serene repose, Where neither cold might come, nor air Too rudely wanton with her hair, And sought it in the likeliest mode, Within her master's snug abode. A drawer, it chanced, at bottom lined With linen of the softest kind, With such as merchants introduce From India, for the ladies' use — A drawer impending o'er the rest, Half open, in the topmost chest, Of depth enough, and none to spare, Invited her to slumber there. Puss, with delight beyond expression, Surveyed the scene and took possession. Recumbent at her ease, ere long, And lulled by her own hum-drum song, She left the cares of life behind, And slept as she would sleep her last; When in came, housewifely inclined, The chamber-maid, and shut it fast; By no malignity impelled, But all unconscious whom it held. Awakened by the shock, cried Puss, "Was ever cat attended thus! The open drawer was left, I see, Merely to prove a nest for me ; For soon as I was well composed, Then came the maid, and it was closed. How smooth these kerchiefs, and how sweet! Oh, what a delicate retreat ! I will resign myself to rest, 'Till Sol, declining in the west, 56 THE ELEMENTS OF ENGLISH COMPOSITION. Shall call to supper, when, no doubt, Susan will come and let me out." The evening came, the sun descended, And Puss remained still unattended. The night rolled tardily away (With her, indeed, 'twas never day), The sprightly morn her course renewed, The evening gray again ensued ; And Puss came into mind no more Than if entombed the day before. With hunger pinched, and pinched for room, She now presaged approaching doom, Nor slept a single wink, or purred, Conscious of jeopardy incurred. That night, by chance, the poet watching, Heard an inexplicable scratching ; His noble heart went pit-a-pat, And to himself he said, "What's that?" He drew the curtain at his side, And forth he peeped, but nothing spied ; Yet, by his ear directed, guessed Something imprisoned in the chest, And, doubtful what, with prudent care Resolved it should continue there. At length a voice which well he knew, A long and melancholy mew Saluting his poetic ears, Consoled him and dispelled his fears. He left his bed, he trod the floor, And 'gan in haste the drawers explore, The lowest first, and without stop The rest in order, to the top ; For 'tis a truth well known to most That whatsoever thing is lost We seek it, ere it come to light, In every cranny but the right. TRANSFORMATION OF ELEMENTS. 57 — Forth skipped the cat, not now replete, As erst, with airy self-conceit, Not in her own fond apprehension A (heme for all the world's attention ; Bat modest, sober, cured of all Her notions hyperbolical, And wishing for a place of rest Anything rather than a chest. Then stepped the poet into bed, With this reflection in his head : MORAL. Beware of too sublime a sense Of your own worth and consequence ! The man who dreams himself so great, And his importance of such weight, That all around, in all that's done, Must move and act for him alone, Will learn in school of tribulation, The folly of his expectation. William Cowper. DEVELOPMENT II. THE DOG AND THE SHADOW. Topical Outline. Introduction. — ( ) r 1. A dog crosses a stream with a piece of meat in his mouth. 2. Thinks his reflection in the stream is another dog. 3. Tries to snatch the meat from the mouth in the stream. 4. Loses his own meat. Conclusion. — Moral: the punishment of greediness. Discussion.- 58 THE ELEMENTS OF ENGLISH COMPOSITION". Tell what dog it was ; how he got his meat ; how he came to be crossing the bridge ; how it happened that he did not know his own shadow ; what dog he thought he recognized in the brook ; whether in attempting to seize the meat he was acting in accordance with his natural disposition, or whether there were some extenuating cir- cumstances ; how he bore his punishment ; whether he learned any lesson, etc. DEVELOPMENT III. A CHRISTMAS PIE.* One night, while people were asleep, And not a pussy-cat was nigh, Some rats ran through the pantry door And carried off the Christmas pie. And he who stood to carve the feast Had all and more than he could do, To cut the pie in seven parts And please each hungry partner, too. Palmer Cox. Talk about the rats as if they were persons. How did they find out about the pie? Were they all in favor of the hazardous under- taking of carrying it off ? Were there any unusual difficulties in their way ? any unusual inducements ? Who was the boldest among them ? Where was pussy ? Did she interfere finally with their pleasure ? DEVELOPMENT IV. INO AND UNO. Ino and Uno are two little boys Who are always ready to fight, Because each will boast That he knows the most, And the other one cannot be right. ♦Prom " Large Print for Little Readers." Boston: D. Lothrop & Co. TRANSFORMATION OF ELEMENTS. 59 Ino and Uno went into the woods, Quite certain of knowing the way: " I am right ! " " You are wrong 1 " They said, going along. And they didn't get out till next day ! Ino and Uno rose up with the lark, To angle awhile in the brook, But by contrary signs They entangled their lines, And brought nothing home to the cook 1 Ino and Uno went out on the lake, And oh ! they got dreadfully wet I While discussion prevailed They carelessly sailed, And the boat they were in was upset. Though each is entitled opinions to have, They need not be foolishly strong; And to quarrel and fight Over what we think right, Is, You know, and / knoiv, quite wrong. Josephine Pollard, in "St. Nicholas." CHAPTER III. PRINCIPLES OF EXPRESSION". The pupil will now proceed to the consideration of some of the simpler principles of rhetoric. The full dis- cussion of these principles must of course be left to the rhetorics, but enough can be learned even at this stage to enable him to avoid the grosser blunders into which he would otherwise be likely to fall. The principles treated refer chiefly to the two qualities of style, — clearness and strength. PRINCIPLE I.— Personal Pronouns. Example 1. — The farmer went to his neighbor and told him that his cattle were in his fields. This sentence evidently lacks clearness. It is not clear whether the neighbor's cattle were in the farmer's fields, or the farmer's cattle in the neighbors fields. To correct it we must in some way make perfectly evident what is meant. We might substitute the noun in each case, and say: The farmer told his neighbor that the neighbor's cattle were in the fanner's fields. But this repetition is unnecessarily long and awkward. If, however, we change to direct narration (see Principle XVII.) we can express every possible meaning with perfect clearness; as, The farmer went to his neighbor and said, " Your cattle are in my fields" PRINCIPLES OF EXPRESSION. - 61 Example 2. — The barons were summoned by their kings when they were compelled by their wants or their fears to have recourse to their aid. Is it the wants and fears of the barons, or of the kings? The meaning is obscure. Here again we might repeat the noun, but a better way is to change the number, and wr-ite king instead of kings; thus, Tfie barons were summoned by their king when he was compelled by his wants or his fears to have recourse to their aid. Principle. — Indicate clearly the antecedent of personal pronouns. Clearness may be obtained sometimes by sub- stituting direct for indirect narration, sometimes by repeating the antecedent, sometimes by changing the num- ber of one of the antecedents, sometimes by changing the order. Occasionally sentences in themselves not clear may be tolerated if the context gives the meaning easily and unmistakably. Exercise 36. — Of the following examples, 'correct all that are faulty. 1. His friend told him that he was sick, and that he ought to send for a doctor. 2. In giving descriptions of battles, he never referred to his own exploits, though lie was often in the thickest parts of them. 3. A boy asked his father how old he was. 4. He told him that, he was going to visit him at his house in the country. 5. Elsie's mother died when she was quite young. C. The lad can- not leave his father, for if the lad should leave his father, his father would die. 7. I reifllmber that puppy story. I took it up in my arms, but it slipped through and broke one of its legs. 8. The maid told her mistress that her sister was coming into the city, and that she wished her to meet her at the station. 9. He told him to go to his father and ask him to lend him five dollars. 10. He was sur- prised, he said, that he had not procured the release of his friend. 11. The boy came to the schoolmaster at all his leisure hours, and 62 THE ELEMENTS OF ENGLISH COMPOSITION. learned so rapidly that he recommended him to a nobleman who resided in the neighborhood. He was as noble in mind as he was in birth, and he patronized him and sent him to school. 12. In the following story which Burton tells of Billy Williams, the comic actor, put Billy's remarks together and correct them : ."So down I goes to the stable with Tom Flynn, and told the man to put the saddle on him." "On Tom Flynn?" "No, on the horse; and then I shook hands with him and rode off." "Shook hands with the horse, Billy?" "No, with Tom Flynn; and then I rode off up the Bowery, and who should I meet in front of the Bowery Theater but Tom Hamb- lin ; so I got off and told the boy to hold him by the head." "What! hold Hamblin by the head?" "No, the horse; and then we went and had a drink together." "What! you and the horse?" "No, me and Hamblin; and after that I mounted him again, and went out of town." "What! mounted Hamblin again?" "No, the horse; and when I got to Burnham, who should be there but Tom Flynn, — he'd taken another horse and rode out ahead of me; so I told the hostler to tie him up." "Tie Tom Flynn up?" " No, the horse; and we had a drink together." " What! you and the horse?" " No, me and Tom Flynn! " Finding his auditors by this time in a horse laugh, Billy wound up with — "Now, look here, — every time I say horse, you say Hamblin, and every time I say Hamblin, you say horse. I'll be hanged if I tell you any more about it." PRINCIPLES OF EXPRESSION. 63 PRINCIPLE II.— Relative Pronouns. Example. — He was arrested in bed, and attempted to commit suicide by firing a, pistol at his head, which he had concealed among the bed-clothes. To what does the relative which refer ? From its posi- tion it ought to refer to head, but from the sense we know it refers to pistol. A slight change in the order will pre- vent the suggestion of another than the true meaning; thus, by firing at his head a pistol which he had con- cealed among the bed-clothes. Principle. — Indicate clearly the antecedent of rela- tive pronouns. The " sin of whichcraft " may commonly be avoided by placing the relative close to its antecedent. Avoid not only such positions as would make the mean- ing doubtful, but also such as would suggest an impossi- ble or absurd meaning. Do not, except as a last resort, rely upon the punctuation to make clear a doubtful passage. Exercise 37. — Of the following examples, correct all that are faulty. Give reasons in full. 1. A little girl went to a neighbor's house that had light-blue eyes and golden curls. 2. A chair was sent to the joiner's that had a broken back. 3. Lost:— a white rabbit by a lady that has pink eyes and long ears. 4. During the procession a child was run over, wearing a short red dress, which never spoke afterward. 5. We have received a basket of grapes from our old friend Jones, for which he will accept our compliments, some of which are nearly two inches in diameter. C. Besides this he had on a cloak extending half-way down his thigh which was colored crimson. 7. The Romans en- gaged in the Macedonian war in consequence of an attack on Ath- ens by Philip which was an ally of Rome. 8. Her husband was a gallant colonel in full-bottomed wig and gold-laced hat, that was 64 THE ELEMENTS OF ENGLISH COMPOSITION". killed abroad. ,9. On each side are pavements for pedestrians that are from six to eight feet wide. 10. They forsook the officers com- manding them who were killed, ill. A proclamation has been issued from Mecca, warning all true believers to prepare for the coming day, which has been widely circulated and has created a great deal of excitement. 12. To this group belongs the Iguano- don, of the Wealden beds, first made known by Dr. Mantell, whose body was twenty-eight to thirty feet long. 13. The fruit was in glass cans which we ate. 14. Two men opened a show-case, and removed $12,000 worth of diamonds and jewelry, just after the doors were opened, with which they walked away. PRINCIPLE III.— Number of Relatives in a Sentence. Example. — In a pleasant district which lies in the southern part of York was an extensive forest, which in ancient da'ys extended over a greater part of the country which lies between Sheffield and Doncaster. It is often impossible to tell, where several pronouns are used in the same sentence, whether they all refer to the same or to different antecedents. Here the pronoun which has three different antecedents. This is very con- fusing. It is moreover very easy to go on in this way adding clause to clause until as in the famous, This is the cow with the crumpled horn that tossed the dog that wor- ried the cat that killed the rat, etc., there is no proper connection between the beginning and the end. The example can be corrected by simply omitting the first and last which, together with the verb, thus: In a pleasant dis- trict hi the southern part of York was an extensive for- est, which in ancient days extended oner a greater part of the country between Sheffield and Doncaster. Principle. — Limit as far as possible the number of relatives in a sentence unless they all refer to the same PRINCIPLES OF EXPRESSION. 65 antecedent. If you must use more than one, use if possi- ble different words ; as which that; not which which. Remember to use that in restrictive clauses. Sometimes the excessive use of pronouns can be avoided by repeating the antecedent, sometimes by changing a clause to a phrase, and sometimes only by completely recasting the sentence. Exercise 38. — Correct all the faulty examples. Ex- plain fully. 1. The mountain stream fell into the basin, which was blaek from the shadows of the mountains which surrounded it. 2. Be had no weapon excepting a poniard which was suspended from a belt, which served to counterbalance the weight of the rusty keys which hung at his side. 3. Above all lie had that unbending resolution with which Israel- ites have been frequently known to submit to the uttermost evils which power and violence can inflict upon them, rather than to gratify their oppressors by granting the demands which they make. 4. This had been settled in a council, in which, after a long and warm debate concerning the several advantages which each insisted upon having for his peculiar share in this audacious enterprise, they had at length determined upon the fate which should be awarded the unhappy prisoners. 5. His reign was like the course of a brilliant and rapid meteor, which shoots along the faee of heaven, which sheds around an un- necessary and portentous light, which is instantly swallowed up by universal darfhn C. The soft and gentle river Don sweeps through an amphithea- tre in which cultivation is richly blended with woodland ; and on a mount, which ascends from the river, which is well defended by its walls and ditches, rises this ancient edifice, which, as its Saxon name implies, was, previous to the conquest, a residence of the kings of England. 5 66 THE ELEMENTS OF ENGLISH COMPOSITION. 7. Mrs. Glegg inherited such a bone, which she had inherited from her grandmother with a brocaded gown that would stand up empty, like a silver-headed walking-stick. PRINCIPLE IV.— "And Which." Example. — I have a book printed at Antwerp, and which was once possessed by Adam Smith. And should join like elements, but here it joins a participle and a relative clause. To correct it we must convert these into like elements ; thus, I have a booh printed at Antwerp, and once possessed by Adam Smith ; or, I have a booh that was printed at Antwerp, and that was once possessed by Adam Smith. Principle. — A co-ordinate conjunction, as "and" " but" must not stand before a relative, unless the conjunc- tion joins the relative clause to another relative clause. Sometimes the elements must be transformed, sometimes the and can be omitted. Exercise 39. — Correct all the faulty examples. Ex- plain fully. 1.. Miss Hardcastle is about to meet her future husband, Mr. Marlow, son of Sir Charles Marlow, and whom she has never seen. 2. He now visits Mrs. Cavendish who is quite delighted with him, and who reads him a letter from that "beggarly captain" and which she has just intercepted. 3. It is said that there was under the tree a dragon with a hundred heads, and fifty of which were always on the watch while the other fifty slept. 4. I saw her again laid tip with a fever she had caught in her vacation and which proved fatal. 5. In his girdle stuck a large weapon bearing the name of a Sheffield whittle, and which was manufactured in the vicinity. 6. Mrs. Har- riet Bowers, widow of Jonathan Bowers, and who has held the position of postmistress at Morrisville some nine years, died on Sun- PRINCIPLES OF EXPRESSION. 67 day. 7. After residing at the north for some years, he was called to London by a friend and whom he had formed the acquaintance of at Cambridge. PRINCIPLE V. — Participles. Example. — Rising from these elevated table-lands, the traveller will see lofty ranges of granite mountains. We instantly query whether it is the traveller that rises, or the ranges. Which word is limited by the participle? Supposing it to be ranges, we may correct thus: The traveller will see lofty ranges of granite mountains ris- ing from these elevated table-lands; or, Rising from these elevated table-lands are lofty ranges of granite mountains. Principle. — Indicate clearly the use of participles. Like relative pronouns they should stand as near as possible to the noun to which they refer. Do not rely upon the punctuation to make an obscure passage clear. Exercise 40.— Correct all faulty examples. Explain fully. 1. Rosamond threw herself on her face the moment she saw the dog trembling from head to foot. 2. A boy named Bertram, while driving a horse, was kieked in the mouth by the animal, knocking out his front teeth. 3. I saw four white cows sitting on the steps. 4. There are numberless canals bordered with willows covered willi sails. 5. Scrooge followed to the window, desperate in his curiosity. 6. These islands are the residence of wild fowl composed of rock with a slight covering of herbage. 7. A pocket-book was found by a boy made of leather. 8. She walked with a lamp across the room si ill burning. 9. A yoke of oxen was bought at auction by a fanner of Reading weighing at least 2,500 pounds. 10. Turning my eyes toward him, he began to play upon the instrument in his hand. 11. Hoping to hear from you soon, believe me truly yours. 68 THE ELEMENTS OF ENGLISH COMPOSITION.. 12. The hotel was full of guests, badly built, very combustible, and unprovided with means of escape. 13. On raising the window, the mouse ran out through the wires of the cage. 14. The father and brother of a handsome and highly accomplished girl in Boston had long treated her cruelly, she said, and having fallen in love with a young man, expected soon to marry him. 15. The train consisted of four coaches, one mail and one express car, with sev- enty-five passengers aboard, carrying the mail and $8,000 of silver in the express safe. PRINCIPLE VI.— Phrases and Adverb Clauses. Example. — He was driving away from the church where he had been married in a coach and six. Was he married in a coach and six ? It seems to say so. But as that is absurd, it must mean that he was driving away in a coach and six. To say this clearly we have merely to change the position of the phrase, thus: He was driving away in a coach and six from the church where he had been married. Principle.— Place phrases and adverb clauses in such a position as clearly to give the meaning. Exercise 41. — Correct the faulty examples. Explain fully. 1. This stone is erected to the memory of Thomas Faulkner, who was accidentally shot, by his brother as a token of his affec- tion. 2. He went to town driving a flock of sheep on horseback. 3. The bill of fare was not so good as it should have been after the friends of the institution decreased. 4. Miss Kellogg received $1,000 for singing two ballads, and a superb bracelet of diamonds and rubies. 5. She listened to the prophecy he told her with great care. 6. Our house was built by a queer old gentleman with seven gables. 7. A young woman died yesterday not far from where I PRINCIPLES OF EXPRESSION. 69 was preaching in a beastly state of intoxication. 8. The ghost told Hamlet that he had been murdered while sleeping in the garden by his brother. 9. A letter was written by Mary Queen of Scots to be delivered to Elizabeth after she was executed at her own request. 10. There will therefore be two trials in this town at that time, for crimes which are punishable with death, if a full court should at- tend. 11. Andrew Smyth has been sent to the Reform School on account of disorderly conduct for a term of three years. 12. For sale : — A first-class piano, the property of a young gentleman about to travel, with a rosewood case and carved legs. 13. A little mouse that had lived for years in the residence of a rich merchant who lived in Africa, without being caught by the cat, began to have a very good opinion of herself. 14. The plump landlord stood lean- ing against the doorway with both hands in his pockets down stairs. 15. He was stabbed with his own dagger which he had drawn in a quarrel a! the early age of thirty. 16. She was buried from St. Thomas' Chureh of which she was a life-long member Wednesday forenoon. 17. I saw an old woman knitting with a Roman nose. 18. Eight shots were fired by those that were placed to watch the house without effect. 19. In Swiggs County, Georgia, the other day a deer was killed running with a railroad shovel in the hands of one of the workmen. PRINCIPLE VII. — Unnecessary Repetition. Example. — God is eternal, and his existence is without beginning and without end. The italicized expression has the same meaning as eternal. It is therefore superfluous, and should be omit- ted. If, however, it is not intended as an additional thought, but as an explanation of eternal, or an emphatic way of re-stating the same thought, then the and should be omitted. Principle. — Avoid all unnecessary and unpleasant repetition either of sound or sense. 70 THE ELEMENTS OF ENGLISH COMPOSITION. Exercise 42. — Correct all faulty examples. 1. He had the entire monopoly of the whole trade in salt. 2. Charles has his pockets full of a great many apples. 3. This play abounds in a great many laughable scenes. 4. The names of our forefathers who came before us should be held in reverence. 5. The man of the foretold prophecy had at last appeared. G. It is a great pity that writings should be written in this manner. 7. The man had an immense great big chart. 8. He is a royal messenger sent by the king. 9. He is the universal favorite of all that know him. 10. cold, cold, rigid, dreadful Death, set up thine altar here, and dress it with such terrors as thou hast at thy command. 11. Many hard and trying difficulties are in his path. 12. She was necessa- rily obliged to communicate it to her parents. 13. I spent some time in thinking of this scene, and the other things I had seen. 14. The shores are inhabited by warlike and hostile enemies. 15. Come to-morrow at eight o'clock p.m. in the afternoon. 16. She was a wealthy widow lady. 17. It was well lighted up with brill- iant lights. 18. At the police station he was recognized as an old offender, and was afterward sentenced to a term in State Prison a few weeks later. PRINCIPLE VIII.— Fine Effect of Repetition. Principle. — Do not hesitate to repeat, if by repeti- tion the thought can be expressed more clearly or more vigorously. The following examples illustrate the fine effect of repetition. 1. The lad cannot leave his father, for if the lad should leave his father, his father would die. 2. But it was a provision honorably made and honorably be- stowed. 3. By foreign hands thy dying eyes were closed, By foreign hands thy decent limbs composed, PRINCIPLES OF EXPRESSION. 71 By foreign hands thy humble grave adorned, By strangers honored, and by strangers mourned. 4. He sung Darius gK*U and good, By too severe a fate, Fallen, fa/loi, fi/Itu, fallen. Fallen from his high estate And weltering in bis blood. But not to me returns Day, or the sweet approach of ev'n or morn, Or sight of vernal bloom, or summer's rose, Or flocks or herds, or human face divine. PRINCIPLE IX.— Omission. Principle. — Ambiguity is often caused by the omis- sion of the relative, of the preposition, of the verb after than or as, of the conjunction that, etc. 1. He likes me better than you. Say, better than you do, or better than he likes you. 2. Don't forget the youth was the greater fool of the two, and the master served such a booby rightly in turn- ing him out of doors. Say, Don't forget that the youth was the greater fool of the two, and that the master, etc. 3. Such a church always has and will exist. Say, Such a church always has existed and always will exist. 4. Florio was taught to rejoice at the sight of Eu- doxus, who visited his friend very frequently, and was dictated by his natural affection to make himself known to him. Say, and who was dictated, etc. Otherwise it might mean that Florio was dictated. 72 THE ELEMENTS OF ENGLISH COMPOSITION. PRINCIPLE X.-"And.» Example. — The astronomer was at his telescope, and the great ships were laboring over the waves, and the toiling eagerness of commerce and the fierce spirit of revolution were only ebbing in brief rest, and sleepless statesmen were dreading the possible crises of the morrow. One of the most common faults in young writers is the unnecessary use of and. The ands can often be omitted, or the sentence can be so transformed that they are not needed. In the example, all difficulty can be avoided by omitting the first two conjunctions ; thus, The astronomer was at his telescope/ the great ships were laboring over the waves; the toiling eagerness of commerce and the fierce spirit of revolution were only ebbing in brief rest ; and sleepless statesmen were dreading the possible crises of the morrow. Principle. — Avoid an unpleasant repetition of "and." Exercise 43. — Remove all unnecessary ands. 1. These objects struck the natives with terror, and they began to respect their new guests as a superior order of beings, and con- cluded that they were the children of the sun and had descended to visit the earth. 2. From all these symptoms, Columbus was confident of being near land, and on the evening of the 11th of October, he ordered the sails to be furled, and the ship to bring to, and strict watch to be kept, lest they should be driven on shore in the night. 3. Then did iEneas pass on his way, and the goddess led him, and the flames gave place to him, and the javelins harmed him not. 4. The daylight had dawned upon the glades of the oak forests, and the green boughs glittered with all their pearls of dew, and the hind led her fawn from the covert of high fern to the more open walks of the green wood, and no huntsman was there to watch or intercept the stately hart as he paced at the head of the antlered herd. PRINCIPLES OF EXPRESSION. 73 PRINCIPLE XI.— Climax. Example. — We may die, die colonists, die slaves, die, it may be, ignominiously and on the scaffold. Notice that the parts are arranged in order of strength, the strength increasing from the beginning to the end. To die slaves is worse than to die colonists, to die on the scaf- fold is the worst of all. Reverse, or in any way change this order, and the strength of the sentence is gone. Principle. — Arrange the parts of a sentence in the order of strength, beginning with the least forcible. Such an arrangement is called a climax, that is, a ladder. Exercise 44. — Re-arrange in order of climax. 1. Learn to do well ! Cease to do evil ! Steal no more ! 2. He then drew a picture of the sufferings of the Saviour ; his death ; his crucifixion ; his trial before Pilate ; and his ascent up Calvary. 3. It is great to labor, to suffer, to live, for great public ends. 4. To what did he sacrifice country, rank, power, and freedom itself? 5. The ponderous machinery of the French Empire was flying asunder, rending, crushing, stunning thousands on every side. 6. We can look to the throne of God ; change and decay have never reached that ; the waves of eternity have been rushing past it, but it has remained unshaken ; the revolution of ages has never moved it. 7. I have no wish to trample upon the memory of Napoleon the First, whom I regard as by no means the worst of men, the most arbitrary of despots, or the most ambitious of conquerors. 8. If we must die, let it be under the clear sky, by the bright waters, in noble, honora- ble battle ! If we must fight, let us fight for ourselves ! If we must slaughter, let us slaughter our enemies. 9. What a piece of work is man ! in action how like an angel ! in form and moving how express and admirable ! in apprehension how like a God ! how noble in rea- son ! how infinite in faculties ! 10. Wherein 1 spake of most disas- trous chances; of hair-breadth 'scapes in the imminent, deadly breach ; of being taken by the insolent foe, and sold to slavery; of moving accidents by flood and field. 3- 74 THE ELEMENTS OF ENGLISH COMPOSITION. PRINCIPLE XII. — Position of Phrases. Principle. — 1. Phrases should not be crowded unpleas- antly together. 2. Phrases may often be placed with good effect at the beginning of the sentence, especially if it is desired to throw the subject for emphasis toward the end. Exercise 45. — Put the phrases into the best possible position. 1. His lordship in some degree recovered, medical assistance having been obtained, and was conveyed to his favorite villa of Hayes in Kent, where, May 11, 1778, in the seventieth year of his age he expired. 2. The Forfarshire steamer, under the command of Captain John Humble, of about three hundred and twenty tons burden, sailed from Hull on a voyage to Dundee, September 5, 1838, on Wednesday morning. 3. A brazen statue of Justice stood in the public square, once in an ancient city, whose name I no longer remember, raised aloft on a column, upholding the scales in its left hand, and in its right a sword. 4. The lovely stars blos- somed in the infinite meadows of heaven, silently, one by one. 5. She entered the door of the almshouse, wending her quiet way through the streets deserted and silent on a Sabbath morn. 6. Into the lock of the wicket which opened into the castle garden, at the dead hour of midnight, the page put the key, when all was silent in the garden. * PRINCIPLE XIII.— Emphasis. Example. — If thou didst ever thy dear father love, revenge his foul and most unnatural murder. The principal thing that the Ghost wishes to tell Ham- let is that he (Hamlet's father) was murdered, and that Hamlet must revenge the murder. But by the same prin- ciple as in Climax, the less important part must be put PRINCIPLES OF EXPRESSION. 75 first. Reverse the order, place the dependent clause at the end, and see how much is lost in strength. Principle. — Place the emphatic part of the statement , whether of phrase or clause, at the end. As the depend- ent clause is not often the emphatic one, it should not generally come at the end. Exercise 46. — Correct all the faulty examples. Ex- plain fully. 1. Then, Cromwell, thou falls't a blessed martyr, if thou falls't. 2. I would never lay down my arms, never! never! nowr! if I were an American as I am an Englishman. 8. The sons of men shall one by one be gathered to thy sid!' her prosenoai At the rising of the sun constellations grow dim. Stars go out one after another. Whole hemisphere of stars is extinguished. So the goddess of Falsehood vanished. So her whole anny vanished. Exercise 56.— At last the coach stopped. The driver opened the door. He told us to get out. We did so. We found ourselves in front of a large tavern. Its bright and ruddy windows told «>f the biasing fires within. These fires soon made us forget the hard- ships of the long, cold ride. The welcome of the hostess soon made us forget the hardships of the long, cold ride. The bounteous sup- per that smoked ui>on the board soon made us forget the hardships of the long, cold ride. (Principle XV.) Exercise 57. — The march of the Greeks was through an uncul- tivated country. The savage inhabitants of this country fared hardly. They had no other riches than a breed of lean sheep. The flesh of the sheep was rank and unsavory. This was by reason of their continually feeding upon sea-fish. (Principle XV.) Exercise 58. — This great and good man died on the 17th of September, 1683. He left behind him the memory of many noble actions. He left a numerous family. Three of them were sons. George was the eldest, lie was the heir to his father's virtues. He was also heir to his father's principal estates in Cumberland. It was there that most of his father's property was situated. He was shortly after elected nieml>er for the county. This county had for several generations returned this family to serve in Parliament. (Principle XV.) Exercise 59. — A white chariot was now approaching. It was in an open space behind the constable. It was drawn by two white palfreys. Palfreys covered with white damask. Damask swept the ground. Above the chariot was borne a golden canopy. It made music with silver bells. In the chariot sat the observed of all observers. She was Queen of England. Queen at last. She was Fortune's plaything of the hour. The beautiful occasion of all this 80 THE ELEMENTS OF ENGLISH COMPOSITION. glittering homage. She was borne along upon the waves of this sea of glory. She breathed the perfumed incense of greatness. She had risked her honor, her self-respect, to win this greatness. She had won. There she sat. Dressed in white robes. Her fair hair flowed loose over her shoulders. A light coronet encircled her tem- ples. The coronet was of gold and diamonds. She seemed at that hour the most beautiful of all England's daughters. She seemed most favored. (Principle III.) RULES FOR THE PARAGRAPH. 1. Combine into one paragraph all the sentences that pertain to one distinct topic. 2. If a paragraph is very long, covering a page or so, it may be divided. 3. A paragraph should not consist of a single sentence, unless the one sentence exhausts the discussion of the topic. Very short paragraphs do not look well. 4. It is not well to begin a paragraph with a long sen- tence. 5. The transitions from one paragraph to another should not be abrupt. 6. Each new paragraph should begin on a new line, and about an inch to the right of the margin. On paper the width of foolscap, the margin should be about an inch in width; each paragraph would therefore begin two inches or so from the edge of the paper. If the paper used is narrower than foolscap, both margin and indentation for paragraph should be proportionally less. See how many of the remaining exercises should be divided into two or more paragraphs. PRINCIPLES OF EXPRESSION. 81 Exercise 60. — Negotiations were opened with the chieftains. They were called chieftains. They governed the neighboring tribes. Cupidity, jealousy, and pride were found among these sav- age rulers. Their cupidity was insatiable. Their jealousy watchful. Their pride punctilious. As much so as among the potentates whose disputes had seemed likely to make the Congress of liyswick eter- nal. One prince hated the Spaniards. The reason was that a fine rifle had been taken away from him by the Governor of Porto Bello. It had been taken on the plea that sucto a rifle was too good for a red man. Another loved the Spaniards. The reason was that they had given him a stick tipped with silver. On the whole the new- comers succeeded in making friends of the aboriginal race. One monarch wore a cap of white reeds. It was adorned with an ostrich feather. It was lined with red silk. He wore it with pride. Pie was mighty. He was the Louis the Great of the isthmus. He seemed well inclined to the strangers. Received them hospitably in a palace. Palace built of canes. Covered with palmetto royal. He regaled them with calabashes of a sort of ale. The ale was brewed from Indian corn and potatoes. Exercise 61. — The Roman Emperor marched over a sandy des- ert. It lies between Emesa and Palmyra. He was perpetually harassed by the Arabs. The Arabs were robbers. They were active and daring. He could not always defend his army. Especially his baggage. The Arabs came in flying troops. They watched the moment of surprise. They eluded the slow pursuit of the Roman legions. The siege of Palmyra was an object more difficult and important. Emperor pressed the attacks in person. With incessant vigor. Was himself wounded with a dart. The firmness of Zenobia was supported by hope. Zenobia was Queen of Palmyra. She thought that famine would compel the Romans to repass the desert. That the kings of the East would arm themselves in her defence. Particularly the Persian monarch. This was reasonable. The Per- sian monarch was her most natural ally. Perseverance of the Emperor Aurelian overcame every obstacle. He was aided by for- tune. The Persian councils had become dish acted. This distrac- tion caused by the death of Sapor, the Persian general. Persians sent inconsiderable succors. Attempted to relieve Palmyra. Em- 82 THE ELEMENTS OF ENGLISH COMPOSITION. peror easily intercepted them. Zenobia resolved to fly. She mounted the fleetest of her dromedaries. Reached the banks of the Euphra- tes. Euphrates is sixty miles from Palmyra. Emperor's light horse pursued. Overtook her. Seized her. Brought her captive to the feet of the Emperor. Palmyra surrendered. It was treated by the Emperor with unexpected lenity. (Principle XV.) Exercise 62.— His Majesty, King William, landed at Margate. This was known on the fourteenth of November. There had been some days of impatient expectation. He landed at Greenwich late on the fifteenth. He rested in the palace there. It was a stately building. Under his auspices it was turning from a palace into a hospital. Eighty-six coaches came next morning to swell his train. It was a bright and soft morning. The coaches were filled with nobles, prelates, privy councillors, and judges. He was met by the Lord Mayor and the Aldermen. This was at Southwark. They were in all the pomp of office. The windows were gay with tapes- try, ribands, and flags. This was so along the whole route. The finest part of the show was the crowd of spectators. They were innumerable. They were all in their Sunday clothing. Only the upper classes of other countries could afford to wear such clothing. The King said he had never seen such a multitude of well dressed people. The King was greeted by indications of joy and affection. They lasted from the beginning to the end of his triumph. He entered his coach at Greenwich. He alighted from it in the court of Whitehall. He was accompanied from the first moment by one long huzza. PRINCIPLES OF EXPRESSION. 83 EXERCISES IN COMPOSITION. REPRODUCTION VII. THE SINGING LEAVES. A BALLAD. I. "What fairings will ye that I bring?" Said the King to his daughters three; "For 1 to Vanity Fair am boun; Now say what shall it be ? " Then up and spake the eldest daughter, That lady tall and grand : " O. bring me pearls and diamonds great, And gold rings for my hand." Thereafter spake the second daughter, That was both white and red : " For me bring silks that will stand alone, And a gold comb for my head." Then came the turn of the least daughter That was whiter than thistle-down, And among the gold of her blithesome hair Dim shone the golden crown. " There came a bird this morning And sang 'neath my bower-eaves, Till I dreamed, as his music made me, 'Ask thou for the singing leaves.' " Then the brow of the King swelled crimson With a flush of angry scorn: "Well have ye spoken, my two eldest, And chosen as ye were born ; 84 THE ELEMENTS OF ENGLISH COMPOSITION. " But she, like a thing of peasant race, That is happy binding the sheaves"; Then he saw her dead mother in her face, And said, "Thou shalt have thy leaves." II. He mounted and rode three days and nights Till he came to Vanity Fair, And 'twas easy to buy the gems and the silk, But no singing leaves were there. Then deep in the green wood rode he And asked of every tree, "0, if you have ever a singing leaf, I pray you to give it me ! " But the trees all kept their counsel, And never a word said they, Only there sighed from the pine-tops A music of sea far away. ' Only the pattering aspen Made a sound of growing rain, That fell ever faster and faster, Then faltered to silence again. " 0, where shall I find a little foot-page That would win both hose and shoon, And will bring to me the singing leaves If they grow under the moon?" Then lightly turned him Walter the page, By the stirrup as he ran : " Now pledge ye me the truesome word Of a king and gentleman, " That you will give me the first, first thing You meet at the castle gate, And the princess shall get the singing leaves, Or mine be a traitor's fate." PRINCIPLES OF EXPRESSION. 85 Tito King's bead dropped upon his breast A moment, as it might be; "Twill be my dog," lie thought, and said, " My faith I plight to thee." Then Walter took from next his heart A packet small and thin, "Now give you this to the Princess Anne, The singing leaves are therein." III. As the King rode in at his castle gate, A maiden to meet him ran, And " Welcome, father ! " she laughed and cried Together, the Princess Anne. "Lo, here the singing leaves," quoth he, "And woe, but they cost me dear I" She took the packet, and the smile Deepened down beneath the tear. It deepened down till it reached her heart, And then gushed up again, And lighted her tears as the sudden sun Transfigures the summer rain. And the first leaf, when it was opened, Sang: " I am Walter the page, And the songs I sing 'neath thy window Are my only heritage." And the second leaf sang: " But in the land That is neither on earth or sea, My lute and I are lords of more Than thrice this kingdom's fee." And the third leaf sang: "Be mine ! be mine !" And ever it sang, " Be mine ! " Then sweeter it sang and ever sweeter, And said, "I am thine, thine, thine. 86 THE ELEMENTS OF ENGLISH COMPOSITION. At the first leaf she grew pale enough, At the second she turned aside, At the third, 'twas as if a lily flushed With a rose's red heart's tide. "Good counsel gave the bird," said she, " I have my hope thrice o er, For they sing to my very heart," she said, "And it sings to them evermore." She brought to him her beauty and truth, But and broad earldoms three, And he made her queen of the broader lands He held of his lute in fee. James Russell Lowell. DEVELOPMENT V. TWO KITTIES. Two little kitties Wandered away Into the prairie One summer day. One on two feet, Rosy and fair, Almost a baby, — "Golden Hair." Four feet, — useless, Eyes fast closed, Borne in a basket, The other dozed. Searching in terror Far and wide, "Golden Hair's" mother Moaned and cried. PRINCIPLES OF EXPRESSION. 87 Mother Puss calmly Following slow, Listening, — calling Meoh ! — Meoh ! — Mother Puss found them, A little heap, Down in the deep grass, Fast asleep. Joy Allison, in "St. Nicholas." How did it happen that little "Golden Hair" wandered away from home? What was she seeking? What did she say to herself on the way? Was she afraid out on the prairie? Describe the mother's discovery of the child's absence. Describe the search. Picture as vividly as you can the finding of the sleeping child. DEVELOPMENT VI. THE BABY BIRD.* Poor little baby-bird Has fallen from a tree, And down in the long grass Is crying "Chee! Chee!" Silly little baby-bird ! Oh, what made you try To follow after mamma Before you could fly? Stupid little baby-bird All dripping with the rain, Now go to your nest and wait Until mamma comes again. * Prom " Large Print for Little Readers." Boston : D. Lothrop & Co. 88 THE ELEMENTS OF ENGLISH COMPOSITION. Perhaps it is a child talking to the bird. He may have found it in the grass, and may be trying to put it back in the nest. REPRODUCTION VIII. PROSE READINGS. REPRODUCTION" IX. JOHN GILPIN. John Gilpin was a citizen of credit and renown ; A train-band captain eke was he of famous London town. John Gilpin's spouse said to her dear, "Though married we have been These twice ten tedious years, yet we no holiday have seen. " To-morrow is our wedding-day, and we will then repair Unto the Bell at Edmonton, all in a chaise and pair. My sister and my sister's child, myself and children three, Will fill the chaise; so you must ride on horseback after we." He soon replied, "I do admire of womankind but one, And you are she, my dearest dear, therefore it shall be done. I am a linen-draper bold, as all the world doth know; And my good friend the calender will lend his horse to go." Quoth Mrs. Gilpin, "That's well said; and, for that wine is dear, We will be furnished with our own, which is both bright and clear." John Gilpin kissed his loving wife; o'erjoyed was he to find That though on pleasure she was bent, she had a frugal mind. The morning came, the chaise was brought, but yet was not allowed To drive up to the door, lest all should say that she was proud. 80 three doors off the chaise was stayed, where they did all get in,— Six precious souls, — and all agog to dash through thick and thin I PRINCIPLES OP EXPRESSION. 89 Smack went the whip, round went the wheels; were never folks so glad ; The stones did rattle underneath, as if Cheapside were mad. John Gilpin at his horse's side seized fast the flowing mane, And up he got, in haste to ride, but soon came down again. For saddle-tree scarce reached had he, his journey to begin, When turning round his head, he saw three customers come in. So down he came; for loss of time, although it grieved him sore, Yet loss of pence, full well he knew, would trouble him much more. Twas long before the customers were suited to their mind, Win n Betty screaming came down stairs, " The wine is left behind ! " "Good lack!" quoth he; "yet bring it me, my leathern belt like- wise, In which I bear my trusty sword, when I do exercise." Now Mrs. Gilpin (careful soul!) had two stone bottles found, To hold the liquor that she loved, and keep it safe and sound. Each bottle had a curling ear, through which the belt he drew, And hung a bottle on each side, to make his balance true. Then over all, that he might be equipped from top to toe, His long red cloak, well brushed and neat, he manfully did throw. Now see him mounted once again upon his nimble steed, Full slowly pacing o'er the stones with caution and good heed. I »ut finding soon a smoother road beneath his well shod feet, The snorting beast began to trot, which galled him in his seat. So, " Fair! and softly! " John he cried; but John he cried in vain; The trot became a gallop soon, in spite of curb and rein. So, stooping down, as needs he must, who cannot sit upright, He grasped the mane with both his hands, and eke with all his might. His horse, who never in that sort had handled been before, What thing upon his back had got did wonder more and more. 90 THE ELEMENTS OF ENGLISH COMPOSITION. Away went Gilpin, neck or naught; away went hat and wig; He little dreamed when he set out, of running such a rig. The wind did blow, the cloak did fly, like streamer long and gay, Till, loop and button failing both, at last it flew away. Then might all people well discern the bottles he had slung; A bottle swinging at each side, as hath been said or sung. The dogs did bark, the children screamed, up flew the windows all, And every soul cried out, " Well done! " as loud as he could bawl. Away went Gilpin, who but he! his fame soon spread around; " He carries weight ! He rides a race ! 'Tis for a thousand poun^l " And still, as fast as he drew near, 'twas wonderful to view How in a trice the turnpike men their gates wide open threw. And now, as he went bowing down his reeking head full low, The bottles twain, behind his back, were shattered at a blow. Down ran the wine into the road, most piteous to be seen, Which made his horse's flanks to smoke, as they had basted been- But still he seemed to carry weight, with leather girdle braced ; For all might see the bottle-necks still dangling at his waist. Thus all through merry Islington these gambols he did play, And till he came unto the Wash of Edmonton so gay. And there he threw the Wash about on both sides of the way, Just like unto a trundling-mop, or a wild goose at play. At Edmonton his loving wife, from the balcony, spied Her tender husband, wondering much to see how he did ride. " Stop, stop, John Gilpin ! here's the house ! " they all at once did cry ; "The dinner waits, and we are tired! " Said Gilpin, "so ami!" But yet his horse was not a whit inclined to tarry there ; For why? his owner had a house, full ten miles off, at Ware. So like an arrow swift he flew, shot by an archer strong, So did he fly — which brings me to the middle of my song. Away went Gilpin, out of breath, and sore against his will, Till at his friend the calender's his horse at last stood still. PRINCIPLES OF EXPRESSION. 91 The calender, amazed to see his friend in such a trim, Laid down his pipe, flew to the gate, and thus accosted him: "What news? What news? Your tidings tell! Tell me you must and shalll Say why bare-headed you are come, or why you come at all! " Now Gilpin had a pleasant wit, and loved a timely joke; And tints unlo the calender, in merry guise he spoke: " I i Mini' because your horse would come; and, if I well forebode, My hat and wig will soon be here; they are upon the road! " The calender, right glad to find his friend in merry pin, • Returned him not a single word, but to the house went in ; Whence straight he came with hat and wig, — a wig that flowed behind, A hat not much the worse for wear, — each comely in its kind. He held them up, and in his turn thus showed his ready wit, — " My head is twice as big as yours; they, therefore, needs must fit. But let me scrape the dirt away that hangs upon your face; And stop and eat, for well you may be in a hungry case." Said John, " It is'my wedding day, and all the world would stare If wife should dine at Edmonton and I should dine at Ware." So, turning to his horse he said, " I am in haste to dine: 'Twas for your pleasure you came here; you shall go back for mine." Ah, luckless speech and bootless boast! for which he paid full dear; For, while he spake, a braying ass did sing most loud and clear; Whereat his horse did snort as he had heard a lion roar, And galloped off with all his might, as he had done before. Away went Gilpin, and away went Gilpin's hat and wig: He lost them sooner than the first;— for why? — they were too big. Now Mistress Gilpin, when she saw her husband posting down Into the country far away, she pulled out half a crown ; 92 THE ELEMENTS OF ENGLISH COMPOSITION. And thus unto the youth she said, that drove them to the Bell, "This shall be yours, when you bring back my husband safe and well." The youth did ride, and soon did meet John coming back amain, Whom in a trice he tried to stop, by catching at his rein ; But not performing what he meant, and gladly would have done, The frightened steed he frighted more, and made him faster run. Away went Gilpin, and away went postboy at his heels; The postboy's horse right glad to miss the lumbering of the wheels. Six gentlemen upon the road, thus seeing Gilpin fly, With postboy scampering in the rear, they raised the hue and cry: "Stop thief I stop thief I — a highwayman 1" — not one of them was mute, And all and each that passed that way did join in the pursuit. And now the turnpike gates again flew open in short space, The tollmen thinking, as before, that Gilpin rode a race. And so he did, and won it too, for he got first to town, Nor stopped till where he had got up he did again get down. Now let us sing " long live the king," and Gilpin, long live Iig, And when he next doth ride abroad may I be there to see. William Cowper. DEVELOPMENT VII. THE TRAGICAL FATE OP JACK AND JILL. Jack and Jill went up the hill To draw a pail of water ; Jack fell down and broke his crown, And Jill came tumbling after. PRINCIPLES OF EXPRESSION. DEVELOPMENT VIII. LITTLE JACK'S CHRISTMAS DINNER. Little Jack Horner sat in the corner, Kating his Christmas pie ; He put in his thumb and pulled out a plum, And said, " O, what a brave boy am I! " REPRODUCTION X. THE BUTTERB^LY AND THE SNAIL. All upstarts, insolent in place, Remind us of their vulgar race. As, in the sunshine of the morn, A Butterfly, but newly born, Sat proudly perking on a rose, With pert conceit his bosom glows; His wings, all glorious to behold, Bedropped with azure, jet, and gold, Wide he displays ; the spangled dew Reflects his eyes and various hue. His now forgotten friend, a Snail, Beneath his house, with slimy trail, Crawls o'er the grass ; whom when he spies, In wrath he to the gardener cries: "What means yon peasant's daily toil, From choking weeds to rid the soil? Why wake you to the morning's care? Why with new arts correct the year? ■ Why grows the peach with crimson hue, And why the plum's inviting blue? Were they to feast his taste designed, That vermin of voracious kind? Crush then the slow, the pilfering race ; 94 THE ELEMENTS OF ENGLISH COMPOSITION. So purge thy garden from disgrace." " What arrogance ! " the Snail replied; u How insolent is upstart pride! Hadst thou not thus, with insult vain, Provoked my patience to complain, I had concealed thy meaner birth, Nor traced thee to the scum of earth. For scarce nine suns have waked the hours, To swell the fruit and paint the flowers, Since I thy humbler life surveyed, In base and sordid guise arrayed; A hideous insect, vile, unclean, You dragged a slow and noisome train ; And from your spider bowels drew Foul film, and spun the dirty clue. I own my humble life, good friend ; Snail I was born, and Snail shall end. And what's a Butterfly? At best He's but a caterpillar, dressed ; And all thy race (a numerous seed) Shall prove of caterpillar breed." John Gay. DEVELOPMENT IX. THE MOUSE AND THE ELEPHANT. Topical Outline. Introduction.— ( ) 1. The Mouse meets the Elephant. 2. Ridicules his size and slow movements. 3. Boasts of her own agility. „ 4. Is suddenly seized by a cat. Conclusion.— The Elephant moralizes. Discussion. PRINCIPLES OF EXPRESSION. 95 DEVELOPMENT X. WILL OTHE WISP. "Will o'the wisp, Will o'the wisp, Show me your lantern true! Orel tlif meadow and over the hill, tiladly I'll follow you. "Never I'll murmur, nor ask for rest, And ever I'll be your friend, If you'll only give me the pot of gold That lies at your journey's end." And after the light went the brave little boy, Trudging along so bold; And thinking of all the things he'd buy With the wonderful pot of gold : "A house, and a horse, and a full-rigged ship, And a ton of peppermint drops, And all the marbles there are in the world, And all the new kinds of tops." Will o'the wisp, Will o'the wisp, Flew down at last in a swamp. He put out his lantern and vanished away In the evening chill and damp. And the poor little boy went shivering home, Wet and tired and cold. He had come, alas ! to his journey's end, But where was the pot of gold? Laura E. Richards, in "St. Nicholas." 96 THE ELEMENTS OF ENGLISH COMPOSITION. DEVELOPMENT XI. THE WHITE LILY. Little white Lily- Sat by a stone, Drooping and waiting Till the sun shone. Little white Lily Sunshine has fed; Little white Lily Is lifting her head. Little white Lily Said, "It is good; Little white Lily's Clothing and food." Little white Jjily Drest like a bride, Shining with whiteness And crowned beside. Little white Lily Droopcth with pain, Watching and waiting For the wet rain. Little white Lily Holdeth her cup, Rain is fast falling And filling it up. Little white Lily Saith, "Good again, When I am thirsty To have nice rain ; Now I am stronger, Now I am cool, Heat cannot burn me My veins are so full." PRINCIPLES OF EXPRESSION. 97 Little white Lily Smells very sweet, On her head sunshine, Rain at her feet. "Thanks to the sunshine, Thanks to the rain, Little white Lily Is happy again." George Macdonald. SUBJECTS FOR STORY. In this exercise your entire work, even the plot, is to be original. You have neither a poem nor an outline of topics given to assist you. Select from the following subjects. Miss Frog's Party. The Bee and the Flower. The Church Mouse. Playing School. Flying Kites. The Violet and the Rosebush. The Turtle-dove and the Bluejay. Pussy's Education. The Musical Education of the Frog Children. Complaint of the Town Pump. A Looking-glass's Opinion of the World. 7 CHAPTER IV. PRINCIPLES OF EXPRESSION. (continued.) PRINCIPLE XVI.— Interrogation and Exclamation. Commonly a sentence used declaratively has a different meaning from the same sentence used interrogatively. Dr. Jones went to Boston, has a very different meaning from, Did Dr. Jones go to Boston? In the interroga- tive sentence, the questioner does not know whether or not Dr. Jones went to Boston, and wishes to learn. But the question is not always for the purpose of obtaining information. If you ask, Does God pervert justice? the question is not put for the sake of an answer. You know what would be the answer. It is merely an em- phatic way of saying God does not pervert justice. There are many such cases, when the interrogation is merely an emphatic way of making a statement. Compare the following interrogative sentences with the same expressed declaratively; and see how much more em- phatic the interrogative forms are: — 1. Who can declare the mighty acts of the Lord? 2. He that planted the ear, shall He not hear? 3. Can a mother forget her child? 1. No one can declare the mighty acts of the Lord. 2. He that planted the ear must surely be able to hear. 3. A mother cannot possibly forget her child. PRINCIPLES OF EXPRESSION. • '99' Compare also the exclamatory with the declarative form in the following examples, and see how much more vigorous the exclamatory form is: — 1. They made a wild eharge. 2. There are here many goodly creatures. 3. I love thy law. 1. What a wild charge they made! 2. How many goodly crea- tures are there here! 3. O how I love thy law! Notice also that in these forms the emphasis is often increased by omission of words: as — Mercy upon tis! is more forcible than May they have mercy upon us! Monstrous! monstrous! is more forcible than It is monstrous! it is monstrous! Principle. — Where an emphatic expression of a thought is desired, prefer the exclamatory or interroga- tive form to the declarative. The use of these forms for emphasis must not, however, be too frequent, but merely the exception to the general use of the declarative. Exercise 63. — Change from the interrogative to the declarative form. Note how much is lost in energy. 1. When can their glory fade? 2. Some pretty good men were boys once. Were you never a boy, Mr. Superintendent? 3. Are the girls all angels? Do they never do anything wrong? Do girls never make any noise in school? Do girls never need to be scolded? 4. O these women! these women! Could that girl have been play- ing off any of her coquettish tricks? Was her encouragement of the poor i>edagogue all a mere sham to secure the conquest of his rival? Heaven only knows, not I! 5. And for what is all this apparatus of bustle and terror? Is it because anything substantial is expected? No. The stir and bustle itself is the end proposed. 6. And where is he to exert his talents? At home, to be sure, for where else can he obtain a profitable credit for their exertion? 100 THE ELEMENTS OF ENGLISH COMPOSITION. 7. Has the gentleman done? Has lie completely done? He was unparliamentary from the beginning to the end of his speech. There was scarce a word he uttered that was not a violation of the privileges of the House. But I did not call him to order, — why ? because the limited talents of some men render it impossible for them to be severe without being unparliamentary. 8. Who made you glorious as the gates of Heaven Beneath the keen, full moon? Who bade the sun Clothe you with rainbows? Who, with living flowers Of loveliest blue, spread garlands at your feet? God ! let the torrents, like a shout of nations, Answer! and let the ice-plains echo, God! Exercise 64. — Change from the exclamatory to the declarative. Show how the sentence is rendered exclam- atory. Note the loss of energy in the change from the emotional to the matter-of-fact form. 4 1. How sweet the moonlight sleeps upon this bank! 2. A horse! a horse ! my kingdom for a horse ! 3. I have well bethought me of my duties. O, how extensive they are ! what a fair and goodly inheritance ! 4. For, lo ! the hills around, gay in their early green, give silent thanks. 5. O, pleasantly the harvest-moon looked on them through the great elm boughs ! 6. How poor, how rich, how abject, how august, How complicate, how wonderful is man! How passing wonder He who made him such! 7. How the lit lake shines, — a phosphoric sea — And the big rain comes dancing to the earth! 8. An heir of glory! a frail child of dust! Helpless immortal! insect infinite! A worm ! a god ! — I tremble at myself, And in myself am lost. 9. A boom ! — the Lighthouse gun ! (How its echo rolls and rolls!) 'Tis to warn the home-bound ships Off the shoals! PRINCIPLES OF EXPRESSION". 101 See! a rocket cleaves the sky Prom the Fort; — a shaft of light! See! it fades and fading, leaves Golden furrows on the night! Exercise 65. — Change from the declarative to the interrogative. Note the gain in energy. 1. The Judge of all the earth will do right. 2. Thou hast not given the horse strength; thou hast not clothed his neck with thun- der. 3. The leviathan will not make many supplications unto thee; he will not speak soft words unto thee; thou canst not take him as a servant forever; thou canst not play with him as with a bird. 4. We will not submit, and consent that we ourselves shall be ground to powder, and our country and its rights trodden down in the dust. 5. The traces of her early cares, her sufferings, and fatigues, were all gone. VC>. The hardest task in the world is to think. 7. Cut off from all hope of royal clemency, you are nothing, you can be nothing, but outlaws. 8. These roarers (the waves) care nothing for the name of king. 9. You cannot put your hand in the fire without being burned. Exercise 66. — Change from the declarative to the exclamatory. Note the gain in energy. 1. They lash us with their tongues. 2. The scenes of my child- hood are dear to my heart. 4 3. Their melody foretells a world of merriment. 4. The fears which such a situation must inspire are boundless. 5. Sighs have been wafted after that ship; prayers have been offered up at the deserted fireside of home. 6. And the star which they saw in the east, went before them till it came and stood over where the young child was. 7. These are noble institutions; this is a comprehensive policy; this is a wise equalization of every political advantage. 8. Our hearts were beating when we saw the army of the League drawn out in long array. 9. Mar cried to them to put their lances down. 10. There never was such a knight in friendship or in war as our sovereign lord, King Henry of Navarre. 11. He commanded them to fix bayonets and charge. 12. King *10fc ; « • -THE ELEMENTS OF ENGLISH COMPOSITION. Robert who was standing near the throne, lifted his eyes, and he was alone. 13. They cried to him to come back before the ruin fell. PRINCIPLE XVII.— Direct and Indirect Narration. The direct form of speech gives the thought of an- other in his own words/ the indirect gives his thought only, not his words: as — Direct. — 1. The crabbed old schoolmaster used to ask, when they brought him a new pupil, "But are you sure he is not a dunce?" 2. "Do not trouble yourself too much about the light upon your statue," said Michael Angelo to a young sculptor, " the light of the public square will test its value." Indirect. — 1. The crabbed old schoolmaster used to ask, when they brought him a new pupil, whether they were sure he was not a dunce. 2. Michael Angelo told a young sculptor not to trouble himself too much about the light on his statue, for the light of the public square would test its value. Principle. — Where energetic expression of thought is desired, prefer the direct form of narration to the indi- rect. Sometimes, however, energy has to be sacrificed to brevity, in which case the indirect form must be used. Exercise 67. — Re-write, changing to the indirect form. Note the loss of energy. Remark. — The indirect form usually requires the use of the third person instead of the first and second, and the past tense instead of the present/ it requires no quo- tation marks. ' 1. Dr. Johnson is reported to have said: "If a boy says he looked out of this window, when he looked out of that, whip him." PRINCIPLES OF EXPRESSION. 103 2. "My children," said an old man to his boys who had been frightened by a figure in a dark entry, "my children, you will never see anything in this world worse than yourselves." 3. "For myself," said Daniel Webster, "I propose to abide by the principles and the purposes which I have avowed. I shall stand by the Union, and by all who stand by it. I shall do justice to the whole country according to the best of my ability in all I say, and act Cor the good of the country in all I do. I mean to stand upon the Constitution. I need no other platform. I shall know but one country. The ends I aim at shall be my country's, my God's, and Truth's." (See Principle XIV.) 4. Wolfe, also, as he led to the charge, was wounded in the wrist; but, still pressing forward, he received a second ball; and, having decided the day, was struck a third time, and mortally, in the breast. " Support' me," he cried to an officer near him ; " let not my brave fellows see me drop." lie was carried to the rear, and they brought him water to quench his thirst. "They runl they run!" spoke the officer on whom he leaned. "Who run?" asked Wolfe, as his life blood was fast ebbing. "The French," replied the officer, "give way everywhere." " What," cried the ex- piring hero, "do they run already? Go, one of you, to Colonel Burton ; bid him march Webb's regiment with all speed to Charles River to cut off the fugitives." Four days before he had looked on early death with dismay. "Now, God be praised, I die happy." These were his words as his spirit escaped in the blaze of his glory. Exercise 68 — Re-write, changing to the direct form. Punctuate according to the rules. 1. De Maistre says that to know how to wait is the great secret of success. < 2. Pope says that fame can never make us lie down contented on our death-beds. "i 3. Dean Swift averred that he never knew a man come to emi- nence whojay in bed of a morning. 4. Washington Irving relates that, in the course of a December tour in Yorkshire, he rode Tor a long time in one of the public 104 THE ELEMENTS OF ENGLISH COMPOSITION. coaches on the day preceding Christmas, and that he had three fine, rosy-cheeked schoolboys as his companions inside. 5. All this time, however, Pandora's fingers were half uncon- sciously busy with the knot; and happening to glance at the flower- wreathed face on the lid of the enchanted box, she seemed to perceive it slyly grinning at her. She thought the face looked very mischievous, and wondered if it smiled because she was doing wrong, and she had the greatest mind in the world to run away. But just then, by the merest accident, she gave the knot a kind of twist, which produced wonderful results. The gold cord untwined itself, as if by magic, and left the box without a fastening. Pan- dora thought that the strangest thing she had ever known, and questioned herself as to what Epimetheus would say, and how she could tie the box up again. PRINCIPLE XVIII.— Inversion. The groves are sweet. The fields are verdant, Gilpin went away, are all arranged in the order of (1) subject, (2) predicate, (3) complement. This is the most common arrangement, and is called the natural or grammatical order. Now change this order. Place the adjectives sweet, verdant, and the adverb away at the beginning, as, Sweet are the groves, Verdant are the fields, Away icent Gilpin. What is the effect ? These words by being placed in so unusual and prominent a place attract more atten- tion; that is, they are more emphatic. Any change from the grammatical order is called inversion, and the sentence is said to have the inverted or emphatic order. The subject, or any word whose usual position is at or near the beginning, is made emphatic by being thrown toward the end; the verb, or any word whose usual position is at or near the end, is made emphatic by being thrown toward the beginning. 1^ general, a word becomes emphatic by being placed in an unusual position. PRINCIPLES OF EXPRESSION. 105 ' Principle. — When energy is desired, nse the inverted or emphatic order of sentence in preference to the gram- matical. Inversion, like exclamation and interrogation, must be used sparingly in prose. Exercise 69. — Change from the inverted to the gram- matical order. Show what words are rendered emphatic by the inversion. 1. Bent is his head of age, and red his tearful eye. 2. Beauti- ful was the night. 3. Behind the Mack wall of the forest, tipping its summit with silver, arose the moon. 4. On the river fell here and there through the branches, a tremulous gleam of the moonlight. 5. Loud and sudden and near the note of the whippoorwill sounded, like a flute in the woods, and, anon through the neighboring village, farther and farther away it floated and dropped into silence. 6. In came a fiddler with a music-book. In came Mrs. Fezziwig, one vast, substantial smile. In came all the young men and young women employed in the business. 7. Wide is the gate and broad is the way that leadeth to destruction. 8. Fair she was and young; but, alas! before her extended dreary and vast and silent the desert of life. 9. From the church no Angelus sounded, rose no smoke from the roofs, and gleamed no lights from the windows. 10. Round he throws his baleful eyes that witnessed huge affliction and dismay. Exercise 70 — Change from the grammatical to the emphatic order by placing the italicized words in emphatic positions. Explain the effect upon the sentence. 1. We laid him down slowly and sadly. 2. The night was wild. 3. The lamps shone bright o'er fair women and brave men. 4. Now still evening came on, and gray twilight had clad all things in her sober livery. 5. The breath of morn is sweet, and the coming on of grateful evening is tweet. 6. The powerful king of day comes yonder, rejoicing in the east. 7. The world of God around us is indeed glorious; but the world of God within us is still more glorious. 8. The moonlight was lovely as it gleamed and danced on \J 106 THE ELEMENTS OF ENGLISH COMPOSITION. the waters. 9. The sleep of the dead is deep. 10. Peace, thou art lovely ; and thy children are lovely ; and the prints of thy foot- steps are lovely. 11. The shout that echoed was sublime. 12. The fierce rushing of the eagles' wings came down. 13. Thou art the gale of spring in peace ; the mountain storm in war. 14. The eyes gleaming on the terrified Romans through the foliage were theirs. 15. She stretched out her hand and touched it timidly. PRINCIPLE XIX.— Figures. There are certain forms of expression called Figures, used by writers for the purpose of giving strength, clear- ness, and beauty to style. Only a few of the more common figures are here treated; as, Simile, Metaphor, Metonymy, and Personification. SIMILE. If we say, The soldier fought like a lion, we do not mean that he fought in every respect like a lion, that is, with a lion's teeth and claws, but that he had a X\ovl s fierce- ness, boldness. When the poets say, Her teeth were like pearl, they mean merely that her teeth are white as pearl. The soldier and the lion, the teeth and the pearl, have no resemblance except in this one point. When objects in most respects dissimilar are shown to have in one respect a similarity, the expression is called the figure of simile. You will observe that the two parts of the simile are con- nected by like, than, or as. Exercise 71. — In the following similes tell where the resemblance lies. Re-write, expressing in plain language, the idea contained in the simile. 1. The Assyrian came down like a wolf on the fold. 2. And the sheen of their spears was like stars on the sea. 3. Black were PRINCIPLES OF EXPRESSION. 107 her eyes as the berry that grows on the thorn by the wayside. 4. And when she had passed, it was like the ceasing of exquisite musicj 5. An author's pen, like children's legs, improves by exercise. TT He watched the flames and the smoke-wreaths struggle together like foes in a burning city. 7. Near him the tire of the cart-wheel lay, like a fiery snake, coiled round in a circle of cinders. 8. Like a guiding star, amid the thickest carnage blazed the helmet of Navarre. 9. There curls the smoke of my cottage, beguiling the children, who cluster, like grapes, at the doorway. 10. And green and blue his sharp eyes twinkled, like a candle flame where salt is sprinkled. 11. On the river fell here and there through the brandies a tremulous gleam of the moonlight, like the sweet thoughts of love on a darkened and devious spirit. 12. Swiftly they followed the flight of him who was speeding before them blown by the blast of fate, like a dead leal Ov»r the desert. 13. White as the snow were his locks, and his cheeks as brown as the oak-leaves. METAPHOR. If we say, He was a lion in the fight, we do not mean that he was transformed into a lion, but merely that he fought as fiercely as a lion. When we speak of the golden leaves of the maples, we do not mean that the leaves are made of gold, but that they are yellow like gold. The man and the lion are alike only in this quality of fierceness, the leaves and the gold only in the quality of color. This form of comparison is called metaphor. Metaphor can be expanded to simile by introducing the connective. Oolden leaves = leaves like gold. Silvery moonbeams = moon- beams white as silver. Exercise 72. — Explain the following metaphors, and turn as many of them as possible into similes. 1. Behind the black wall of the forest, tipping its summit with silver, arose the moon. 2. Thy word is a lamp unto my feet. 3. 108 THE ELEMENTS OF ENGLISH COMPOSITION. One burnished sheet of living gold, Loch Katrine lay beneath him rolled. 4. Hale and hearty he was, an oak that is covered with snowflakes. 5. Love is the ladder on which we climb to a likeness with God. 6. Sweet Teviot, on thy silver tide the glaring balefires blaze no more. 7. All flesh is grass. 8. The Lord is my Shepherd. 9. "The tale, O Poet, which thy lips have told," I said, "is words of rubies set in gold." 10. Over her head the stars, the thoughts of God in the heavens, shone in the eyes of man. 11. All the world's a stage, and all the men and women merely players. METONYMY. If we say, 77ie kettle boils, The man smokes his pipe, we mean the water in the kettle boils, the man smokes the tobacco in the pipe. The kettle and the water it contains, the pipe and the tobacco, have not a single quality alike, but they go so necessarily together that everybody under- stands what we mean when we speak of one for the other. This figure, you see, is not a comparison of objects, a like- ness of certain qualities, as in simile and metaphor, but is merely the substitution of the name of one object for that of another toith which it is so closely connected that one will suggest the other. The figure is called metonymy ', that is, change of name. So we say, He studies Shake- speare, that is, Shakespeare's plays. The glittering steel descended, that is, the sword which is made of steel. Exercise 73. — Explain the following metonymies. Convert each sentence into literal language. 1. The drunkard loves his bottle. 2. Man shall live by the sweat of his brow. 3. This dish is well cooked. 4. The pen is mightier than the sword. 5. They have Moses and the prophets, let them hear them. 6. Fair she was to behold, that maiden of seventeen summers. 7. The hedges are white with May. 8. Do you read Byron ? 9. Socrates drank the fatal cup. 10. A fleet of thirty sail PRINCIPLES OF EXPRESSION. 109 was seen. 11. Fifty head of cattle were driven through the city. 12. She lived as u Sister of Mercy, frequenting lonely and wretched roofs in the crowded lanes of the city. 13. The prince succeeded to the throne. 14. lie could not believe that he was such a bad oar as the old hands made him out to be. PERSONIFICATION. O Freedom, close not thy lids in slumber. Freedom is here represented as a person, has eyelids, can sleep, and can understand when addressed. The Fox said to the Crow, "Beautiful creature, what a sweet voice you have!" Here these animals are supposed to be talking, which in reality only persons can do. This attributing to lower animals and to inanimate objects, the qualities of persons is called personification. Exercise 74. — Explain the personifications, and ex- press each example in plain language. 1. sacred Truth ! thy triumph ceased awhile, And Hope, thy sister, ceased with thee to smile. 2. Hope for a season bade the world farewell, And Freedom shrieked when Kosciusko fell! 3. I heard the trailing garments of the Night Sweep through her marble halls! 4. holy Night! from thee I learn to bear What man has borne before! Thou layest thy finger on the lips of Care And they complain no more. 5. As an earthquake rocks a corse In its coffin in the clay, So white Winter, that rough nurse, Rocks the dead-cold Year to-day. Solemn Hours, wail aloud For your mother in her shroud ! 110 THE ELEMENTS OF ENGLISH COMPOSITION. Principle. — Clearness, energy, and beauty of expres- sion are increased by a judicious use of figures. Caution, however, must be exercised by the pupil when he attempts to use figures himself. He must see that the figures used are appropriate, and that one figure is not mixed with another. EXERCISES IN COMPOSITION. REPRODUCTION XI. IN THE TOWER. By the river deep and black, Where the countless masts arise, London's Tower lifts its strength To the English skies. Centuries ago it stood Grim as now, and seemed to frown On the river's rolling flood, And on London town. There, one day, knowing not If for life or if for death, Led a prisoner through its gate, Came Elizabeth. Not as yet the haughty queen, But a princess, young and fair With no crown upon her head, Save of golden hair. Trembling, passed she through the door, Door of dread and door of doubt, Where so many had gone in, Never to come out. PRINCIPLES OF EXPRESSION. Ill Foes behind, and spies beside, Questioned, menaced, and betrayed, None to counsel, none to help, Went the royal maid. Through the heavy-hearted land, Good men prayed with bated breath: "Saw her, Lord, for Thou canst save — Save Elizabeth ! " Musing in her dreary cell, Pacing, all alone, for hours, In a little garden, set Twixt the frowning towers,— Slowly crept the lagging weeks, Sadly dragged the lingering day; Not a prisoner might dare Even to glance her way. Not a foot might cross her path, Nor a signal meet her eye ; Thus the edict of the Lords, Met in council high. In the Tower lived children four, Baby children, full of glee, And they nothing knew nor cared What the law might be. A new playfellow they spied, That was all they cared or knew, And, like flies to honey-pot, Straight to her they flew. It was vain to tell them nay; It was vain to shut the door; Under, over, any way, Went the children four. 112 THE ELEMENTS OF ENGLISH COMPOSITION. In, like leaping lines of light, Went they, danced they, full of fun, Flowers in their tiny hands, Flowers themselves, each one. Soft and sweet the princess smiled, But, by some instinctive art, Well they knew, the little ones, She was sad at heart. Much they longed to ease her pain, And they found a little key, Picked it up, and brought, and said, "Mistress, you are free. "Now you can unlock the gate, And can go abroad at will, Only please come back sometimes, To us children still." When the mighty Council-Lords Heard the artless tale, one day, Of the children and their words, Angry men were they. "These are little spies," they swore, "Letter-carriers — dangerous ! We must look into this thing. Bring them unto us." So before the Council-Lords Were the little children led, And of all their acts and words They were questioned. But the babies nothing told: There was nothing they could tell, Save, "The lady is so kind, And we love her well." PRINCIPLES OF EXPRESSION. 113 Then the great Lords chid the babes (While the parents held their breath), And forbade them to go near "Dame Elizabeth"; Threatening heavy punishments Should they dare to disobey, Or to pass the sentries set In the garden way. Sorely grieved the little ones For their playmate fair and good; Oft they strove to reach the gate, But they never could. For the soldiers, tall and strong, Stood to left and stood to right, And the mothers kept strict watch On them, day and night. Only once, a tiny boy, Slipping past the guardians all, Sought and found a little hole In the outer wall. Put his rosy lips thereto, Whispering, "Mistress, are you there? I can bring you no more flowers, For I do not dare. "It was naughty that we came, So the great, grand Lordships said " — Then he heard the sentry's step, And he turned and fled. Did the Princess hear the boy? Or, astonished, long to know What could ail her little friends That they shunned her so? 114 THE ELEMENTS OF ENGLISH COMPOSITION. Did she ever seek them out In the happier after-day, When she reigned great England's queen? — History does not say. But the tender childish tale, Like a fragrance from dead flower, Lingers yet, and maketh sweet London's great old Tower. Still it stands as then it stood, Sullen, strong, and seems to frown On the river's rolling flood, And on London town. And a traveller from far lands, Little known or thought of then By the haughty Virgin Queen And her merry men, Standing 'neath its time-worn door, Where the busy river runs, Smiles to-day, remembering Those dear little ones. Susan Coolidge. REPRODUCTION XII. PROSE READINGS. DEVELOPMENT XII. PRINCESS FUZZ.* ' Tis said, "Fine feathers make fine birds"; No doubt we must believe the words. But "Handsome is that handsome does," Though all can't dress like Princess Fuzz. *From "Our Little Ones and The Nursery." Boston: Russell Publishing Co. PRINCIPLES OF EXPRESSION. 115 Fine drees u well; but don't be vain, Like Princess PttU in her disdain. Of all the jewels 'ncath the sun, None can be brighter than this one, — A loving heart and willing hand, Not dress, make friends in any land. DEVELOPMENT XIII. MAMMA'S LITTLE ASSISTANTS.* Bringing home the wash, To help Mamma to-day. Tripping o'er the meadow, With little hearts so gay. They live just in the cottage, Underneath the hill. But they help Mamma in working, With earnest heart and will. "We're Mamma's assistants!" They will say to you; And looking at their faces, We know their tale is true. Mary D. Brine. DEVELOPMENT XIV. FOUND DEAD IN THE STREET. I. The labor is over and done; The sun has gone down in the west; The birds are asleep, every one, And the world has gone to its rest — From "Jingles and Joys," etc. New York: Cassell & Co., Limited. 116 THE ELEMENTS OF ENGLISH COMPOSITION. Sleepers on beds of down, 'Neath cover of silk and gold, Soft as on roses new blown, Slept the great monarch of old I Sleepers on mother's breast, Sleepers happy and warm, Cosey as birds in their nest, With never a thought of harm! Sleepers in garrets high, 'Neath coverlet ragged and old; And one little sleeper all under the sky, Out in the night and cold! Alone in the wide, wide world, Christless, motherless, he; Begging or stealing to live, and whirled Like waif on an angry sea. II. The daisy looks up from the grass, Fresh from the fingers of night, To welcome the birds as they pass, And drink in fresh rivers of light. Sleepers on mother's breast Waken to summer and mirth; But one little sleeper has gone to his rest, Never to waken on earth — Dead — found dead in the street, All forsaken and lorn; Damp from the head to the feet, With the dews of the sweet May morn ! III. Dead — for the want of a crust! Dead — in the cold night air; Dead — and under the dust, Without ever a word of prayer! In the heart of the wealthiest city, In this most Christian land, PRINCIPLES OF EXPRESSION". 117 Without ever a word of pity Or the touch of a kindly hand! REPRODUCTION XIII. THE ROMANCE OF THE SWAN'S NEST. Little Ellie sits alone 'Mid the beeches of the meadow, By the stream-side on the grass, And the trees are showering down Doubles of their leaves in shadow, On her shining hair and face. She has thrown her bonnet by, And her feet she has been dipping In the shallow water's flow. Now she holds them nakedly In her hands, all sleek and dripping, While she rocketh to and fro. Little Ellie sits alone, And the smile she softly uses, Fills the silence like a speech, While she thinks what shall be done — And the sweetest pleasure chooses For her future within reach. Little Ellie in her smile Chooses "I will have a lover, Riding on a steed of steeds! He shall love me without guile, And to him I will discover The swan's nest among the reeds. "And the steed shall be red-roan, And the lover shall be noble, With an eye that takes the breath. And the lute he plays upon, 118 THE ELEMENTS OF ENGLISH COMPOSITION. Shall strike ladies into trouble, As his sword strikes men to death. "And the steed, it shall be shod All it) silver, housed in azure, And the mane shall swim the wind; And the hoofs along the sod Shall flash onward and keep measure, Till the shepherds look behind. " But my lover will not prize All the glory that he rides in, When he gazes on my face. He will say, ' O Love, thine eyes Build the shrine my soul abides in, And I kneel here for thy grace.' "Then, ay, then — he shall kneel low With the red-roan steed anear him — Which shall seem to understand — Till I answer, 'Rise and go! For the world must love and fear him Whom I gift with heart and hand.' "Then he will arise so pale, I shall feel my own lips tremble With a yes I must not say, Nathless maiden-brave, ' Farewell,' I will utter and dissemble — ' Light to-morrow with to-day.' " Then he'll ride among the hills To the wide world past the river, There to put away all wrong; To make straight distorted wills, And to empty the broad quiver Which the wicked bear along. "Three times shall a young foot-page Swim the stream and climb the mountain PRINCIPLES OF EXPRESSION. 119 And kneel down beside my feet — I Lo, my master sends this gage* Lady, for thy pity's counting! What wilt thou exchange for it? ' " And the first time, I will send A white rosebud for a guerdon — And the second time, a glove; But the third time — I may bend From my pride, and answer — ' Pardon, If he comes to take my love.' "Then the young foot-page will run — Then my lover will ride faster, Till he kneeleth at my knee: I I am a duke's eldest son ; Thousand serfs do call me master — But, love, I love but thee! * "He will kiss me on the mouth Then, and lead me as a lover Through the crowds that praise his deeds: And when soul-tied by one troth Unto him I will discover That swan's nest among the reeds." Little Ellie, with her smile Not yet ended, rose up gaily, Tied the bonnet, donned the shoe, And went homeward, round a mile, Just to see, as she did daily, What more eggs were with the two. Rushing through the elm-tree copse, Winding up the stream, light-hearted, Where the osier pathway leads — Past the boughs, she stoops — and stops. Lo, the wild swan had deserted — And a rat had gnawed the reeds. 120 THE ELEMENTS OP ENGLISH COMPOSITION. Ellie went home sad and slow. If she found the lover ever, With his red-roan steed of steeds, Sooth I know not ! but I know She could never show him — never, That swan's nest among the reeds! Elizabeth Barrett Browning. DEVELOPMENT XV. THE LITTLE FLOWER. GIRL * See little patient Bessie, As through the street she goes. What is she doing, think you, dear? She's showing us a rose. Poor, patient little Bessie! Her face is pale and sad. If she could sell her flowers now, I know 'twould make her glad. When on the street we meet her, We'll speak a kindly word. It may be gentle words are not By Bessie often heard. If we can make her happy, Then let us freely buy One little rose to please her heart ; Hark ! hear the sweet voice cry : - "Who'll buy my sweet, fresh flowers? I gathered them to-day ! Kind ladies, and kind gentlemen, For just a moment stay, And see my lovely flowers, My roses sweet and fair! I'll give them each to anyone Who has five cents to spare." Mary D. Brine. *From "Jingles and Joys," etc. New York: Cassell & Co., Limited. PRINCIPLES OF EXPRESSION. 121 DEVELOPMENT XVI. BULLFROG TALK.* Crodunk, crodunk ! I'm the wisest frog, That ever lived in this muddy bog. I know the world, though they say I'm green, For I see it all behind a screen. Crodunk, crodunk! I keep a school Down in the shady, watery pool. The young ones learn to dive and swim, And then they sing a temperance hymn. Crodunk, crodunk! I have a wife; But she and I ne'er meet in strife. All know I often say " Kerchog! " Which means that I'm a model frog. Grace H. Knapp. DEVELOPMENT XVII. HOUSEKEEPING.! They were a loving couple, And they built a cosey nest Right snugly in the thicket Where the little wife might rest, While the husband bird was singing His tuneful serenade, And the wine bird was listening In the midst of leafy shade. But one day a cruel hunter Came shooting by that way, And there was but one bird nesting When came the close of day. * From " Our Little Ones and The Nursery." Boston : Russell Publishing Co. tFrom "Jingles and Joys," etc. New York: Cassell & Co., Limited. 122 THE ELEMENTS OF ENGLISH COMPOSITION. Oh, how long the wifie waited, For the mate that sang no more! Dear boys, are you not sorry For that birdie's heart so sore? Mary D. Brine. REPRODUCTION XIV. EASTER LILIES. A little maid walked smiling on her way, Bearing white lilies on an Easter day; Herself a lily, pure and fair as they. But, as she passed, they bore along the mart A little child whom dcatli had set apart, His small hands lying empty on his heart. Close to the bier the little maiden pressed, And laid her lilies on the pulseless breast, Saying, "Take these to light thee to thy rest. "If to my Lord I bring no lily bell, He is so near my heart He knows full well I love Him more than any tongue can tell." Altar and chancel shone with radiant bloom, Breathing sweet odors through the minster's gloom, Type of the life that triumphed o'er the tomb. She heard the organ's solemn voice, that soared As if in Heaven to seek the risen Lord Crowned by His angels, by His saints adored. While, out of sight, a woman sang alone, With such a wondrous rapture in her tone, She seemed a seraph singing by the throne. The little maid knelt down with reverent grace, And a great light fell on her upturned face, Bringing a vision of the heavenly place ; PRINCIPLES OF EXPRESSION. 123 Wherein she saw her Lord, with smiling eyes, Amid the countless hosts of Paradise, Bearing the little child, by death made wise. Her very heart ran o'er with joy to see Her lilies blooming by the Master's knee. Grown fair as any deathless flowers might be. While from the blessed child this message fell: " Dear Lord, thy little maid, who loves Thee well, Sends these, by me, her faithful love to tell." Blessed are they whose prayers in deeds find wing, Whose hands the gifts of humble service bring, And in his lowly children serve their king. Blessed are they who hear the Master plead, In every cry of human woe or need; Lo! in their hearts the Lord is risen indeed. Emily Huntington Miller. DEVELOPMENT XVIII. THE WISH. Topical Outline. 1. Little Jack and Nell sent on an errand. 2. On their way they pick the last rose on a bush by the roadside. 3. A fairy appears, who tells them that they have picked the enchanted rose, and that whatever they first wish for they shall receive. 4. They presently spy some berries high above their reach, and forgetful of the rose, wish they were tall enough to reach the berries. 5. They suddenly become tall as giants. 6. They search a long time for the fairy, that she may restore them to their proper size, but cannot find her. 7. Are obliged to return home sorrowful. 8. The fairy at last appears, and restores them to their natural size. 124 THE ELEMENTS OF ENGLISH COMPOSITION. DEVELOPMENT XIX. ABOU BEN ADHEM. Abou Ben Adhem (may his tribe increase !) Awoke one night from a deep dream of peace, And saw, within the moonlight in his room, Making it rich, and like a lily in bloom, An angel writing in a book of gold: — Exceeding peace had made Ben Adhem bold, And to the presence in the room he said, "What writest thou?" — The vision raised its head, And with a look made all of sweet accord, Answered, "The names of those who love the Lord." "And is mine one?" said Abou. "Nay, not so," Replied the angel. Abou spoke more low, But cheer'ly still; and said, "I pray thee then, Write me as one that loves his fellow-men." The angel wrote, and vanished. The next night It came again with a great wakening light; And showed the names whom love of God had blessed, And lo! Ben Adhem's name led all the rest. Leigh Hunt. SUBJECTS FOR STORY. Dispute between Mouth, Nose, and Eyes, concerning their respect- ive Usefulness to Man. On the Death and Burial of a Bird. Two Parent Birds on the Robbing of their Nest. Meditations of a Church Mouse. Two Dolls' Opinions of their Mistresses. The Experience of a Silver Dollar. The Crow and the Scarecrow. The Flower and the Clouds. The Tea-kettle's Song. The Dance of the Leaves. PRINCIPLES OF EXPRESSION. 125 What the Masks in a Shop Window Did. Little Bennie in the Hay-field. Dollie's Christmas. The Adventures of the Toy Soldiers. Mrs. Jenkins' Poodle. How Madge Learned to Skate. The Cat and the Canary Bird. The Snow Fort. The Story of a Bear. CHAPTER V. LETTEE- WRITING. A pleasing and instructive exercise is the composition of letters. The pupil may write of actual occurrences, or may draw upon his imagination. A letter consists of six parts: — 1. Heading. 4. Body. 2. Address. 5. Complimentary Close. 3. Salutation. 6. Signature. THE HEADING. EXAMPLES. The Heading should consist of: (1) The name of the place from which the letter is written, and should contain all the items necessary for your correspondent to know in directing his answer ; as, town, county, state, number of 126 LETT ER-W KITING. 127 street, or post-office box. (2) The date of writing, that is, tin; ifi -cue nt-ud^c Ae- dtzjce-'t 'tut'CA. <£nni / " Cy ^.a^ie-pu &£/ -etid-u <£& d-ee <£ri€i'L / Cy^icz -n-e fe.-U't -A^d ■Aiz-^i-c/ -&M, Cy