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Po weirs Language Series — Part III 
 
 How TO Write 
 
 Secondary Lessons 
 
 ia the 
 
 English Language 
 
 Illustrated witli over 150 Engravings 
 
 By 
 
 W. B. Powell, A. M. 
 
 11 
 
 Saperintendeiifc of Schools, Aurora, 111- 
 
 Cowperthwait & Co 
 
 Philadelphia 
 
COWPERTHWAIT & CO.'S EDUCATIONAL SERIES. 
 :gBgCAIIOB LIBEc 
 
 Warren s New Geographies ^ 
 
 Monroe's Readers and Spellers y 
 
 Monroe^ s Neiu Series of Readers y 
 
 Monroe's Vocal Gymnastic Charts^ 
 Monroe' s Reading Charts^ 
 
 Monroe's Marmal of Physical and Vocal Training , 
 
 Apgars^ New Geographical Drawing-Book^ 
 Greene' s Impra-oed Grammars ^ 
 
 Powell's Language Series, 
 The Business-Standard Copy-Books, 
 
 Berard^s New U. S. History y 
 
 Goodrich's Child's U. S. History, 
 
 Buehrle's Grammatical Praxis, 
 Hagar's Mathematics, 
 Royse's Manual of American Literature, 
 
 Royse's Manual of English Literature, 
 
 Appleton's Quantitative Analysis, 
 
 Appleton's Qualitative Analysis, 
 
 Appleton's Young Chemist. 
 
 Price Lists and Descriptive Circulars sent free on 
 application to the Publishers. 
 
 Copyright, 1882, by W. B. POV/EL.L. 
 

 Preface 
 
 If the child were in the habit of formulating in good Eng- 
 lish his ideas as he gains them, the words representing the 
 ideas would become a part of his available vocabulary. He 
 would then find no difficulty in expressing himself, as he 
 would have an appropriate nomenclature for each idea in his 
 possession. Many words are understood when seen because 
 of their connection, but are not available for speech because 
 they have not been added to the vocabulary by use. These 
 words are the exact measure of what one falls short of being 
 a ready talker. 
 
 If the child were trained to express his knowledge, to- 
 gether with his thoughts thereon and his conclusions there- 
 from, while he is acquiring the knowledge and while it is 
 becoming a part of himself, he would necessarily, though 
 unconsciously, perhaps, assimilate the style of him who pre- 
 sents the subjects investigated, as well as the nomenclature 
 belonging to them. His ability to express his thoughts would 
 thereby be kept parallel with his taste, and talking or writ- 
 ing on these subjects would not be difficult for him. 
 
 If the child were trained to arrange methodically his 
 knowledge of subjects from the time he begins to grasp sub- 
 jects as entireties, his ability to classify would grow with his 
 knowledge, and classification would become to him a part of 
 acquirement. 
 
 If the child could be made to realize that a methodical 
 arrangement of his knowledge of any subject is a composition, 
 and that, if his sentences are intelligible and correct, the com- 
 
Preface, 
 
 position is a good one, composition-writing would not be as 
 formidable to him as it now is to many. 
 
 If every branch of study pursued by the child were made 
 auxiliary to his training in language, he would write a com- 
 position on any subject as willingly, as easily and as well as 
 he makes a recitation. The child would then be able, as he 
 should be at any stage of his school course below the grade 
 involving pure invention and abstract discussion, to speak and 
 to write, in good English, his knowledge of any subject on a 
 plane with his ability to read understandingly on that subject. 
 
 This book is the natural and logical successor of Part II. of 
 this Series, IIoiv to Talk, and, like its predecessor, is the result 
 of work in the class-room. It has been prepared as a com- 
 panion-book for the pupils' advanced Reader, Greography, His- 
 tory and other text-books of like grade. 
 
 The purpose of the book is to train the learner in thinking 
 and writing, to the end that he shall think methodically and 
 write easily and correctly. 
 
 The book does not enter the field of pure invention or 
 abstract discussion, although much work is given that will 
 develop originality of thought as well as a free and proper 
 use of the imagination. 
 
 The Author is indebted to Miss L. A. Denney, Principal of 
 the Young School, and to Miss E. H. Mattice, Principal of the 
 Brady School, for valuable assistance in collecting the work 
 of the school and representing it as here found ; and also to 
 Prof. T. H. Clark, who has carefully read the proof-sheets. 
 
 Most of the illustrations are from original designs ; the 
 others have been taken, by permission, from Monroe's excel- 
 lent Series of School Readers or from "Warren's Geographies. 
 
Index 
 
 PART I. 
 
 How to place the English Sentence on the 
 written page. 
 
 Abbreviations 
 
 PAGE 
 
 . 27 
 
 Capital Let- 
 ters: 
 
 Abbreviations 29 
 
 Names of the Deity 34 
 
 Choice of 
 Words: 
 
 Quotations 30 
 
 The First Word of Every Line of Poetry .... 33 
 ^ Titles and Important Words of a Subject .• , . .34 
 
 f All 70 
 
 As, So 69 
 
 At, To 71 
 
 Bad 68 
 
 Between, Among 7? 
 
 Consider, Think 63 
 
 Contemptuous, Contemptible 68 
 
 Dangerous 67 
 
 Dififer, Different 73 
 
 Hang 65 
 
 Intend, Calculate 63 
 
 Into, In 71 
 
 Love, Like 62 
 
 Only 70 
 
 Plead, Prove 65 
 
 Plentiful, Abundant 68 
 
 Somewhat, Some 69 
 
 Stop, Stay 61 
 
 The verb with If • • . . 66 
 
 Unnecessary words— As, At all, Both, Into, 
 
 For, To, With 73 
 
 Contracted Forms 26 
 
 Letter Forms 55 
 
 Kinds— Collective 20 
 
 Foreign 24 
 
 Forms — Singular 11 
 
 ^ouns: \ Plural — Collective Nouns 20 
 
 Compound Nouns 19 
 
 Foreign Nouns 24 
 
 Letters, Figures and Signs ... 19 
 5 
 
Index. 
 
 PAGE 
 
 f Forms— Plural — Nouns ending in f or fe . . . .14 
 
 Nouns ending in o 15 
 
 Nouns ending in the sound of s, sh, 
 
 ch, j, X or z 12 
 
 Nouns ending in y 12 
 
 Nouns: \ Nouns having only the plural form . . 18 
 
 Nouns having the same form for both 
 
 singular and plural 17 
 
 Nouns whose plurals are made by an 
 
 internal change 17 
 
 Possessive , 24 
 
 JPoetry 31-33 
 
 Prose 33 
 
 ' Caret 54 
 
 Colon 53 
 
 Comma — After a word or words used in address . 41 
 Before an adjective used after its noun . . 37, 38 
 
 Before and after explanatory words 42 
 
 For an omitted word 39 
 
 In a succession of particulars . . . 34,35 
 
 In connection with quotations 30,31 
 
 \ With a part of a sentence transposed . . 44, 45 
 With a pronoun separated from its antecedent . 47 
 With a verb separated from its subject . . 46; 47 
 
 Hyphen 55 
 
 Parenthesis 54 
 
 Period — Part of an Abbreviation 27 
 
 Semicolon — Before as, viz., etc., introducing 
 
 explanations 51, 52 
 
 [ In a succession of elaborated particulars . 48, 49 
 
 Qnotnfions 30 
 
 Rhyme— Stanza 33 
 
 JPunvtua- 
 Hon: 
 
 PART 11. 
 Compos ition. 
 
 COMPARISON AND CONTRAST. 
 Application of Laws . 190 
 
 r Description — Animals 209 
 
 Practice: ^ "i^^^'^^ ^^^ P^^^'^^^ i^^ 
 
 Persons 224 
 
 Plants 199 
 
Index, 
 
 Practice, 
 
 Prose Exer- 
 cises: 
 
 ( Narration — Biographies 228 
 
 Histories 236 
 
 I Professions 238 
 
 -! Poetry — Cleon and I , . . Charles Mackay . 198 
 
 Then and Now Mathias Barr . 196 
 
 The Heritage J, E. LoweU . 196 
 
 Within and Without 194 
 
 C The Horse and the Giraffe 209 
 
 The Maple Leaf and the Birch Leaf . . 199 
 The Morning-Glory and the Cypress . . . 202 
 
 The Sleds 188 
 
 Washington and Napoleon 229 
 
 DESCRIPTION. 
 
 Definition 110 
 
 r Abstract 160, 162 
 
 Kinds: \ Distributed 143, 158 
 
 I Ludicrous 168 
 
 r Completeness . Ill 
 
 Method 112 
 
 Laws: \ Selection 110, 111 
 
 Symmetry 112, 113 
 
 Unity 113 
 
 Animals 75, 122 
 
 Landscapes (Pictures) 114 
 
 Pictures 99, 121 
 
 Plants 84, 124 
 
 Poetry— A Picture 108 
 
 Dicky and Dolly . . . Mary E. Bradley . 162 
 
 KiNt} James Walter Scott . 106 
 
 Lord M arm ion Walter Scott . 126 
 
 Pau-Puk-Keewis . . . H. W. Longfellow . 103 
 House in the Meadow . Louise C. Moulton . 105 
 
 The Nursery Doll 108 
 
 The Printer- Boy Tramp . . Will Carleton . 110 
 The Prisoner for Debt . . ./. G. Whittier . 107 
 
 The Rookery Muz-Muz . 109 
 
 The Village of Grand Pre . Lovgfellow . 127 
 The Village Preacher . Oliver Goldsmith . 163 
 
 Practice: i 
 
 A Description of a Quince Leaf 8-^ 
 
 A Horse Washington Irving . 168 
 
 eises: \ g^^j^g ^^^jtm . 166 
 
 Prose Exer- 
 
8 
 
 Index. 
 
 PAGE 
 
 ' Catching Minnows 99 
 
 Description of a Young Man. Mary Clemmer . 160 
 
 DuROC J. T. Headley . 161 
 
 Harvesting 114 
 
 Pau-Puk-Keewis (Transformed) 104 
 
 The Bear of the Pyrenees . H. A. Paine . 161 
 
 The Duck 75 
 
 The Horse 80 
 
 The Mill on the Floss . . . George Eliot . 167 
 The Thin Gentleman . . . Charles Dickens . 169 
 
 Prose Exer- 
 cises: 
 
 NARRATION. 
 Definition 159 
 
 ' Conclusion 138 
 
 Description — Abstract , . . . . 160 
 
 Embellisll- ■ Ludicrous 168 
 
 ments: | Figures — Metaphor 174, 175 
 
 Simile • • • 171,172 
 
 Introduction 138 
 
 Lmws 159, 160 
 
 History 156,181 
 
 Poetry — Daniel Smith 154 
 
 Frozen in the Street . . . Ella F. Clyde . 155 
 Goody Blake and Harry Gill. Wordsworth 
 
 Lily's Ball Fun and Earnest 
 
 Report of an Adjudged Case . . Cowper 
 
 Practice: 
 
 184 
 146 
 182 
 
 The Butterfly Ball 144 
 
 The Miser's Valentine, il/rs. M. A. Kidder . 150 
 The Owl and the Pussy-Cat. Edward Lear . 149 
 
 The Rat and the Oyi^ter 148 
 
 The Summer Shower 153 
 
 The Water Cure . . . Mary E. Bradley . 152 
 
 Stories — From Pictures 130, 177 
 
 From Imagination 179 
 
 Prose Exer- 
 cises: 
 
 Events of a Half-Day at School 156 
 
 The Grateful Lawyer . . . J. O. Holland . 128 
 The Hunter and the Lion 130 
 
How TO Write. 
 
 P^RT I 
 
 Lesson I. 
 
 Sentences, 
 
 You have learned in How to Talk what a sen- 
 tence is. You have learned also the different kinds 
 of sentences, how to begin them and how to close them. 
 
 Write ten declarative, ten interrogative, ten imperative and 
 ten exclamatory sentences suggested by each of the following 
 pictures : 
 
 ;^'>..^::3C^ 
 
10 
 
 How to Write. 
 
 Lesson II. 
 
 Nouns. 
 
 You have learned that some words are called nouns, 
 and that there are two kinds of nouns. 
 
 Write as many nouns as you find suggested by the following 
 pictures : 
 
Plural Forms of Nouns. 
 
 11 
 
 What is your name ? 
 
 "With what kind of letter should it begin? 
 
 What is your father's name ? 
 
 What is the name of this town? of the nearest river? of 
 the nearest h\ke? of the nearest city? of this county? of this 
 country? of the ocean east of the United States? of the State 
 in which you were born? of the language you speak? of this 
 day? of this month? of each of the different holidays? Write 
 the name of each. 
 
 What kind of nouns have you been writing? 
 
 Lesson IIL 
 
 Plural Forms of J^ouns» 
 
 You have found that a noun is either singular or 
 plural, and you have learned the general law for 
 making the plural form. 
 
12 
 
 How to Write, 
 
 Special Law No. 1. 
 
 How many syllables are in the word glass ? how many in 
 the word glasses ? 
 
 How is the plural of the word glass made ? 
 Of what is the extra syllable made ? 
 
 Singular Form. 
 
 Plural Form. 
 
 Singular Form. 
 
 Plural Form. 
 
 lance 
 
 lances 
 
 fish 
 
 fishes 
 
 bench 
 
 benches 
 
 cage 
 
 cages 
 
 box 
 
 boxes 
 
 rose 
 
 roses 
 
 vase 
 
 vases 
 
 gas 
 
 gases 
 
 With what sound does each of the above singular forms end ? 
 How many syllables in each of the above plural forms? 
 Of what is the extra syllable made ? 
 Why is the extra syllable necessary to form the plural ? 
 
 special Law No, 1 : Because s -will not unite "with "words 
 ending in the sound of s, sli, ch, j, x or z, the 
 plural of a noun ending "with either of these 
 sounds is made "svith the syllable es, e being sup- 
 plied "When necessary. 
 
 Write twenty-five nouns whose plurals are made with an 
 extra syllable ending in s. 
 
 Lesson IV. 
 
 Special Law 
 
 No. 2. 
 
 Singular Form. 
 
 baby- 
 pony 
 
 Plural Form. 
 
 babies 
 ponies 
 
 With what letter does each of the above singular forms end? 
 
Special Law No. 2. 
 
 13 
 
 What kind of letter precedes the y in each case ? 
 How is the plural form made ? 
 
 Singular Form. 
 
 Plural Form. 
 
 monkey 
 
 monkeys 
 
 boy 
 
 boys 
 
 With what letter does each of the above singular forms end? 
 What kind of letter precedes the y in each case ? 
 How is the plural form made ? 
 
 Special Laiv No, 2: The plural form of a noun ending 
 in y preceded by a consonant is made by chang- 
 ing y to i and adding es. 
 
 Spelling Lesson. 
 
 Use each of the following words, and use each corresponding 
 plural, in a sentence of sufficient length to show that you thor- 
 oughly understand the word : 
 
 toy 
 
 gravy 
 
 fly 
 
 study 
 
 lady 
 
 turkey 
 
 journey 
 
 county 
 
 monkey 
 
 buggy 
 
 penny 
 
 day 
 
 cherry 
 
 chimney 
 
 donkey 
 
 candy 
 
 berry 
 
 dairy 
 
 alley 
 
 peony 
 
 jockey 
 
 party 
 
 city 
 
 puppy 
 
 lily 
 
 pulley 
 
 sky 
 
 brandy 
 
 boy 
 
 essay 
 
 mercy 
 
 belfry 
 
 daisy 
 
 body 
 
 attorney 
 
 rowdy 
 
 army 
 
 kidney 
 
 glory 
 
 poppy 
 
 key 
 
 copy 
 
 pity 
 
 ferry 
 
 duty 
 
 story 
 
 country 
 
 navy 
 
 valley 
 
 volley 
 
 sixty 
 
 shanty 
 
14 Sow to Write. 
 
 
 Lesson 
 
 V. 
 
 
 Special Law No, 3, 
 
 Singular Form. 
 
 Plural Form. 
 
 Singular Form. Plural Form. 
 
 loaf 
 
 loaves 
 
 shelf shelves 
 
 knife 
 
 knives 
 
 half halves 
 
 calf 
 
 calves 
 
 staff staves 
 
 With what letter or letters does each of the above singular 
 
 forms end? 
 
 
 
 How is the 
 
 plural form made ? 
 
 
 Singular Form. 
 
 Plural Form. 
 
 
 fife 
 
 fifes 
 
 
 chief 
 
 chiefs 
 
 
 staff 
 
 staffs 
 
 
 safe 
 
 safes 
 
 With what letter or letters does each of the above singular 
 forms end? 
 
 How is the plural made ? 
 
 Special Law No. 3: The plurals of some nouns ending 
 ■with f or fe are made by changing f to v and 
 adding s or es, as required. 
 
 The plural forms of other nouns ending with f or fe are 
 formed by the general law. 
 
 Spelling Lesson, 
 
 Use each of the following words in a sentence of sufficient 
 length to show that you thoroughly understand the word : 
 
 Singular Form. 
 
 Plural Form. 
 
 Singular Form. 
 
 Plural Form. 
 
 muff 
 
 muffs 
 
 calf 
 
 calves 
 
 safe 
 
 safes 
 
 knife 
 
 knives 
 
 roof 
 
 roofs 
 
 leaf 
 
 leaves 
 
Special Law No. 4- 
 
 15 
 
 Singular 
 
 Plural Singular 
 
 Plural 
 
 Form. 
 
 Form. Form. 
 
 Form. 
 
 fife 
 
 fifes loaf 
 
 loaves 
 
 bluff 
 
 bluffs life 
 
 lives 
 
 irrief 
 
 griefs beef 
 
 beeves 
 
 i-iiff 
 
 ruffs elf 
 
 elves 
 
 chief 
 
 chiefs half 
 
 halves 
 
 proof 
 
 proofs self 
 
 selves 
 
 wharf 
 
 (^Eng?j wharfs wharf 
 
 (^Amer.) wharves 
 
 staff 
 
 staffs staff 
 
 staves 
 
 cuff 
 
 cuffs shelf 
 
 shelves 
 
 hoof 
 
 hoofs wife 
 
 wives 
 
 scarf 
 
 scarfs wolf 
 
 wolves 
 
 dwarf 
 
 dwarfs sheaf 
 
 sheaves 
 
 serf 
 
 serfs stuff 
 
 stuffs 
 
 strife 
 
 strifes gulf 
 
 gulfs 
 
 Learn the plural form of each of the above singular forms. 
 
 .^ 
 
 Lesson VI- 
 
 Special Law No. 4. 
 
 Singular Form. Rural Form. 
 
 potato potatoes 
 
 buffalo buffaloes 
 
 motto mottoes 
 
 With what letter does each of the above singular forms ent^? 
 How is the plural form made? 
 
 Singular Form. 
 
 Plural Form. 
 
 piano punios 
 
 quarto quartos 
 
 How is the plural form of these nouns made ? 
 
16 
 
 How to Write. 
 
 Special Law No, 4: The plural forms of sorae nouns 
 ending with o are made by adding es to each 
 singular form. 
 
 Other nouns ending in o are made plural by the general law. 
 
 Spelling Lesson, 
 
 Use each of the following 
 
 words in a sentence of sufficient 
 
 length to show that you thoroughly understand the word : 
 
 Singular Form. 
 
 Plural Form. 
 
 Singular Form. 
 
 Plural Form. 
 
 buffalo 
 
 buffaloes 
 
 alto 
 
 altos 
 
 cargo 
 
 cargoes 
 
 cuckoo 
 
 cuckoos 
 
 calico 
 
 calicoes 
 
 cameo 
 
 cameos 
 
 desperado 
 
 desperadoes 
 
 canto 
 
 cantos 
 
 echo 
 
 echoes 
 
 domino 
 
 dominos 
 
 flamingo 
 
 flamingoes 
 
 duo 
 
 duos 
 
 grotto 
 
 grottoes 
 
 embryo 
 
 embryos 
 
 hero 
 
 heroes 
 
 halo 
 
 halos 
 
 mosquito 
 
 mosquitoes 
 
 memento 
 
 mementos 
 
 motto 
 
 mottoes 
 
 octavo 
 
 octavos 
 
 mulatto 
 
 mulattoes 
 
 piano 
 
 pianos 
 
 negro 
 
 negroes 
 
 portfolio 
 
 portfolios 
 
 portico 
 
 porticoes 
 
 . quarto 
 
 quartos 
 
 potato 
 
 potatoes 
 
 solo 
 
 solos 
 
 tornado 
 
 tornadoes 
 
 two 
 
 twos 
 
 tomato 
 
 tomatoes 
 
 trio 
 
 trios 
 
 torpedo 
 
 torpedoes 
 
 tyro 
 
 tyros 
 
 volcano 
 
 volcanoes 
 
 zero 
 
 zeros 
 
 Learn the plural of each of the above singular forms. 
 
Special Laws No. 5 and No. 6. 17 
 
 Lesson VII. 
 
 Special Law No, 5. 
 
 Singular Form. 
 
 Plural Form. 
 
 Singular Form. 
 
 Plural Form 
 
 man 
 
 men 
 
 woman 
 
 women 
 
 foot 
 
 feet 
 
 tooth 
 
 teetli 
 
 goose 
 
 geese 
 
 mouse 
 
 mice 
 
 What is done to the singular form of each of the above nouns 
 to make the plural form ? 
 
 Special Laiv No, S: The plural forms of some nouns 
 are made by a eliange of letters within the 
 singular form. 
 
 What is the plural form of the word louse? 
 How is it made ? 
 
 What is the plural form of the word ox? 
 How is it made ? 
 
 What is the plural form of the word child ? 
 How is it made ? 
 
 Use each of the words in the list above in a sentence of suf- 
 ficient length to show that you thoroughly understand the word. 
 
 Lesson VI I L 
 
 Special Law No. 6. 
 
 A sheep is standing alone under a tree. 
 
 1 think these sheep are having a fine play. 
 
 I have seen a full-grown deer. 
 
 Several deer are standing near the brook. 
 
 The moose is larger than the deer. 
 
 I saw three moose in Mr. Sheldon's park. 
 
18 
 
 How to Write. 
 
 Notice the form of these nouns. 
 
 What form expresses one? 
 
 What form expresses more than one ? 
 
 Special Law No, 6: Some nouns have the same form 
 to express both one and more than one. 
 
 Spelling Lesson, 
 
 Use each of the following words, and use each corresponding 
 plural, in a sentence of sufficient length to show that you thor- 
 oughly understand the word : 
 
 deer 
 
 raoose 
 
 pair 
 
 8wine 
 
 vermin 
 
 salmon 
 
 grouse 
 
 trout 
 
 herring 
 
 sheep 
 
 mackerel 
 
 cannon 
 
 Lesson IX. 
 
 Special Law Wo. 7- 
 
 The shears are on the table. 
 The shears are used for cutting. 
 The tongs are in the fender. 
 Those tongs are on the floor. 
 
 Special Law Ko. 7: Some nouns have only the plural 
 form. 
 
 Spelling Lesson, 
 
 Use each of the following words in a sentence of sufficient 
 length to show^ that you thoroughly understand the word : 
 
 scissors 
 
 billiards 
 
 tongs 
 
 victuals 
 
 tidings 
 
 pinchers 
 
 shears 
 
 bellows 
 
 vespers 
 
 riches 
 
 eaves 
 
 goods 
 
 ashes 
 
 thanks 
 
 mumps 
 
 snuffers 
 
 clothes 
 
 nippers 
 
 trowsers 
 
 measles 
 
Special Laws No. 8 and No. 9. 19 
 
 Lesson X. 
 
 Special Law No» 8. 
 
 Singular Form. Plural Form. 
 
 football footballs 
 
 Of what is the word football composed? 
 Of what is the word footballs composed ? 
 
 Definition: A word composed of two or more wor<is is 
 a compound word. 
 
 There are three cupsful of jelly on the table. 
 
 In the word cupsful which part of the word stands for that 
 which is repeated? 
 
 Which part is made plural? 
 
 She put three cupfuls of jelly in the dish. 
 
 In the word cupfuls which part stands for that which is 
 repeated ? 
 
 Which part is made plural ? 
 
 Special La IV No» 8: The part of a compound word 
 that represents what is repeated is made plural. 
 
 Lesson XI. 
 
 Special Law No, 9 
 
 How many i^s in the word on 
 the blackboard ? Count the s^s 
 in the word. How many p^s are 
 there ? 
 
 Mississippi 
 
 In the above sentences how many does the expression s^S 
 represent? the expression i^s? the expression p^s? 
 
20 
 
 Hoiv to Write. 
 
 In what form is each ? 
 
 How is the plural form of a letter made ? 
 
 How many 2\s are tliere in 
 the number 222^ 
 
 Count the 5^s in the second 
 number. 
 
 How many 9^s in the number 9791 
 
 In the above sentences how" many are meant by the express- 
 ion 2's? 6's? 9's? 
 
 How is the plural form of a figure made ? 
 
 9-2-2^5. 
 
 How many -\-^s are in the first 
 line? 
 
 How many — ^** are in the sec- 
 ond Hne ? 
 
 How is the plural form of a sign made? 
 
 Special Laiv Xo» U: The plural form of a letter, figure 
 or sign is made by adding an apostrophe and s 
 to the ordinary singular form. 
 
 Lesson XII. 
 
 Collective JVotins. 
 
 The shepherd is tending his flock on the hillside. 
 The farmer has a fine-looking herd in his pasture. 
 A furious storm disabled the fleet that lay in the 
 harbor. 
 
 How many are meant by the word flock ? 
 
Collective Nouns. 
 
 21 
 
 In what form is the noun ? 
 
 How many are meant by the word herd ? 
 
 In what form is the noun ? 
 
 How many are meant by the word fleet ? 
 
 In what form is the noun ? 
 
 jyejinition : A noun which in the singular form denotes 
 more than one is a collective iioiiii. 
 
 
 List of Collective Nouns. 
 
 
 Singular Form. 
 
 Plural Form. 
 
 Singular Form. 
 
 Plural Form. 
 
 assembly 
 
 assemblies 
 
 family 
 
 families 
 
 army 
 
 armies 
 
 flock 
 
 flocks 
 
 audience 
 
 audiences 
 
 fleet 
 
 fleets 
 
 bevy 
 
 bevies 
 
 herd 
 
 herds 
 
 brood 
 
 broods 
 
 navy 
 
 navies 
 
 camp 
 
 camps 
 
 regiment 
 
 regiments 
 
 company 
 
 companies 
 
 school 
 
 schools 
 
 crowd 
 
 crowds 
 
 set 
 
 sets 
 
 drove 
 
 droves 
 
 troop 
 
 troops 
 
 This family are spending the time in various occu- 
 pations. 
 
 Notice that the word family is a collective noun, and is in 
 the singular form ; notice also that the different members of 
 the family are meant when it is said, " This family are spend- 
 ing the time in various occupations.'' 
 
 One may say, " The family is large," because by the word 
 family a collection is meant ; but one should say, " The fam- 
 ily are of different dispositions," because the different members 
 of the family are in mind. 
 
 Law: Use a plural verb -with a collective noun in the 
 singular form if -what is said of the noun applies 
 to the parts that make the collection. 
 
22 
 
 How to Write. 
 
 Make sentences illustrating the use of eacli noun in the pre- 
 ceding list in the singular form, with both the singular and 
 the plural signification. 
 
 Make sentences sug- 
 gested by this picture, 
 illustrating the use of a 
 collective noun in the 
 singular form, with both 
 the singular and the 
 plural signification. 
 
 Make sentences suggested by this picture, illustrating the 
 use of a collective noun in the singular form, with both the 
 singular and the plural signification. 
 
Collective Nouns, 23 
 
 Exercises. 
 
 The congregation was quiet and attentive. 
 
 The congregation had been dismissed, and were 
 going to their homes when they were overtaken by 
 a rainstorm. 
 
 Captain Smith's company was ordered to the rear. 
 The nobility were haughty and exacting. 
 The crowd was large and closely packed. 
 The committee were unable to agree. 
 A committee was appointed, and its report will soon 
 be made. 
 
 Decide whether the verbs in the above sentences are cor- 
 rectly used, and in each case give the reason for your opinion. 
 
 Insert the correct verb in each of the following : 
 
 1. The audience attentive and appreciative. 
 
 2. The crowd assembled on the corner, but 
 
 .1UL- dispersed by the policemen, 
 
 S. The regiment retreating in various di- 
 rections. 
 
 Jf. The company playing, singing and dan- 
 cing. 
 
 5. The assembly of several classes, 
 
 6. The fleet overtaken by the storm, 
 
 7. The whole camp .^^^.i^i^^^awahened by the noise. 
 
 8. The class on the flx)or A X, sent to seats, 
 
 and told to study lessons. 
 
 9. The class of which I speak . not very 
 
 large. It but twelve members. 
 
24 
 
 How to Write. 
 
 Lesson XIII. 
 
 Foreign Nouns. 
 
 Many nouns taken from foreign languages are not 
 made plural by the laws of the English language, but 
 retain their original plural forms. 
 
 Make a study of the following words, and use each in a sen- 
 tence of sufficient length to show that you thoroughly under- 
 stand it : 
 
 Singular Form. 
 
 Plural Form. 
 
 Singular Form. 
 
 Plural Form. 
 
 analysis 
 
 analyses 
 
 focus 
 
 foci 
 
 antithesis 
 
 antitheses 
 
 genius 
 
 genii 
 
 crisis 
 
 crises 
 
 genus 
 
 genera 
 
 ellipsis 
 
 ellipses 
 
 radius 
 
 radii 
 
 hypothesis 
 
 hypotheses 
 
 terminus 
 
 termini 
 
 parenthesis / 
 
 parentheses 
 
 
 ( vortices 
 
 datum 
 
 data 
 
 vortex 
 
 or 
 
 medium 
 
 media 
 
 
 vortexes 
 
 memorandum 
 
 memoranda 
 
 
 ( beaux 
 { or 
 ( beaus 
 
 automaton 
 
 automata 
 
 beau 
 
 phenomenon 
 
 phenomena 
 
 
 formula 
 
 formulae 
 
 
 ( indices 
 
 larva 
 
 larvse 
 
 index 
 
 - or 
 
 vertebra 
 
 vertebrae 
 
 
 indexes 
 
 
 Lesson XIV- 
 
 
 
 Possessive ForniH. 
 
 
 The boy's hat is torn. 
 Who owns the hat ? 
 
Possessive Forms. 25 
 
 I can see three boys' kites liigh in the air. 
 Who own the kites? 
 
 The bird's nest is made of twigs. 
 Who owns the nest ? 
 
 The birds' nests hang from the limb. 
 Who own the nests ? 
 
 The form of a noun that denotes ownership or possession is 
 the possessive form. 
 
 The word boy's is in the possessive singular form. 
 The word birds' is in the possessive plural form. 
 
 The lady's bonnet has a long feather on it. 
 
 The child's hat is trimmed witli a wreath of flowers. 
 
 James's hat has a broad band. 
 
 The ladies' cloaks can be seen in the store-window. 
 
 The children's picnic was in a large grove. 
 
 In what form is the word boy's? bird's? lady's? child's? 
 James's ? 
 
 What is added to the ordinary singular form to make the 
 possessive singular? 
 
 Law: The possessive singular form is made by adding 
 an apostrophe and 8 to the ordinary singular 
 form. 
 
 In what form is the word boys*? birds'? ladies'? chil- 
 dren's ? 
 
 What is added to each of the ordinary plural forms to make 
 the possessive plural ? 
 
 Laws: A plural form that ends "with a is made pos- 
 sessive by adding an apostrophe. 
 
 A plural form ending "with any other letter than 
 s is made possessive by adding an apostrophe 
 
 and s; 
 
26 How to Write. 
 
 Write the possessive singular, the plural and the possessive 
 plural form of each of the following nouns : 
 
 Chair, book, fox, boy, lady, valley, box, 
 fife, knife, latch, penny, donkey, folio, sis- 
 ter-in-law, man, church, pulley, man-servant, 
 blackboard, foot, sheep, baby, deer, face, 
 trout, chimney, bookcase, dictionary, goose, 
 ox, mouse. 
 
 Mackerel, viands, series, snuffers, mother-in- 
 law, scissors, coflFee, cinders, wolf, ashes, 
 cherry, greens, food, measles, bellows. 
 
 Make sentences, using each of the above words. 
 
 Lesson XV. 
 
 Contracted Forms. 
 
 Charles didn't go to school this morning. 
 He'll not go home until twelve o'clock, and he 
 hopes his mother will think he just came from school. 
 
 In the preceding sentence, of what is the word didn*t made ? 
 
 What letter is omitted ? 
 
 What is there to show the omission of the letter ? 
 
 Of what is the word he'll made ? 
 
 What letters are omitted? 
 
 What is there to show the omission of the letters? 
 
 Of what is the word he's made ? 
 
 Explain the formation of the following words: 
 O'clock, can't, o'er, won't, ma'am, ne'er. 
 
A bbreviations. 2 7 
 
 Definition ; A word made shorter, or two or more 
 w^ords united and shortened by the omission of 
 one or more letters, is Sk coiitracled form. 
 
 Law: Use an apostrophe in a contracted form to 
 show the omission of the letter or letters. 
 
 Explain the formation of each of the following contracted 
 forms : 
 
 Doesn't, haven't, they'll, who's, isn't, couldn't, 
 aren't, weren't, I'm, shan't, won't, sup't. 
 
 Lesson XVI. 
 
 Abbreviations. 
 
 My father's name is John Paul Jones. He writes 
 it J. P. Jones. 
 
 My cousin's name is Walter Henry Stratton. He 
 writes it W. H. Stratton. 
 
 My father lives in Boston, Massachusetts. He 
 writes these words Boston, Mass. 
 
 My cousin lives in Chicago, Illinois. He writes 
 these words Chicago, 111. 
 
 In the foregoing, for what does J. stand? P.? W.? H.? 
 Mass.? 111.? These are abbreviations. Notice that each 
 closes with a period. 
 
 Definition: A letter or letters and a period used for a 
 -word form an abUreTiatioii. 
 
28 
 
 How to Write. 
 
 
 Learn to spell the word which each of the following abbre- 
 
 viations 
 
 represents; then write the abbreviations : 
 
 JSl 
 
 imes of Days, 
 
 N. C. 
 
 North Carolina. 
 
 Sun. 
 
 Sunday. 
 
 N.H. 
 
 New Hampshire. 
 
 Mon. 
 Tups. 
 
 Monday. 
 Tuesday. 
 
 N.Y. 
 0. 
 
 New York. 
 Ohio. 
 
 Wed. 
 
 Wednesday. 
 
 
 
 Thurs. 
 
 Thursday. 
 
 Names of Pei'sons, 
 
 Fri. 
 
 Friday. 
 
 Thos. 
 
 Thomas. 
 
 Sat. 
 
 Saturday. 
 
 Wm. 
 
 William. 
 
 
 
 Geo. 
 
 George. 
 
 Names of Months, 
 
 
 
 Jan. 
 
 January. 
 
 Titles 
 
 • or Occupations, 
 
 Feb. 
 
 February. 
 
 A.B. 
 
 Bachelor of Arts. 
 
 Mar. 
 
 March. 
 
 Agt. . 
 
 Agent. 
 
 Apr. 
 
 April. 
 
 Capt. 
 
 Captain. 
 
 Aug. 
 
 August. 
 
 Col. 
 
 Colonel. 
 
 Sept. 
 
 September. 
 
 Dr. 
 
 Doctor. 
 
 Oct. 
 
 October. 
 
 Esq. 
 
 Esquire. 
 
 Nov. 
 
 . November. 
 
 Gen. 
 
 General. 
 
 Dec. 
 
 December. 
 
 Hon. 
 
 Honorable. 
 
 
 
 Lieut. 
 
 Lieutenant. 
 
 Natnes of States, 
 
 M. D. 
 
 Doctor of Medicine. 
 
 Ala. 
 
 Alabama. 
 
 Messrs. 
 
 Gentlemen. 
 
 Gal. 
 
 California. 
 
 Mr. 
 
 Mister. 
 
 Conn. 
 
 Connecticut. 
 
 Mrs. 
 
 Mistress. 
 
 Fla. 
 
 Florida. 
 
 P.M. 
 
 Postmaster. 
 
 111. 
 
 Illinois. 
 
 Prof. 
 
 Professor. 
 
 Ind. Ter. 
 
 Indian Territory. 
 
 Pnn. 
 
 Principal. 
 
 la. 
 
 Iowa. 
 
 Kep. 
 
 Eepresentative. 
 
 Ky. 
 
 Kentucky. 
 
 Eev. 
 
 Reverend. 
 
 La. 
 
 Louisiana. 
 
 Sec. 
 
 Secretary. 
 
 Mass. 
 
 Massachusetts. 
 
 Supt. 
 
 Superintendent. 
 
 Mich. 
 
 Michigan. 
 
 Treas. 
 
 Treasurer. 
 
 Miss. 
 
 Mississippi. 
 
 Wp. 
 
 Worship. 
 
^4 hhrevlallons. 
 
 29 
 
 Acct. 
 A.D. 
 
 A.M. 
 Am. 
 
 AL i scellaii eo us. 
 
 Account. 
 
 Anno Domini (in the 
 year of our Lord). 
 Ante-Meridian. 
 American. 
 
 A. orAns. Answer. 
 
 B. A. British America, 
 bbl. barrel oi' barrels. 
 
 B. C. Before Christ. 
 Bro. Brother. 
 
 Co. County or Company. 
 
 C. 0. D. Collect on Delivery. 
 Com. Committee. 
 
 D. C. District of Columbia, 
 do. ditto. ~ 
 
 doz. dozen. 
 
 Dr. Debtor. 
 
 ' e. g. for example, 
 
 etc. et cetera (and so forth). 
 
 E. east. 
 
 ft. foot or feet, 
 
 h'dk'fs. handkerchiefs. 
 
 I. e. id est (that is). 
 
 Ins. Insurance, 
 
 inst. instant. 
 
 int. interest. 
 
 Jr. Junior. 
 
 Leg. Legislature. 
 
 M. 
 
 mo. 
 Mt. 
 N.B. 
 
 No. 
 num. 
 N. 
 P.S. 
 
 P.M. 
 
 P.O. 
 
 pp. 
 RR. 
 
 S. 
 
 U.S.A. 
 
 U. S. N, 
 
 VIZ. 
 
 W. 
 
 1st 
 2d 
 3d 
 4th 
 
 22d 
 
 113th 
 1001st 
 
 I Meridian (noonday), 
 1 One Thousand. 
 
 month. 
 
 Mountain. 
 
 JSfota berie {note well). 
 
 Number {proper noun). 
 number {common noun)^ 
 
 north. 
 
 Postscript. 
 ( Post-Meridian (in the 
 1 afternoon). 
 
 Post-office. 
 
 pages. 
 
 Railroad. 
 
 south. 
 ( United States of 
 I America. 
 
 United States Army. 
 
 United States Navy. 
 
 namely. 
 
 west. 
 
 first. 
 
 second. 
 
 tlnrd. 
 
 fourth. 
 
 twenty-second. 
 f one hundred thir- 
 1 teenth. 
 
 one thousand first. 
 
 Law: An abbreviation should begin with a OJipftnl 
 letter if the word for which it stands, used in 
 the same place, would begin with a capital letter. 
 
 The word Miss is not an abbreviation, 
 period after it. 
 
 Do not place a 
 
30 How to Write. 
 
 Lesson XVII. 
 
 Quotations, 
 
 "0, my pretty butterfly !" said Johnny, as he ran 
 rapidly across the yard, "you will soon be caught." 
 
 Johnny did not see the log that lay just ahead of 
 him. 
 
 " Did you catch him, Johnny ?" asked his little 
 companion, tauntingly. 
 
 Johnny answered, rather tartly, "No." 
 
 "Butterflies are pretty things," said Frank. 
 
 " Yes, but they are hard to catch," replied Johnny 
 quietly. 
 
 Select from the above what was said by the boys. 
 
 What is there to show that these words are not those of the 
 writer ? 
 
 Definition: "Words or sentences taken from another 
 and used in -writing or speaking are quotations. 
 
 Laws: Borrowed words or sentences should be enclosed 
 by quotation-marks, to show that they are not 
 original -with the author. 
 
 A quoted sentence or a reply, or exclamation 
 that takes the place of a sentence, should begin 
 with a capital letter. 
 
 " Come right along, Jennie ; the board is safe," 
 called Mary to lier sister. 
 
 "T am afraid to cross," said Jennie, as she stepped 
 timidly on the narrow board. 
 
Poetry. 31 
 
 Before she had gone many steps the board tipped, 
 and she cried, in a frightened voice, "0 dear, I am 
 falhng 1" 
 
 The board did not prove a " safe " one to Jennie. 
 
 "Can you reach my hand?" said a ragged little 
 boy who came ruiming up to them. He soon drew 
 her out upon the dry ground. 
 
 Laivs: A sentence, or a reply or exclamation that takes 
 the place of a sentence, occurring after "words not 
 quoted, is united to them by a coiiinia. 
 
 A sentence, or a reply or exclamation that takes 
 the place of a sentence, occurring before words 
 not quoted, is united to them by a eoinma, ex- 
 cept when the quotation ends with an exclama- 
 tion- or an interrogation-point. 
 
 Lesson XVIII. 
 
 Poetry, 
 
 THE CHILDREN'S HOUR. 
 
 Between the dark and the daylight, 
 When the night is beginning to lower, 
 
 Comes a pause in the day's occupations 
 That is known as the children's hour. 
 
 I hear in the chamber above me 
 
 The patter of little feet, 
 The sound of a door that is opened, 
 
 And voices soft and sweet. 
 
32 How ^ Write, 
 
 From my study I see in the lamplight. 
 
 Descending the broad hall-stair, 
 Grave Alice and laughing Allegra, 
 
 And Edith with golden hair. 
 
 A whisper, and then a silence ; 
 
 Yet I know by tlieir merry eyes 
 They are plotting and planning together 
 
 To take me by surprise, 
 
 A sudden rush from the stairway, 
 A sudden raid from the hall, 
 
 By three doors left unguarded 
 They enter my castle wall. 
 
 They climb up into my turret 
 
 O'er the arms and back of my chair : 
 If I try to escape they surround me : 
 
 They seem to be everywhere. 
 
 They almost devour me with kisses, 
 Their arms about me entwine, 
 
 Till I think of the bishop of Bingen 
 In his Mouse-Tower on the Rhine. 
 
 Do you think, blue-eyed banditti, 
 Because you have scaled the wpU 
 
 Such an old moustache as I am 
 Is not a match for you all ? 
 
 I have you fast in my fortress, 
 And will not let you depart, 
 
Names of the Deity. 33 
 
 But put you into the dungeon 
 In the round-tower of my heart. 
 
 And there will I keep you for ever — 
 
 Yes, for ever and a day, 
 Till the walls shall crumble to ruin. 
 
 And moulder in dust away. 
 
 — H. W. Longfellow. 
 In what form is this composition ? 
 
 Definitions: A peculiar form of composition used for 
 fanciful or beautiful expression of thought is 
 poetry. 
 
 Other composition is prose. 
 
 Bliyiiie is the recurrence of like sounds at cer- 
 tain intervals. 
 
 Poetry in which there is a recurrence of like 
 sounds at the close of certain lines rhymes. 
 
 Poetry that does not rhyme is blank verse. 
 
 A number of lines making a set, or expressing a 
 thought, is a stanza. 
 
 With what kind of letter does the first word of each line of 
 poetry begin ? 
 
 Law: The first word Of each line of poetry begins 
 with a capital letter. 
 
 Lesson XIX. 
 
 Names of the Deity. 
 
 ** xA.no ther day its course has run, 
 
 And still', God, Thy child is blest; 
 For Thou hast been by day my San, 
 And Thou wilt be by night my Rest. 
 
34 How to Write, 
 
 ** Sweet sleep descends mine eyes to close ; 
 And now, while all the world is still, 
 I give my body to repose, 
 
 My spirit to ray Fatlier's will." 
 
 In the preceding poem, what words are the names of Deity ? 
 What words stand for names of Deity ? 
 With what kind of letter does each begin ? 
 
 Law: Any name of Deity, and any word standing for 
 the name of Deity, should begin with a capital 
 letter. 
 
 Look at the headings of all the lessons you have 
 learned. 
 
 With what kind of letters do they all begin ? 
 
 Law: Titles and all important words of the subject of 
 a lesson should begin with capital letters. 
 
 Lesson XX. 
 
 The Comma. 
 
 I see a slate ^bA a knife^j^tsd a top^and a hoop. 
 
 Notice that in this succession of particulars the particulars 
 have like relations to the word see. 
 
 The word and is used to show this like relation ; but the 
 word and, repeated so frequently, has an unpleasant sound. 
 
 In speaking the sentence it is customary to omit the word 
 and, and to make a slight pause after each particular, except 
 the one before the last. 
 
 As written language should represent spoken language aa 
 nearly as possible, the word and is omitted and a comma 
 
The Comma, 35 
 
 is inserted, that the reader may more readily understand what 
 is written. 
 
 I see a slate, a knife, a hoop and a top. 
 
 The knife is used for cutting, paring and whittHng. 
 
 Law: In -writing a succession of particulars having 
 like relations, the "word and, except between the 
 last t"wo particulars, is omitted, and a comma 
 is used in its place. 
 
 I have a small and hard and good ball. 
 
 This is a succession of particulars describing the ball. 
 The word and should be omitted, and a comma inserted in 
 its place. 
 
 I have a small, hard, good ball. 
 
 The tiger is a large, wild, fierce animal. 
 
 Exceptions to the Latv : "When several particulars hav- 
 ing the same relation are used to describe, and 
 are joined directly to the word described, the 
 word and is omitted in every case, and a com- 
 ma is put in its place. 
 
 Give the reason for the use of the comma in the following : 
 
 He has horses, cattle and sheep in one lot. 
 
 Men, women and children stare, cry out and run. 
 
 Oliver Goldsmith's style of writing is noted for its 
 simplicity, sweetness and strength. 
 
 Some of his best works are The Deserted Village, 
 The Traveler and The Vicar of Wakefield. 
 
 Prescott has won a wide circle of friends by the seren- 
 ity, cheerfulness and purity of his personal character. 
 
36 
 
 How to Write. 
 
 Insert commas below, where they are needed, and give your 
 reasons : 
 
 A great many landscapes^ sketches^portraits^draw- 
 ings water colors^pencilings^and works in crayon were 
 exhibited. 
 
 . The Memorial Building at Philadelphia is of iron^ 
 granite and glass. 
 
 There is something to add *to alter or to regret. . 
 
 Empires rise^ flourish and decay. 
 
 Drill, 
 
The Comma. 
 
 37 
 
 Write six sentences suggested by each of the foregoing pic- 
 tures, each of which shall contain a succession of particulars, 
 three under the law and three under the exception. 
 
 Lesson XXI. 
 
 The Comma {Continued). 
 
 The night an* Kalmy and sweety j^.ttip up from the 
 valley. 
 
 "Poor Arnold, dying of hunger, panting with thirst, 
 hugs the rough rock frantically." 
 
 In the first sentence, to what are the adjectives balmy and 
 sweet related ? 
 
 What is used to show the relation between these adjectives 
 and the word they qualify ? 
 
 In the second sentence, to what are the adjectives dying" 
 and panting- related? 
 
 What is used to show the relation between these adjectives 
 and the word they qualify? 
 
 Notice that these adjectives are placed after the word they 
 qualify. 
 
38 How to Write. 
 
 Law: 'When an adjective is placed after the word, 
 which it qualifies, a eomiiia is used to show the 
 relation existing between the two. 
 
 Give the reason for the use of the comma in the following: 
 
 He wrote to the king of Spain, supplicating him 
 for aid. 
 
 They whiled away the time, gathering flowers and 
 singing songs. 
 
 11$ was_taken to the place of execution, bound on 
 a cart, accompanied by a priest and escorted by nu- 
 merous soldiers. 
 
 Then the thoughts of men, nobler, braver and purer 
 than he, rose in his mind. 
 
 ''Like ai'^^radle, rocking, rocking, 
 
 Silent, peaceful! to and fro — 
 Like a mother's sweet looks dropping 
 
 On the little face below — 
 ^augs-the green e^ili, swinging, turning, 
 
 Jarless, noiseless, safe and slow. 
 Falls the light of God's face, bending 
 
 Down and watching us below." 
 
 Insert commas below, where +hey are needed, and give your 
 reasons : 
 
 The room. opening from the parlor .was next exam- 
 ined. 
 
 "Think of him. reckless , i thriftless^ vain .pif you 
 will — but, merciful^ gentle^ generous v[u 11 of love and 
 pity." 
 
The Comma. 39 
 
 His friend , sitting down by his bedside; remained 
 with him half an hour. 
 
 'Plump little baby-clouds; 
 
 Dimpled and soft. 
 Rock in their air-cradle 
 Swinging aloft," 
 
 Lesson XXII. 
 
 The Comma (VorUmued). 
 John has a ball and James, a bat. 
 
 The second part of the preceding sentence means, James has 
 a bat. 
 
 The word has shows the relation of the word James to 
 the word bat. 
 
 In speaking the sentence the word has may be omitted and 
 a slight pause made after the word James. 
 
 In the written sentence the omission is indicated by the 
 comma. 
 
 The great fire in Chicago, Illinois, occurred October 
 8, 1871. 
 Chicago, Illinois, means Chicago in Illinois. 
 October 8, 1871, means October 8 of 1871. 
 
 Laiv: A relation word is frequently omitted if the 
 relation is easily understood. 
 
 In writing, such omission is indicated by the comma. 
 
40 How to Write. 
 
 Give the reason for the use of the comma, and tell what 
 words are omitted, in the following : 
 
 "Little moments m.ake an hour; 
 
 Little thoughts, a book ; 
 Little seeds, a tree or flower ; 
 
 Water-drops, a brook ; 
 Little deeds of faith and love 
 Make a home for you above." 
 
 The one is a German and the other, a Frenchman. 
 The gardener planted the beans here, the peas there. 
 The little girl played the piano, and the boy, the 
 violin. 
 
 It occurred January 9, 1875. 
 
 Cotton, sugar-cane and rice are raised in the South- 
 ern States and the grains, in the Northern States. 
 
 Punctuate the following sentences, and give your reason in 
 each instance : 
 
 He shipped the rice to New York the cotton to 
 Lowell. 
 
 The telegram w^as sent from CincinnatijOhio April 
 14 1881. 
 
 He stole the marbles and his brother, the dominos. 
 
 When^ right go ahead. 
 
 I sent the letter to John Ray. 347 Sixth Street. 
 Nashville* Tennessee. 
 
 The preceding law is observed in writing letters. 
 
 When one writes a letter it is desirable to state where he is 
 
The Comma. 41 
 
 and when he writes ; so he gives the name of his town and 
 the name of his State : 
 
 {Place.) '0a>i^€^<^€7!^^e^ O^i^^^^-^^ 
 
 {Place.) 2,^0 -M-U^i/^i^Hriy, CA. ^^., 
 
 {Time.) J?^^^ 6, /cfcf^. 
 
 ^"^>«;A^^-^^ 
 
 
 Lesson XXIII. 
 
 The Comma {Continued). 
 
 John, do you see that large eagle on the cliff? 
 Where.are you going, Mary, in so great haste? 
 
 In the preceding sentences, John and Mary represent the 
 persons addressed. 
 
 Laiv: The "word or words representing a person or 
 thing addressed are joined to the rest of the sen- 
 tence by ii oomma or commsis. 
 
42 How to Write. 
 
 Urill. 
 
 Charles, go to the bookcase- and bring me Macau- 
 lay's Hidory of England, 
 William, close the door and take your seat. 
 
 Lesson XXIV. 
 
 The Coiuma (Gofitinued). 
 
 The elephant( the largest of land-animals^ has a 
 kind disposition. 
 
 Notice that the expression, " the largest of land-animals," 
 explains the word elephant. 
 
 rron( the most useful metal,; is found in the United 
 States. 
 
 What is the office of the expression, " the most useful metal " ? 
 
 Ney(one of Napoleon's marshalsjwas the son of a 
 poor tradesman. 
 
 What words are explanatory? 
 
 What connects the part of the sentence used for explanation 
 with the part explained? 
 
 Lata: A part of a sentence introduced for explanation 
 is connected "with the rest of the sentence by 
 a com ma or commias. 
 
 Give the reason for the use of the comma in the following : 
 
 H. W. Longfellow,( an American poet/ was born in 
 1807. _ 
 
 The duck] a web-footed bird /belongs to the Order, 
 Lamellirostres. 
 
The Comma. 
 
 t 
 
 Peking a city in China/ is larger than New Yorl^. 
 
 Jamestown( the first permanent English settlement 
 
 in America/ is situated on the James River in Virginia. 
 
 Prof. Morse( the inventor of the telegraph) died in 
 
 1872. . 
 
 In the following sentences, insert commas where they are 
 needed, and give your reasons : 
 
 March(the third month of the yeariis often very cold. 
 Charles I. fan English kingJwas beheaded in 1649. 
 The tadpole (or polliwogpecomes a frog. 
 The petals of the daisyjday's eyejclose at night. 
 New YorWnamed from the duke of York) was set- 
 tled by the Dutch in 1623. 
 
 The same law applies to the complimentary closing of a letter 
 before the signature ; as, 
 
 •-^ -kc/^^^j^^ 
 
 ^^^^-^ <^^e-e^fe^^f de^^^n-^-i/^ 
 
 e-^^'Tf. 
 
 
44 How to Write. 
 
 When the complimentary address of a letter consists of two 
 or more parts, the parts are united by a comma, according to 
 this law ; as. 
 
 
 1^ ^ -^f€^y?.ee<f^^, 
 
 ^^J2€^^/ 
 
 Lesson XXV. 
 
 The Comma {Continued). 
 
 In these strange migrations, one bird acts as leader. 
 
 The natural \vay to state this is : One bird acts as leader in 
 these strange migrations. 
 
 Do you see the difference in form between the two statements? 
 
 After lie Had slept about half an hv^ar, he awoke 
 again. 
 
 What words in the above sentence are not in their natural 
 order ? 
 
 How are they united with the rest of Lne sentence ? 
 
 Words not written in their natural order are said to be trans- 
 posed. 
 
The Comma. 
 
 45 
 
 Law: A transposed part of a sentence is united ■with 
 the rest of the sentence by a comma. 
 
 Give the reason for the use of the comma in the following 
 
 sentences : 
 
 Offended and proud, he left the command. 
 
 "After struggUng bravely for self-defence, France 
 at length found her savior in the young Corsican." 
 
 Of the scenery along the Hudson, many speak with 
 enthusiasm. 
 
 For emphasis, many words are printed in italics. 
 
 Drill. 
 
 > The children went home. when school was dismissed. 
 They have a halfvholiday^ on Wednesday. 
 
 U 
 
 The owl seeks its 
 
 Pi'ey/ 
 
 after dark. 
 
 : It cannot see wellyin the bright sunshine. 
 ^ It sits among the branches or in the hollow of a 
 tree, during the long summer days. 
 
 Transpose and punctuate the preceding sentences. 
 
 "Write five sentences 
 suggested by this pic- 
 ture, with one or more 
 elements out of their 
 natural order. Punctu- 
 ate each properly. 
 
46 
 
 How to Write. 
 
 Write five sen- 
 tences suggested 
 by this picture, 
 with one or more 
 elements out of 
 their natural or- 
 der. Punctuate 
 each properly. 
 
 Punctuate the following sentences : 
 
 >One day John found a box of beads belonging to 
 his sister. 
 
 ; ■ Par in the distance ^the light of the burning village 
 was seen. 
 
 In the dead of the night the three men made their 
 escape. ' 
 
 When a tree is sawed across the trunk^layere like 
 rings appear. 
 
 Tf In India along the Ganges River ^the white p'^ppy 
 
 IS raised. 
 ^^ After long heavy rains., some rivers become so high 
 
 that they overflow their banks. 
 
 X 
 
 Lesson XXVI. 
 
 The Comma {Continued). 
 
 Ivbut not he, am to go. 
 
 Maryibut not her brothers, was in the wrong. 
 
 The first sentence means, " I am to go, but he is not to go." 
 
The Comma. ^& 
 
 The second sentence means, " Mary was in the wrong, but her 
 brothers were not in the wrong." 
 
 What is the subject of the verb am in the first sentence? 
 What is between the verb and its subject? 
 What unites the verb with its subject? 
 
 What is the subject of the verb "was in the second sentence? 
 What is between the verb and its subject? 
 What unites the verb with its subject? 
 
 Law: A verb and its subject separated by a sentence, 
 or by "words representing a sentence, are united 
 by a comma placed before the verb. 
 
 If the relation word but is omitted, a comma is used to show 
 the relation. 
 
 Kemember it is I, not he, whom you accused. 
 
 This sentence means, " Remember it is I whom you accused; 
 remember it is not he whom you accused." 
 
 What is the antecedent of the pronoun whom ? 
 What is between the pronoun and its antecedent ? 
 What unites the pronoun with its antecedent ? 
 
 Law: A pronoun and its antecedent separated by a 
 sentence, or by -words representing a sentence, 
 are united by commas placed before and after 
 the separating -words. 
 
 Give the reason for the use of the comma in the following 
 sentences : 
 
 He soon discovered that Mary but not her play- 
 mates, was in the garden. 
 
 She told Henry but not his sisters, to go. 
 
48 How to Write. 
 
 The boys, but not their father, were to sail in the 
 small boat. 
 
 He soon saw that it was, I, not my friend, whom 
 he had injured. 
 
 It was the house, not the barn, that was burned. 
 
 Lesson XXVII. 
 
 The Semicolon. 
 
 The elephant has a large, broad head and a long, 
 flexible trunk and two long, heavy tusks and a large 
 awkward body. 
 
 This is a succession of particulars, each, of which is elaborated 
 or described, and you will notice that the elaboration of each 
 particular requires the use of the comma ; as, " large, broad 
 head." 
 
 The mutual relation of these elaborated particulars is shown 
 by the word and ; but it is better to omit the word and and 
 supply a semicolon, except between the last two particulars, 
 where the comma and the word and are used. 
 
 The elephant has a large, broad head; a long, flex- 
 ible trunk ; two long, heavy tusks, and a short, thin 
 tail. 
 
 The hat has a low, round crown ; a narrow rolling 
 brim, and a broad satin band. x 
 
 The lioness, when hungry, will watch noiselessly 
 for her prey ; spring upon it when least expected ; 
 seize it with her massive jaws ; carry it to her den, 
 
The Semicolon. 49 
 
 and, 111 company with her mate and whelps, feed upon 
 it at will. 
 
 Yon will notice that the above is a series of particulars that 
 have like relations to the word lioness, and that this mutual 
 relation is shown by the semicolon. 
 
 Law: In a succession of particulars, one or more of 
 which are described or explained at some length, 
 the connection is sho^wn by tlie semicolon, ex- 
 cept between the last two particulars, w^here llie 
 eomma and the word and are used. 
 
 Give the reasons for the use of the semicolon in the following: 
 
 A bit of dry, brown bread; a half cup of milk, and 
 a small, partly-decayed apple formed his meal. 
 
 There were no mean, stinging accusations in these 
 letters ; no angry, defiant threats, and no unreason- 
 able demands. 
 
 He heard a low, deep gjxiid ; then a soft, catlike 
 trea d, and could even feel the hot breath .of the 
 animal upon his cheek. 
 
 ''American nationality has made the desert to bud 
 and blossom as the rose ; quickened to life the giant 
 brood of useful arts ; whitened lake and ocean with 
 the sails of a daring, new and lawful trade, and ex- 
 tended to exiles, flying as clouds, the asylum of our 
 better liberty." 
 
 "A man cannot speak to his son but as a fathe r ; 
 to his wife but as a husband ; to his enemy but upon 
 terms ; whereas a friend may speak as the case re- 
 quires." 
 
60 How to Write. 
 
 ** One^step and then another, 
 
 And the longest walk is ended ; 
 One stitch and then another, 
 
 And the largest jent is mended; 
 One brick upon another, 
 
 And the highest wall is made ; 
 One flake upon another, 
 
 And the deepest snow is laid." 
 
 God hath a presence, and that you may see 
 In the fold of the Hower, the leaf of the tree ; 
 
 In the sun of the noonday, the star of the night; 
 In the storm-cloud of darkness, the rainbow of liglit 
 
 In the waves of the ocean, the furrows of land; 
 In the mountain of granite, the atom of sand. 
 
 Turn where ye may, from the sky to the sod, 
 Where can ye gaze that ye see not a God ? 
 
 — Eliza Cook. 
 
 Punctuate the following sentences : 
 
 The squirrel has a round head» slender body cov- 
 ered with fur ' long ^bushy taihfour toes on each fore 
 foot*, and five toes on each hind foot. 
 
 Under Washington a republican government- was 
 established', the credit of the country. restored, and the 
 money of the treasury doubled. 
 
The Semicolon. 
 
 51 
 
 Write four sentencewS, each of which shall contain a succession 
 of elaborated particulars, suggested by the following pictures : 
 
 ^ ^ 
 
 ^ Lesson XXVllI. 
 
 The Semicolon (^Continued). 
 Mr. Ames sells many kinds of fruit ; as, apples, 
 pears; peaches, plums, grapes and melons. 
 
 Notice that the words apples, pears, etc., particularize 
 
52 How to Write, 
 
 the kinds of fruit, and that the word as introduces the par- 
 ticulars. 
 
 A few nouns are used only in the singular ; as, as- 
 paragus, licorice, bravery, learning. 
 
 The plurals of some nouns are made by adding a 
 syllable not ending in s; for example, child, children, 
 ox, oxen. 
 
 Canals are used not only as water highways but 
 for irrigation ; that is, for watering the fields so 
 that plants shall grow better. 
 
 In the above sentences, what words introduce the illustrations? 
 What mark is placed before the words wdiich introduce the 
 illustrations ? 
 
 Law: Place a semicolon before as, Tiz., to wit, 
 namely, e.g., for example, Le, and tliat. is, 
 
 when they introduce examples or explanations. 
 
 Use the proper marks of punctuation in each of ih.Q follow- 
 ing sentences, and give your reasons : 
 
 We know three of the robbers*namely , Jones Pear- 
 sons and Rice. 
 
 A singular verb should be used with a singular 
 subject- e. ^/* One of the boys is lame. 
 
 Some words are delightful to the ear\ as Ontario 
 golden oriole aurora. 
 
 There are three railroad routes from the Missis- 
 sippi Valley to the Pacific Coast' viz ^ Northern Pa- 
 cific Central Pacific and Southern Pacific. 
 
 The earth's surface is composed of two parts 
 namely ^land and water. 
 
The Colon. 53 
 
 Lesson XXIX. 
 
 The Colon. 
 
 The parts of a flower are as follows : calyx, corolla, 
 stamens and pistils. 
 
 Notice that the succession of particulars in the above sen- 
 tence is formally introduced by the words as follows. 
 
 Explain the use of the comma in the following : 
 Dear, gentle, patient Nell was dead. 
 
 In the above sentence, what word introduces the illustration? 
 What mark precedes the illustration? 
 
 The first sentence should read thus : The robin is a 
 well-known bird. 
 
 What word introduces, and what mark precedes, the illus- 
 tration in the above sentence? 
 
 Law: Illustrations or a succession of particulars form- 
 ally introduced by the words as follows, fol- 
 lowing or thus are preceded by the eolon, 
 
 showing their mutual and subordinate relation 
 to what precedes. 
 
 In letter-writing, the cobn is used between the compliment- 
 ary address and the body of a letter. 
 
 Law 3 for the use of the comma would apply here, but 
 that the address is usually so formal, and what is said after it 
 so long and subject to so many divisions, that a more significant 
 punctuation-mark seems necessary. 
 
 (See lessons on " The Comma.") 
 
54 How to Write. 
 
 Lesson XXX. 
 
 Tlie Caret. 
 
 In writing a letter every word should written cor- 
 rectly. 
 
 A word has been omitted in the above. 
 
 When a word has been omitted in writing, the omitted word 
 should be written just above the place in which it belongs (un- 
 less the whole be rewritten for the sake of making the correc- 
 tion). The place in which it belongs is indicated by a little 
 mark (a) called the caret. 
 
 be 
 
 In writing a letter every word should written cor- 
 rectly. 
 
 what 
 
 Never put off till to-morrow you can do to-day. 
 
 nor 
 Neither the captain the sailors were saved. 
 
 The JParenthesis. 
 
 In the above paragraph in fine print, study the meaning of 
 the part enclosed in these marks ( ), which are called paren- 
 theses. 
 
 Note also the following : 
 
 "Montrose (James Grahame) was made marquis of 
 Montrose." 
 
 My Uncle Toby (clever soul !) was sitting by the fire. 
 
 "Oh, I remember (about the remotest thing I can 
 remember) that low seat and the friendly teacher." 
 
 When John first saw the Scythia (that was the ves- 
 sel's name), he was filled with delight. 
 
Letter FormG. 55 
 
 Lesson XXXI. 
 
 The Hyphefi. 
 
 tt frequently happens in writing that it is necessary to begin 
 a word so near the end of a line that it must be finished at the 
 beginning of the next line. When this is the case the word 
 should be separated only between syllables, and this separa- 
 tion should be indicated by a little mark (-) called the hy- 
 phen. 
 
 Columbus died in ignorance of the real grand- 
 ^i* of his discovery. 
 
 The noble Brutus hath told you Csesar was am- 
 bitious. 
 
 The Atlantic rolls between us and any formi- 
 dable foe. 
 
 Leonidas, the brave Spartan hero, gallantly de- 
 fended the narrow pass. 
 
 The Indians, before they declare war, hold a sol- 
 emn council. 
 
 The hyphen is also used between the parts of a compound 
 word. It should be used, however, very sparingly. Very 
 few compound words require its use. 
 
 Lesson XXXII. 
 
 Letter ForniH, 
 
 In writing letters, it is desirable to be very explicit. 
 Study form and have an eye to beauty and symmetry. 
 If you have but little to say, put it in the middle of the page, 
 and not at the top or at the bottom. 
 
56 How to Write. 
 
 Leave a narrow margin at the left of the page. 
 
 <?^^^<?^^^^^^ G^-^^-^^-c^J , 
 
 ^ * * * * * * * 
 
 ****** 
 
 s* * * * * * * 
 
 ^€. 
 
 0e<^. f, /cfcf/. 
 
 ^Zyr^4d. ^^€^^^ '^(f^^. 
 
 * * * * 
 
 ****** 
 ♦ »***** 
 
 '€>-€^4d ^t^y^yZ^^ 
 
 4^<f^^€^ 
 
Letter Forms, 57 
 
 
 ***** 
 
 ***** 
 
 ;;: :;: * * 
 
 ****** 
 ******* 
 
 t^ K^/({J^ 
 
 Business letters especially should contain nothing unneces- 
 sary to an understanding of what is wanted, and in them it 
 is better to use figures, or both words and figures, for express- 
 ing numbers. 
 
58 How to Write. 
 
 Sometimes the address of the person writing the letter is 
 added to the signature. In many cases one's occupation 
 should be named after the signature. 
 
 €^yC€^yie , ( /Hde^^'T'^^^n , 
 
 
 ■tet^^^-aip, 
 
 
 tZiie de-T^-t^ i^ -^^ 0^^^>?^^„ 
 
 
 6 y^. S-^. -.^^ -^^^ C^. /. 
 
 ^t^t^^z^ -kyi-t'-/^ 
 
 
 €4ifiee^'M' 
 
 S. -O^jS^^/^ S^. 
 
Letter Forms. 59 
 
 ^-c^n-^^jl^^e^u/y CXi^^'^^f?^^ 
 
 t^^^>f^' 
 
 ■(O^^^i^/^-^^'^^^'^^f^'f^^'^ ( 
 
 
 -^^^ 
 
 
 /^ (D2f 
 
 In directing envelopes, do not crowd the address near the 
 top or the bottom or to one side. 
 
 Write the name of the post office and the State distinctly. 
 If the town be a small one, write also the name of the county, 
 if you know it. 
 
 Eem ember that your first object is to be understood ; your 
 next object, to economize space and time. 
 
60 How to Write. 
 
 Study the following models : 
 
 
 
 
 €i^dd . 
 
 
 
 ! 
 1 
 
 77^- 
 
 
Choice of Words. 61 
 
 Choice of Words, 
 
 Your friend came last nigiit ; for the present, he is 
 staying with my brother. 
 
 This train does not stop between here and Troy. 
 
 The one-o'clock train stops at Station No. 6, but 
 does not stay longer than three minutes. 
 
 To stop means to cease motion. 
 To stay means to remain an indefinite time in a 
 place after stopping". 
 
 We sometimes hear expressions like the following : 
 
 Mr. Jones is stopping at the Sherman House. 
 Frank Brown stopped over night with his cousin. 
 
 Are these expressions correct ? Give the reason. . 
 
 Fill each blank with a form of stop or stay: 
 
 1. WYtJi whom will your friend ^^ • ■ ' in Boston? 
 
 2. Will he ^c^yV in the city long enough to visit 
 Bunker Hill Monument? 
 
 3. The train -^^^^ at Station J^o. 27 y and y:^,dE^ 
 long enough for the passengers to eat dinner. 
 
 ^. WTty did you not-^^2^ over night in Chicago? 
 
 5. At what hotel did you.y^LdJ^!^^hile you were in 
 Philadelphia ? 
 
 " T love to go to school," said Martha. 
 " You mean you Hke to go to school, or you enjoy 
 going to school," said her mother. 
 
62 
 
 How to Write. 
 
 "Why can't I say, ' I love to go to school '?" 
 
 **Love and like are not synonyms, and one should 
 never be used for the other. To like means to be 
 pleased with in a moderate degree ; to enjoy. To 
 love means to be pleased or delighted with, or to 
 have affection for, or attachment to, some person 
 .or object. One may love his home, his country; 
 the truth and honor, as well as his friends ; but he 
 likes the amusements which he enjoys and the food 
 which he eats." 
 
 '* I understand you," said Martha. " ii is wrong 
 for me to say, ' I love to study arithmetic and geog- 
 raphy;' 'John loves to play ball, and Mary loves to 
 dance.' I will study the meanings of love and like, 
 and try to use them correctlyr" 
 
 Write ten sentences suggested by this picture, using the 
 forms of love and like. 
 
Choice of Words. 63 
 
 Your cousin will sail for Europe next week, and 
 purposes to write as soon as he reaches London. 
 
 He intends to visit niany important places while 
 abroad. He has calculated the expense, and thinks 
 it will be about one thousand dollars. 
 
 " He has calculated the expense " means He has counted or 
 computed the cost. 
 
 To intend means to decide upon something" to be ac- 
 complished; to purpose. 
 
 To calculate means to reckon, to count or to com- 
 pute, and cannot be correctly used to express intention or 
 purpose. 
 
 ^ Fill each blank : 
 
 1. He did fhot-r r "to say anything to injure you. 
 
 2. He ..-a '-.'to see you yesterday. 
 
 8. If we }iadi'jJj(jJiL^he cost, we would not have 
 taken the trip. 
 
 J;,. Thpjj^. vvLu Ao go in the next steamer. 
 
 I think James is an honest boy, and I will con- 
 sider the proposition which you have made. 
 
 He has considered the question, and thinks Paul's 
 proposition is the best. 
 
 All things considered, he thinks it will be better 
 for you to remain where you are. 
 
 To consider means to think carefully or seriously; 
 to ponder. 
 
 Before passing an opinion upon an important subject, you 
 ask for time to consider the question. 
 Think and consider are not synonyms. 
 
64 
 
 How to Write, 
 
 Do you ever hear expressions like the following ? — 
 
 He has thought about the matter, and considers 
 Frank a good boy for the place. 
 He considers her competent to fill the position. 
 Are the expressions correct ? Give the reason. 
 
 Fill each blank : 
 ' 1. We J-lix^ only of the bright side, audi do not 
 stop to M: VI- the evils which may come, 
 
 2, Do not act hastily, but take time to^lU— your 
 course, 
 
 3, He has LsMZ your claims, and ^^^.^Our chance 
 
 is good, / 
 
 ^. Do you ^/^.^.^i^^^iss Gray is competent to teach 
 the school? 
 
 5. He does not 'jJliA±fit is best for you to remain 
 here, 
 
 Write ten sentences suggested by this picture, using the 
 forms of think and consider. 
 
Choice of Words. 65 
 
 To talk or write correctly, it i.s necessary for one to know 
 the forms of the verbs whiiii he uses. 
 
 Many persons make mistakes in using the forms of the verbs 
 plead and prove. 
 
 The lorms of these verbs are : 
 
 Present Forms. Past Form. Complete Form. 
 
 plecicl pleads pleaded pleaded 
 
 prove proves proved proved 
 
 Fill each blank with a form of one of the foregoing verbs : 
 
 1. The prisoner ^^i^giU/ty. 
 
 2. The hoy/L^nsL with his father, 
 
 3. The report has been to be false. 
 
 Jf. The will w;^^.6' __^__ to be lawful. 
 
 5. The lawyer J^ J Vl the ease in favor of the de- 
 fendant. 
 
 6. The boy was /zSdCBMguilty and sentenced to five 
 years' imprisonment . 
 
 7. He has y .tlie problem, and foand that the 
 answer in the booh is wrong. 
 
 There is no authority for the forms proven and plead to 
 express completed action. 
 
 The forms of hang are : 
 
 Present Forms. Past Form. Complete Form. 
 
 hang r hangs hung or hanged hung or hanged 
 
 If taking life by means of hanging is meant, then the form 
 hanged is preferred. 
 
 The prisoner will be hanged next week. 
 
66 
 
 How to Write, 
 
 " If my work were done, I would go to the lecture this even- 
 ing " means My ivork is 7iot done ; therefore it is impossible for 
 me to go. 
 
 " If the book were at home, I would bring it to yon " means 
 The book is not at home ; therefore I cannot bring it. 
 
 If he were I, lie would do the same thing. 
 If Queen Victoria were here, she would be de- 
 lighted. 
 
 " If the book is on the table, you may take it '' means The 
 hook may be on the table, or. There is a possibility of its being 
 there. 
 
 " If it rains to-morrow, I shall not go " means It may rain, 
 or. There is possibility of its raining. 
 
 If he goes to Chicago to-morrow, he will get the 
 book for you. 
 
 Notice in the foregoing sentences that when anything im- 
 possible or highly improbable is supposed, a singular subject 
 takes a ^ plural verb. 
 
 Fill each blank : 
 1. If siKp. ' )-:. here, she would eall to see you 
 this evening. 2. If he . , he will call. 
 
 S. If her dress 
 morrow. 
 
 done, she ivouhl wear it to- 
 
 Jf. If I _-_— _ she, I would not go. 
 
 Write five sentences 
 suggested by this pic- 
 ture, making suppo- 
 sitions. 
 
Choice of Words. 
 
 67 
 
 Write ten sentences suggested by this picture, making sup- 
 positions. 
 
 The lion is a dangerous animal. 
 
 Manv of our wild animals are dang-erous. 
 
 o 
 
 It is dangerous to go among wild animals. 
 
 You would dislike very much to be with an insane 
 person, for you do not know what one wdio is insane 
 may do. He may be a dangerous person. 
 
 K person who is sick and has become weak is not 
 likely to become dangerous, although he may be in 
 danger. 
 
 Dangerous mean.s attended with danger; unsafe. 
 
68 How to Write. 
 
 Do you ever hear questions like the following asked of a 
 person who is sick ? — 
 ' -/.^ . 
 
 "Is he dangerous?" "Did you know that tliey 
 considered hi nf ' daii^erous ? ' ' 
 
 What do the foregoing questions mean? 
 Are they right? Give the reason. 
 
 "My brother is sick. He has a very bad cold," 
 said John. 
 
 Is a cold ever good? What should John have said? 
 
 "John's conduct is contemptible" m%s^\\^ Jultn's conduct is 
 such that it excites contempt. 
 
 You have a contemptuous opinion of anything that excites 
 contempt. 
 
 Contemptuous means expressing" disdain or scorn. 
 Contemptible means deserving- of disdain or scorn. 
 
 From the likeness in sound, contemptible is often used for 
 contemptuous. 
 
 Is it right to say, "You have a contemptible opinion 
 of him"? Give the reason. 
 
 A plentiful harvest prevents a famine. 
 
 Apples are plentiful at this season of the year. 
 
 The price of wheat is low because there was a plen- 
 tiful crop last year. 
 
 Money is plentiful, and can be obtained at a low 
 rate of interest. 
 
 The adjective plentiful means abundant; suflScient for 
 every purpose. 
 
Choice of Words. 60 
 
 There is plenty of wheat for flour. 
 
 The noun plenty means abundance ; enough and to 
 spare. 
 
 Do not use plenty as an adjective ; it is not a synonym of 
 plentiful. 
 
 Do you ever hear expressions like the following? — 
 
 Money is plenty. Oranges are plenty. 
 
 Are they right ? Give the reason. 
 
 He is somewhat better to-day. 
 She is somewhat tired, and should rest before slie 
 goes to tlie lecture. 
 
 You will find some water in the pail. 
 She put some sugar on your plate. 
 
 To what is somewhat related in the first sentence ? in the 
 second '-^ 
 
 To what is some related in the third sentence? in the 
 fourth ? 
 
 Is it right to use some in the first and second sentence? 
 instead of somewhat? Give the reason. 
 
 Mary is as tall as her sister. 
 She is not so tall as her brother. 
 You are as proud as he is. 
 She is not so proud as you are. 
 Ralph is not so good as Otto. 
 
 Tn the foregoing sentences, notice that as is used for affirm- 
 ing and so for denying. 
 
70 
 
 Hoiu to Write. 
 
 Write ten sen- 
 tences suggested 
 by this picture, 
 
 using as and so. 
 
 James was the only boy who 
 went out at recess. 
 
 He paid me only a dollar. 
 ^ v.'^* Frank went only to Chicago. 
 
 He only prepared the lesson ; he did not recite it. 
 He laughs only when he is pleased. 
 He skates not only gracefully, but skillfully. 
 Did your sister make pies and cake for the picnic ? 
 She made only cake. 
 
 Sarah only is the girl who is absent. 
 He cannot sing; he can only play. 
 Maud not only plays, but sings. 
 
 To what is the word only related in each sentence ? 
 
 Transpose the word only in each sentence, and notice the 
 change of meaning made by the transposition. 
 
 Study the meaning of the word only, and use it in several 
 sentences. 
 
 b^ \ 
 He went all )^v£x;the town to find you. 
 
 The disease will spread all over the city. 
 
 Where did he go to find you ? What part of the town ? 
 what is all related in each sentence ? 
 
 Say, " Over all the town." Give the reason. 
 
 To 
 
Choice of Words. 71 
 
 Relation words are of much importance in the construction 
 of sentences. Many a sentence loses its beauty and force by 
 the improper use of a relation word. 
 
 I tliink you will find Louise in the parlor. 
 She went from the sitting-room into the parlor. 
 Jolm looked into the parlor, but did not find her 
 there. 
 Perhaps she is in her room. 
 
 Into is used in expressing the idea of passing from the 
 outside to the inside ; as, " James went into the church :" 
 of going beyond the surface ; as, " The boy looked into the 
 book:" of changing a substance from one form or state to an- 
 other ; as, " Ice is changed into water, and water into vapor." 
 
 In means "within or surrounded by. 
 
 The girl walks in the room. She walked from one 
 room into another. 
 
 The bird flew about in the room, but it flew into 
 the cage. 
 
 Notice tbat into is used after verbs expressing motion tend- 
 ing toward an object or a place- 
 In is used after verbs of motion within circumscribed limit 
 
 The relation words at and to are not always used correctly. 
 Study their uses in the following sentences: 
 
 Anna goes to school with her brother. She is at 
 school to-day. She will go home at four o'clock. 
 Slie remained at home yesterday while her mother 
 went to the fair. 
 
72 How to Write. 
 
 Miss Smith looked at you, and asked you to point 
 out St. Louis on the iriap. 
 
 The boy pointed the gun at the bird. James shot 
 at the bird. 
 
 Notice that to is used in tlie foregoing sentences after verbs 
 expressing motion tending toward a place or an object. 
 
 Notice that at is used lo express the relation of presence in 
 place, time or direction. 
 
 One may go to a place ; may be at a place ; may look at a 
 person or an object; may point at a place or a thing; or may 
 point out a place on a map. 
 
 One never points to an object : he points at it or toward it. 
 Give the reason. 
 
 " The apple is between the oranges " means Therre is an 
 orange each side of the apple. 
 
 "The apple is among the oranges" means There are morf. 
 than two oranges with the apple 
 
 New York is between Boston and Philadelphia. 
 You will find the picture among the books on tho 
 table. 
 
 Notice that between is used in speaking of two, and 
 among" in speaking of more than two. 
 
 The money was divided between the boys. 
 The money w^as divided among the boys. 
 
 How many boys are meant in the first sentence? in the sec- 
 ond? Give the reasons. 
 
 What is the difference between the two? 
 
 In the foregoing sentence, it is incorrect to use in for be- 
 tween. Give the reason. 
 
Choice of Words. 
 
 Mary and Anna differ entirely from each other. 
 This book differs from that book. 
 My ring is different from yours. 
 
 " Mary and Anna differ entirely from each other " means 
 }[ary and Anm.i have unlike or opposite opinions, or, Tke. 
 opinions of one are not like the opinions of the othei'. 
 
 " This book differs from that book " means This booh is un- 
 like that book. 
 
 " My ring is different from yours " means My ring is unlike 
 yours. 
 
 To differ means to be of unlike or opposite opin- 
 ions; to disagree. 
 
 Do not say differ with or different to. Give the reasons. 
 
 Fill each blank : 
 
 1. Williani fell ^LJlii. th^ bridge ):( the wate7\ 
 
 2. There is a qnarrel.XLilJS'the two. 
 
 3. Tills booh is different that. 
 
 Jf. He boards y'(^// the Palmer House. 
 
 5. These plants differ ^lu^-eaeh other. 
 
 6. The boy and the girl go . school. 
 
 Unnecessary words are sometimes used. Such words take 
 much from the beauty and strength of one's language. 
 
 Where is he going /^ ? 
 He has more friends than you think tfW 
 They presented their father iwitJii a watch. 
 The committee carefully investigated dniCk/ all the 
 circumstances. 
 This is equally las) good. 
 
74 
 
 How to Write. 
 
 He has no desire^atjilbto do the work. 
 He left no property /at alb for his family. 
 
 Read the foregoing sentences, and omit the words to, for, 
 with, into, as and at all. 
 
 Are these words necessary ? Give the reason. 
 
 One day John and James were playing with their 
 marbles. 
 
 James picked up two of the marbles and exclaimed, 
 ''0, John! see! These marbles are \both ^ alike." 
 
 James meant, " These marbles are alike." 
 When you say two objects are alike, you compare them; you 
 mean one is like the other. 
 
 Both means the two taken together. 
 
 To be compared they must be taken separately. 
 
 ^ 
 
 V^ - M- ■::M.f 
 
 Write ten sentences suggested by the above pictures, using 
 both, differ or different. 
 
PART II. 
 
 COMPOSITION -DESCRIPTION 
 
 Composition I, 
 
 ^^ 
 
 THE DUCK. 
 
 The duck is a bird of jnedium size, with a body 
 shaped somewhat like a boat and covered with soft, 
 downy feathers. 
 
 It has a narrow head and a broad, flat bill. Its 
 neck, is short and slender. The wings are rather 
 small and the tail is short. Its legs are placed, far 
 back on the body and are widely separated. The 
 three front toes of each foot are united by a web. 
 The hind, toe is free and is slightly elevated. 
 
 The d,uck is fitted for swimming, by the shape 
 and the covering of its body, and also by the posi- 
 tion and structure of its legs and feet, and it 
 spends much of its time on the water. 
 
 75 
 
76 
 
 How to Write. 
 
 I wish you to write a description of the duck. 
 
 You will be helped in your work by noticing the points in 
 the description given. Look at the picture, then carefully read 
 the description again, and note as follows: 
 
 1. 
 
 Size, shape and coverinc;. 
 
 
 Head and its parts. 
 
 3. 
 
 Neck. 
 
 4. 
 
 Wings. 
 
 5. 
 
 Tail. 
 
 6. 
 
 Legs, feet and toes. 
 
 7. 
 
 Habits — how known. 
 
 Before you try to describe an object you should select for 
 your description the points which will best represent the object 
 to the mind of him who listens. 
 
 You will be helped further if you will adopt some order in 
 giving the points that you have selected to talk about. Note 
 the order above. A careful selection of the points, and a care- 
 ful arrangement of the points selected, aid alike the speaker 
 and the listener, the writer and the reader. 
 
 Composition II, 
 
 Look at the picture and answer the questions on the next 
 page ; then write a description of the gull. 
 
Composition. 
 
 77 
 
 THE GULL. 
 
 1. What is the size and general shape of this 
 bird? 
 
 2. What is the character of its covering? 
 
 S. What is the size and shape of the head? 
 Jf. What is the size, and what the shape, of the 
 hill? 
 
 5. What kindy of wings ajid tail has the gull? 
 
 6. What hind of legs has the gull, and where are 
 they placed? 
 
 7. What kind of feet has the gull? 
 
 It will be helpful to present to view the selected points be- 
 fore the work of writing is begun. The following is suggested: 
 
 To2ncal Outline, 
 
 General Appear- 
 ance 
 
 Description of 
 the Gull 
 
 Size 
 Shape, 
 Covering, 
 Color. 
 
 f Head and parts, 
 I Neck, 
 
 Parts ] WingH, 
 Tail, 
 Legs, feet, toes. 
 
 Habits I How known. 
 
78 
 
 How to Write. 
 
 Composition III, 
 
 THE HAWK. 
 
 Write a description of the hawk, referring to the picture 
 and following the given outline. 
 
 Topica I (HitU it e. 
 
 
 
 
 Size, 
 
 
 Genp:ral . 
 
 Appear- 
 
 Shape, 
 
 
 ANCE 
 
 Covering, 
 
 
 y 
 
 
 Color. 
 
 Description of 
 the Hawk 
 
 
 r 
 
 Head - 
 
 Shape, 
 
 Eyes, 
 
 Bill: 
 
 
 Parts - 
 
 I 
 
 Neck, 
 Tail, 
 Legs, feet. 
 
 
 Habits 
 
 How knov 
 
 m. 
 
Composition. 
 
 79 
 
 Composition IV. 
 
 THE CRANE. 
 
 Write a description 
 of the crane, refer- 
 ring to the picture 
 and making an out- 
 line before beginning 
 to write. 
 
 Co^nposition V» 
 
 THE ROBIN. 
 
 Write a description of the robin, referring to the picture 
 and making an outline before beginning to write. 
 
80 
 
 How to Write. 
 
 Cofnposifion VI. 
 
 THE HORSE. 
 
 The horse is a beautiful animal, having a long, 
 graceful body covered with fine, short hair. 
 
 It has a slender, shapely head; large, darh eyes ; 
 and small, pointed ears. The nech is long and 
 slender, a^nd along the upper part of it grows a 
 mane of long, coarse hair. Its legs are slender 
 and its hoofs are solid. The tail is composed of 
 long, coarse hair. 
 
 Write a description of the horse pictured above. 
 
 Before writing this description, note the following pointi 
 that have been selected, and the order in which these points 
 are presented : 
 
 1. General appearance, shape, covering. 
 
 2. Head, eyes, ears. 3. Neck, mane. 
 4. Legs, feet. 5. Tail. 
 
Com/position. 
 
 81 
 
 Compos i Hon VII, 
 
 Write a description of the reindeer, looking at the picture 
 and answering the questions asked below. 
 
 THE REINDEER. 
 
 1. What is the size of the reindeer? its general 
 appearance? the character of its covering? 
 
 2. What is the size of the head? 
 
 3. What is the size, and what the shape, of the 
 horns ? 
 
 Jf- What is the shape of the muzzle? 
 
 5. What is the shap'i of the neck? 
 
 6. What hind, of legs has the reindeer? 
 
 7. What kind of feet? 
 
 8. What kind of tail? 
 
82 H(m to Write. 
 
 
 Topical Outline. 
 
 
 
 Genjekal Appeak- 
 
 ANCE 
 
 ' Size, 
 Shape, 
 Covering. 
 
 Description of 
 
 
 rsize. 
 
 Head \ Horns, 
 
 the Reindeer 
 
 
 
 ^ Muzzle ; 
 
 
 Pakts 
 
 Neck, 
 Legs, 
 
 
 
 
 Feet, 
 Tail. 
 
 
 Composition VIII. 
 
 THE CAT. 
 
 Write a description of the cat, referring to the picture and 
 making an outline before beginning to write. 
 
Composition. 
 
 83 
 
 Compositian IX. 
 
 THE B EAR. 
 
 Write a description of the bear, referring to the picture and 
 making an outline before beginning to write. 
 
 Com^josition X, 
 
 THE ALLIGATOR. 
 
 Write a description of the alligator, referring to the picture 
 and making an outline before beginning to write. 
 
84 How to Write. 
 
 Composition XI. 
 
 Apex. 
 
 Margin. //AlAr'TN ^AA/0^^\ -B^t^- 
 
 Stipules. 
 
 Petiolel 
 
 THE QUINCE LEAF. 
 
 A DESCRIPTION OF A QUINCE LEAF. 
 This picture represents the leaf of the quince tree. 
 
 It is a simple, broadly -ovate, net-veined leaf. The 
 principal veins are arranged on each side of the 
 mid-rib, lihe the plume of a feather on each side 
 of the shaft. For this reason it is said to he feath- 
 er-veined. 
 
 The blade has an acute apex, an entire margin 
 and a pointed base. The petiole is of medium 
 length. At the base of the petiole are two leaf -like 
 parts called stipules. 
 
 The leaf is smooth and glossy ; the under surface 
 is a lighter gi^een than the upper surface. 
 
 The leaves of the quince are arranged alternately 
 on the stem. 
 
Composition. 
 
 85 
 
 Study the foregoing description, and compare it with the 
 following outline. In all the work on plants, the pupils should 
 procure the specimens if possible and study them, following 
 the outlines. 
 
 Outline* 
 
 Name, 
 Kind, 
 
 General shape, 
 Venation, 
 Apex, 
 A Leaf \ Margin, 
 Base, ^ 
 Petiole, 
 Stipules, 
 
 General appearance, 
 Arrangement on the stem. 
 
 Study the foregoing outline, and write a description of each 
 of the following leaves. 
 
 Composition XII, 
 
 (Data in Order.) 
 
 Simple, ovate - lanceolate, 
 feather- veined ; acute apex, 
 serrate margin, rounded base ; 
 petiole ; stipules ; smooth, 
 polished ; alternate. 
 
 THE PEAR LEAF. 
 
86 
 
 How to Write. 
 
 %r44 
 
 Composition XIII» 
 
 (Data in Order) 
 
 Simple, 
 
 five-lobed, 
 radiate-veined ; acumi- 
 nate apex, recurved 
 base, margins of the 
 lobes serrated, apex of 
 each lobe acuminate ; 
 sinuses acute ; petiole ; 
 exstipulate ; silvery- 
 white, downy under- 
 neath ; opposite. 
 
 / THE MAPLE LEAF. 
 
 Composition XIV, 
 
 (Data in Order.) 
 
 Simple, oblong, lob- 
 ed, feather - veined ; 
 acute, truncate, lobes 
 slightly toothed, apex 
 of each lobe acute, 
 sinuses rounded ; pe- 
 tiole ; deciduous stip- 
 ules ; smooth, glossy; 
 alternate. 
 
 THE OAK LEAF. 
 
Composition, 
 
 87 
 
 Composition XV. 
 
 THE NASTURTIUM LEAP. 
 
 (Data not ik Order.) 
 
 Alternate, roundish, simple, wavy, peltate or 
 shield-shaped, exstipulate, radiate-veined, petiole, 
 smooth. 
 
 Composition XVL 
 
 THE PASSION-FLOWER LEAF. 
 
 (Data not in Order.) 
 
 Radiate-veined, lobed, simple, sinuses, petiole, stip- 
 ules, cordate or heart-shaped, alternate, entire, smooth, 
 obtuse. 
 
88 
 
 How to Write. 
 
 Composition XVII, 
 
 (Data not in Order.) 
 
 Feather-veinecl, leaflets, 
 oval, obtuse, acute, serrate, 
 stipules, pale, downy be- 
 neath, alternate, compound, 
 petiole. 
 
 THE ROSE LEAF. 
 
 Composition XVIIIo 
 
 (Data not in Order.) 
 
 Smooth, cover- 
 ed with a fine 
 white powder be- 
 neath, compound, 
 leaflets, acumi- 
 nate, pointed,, lan- 
 ceolate, radiate- 
 veined, serrate, 
 large, petiole. 
 
 THE VIRGINIA CREEPER. 
 
Composition. 
 
 89 
 
 Cofnj^ositiofi XIX, 
 
 (Data not in Order 
 
 Simple, oblong, parallel- 
 veined, veins extending 
 from base to apex, petiole, 
 long, sheathing, petioles of 
 leaves rolled one within 
 the other, so as to ap- 
 pear like a stalk, not at- 
 tached to a stem, grows 
 directly from the bulb, 
 smooth, glossy. 
 
 LILY-OF-THE-VALLEY 
 LEAF. 
 
 Composition XX, 
 
 (Data not in Order.) 
 
 Simple, lanceolate, 
 parallel-veined, halberd- 
 shaped, petiole, long, 
 sheathing, acuminate, 
 entire, ex stipulate, 
 
 smooth, glossy, veins 
 extending from mid- 
 
 ri 
 
 THE CALLA LEAF. 
 
 b to margin. 
 
90 
 
 How to Write. 
 
 Composition XXI. 
 
 (Data not in Order.) 
 
 Blade. 
 
 Margin 
 
 Sheath, 
 
 GRASS BLADES. 
 
 Simple, parallel -veined, linear, acute, entire, 
 sheathing, sheatli opens on the side opposite 
 the blade, li^ule. 
 
Composition, 
 
 91 
 
 Compositions XXII, and XXIII. 
 
 THE OAK LEAP. 
 
 THE BLACKBERRY LEAF. 
 
 Compositions XXIV. and XXV. 
 
 THE WHITE BIRCH LEAF. THE HONEYSUCKLE LEAF. 
 
 Write a description of each of the leaves on this page. 
 
92 
 
 How to Write, 
 
 Composition XXVI. 
 
 s 
 
 ^.^Sr^l 
 
 <( 
 
 THE MORNING-GLORY. 
 
 (Data in Order.) /^^-^^"^K^ 
 
 Fine fibrous roots. 
 
 Stem, herbaceous, twining (ex- 
 ogenous), round, green, covered 
 with minute hairs, branching, al- 
 ternate ; branches interlace, 
 
 Leaves large, heart-shaped, net- 
 veined, acute, entire, dull green, 
 alternate. 
 
 Flowers large, slender-tubed funnels, purple, pink, 
 
Composition. 
 
 93 
 
 blue, white, veined and shaded with a deeper hue, 
 monopetalous, polysepalous, soUtary or in chisters 
 of three or five ; opens in the morning. 
 
 Write a description of the morning-glory. 
 
 Flan of Composition, 
 
 Study this plan for the description of a plant. 
 
 Procure the plant if possible and study it before writing. 
 
 A Plant \ 
 
 Introduction 
 
 Name, 
 
 r Nam 
 1 Size. 
 
 Root 
 
 Kind. 
 
 Stem 
 
 Kind, 
 
 Nature, 
 
 Structure; 
 
 Shape, 
 
 Color, 
 
 Mode of branching. 
 
 Leaves { See Outline, page 85. 
 
 Flowers 
 
 Size, 
 
 Shape, 
 
 Color. 
 
 Parts 
 
 Corolla, 
 Calyx. 
 
 Arrangement on the stem. 
 
94 
 
 How to Write. 
 
 Composition XXVII, 
 
 THE BUTTERCUP. 
 
 (Data not in Ordee.) 
 
 Root, a bulb ; /rpAfiflnw.s and p astures^ : stem, her- 
 baceous (exogenous)7^rect, hairy, round, green ; a 
 foot high ; leaves, divided, parted,_cleft, toothed, 
 feather - veined, alternate] flowers, solitary, large, 
 polypetalous ; [May , June/ petals, lound, wedge- 
 shape at the base ; monosepalous, cleft ; glossy 
 deep yellow. /:. 
 
 Write a description c^; the buttercup. 
 
Composition, 
 
 95 
 
 Composition XXVIII. 
 
 THE LILY. 
 
 (Data not in Order.) 
 
 Herb ; perennial ; root, a scaly bulb ; stem, her- 
 baceous, erect (endogenous); leaves, linear-lance- 
 olate, parallel- veined, sessile, alternate. 
 
 Flowers, large, showy, bell-shaped, spreading and 
 recurved ; calyx leaves, colored ; spotted. 
 
 Write a description of the lily. 
 
96 
 
 How to Write. 
 
 Composition XXIX. 
 
 THE FUCHSIA. 
 
 (Data not in Order.) 
 
 Roots, fibrous; stem, woody, erect, smooth, brown; 
 leaves, smooth, opposite, toothed, ovate ; flowers, 
 showy, drooping; calyx, tubular, funnel-form, color- 
 ed; petals, purple, white, red. 
 
 Write a description of the fuchsia. 
 
Composition. 
 
 97 
 
 Comimsition XXX* 
 
 DRUMMOND PHLOX. 
 
 (Data not in Order. 
 
 Fibrous roots ; stem, erect, round, hairy, herba- 
 ceous, annual (exogenous); flowers, showy, delicate, 
 red, white, pink, purple, clusters ; corolla, flat, and 
 round at the top, with a long tube ; leaves, lance- 
 olate, entire, sessile, alternate, feather-veined; grows 
 iroin twelve to fifteen inches high. 
 
 Write a description of Drummond phlox. 
 
as 
 
 How to Write. 
 
 Composition XXXI. 
 
 THE CINQUEFOIL. 
 
 (Data not in Oedee.) 
 
 Perennial ; herb ; fibrorts roots ; leaves, compound ; 
 leaflets, obovate, wedge-form, toothed toward apex, 
 alternate, exstipulate, petiole ; stem, trailing on the 
 ground, producing runners, herbaceous, hairy ; flow- 
 ers, polypetalous ; petals, roundish ; calyx, cleft, sol- 
 itary ; found in grass in dry fields. 
 
 Write a description of the cinquefoil. 
 
Composition. 
 
 99 
 
 Composition XXXIIo 
 
 CATCHING MINNOWS. 
 
 This picture represents two little girls watching 
 their brother catch ininnows. 
 
 The boy, with his pantaloons rolled up above his 
 knees, and his hat pushed back, is standing in the 
 water near some rocks. He is drawing a small net 
 out of the water, and leans forward with an eager 
 look upon his face, as if anxious to find out how 
 many fish he has caught. The smaller girl is 
 standing on one of the rocks in fj^ont of him. She 
 is bending over a large rock, so that she can look 
 into the net. One hand rests on the top of the rock 
 
100 How to Write. 
 
 and the other is raised as if she were saying, 
 ''There! you've eaught them.'* 
 
 The larger girl, who stands on a roch at the 
 right of the hoy, is waiting to receive the fish in a 
 small covered basket. She also seems to be much 
 interested in the work, as she leans forward watch- 
 ing the net very intently. Slie holds her basket in 
 front of her and has one hand on the lid, ready to 
 raise it as soon as the fish are caught. 
 
 In the distance, beyond the children, is seen the 
 opposite bank of the stream. 
 
 The picture is very natural, and as one looks at 
 it he becomes interested in the success of the chil- 
 dren, and wishes himself there to join in the sport. 
 
 Write a description of the picture given above. 
 
 Note the following points that have been selected, and the 
 order in which they have been arranged, before writing the 
 description : 
 
 1. Subject of the picture. 
 
 2. Location of the scene. 
 
 3. Position of the boy. 
 
 4. Description of the boy. 
 
 5. Position of the smaller girl. 
 
 6. Description of the same. 
 
 7. Position of the larger girl. 
 
 8. Appearance of the same. 
 
 9. Surrounding objects. 
 10. Effect of the picture. 
 
Composition. 
 
 101 
 
 Composition XXXIII, 
 
 PLAYING SOLDIER. 
 
 Write a description of this picture, following the given outline. 
 
 Topical Outline. 
 
 Subject of Picture. 
 Location of Scene. 
 
 Description 
 
 of a 
 
 Picture 
 
 (*' Playing 
 
 Soldier") 
 
 Principal 
 Figures 
 
 Chil- 
 dren 
 
 Bear 
 
 WOMA 
 
 »i 
 
 Size, 
 
 Position, 
 
 Occupation. 
 
 Size, 
 
 Position, 
 
 Occupation. 
 
 Position, 
 Appearance. 
 
 Surround- ~ 
 ING Ob- 
 jects 
 
 Wagon, 
 Chair. 
 
102 
 
 How to Write. 
 
 Conposit ion XXXI F. 
 
 Name the subject of this picture and write a description of 
 it, selecting the points and arranging them in the form of an 
 outline before beginning to write. ^ 
 
 Composition XXX V, 
 
 Name the subject of this picture and write a description of 
 it, selecting the points and arranging them in the form of an 
 outline before beginning to w^rite. 
 
Composition. 
 
 103 
 
 Composition XXXVI. 
 
 PAU-PUK-KEEWIS. 
 
 He was dressed in shirt of doeskin, 
 White and soft, and fringed with ermine 
 All inwrought with beads of wampum ; 
 He was dressed in deerskin leggings, 
 Fringed with hedgehog quills and ermine, 
 And in moccasins of buckskin, 
 Thick with quills and beads embroidered. 
 On his head were plumes of swan's down. 
 On his heels were tails of foxes. 
 In one hand a fan of feathers, 
 And a pipe was in the other. 
 
 Barred with streaks of red and yellow, 
 Streaks of blue and bright vermilion, 
 Shone the face of Pau-Puk-Keewis. 
 From his forehead fell his tresses, 
 ^ Smooth, and parted like a woman's. 
 Shining bright with oil, and plaited, 
 Hung with braids of scented grasses. 
 
 //. W. Lov(jfeIlow, 
 
104 
 
 How to Write. 
 
 Notice the points the author has selected for this descrip- 
 tion, and the order in which he has arranged them, as repre- 
 
 sented in the following outline 
 
 Description 
 
 of Pau- 
 Puk-Keewis 
 
 Topical Outline, 
 
 Shirt, 
 
 Clothing 
 
 Leggings, 
 Moccasins, 
 
 Ornaments 
 
 Of what com- 
 posed, 
 Trimmings. 
 
 Plumes, 
 
 Fan, 
 
 Pipe. 
 
 Appearance 
 
 I 
 
 Face, 
 Hair. 
 
 After reading the above poem, read the transformation of it, 
 following the given outline as you read : 
 
 PAU-PUK-KEEWIS. 
 
 Pau-Puh-Keewis was dressed in the richest of 
 Indian clothing. His white, soft shirt, made from 
 the shin of the doe, was adorned with heads of 
 wam^pum and fringed with ermine. His leggings 
 were of deer shin, and along the outer side of each 
 was a trimming of ermine and quills of the hedge- 
 hog. His feet were covered with huchshin mocca- 
 sins, which were thichly emhroidered with head^s 
 and quills, and on the hachs of which were fas- 
 tened fojoes' tails. On his head he wore plumes 
 made of swan's down. He held in one hand a fan 
 composed of feathers, and in the other a pipe. 
 
 The face of Pau- Puh- Keeivis , which was painted 
 with many colors — red and yellow, blue and ver- 
 milion — shone brightly. His long, smooth, well- 
 oiled hair was parted in the middle and plaited , 
 and it hung from his forehead with braids of 
 scented brasses. 
 
Composition. 
 
 105 
 
 Composition XXXVII. 
 
 THE HOUSE IN THE MEADOW. 
 
 It stands in a sunny meadow, 
 The house, so mossy 'and brown, 
 
 Witli its cumbrous old stone chimneys, 
 And the gray roof sloping down. ■ 
 
 The trees fold their green arms around it — 
 
 The trees a century old — 
 And the winds go chanting through them, 
 
 And the sunbeams drop their gold. 
 
 The cowslips spring in the marshes, 
 
 The roses bloom on the hill, 
 And beside the brook in the pasture 
 
 The herds go feeding at will. 
 
 — Louise Chandler Moulion, 
 
 Description of 
 **The House in 
 the Meadow " 
 
 Location. 
 General Appear- 
 ance 
 
 Immediate Sur- 
 roundings 
 
 Distant Sur- 
 roundings 
 
 Chimneys, 
 Roof. 
 
 Trees. 
 
 j Marshes, 
 ! Hill, 
 I Brook, 
 I Pasture. 
 
 Transpose the above poem, following the given outline as 
 you write. 
 
106 
 
 How to Write. 
 
 Cofyij^ositiofi XXXVIII* 
 
 KING JAMES. 
 
 For royal was his garb and mien, 
 His cloak, of crimson velvet piled. 
 Trimmed with the fur of martin wild; 
 
 His vest, of changeful satin sheen, 
 The dazzled eye beguiled ; 
 
 His gorgeous collar hung adown, 
 
 Wrought wuth the badge of Scotland's crown, 
 
 The thistle brave, of old renown ; 
 His trusty blade, Toledo right, 
 Descended from a baldric bright ; 
 
 White were his buskins, on the heel 
 
 His spurs inlaid of gold and steel ; 
 His bonnet, all of crimson fair, 
 Was buttoned with a ruby rare : 
 
Composition. 
 
 107 
 
 The monarch's form was middle size ; 
 For feat of strength, or exercise, 
 
 Shaped in proportion fair ; 
 And hazel was his eagle eye, 
 And auburn of the darkest dye, 
 
 His short curled beard and hair. 
 
 — Walter Scott. 
 
 Description of 
 King James 
 
 General Ap- 
 
 ' Introduc 
 
 pearance 
 
 tory. 
 
 
 ' Cloak, 
 
 - 
 
 Vest, 
 
 
 Collar, 
 
 Dress - 
 
 Baldric, 
 
 
 Buskins, 
 
 
 Spurs, 
 
 
 Bonnet. 
 
 
 Form, 
 
 Appearance 
 
 Eye, 
 
 
 Hair. 
 
 Transform the foregoing poem, following the given outline as 
 you write. 
 
 Composition XXXIX, 
 
 THE PRISONER FOR DEBT. 
 
 Reclining on his strawy bed, 
 
 His hand upholds his drooping head ; 
 
 His bloodless cheek is seamed and hard, 
 
 Unshorn his gray, neglected beard ; 
 
 And o'er his bony fingers flow 
 
 His long, disheveled locks of snow. 
 
 — /. O. Whittier. 
 
 Transform the above poem, making an outline before begin- 
 ning to write. 
 
108 Hoio to Write. 
 
 Composition XL. 
 
 A PICTURE. 
 
 " A wee bit maid, with nut-brown hair 
 
 In flossy ringlets wildly straying, 
 Round azure eyes, where light and shade 
 
 At hide and seek are ever playing. 
 The sunbrown cheeks of roseate hue, 
 
 The dimpled mouth, with lips like cherries, 
 Just opened, like a fledgling bird's, 
 
 To catch the luscious, sweet blackberries, 
 
 " Perched on the bank with moss o'ergrown, 
 
 Above her head the elm-boughs swaying ; 
 One brown bare foot peeps from the moss, 
 
 The other in the brooklet's playing. 
 The gipsy hat, with flowers crowned. 
 
 Lies where the feathery ferns are blowing, 
 Beside the shining bucket filled 
 
 With berries heaped to overflowing. 
 
 " The babbling brook, the azure sky, 
 
 The tangled fen of fern and flower, 
 The wee bit maid throned on the bank, 
 
 A woodland nymph within her bower, — 
 Behold the picture Nature gave 
 
 And in her sylvan gallery hung : 
 Oh, ne'er a lovelier vision fair 
 
 From artist's brain or pencil sprung." 
 
 Transform the above poem, making an outline before writing 
 Composition XLI, 
 
 THE NURSERY DOLL. 
 
 " A very round face and a very flat nose — 
 Simply a patch, of course, colored rose ; 
 A visage whose features are dents of blows ; 
 
Composition, 1 09 
 
 Eyes that stare 
 
 With a fixed, idiotic, preposterous glare ; 
 
 Limbs that hang with an awkward air 
 
 From a body decidedly worse for wear. 
 
 Length of measurement, be it said, 
 
 Two feet nothing from heel to head. 
 
 A clumsy, misshapen figure of w^ood, 
 
 Yet I've served my turn as a true doll should." 
 
 Transform the above poem, making an outline before writing. 
 
 Composition XLII. 
 
 THE ROOKERY. 
 
 Where is the rookery? Up near the roof. 
 
 In a little sky-parlor not quite waterproof, 
 
 Where the rain trickles in through the cracks and the seams, 
 
 And the spider-webs hang from the great heavy beams. 
 
 Up in the garret, shut off from the rest. 
 
 Is a queer little room, just as snug as a nest, 
 
 Where Bertie may tinker and hammer and pound, 
 
 And where, when he's missing, he's sure to be found. 
 
 What's in the rookery? All sorts of things : 
 
 Broom-handles, razor-straps, scissors and strings, 
 
 A sled and a wagon (both taken apart), 
 
 A horse that is harnessed and ready to start, 
 
 A drum and a trumpet, a ship without sails, 
 
 A splendid assortment of well-rusted nails, 
 
 A bank that is broken, a watch that won't go, 
 
 A mill that won't grind and a flute that won't blow, 
 
 Jackknives and marbles and ninepins and blocks, 
 
 Bottles and boxes and hammers and rocks. 
 
 Pictures and puzzles and pencils and books, 
 
 And heaps of confusion, but not any rooks. 
 
 — Muz- Muz. 
 
 Transform the above poem, making an outline before begin- 
 ning to write. 
 
110 How to Write, 
 
 Composition XL ITT, 
 
 THE PRINTER-BOY TRAMP. 
 
 His face is full of thought and dirt, 
 
 His brow's a savage scowl ; 
 He has a wise expression on, 
 
 As solemn as an owl. 
 His hair has not been combed to-day : 
 
 That's easy understood; 
 But there's something in his eye, mother, 
 
 That's sensible and good. 
 His clothes are somewhat patched and torn, 
 
 His hat's the worse for wear ; 
 He perches it upon his head 
 
 With very little care ; 
 His shoes are rough, and bear the marks 
 
 Of many a dusty mile; 
 He has a monster of a foot, 
 
 A large and sun-browned hand ; 
 But there's something in his air, mother, 
 
 Like one born to command. 
 
 — Will Carhton. 
 
 Transform the above poem, making an outline before begin- 
 ning to write. 
 
 Composition that presents to the mind of the lis- 
 tener or reader a picture of an object or place is de- 
 scription. 
 
 1, Every object or place is made up of important or essential 
 parts that are necessary to its exivstence as such object or place. 
 These essential parts are subject to elaboration or are affected 
 by incidental surroundings. Thus many minor points may be 
 introduced that are not necessary to the existence of the object 
 or place. The writer must be able to see and appreciate the 
 
Composition. Ill 
 
 main or principal features of the object or place, independent 
 of their elaborations and surroundings, before he can represent 
 such object or place. Hence arises the first law of composi- 
 tion, the Law of Selection: 
 
 Law: Select the principal parts or features of the 
 object to be described. 
 
 If, in the description of the picture on page 99, the writer 
 had made too prominent the rock over which the smaller girl 
 leans, or had made the basket which the larger girl holds one 
 of the main features of the picture, the Law of Selection would 
 have been violated; for these points are not essential to the ex- 
 istence of this picture as such picture. 
 
 2. Of course it is desirable that all of the principal features 
 that compose the object or place be presented, else the object 
 will not be made complete. It would be some other object, or 
 only part of the object, and this would be something else than 
 what was intended to be described. Hence arises another 
 great law of composition, the Law of Completeness: 
 
 Lata: Select for description every feature or part the 
 omission of which would leave but a part of the 
 object intended to be described. 
 
 If, in the description given on page 99, the writer had 
 failed to mention the boy or the water, the Law of Complete- 
 ness would have been violated, for without these parts the 
 picture is not a complete one. 
 
 If Mr. Longfellow, in his description of Pau-Puk-Kee- 
 wis on page 103, had omitted the description of the feet, or 
 had failed to describe the face of the Indian, he would have 
 
112 • How to Write. 
 
 violated the Law of Completeness, for he would have de- 
 scribed but a part of the object he set out to describe, and 
 would have left only an imperfect picture on the mind of the 
 reader. • 
 
 Notice in the description of Pau-Puk-Keewis by Longfel- 
 low, and also in the description of King James by Scott on 
 page 106, how perfectly this Law of Completeness has been 
 obe^-ed. 
 
 3. The principal parts of an object, thrown promiscuously 
 together, do not constitute the object. The parts must be put 
 together in their proper relations, or the object will be not 
 made. It must not be expected that the listener or reader 
 is able to arrange the parts after hearing them described. 
 The writer or speaker, while describing them, must so ar- 
 range the parts that the object described will grow in the 
 mind of the listener or reader. Hence arises another great 
 law of composition, the Law of Metliod: 
 
 Law: Present the selected points in such order that 
 the reader or listener may -with the least effort 
 form a correct picture of the object described 
 and retain the same in mind. 
 
 No one method can be given. Each writer can best follow 
 his own method. But it is desirable that a method should 
 be decided upon, and that the chosen method be adhered to 
 throughout. 
 
 4. A distorted or one-sided w^ritten picture is as objection- 
 able as a distorted or one-sided picture made with pencil or 
 brush. A description of a picture is not symmetrical if too - 
 much attention is paid to any one selected point in propor- 
 tion to its value in the picture. Hence arises another great 
 law of composition, the Law of Symmetry: 
 
CoTtiposition. 113 
 
 Law: Elaborate the selected points proportionally. 
 
 If the writer, in describing the picture on page 99, had 
 described in full the dress of one of the children and had 
 failed to give due attention to the dress of the other two, 
 the Law "of Symmetry would have been violated, for the 
 picture would then have been one-sided. 
 
 If Scott, in his description of King James on page 106, 
 after describing the cloak as fully as he has, had simply men- 
 tioned the other articles of dress, giving us no description of 
 the same, he would have violated the Law of Symmetry, and 
 his description would have been a distorted one. 
 
 ^. It must first be decided what the picture is to represent — 
 that is, a subject is to be chosen — and it must be remembered 
 at every step that the ©bject ®f the comp@?rition is to make that 
 picture. Hence arises the supreme law of composition, the 
 Law of Unity: 
 
 Law: In executing the various la-ws of composition, 
 make them subservient to the law of unity. 
 
 If, in the description of the picture on page 99, the writer 
 had left a distinct impression only of the dress of the children, 
 the Law of Unity would have been violated — that is, the sub- 
 ject would have been changed. 
 
 If Scott, in his description of King James on page 106, had 
 left a distinct picture only of the cloak or of the collar, the 
 Law of Unity would have been violated, for the subject 
 would then have been "A Cloak" or"^ A Collar," and not 
 ' King James." 
 8 
 
14 
 
 How to Write, 
 
 Composition XLl V. 
 
 'j^^-^ 
 
 HARVESTING. 
 
 This picture represents a harvest -scene. 
 
 In the left foreground is a large wagon on which 
 
Composition. 115 
 
 several men are loading the bundles of grain. 
 They are apparently finishing the harvest, for be- 
 hind them, and beyond a clump of trees, can be 
 seen the bare field, while before them stands 
 but one shock. A short distance in front of the 
 wagon are a number of children watching the 
 men at worh. They have probably brought cool- 
 ing drinks, in the jugs which are near them, to the 
 tired workmen. Kear by sits the farm-dog. He 
 too seems to be interested in the work, as he 
 ^"tlo^sely watches the impatient horses, ^i the righir 
 -Hjf^oreground can be seen the road leading up to the 
 capacious barn ivhich stands ready to receive the 
 grain. Beyond the barn is the old farmhouse, 
 surrounded with trees and grass-plots. In the cen- 
 tre background, through ccn opening in the trees, 
 may be seen in the far distance the village church, 
 and beyond this, low hills. 
 
 TJie whole scene is beautiful, and suggests at 
 once the hiirdships and the pleasures and coinforts 
 of farm-life. 
 
 Note the following points that have been selected for this 
 description, and the order in which they have been arranged : 
 
 1. Subject of the picture. 
 
 2. Wagon and workmen in the left foreground. 
 
 3. What the men are doing. Reasons for the same. 
 
 4. Minor objects in the left foreground. 
 
 5. Objects in the right foreground. 
 
 6. Description of the house. 
 
 7. Objects of interest in the centre background. 
 
 8. Conclusion. 
 
116 
 
 How to Write. 
 
 Composition XLV. 
 
Composition. 
 
 117 
 
 Evening . 
 
 Intko- 
 
 DUCTIOjS" 
 
 Name of picture. 
 
 Discus- 
 sion 
 
 CoN- 
 
 OLUSIOX 
 
 Central 
 Objects 
 
 Objects 
 at the 
 
 Left 
 
 Objects 
 at the 
 Right 
 
 Foreground | River. 
 Lake, 
 
 Background 
 
 Foreground 
 
 Sun. 
 
 Mill, 
 Village. 
 
 Background | Hills. 
 
 Foreground 
 
 Man and 
 
 boy, 
 Pasture. 
 
 Background { Hills, 
 General effect. 
 
 An outline for the picture on the preceding page is suggested 
 above. Write a description of the picture, following this out- 
 line or an outline made by yourself 
 
 On the following pages are given a number of subjects foi 
 compositions. Study these subjects carefully before writing, 
 securing the natural object (animal or plant) when it is pos-' 
 sible to do so. Remember that a plan (an outline) of com- 
 position is the first thing to be made. 
 
118 
 
 How to Write. 
 
 Composition XLVI. 
 
Composition. 
 
 119 
 
 Composition XLVII. 
 
120 
 
 How to Write, 
 
 Composition' XL VIII. 
 
 Composition XLIX, 
 
Composition, 
 
 121 
 
 Composition, lu 
 
122 
 
 How to Write. 
 
 Composition LI. 
 
 Composition LII. 
 
Composition. 
 
 123 
 
 Composition LIII, 
 
 THE ROOSTER. 
 
 Composition LIV. 
 
 THE TERN. 
 
 Cofnposition XF. 
 
 THE GUINEA-HEN 
 
124 
 
 How to Write. 
 
 Cotnposition LVI. 
 
 CORN. 
 
 (Data kot in Ordee.) 
 
 Annual; fibrous roots; stem, closed at the joints, 
 smooth, glossy, endogenous ; leaves, linear-laQceolate, 
 alternate, acute, entire, sheathing, sheaths split on the 
 opposite side of the stem ; ligules ; flowers in spikes. 
 
 Write a description of "Corn." 
 
Composition. 
 
 125 
 
 Composition LVII. 
 
 (Data not in Order.) 
 
 Vine ; annual ; roots, 
 fibrous; leaves, alter- 
 nate, radiate-veined, 
 lobed, acute, entire, 
 heart-shaped ; stem, 
 hairy, herbaceous, run- 
 ning, climbing, ten- 
 drils; flowers, yellow, 
 polypetalous, mono- 
 i^epalous, cleft. 
 
 THE CUCUMBER. 
 
 Comjyosition LVIII. 
 
 THE STRAWBERRY. 
 
 (Data not in Order.) 
 Stemless herbs; runners; white, clustered flowers; 
 leaves, compound, radical, obovate-wedge-form, coarse- 
 ly serrate ; stipules and petiole, hairy ; polypetalous ; 
 monosepalous. 
 
126 How to Write. 
 
 Composition LIX. 
 
 LORD MARMION. 
 
 Well by his visage you might know 
 He was a stalworth knight, and keen, 
 And had in many a battle been. 
 The scar on .his brown cheek revealed 
 A token true of Bosworth field ; 
 His eyebrow dark, and eye of fire, 
 Showed spirit proud, and prompt to ire ; 
 Yet lines of thought upon his cheek 
 Did deep design and counsel speak. 
 His forehead, by his casque worn bare, 
 His thick mustache and curly hair. 
 Coal-black, and grizzled here and there — 
 
 But more through toil than age — 
 His square-turned joints, and strength of limb, 
 Showed him no carpet-knight so trim, 
 But in close fight a champion grim, 
 
 In camps a leader sage. 
 
 Well was he armed from head to heel, 
 
 In mail and plate of Milan steel ; 
 
 But his strong helm, of mighty cost, 
 
 Was all with burnished gold embossed ; 
 
 Amid the plumage of the crest, 
 
 A falcon hovered on her nest. 
 
 With wings outspread and forward breast ; 
 
 E'en such a falcon, on his shield, 
 
 Soared sable in an azure field ; 
 
 The golden legend bore aright. 
 
 Who checks at me to death is dight." 
 
 Scott 
 
Composition. 127 
 
 Composition XX. 
 
 THE VILLAGE OF GRAND PRE. 
 
 In the Acadian land, on the shores of the basin of Minas, 
 Distant, secluded, still, the little village of Grand Pre 
 Lay in the fruitful valley. Vast meadows stretched to the 
 
 eastward, 
 Giving the village its name, and pasture to flocks without 
 
 number. 
 Dikes, that the hands of the farmers had raised with labor 
 
 incessant. 
 Shut out the turbulent tides; but at stated seasons the 
 
 floodgates 
 Opened, and welcomed the sea to wander at will o'er the 
 
 meadows. 
 West and south there were fields of flax, and orchards and 
 
 cornfields 
 Spreading afar and unfenced o'er the plain ; and away to 
 
 the northward 
 Blomidon rose, and the forests old, and aloft on the moun- 
 tains 
 Sea-fogs pitched their tents, and mists from the mighty 
 
 Atlantic 
 Looked on the happy valley, but ne'er from their stations 
 
 descended. 
 There, in the midst of its farms, reposed the Acadian vil- 
 lage. 
 Strongly built were the houses, with frames of oak and 
 
 of hemlock, 
 Such as the peasants of Normandy built in the reign of 
 
 the Henries. 
 Thatched were the roofs, with dormer-windows; and 
 
 gables, projecting 
 Over the basement below, protected and shaded the 
 
 doorway. 
 
 — H. W. Longfellow. 
 
NARRATION. 
 
 Coni2>osition LXI. 
 
 THE GRATEFUL LAWYER. 
 
 Mr. Lincoln's early athletic struggle with Jack Arm- 
 strong, the representative man of the " Clary's Grove Boys/' 
 will be remembered. From the moment of this struggle, 
 which Jack agreed to call *' a drawn battle," in consequence 
 of his own foul play, they became strong friends. Jack 
 would fight for Mr. Lincoln at any time, and would never 
 hear him spoken against. Indeed, there were times when 
 young Lincoln made Jack's cabin his home, and here Mrs. 
 Armstrong, a most womanly person, learned to respect the 
 rising man. 
 
 There was no service to which she did not make her 
 guest abundantly welcome, and he never ceased to feel the 
 tenderest gratitude for her kindness. At length her hus- 
 band died, and she became dependent upon her sons. The 
 oldest of these, while in attendance upon a camp-meeting, 
 found himself involved in a mdee which resulted in the 
 death of a young man, and young Armstrong was charged 
 by one of his associates with striking the fatal blow. He 
 was arrested, examined and imprisoned to await his trial. 
 The public mind was in a blaze of excitement, and inter- 
 ested parties fed the flame. 
 
 Mr. Lincoln knew nothing of the merits of this case ; that 
 is certain. He only knew that his old friend Mrs. Arm- 
 strong was in sore trouble ; and he sat down at once and vol- 
 
 128 
 
Composition, 129 
 
 unteered by letter to defend her son. His first act was to 
 procure the postponement and a change of the place of the 
 trial. There was too much fever in the minds of the imme- 
 diate public to permit of fair treatment. When the trial came 
 on, the case looked very hopeless to all but Mr. Lincoln, who 
 had assured himself that the young man was not guilty. 
 
 The evidence on behalf of the State being all in, and 
 looking like a solid and consistent mass of testimony against 
 the prisoner, Mr. Lincoln undertook the task of analyzing 
 and destroying it, which he did in a manner that surprised 
 every one. The principal witness testified that by the aid 
 of the brightly-shining moon he saw the prisoner inflict the 
 death-blow with a slung-shot. Mr. Lincoln proved by the 
 almanac that there was no moon shining at the time. The 
 mass of testimony against the prisoner melted away,' until 
 "Not guilty" was the verdict of every man present in the 
 crowded court-room. 
 
 There is, of course, no record of the plea made on this 
 occasion, but it is remembered as one in which Mr. Lincoln 
 made an appeal to the sympathies of the jury which quite 
 surpassed his usual efforts of the kind, and melted all to 
 tears. The jury were out but half an hour, when they re- 
 turned with their verdict of "Not guilty." The widow fainted 
 in the arms of her son, who divided his attention between his 
 services to her and his thanks to his deliverer. And thus the 
 kind woman who cared for the poor young man, and showed 
 herself a mother to him in his need, received as her reward, 
 from the hand of her grateful beneficiary, the life of a son, 
 saved from a cruel conspiracy. — J. G. Holland. 
 
 Reproduce the foregoing story in your own language, fol- 
 lowing the outline given below. 
 
 1. Events that led to an acquaintance with the 
 Armstrongs. 
 
 2. Mr. Lincoln's stay with the Arnastrongs. 
 
130 
 
 How to Write. 
 
 3. Death of Mr. Armstrong. 
 
 4. Young Armstrong charged with the death of an 
 associate. 
 
 5. Mr. Lincoln's action in the case. 
 
 6. The trial and result. 
 
 7. Gratitude of the Armstrongs. 
 
 Composition LXII, 
 
 THE HUNTER AND THE LION. 
 
 A h/wnter, while crossing a field on his way home, 
 saw a large lion close by watching him. The hun- 
 ter, having exhausted his supply of bullets, and 
 knowing he could not esca.pe the lion by running. 
 
 loohed about for a safe hiding-place. But the 
 field was bare and offei^ed no protecting retreat, 
 and the hunter soon saw that but one chance re- 
 mained — that of deceiving the lion. So he crept 
 
Composition. 
 
 131 
 
 along the ledge of a high cliff and hid himself 
 behind a lar^e roeh. He then took his hat and 
 
 coat and fixed them on his gun, so as to mahe 
 them looh lilce a man. As soon as the hunter saw 
 the lion approaching he held the gun, thus dressed, 
 
 above the rock. The lion made a spring at what 
 he supposed to be the man, leaped over the cliff 
 where the hunter ivas concealed, and was dashed 
 in pieces on the j^ocks below. The hunter descended 
 
132 
 
 How to Write. 
 
 and recovered his hab and coat, hut found his gun 
 shattered in pieces. As he loohed at the lifeless 
 
 form of the lion he was filled with thank fuhiess 
 for his own deliverance. 
 
 The Hunter 
 AND Lion 
 
 ( Meeting of hunter and lion, 
 Hunter's search for a place of safety, 
 Secretion of hunter, 
 Arrangement of gun, 
 Approach of lion, 
 Death of lion, 
 Recovery of hat and coat, 
 Thankfulness of hunter. 
 
 Write a reproduction of the foregoing story, referring to 
 the pictures while writing. In writing this reproduction, you 
 will be aided by noting the principal points that have been 
 selected and the order in which they have been arranged, as 
 shown in the outline. 
 
Compos ltio7i. 
 
 133 
 
 Composition LXIII. 
 
 Write an account of the events of a day spent witli your 
 cousin, as suggested by the following pictures : 
 
 TAKING UNCLE TO SEE THE WELL WE DUG. 
 
 FEEDING THE CHICKENS. 
 
134 
 
 How to Write. 
 
 
 TAKING A RIDE. 
 
 FISHING, 
 
Composition. 
 
 35 
 
 GOING HOME. 
 
 MAKING WORDS. 
 
^% 
 
 lot 
 
 How to Write. 
 
 Composition LXIV, 
 
 Write an account of the events of a day spent with Cousin 
 . as suggested by the following pictures : 
 
 WE GO TO THE FIELD TO FLY THE KITE. 
 
Composition. 
 
 137 
 
 WE GO TO THE RIVER 
 TO FISH. 
 
 WE FIND A BOAT. 
 
138 
 
 How to Write. 
 
 WE GO TO THE PASTURE, CATCH THE PONIES 
 AND TAKE A RIDE. 
 
 Many times an introductory remark, calling the attention 
 of the listener or reader in some pleasant or interesting way 
 to what yo\i are going to say, adds embellishment to the story 
 and helps to make it symmetrical. 
 
 A general remark in conclusion, giving the purpose of the 
 story or naming the points of the lesson taught by the story, 
 often adds force to what is said, and at the same time makes 
 the composition more symmetrical. 
 
 Study carefully the two following stories, making to each 
 an "Introduction" and a "Conclusion," as shown by the 
 pictures. 
 
Composition. 
 
 139 
 
 Composition LXV. 
 
 THE NARROW ESCAPE. 
 
140 
 
 How to Write. 
 
 ^^^^-^.S^ 
 
Composition, 
 
 141 
 
 iNTRODUCTIOlSr { The reading of the story. 
 
 The 
 Narrow 
 Escape 
 
 Discussion 
 
 Occupation of the boy, 
 
 Accident, 
 
 Rescue from the stream. 
 
 Restoration to life, 
 
 Joy of the dog. 
 
 Conclusion { Advice given to the boys. 
 
 Composition LXVl. 
 
 FRANK'S FIRST ATTEMPT AT SKATING. 
 
142 
 
 How to Write. 
 
 k t< 
 
 ^\^ 
 
Composition. 
 
 143 
 
 Frank's First 
 
 Attempt at 
 
 Skating. 
 
 ' Introduc- 
 tion 
 
 Discus- 
 sion 
 
 Conclu- 
 sion 
 
 r The winter's scene. 
 
 [ Arrival at the river, 
 First trial on the skates, 
 The fall, 
 The return home. 
 
 1 i 
 
 Account given of the skat- 
 ing. 
 
 Stories are embellished by some description of persons and 
 places. This embellishment helps to please the listener, and it 
 fastens his attention. By reading the description of a person, 
 the reader forms an acquaintance with such person and be- 
 comes solicitous for his welfare — is made happy by his success 
 or is grieved by his failure. A story that does not give a pic- 
 ture of the actors can scarcely be interesting, for it lacks that 
 element which excites the sympathy of the reader. 
 
 Much description, however, in a single place, is objectionable. 
 A story must move rapidly from scene to scene — from one time 
 to another. If the reader is detained too long for a descrip- 
 tion, the narrative stops movement, the attention of the reader 
 
144 How to Write, 
 
 is turned from the thread of the story, and unity is violated. 
 It is therefore necessary that the writer study his subject 
 closely, and determine beforehand how much description he 
 will introduce into his story. 
 
 The description of Pau-Puk-Keewis is one of many that 
 occur in that interesting story of Mr. Longfellow's, //zazmiAa. 
 It is seldom, however, that so full a description of a person is 
 given in any one place as that of Pau-Puk-Keewis. 
 
 The successful writers of stories seem to want their readers 
 to have frequent interviews with their characters personally, 
 and for this purpose they present them many times, giving at 
 each presentation only a partial description, but giving at each 
 time something that remains with, and becomes a part of, the 
 character, thus intensifying the reader's interest and sympa- 
 thy. In Dickens, Scott, Thackeray, Hawthorne, and others 
 whose names are to live as "story-tellers," full and minute 
 descriptions of persons and places are given; but these de- 
 scriptions are divided and scattered, appearing in places 
 where it is desirable to renew and increase the interest of 
 the reader in such person or place. 
 
 Read the following poem, carefully noting the great amount 
 of description with which it is embellished and the interest 
 that this description adds to the narration. 
 
 Composition LXVII, 
 
 THE BUTTERFLY BALL. 
 
 " The butterflies all once gave a grand ball 
 Where the roses were sw^eet, and the lilies grew tall. 
 From the north, and the south, and the east, and the west. 
 They gathered together, dressed all in their best. 
 Here, with her mamma, came charming Miss Flutter, 
 And next came Miss Fleetwing, as yellow as butter; 
 Then Sir Dandy Brownspots, all bows and all laughter, 
 And young Mr. Rubynose following after, 
 
Composition. 
 
 145 
 
 And plenty of others, of every hue — 
 
 Spotted and striped, brown, red, white and blue. 
 
 The music they had was as fine as could be, 
 
 For the birds made a chorus high up in each tree. 
 
 And along came the locust, bringing his drum, 
 
 And a great golden bee, striking in with his hum, 
 
 And every mosquito that came brought a fife. 
 
 While with grasshoppers' fiddles the whole air was rife. 
 
 And each flower, glad in the mirth to take part, 
 
 For a feast gave the sweetness that lay at its heart. 
 
 The ball was kept up till the close of the day, 
 
 Till the sun, grown tired, at last slipped away; 
 
 When the great moon shone out, with its calm, pearly light, 
 
 The weary young butterflies whispered, ' Good-night,' 
 
 And, as glowworm and firefly lighted them home, 
 
 They agreed, one and all, they were glad they had come.'* 
 
 The But' 
 terfly 
 Ball. 
 
 Introduc- 
 tion 
 
 r (Very short in this case.) 
 
 Where held { ^^^ip""" "f 
 ( place. 
 
 Participatora | I)esc"ption of 
 ( few. 
 
 Discus- 
 sion 
 
 Ml 
 
 Feast 
 
 {By whom fur- 
 nished. 
 
 f Byw 
 1 ed 
 
 horn serv- 
 
 Close of ball, 
 ^ Return home. 
 
 Conclu- 
 sion 
 
 r Happi 
 
 ness of butterflies. 
 
 Transform the foregoing poem, following the given outline 
 as you write. 
 10 
 
*46 How to Write. 
 
 Composition JLXVIII. 
 
 LILY'S BALL. 
 
 Lily gave a party, 
 
 And her little playmates all, 
 Gayly drest, came in their best, 
 
 To dance at Lily's ball. 
 
 Little Quaker Primrose 
 
 Sat and never stirred, 
 And, except in whispers, 
 
 Never spoke a word. 
 
 Snowdrop nearly fainted 
 
 Because the room was hot, 
 And went away before the rest, 
 
 "With sweet Forget-me-not. 
 
 Pansy danced with Daffodil, 
 
 Kose with Violet ; 
 Silly Daisy fell in love 
 
 With pretty Mignonette. 
 
 But, when they danced the country-dance. 
 
 One could scarcely tell 
 "Which of these two danced it best — 
 
 Cowslip or Heatherbell. 
 
 Between the dances, when they all 
 
 Were seated in their places, 
 I thought I'd never seen before 
 
 So many pretty faces. 
 
 But, of all the pretty maidens 
 I saw at Lily's ball. 
 
Composition. 
 
 147 
 
 Darling Lily was to me 
 The sweetest of them all. 
 
 And when the dance was over, 
 They went down stairs to sup ; 
 
 And each had a taste of honey-cake, 
 With dew in a buttercup. 
 
 And all were dressed to go away 
 
 Before the set of sun ; 
 And Lily said, " Good-bye," and gave 
 
 A kiss to every one. 
 
 And before the moon or a single star 
 
 Was shining overhead, 
 Lily and all her little friends 
 
 Were fast asleep in bed. 
 
 — Fun and Earned. 
 
 Lily's Ball 
 
 Introduc- 
 tion 
 
 Discus- 
 sion 
 
 Conclu- 
 sion 
 
 I By whom the party was given. 
 
 -,, , f Description of 
 
 The guests i ^ ^ 
 
 ° I a few. 
 
 The dancing { Description. 
 
 Occupation between dances. 
 
 The supper { Where serve-i 
 
 Close of ball I Time. 
 
 Transform the foregoing poem, following the given outline 
 as you write. 
 
148 How to Write. 
 
 Composition LXIX. 
 
 THE RAT AND THE OYSTER. 
 
 " A foolish young rat 
 Fed on wheat and grew fat 
 
 In the barn-hole in which he was born : 
 No danger he knew ; 
 So, conceited he grew, 
 
 And he treated his mother with scorn. 
 
 " ' I'll go off to sea 
 
 For adventures,' said he ; 
 
 * Fields and plains I begin to detest ; 
 'Tis pleasant to roam ; 
 Timid rats stay at home ; 
 
 Rambling rats are the bravest and best.' 
 
 ** At once he ran out, 
 And he looked all about, 
 
 Viewing all that he saw with surprise ; 
 A very small brook 
 For the sea he mistook ; 
 
 As the Alps, molehills seemed^to his eyes. 
 
 •' Well, onward ran he 
 Till he came to the sea, 
 
 Where some oysters were cast on the shore. 
 One large one he spied. 
 With its shell open wide: 
 
 He had not seen an oyster before. 
 
 "Its flesh, plump and white. 
 Filled the rat with delight ; 
 
 And its smell — oh, how tempting was that 1 
 'What delicate meat !' 
 He exclaimed ; * what a treat ! 
 Surely I am a fortunate rat 1' 
 
Composition. 
 
 149 
 
 His head, sad to tell, 
 He thrust into the shell, 
 
 When the oyster, with fear out of breath, 
 Said, ' This is not nice !' 
 Closed the shell in a trice, 
 
 And it crushed the intruder to death." 
 
 The Rat 
 and the 
 Oyster 
 
 Introduc- 
 tion 
 
 Discus- 
 sion 
 
 Conclu- 
 sion 
 
 {Home 
 Decisis 
 
 of rat, 
 on of rat to travel. 
 
 -r f Obiects seen on 
 
 J ourney i , 
 
 ( the way. 
 
 Arrival at the sea. 
 
 Meeting with ) 
 the oyster j 
 
 . Death of the rat. 
 
 Description. 
 
 \ (Wanting. 
 
 Transform the foregoing poem, following the given outline 
 as you write. 
 
 Composition LXX. 
 
 THE OWL AND THE PUSSY-CAT. 
 
 The Owl and the Pussy-Cat went to sea 
 
 In a beautiful pea-green boat ; 
 They took some honey and plenty of money 
 
 Wrapped up in a five-pound note. 
 The Owl looked up to the moon above, 
 
 And sang to a small guitar : 
 lovely Pussy ! Pussy my love ! 
 
 What a beautiful Pussy you are, 
 You are, 
 
 What a beautiful Pussy you are !" 
 
150 How to Write. 
 
 Pussy said to the Owl, " You elegant fowl ! 
 
 How wonderful sweet you sing ! 
 Oh, let us be married — too long we have tarried — 
 
 But what shall we do for a ring?" 
 They sailed away for a year and a day 
 
 To the land where the Bong tree grows. 
 And there in a wood a little pig stood, 
 
 With a ring in the end of his nose, 
 His nose. 
 
 With a ring m the end of his nose. 
 
 " Dear Pig, are you willing to sell for one shilling 
 Your ring?" Said the Piggy, " I will." 
 So they took it away, and were married next day 
 
 By the turkey who lives on the hill. 
 They dined ujDon mince and slices of quince, 
 
 Which they ate with a runcible spoon, 
 
 And hand in hand on the edge of the sand 
 
 They danced by the light of the moon, 
 
 The moon, 
 They danced by the light of the moon. 
 
 — Edward Lear. 
 
 Transform the foregoing poem, making an outline before be- 
 ginning to write. 
 
 Composition LXXI. 
 
 THE MISER'S VALENTINE. 
 
 A poor-rich miser, all forlorn, 
 With visage grim and garments worn, 
 Once fell in love — though, strange to say, 
 All with a maiden fair and gay. 
 " What shall I do to gain her love?" 
 Mused he. " By silver stars above, 
 I have it ! If I never dine, 
 I'll send the girl a valentine!" 
 And so from out his bag of gold 
 Ten shining dollars soon were told. 
 
Composition. 
 
 151 
 
 The silver beauties olose he scanned, 
 
 And held them fondly in his hand. 
 
 He counted them thrice o'er and o'er, 
 
 Then tossed one back among his store : 
 
 ' I certainly can buy with nine 
 
 A charming, rosy valentine." 
 
 Before he reached the garden-gate 
 
 He had reSonred to spend but eight, 
 
 Then seven, then six, then five, then four. 
 
 His hand was on the shopman's door : 
 
 Four dollars ! What a monstrous sum 
 
 To spend ! Enough to strike me dumb ! 
 
 To make it two I do incline : 
 
 No, one shall buy this valentine. 
 
 A dollar ! Just one hundred cents !'* 
 
 He sighed. " A waste of useful pence. 
 
 A penny valentine I'll send." 
 
 This much the miser did expend. 
 
 But e'er his journey home was through 
 
 He sold the penny sheet for two ! 
 
 Tempt him whichever way you will, 
 
 A miser is a miser still. 
 
 —Mrs. M. A. Kidder. 
 
 
 ' Introduc- ' 
 
 TION 
 
 I" (Wanting.) 
 
 The Mi- 
 ser's Val- 
 entine 
 
 Discus- 
 sion 
 
 ' Love of the miser, 
 Decision to send valentine. 
 Amount selected to be expended. 
 Amount expended. 
 Sale of valentine. 
 
 
 Conclu- 
 sion 
 
 ' Moral. 
 
 Transform the foregoing poem, following the given outline 
 as you write. 
 
152 How to Write. 
 
 Coinposition LXXII, 
 
 Transform the following poem. It is a fine example of nar- 
 ration embellished with description. 
 
 THE WATER-QURE. 
 
 There was a little Lizzie 
 Who was never very busy, 
 
 Neither very hard to please ; 
 She was not inclined to labor 
 For herself or for her neighbor, 
 
 For she dearly loved her ease. 
 There was nothing you could tell her 
 That would rouse her or compel her 
 
 At the proper time to rise : 
 If you didn't go and shake her, 
 All your calling wouldn't make her 
 
 Open wide those sleepy eyes. 
 So her little sister Kittie, 
 Very mischievous and witty, 
 
 Thought she'd try the water-cure. 
 She was careful not to mention 
 To her mother her intention, 
 
 Till she'd made the matter sure. 
 But while Liz was soundly sleeping 
 Kittie came on tiptoe creeping 
 
 To the comfortable bed ; 
 And poor Lizzie, in her dreaming, 
 Thought Niagara was streaming 
 
 Over her unlucky head. 
 Up she jumped and choked and spluttered, 
 And the queerest noises uttered 
 
 Through her mouth and through her nose, 
 As the water, like a river, overflowed her, 
 
 Made her shiver from her eyelids to her toes. 
 
Composition. 153 
 
 Then the laughing little Kittie, 
 Who was wise as well as witty, 
 
 Though she quite enjoyed the play, 
 Thought it safe for her to scamper 
 (Seeing things were getting damper) 
 
 Out of lazy Lizzie's way. 
 So she dodged the little matter 
 Of a comb and brush flung at her. 
 
 And, with merry mischief, ran 
 To report that lazy Lizzie 
 Was already up and busy. 
 
 Thanks to her successfiil plan. 
 Our Miss Lizzie thinks at present 
 It's decidedly more pleasant 
 
 Early rising to endure, 
 Than to undergo the joking, 
 To say nothing of the soaking 
 
 Of another water-cure. 
 
 ^Mary E. Bra He y. 
 
 Make an outline before you begin to write. 
 
 Composition LXXIII. 
 
 Transform the following poem, and note the description con- 
 tained therein. 
 
 THE SUMMER SHOWER. 
 
 " It happened, on a summer's day, 
 As little Charlie left his play 
 
 To march away to school, 
 His loving little sister Bess, 
 Whose every touch was a caress. 
 
 Mounting her tiny stool. 
 Threw both arms round her mamma dear, 
 And, softly whispering in her ear, 
 
 Begged her to make a rule 
 
154 How to Write, 
 
 That she too might a scholar be, 
 
 And bear dear Charlie company 
 
 When marching off to schooL 
 
 * And mamma kissed the eager face. 
 And sent both off in eager chase 
 
 To reach the schoolroom door ; 
 And all within the school went well, 
 And naught of trouble them befell. 
 
 Till, coming home once more, 
 A sudden shower them o'ertook 
 And wet poor Charlie's slate and book, 
 
 And soaked the clothes they wore. 
 And tiniid Bessie, pale with fright. 
 Reached mamma in a sorry plight, 
 
 To murmur, o'er and o'er, 
 ' Please, mamma, keep me home with you, 
 For oh, indeed, I never knew 
 
 Before that rain could roar !' " 
 
 Make an outline before beginning to write. 
 
 Composition LXXTV, 
 
 Transform the following poem. Note the great amount of 
 description contained in it before the narration begins. 
 
 DANIEL SMITH. 
 
 *' Daniel Smith was number six, 
 Full of mischief, full of tricks ; 
 Full of supple strength was Dan, 
 Like an ' India-rubber man.' 
 Fleet of foot and fleet of limb, 
 Not a boy could distance him. 
 As across the fields he sped. 
 Or the merry pastimes led. 
 
Composition. 155 
 
 One sad morn his way he took, 
 Cleared the field and leapt the brook, 
 Missed his foothold, slipped and fell. 
 Rolling down into the dell. 
 Many weary hours he lay, 
 Quite unconscious, till that way 
 Passed a farmer's lad, who bore 
 Daniel to his cottage door. 
 From that time he never led 
 Merry pastime sports, or sped 
 Fleetly, with a whoop or bound, 
 O'er the fences or the ground. 
 Crippled Dan (the name he bore) 
 Used to sit upon the shore, 
 Hour by hour, with silent lips, 
 Looking at the busy ships." 
 
 Make an outline before you begin to write. 
 
 Composition LXXV. 
 
 Transform the following poem. Note that the description 
 is distributed. Note, also, how much interest the description 
 adds to the story. 
 
 FROZEN IN THE STREET. 
 
 The air was white with snow. 
 And on ih.Q street below 
 
 It lay spread out, a mantle pure and white, 
 And the houses, 'neath the flakes. 
 Grew to look like frosted cakes, 
 
 And over all came down the solemn night. 
 The young lad's feet were sore. 
 As he passed from door to door 
 
 With the holly-branches no one wished to buy, 
 
156 How to Write, 
 
 Till, weary with his quest, 
 
 He at last sat down to rest, — - ' 
 
 Thinking drowsily. How would it seem to die? 
 
 Then suddenly a light 
 
 Seemed to spread throughout the night, 
 
 And he wondered vaguely how and whence it came ; 
 And every soft snowflake 
 Seemed an angel-form to take. 
 
 And he heard strange voices calling him by name. 
 When the morning sun rose fair, 
 They found him lying there, 
 
 "With a smile upon his lips, just as he died ; 
 But they never knew, alas ! 
 How glad he was to pass 
 
 Through the misty portals of a realm untried. 
 
 —Ella F. CUjdi. 
 
 Make an outline before beginning to write. 
 
 Composition LXXVI. 
 
 Read the following story, noting the description that occurs 
 throughout it. 
 
 EVENTS OF A HALF-DAY AT SCHOOL. 
 
 During my visit with my friend I spent one half- 
 day with her in the school ivhich she attended. We 
 started about half -past eight, and the luallc proved 
 to be such a pleasant one that I was almost sorry 
 when IV e came in sight of the schoolhouse. We 
 were none too early, for the bell rang just as we 
 reached the steps; so we hurried to the room. 
 
 The schoolroom was very pleasant, with its five 
 
Composition. 157 
 
 rows of seats filled with bright, happy children. 
 The teacher, a young lady with a very pleasing 
 countenance, called the school to order, and the 
 day was opened with singing, in which all took 
 part* After the singing a class in arithmetic re- 
 cited,/ftThe class solved many difficult examples 
 in fractions. While this class luas reciting the 
 second class studied their ReaAers, and from tivie 
 to time different -members of it left their seats and 
 went to a table that stood in front of the third 
 row of sdats. On this table lay two or three dic- 
 tionaries and many other reference-books, to which 
 the pupils had, free access \^A fte?' a short recess, 
 during which the pupils walked^ about the room, 
 talking quietly, the class in readying was heard, 
 while the first class studied geography. During 
 this recitation in reading the teacher stood in the 
 back part of the room, near one of the windows, 
 and requested each pupil in turn to pass to the 
 rostrum in front of the school, stand near the desk 
 and read, (^^jzothr.r short recess ivas given the pu- 
 pils, during which an accld,ent occurrad . A girl in 
 passing knocked a plant from a window and broke 
 the ])ot. It was quickly removed., and was scarce- 
 ly missed from among the many blooming plants 
 which filled the windrows. The class in geography 
 then took places at the blackboard , which ejctcnded, 
 around the entire room, and completed, maps of 
 Illinois, referring at times to a large map which 
 hung in the front part of the room. These maps, 
 together with the pictures nicely grouped above the 
 
158 
 
 How to Write. 
 
 board, added much to the good appearance of the 
 room. Following the map-drawing came recita- 
 tions in history and grammar, the class not recit- 
 ing being engaged in preparing the next lesson.; 
 At five minutes before twelve boohs were laid aside, 
 when the teacher, in a quiet, pleasing way, talked 
 with the pupils for a few minutes. At a signal 
 the pupils filed out, and were soon on their way 
 home. 
 
 I was so much pleased with the school that I de- 
 termined to visit it again, which I did on the fol- 
 lowing afternoon. 
 
 Events of 
 a Half- 
 Day 
 Bit School 
 
 InTRODUC- f Walk, 
 TION 
 
 Discus- 
 sion 
 
 Arrival at school. 
 
 Room { Slight description. 
 
 Teacher { Slight description. 
 
 Singing, 
 
 Arithmetic recitation. 
 
 ^of ] 
 
 \ Description of table, 
 i^g i 
 
 Recess { Description. 
 
 Study of 
 read 
 
 Conclu- 
 sion 
 
 Reading recitation. 
 Accident. 
 
 Maps { Description. 
 
 History and grammar. 
 Talk. 
 
 Pleasure derived from the visit. 
 
Composition, 
 
 159 
 
 Composition LXXVII* 
 
 Narrate the events of a half-day at school, following the 
 given programme and imagining the necessary description. 
 
 
 PROGRAMME, 
 
 
 
 
 Recitations. 
 
 
 studies. 
 
 1.30 to 2.00 . . 
 
 . Language. 
 
 
 
 " 2.05 . . 
 
 . . Eecess. 
 
 
 
 " 2.30 . . 
 
 . A. Reading. 
 
 B. 
 
 Geography. 
 
 " 2.35 . . 
 
 . . Recess. 
 
 
 
 " 3.00 . . 
 
 . B. Geography. 
 
 A. 
 
 History. 
 
 " 3.05 . . 
 
 . . Recess. 
 
 
 
 " 3.30 . . 
 
 . A. History. 
 
 B. 
 
 Number. 
 
 " 3.35 . . 
 
 . . Recess. 
 
 
 
 " 4.10 . . 
 
 . Writing. 
 
 
 
 " 4.15 . . 
 
 . . Dismissal. 
 
 
 
 Composition LXXVIII. 
 
 Narrate the events of a half-day at your own school, and 
 embellish the story with appropriate description. 
 
 A more dignified name for story-tellingr is narra- 
 tion. 
 
 A composition that details events which are mu- 
 tually dependent for their value and interest is nar- 
 ration. 
 
 Narration is subject to the same laws as description. 
 
IGO How to Write. 
 
 If, while telling a story, you turn aside to interest your 
 reader in some other story, or in some description that you 
 are giving too fully, you violate the Law of Unity. Narrate 
 minor incidents of the story and describe objects and people 
 only for explanation or embellishment, that you may increase 
 the interest of the reader in your main work. 
 
 If you make a mistake in determining the principal events 
 of the story, you violate the Law of Selection. This law is sub- 
 ject to varied application, according to the judgment of the 
 writer. 
 
 If you omit one or more of the principal points of the story, 
 you violate the Law of Completeness. 
 
 If you fail to arrange incidents of the story in such order 
 that the reader will understand them in their proper rela- 
 tions, you violate the Law of Method. It is not necessary 
 that the events be narrated always in the exact order of time 
 in which they occur. 
 
 If you fail to give to each principal and each subordinate 
 event attention proj)ortionate to that given to other principal 
 or subordinate events, you violate the Law of Symmetry and 
 offend the cultivated taste. 
 
 In writing, much latitude is allowed the judgment and 
 taste of the writer. The exact application of the laws you 
 have learned is of course controlled by the purpose the wri- 
 ter has in view. • 
 
 Abstract Description, 
 
 DESCRIPTION OF A YOUNG MAN. 
 
 Personally I recall him as a young man of fine and appeal- 
 ing face, of winning manners, of positive intellectuality. He 
 was quick in repartee, brilliant in conversation, with a fund 
 of information and cultivation to draw upon remarkable in so 
 Voung a man. At that time there was something even pa- 
 
Abstract Description. 
 
 161 
 
 thetic in expression, like the shadow of something unseen. 
 He was unassuming, unaggressive, with the bearing of one 
 w^ho by nature would prefer to do his duty and bide his 
 time. — Mary demimer. 
 
 D U R O C. 
 
 Duroc was grand marshal of the palace, and a bosom friend 
 of the emperor Napoleon. Of a noble and generous character, 
 of unshaken integrity and patriotism, and firm as steel in the 
 hour of danger, he was beloved by all w^ho knew him. There 
 was a gentleness about him and a purity of feeling which the 
 life of a camp could never destroy. 
 
 Napoleon loved him ; for, through all the changes of his 
 tumultuous life, he had ever found his affection and truth 
 the same. — J. T. Headley. 
 
 THE BEAR OF THE PYRENEES. 
 
 The bear of the Pyrenees is a serious beast, a thorough 
 mountaineer, curious to behold in his great coat of felted 
 hair, yellowish or grayish in color. He seems formed for his 
 domicile, and his domicile for him. His heavy fur is an excel- 
 lent mantle against the snow. The mountaineers think it so 
 11 
 
162 How to Write. 
 
 good that they borrow it from him as often as they can, and 
 he thinks it so good that he defends it against them to the 
 best of his ability. 
 
 He likes to live alone, and the gorges of the heights are 
 as solitary as he .wishes. The hollow trees afford him a 
 ready-made house ; as these are, for the most part, beeches 
 and oaks, he finds in them at once food and shelter. For the 
 rest — brave, prudent and robust — he is an estimable animal ; 
 his only faults are that he eats his little ones when he runs 
 across them, and that he is a poor dancer. — H. A. Paine. 
 
 You will note that the above descriptions give qualities 
 that cannot be seen with the eye. Such descriptions are 
 called Abstract Descrijitions. 
 
 Abstract Description frequently adds much to the embel- 
 lishment of narration. 
 
 I wish you now to rewrite the narrations asked for on pages 
 130, 133, 139 and 141, and embellish them with both Abstract 
 and Concrete Descrij)tion. 
 
 Be careful not to give so much description in any one place 
 as to violate Unity. 
 
 Composition LXXIX, 
 
 DICKY AND DOLLY. 
 
 Dicky and Dolly are two pretty birds ; 
 Singing all day in their songs without words, 
 Flying about in the sun and the breeze, 
 Rising and falling like leaves on the trees. 
 
 Dicky and Dolly know nothing of care ; 
 They are as free as their neighbor, the air ; 
 Swinging on treetops or swaying on corn, 
 Merriest rattle-pates ever were born. 
 
Composition . 1 63 
 
 Dicky and Dolly, the jolly and bold, 
 What will you do when the winter is cold ? 
 " Do?" says brave Dick, with a worm in his month — 
 " Do? Why, you goose, we will leave and go south !" 
 
 —M. E. Bradley. 
 
 Transform this poem. This description presents an idea of 
 tliese birds by giving their actions, and not by giving qualities, 
 as in the foregoing, or by giving size and form and color, as in 
 the first description. 
 
 THE BIRD. 
 
 There's a human look in its swelling breast, 
 And the gentle curve of its lowly crest ; 
 
 'Tis a bird I love, with its brooding note, 
 And the trembling throb in its mottled throat. 
 
 — iV. P. Willis. 
 
 Transform the above stanzas. Note the kind of description 
 contained in the poem. 
 
 You hear that boy laughing? — You think he's all fun ; 
 But the angels laugh, too, at the good he has done ; 
 The children laugh loud as they trip to his call. 
 And the poor man that knows him laughs loudest of all. 
 
 -O. W. Ilohics. 
 
 Trnnsform the above stanza. Note the kind of description 
 )ntained in the poem. 
 
 Composition LXXX, 
 
 THE VILLAGE PREACHER. 
 
 Near yonder copse, where once the garden smiled, 
 And still where many a garden flower grows wild, 
 
164. How to Write. 
 
 There, where a few torn shrubs the place disclose, 
 The village preacher's modest mansion rose. 
 
 A man he was, to all the country dear, 
 
 And passing rich with forty pounds a year ; 
 
 Remote from towns, he ran his godly race, 
 
 Nor e'er had changed, nor wished to change, his place. 
 
 Unskillful he to fawn, or seek for power, 
 By doctrines fashioned to the varying hour ; 
 Far other aims his heart had learned to prize — 
 More bent to raise the wretched than to rise. 
 
 His house was known to all the vagrant train ; 
 He chid their wand'rings, but relieved their pain. 
 The long-remembered beggar was his guest. 
 Whose beard, descending, swept his aged breast ; 
 The ruined spendthrift, now no longer proud. 
 Claimed kindred there, and had his claims allowed ; 
 
 The broken soldier, kindly bade to stay, 
 Sat by his fire and talked the night away — 
 Wept o'er his wounds, or tales of sorrow done, 
 Shouldered his crutch, and showed how fields were won. 
 
 Pleased with his guests, the good man learned to glow, 
 And quite forgot their vices in their w^oe ; 
 Careless their merits or their faults to scan. 
 His pity gave ere charity began. 
 
 Thus to relieve the wretched was his pride, 
 And even his failings leaned to virtue's side ; 
 But, in his duty, prompt at every call, 
 He watched and wept, he prayed and felt, for all : 
 
 And as a bird each fond endearment tries, 
 
 To tempt her new-fledged offspring to the skies, 
 
Composition. 165 
 
 He tried each art, reproved each dull delay, 
 Allured to brighter worlds, and led the way. 
 
 Beside the bed where parting life was laid, 
 And sorrow, guilt and pain, by turns dismayed, 
 The reverend champion stood. At his control. 
 Despair and anguish fled the struggling soul ; 
 Comfort came down, the trembling wretch to raise, 
 And his last faltering accents whispered praise. 
 
 At church, with meek and unaffected grace, 
 His looks adorned the venerable place ; 
 Truth irom his lips prevailed with double sway ; 
 And fools, who came to scoff, remained to pray. 
 
 The service past, around the pious man, 
 
 With ready zeal, each honest rustic ran; 
 
 Even children followed with endearing wile, 
 
 And plucked his gown, to share the good man's smile; 
 
 His ready smile a parent's warmth expressed ; 
 Their welfare pleased him, and their cares distressed ; 
 To them his heart, his love, his griefs were given, 
 But all his serious thoughts had rest in heaven ; 
 
 As some tall cliff, that lifts its awful form, 
 Swells from the vale, and midway leaves the storm ; 
 Though round its breast the rolling clouds are spread. 
 Eternal sunshine settles on its head. 
 
 '"■^Oliver Goldsmith. 
 
 Transform the foregoing poem. 
 
 Writers frequently embellish their narrations by detailing 
 the influence that persons and places have upon the beholder. 
 Read the following : 
 
166 How to Write. 
 
 BOOKS. 
 
 The good book of the hour is simply the useful or pleasant 
 talk of some person with whom you cannot otherwise con- 
 verse, printed for you. Very useful, often telling you what 
 you need to know; very pleasant, often, as a sensible friend's 
 present talk would be. 
 
 These bright accounts of travels, good-humored and witty 
 discussions of questions, lively or pathetic story-telling in the 
 form of a novel, firm fact-telling by the real agents concerned 
 in the events of passing history, — all these books of the hour, 
 multiplying among us as education becomes more general, are 
 a peculiar characteristic and possession of the present age. 
 
 A book is, essentially, not a talked thing, but a written 
 thing; and written, not with the view of mere communica- 
 tion, but of permanence. The book of talk is printed only 
 because its author cannot speak to thousands of people at 
 once ; if he could, he would : the volume is mere multiplica- 
 tion of his voice. You cannot talk to your friend in India ; 
 if you could, you would ; you write instead : that is mere 
 conveyance of voice. But a book is written, not to multiply 
 the voice merely, not to carry it merely, but to preserve it. 
 
 The author has something to say which he perceives to be 
 true and useful, or helpfully beautiful. So far as he knows, 
 no one has yet said it ; so far as he knows, no one else can say 
 it. He is bound to say it clearly and melodiously if he can ; 
 clearly, at all events. 
 
 5ji 5jC 3JC SfC JjC 3fC 3JC 
 
 He would fain set it down for ever; engrave it on rock if 
 he could, saying, " This is the best of me ; for the rest, I ate, 
 and drank, and slept, loved, and hated, like another ; my life 
 was as the vapor, and is not ; but this I saw and knew ; this, 
 if anything of mine, is worth your memory." That is his 
 " writing;" it is, in his small human way, and with whatever 
 degree of true inspiration is in him, his inscription or scrip- 
 ture That is a " Book." — John B^iskin. 
 
Composition. 167 
 
 THE MILL ON THE FLOSS. 
 
 As I look at the full stream, the vivid grass, the delicate 
 bright-green powdei* softening the outline of the great trunks 
 and branches that gleam from under the bare purple boughs, 
 I am in love with moistness, and envy the white ducks that 
 aie dipping their heads far into the water, here among the 
 withes, unmindful of the awkward appearance they make in 
 the drier world above. 
 
 The rush of the water and the booming of the mill bring 
 a dreamy deafness, which seems to heighten the peacefulness 
 of the scene. They are like a great curtain of sound, shut- 
 ting one out from the world beyond. Now, there is the thun- 
 der of the huge covered wagon, coming home with sacks of 
 grain. That honest wagoner is thinking of his dinner's get- 
 ting sadly dry in the oven at this late hour ; but he will not 
 touch it till he has fed his horses — the strong, submissive, 
 meek-eyed horses. 
 
 See how they stretch their shoulders up the slope toward 
 the bridge, with all the more energy because they are so near 
 home. Look at their grand, shaggy feet, that seem to grasp 
 the firm earth, at the patient strength of their necks, bowed 
 under the heavy collar, at the mighty muscles of their strug- 
 gling haunches 1 — George Eliot. 
 
 The day is cold, and dark, and dreary; 
 Ic rains, and the wind is never weary. 
 The vine still clings to the moldering wall, 
 But at every gust the dead leaves fall, 
 And the day is dark and dreary. 
 
 — Longfellow. 
 
1G8 
 
 ITow to Write: 
 
 LUVICliOVS UESCRIPTIOW. 
 
 A HORSE. 
 
 This animal 
 wan a broken- 
 down plough- 
 horse that had 
 outlived almost 
 everything but 
 his vieiousnesR. 
 He was gaunt 
 and shagged, 
 with a ewe-neck 
 and a head like 
 a hammer ; his 
 rusty mane and 
 tail were tan- 
 gled and knot- 
 ted with burrs ; 
 one eye had lost 
 its pupil, and 
 was glaring and 
 spectral ; but 
 the other had 
 the gleam of a 
 genuine devil 
 in it. He bore 
 the name of 
 Gunpowder; 
 and had been a 
 favorite steed of his master, the choleric Van Ripper, who was 
 a furious rider, and had infused, very probably, some of his 
 own spirit into the animal. — Washington Irving. 
 
Ludicrous Descripi 
 
 ion. 
 
 169 
 
 THE THIN GENTLEMAN. 
 
 He was a little, high-dried man, with a dark, sqneezed-up 
 face, and small, restless black eyes, that kept winking and 
 twinkling on eacli side of his little exquisite nose as if they 
 were playing a perpetual game of peep-bo with that feature. 
 He Avas dressed all in black, with boots as shiny as his eyes, 
 a low, while neckcloth, and a clean shirt with a frill to it. 
 A^gold watch chain and seals depended from his fob. He 
 carried his black kid gloves in his hands, not on them ; and 
 as he spoke, thrust his wrists beneath his coat-tails with the 
 air of a man who was in the habit of propounding some reg- 
 ular posers.— Chivies Dickens. 
 
 Name the following subjects, and give a ludicrous descrip- 
 tion of each. 
 
 Comjyosition LXXXI. 
 
170 
 
 How to Write. 
 
 Composition LXXXII. 
 
 ■"i^ - 
 
 Composition LXXXIII. /^^ 
 
 
Composition. 
 
 171 
 
 Composition LXXXIV. 
 
 FIGUBES, 
 
 It adds clearness, and frequently embellishment, to composi- 
 tion to assert a similarity between what we would have the 
 hearer or reader see or understand and some object or event 
 with which he is supposed to be familiar. Note in the fol- 
 lowing description that Ichabod's arms are likened to grass- 
 hoppers' legs. To any one who has seen a grasshopper this 
 likeness conveys more meaning than could be done by several 
 lines of close description. The words " like a sceptre " mean 
 very much. Farther on, the motion of his arms is likened to 
 the flapping of wings. No other language could easily con- 
 vey so much of the exact kind of thought to him who had 
 ever witnessed the flight of a bird. 
 
172 
 
 How to Write. 
 
 ICHABOD. 
 
 Icliabod 
 
 suitable figure 
 
 was a 
 for 
 such a steed. He 
 rode with short stir- 
 rups, which brought 
 his knees nearly up 
 to the pommel of the 
 saddle; 'his sharp el- 
 bows stuck out like 
 grasshoppj^rs ' ; she 
 carried his whip per- 
 pendicularly in his 
 hand, like a sceptre, 
 and as his horse jog- 
 ged on,the motion of 
 his arms was not un- 
 like the flapping of 
 a pair of wings. A 
 small wool hat rest- 
 ed on the top of 
 his nose, for so his 
 scanty strip of fore- 
 head might be called , 
 and the skirts of his 
 black coat fluttered 
 ^ "^- ' ' \^ "-^ out almost to the 
 
 horse's tail. Such 
 was the appearance of Ichabod and his steed as they sham- 
 bled out of the gate of Hans Van Ripper. 
 
 — Washington Irving. 
 
 This kind of comparison, in which the likeness is 
 asserted, is a siiuile. 
 
Coinposition. 173 
 
 Study carefully the similes in the selections below. 
 
 Have love — not love alone for one, 
 But man, as man, thy brother call ; 
 
 And scatter, like the circling sun, 
 Thy charities on all. 
 
 •Schiller. 
 
 The Assyrian came down like the wolf on the fold. 
 And his cohorts were gleaming in purple and gold. 
 
 -"^Byron. 
 
 And the night shall be fille^d with music, 
 
 And the cares that infest the day 
 
 Shall fold their tents like the Arabs, 
 
 And as silently steal away, 
 
 — Longfellow. 
 
 Then, as a little helpless, innocent bird 
 That has but one plaifi passage of few notes 
 Will sing the simple passage o'er and o'er 
 For all an April morning, till the ear 
 Wearies to hear it ; so the simple maid 
 Went half the night repeatnig, "Must I die?" 
 
 ______^ . — Tennyson. 
 
 But pleasures are like poppies spread; 
 Vou seize the flower: its bloom is shed: 
 Or, like the snow-fall in the river, 
 A moment white, then melts for «!»ver. 
 
 __ ^-^Rohert Bnrn& 
 
 How the winters are drifting like flakes of snow. 
 
 And the summers like buds between 1 
 
 And the years in the sheaf — so they come and they go 
 
 On the river's breast, with its ebb and flow. 
 
 As it glides in the shadow and sheen. 
 
 —B. F. Taylor. 
 
 Similes are great helps in the explanation of thought. 
 
174 Hoio to Write. 
 
 In the following poem you notice that likenesses are ased. 
 The snow found on the pine, fir and hemlock is likened to 
 ermine. Again, it is likened to pearl, then to Carrara mar- 
 ble and to swan's down. 
 
 In these cases the likeness is not expressed, but is assumed. 
 
 THE FIRST SNOW-FALL. 
 
 The snow had begun in the gloaming, 
 
 And busily, all the night, 
 Had been heaping field and highway 
 
 With a silence deep and white. 
 
 Every pine and fir and hemlock 
 
 Wore ermine too dear for an earl ; 
 And the poorest twig on the elm tree 
 " Was ridged inch-deep with pearl. 
 
 From sheds new-roofed with Carrara 
 Came Chanticleer's muffled crow ; 
 
 The stiff rails were softened to swan's dovvn; 
 And still wavered down the snow. 
 
 I stood and watched from my window 
 
 The noiseless work of the sky, 
 And the sudden flurries of snow-birds, 
 
 Like brown leaves whirling by. 
 
 I thought of a mound in sweet Auburn, 
 Where a little headstone stood — 
 
 How the flakes were folding it gently. 
 As did robins the " Babes in the Wood.' 
 
CompoHitlon, 175 
 
 Up spoke our own little Mabel, 
 
 Saying, " Father, who makes it snow?" 
 
 And I told of the good All-Father 
 Who cares for us here below. 
 
 Again I looked at the snow^-fall, 
 And thought of the leaden sky 
 
 That arched o'er our first great sorrow, 
 When that mound was heaped so high. 
 
 I remember the gradual patience 
 That fell from that cloud, like snow, 
 
 Flake by flake, healing and hiding 
 The scar of our buried woe. 
 
 And again to the child I whispered: 
 " The snow that husheth all — 
 Darling, the merciful Father 
 Alone can bid it fall." 
 
 Then, wdth eyes that saw not, I kissed her, 
 And she, kissing back, could not know 
 
 That my kiss was given to her sister 
 Folded close under deepening snow. 
 
 — James RiLssell Lowell. 
 
 An assumed likeness is a metaphor. 
 
 Study carefully the metaphors and i^imiles in the selections 
 below. 
 
 Silently, one by one, in the infinite meadows of heaven. 
 Blossomed the lovely stars, the forget-me-nots of the angels. 
 
 — Longfellow. 
 
176 How to Write. 
 
 Not a sound rose from the city at that early morning hour, 
 But I heard a heart of iron beating in the ancient tower. 
 ******* 
 
 Then, most musical and solemn, bringing back the olden times 
 With their strange, unearthly changes, rang the melancholy 
 
 chimes, 
 Like the pvsalm from some old cloister, when the nuns sing in 
 
 the choir; 
 And the great bell tolled among them like the chanting of a 
 
 ^^■^^^- —Lomjellow. 
 
 Your voiceless lips, flowers ! are living preachers ; 
 
 Each cup a pulpit, every leaf a book, 
 Supplying to my fancy numerous teachers 
 
 From loneliest nook. 
 Floral apostles, that in dewy splendor 
 
 Weep without woe and blush without a crime, 
 Oh, let me deeply learn, and ne'er surrender, 
 Your love sublime I 
 
 — Horace Smith. 
 
 Be careful in the use of figures. 
 
 Do not explain by making compai'isons of objects or events 
 between which the similarity is not very apparent; for if you 
 do, you may only mystify the thought. 
 
 Do not explain by comparison with objects or events that 
 you may not reasonably sup|X).se to be familiar to the reader 
 or listener. 
 
 Look at the comparison made in the last stanza of " The 
 Village Preacher," by Goldsmith on page 1G3. The com- 
 monest observer knows of clifls, clouds, storms and sun- 
 shine, and may be led by means of this knowledge to an 
 understanding and an appreciation of the exalted thougli^ 
 of the author. 
 
Compos Uioji. 
 
 177 
 
 Composition LXXXV, 
 
 Narrate the story told by the following pictures, embellish- 
 ing each with an appropriate amount of description, varied 
 and distributed. 
 
 A RIDE IN THE COUNTRY. 
 
 /""^ 
 
 ^^^i-^^^^^^^^*::;^^:^ 
 
 12 
 
178 
 
 How to Write. 
 
 y^^^^^'^^^^Xi'^^^'^'-^f'-^^ 
 
Composition. 179 
 
 Write narrations upon the following topics, inventing the 
 story in each case and embellishing each with descriptions, as 
 suggested by the ^^ictures. Vary and distribute the descrip- 
 tions, and use simile and metaphor where it is advisable. 
 
 Retrmrk. — It is not advisable to have too many kinds 
 of description in the same narration. The La^w 
 of Unity and the Law of Symmetry are both 
 very easily violated. 
 
 Composition LXXXVI. 
 
 A DAY SPENT AT UNCLE JOHN'S. 
 
180 
 
 How to Write, 
 
 Composition LXXXVII. 
 
 A DAY AT THE SEASIDE 
 
 Composition LXXXVIII. 
 
 AN AFTERNOON'S FISHING, 
 
Composition. 
 
 181 
 
 Compos it (oil LXXXIX. 
 
 A DAY SPENT AT 
 ) GRANDFATHER'S. 
 
 Composition XC. 
 
 Write the history of "An Iron Coal-Bucket," as suggested by 
 the following outline. Embellish the same with varied de- 
 scription. 
 
 1. 
 
 2. 
 3. 
 4. 
 5. 
 
 Dug from tlie mine. 
 
 Carried to the smelting-furnace. 
 
 Smelted. 
 
 Carried to the rolling-mill. 
 
 Rolled. 
 
 6. Sold to the manufacturer. 
 
 7. Manufactured. 
 
 8. Sold to the merchant. 
 
 9. Sold to the school-authorities. 
 10. Used in the schoolroom. 
 
182 
 
 How to Write. 
 
 Write a history of each of the following objects, obtaining 
 your facts and making your outline before you begin. 
 
 Coffiposition XCI, 
 
 A GLASS BOTTLE. 
 
 Composition XCII. 
 
 A LOAF OF BREAD. 
 
 Composition XCIII. 
 
 ^ " A SILK DRESS. 
 
 Composition XCIV, 
 
 A WOOL HAT. 
 
 Cotnposition XCV. 
 
 A KID GLOVE. 
 
 Coinposition XCVI, 
 
 \ A DIAMOND RING. 
 
 Accounts of accidents, fires, floods, are of the nature of nar- 
 ration, but they often require very much description to make 
 them intelligible and valuable. 
 
 Read each of the following poems, carefully noting the va- 
 ried and distributed description and the figures employed. 
 
 iill' 
 
 in vour mi 
 
 nd the order of thought, and then 
 
 reproduce each in prose. 
 
 Composition XCV II. 
 
 REPORT OF AN ADJUDGED CASE. 
 
 (Not to be Found in any of the Books.) 
 
 Between Nose and Eyes a strange contest arose ; 
 
 The spectacles set them unhappily wrong : 
 The point in dispute was, as all the world knows, 
 
 To which the said spectacles ought to belong, 
 
Composition. 183 
 
 So Tongue was the lawyer, and argued the cause 
 
 With a great deal of skill and a wig full of learning; 
 
 While Chief Baron Ear sat to balance the laws, 
 So famed for his talent in nicely discerning. 
 
 In behalf of the Nose it will quickly appear — 
 
 And Your Lordship, he said, will undoubtedly find — 
 
 That the Nose has had spectacles always in wear. 
 Which amounts to possession, time out of mind. 
 
 Then, holding the spectacles up to the court. 
 
 Your Lordship observes they are made with a straddle 
 
 As wide as the ridge of the nose is ; in short. 
 Designed to sit close to it, just like a saddle. 
 
 Again, would Your Lordship a moment suppose — 
 'Tis a case that has happened, and may be again — 
 
 That the visage or countenance had not a Nose, 
 
 Pray, who would, or who could, wear spectacles then? 
 
 On the whole it appears, and my argument shows 
 With a reasoning the court will never condemn. 
 
 That the spectacles plainly were made for the Nose, 
 i^nd the Nose was as plainly intended for them. 
 
 Then, shifting his side (as a lawyer knows how), 
 He pleaded again in behalf of the Eyes ; 
 
 But what were his arguments few people know, 
 
 For the court did not think they were equally wise. 
 
 So His Lordship decreed, with a grave, solemn tone; 
 
 Decisive and clear, without one if or but, 
 That whenever the Nose put his spectacles on. 
 
 By daylight or candlelight, Eyes should be shut! 
 
 —Coivper. 
 
184 How to Write. 
 
 Composition XCVIIL 
 
 GOODY BLAKE AND HARRY GILL. 
 
 Oh, what's the matter? what's the matter? 
 
 What is't that ails young Harry Gill, 
 That evermore his teeth they chatter, 
 
 Chatter, chatter, chatter still ? 
 Of waistcoats Harry has no lack, 
 
 Good duffle gray and flannel fine ; 
 He has a blanket on his back, 
 .And coats enough to smother nine. 
 
 In March, December, and in July, 
 
 'Tis all the same with Harry Gill ; 
 The neighbors tell, and tell you truly, 
 
 His teeth they chatter, chatter still. 
 At night, at morning and at noon 
 
 'Tis all the same with Harry Gill ; 
 Beneath the sun, beneath the moon. 
 
 His teeth they chatter, chatter still. 
 
 Young Harry was a lusty drover. 
 
 And who so stout of limb as he? 
 His cheeks were red as ruddy clover ; 
 
 His voice was like the voice of three. 
 '^Id Goody Blake was old and poor ; 
 
 Ill-fed she was, and thinly clad ; 
 And any man who passed her door 
 
 Might see how poor a hut she had. 
 
 All day she spun in her poor dwelling ; 
 
 And then her three hours' work at night- 
 Alas! 'twas hardly worth the telling; 
 
 It would not pay for candle-light. 
 This woman dwelt in Dorsetshire ; 
 
 Her hut was on a cold hillside, 
 
Composition. 185 
 
 And in that country coals are dear, 
 For they come far, by wind and tide. 
 
 By the same fire to boil their pottage 
 
 Two poor old dames, as I have known, 
 Will often live in one small cottage; 
 
 But she, poor woman ! dwelt alone. 
 'Twas well enough when summer came — 
 
 The long, warm, lightsome summer-day; 
 Then at her door the canty dame 
 
 Would sit, as any linnet gay. 
 
 But when the ice our streams did fetter. 
 
 Oh, then how her old bones would shake ! 
 You would have said, if you had met her, 
 
 'Twas a hard time for Goody Blake. 
 Her evenings then were dull and dead ; 
 
 Sad case it was, as you may think. 
 For very cold to go to bed. 
 
 And then for cold not sleep a wink. 
 
 Oh, joy for her whene'er in winter 
 
 The winds at night had made a rout, 
 And scattered many a lusty splinter 
 
 And many a rotten bough about ! 
 Yet never had she, well or sick. 
 
 As every man who knew her says, 
 A pile beforehand, wood or stick, 
 
 Enough to warm her for three days. 
 
 Now, when the frost was past enduring, 
 And made her poor old bones to ache, 
 
 Could anything be more alluring 
 Than an old 'hedge to Goody Blake ? 
 
 And now and then, it must be said, 
 
 When her old bones were cold and chill. 
 
186 How to Write. 
 
 She left her fire, or left her bed, 
 To seek the hedge of Harry GilL 
 
 Now, Harry he had long suspected 
 
 This trespass of old Goody Blake, 
 And vowed that she should be detected, 
 
 And he on her would vengeance* take. 
 And oft from his warm fire he'd go, 
 
 And to the fields his road would take ; 
 And there at night, in frost and snow. 
 
 He watched to seize old Goody Blake. 
 
 And once, behind a rick of barley. 
 
 Thus looking out did Harry stand ; 
 The moon was full and shining clearly. 
 
 And crisp with frost the stubble land. 
 He hears a noise ; he's all awake. 
 
 Again I On tiptoe down the hill 
 He softly creeps. 'Tis Goody Blake ; 
 
 She's at the hedge of Harry Gill. 
 
 Right glad was he when he beheld her: 
 
 Stick after stick did Goody pull , 
 He stood behind a bush of elder 
 
 Till she had filled her apron full. 
 When with her load she turned about, 
 
 The bye-road back again to take; 
 He started forward with a shout. 
 
 And sprang upon poor Goody Blake. 
 
 And fiercely by the arm he took her. 
 
 And by the arm he held her fast, 
 And fiercely by the arm he shook her, 
 
 And cried, " I've caught you, then, at last!" 
 Then Goody, who had nothing said. 
 
 Her bundle from her lap let fall ; 
 And, kneeling on the sticks, she prayed 
 
 To God, that is the Judge of all. 
 
Com/position. 187 
 
 She pniypJ, her withered hand uprearing, 
 While Harry held her by the arm, 
 " God, who art never out of hearing. 
 Oh, may he nevermore be warm !" 
 The cold, cold moon above her head, 
 
 Thus on her knees did Goody pray. 
 Young Harry heard what she had said; 
 And, icy cold, he turned away. 
 
 He went complaining all the morrow 
 
 That he was cold and very chill ; 
 His face was gloom, his heart was soi-row ; 
 
 Alas that day for Harry Gill ! 
 That day he wore a riding-coat. 
 
 But not a whit the warmer he ; 
 Another was on Thursday brought, 
 
 And ere the Sabbath he had three. 
 
 *Twas all in vain — a useless matter; 
 
 And blankets were about him pinned ; 
 Yet still his jaws and teeth they clatter 
 
 Like a loose casement in the wind. 
 And Harry's flesh it fell away ; 
 
 And all who see him say 'tis plain 
 That, live as long as live he may. 
 
 He never will be warm again. 
 
 No word to any man he utters. 
 Abed or up, to young or old ; 
 But ever to himself he mutters, 
 " Poor Harry Gill is very cold." 
 Abed or up, by night or day. 
 
 His teeth they chatter, chatter still. 
 Now think, ye farmers all, I pray, 
 Of Goody Blake and Harry Gill. 
 
 ■ — Wordsworth. 
 
188 
 
 How to Write. 
 
 COMBAniSON AWn CONTBAST. 
 
 Co}nposition XCIX. 
 
 THE TWO SLEDS. 
 Did you ever think of the great variety of sleds 
 that may be seen any afternoon upon the hillside 
 when a party of coasters are enjoying themselves ? 
 
Composition. 189 
 
 Jfotice the difference between the two sleds here de- 
 scribed. James made his own sled. John's sled 
 was made by a shilled workman. 
 
 The runners of James's sled were cut from rough 
 boards, and are without shoes. The runners of 
 John's sled, with their gracefully -curved swan- 
 necks, were made of pieces of wood bent for thf 
 purpose, and are shod with bright steel like a 
 large sleigh. The runners of James's sled are fast- 
 ened together with -strips of boards nailed across 
 their tops, and the only covering these strips have 
 is a narrow board sawed square at both ends. The 
 runners of John's sled are united by benches se- 
 curely braced at each end, and covered by a broad 
 hoard with a graceful inward curve in front and 
 outward curve behind. James's sled is not paint- 
 ed, and is wholly without ornament. John's sled is 
 painted red and striped with green. If you wish 
 to know the name of James's sled, you will have 
 to ask for it; for it is nowhere to be seen; but the 
 name '* Fleetwing" is tastefully written in plain 
 sight on John's sled. James's sled is drawn by 
 means of a short rope fastened in the ends of the 
 runners. The rope has been broken and tied in 
 several places. Johns sled is drawiv by means of a 
 nice, smooth rope fastened to rings in the necks of 
 the runners. James's sled cost him Just twelve 
 
190 How to Write. 
 
 cents besides his own worlc. John's sled was given 
 him. Its cost was a dolla^r and a half. 
 
 I do not hnow ivhich of tJicse sled^s runs the 
 faster, but I hnow which loohs the better, and 
 which I would rather have. Can you guess? 
 
 Looking at the pictures and following the plan given below, 
 reproduce the comparison of these two sleds. 
 
 1. Brief introduction. 
 
 2. Kind of runners. 
 
 3. How fastened together and how covered. 
 
 4. General finish. 
 
 5. Provision for drawing. 
 
 6. Cost. 
 
 7. Conclusion. 
 
 All the laws of composition which you have thus far 
 learned apply to Comparison and Contrast. 
 
 You have no doubt discovered that an outline or skeleton 
 of a composition is made under the Laws of Selection and 
 Method ; but the Law of Method, when applied to composi- 
 tion in Comparison and Contrast, may have another applica- 
 tion than that which you have already seen. The selected 
 points may be taken, one from each of the topics, and be 
 compared and disposed of in pairs, as in the foregoing com- 
 position ; or an entire description of each object may be 
 
Composition . 191 
 
 given by itself. When the latter method is employed, the 
 order in which the selected points are presented should be 
 the same in the two descriptions, or as nearly the same as the 
 nature of the two subjects will admit. 
 
 Rewrite the foregoing composition, giving the entire descrip- 
 tion of one sled before that of the other. 
 
 ' The writer is to determine in each case which method 
 should be employed ; it depends largely upon the nature of 
 the subject, as well as upon the purpose of the composition. 
 In this case ("The Two Sleds ") a stronger and better com- 
 position is made by arranging the selected points as you have 
 been asked to arrange them. 
 
 Write compositions on all the subjects given in this chapter 
 by each application of the Law of Method. Carefully study 
 every composition so written, and decide which is the 
 stronger, clearer, more easily understood, and therefore the 
 better ; for it will be found that the better method depends 
 more on the writer himself than on the nature of the sub- 
 ject or the purpose of the compositioji. 
 
 Carefully apply the various suggestions for embellishment 
 and explanation given in the foregoing chapters — to the end, 
 first, that your reader may clearly and easily understand what 
 is intended to be written ; and second, that he may be inter- 
 ested in it. 
 
192 
 
 How to Write. 
 
 Composition C. 
 
 
 
 1 
 
 Write a composition, comparing the two pictures above. 
 Make an outline before beginning to write. 
 
Composition. 
 
 193 
 
 Composition CI. 
 
 THE TWO WINDOWS. 
 
 13 
 
194 
 
 How to Write. 
 
 ^ IntkODUO- f Object of displaying goods in 
 
 The Two 
 Windows 
 
 TION i i:liow windows. 
 
 Discus- 
 sion 
 
 Like- 
 nesses, 
 
 DlFFEE- 
 
 ENCES. 
 
 Conclu- 
 sion 
 
 Location 
 
 Size 
 
 Glass 
 
 Cleanliness 
 
 Goods contained 
 
 therein 
 Arrangement of 
 
 goods 
 Greneral efiect 
 
 r The thoughts suggested by the 
 two windows — the one tell- 
 ing of happiness and wealth ; 
 the other, of want and suf- 
 fering. 
 
 Write a composition, comparing the two windows and draw- 
 ing conclusions therefrom. Follow the given outline while 
 writing. 
 
 Composition CIT. 
 
 W^ITHIN AND WITHOUT. 
 
 " The twilight shadows come and go 
 Upon the window-pane, 
 "While, from without, the wintry wind 
 Keepe up a sad refrain. 
 
 " Within, the firelight plays 
 Across the nursery floor, 
 And Jack Frost knocks in vain the while 
 Upon my nursery door. 
 
Composition. 
 
 195 
 
 " Without, are hunger, cold and pain. 
 And aching heads and hearts. 
 And weary limbs and hopeless eyes, 
 From which fear ne'er departs. 
 
 *' Within, are gay and happy hearts, 
 And feast, and game, and song. 
 And limbs unwearied, save with play 
 That lasts the whole day long." 
 
 
 ' Introduc- 
 tion 
 
 \ (Wanting. 
 
 ) 
 
 
 
 
 ' Shadows, 
 Wintry wind. 
 Hunger, 
 Cold, 
 
 
 • 
 
 Without - 
 
 Pain, 
 
 Aching heads and 
 hearts. 
 
 Within 
 
 and 
 Without 
 
 Discus- 
 sion 
 
 
 Weary limbs, 
 Hopeless eyes. 
 
 ^ Firelight, 
 Gay and happy 
 hearts, 
 
 
 
 Within - 
 
 Feast, 
 Game, 
 Song, 
 
 
 
 
 Unwearied limbs. 
 
 
 CONCLU- ] 
 SION J 
 
 ■ (Wanting.; 
 
 1 
 
196 ■ How to Write. 
 
 Composition CIII. 
 
 NOW AND THEN. 
 
 PlayiMg by the stream, | Standing by the stream, 
 
 Full of peace and joy, 
 Life a pleasant dream, 
 
 Happy little boy ! 
 Tiny hopes afloat 
 In a fairy boat — 
 Boat that needs no oar. 
 Ah ! so near the shore ! 
 
 With a care- wrapt brow, 
 Life no more a dream, 
 
 But a waking now. 
 Hopes far out of sight, 
 Borne with tempest might 
 O'er the misty main, 
 Ne'er to come again. 
 
 — Matthias Barr. 
 
 Transform the above poem. Make an outline before begin- 
 ning to write. 
 
 Composition CIV. 
 
 THE HE RITAGE. 
 
 The rich man's son inherits lands, 
 
 And piles of brick and stone and gold ; 
 
 And he inherits soft white hands. 
 And tender flesh that fears the cold ; 
 Nor dares to wear a garment old ; 
 
 A heritage, it seems to me, 
 
 One would not care to hold in fee. 
 
 The rich man's son inherits cares : 
 
 The bank may break, the factory burn ; 
 
 Some breath may burst his bubble shares • 
 And soft white hands would hardly earn 
 A living that would suit his turn ; 
 
 A heritage, it seems to me. 
 
 One would not care to hold in fee. 
 
 The rich man's son inherits w^ants : 
 His stomach craves for dainty fare ; 
 
Composition. 197 
 
 With sated heart he hears the pants 
 Of toiliijg hinds with brown arms bare, 
 And wearies in his easy-chair ; 
 A heritage, it seems to me, 
 One would not care to hold in fee. 
 
 What doth the poor man's son inherit? 
 
 Stout muscles and a sinewy heart; 
 A hardy frame, a hardier spirit ; 
 
 King of two hands, he does his part 
 
 In every useful toil and art ; 
 A heritage, it seems to me, 
 A king might wish to hold in fee. 
 
 What doth the poor man's son inherit? 
 Wishes o'erjoyed with humble things, 
 
 A rank adjudged with toil- won merit, 
 Content that from employment springs, 
 A heart that in his labor sings ; 
 
 A heritage, it seems to me, 
 
 A king might wish to hold in fee. 
 
 What doth the poor man's son inherit? 
 A patience learned by being poor, 
 
 Courage, if sorrow come, to bear it> 
 A fellow-feeling that is scire 
 To make the outcast bless his door ; 
 
 A heritage, it seems to me, 
 
 A king might wish to hold in fee. 
 
 rich man's son ! there is a toil 
 That with all other level stands : 
 
 Large charity doth never soil. 
 
 But only whiten, soft white hands ; 
 This is the best crop from thy lands ; 
 
 A heritage, it seems to me. 
 
 Worth bein^ rich to hold in fee. 
 
198 How to Write. 
 
 poor man's son ! scorn not thy state ; 
 There is worse weariness than thine — 
 
 In merely being rich and great : 
 Toil only gives the soul to shine, 
 And makes rest fragrant and benign ; 
 
 A heritage, it seems to me, 
 
 Worth being poor to hold in fee. 
 
 Both, heirs to some six feet of sod, 
 
 Are equal in the earth at last ; 
 Both, children of the same dear God, 
 
 Prove title to your heirship vast 
 
 By record of a well-filled past ; 
 
 A heritage, it seems to me. 
 
 Well worth a life to hold in fee. 
 
 — /. R. Lowell. 
 
 Transform the above poem. Make an outline before begin- 
 ning to write. 
 
 Composition OF. 
 
 CLEON AND I. 
 
 Cleon hath a million acres ; ne'er a one have I ; 
 Cleon dwelleth in a palace ; in a cottage, I ; 
 Cleon hath a dozen fortunes ; not a penny, I ; 
 Yet the poorer of the twain is Cleon, and not I; 
 
 Cleon, true, possesseth acres ; but the landscape, I : 
 Half the charms to me it yieldeth, money cannot buy; 
 Cleon harbors sloth and dullness ; freshening vigor, I ;, 
 He in velvet, I in fustian ; richer man am I. 
 
 Cleon i^ a slave to grandeur ; free as thought am I ; 
 Cleon fees a score of doctors ; need of none have I ; 
 Wealth-surrounded, care-environed, Cleon fears to die : 
 Death may come ; he'll find me ready ; happier man am I. 
 
Composition. 
 
 199 
 
 Cleon sees no charms in Nature ; in a daisy, I ; 
 Oleon hears no anthems ringing in the sea and sky; 
 Nature sings to me for ever ; earnest listener, I ; 
 State for state, with all attendants, who would change? Not I. 
 
 — Charles Mackay. 
 
 Transform the above poem. Make an outline before begin- 
 ning to write. 
 
 Composition CVT. 
 
 THE MAPLE LEAF. 
 
 THE WHITE BtRCH LEAF 
 
 THE MAPLE LEAF AND THE WHITE BIRCH LEAF. 
 
 These pictures represent the leaves of two well- 
 known and highly -prized trees. Let us study them 
 and notice their lihenesses and differences. 
 
 Each is a simple net-veined leaf, having an acu- 
 minate apejc, a doubly -serrate margin and a long 
 petiole. 
 
 The maple leaf is nearly round; it is deeply 
 five-lobed, with the sinuses somewhat acute. The 
 leaf of the white birch is entire, and triangular in 
 shape. 
 
200 
 
 How to Write. 
 
 The veins of the maple leaf radiate from the 
 base of the blade towards the circitDvference ; those 
 of the white birch are arranged^ on each side of a 
 mid-vein, and, parallel to each other, ejctend to the 
 margin. 
 
 The base of the maple blade is recurved, or some- 
 what heart- shaped; that of the white birch is near- 
 ly truncate. 
 
 The maple leaf is exstipulate; the white birch 
 leaf has deciduous stipules. 
 
 The leaf of the maple is silvery-white under- 
 neath; that of the white birch is smooth and glossy 
 on both sides. 
 
 The leaves of the maple groiv single, and are ar- 
 ranged opposite on the stem; those of the white 
 birch grow in pairs, and have an alternate ar- 
 rangement. 
 
 
 Outline. 
 
 
 
 Introduction 
 
 ■ 
 
 ' Kind, 
 Venation, 
 
 The Leaves of 
 the Calla 
 
 Likenesses. 
 
 Apex, 
 Margin, 
 
 and 
 
 
 Petiole, 
 
 the Lily- 
 
 
 General appearance 
 
 of-the-Valley 
 
 
 General shape, 
 
 
 Differences - 
 
 Venation, 
 
 Base, 
 
 Petiole. 
 
Composition. 
 
 201 
 
 Composition CVII. 
 
 THE CALLA LEAF. 
 
 LILY-OF-THE- VALLEY 
 LEAF. 
 
 Write a composition, comparing the leaf of the calla and the 
 leaf of the lily-of- the- valley, following the foregoing outline. 
 
 Composition CVIII. 
 
 THE ROSE LEAF. 
 
 THE NASTURTIUM LEAF. 
 
 Write a composition, comparing the rose leaf and the nas- 
 turtium leaf. 
 
202 
 
 How to Write, 
 
 Composition CIX. 
 
 THE MORNING-GLORY AND THE CYPRESS VINE. 
 
 The morning-glory and the cypress vine are two 
 beautiful plants which ornament our windows and 
 trellises throughout the summer, hut which die as 
 the frost approaches. They are alihe, and yet very 
 different. Let us notice in what their lihenesses 
 and differences consist. 
 
 Both have fine, fibrous roots. 
 
 The stemj of each is herbaceous, twining, round, 
 green and in structure exogenous, consisting of 
 pith in the centre, around which are layers of tis- 
 sue covered with an outer shin. The branching of 
 the stem is alternate in each, the branches inter- 
 lacing profusely. The stem of the morning-glory 
 is larger and stronger than that of the cypress; it 
 is also beset with minute hairs, while that of the 
 cypress is smooth. 
 
 The leaves of the two plants are green and net- 
 
Composition, 203 
 
 veined, and are arranged alternately on the stem. 
 The leaves of the morning-glory are large {often 
 four inches in diameter), entire, heart-shaped, and 
 are of a dull-green color. The leaves of the cypress 
 are about an inch and a half long, feather-like, 
 being pinnately dissected in thread-like divisions, 
 and are of a light-green color and, as delicate as 
 ferns; they grow in great profusion, and constitute 
 much of the plant's beauty. 
 
 The flowers of these plants are alike in some 
 particulars. Their beauty opens to the morning 
 and fades as the sunshine becomes brighter. The 
 flowers of the morning-glory are large, slender- 
 tubed funnels, growing single or in clusters of 
 three or five; they are deep purple, delicate pink 
 or blue, or sometimes pure white, always veined 
 and shaded with a deeper hue. The slender, con- 
 volute buds are almost as beautiful as the ex- 
 panded blossoms. The flowers of the cypress are 
 small, each being a very slender tube suddenly 
 spreading into a flat, five-lobed border. They are 
 brilliant scarlet, pure white or yellow ; they grow 
 single, and are arranged alternately on the stem. 
 
 The calyx of each is composed of five sepals, those 
 of the cypress bein^ very small. The five stamens 
 of each are attached to the base of the corolla; 
 those of the morning-glory are entirely within 
 the tube, while those of the cypress protrude be- 
 yond the tube. 
 
 It is found that these plants bear flowers; ther& 
 
204 
 
 How to Write, 
 
 fore, they are called flowering plants. Because of 
 the structure of the steins, and because of the net- 
 veined leaves, they belong to the group of Exogens, 
 They have twining, herbaceous stems and the flower 
 parts in fives; therefore, they belong to the same 
 subordinate group named from the convolute buds 
 of some members of the order Convolvulacece. 
 
 Make an outline of the foregoing composition. 
 
 Composition CX* 
 
 THE BUTTERCUP. 
 
 DRUMMOND PHLOX. 
 
 Write a composition, comparing the buttercup and the Drum- 
 mond phlox. Make an outline before beginning to write. 
 
Composition. 
 
 205 
 
 Composition CXI* 
 
 
 THE STRAWBERRY. 
 
 Write a composition, comparing the cinquefoil and the straw- 
 berry. Make an outline before beginning to write. 
 
206 
 
 How to Write. 
 
 Composition CXII. 
 
 THE MORNING-GLORY. 
 
 THE CUCUMBER. 
 
 Write a composition, comparing the morning-glory and the 
 cucumber. Make an outline before beginning to write. 
 
Composition. 
 
 Composition CXIIT. 
 
 THE CYPRESS VINE. 
 
 207 
 
 THE STRAWBERRY. 
 
 Write a composition, comparing the cypress and the straw- 
 berry. Make an outline before beginning to write. 
 
208 How to Write. 
 
 Write compositions as follows, making an outline in each, 
 case before writing: 
 
 Composition CXIV, 
 
 COMPARISON OF THE DRUMMOND PHLOX AND 
 THE FUCHSIA. 
 
 Composition CXV. 
 
 COMPARISON OF THE LILY AND CORN. 
 
 Composition CXVI. 
 
 COMPARISON OF THE CINQUEFOIL AND THE 
 BUTTERCUP, 
 
 Composition CXVII. 
 
 COMPARISON OF THE FUCHSIA AND THE PRIM- 
 
 ROSE. 
 
 Composition CXVIII. 
 
 COMPARISON OF THE ROSE AND THE SYRINGA. 
 
 Composition CXIX, 
 
 COMPARISON OF THE HONEYSUCKLE AND THE 
 CUCUMBER. 
 
 Com^position CXX, 
 
 COMPARISON OF THE VERBENA AND THE PINK. 
 
Composition, 
 
 209 
 
 Composition CXXI. 
 
 THE HORSE. 
 
 Parts: Long, slim head ; slender neck; long mane; slender 
 body covered with coarse hair ; long, slender legs ; solid hoofs ; 
 long, flowing tail. 
 
 Incisors in both jaws ; large, broad molars ; simple stomach. 
 
 Habits: Eats vegetable food ; is a non-ruminant ; brings 
 forth its young alive. 
 
 THE GIRAFFE. 
 Parts: Long head ; short horns covered with a hairy skin, 
 terminated by long, hard bristles ; very long neck ; short mane ; 
 short body covered with reddish-brown hair, varied with patches 
 of a light fawn-color ; hind part of body lower and much smaller 
 than the fore ; very long legs ; cloven hoofs ; long tail covered 
 with short, smooth hair and tufted at the end. 
 
210 How to Write. 
 
 No incisors in the upper jaw ; broad molars ; compound 
 stomach. 
 
 Habits: Eats vegetable food ; chews the cud ; brings forth its 
 young alive. 
 
 THE HORSE AND THE GIRAFFE. 
 
 Tiuo very remfirhahle arUmals are the horse and 
 the giraffe— the former for its riniversal usefulness, 
 and the latter for its singular form and appearance. 
 
 The giraffe is very much taller than the horse, 
 often measuring seventeen feet from the ground to 
 the top of its head; while the horse seldom attains 
 the height of sijc feet. 
 
 Both, animals are covered, with hair, that of the 
 horse being usually of a single color, ivhile that 
 of the giraffe is reddish-brown, varied with an- 
 gular patches of a light fawn-color. 
 
 Each of these animals has a long, slender head. 
 The head, of the giraffe differs from that of the 
 horse, Jiowever, in having two horns covered^ with 
 liairy shin and terminating in long, hard bristles. 
 The neck of the horse is much shoi^ter than that of 
 the giraffe, but its mane is longer and more flow- 
 ing. The horse has a long, slender, round body. 
 That of tlie gira,ffe is short, small and^ round, at 
 th^. loins, but increases rapidly in size and height 
 toward the shoulders. Both have long, slender 
 legs, the giraffe's consi dera,bly longer and more 
 slender than those of the horse. The feet of both 
 are provided with hoofs. Those of the horse are 
 entire; the giraffe's, divided. The horse's tail is 
 long and flowing, covered, its entire length with 
 long, coarse hair. The giraffe's is tufted at the 
 end,, the upper part being covered with short, smooth 
 hair. 'The giraffe d,iffers from the horse in having 
 no incisors in the upper jaw, but in their place a 
 
Composit 
 
 ion. 
 
 211 
 
 hard pad. The stomachs of these two animals are 
 different, the horse's being simple; the giraffe's, 
 compound. 
 
 The horse feeds from the ground; the giraffe, 
 largely from the branches of trees. The giraffe 
 chews the cud; the liorse does not. Each brings 
 forth its young alive. 
 
 From the foregoing lihenesses and differences we 
 conclude that the horse and giraffe belong to TJngu- 
 lata, though to different groups ; that they are her- 
 bivorous; that tlio giraffe is a, ruminant and the 
 horse a non-ruminant ; and that both are mam- 
 jnals. 
 
 ^ Introduction { Why noted. 
 
 Comparison of size, 
 Comparison of covering. 
 
 Heads, 
 Horns, 
 Necks, 
 Manes, 
 Bodies, 
 
 The Horse 
 
 and 
 the Giraffe 
 
 Discus- 
 sion 
 
 Comparison 
 of parts 
 
 Legs, 
 
 Feet, 
 
 Tails, 
 
 Teeth, 
 
 Stomachs. 
 
 Manner of obtain- 
 
 . ing food, 
 
 Comparison ^, . ., , 
 
 . - - . 1 Unewmff the cud, 
 or habits -n . . ^ ,, 
 
 linnging lorth 
 
 [ young. 
 
 Conclusion { Classification. 
 
212 
 
 How to Write, 
 
 Compositioii CXXII, 
 
 THE CAT AND THE BEAVER 
 
 
 T H E C A T. 
 
 Parts: Short, broad head ; long, slejider body covered with 
 fur ; long tail ; slender legs ; five toes on each fore-foot ; four 
 toes on each hind-foot ; sharp, curved, retractile claws. 
 
 Two long, pointed canines in each jaw, fitted for tearing; 
 sharp, uneven back teeth. 
 
 Habits: Eats animal food; gets its food by watching for 
 and springing upon it ; sees well in the dark. ' 
 
 THE BE AVE R. 
 
 Parts: Flat head; long, heavy body; broad, flat, scaly tail; 
 fore-legs shorter than hind-legs ; five toes on each foot ; the toes 
 of hind-feet united by a web ; sharp, curved claws. 
 
 Two long, sharp, chisel-shaped front teeth in each jaw, fitted 
 for gnawing ; broad, rough back teeth. 
 
Compoaltlon. 
 
 2!3 
 
 Habits: Eats vegetable food ; gnaws; frequents water; builds 
 dams ; makes two-story houses, with lower stoiy under water. 
 
 Write a composition, comparing the cat and the beaver. 
 Select the necessary points from the data given under each. 
 
 S 
 
 Make an outline before beginnine to write. 
 
 Composition C XXIII. 
 
 THE DUCK AND THE CRANE 
 
 THE DUCK. 
 
 Farts and Habits: Broad, flat, lamellated bill, covered 
 with a skin ; short legs placed far back and far apart ; eats 
 grain and small animals, which it obtains from the water and 
 mud with its bill ; three toes in front and one behind ; swims 
 and dives; narrow head; is awkward in walking; short, slen- 
 
214 
 
 How to Write. 
 
 der neck ; front toes webbed ; lays eggs ; boat-shaped body 
 covered with soft, oily feathers; is a swimmer; medium-sized 
 wings ; short tail ; does not fly well. 
 
 THECRANE. 
 Parts and Habits: Long wings; claws short and strong; 
 loves water ; sliort tail ; eats insects, fish aiKl grain ; small 
 head; legs very long and slender; lays eggs; long, slender 
 neck ; is a wader : slender body covered with feathers ; fi-e- 
 quents marshes and muddy places ; long, slim toes united at 
 the base ; hind-toe elevated ; uses its bill in obtaining fish 
 from the water; long, slender bill, compressed on the sides 
 and slightly curved at the tip ; tarsi naked. 
 
 Compare the duck and the crane, selecting and arranging 
 necessary points from the Farts and Habits promiscuously 
 given under each. 
 
 Composition CXXIV. 
 
 THE HAWK AND THE CRANE 
 
Composition. 215 
 
 THE H AW K. 
 
 Parts a^vd Habits: Stout body covered with feathers not 
 oily ; wings strong, long and pointed ; lays eggs ; broad tail ; 
 short, strong legs placed near the centre of the body^ short, 
 thick neck; front toes not united by a web; strong, thick, 
 hooked bill; hind-toes on a level with the front toes; large, 
 flat head; strong, hooked claws; generally flies low; eats 
 rats, rabbits and other small animals, which it seizes with 
 its claws and tears with its bill ; does not frequent the 
 water; tarsi feathered; folds its legs under the body when 
 flying. 
 
 THE CRANE. 
 
 Parts and Habits: Long wings; claws short and strong; 
 loves water ; tail short ; eats insects, fish and grain ; small 
 head ; legs very long and slender ; lays eggs ; long, slender 
 neck; is a wader; slender body covered with feathers; fre- 
 quents marshes and muddy places ; long, slim toes united at 
 the base; hind-toe elevated; uses its bill in obtaining fish 
 from the water; long, slender bill, compressed on the sides 
 and slightly curved at the tip; tarsi naked; when flying 
 stretches its legs out behind. 
 
 Write a composition, comparing the hawk and the crane. 
 
 Select the necessary points from the data given under each. 
 Make an outline before beginning to write. 
 
216 
 
 Hcna to Write 
 
Composition, 217 
 
 Compositiiyn CXXV. 
 
 THE DOMESTIC CAT, THE COMMON DOG AND THE 
 BLACK BEAR. 
 
 Parts and Habits: Short, strong necks; Lreathe by means 
 of lungs; broad Ilea J%;^ring forth their young alive; stout 
 bodies covered with^^^i^H*; eat animal food, which they obtain 
 by slyly springing upon it, by chasing it down or by stealing 
 it; canine i eel h, long and sharp, fitted for tearing; warm blood ; 
 very small incisor teeth ; strong, sharp claws ; internal skel- 
 etons ; molar teeth uneven, pointed and sharp, fitted for cut- 
 ting; legs short and strong. 
 
 (Give a name to the group.) 
 
 THE GRAY SQUIRREL, THE RABBIT AND THE 
 COMMON MOUSE. 
 
 Farts and Habits: Low, slender bodies covered with fur ; 
 warm blood ; small, round or pointed heads ; bring forth their 
 young alive ; canine teeth wanting ; eat vegetable food ; in- 
 cisor teeth long, strong and chisel-shaped, fitted for gnawing ; 
 internal skeletons ; molar teeth broad and uneven, fitted for 
 grinding ; breathe by means of lungs ; slender legs ; toes pro- 
 vided with long, slender claws. 
 
 (Give a name to the group.) 
 
 Write a composition, comparing the groups of animals pic- 
 tured on the opposite page. Select the facts and arrange them 
 properly before beginning to write. 
 
218 
 
 How to Write 
 
 =?-i^^-< 
 
Composition. 219 
 
 Composltiofi CXXVI, 
 
 THE CAT AND THE LEOPARD. 
 
 Parts and Habits: Well-shaped bodies covered with fur; 
 short muzzles; sly and quick; broad, rounded heads; feet digit- 
 igrade ; two long, sharp canines in each jaw, fitted for tearing ; 
 eat animal food, which they obtain by cunning and watch f nines-, 
 springing upon their victim; short, muscular legs; soles hairy; 
 six small incisors in each jaw; a naked pad under each toe, and 
 one under the ball of the loot; sharp, uneven molars, fitted for 
 cutting; jaws short and powerful; live toes on each fore-foot; 
 one molar on each side of each jaw much larger and. sharper 
 than the rest, called the lacerator; tongues covered with horny 
 spines directed backward; four toes on each hind-foot; no mo- 
 lars behind the lacerator in the upper jaw; see well at night; 
 sharp, compressed, retractile claws. 
 
 THE DOG AND THE FOX. 
 Parts and Habits: Long legs ; well-shaped bodies covered 
 with hair; feet digitigrade; six small incisors in each jaw; one 
 large lacerator on each side of each jaw; eat animal food, which 
 they obtain by chasing or running down; claws blunt and non- 
 retractile ; elongated muzzles ; five toes on each fore-foot ; two 
 long, rather blunt, canines in each jaw, fitted for tearing; smooth 
 tongues ; two blunt molars behind the lacerator of the upper 
 jaw ; hearing and smell acute ; four toes on each liind-foot ; 
 molars uneven and rather blunt, fitted for crushing; soles 
 hairy ; jaws weaker than those of the preceding animals ; 
 heads of medium size. 
 
 THE BEAR AND THE RACCOON. 
 Parts and Habits: Strong, curved, blunt claws which are 
 non-retractile ; lar-ge, broad heads ; soles of feet destitute of hair ; 
 six small incisors in each jaw ; thick, clumsy bodies covered with 
 hair; molars flat, broad and blunt, fitted for crushing; short, 
 strong legs; two long, blunt canines in each jaw, fitted for tear- 
 ing; five toes on each foot, pointing forward ; smooth tongues; 
 eat vegetable food almost entirely ; three large, blunt molars be- 
 hind the lacerators; pointed muzzles; feet plantigrade ; seldom 
 eat flesh; one small lacerator on each side of each jaw. 
 
 Write a composition, comparing the groups of animals pic- 
 tured on the opposite page. Select the facts and arrange them 
 properly before beginning to write. 
 
220 
 
 How to Write. 
 
Composition. 221 
 
 Composition C XXVII, 
 
 THE FOX SQUIRREL AND THE GRAY SQUIRREL. 
 
 Parts and Habits: Broad, rougli molars with roots ; four 
 toes on each fore-foot; slim, beautiful bodies covered with 
 fur; tails long and busby; eat vegetable food; slim legs; 
 two long, sharp, chisel-shaped incisors in each jaw ; live in 
 trees or burrow in the ground ; canines wanting ; large, 
 round heads ; gnaw ; a long, sharp, curved claw on each toe ; 
 make nests of leaves and sticks ; five toes on each hind-foot ; 
 cleft upper lips; small, pointed ears. 
 
 THE COMMON MOUSE: AND THE MUSKRAT. 
 
 Parts and Habits: Long bodies; long, slim, naked tails; 
 five toes on each hind-foot ; gnaw ; climb ; pointed heads ; 
 legs of medium size; canines wanting; four toes on each 
 fore-foot; two long, sharp incisors in each jaw; eat veg- 
 etable and animal food; burrow; molars broad and rough, 
 with roots; live in holes; cleft upper lips; long, slender 
 bodies covered with fine fur ; short, round ears. 
 
 THE GRAY RABBIT AND THE JACKASS RABBIT. 
 
 Parts and Habits: Short tails ; five toes on each fore-foot ; 
 eat vegetable food; slender bodies; move by leaps or jumps; 
 small, pointed heads; soles covered with hair; two long, sharp, 
 chisel-shaped incisors in each jaw ; gnaw ; burrow ; molars 
 broad and rough and without roots ; four toes on each hind- 
 foot ; two small teeth behind the incisors of the upper jaw ; 
 fore-legs shorter than hind-legs ; timid ; interior of mouths 
 covered with hair ; quick ; long, pointed ears. 
 
 Write a composition, comparing the groups of animals pic- 
 tured on the opposite page. Select the facts and arrange them 
 properly before beginning to write. 
 
222 
 
 How to Write. 
 
Composition, 223" 
 
 Comjyosition CXXVIII. 
 
 THE ROBIN, THE CHIMNEY-SWALLOW AND THE 
 SPARROWHAWK. 
 
 Part8 atul Habits: Bodies covered with loose, downy plu- 
 mage ; spend most of their time on the wing ; legs short, gen- 
 erally feathered to the heel ; warm blood ; bones hollow and 
 very light; hind-toe on a level with the toes in front, fitting 
 the feet for grasping or perching; lay eggs; knee free from 
 the body ; breathe by means of lungs connected with air-cells 
 in various parts of the body; claws long, curved and sharp; 
 wings always strong, adapted for rapid or long flight ; feed 
 n})on insects, grains, fruit; toes free from web; a complete 
 double circulation. 
 
 THE QUAIL, THE GUINEA-FOWL AND THE COM- 
 MON BARN-FOWL. 
 
 Parts and HabitSi Bones hollow and very light; obtain 
 their food by scratching; heavy bodies covered with coarse, 
 loose plumage; hind-toe small and elevated or absent; breathe 
 by means of lungs connected with air-cells in various parts of 
 the body; knee free iVom the body; a complete double circu- 
 lation; legs short and strong, fitted for scratching; lay eggs; 
 front toes entirely free; warm blood; claws generally blunt and 
 strong; spend most of their time on the ground ; bills short and 
 strong, fitted for pecking; eat small animals, plants, fruit, grain. 
 
 THE DUCK, THE LOON AND THE TERN. 
 
 Parts and Habits: Knees w^holly withdrawn within the 
 skin of the body ; feed upon grain, grass, fish, mollnsks and 
 insects ; flattened, boat-shaped bodies covered with soft, dense, 
 oily plumage; obtain most of their food from the water; legs 
 short and set far apart and far back on the body ; lay eggs ; 
 front toes webbed, adapted to swimming; bones hollow and 
 very light; a complete double circulation; hind-toe elevated 
 or absent; warm blood; swim; legs feathered to the heel; 
 breathe by means of lungs connected with air-cells in various 
 parts of the body ; claws generally small and weak. 
 
 Write a composition, comparing the groups of birds pictured 
 on the opposite page. Select the facts and arrange them prop- 
 erly before beginning to write. 
 
224 
 
 How to Write. 
 
 Composition CXXIX. 
 
 Write a composition, comparing the two girls pictured 
 above. Study the picture carefully, and make an outline 
 before beginning to write. 
 
Composition. 
 
 225 
 
 Composition CXXX, 
 
 Write a composition, comparing the two men pictured 
 above. Make an outline before beginning to write. 
 
226 
 
 How to Write, 
 
 Composition CXXXI* 
 
 Write a composition, comparing tlie two men pieturvxJ 
 above. Make an outline before beginning to write. 
 
 Composition CXXXTI. 
 
 Write a composition^ compar- 
 ing the homes pictured above 
 and on the opposite page. Study 
 the pictures carefully, and make 
 an outline before beginning to 
 write. 
 
Composition. 
 
 227 
 
228 How to Write. 
 
 Cofuposition CXXXIII, 
 
 WAS H I N G T O N. 
 
 (Suggestions.) 
 
 Time in which he lived. Nationahty. Educational 
 advantages. Early disposition and character. Service 
 in the French-and-Tndian War. Rank : Commissioner 
 to the French. Made commander-in-chief. Resigna- 
 tion. A member of the House of Burgesses of Vir- 
 ginia for fifteen years. 
 
 Service in the Revolution. Condition of the col- 
 onies at this time. Causes of the war. Positions 
 held during tlie war. Results of the war. The 
 Federal Constitution. 
 
 Elected President. Length of service. Note- 
 worthy events of his term of office. Retirement 
 from public life. Death. Character and rank as 
 a general and a statesman. 
 
 NAPOLEON. 
 
 (Suggestions.) 
 
 Birth : when and where. Residence ; education ; 
 sports. Occupations during the latter part of youth. 
 Service in the French Revolution; on which side he 
 served. His aid in the siege of Toulon. Appoint- 
 ment to aid Barras in defending the Directory. 
 
 Condition of France. Italian campaign. Egyptian 
 campaign. State of France on his return ; his action. 
 Organization of the government as a consulate ; Na- 
 
Composition. 229 
 
 poleon consul. Hostilities with England. Napoleon 
 emperor. Operations in Germany. Trafalgar. 
 
 Conquest of Prussia. Conquest of Austria. Inva- 
 sion of Russia : result. Leipzig. Surrender of Paris. 
 Deposition of Napoleon; departure for Elba. Water- 
 loo. Abdication ; St. Helena. Death : when ; where. 
 Character and rank as a general. 
 
 WASHINGTON AND NAPOLEON. 
 
 These two -men were alike in that each stood for 
 a nwniber of years the central figure in a great 
 nation, coimna;nding large armies and gitid^ing his 
 people through a great crisis in their history ; but 
 we can scarcely conceive of two men with principles 
 and motives more directly opposed. 
 
 Both enjoyed tolerably good advantages for ed- 
 ucation in youth, and both are said to have ex- 
 celled in mathematics and the exact sciences. Both 
 were evidently born commanders ; and we read of 
 them even in early youth enjoying military sports 
 and drilling moch armies. 
 
 Each of these men was possessed of an indom- 
 itable ambition, and each found himself, as he 
 arrived at manhood, in a position to gratify that 
 ambition. 
 
 Washington was selected to lead a band of pa- 
 triots in their struggle for independence. It was 
 a bitter struggle — a few weah colonies against a 
 strong nation and a tyrannical king. But they 
 did not rely in vain upon Washington. He devoted 
 his life to his country's service, and, brought his 
 people safe to a position of independence. His 
 
230 How to Write. 
 
 ambition was not for himself, hut for his country. 
 By his noble character he gained not only the re- 
 spect, hut the love, of the whole people. 
 
 Jfapoleon began his public career amid the clos- 
 ing scenes of the French Revolution. But the 
 French people ivere very different from the hardy 
 Americans. They scarcely comprehended the mean- 
 ing of the word '' independence;" andy it is not sur- 
 prising that JVapoleon, with his ind.omitable will 
 and ambition, soon obtained complete control of 
 thejn. He did not stop at the boundaries of his 
 own country, but overthrew nations and dethroned 
 kings in every direction, and was at length crown- 
 ed einperor of the vast country he had conquered. 
 
 Washington, when the crisis of the great polit- 
 ical struggle luas past, proved himself as able a 
 statesman as he had been a general. He toolc coun- 
 sel with his assistants, and did. not rest until he saw 
 his country respected, among all nations as a free 
 and independent government. He then refused re- 
 election to the chief executive office and gave place 
 to another. 
 
 Kapoleon was a despot. He controlled absolutely, 
 tooh no counsel with his subord^incdies, but ruled 
 them with an iron hand. And when his despotism 
 could no longer be borne, he fell; and we find him 
 all at once crushed, dethroned and exiled from his 
 country. 
 
 JSCapoleon died an exile on a distant island, with 
 none to mourn for him. Washington enjoyed to the 
 last the respect and love of his country, and at the 
 news of his death the whole people mourned as for 
 a dear friend. 
 
 At the name of JVapoleon we thinh of a master' 
 
Composition. 
 
 231 
 
 mind; at chat of WaslUthgtan, of a trae and noble 
 heart, 
 
 TopiccU Outline, 
 
 IntrodUO- ) General statement of likenesses 
 TION J and differences. 
 
 Washing- 
 ton and 
 Napoleon 
 
 
 Education 
 Early traits of 
 
 Like- 
 
 Discus- 
 
 character 
 
 nesses, 
 
 sion 
 
 Public career 
 
 Differ- 
 
 
 Character 
 Death 
 
 ences. 
 
 CONCLU- 1 
 SION 
 
 " Opinion of posterity 
 
 '. 
 
 Read the lives of Washington and Bonaparte and study the 
 foregoing suggestions. Then study the outline for the compo- 
 sition. Write a composition in Comparison and Contrast, tak- 
 ing Washington and Napoleon for your subject 
 
 Composition CXXXIV. 
 
 BENJAMIN FRANKLIN, 
 
 (Suggestions.) 
 
 Early Life: Parentage. Birth : when and where. 
 Education. Period of apprenticeship. 
 
 Manhood: Before entering on his public hfe. Oc- 
 cupation: printer. Editor of Poor Richard's Al- 
 ma/iac; maxims. Character as a philosopher. PubHc 
 life. Postmaster at Philadelphia. Member of General 
 Assembly of Pennsylvania. 
 
 Electric experiments : lightning-rods. Deputy-gen- 
 
232 
 
 How to Write. 
 
 eral of Post-Office Department. Agent of several col- 
 onies to Europe. Member of Continental Congress. 
 Signer of Declaration of Independence. Minister to 
 France during Revolution. Return to iVmerica. Cha- 
 racter as statesman. Connection with educational in- 
 stitutions. Influence on literary world. Death. 
 
 Tojncal Outline, 
 
 ' InteODUC- I (Let the pupil make the intro- 
 TION J duction.) 
 
 Time 
 
 Nationality 
 Educational ad- 
 vantages 
 -1 Early dispositions 
 Early occupations 
 Public life 
 Character 
 Death 
 
 Rank. 
 
 Washing- 
 ton and 
 Franklin 
 
 Discus- 
 
 sion 
 
 Like- 
 nesses, 
 
 DlFFEK- 
 
 ENCES.. 
 
 Conclu- 
 sion 
 
 Write a composition in Comparison and Contrast, taking 
 Washington and Franklin as your subject. Study the lives 
 of both men, following the suggestions given. 
 
 CompositioTi CXXXV. 
 
 PATRICK HENRY. 
 
 (Suggestions.) 
 
 Early Life: Parentage. Birth : time and place. 
 Education. Early disposition and character. 
 
Composition. 233 
 
 Manhood: First occupation : business ; result. Final 
 occupation : lawyer. Character and rank as a lawyer. 
 
 Public life. Member of the House of Burgesses of 
 Virginia. Speeches on ''Stamp Act;" "Tax on Tea;" 
 " Boston Port Bill :" effect of these speeches. 
 
 Member of Congress. Affair with Dun more of Vir- 
 ginia. Governor of Virginia. Position on the adop- 
 tion of the Federal Constitution. Final acquiescence. 
 Death : when. Character and rank as an American 
 statesman. 
 
 JOHN ADAMS. 
 
 (Suggestions.) 
 
 Earhj Life: Birth : time ; place. Parentage. Edu- 
 cation. 
 
 Manhood: Profession : rank as a lawyer. Position 
 among his countrymen. Member of Massachusetts 
 Assembly. Member of First and Second Congresses. 
 His service in Congress. Secured the adoption of the 
 Declaration of Independence. 
 
 Commissioner to decide on a treaty of peace and 
 commerce at the close of the Revolution. Terms of 
 the treaty. Minister of United States to the Court 
 of St. James — the first one. Vice-President for two 
 terms. President. 
 
 Principles of different parties. French troubles. 
 Alien-and-Seditionlaws. Party distinctions. Death: 
 
234 How to Write. 
 
 when ; where. Character as a man, lawyer and 
 statesman. 
 
 Compare the lives of Patrick Henry and John Adams. 
 Study the lives of both men, noting in particular the points 
 given in " Suggestions." Make an outline before beginning 
 to write. 
 
 Composition C XXXVI. 
 
 ROBERT FULTON. 
 
 (Suggestions.) 
 
 Early Life: Birth : time and place. Parentage. 
 Education. 
 
 Manhood: Early occupation: portrait - painting. 
 Residence abroad. Later occupation : civil engi- 
 neering. Life in France ; studies and experiments. 
 
 First successful application of steam to naviga- 
 tion. Navio-ation and navigable waters. Influence 
 of Fulton's invention on civilization. Fulton's pat- 
 ent. Death. 
 
 GEORGE STEPHENSON. 
 
 (Suggestions.) 
 
 Early Life: Birth : time and place. Education. 
 Occupation as a boy. Experiments of youth. 
 
 Manhood: The then existing railways. The many 
 attempts to apply steam to railway locomotion. Ste- 
 phenson's attention to the subject. The first railway 
 locomotive. 
 
Composition, 235 
 
 Effect of his inventions on civilization and com- 
 merce. The multiplicity of railroads now, especially 
 in our country : advantages arising therefrom. Death 
 of Stephenson. 
 
 Compare the lives of Robert Fnlton and George Stephenson. 
 Study the lives of both men, following the points given in 
 " Suggestions." Make an outline before beginning to write. 
 
 Composition CXXXVII. 
 
 JOHN SMITH. 
 
 (Suggestions.) 
 
 Early Life: Birth : time and place. Education. 
 Adventures of youth. 
 
 Manhood: First voyage to America : when made. 
 Explorations on coast of Virginia. Founding a Vir- 
 ginia colony. Jamestown. London Company; first 
 charter. Government of colony ; two councils ; gov- 
 ernor. 
 
 John Smith as governor. Standing among the col- 
 onists. Prosperity of colony under him. His explo- 
 rations. Narrow escape. Friendship of Indians while 
 Smith remained. The second charter. Smith's re- 
 turn to England ; cause and results. Change of gov- 
 ernment. Smith's second voyage. Third charter. 
 
 Introduction of slavery. Indians ; wars ; results. 
 Virginia made a royal province. Death of Smith : 
 when ; where. 
 
236 How to Write, 
 
 • WILLIAM PENN. 
 
 (Suggestions.) 
 
 Early Life: Birth : time and place. Education. 
 Expulsion from home ; cause. 
 
 Manhood: Religious views. Voyage to America. 
 Grant of Pennsylvania. (Meaning of name.) Found- 
 ing of Philadelphia. (Meaning of name.) Treaty with 
 Indians. Return to England. 
 
 Release of thirteen hundred Quakers. Return to 
 America with a band of Quakers: Government. His 
 work with the Indians. Death. Character. 
 
 Compare the lives of John Smith and William Penn. Study 
 the lives of both men, following the suggestions given in " Sug- 
 gestions." Make an outline before beginning to write. 
 
 Composition CXXXVIII. 
 
 MASSACHUSETTS. 
 
 (Suggestions.) 
 
 Location. Causes which led to settlement. Massa- 
 chusetts under colonial rule. Settlements made. Con- 
 ditions of country. Massachusetts under royal gov- 
 ernors. Causes for change in administration. Return 
 to colonial rule. 
 
 Wars prior to Revolution. Revolutionary War. 
 Causes of this war. Massachusetts' connection with 
 this war. Result of the war. Massachusetts a 
 State. Character of its occupations. Character of 
 its people. Rank in the Union. 
 
Composition. 237 
 
 CALIFORNIA. 
 
 (Suggestions.) ' 
 
 Location. Early settlement. California under Mex- 
 ico. Missions established by Franciscan monks. Cause 
 of the decline of power of these monks. War between 
 Mexico and the United States. Struggle for inde- 
 pendence in California. 
 
 California ceded to the United States by Mexico. 
 California a Territory. Discovery of gold. Question 
 of slavery. California admitted into the Union. Cha- 
 racter of its occupations. Character of its people. 
 Rank in the Union. 
 
 Compare the histories of Massachusetts and California. 
 Study the histories of both States from the points given in 
 "Suggestions." Make an outline before beginning to write. 
 
 Composition CXXXIX. 
 
 MASSACHUSETTS. 
 
 (Suggestions.) 
 
 Location. Length and breadth. Area. Physical 
 characteristics. Surface: mountain -ranges ; Con- 
 necticut Valley. Climate. 
 
 Advantages: mines; means of communication with 
 the world; water-power. Leading interests: manu- 
 facturing and commerce. Cities. Relative import- 
 ance in respect to area, population and commercial 
 interests. 
 
238 How to Write. 
 
 CALIFORNIA. 
 
 (Suggestions.) 
 
 Location. Length and breadth. Area. Physical 
 characteristics. Surface : Sierra Nevada Mountains ; 
 Coast Ranges ; Great Central Valley. Climate : wet 
 and dry seasons. 
 
 Advantages : mines ; means of communication with 
 the world. Leading interests : mining ; agriculture ; 
 commerce. Cities. Relative importance in respect 
 to area, population and commercial interests. 
 
 Write a composition in Comparison and Contrast, taking for 
 the theme " Massachusetts and California." Study the descrip- 
 tion of both States from the " Suggestions " made under each. 
 Make an outline before beginning to write. 
 
 Composition CXL. 
 
 THE MINISTER. 
 
 (Suggestions.) 
 
 His experience of the truth of God's vv^ord. The 
 Bible his book of study. Called of God to preach. 
 Collegiate and theological education. Examination for 
 license. Preaching as a candidate. The embarrass- 
 ments of the young preacher. Receives a call. Or- 
 dination and installation. 
 
 Labor in the study : preparation of sermons. 
 Preaching. Work in the Sabbath-school. Bap- 
 tisms. Calls upon the sick. Funerals and funeral 
 sermons. Weddings. Religious conversation. Pas- 
 toral visitation of the congregation. 
 
Compodtion. 239 
 
 Fidelity to the truth whether popular or not. His 
 literary work. Self-devotion and piety. The diffi- 
 culties of his work. A leader and an example. The 
 need society has of a minister. His joy and reward 
 in his calling. Pecuniary reward. 
 
 THE DOCTOR. 
 
 (Suggestions.) 
 
 His choice of a profession decided by his tastes and 
 individual fitness. Three years' study and observa- 
 tion under a medical preceptor. His college course. 
 The dissecting-room. Hospital experience. 
 
 His graduation but the threshold of his experience. 
 His settlement in practice. Choice of a location. The 
 embarrassment of his position in society. Waiting for 
 business. His aim to keep pace with scientific in- 
 vestigation and discovery. His experience at the 
 bedside of the sick. Undivided responsibility. 
 
 First experience in losing a patient. His duty to 
 the afflicted friends. Private consultation and pro- 
 fessional secrets. His duty to relieve suffering when 
 life cannot be saved. Night-work. How regarded 
 by his patrons and the public. The effect of his pro- 
 fession on longevity. His reward. 
 
 Write a composition in Comparison and Contrast, taking for 
 the theme " The Minister and the Doctor." Follow the "Sug- 
 gestions " made under each. Make an outline before begin- 
 ning to write. 
 
■c<^. 
 
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 :., '.|^. 
 
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