UNIVE

PART I.

OF THE SYNTHESIS AND ANALYSIS OF A LITERARY COMPOSITION, AND ITS GENERAL PRAXIS.

We shall divide this subject into two articles. In the first we shall consider the Synthesis and Analysis, and in the second the General Praxis of composition.

ARTICLE I.

SYNTHESIS AND ANALYSIS OF A LITERARY COMPOSITION-THEIR NATURE AND RULES.

1. As it has already been stated, under No. 2, of the preliminary remarks, synthesis of a literary composition is the combination of several periods, which constitutes the fourth and last formation of a literary production.

2. As in the preceding, so in this formation, various requisites are to be observed. It is necessary, first, to have several elements, which

here are periods. Their number should be rather large than small; otherwise, it will scarcely deserve the name of a literary composition. Second, the connection of the periods must be made by the sense, rather than by conjunctive particles. Hence, it is necessary, in making the skeleton of the composition, (of which we shall speak in the praxis) to observe closely if the main ideas or points are logically connected, before proceeding to their development and amplification. Third, although the whole work of synthesis must show symmetry, yet it must not be destitute of a pleasing variety in the arrangement and government of each period. The complex of the periods must resemble a well ordered commonwealth, which, although it results from the union of different states or communities under one general government, yet each state or community has, or may have, an independent and sometimes different form of administration. Fourth, gradation, or the rising of the argument, must be observed in a literary composition, as often as the subject allows it. This consists in the gradual ascension, step by step, until the subject reaches the highest point; also in the perfection of the finale, which should be like the finishing touch of a picture, whereby the work is completed and the critic made satisfied. A contrary system will not only cause an unpleasant sensation of emptiness, but will often destroy in the mind of the hearer or reader, the favorable impression which may have been produced by the former part of the composition.

3. Analysis of a literary composition is the resolution of the same into its nearest components, viz: periods. But, since a literary composition is not simply a collection of elements, but principally a work of invention, hence this kind of analysis has regard not only to the use of proper language and right collocation of the elements, but moreover to the rules which must govern ideas, and are peculiar to each subject and species of composition.

4. Hence, analysis with respect to a whole composition is of two kinds-general and particular. The general analysis applies to all specie s and subjects of composition, and comprises three points-first, the number and connection of the periods; second, their variety of arrangement

(3.) What is analysis of a literary composition?

Does this kind of analysis refer only to language and collocation of parts in a composition?

(4.) How many kinds of analyses are there, with respect to an entire composition?

To what species and subjects of composition does the general analysis apply?

How many points does it comprise?--and what are they?

and government; third, the gradation and close of the composition.

5. The particular analysis consists in the observation of the compliance of the requisites peculiar to each species of composition, as will be seen hereafter. Both the general and particular analysis constitute a third class distinct from the sentential and periodal analysis, which third class may be called composition analysis.

6. In analyzing and criticising a composition, the student must observe the following method: First, he must give a definition, or quote the appropriate rule. Second, he must apply the definition or rule to the subject under discussion. Third, he must conclude that the part examined is either right or wrong, according as it conforms or not with the definition or rule given.

7. The necessity and utility of composition analysis cannot be sufficiently extolled. It may be safely asserted that a pupil will never attain even a low degree of eminence in the art of a literary composition, if he cannot point out wherein the beauty, or deformity of a composition consists. Yet, to our regret, we often meet persons who, after reading or hearing a fine specimen of composition, will exclaim, beautiful! sublime! and if asked to point out where the beauty or sublimity lies, they must acknowledge that they do not know. The cause of their ignorance is mainly to be ascribed to the imperfect method, and perhaps total omission in schools, of analysis and criticism of different authors' writings. Hence it is highly necessary (as it has been stated in the preface), that after having thoroughly understood the principles and rules here given, and also seen some models of their execution, that the student should be introduced into the museum of literature; and that the works of different authors be shown him for criticism and analysis. Such is the practice observed by the masters of sculpture, painting, music, and of other liberal arts.

8. We shall conclude this important subject on the analysis of composition, with some practical directions, which may be of service to the teacher and pupil, in the analysis and criticism of the extracts from different authors, as pre