scribed in the exercises of this, and the following book.

First. Both the general and particular analysis must be made on a correct example at first, and on a faulty one afterwards, so that there may be a positive and negative illustration of the rule or rules explained.

Second. The teacher should exercise the pupil first, on the examples produced in this book, and afterward, on others not contained herein.

Third. For the successful analysis and criticism by the pupil, of extracts not contained in this book, it is necessary that the teacher should give the pupil ample time to prepare himself. The teacher may make a selection in the Rhetorical Reader of a piece for analysis, or leave the choice of it to the pupil, if he is capable.

Fourth. When the time for criticism has arrived, the pupil may be required to write either the whole, or a part of the extract on the blackboard, or otherwise simply read it in the book.

Fifth. The pupil shall commence by repeating the rules, the observance of which he proposes to show in the extract.

Sixth. He will then show, one by one, how each rule has been faithfully observed in the The pupil must, in the positive

passage given.

illustration of the rules, take the side of the author, and argue in his favor.

Seventh. For the negative illustration of the rules, it is necessary to bring out some example which contains various violations. This may be easily obtained from bad writers, or by perverting a good example; which task may be assigned to the scholar. The wrong example may be written on the board, and criticised in the same manner as the correct one, by the application of the rules.

Eighth. When the pupil appointed to criticise a composition, omits, or falsely quotes a rule, other pupils will note down his mistake, and report it, when their criticism is demanded. When a good example has been perverted, for the sake of a negative illustration, by one scholar, it should be criticised by another; and if he, and others fail to point out the violations, the author must indicate them.

Ninth. The same system of analysis and criticism is to be observed in compositions written by pupils.

9. We shall present an example of composition analysis on the subject of oratorical narrations, Part 4, Chapter 2.

ARTICLE II.

GENERAL PRAXIS FOR WRITING A LITERARY COMPOSITION.

1. In attempting to write a composition, a bad custom very common among beginners must be avoided, viz: to begin to write on a subject, before it has been thoroughly matured in the mind. Beginners generally strive to catch words, rather than ideas; they care more for the shadow, than the body; and are ignorant of the great principle advanced by Horace, that "He who shall have thoroughly investigated his subject, will neither fail in eloquence nor in clear order."

66

res erit cuj lecta potenter

Nec facundia deseret hunc, nec lucidus ordo."

Hence, the general rule for a good composition is "To have the mind clear on a subject, before attempting to write or speak upon it.”

2. The special rules for the praxis of composition are:

(1.) What wrong custom must a student avoid before commencing to write on a subject?

What is Horace's precept on this point?

(2.) What is the first special rule for the praxis of composition?

What is the second?-third?-fourth?

First. Review the rules that relate to the subject and species of composition on which you are about to write.

Second. Understand thoroughly the nature of the subject of your composition, by defining, dividing and examining every part of it, as an anatomist does, after dissecting a human body.

Third. Note down on paper, as soon as they are presented to your mind, indiscriminately, all ideas and vivid imaginations, lest you may forget them. These will be like materials piled on a spot for the erection of a building.

Fourth. When all the materials have been collected, the skeleton or outline of the composition must be made, which is like putting up the frame of a building. In this operation, the principal division and symmetry of the structure must be devised: hence it is necessary that the materials collected be arranged properly, and according to a certain order, of either time, place, persons, or other principal adjuncts.

Fifth. As in a building, so in a composition, there may be principal and secondary divisions; each division must be worked apart, as though it formed a whole by itself. Each divis(2.) What is the fifth special rule?

ion must comprise various points of the subject or theme.

Sixth. The points under each division may be designed by numbers, and expressed in a few concise words or short sentences. These short sentences will form what was termed in the first book (Elements of Comp.) on the subject of amplification, a complex idea. Now the skeleton or outline of the composition is complete, as far as sentiment is concerned.

Seventh. Determine what kind of style will suit the subject and species of your composition.

Eighth. Before commencing the work of developing and amplifying the points or ideas sketched out, read an extract from a classic author somewhat analagous to your subject, until your imagination begins to glow with brilliant thoughts and choice language.

Ninth. With a clear and fresh mind, commence the work of amplification of each point or idea laid down in the outline, according to the rules of amplification expounded in the first book of the Elements of Composition. This is like the filling up of a skeleton or frame of a building.

(2,) What is the sixth rule ?--the seventh ?—the eighth ?—the ninth ?-the tenth?

What is the eleventh rule ?-the twelfth ?