all ranks, and all descriptions. To youthful ardor he presents danger and glory; to ambition, rank, and titles, and honors; to avarice, the mines of Mexico. To each person, whom he addresses, he presents the object adapted to his taste; his recruiting officers are appointed; men are engaged throughout the continent. Civil life is indeed quiet upon the surface; but in its bosom, this man has contrived to deposit the materials, which, with the slightest touch of his match, produce an explosion to shake the continent. All this his restless ambition has contrived, and in the autumn of 1806, he goes forth, for the last time, to apply this match.”

ARTICLE II.

PRAXIS OF ANALYSIS OF AN ORATORICAL NARRATION.

1. We propose to give here an illustration of the praxis of analysis, to be made by the scholar, when he is required to criticise a composition, or an extract of some author.

2.

As stated in the preliminary remarks, under Nos. 3, 4, 5, and 6; analysis of composition has two parts; the first part consists in the general, the second part in the particular analysis. The general analysis comprises three points; first, the

(2.) How many are the parts of analysis of composition?

How many points does the general analysis comprise?

number and connection of periods; second, their variety of arrangement and government; third, the gradation and close of the composition. The particular analysis relates to the observance of the rules, peculiar to the species of composition under review. The method, or process, to be followed by the scholar, in analyzing, is, first, a statement, or assertion; second, a definition, or quotation of a rule; third, the application of either to the subject; fourth, an appropriate conclusion. Or, more briefly; first, a statement; second, the application of a rule or definition. We will exemplify both parts of analysis.

3. Let then the pupil either read in the book, or write on the black-board, the above oratorical narration from Cicero against Verres, marking the separate periods by small figures. He will then begin his analysis and criticism in the following manner :

To what does the particular analysis relate?

What is the method to be followed by the scholar, in the analysis and criticism of a composition?

(3.) Give the praxis of analysis by the pupil, on the subject of an oratorical narration.

What is the first assertion and proof respecting the first part of analysis?

FIRST PART.

THE GENERAL ANALYSIS.

FIRST ASSERTION.-"In Cicero's narration, the number and the connection of the periods are right." Reason: According to Rule first, No. 2, (Prelim. Remarks,) the number of periods of a composition should be rather large; and according to Rule second, in the same place, the connection of periods must be made by the sense, if not by conjunctive particles.

In said narration, the periods are seven in number, and are well connected by the sense which follows the adjuncts of the fact, in the order of time in which they occurred; and the narration is concluded by a natural emotion of indignation, of the orator, after narrating the facts. Therefore, in Cicero's narration, both the number and connection of periods are right.

4. SECOND ASSERTION." The periods show a variety of arrangement." Reason: In the first period the leading noun," The unhappy man, Publius Gavius Cosanus," is placed at the commencement of the period; in the second period, the leading pronoun "he," referring to the wicked Prætor, is placed in the middle; in the third period, the leading pronoun "it" is put at the

(4.) What is the second assertion and proof?

commencement; in the fourth period, the leading noun "the blood-thirsty Prætor" is at the commencement; in the tifth, the leading words, "an innocent Roman citizen" follow soon after the commencement; in the sixth, the pronoun "he;" and in the seventh, the noun "liberty," commence the period. Therefore, the periods show variety of arrangement.

was;

" in

5. THIRD ASSERTION." The periods present variety of government." Reason: In the first period the leading noun, "Publius Gavius," governs the passive verb" is brought;" in the second, the leading pronoun "he" governs the active transitive verb "orders," also the active participle" accusing;" in the third, the leading pronoun "it" governs the neuter verb " the fourth, the words "the blood-thirsty Prætor govern the active transitive verb "ordered," and the apposition clause, "deaf to all," etc; in the fifth, the noun," Roman citizen," governs the neuter verb "was," and agrees with the leading pronoun “he,” which follows, and is the governing word of the two active transitive verbs, "uttered" and "hoped," and of the neuter verb "was," which is in the sixth period. Therefore, the periods present variety of government.

(5.) State the third assertion and proof.

6. FOURTH ASSERTION.- -"The whole narration presents a beautiful gradation, in the recital of Verres' cruelty and outrage to a Roman citizen; and is finished by a sublime conclusion." Reason: The injustice of Verres is first shown by the unjust arrest of Publius Gavius, while embarking for his country; it is increased by the order given, without any cause, of scourging him naked, like a slave; from which punishment Roman citizens were exempt. It is still more increased by Verres' inhuman insensibility to the pitiful appeals of the poor mangled man. Finally, the climax to Verres' cruelty and crime is put, by the order given by him for the execution of the unhappy man on the cross; which was considered by the Romans a most infamous death, and, therefore, could not by law be inflicted on any Roman citizen. Upon reaching this extremity of cruelty and wickedness, the orator, by a just and natural outburst of indignation, gives vent to that beautiful and sententious exclamation : "O, liberty! O, sound once delightful to every Roman ear! O, sacred privilege of Roman citizenship! Once sacred, now trampled upon!" And thus, by a sublime rhetorical figure, calculated to rouse the passions of the Romans against the monster Verres, this admi

(6.) What is the fourth assertion and proof?