NEW CENTURY
SPEAKER and WRITER

BEING

A Standard Work on Composition
and Oratory

CONTAINING

RULES FOR EXPRESSING WRITTEN THOUGHT IN A CORRECT AND ELEGANT
MANNER; MODEL SELECTIONS FROM THE MOST FAMOUS AUTHORS;
SUBJECTS FOR COMPOSITIONS AND HOW TO TREAT THEM; USE
OF ILLUSTRATIONS; DESCRIPTIVE, PATHETIC AND
HUMOROUS WRITINGS, ETC., ETC.

TOGETHER WITH A

Peerless Collection of Readings and Recitations,
Including Programmes for Special
Occasions

FROM AUTHORS OF WORLD-WIDE RENOWN, FOR PUBLIC SCHOOLS, ACADEMIES,
COLLEGES, LODGES, SUNDAY-SCHOOL AND
SOCIAL ENTERTAINMENTS

THE WHOLE FORMING AN

UNRIVALED SELF-EDUCATOR FOR YOUNG PEOPLE

by Henry Davenport Northrop
Author of “Delsarte Manual of Oratory,” “Golden Gleanings of Poetry, Prose and Song,” etc., etc.

Embellished with a Galaxy of Charming Engravings

NATIONAL PUBLISHING CO.
239, 241, 243 South American St.
Philadelphia

ENTERED ACCORDING TO ACT OF CONGRESS, IN THE YEAR 1901, BY
D. Z. HOWELL
IN THE OFFICE OF THE LIBRARIAN OF CONGRESS, AT WASHINGTON, D. C., U. S. A.

Preface.

Millions of young people in America are being educated, and hence there is a very great demand for a Standard Work showing how to express written thought in the most elegant manner and how to read and recite in a way that insures the greatest success. To meet this enormous demand is the aim of this volume.

Part I.—How to Write a Composition.—The treatment of this subject is masterly and thorough, and is so fascinating that the study becomes a delight. Rules and examples are furnished for the right choice of words, for constructing sentences, for punctuation, for acquiring an elegant style of composition, for writing essays and letters, what authors should be read, etc. The directions given are all right to the point and are easily put into practice.

The work contains a complete list of synonyms, or words of similar meaning, and more than 500 choice subjects for compositions, which are admirably suited to persons of all ages. These are followed by a charming collection of Masterpieces of Composition by such world-renowned authors as Emerson, Hawthorne, George Eliot, Lord Macaulay, Washington Irving, C. H. Spurgeon, Sarah J. Lippincott, Mrs. Stowe and many others.

These grand specimens of composition bear the stamp of the most brilliant genius. They are very suggestive and helpful. They inspire the reader to the noblest efforts, and teach the truth of Bulwer Lytton’s well-known saying that “The pen is mightier than the sword.”

Part II.—Readings and Recitations.—The second part of this incomparable work is no less valuable, and a candid perusal will convince you that it contains the largest and best collection of recitations ever brought together in one volume. These are of every variety and description. Be careful to notice that every one of these selections, which are from the writings of the world’s best authors, is especially adapted for reading and reciting. This is something which cannot be said of any similar work.

All the Typical Gestures used in Reciting are shown by choice engravings, and the reader has in reality the best kind of teacher right before him. The different attitudes, facial expressions and gestures are both instructive and charming. These are followed by Recitations with Lesson Talks. Full directions are given for reciting the various pieces, and this is done by taking each paragraph or verse of the selection and pointing out the gestures, tone of voice, emphasis, etc., required to render it most effectively. The Lesson Talks render most valuable service to all who are studying the grand art of oratory.

The next section of this masterly volume contains Recitations with Music. This is a choice collection of readings which are rendered most effective by accompaniments of music, enabling the reader by the use of the voice or some musical instrument to entrance his audience.

These charming selections are followed by a superb collection of Patriotic Recitations which celebrate the grand victories of our army and navy in the Philippines and West Indies. These incomparable pieces are all aglow with patriotic fervor and are eagerly sought by all elocutionists.

There is space here only to mention the different parts of this delightful volume, such as Descriptive and Dramatic Recitations; Orations by Famous Orators; a peerless collection of Humorous and Pathetic Recitations, and Recitations for Children and Sunday Schools.

Parents are charmed with this volume because it furnishes what the little folks want and is a self-educator for the young. It marks a new era in book publishing.

Part III.—Programmes for Special Occasions.—These have been prepared with the greatest care in order to meet a very urgent demand. The work contains Programmes for Fourth of July; Christmas Entertainments; Washington’s Birthday; Decoration Day; Thanksgiving Day; Arbor Day; Public School and Parlor Entertainments; Harvest Home; Flower Day, etc. Beautiful Selections for Special Occasions are contained in no other work, and these alone insure this very attractive volume an enormous sale.

Dialogues, Tableaux, etc.—Added to the Rich Contents already described is a Charming Collection of Dialogues and Tableaux for public and private entertainments. These are humorous, pithy, teach important lessons and are thoroughly enjoyed by everybody.

In many places the winter lyceum is an institution; we find it not only in academies, and normal schools, but very frequently the people in a district or town organize a debating society and discuss the popular questions of the day. The benefit thus derived cannot be estimated. In the last part of this volume will be found by-laws for those who wish to conduct lyceums, together with a choice selection of subjects for debate.

Thus it is seen that this is a very comprehensive work. Not only is it carefully prepared, not only does it set a very high standard of excellence in composition and elocution, but it is a work peculiarly fitted to the wants of millions of young people throughout our country. The writer of this is free to say that such a work as this would have been of inestimable value to him while obtaining an education. All wise parents who wish to make the best provision for educating their children should understand that they have in this volume such a teacher in composition and oratory as has never before been offered to the public.

CONTENTS.

PART I.
How to Write a Composition
and
Express Written Thought in a Correct and Elegant Manner.

The correct and pleasing expression of one’s thoughts in writing is an accomplishment of the highest order. To have little or no ability in the art of composition is a great misfortune.

Who is willing to incur the disgrace and mortification of being unable to write a graceful and interesting letter, or an essay worthy to be read by intelligent persons? What an air of importance belongs to the young scholar, or older student, who can pen a production excellent in thought and beautiful in language! Such a gifted individual becomes almost a hero or heroine.

When I was a pupil in one of our public schools the day most dreaded by all of the scholars was “composition day.” What to write about, and how to do it, were the most vexatious of all questions. Probably nine-tenths of the pupils would rather have mastered the hardest lessons, or taken a sound whipping, than to attempt to write one paragraph of a composition on any subject.

While some persons have a natural faculty for putting their thoughts into words, a much larger number of others are compelled to confess that it is a difficult undertaking, and they are never able to satisfy themselves with their written productions.

Let it be some encouragement to you to reflect that many who are considered excellent writers labored in the beginning under serious difficulties, yet, being resolved to master them, they finally achieved the most gratifying success. When Napoleon was told it would be impossible for his army to cross the bridge at Lodi, he replied, “There is no such word as impossible,” and over the bridge his army went. Resolve that you will succeed, and carry out this good resolution by close application and diligent practice. “Labor conquers all things.”

WHAT TO DO, AND HOW TO DO IT.

Study carefully the lessons contained in the following pages. They will be of great benefit, as they show you what to do and how to do it.

These lessons are quite simple at first, and are followed by others that are more advanced. All of them have been carefully prepared for the purpose of furnishing just such helps as you need. You can study them by yourself; if you can obtain the assistance of a competent teacher, so much the better. I predict that you will be surprised at the rapid progress you are making. Perhaps you will become fascinated with your study; at least, it is to be hoped you will, and become enthusiastic in your noble work.

Be content to take one step at a time. Do not get the mistaken impression that you will be able to write a good composition before you have learned how to do it. Many persons are too eager to achieve success immediately, without patient and earnest endeavor to overcome all difficulties.

Choose a subject for your composition that is adapted to your capacity. You cannot write on a subject that you know nothing about. Having selected your theme, think upon it, and, if possible, read what others have written about it, not for the purpose of stealing their thoughts, but to stimulate your own, and store your mind with information. Then you will be able to express in writing what you know.

The Treatment of the Subject.

The principal reason why many persons make such hard work of the art of composition is that they have so few thoughts, and consequently so little to say, upon the subjects they endeavor to treat. The same rule must be followed in writing a composition as in building a house—you must first get your materials.

I said something about stealing the thoughts of others, but must qualify this by saying that while you are learning to write, you are quite at liberty in your practice to make use of the thoughts of others, writing them from memory after you have read a page or a paragraph from some standard author. It is better that you should remember only a part of the language employed by the writer whose thoughts you are reproducing, using as far as possible words of your own, yet in each instance wherein you remember his language you need not hesitate to use it. Such an exercise is a valuable aid to all who wish to perfect themselves in the delightful art of composition.

Take any writer of good English—J. G. Holland, Oliver Wendell Holmes, Irving, Cooper, or the articles in our best magazines—and read half a page twice or thrice; close the book, and write, in your own words, what you have read; borrowing, nevertheless, from the author so much as you can remember. Compare what you have written with the original, sentence by sentence, and word by word, and observe how far you have fallen short of the skilful author.

A Frequent Change of Authors.

You will thus not only find out your own faults, but you will discover where they lie, and how they may be mended. Repeat the lesson with the same passages twice or thrice, if your memory is not filled with the words of the author, and observe, at each trial, the progress you have made, not merely by comparison with the original, but by comparison with the previous exercises.

Do this day after day, changing your author for the purpose of varying the style, and continue to do so long after you have passed on to the second and more advanced stages of your training. Preserve all your exercises, and occasionally compare the latest with the earliest, and so ascertain what progress you have made.

Give especial attention to the words, which, to my mind, are of greater importance than the sentences. Take your nouns first, and compare them with the nouns used by your author. You will probably find your words to be very much bigger than his, more sounding, more far-fetched, more classical, or more poetical. All young writers and speakers fancy that they cannot sufficiently revel in fine words. Comparison with the great masters of English will rebuke this pomposity of inexperience, and chasten and improve your style.

You will discover, to your surprise, that our best writers eschew big words and do not aim to dazzle their readers with fine words. Where there is a choice, they prefer the pure, plain, simple English noun—the name by which the thing is known to everybody, and which, therefore, is instantly understood by all readers. These great authors call a spade “a spade;” only small scribblers term it “an implement of husbandry.” If there is a choice of names, good writers prefer the one best known, while an inexperienced writer is apt to select the most uncommon.

The example of the masters of the English tongue should teach you that commonness (if I may be allowed to coin a word to express that for which I can find no precise equivalent) and vulgarity are not the same in substance. Vulgarity is shown in assumption and affectation of language quite as much as in dress and manners, and it is never vulgar to be natural. Your object is to be understood. To be successful, you must write and talk in a language that everybody can understand; and such is the natural vigor, picturesqueness and music of our tongue, that you could not possess yourself of a more powerful or effective instrument for expression.

Right Choice of Words.

It is well for you to be assured that while, by this choice of plain English for the embodying of your thoughts, you secure the ears of ordinary people, you will at the same time please the most highly educated and refined. The words that have won the applause of a political meeting are equally successful in securing a hearing in Congress, provided that the thoughts expressed and the manner of their expression be adapted to the changed audience.

Then for the sentences. Look closely at their construction, comparing it with that of your author; I mean, note how you have put your words together. The placing of words is next in importance to the choice of them. The best writers preserve the natural order of thought. They sedulously shun obscurities and perplexities. They avoid long and involved sentences. Their rule is, that one sentence should express one thought, and they will not venture on the introduction of two or three thoughts, if they can help it.

Obscure Sentences.

Undoubtedly this is extremely difficult—sometimes impossible. If you want to qualify an assertion, you must do so on the instant; but the rule should never be forgotten, that a long and involved sentence is to be avoided, wherever it is practicable to do so.

Another lesson you will doubtless learn from the comparison of your composition with that of your model author. You will see a wonderful number of adjectives in your own writing, and very few in his. It is the besetting sin of young writers to indulge in adjectives, and precisely as a man gains experience do his adjectives diminish in number. It seems to be supposed by all unpracticed scribblers that the multiplication of epithets gives force. The nouns are never left to speak for themselves.

It is curious to take up any newspaper and read the paragraphs of news, to open the books of nine-tenths of our authors of the third and downward ranks. You will rarely see a noun standing alone, without one or more adjectives prefixed. Be assured that this is a mistake. An adjective should never be used unless it is essential to correct description. As a general rule adjectives add little strength to the noun they are set to prop, and a multiplication of them is always enfeebling. The vast majority of nouns convey to the mind a much more accurate picture of the thing they signify than you can possibly paint by attaching epithets to them.

Yet do not push to the extreme what has just been said. Adjectives are a very important part of language, and we could not well do without them. You do not need to say a “flowing river;” every river flows, but you might wish to say a “swollen river,” and you could not convey the idea you desire to express without using the adjective “swollen.” What I wish to caution you against is the needless multiplication of adjectives, which only serve to overload and weaken the expression of your thought.

Express Your Own Ideas.

When you have repeated your lesson many times, and find that you can write with some approach to the purity of your author, you should attempt an original composition. In the beginning it would be prudent, perhaps, to borrow the ideas, but to put them into your own language. The difficulty of this consists in the tendency of the mind to mistake memory for invention, and thus, unconsciously to copy the language as well as the thoughts of the author.

The best way to avoid this is to translate poetry into prose; to take, for instance, a page of narrative in verse and relate the same story in plain prose; or to peruse a page of didactic poetry, and set down the argument in a plain, unpoetical fashion. This will make you familiar with the art of composition, only to be acquired by practice; and the advantage, at this early stage of your education in the arts of writing and speaking, of putting into proper language the thoughts of others rather than your own is, that you are better able to discover your faults. Your fatherly love for your own ideas is such that you are really incompetent to form a judgment of their worth, or of the correctness of the language in which they are embodied.

The critics witness this hallucination every day. Books continually come to them, written by men who are not mad, who probably are sufficiently sensible in the ordinary business of life, who see clearly enough the faults of other books, who would have laughed aloud over the same pages, if placed in their hands by another writer, but who, nevertheless, are utterly unable to recognize the absurdities of their own handiwork. The reader is surprised that any man of common intelligence could indite such a maze of nonsense where the right word is never to be found in its right place, and this with such utter unconsciousness of incapacity on the part of the author.

Write Exactly What You Mean.

Still more is he amazed that, even if a sensible man could so write, a sane man could read that composition in print, and not with shame throw it into the fire. But the explanation is, that the writer knew what he intended to say; his mind is full of that, and he reads from the manuscript or the type, not so much what is there set down, as what was already floating in his own mind. To criticise yourself you must, to some extent, forget yourself. This is impracticable to many persons, and, lest it may be so with you, I advise you to begin by putting the thoughts of others into your own language, before you attempt to give formal expression to your own thoughts.

You must habitually place your thoughts upon paper—first, that you may do so rapidly; and, secondly, that you may do so correctly. When you come to write your reflections, you will be surprised to find how loose and inaccurate the most vivid of them have been, what terrible flaws there are in your best arguments.

You are thus enabled to correct them, and to compare the matured sentence with the rude conception of it. You are thus trained to weigh your words and assure yourself that they precisely embody the idea you desire to convey. You can trace uncouthness in the sentences, and dislocations of thought, of which you had not been conscious before. It is far better to learn your lesson thus upon paper, which you can throw into the fire unknown to any human being, than to be taught it by readers who are not always very lenient critics and are quick to detect any faults that appear in your production.

READING AND THINKING.

Having accustomed yourself to express, in plain words, and in clear, precise and straightforward sentences, the ideas of others, you should proceed to express your own thoughts in the same fashion. You will now see more distinctly the advantage of having first studied composition by the process I have recommended, for you are in a condition to discover the deficiencies in the flow of your own ideas. You will be surprised to find, when you come to put them into words, how many of your thoughts were shapeless, hazy and dreamy, slipping from your grasp when you try to seize them, resolving themselves, like the witches in Macbeth,

Into the air: and what seemed corporal melted

As breath into the wind.

What You Should Read.

Thus, after you have learned how to write, you will need a good deal of education before you will learn what to write. I cannot much assist you in this part of the business. Two words convey the whole lesson—Read and think. What should you read? Everything. What think about? All subjects that present themselves. The writer and orator must be a man of very varied knowledge. Indeed, for all the purposes of practical life, you cannot know too much. No learning is quite useless. But a speaker, especially if an advocate, cannot anticipate the subjects on which he may be required to talk. Law is the least part of his discourse. For once that he is called upon to argue a point of law, he is compelled to treat matters of fact twenty times.

And the range of topics is very wide; it embraces science and art, history and philosophy; above all, the knowledge of human nature that teaches how the mind he addresses is to be convinced and persuaded, and how a willing ear is to be won to his discourse. No limited range of reading will suffice for so large a requirement. The elements of the sciences must be mastered; the foundations of philosophy must be learned; the principles of art must be acquired; the broad facts of history must be stamped upon the memory; poetry and fiction must not be slighted or neglected.

Our Great Writers.

You must cultivate frequent and intimate intercourse with the genius of all ages and of all countries, not merely as standards by which to measure your own progress, or as fountains from which you may draw unlimited ideas for your own use, but because they are peculiarly suggestive. This is the characteristic of genius, that, conveying one thought to the reader’s mind, it kindles in him many other thoughts. The value of this to speaker and writer will be obvious to you.

Never, therefore, permit a day to pass without reading more or less—if it be but a single page—from some one of our great writers. Besides the service I have described in the multiplication of your ideas, it will render you the scarcely lesser service of preserving purity of style and language, and preventing you from falling into the conventional affectations and slang of social dialogue.

For the same reason, without reference to any higher motive, but simply to fill our mind with the purest English, read daily some portion of the Bible; for which exercise there is another reason also, that its phraseology is more familiar to all kinds of audiences than any other, is more readily understood, and, therefore, is more sufficient in securing their attention.

Three Kinds of Reading.

Your reading will thus consist of three kinds: reading for knowledge, by which I mean the storing of your memory with facts; reading for thoughts, by which I mean the ideas and reflections that set your own mind thinking; and reading the words, by which I mean the best language in which the best authors have clothed their thoughts. And these three classes of reading should be pursued together daily, more or less as you can, for they are needful each to the others, and neither can be neglected without injury to the rest.

So also you must make it a business to think. You will probably say that you are always thinking when you are not doing anything, and often when you are busiest. True, the mind is active, but wandering, vaguely from topic to topic. You are not in reality thinking out anything; indeed, you cannot be sure that your thoughts have a shape until you try to express them in words. Nevertheless you must think before you can write or speak, and you should cultivate a habit of thinking at all appropriate seasons.

But do not misunderstand this suggestion. I do not design advising you to set yourself a-thinking, as you would take up a book to read at the intervals of business, or as a part of a course of self-training; for such attempts would probably begin with wandering fancies and end in a comfortable nap. It is a fact worth noting, that few persons can think continuously while the body is at perfect rest. The time for thinking is when you are kept awake by some slight and almost mechanical muscular exercise, and the mind is not busily attracted by external subjects of attention.

Thus walking, angling, gardening, and other rural pursuits are pre-eminently the seasons for thought, and you should cultivate a habit of thinking during those exercises, so needful for health of body and for fruitfulness of mind. Then it is that you should submit whatever subject you desire to treat to careful review, turning it on all sides, and inside out, marshalling the facts connected with it, trying what may be said for or against every view of it, recalling what you may have read about it, and finally thinking what you could say upon it that had not been said before, or how you could put old views of it into new shapes.

Learning to Think.

Perhaps the best way to accomplish this will be to imagine yourself writing upon it, or making a speech upon it, and to think what in such case you would say; I do not mean in what words you would express yourself, but what you would discourse about; what ideas you would put forth; to what thoughts you would give utterance.

At the beginning of this exercise you will find your reflections extremely vague and disconnected; you will range from theme to theme, and mere flights of fancy will be substituted for steady, continuous thought. But persevere day by day, and that which was in the beginning an effort will soon grow into a habit, and you will pass few moments of your working life in which, when not occupied from without, your mind will not be usefully employed within itself.

Having attained this habit of thinking, let it be a rule with you, before you write or speak on any subject, to employ your thoughts upon it in the manner I have described. Go a-fishing. Take a walk. Weed your garden. Sweep, dust, do any sewing that needs to be done. While so occupied, think. It will be hard if your own intelligence cannot suggest to you how the subject should be treated, in what order of argument, with what illustrations, and with what new aspects of it, the original product of your own genius.

At all events this is certain, that without preliminary reflection you cannot hope to deal with any subject to your own satisfaction, or to the profit or pleasure of others. If you neglect these precautions, you can never be more than a wind-bag, uttering words that, however grandly they may roll, convey no thoughts. There is hope for ignorance; there is none for emptiness.

To sum up these rules and suggestions: To become a writer or an orator, you must fill your mind with knowledge by reading and observation, and educate it to the creation of thoughts by cultivating a habit of reflection. There is no limit to the knowledge that will be desirable and useful; it should include something of natural science, much of history, and still more of human nature. The latter must be your study, for it is with this that the writer and speaker has to deal.

Remember, that no amount of antiquarian, or historical, or scientific, or literary lore will make a writer or orator, without intimate acquaintance with the ways of the world about him, with the tastes, sentiments, passions, emotions, and modes of thought of the men and women of the age in which he lives, and whose minds it is his business to instruct and sway.

HOW TO ACQUIRE A CAPTIVATING STYLE.

You must think, that you may have thoughts to convey; and read, that you may have words wherewith to express your thoughts correctly and gracefully. But something more than this is required to qualify you to write or speak. You must have a style. I will endeavor to explain what I mean by that.

As every man has a manner of his own, differing from the manner of every other man, so has every mind its own fashion of communicating with other minds. This manner of expressing thought is style, and therefore may style be described as the features of the mind displayed in its communications with other minds; as manner is the external feature exhibited in personal communication.

But though style is the gift of nature, it is nevertheless to be cultivated; only in a sense different from that commonly understood by the word cultivation.

Many elaborate treatises have been written on style, and the subject usually occupies a prominent place in all books on composition and oratory. It is usual with teachers to urge emphatically the importance of cultivating style, and to prescribe ingenious recipes for its production. All these proceed upon the assumption that style is something artificial, capable of being taught, and which may and should be learned by the student, like spelling or grammar.

But, if the definition of style which I have submitted to you is right, these elaborate trainings are a needless labor; probably a positive mischief. I do not design to say a style may not be taught to you; but it will be the style of some other man, and not your own; and, not being your own, it will no more fit your mind than a second-hand suit of clothes, bought without measurement at a pawn-shop, would fit your body, and your appearance in it would be as ungainly.

But you must not gather from this that you are not to concern yourself about style, that it may be left to take care of itself, and that you will require only to write or speak as untrained nature prompts. I say that you must cultivate style; but I say also that the style to be cultivated must be your own, and not the style of another.

How to Cultivate Style.

The majority of those who have written upon the subject recommend you to study the styles of the great writers of the English language, with a view to acquiring their accomplishment. So I say—study them, by all means; but not for the purpose of imitation, not with a view to acquire their manner, but to learn their language, to see how they have embodied their thoughts in words, to discover the manifold graces with which they have invested the expression of their thoughts, so as to surround the act of communicating information, or kindling emotion, with the various attractions and charms of art.

Cultivate style; but instead of laboring to acquire the style of your model, it should be your most constant endeavor to avoid it. The greatest danger to which you are exposed is that of falling into an imitation of the manner of some favorite author, whom you have studied for the sake of learning a style, which, if you did learn it, would be unbecoming to you, because it is not your own. That which in him was manner becomes in you mannerism; you but dress yourself in his clothes, and imagine that you are like him, while you are no more like than is the valet to his master whose cast-off coat he is wearing.

There are some authors whose manner is so infectious that it is extremely difficult not to catch it. Hawthorne is one of these; it requires an effort not to fall into his formula of speech. But your protection against this danger must be an ever-present conviction that your own style will be the best for you, be it ever so bad or good. You must strive to be yourself, to think for yourself, to speak in your own manner; then, what you say and your style of saying it will be in perfect accord, and the pleasure to those who read or listen will not be disturbed by a sense of impropriety and unfitness.

Nevertheless, I repeat, you should cultivate your own style, not by changing it into some other person’s style, but by striving to preserve its individuality, while decorating it with all the graces of art. Nature gives the style, for your style is yourself; but the decorations are slowly and laboriously acquired by diligent study, and, above all, by long and patient practice. There are but two methods of attaining to this accomplishment—contemplation of the best productions of art, and continuous toil in the exercise of it.

Make Your Composition Attractive.

I assume that, by the process I have already described, you have acquired a tolerably quick flow of ideas, a ready command of words, and ability to construct grammatical sentences; all that now remains to you is to learn to use this knowledge that the result may be presented in the most attractive shape to those whom you address. I am unable to give you many practical hints towards this, because it is not a thing to be acquired by formal rules, in a few lessons and by a set course of study; it is the product of very wide and long-continued gleanings from a countless variety of sources; but, above all, it is taught by experience.

If you compare your compositions at intervals of six months, you will see the progress you have made. You began with a multitude of words, with big nouns and bigger adjectives, a perfect firework of epithets, a tendency to call everything by something else than its proper name, and the more you admired your own ingenuity the more you thought it must be admired by others. If you had a good idea, you were pretty sure to dilute it by expansion, supposing the while that you were improving by amplifying it. You indulged in small flights of poetry (in prose), not always in appropriate places, and you were tolerably sure to go off into rhapsody, and to mistake fine words for eloquence. This is the juvenile style; and is not peculiar to yourself—it is the common fault of all young writers.

But the cure for it may be hastened by judicious self-treatment. In addition to the study of good authors, to cultivate your taste, you may mend your style by a process of pruning, after the following fashion. Having finished your composition, or a section of it, lay it aside, and do not look at it again for a week, during which interval other labors will have engaged your thoughts. You will then be in a condition to revise it with an approach to critical impartiality, and so you will begin to learn the wholesome art of blotting. Go through it slowly, pen in hand, weighing every word, and asking yourself, “What did I intend to say? How can I say it in the briefest and plainest English?”

Compare with the plain answer you return to this question the form in which you had tried to express the same meaning in the writing before you, and at each word further ask yourself, “Does this word precisely convey my thought? Is it the aptest word? Is it a necessary word? Would my meaning be fully expressed without it?” If it is not the best, change it for a better. If it is superfluous, ruthlessly strike it out.

The work will be painful at first—you will sacrifice with a sigh so many flourishes of fancy, so many figures of speech, of whose birth you were proud. Nay, at the beginning, and for a long time afterwards, your courage will fail you, and many a cherished phrase will be spared by your relenting pen. But be persistent, and you will triumph at last. Be not content with one act of erasure. Read the manuscript again, and, seeing how much it is improved, you will be inclined to blot a little more. Lay it aside for a month, and then read again, and blot again as before. Be severe toward yourself.

THE CHOICE OF LANGUAGE.

Simplicity is the crowning achievement of judgment and good taste. It is of very slow growth in the greatest minds; by the multitude it is never acquired. The gradual progress towards it can be curiously traced in the works of the great masters of English composition, wheresoever the injudicious zeal of admirers has given to the world the juvenile writings which their own better taste had suffered to pass into oblivion. Lord Macaulay was an instance of this. Compare his latest with his earliest compositions, as collected in the posthumous volume of his “Remains,” and the growth of improvement will be manifest.

Yet, at first thought, nothing appears to be easier to remember, and to act upon, than the rule, “Say what you want to say in the fewest words that will express your meaning clearly; and let those words be the plainest, the most common (not vulgar), and the most intelligible to the greatest number of persons.” It is certain that a beginner will adopt the very reverse of this. He will say what he has to say in the greatest number of words he can devise, and those words will be the most artificial and uncommon his memory can recall. As he advances, he will learn to drop these long phrases and big words; he will gradually contract his language to the limit of his thoughts, and he will discover, after long experience, that he was never so feeble as when he flattered himself that he was most forcible.

Faults in Writing.

I have dwelt upon this subject with repetitions that may be deemed almost wearisome, because affectations and conceits are the besetting sin of modern composition, and the vice is growing and spreading. The literature of our periodicals teems with it; the magazines are infected by it almost as much as the newspapers, which have been always famous for it.

Instead of an endeavor to write plainly, the express purpose of the writers in the periodicals is to write as obscurely as possible; they make it a rule never to call anything by its proper name, never to say anything directly in plain English, never to express their true meaning. They delight to say something quite different in appearance from that which they purpose to say, requiring the reader to translate it, if he can, and, if he cannot, leaving him in a state of bewilderment, or wholly uninformed.

Worse models you could not find than those presented to you by the newspapers and periodicals; yet are you so beset by them that it is extremely difficult not to catch the infection. Reading day by day compositions teeming with bad taste, and especially where the style floods you with its conceits and affectations, you unconsciously fall into the same vile habit, and incessant vigilance is required to restore you to sound, vigorous, manly, and wholesome English. I cannot recommend to you a better plan for counteracting the inevitable mischief than the daily reading of portions of some of our best writers of English, specimens of which you will find near the close of the First Part of this volume. We learn more by example than in any other way, and a careful perusal of these choice specimens of writing from the works of the most celebrated authors will greatly aid you.

You will soon learn to appreciate the power and beauty of those simple sentences compared with the forcible feebleness of some, and the spasmodic efforts and mountebank contortions of others, that meet your eye when you turn over the pages of magazine or newspaper. I do not say that you will at once become reconciled to plain English, after being accustomed to the tinsel and tin trumpets of too many modern writers; but you will gradually come to like it more and more; you will return to it with greater zest year by year; and, having thoroughly learned to love it, you will strive to follow the example of the authors who have written it.

Read Great Authors.

And this practice of daily reading the writings of one of the great masters of the English tongue should never be abandoned. So long as you have occasion to write or speak, let it be held by you almost as a duty. And here I would suggest that you should read them aloud; for there is no doubt that the words, entering at once by the eye and the ear, are more sharply impressed upon the mind than when perused silently.

Moreover, when reading aloud you read more slowly; the full meaning of each word must be understood, that you may give the right expression to it, and the ear catches the general structure of the sentences more perfectly. Nor will this occupy much time. There is no need to devote to it more than a few minutes every day. Two or three pages thus read daily will suffice to preserve the purity of your taste.

Your first care in composition will be, of course, to express yourself grammatically. This is partly habit, partly teaching. If those with whom a child is brought up talk grammatically, he will do likewise, from mere imitation; but he will learn quite as readily anything ungrammatical to which his ears may be accustomed; and, as the most fortunate of us mingle in childhood with servants and other persons not always observant of number, gender, mood, and tense, and as even they who have enjoyed the best education lapse, in familiar talk, into occasional defiance of grammar, which could not be avoided without pedantry, you will find the study of grammar necessary to you under any circumstances. Your ear will teach you a great deal, and you may usually trust to it as a guide; but sometimes occasions arise when you are puzzled to determine which is the correct form of expression, and in such cases there is safety only in reference to the rule.

Fortunately our public schools and academies give much attention to the study of grammar. The very first evidence that a person is well educated is the ability to speak correctly. If you were to say, “I paid big prices for them pictures,” or, “Her photographs always flatters her,” or, “His fund of jokes and stories make him a pleasant companion,” or, “He buys the paper for you and I”—if you were guilty of committing such gross errors against good grammar, or scores of others that might be mentioned, your chances for obtaining a standing in polite society would be very slim. Educated persons would at once rank you as an ignorant boor, and their treatment of you would be suggestive of weather below zero. Do not “murder the King’s English.”

PUTTING WORDS INTO SENTENCES.

Having pointed out the importance of correct grammar and the right choice of language, I wish now to furnish you with some practical suggestions for the construction of sentences. Remember that a good thought often suffers from a weak and faulty expression of it.

Your sentences will certainly shape themselves after the structure of your own mind. If your thoughts are vivid and definite, so will be your language; if dreamy and hazy, so will your composition be obscure. Your speech, whether oral or written, can be but the expression of yourself; and what you are, that speech will be.

Remember, then, that you cannot materially change the substantial character of your writing; but you may much improve the form of it by the observance of two or three general rules.

In the first place, be sure you have something to say. This may appear to you a very unnecessary precaution; for who, you will ask, having nothing to say, desires to write or to speak? I do not doubt that you have often felt as if your brain was teeming with thoughts too big for words; but when you came to seize them, for the purpose of putting them into words, you have found them evading your grasp and melting into the air. They were not thoughts at all, but fancies—shadows which you had mistaken for substances, and whose vagueness you would never have detected, had you not sought to embody them in language. Hence you will need to be assured that you have thoughts to express, before you try to express them.

And how to do this? By asking yourself, when you take up the pen, what it is you intend to say, and answering yourself as you best can, without caring for the form of expression. If it is only a vague and mystical idea, conceived in cloudland, you will try in vain to put it into any form of words, however rude. If, however, it is a definite thought, proceed at once to set it down in words and fix it upon paper.

Vague and Hazy Ideas.

The expression of a precise and definite thought is not difficult. Words will follow the thought; indeed, they usually accompany it, because it is almost impossible to think unless the thought is clothed in words. So closely are ideas and language linked by habit, that very few minds are capable of contemplating them apart, insomuch that it may be safely asserted of all intellects, save the highest, that if they are unable to express their ideas, it is because the ideas are incapable of expression—because they are vague and hazy.

For the present purpose it will suffice that you put upon paper the substance of what you desire to say, in terms as rude as you please, the object being simply to measure your thoughts. If you cannot express them, do not attribute your failure to the weakness of language, but to the dreaminess of your ideas, and therefore banish them without mercy, and direct your mind to some more definite object for its contemplations. If you succeed in putting your ideas into words, be they ever so rude, you will have learned the first, the most difficult, and the most important lesson in the art of writing.

The second is far easier. Having thoughts, and having embodied those thoughts in unpolished phrase, your next task will be to present them in the most attractive form. To secure the attention of those to whom you desire to communicate your thoughts, it is not enough that you utter them in any words that come uppermost; you must express them in the best words, and in the most graceful sentences, so that they may be read with pleasure, or at least without offending the taste.

Your first care in the choice of words will be that they shall express precisely your meaning. Words are used so loosely in society that the same word will often be found to convey half a dozen different ideas to as many auditors. Even where there is not a conflict of meanings in the same word, there is usually a choice of words having meanings sufficiently alike to be used indiscriminately, without subjecting the user to a charge of positive error. But the cultivated taste is shown in the selection of such as express the most delicate shades of difference.

Suit the Word to the Thought.

Therefore, it is not enough to have abundance of words; you must learn the precise meaning of each word, and in what it differs from other words supposed to be synonymous; and then you must select that which most exactly conveys the thought you are seeking to embody. There is but one way to fill your mind with words, and that is, to read the best authors, and to acquire an accurate knowledge of the precise meaning of their words—by parsing as you read.

By the practice of parsing, I intend very nearly the process so called at schools, only limiting the exercise to the definitions of the principal words. As thus: take, for instance the sentence that immediately precedes this,—ask yourself what is the meaning of “practice,” of “parsing,” of “process,” and such like. Write the answer to each, that you may be assured that your definition is distinct. Compare it with the definitions of the same word in the dictionaries, and observe the various senses in which it has been used.

You will thus learn also the words that have the same, or nearly the same, meaning—a large vocabulary of which is necessary to composition, for frequent repetition of the same word, especially in the same sentence, is an inelegance, if not a positive error. Compare your definition with that of the authorities, and your use of the word with the uses of it cited in the dictionary, and you will thus measure your own progress in the science of words.

An Amusing Exercise.

This useful exercise may be made extremely amusing as well as instructive, if friends, having a like desire for self-improvement, will join you in the practice of it; and I can assure you that an evening will be thus spent pleasantly as well as profitably. You may make a merry game of it—a game of speculation. Given a word; each one of the company in turn writes his definition of it; Webster’s Dictionary, or some other, is then referred to, and that which comes nearest the authentic definition wins the honor or the prize; it may be a sweepstakes carried off by him whose definition hits the mark the most nearly.

But, whether in company or alone, you should not omit the frequent practice of this exercise, for none will impart such a power of accurate expression and supply such an abundance of apt words wherein to embody the delicate hues and various shadings of thought.

So with sentences, or the combination of words. Much skill is required for their construction. They must convey your meaning accurately, and as far as possible in the natural order of thought, and yet they must not be complex, involved, verbose, stiff, ungainly, or full of repetitions. They must be brief, but not curt; explicit, but not verbose. Here, again, good taste must be your guide, rather than rules which teachers propound, but which the pupil never follows.

Not only does every style require its own construction of a sentence, but almost every combination of thought will demand a different shape in the sentence by which it is conveyed. A standard sentence, like a standard style, is a pedantic absurdity; and, if you would avoid it, you must not try to write by rule, though you may refer to rules in order to find out your faults after you have written.

Lastly, inasmuch as your design is, not only to influence, but to please, it will be necessary for you to cultivate what may be termed the graces of composition. It is not enough that you instruct the minds of your readers; you must gratify their taste, and win their attention, giving pleasure in the very process of imparting information. Hence you must make choice of words that convey no coarse meanings, and excite no disagreeable associations. You are not to sacrifice expression to elegance; but so, likewise, you are not to be content with a word or a sentence if it is offensive or unpleasing, merely because it best expresses your meaning.

Graces of Composition.

The precise boundary between refinement and rudeness cannot be defined; your own cultivated taste must tell you the point at which power or explicitness is to be preferred to delicacy. One more caution I would impress upon you, that you pause and give careful consideration to it before you permit a coarse expression, on account of its correctness, to pass your critical review when you revise your manuscript, and again when you read the proof, if ever you rush into print.

And much might be said also about the music of speech. Your words and sentences must be musical. They must not come harshly from the tongue, if uttered, or grate upon the ear, if heard. There is a rhythm in words which should be observed in all composition, written or oral. The perception of it is a natural gift, but it may be much cultivated and improved by reading the works of the great masters of English, especially of the best poets—the most excellent of all in this wonderful melody of words being Longfellow and Tennyson. Perusal of their works will show you what you should strive to attain in this respect, even though it may not enable you fully to accomplish the object of your endeavor. Aim at the sun and you will shoot high.

ERRORS TO BE AVOIDED.

The faculty for writing varies in various persons. Some write easily, some laboriously; words flow from some pens without effort, others produce them slowly; composition seems to come naturally to a few, and a few never can learn it, toil after it as they may. But whatever the natural power, of this be certain, that good writing cannot be accomplished without study and painstaking practice. Facility is far from being a proof of excellence. Many of the finest works in our language were written slowly and painfully; the words changed again and again, and the structure of the sentences carefully cast and recast.

There is a fatal facility that runs “in one weak, washy, everlasting flood,” that is more hopeless than any slowness or slovenliness. If you find your pen galloping over the paper, take it as a warning of a fault to be shunned; stay your hand, pause, reflect, read what you have written; see what are the thoughts you have set down, and resolutely try to condense them. There is no more wearisome process than to write the same thing over again; nevertheless it is a most efficient teaching. Your endeavor should be to say the same things, but to say them in a different form; to condense your thoughts, and express them in fewer words.

Compare this second effort with the first, and you will at once measure your improvement. You cannot now do better than repeat this lesson twice; rewrite, still bearing steadily in mind your object, which is, to say what you desire to utter in words the most apt and in the briefest form consistent with intelligibility and grace. Having done this, take your last copy and strike out pitilessly every superfluous word, substitute a vigorous or expressive word for a weak one, sacrifice the adjectives without remorse, and, when this work is done, rewrite the whole, as amended.

And, if you would see what you have gained by this laborious but effective process, compare the completed essay with the first draft of it, and you will recognize the superiority of careful composition over facile scribbling. You will be fortunate if you thus acquire a mastery of condensation, and can succeed in putting the reins upon that fatal facility of words, before it has grown into an unconquerable habit.

Simplicity is the charm of writing, as of speech; therefore, cultivate it with care. It is not the natural manner of expression, or, at least, there grows with great rapidity in all of us a tendency to an ornamental style of talking and writing. As soon as the child emerges from the imperfect phraseology of his first letters to papa, he sets himself earnestly to the task of trying to disguise what he has to say in some other words than such as plainly express his meaning and nothing more. To him it seems an object of ambition—a feat to be proud of—to go by the most indirect paths, instead of the straight way, and it is a triumph to give the person he addresses the task of interpreting his language, to find the true meaning lying under the apparent meaning.

Come Right to the Point.

Circumlocution is not the invention of refinement and civilization, but the vice of the uncultivated; it prevails the most with the young in years and in minds that never attain maturity. It is a characteristic of the savage. You cannot too much school yourself to avoid this tendency, if it has not already seized you, as is most probable, or to banish it, if infected by it.

If you have any doubt of your condition in this respect, your better course will be to consult some judicious friend, conscious of the evil and competent to criticism. Submit to him some of your compositions, asking him to tell you candidly what are their faults, and especially what are the circumlocutions in them, and how the same thought might have been better, because more simply and plainly, expressed. Having studied his corrections, rewrite the article, striving to avoid those faults.

Submit this again to your friendly censor, and, if many faults are found still to linger, apply yourself to the labor of repetition once more. Repeat this process with new writings, until you produce them in a shape that requires few blottings, and, having thus learned what to shun, you may venture on self-reliance.

But, even when parted from your friendly critic, you should continue to be your own critic, revising every sentence, with resolute purpose to strike out all superfluous words and to substitute an expressive word for every fine word. You will hesitate to blot many a pet phrase, of whose invention you felt proud at the moment of its birth; but, if it is circumlocution, pass the pen through it ruthlessly, and by degrees you will train yourself to the crowning victory of art—simplicity.

When you are writing on any subject, address yourself to it directly. Come to the point as speedily as possible, and do not walk round about it, as if you were reluctant to grapple with it. There is so much to be read nowadays that it is the duty of all who write to condense their thoughts and words. This cannot always be done in speaking, where slow minds must follow your faster lips, but it is always practicable in writing, where the reader may move slowly, or repeat what he has not understood on the first passing of the eye over the words.

Arranging Your Words.

In constructing your sentences, marshal your words in the order of thought—that is the natural, and therefore the most intelligible shape for language to assume. In conversation we do this instinctively, but in writing the rule is almost always set at defiance. The man who would tell you a story in a plain, straightforward way would not write it without falling into utter confusion and placing almost every word precisely where it ought not to be. In learning to write, let this be your next care.

Probably it will demand much toil at first in rewriting for the sake of redistributing your words; acquired habit of long standing will unconsciously mould your sentences to the accustomed shape; but persevere and you will certainly succeed at last, and your words will express your thoughts precisely as you think them, and as you desire that they should be impressed upon the minds of those to whom they are addressed.

So with the sentences. Let each be complete in itself, embodying one proposition. Shun that tangled skein in which some writers involve themselves, to the perplexity of their readers and their own manifest bewilderment. When you find a sentence falling into such a maze, halt and retrace your steps. Cancel what you have done, and reflect what you design to say. Set clearly before your mind the ideas that you had begun to mingle; disentangle them, range them in orderly array, and express them in distinct sentences, where each will stand separate, but in its right relationship to all the rest.

This exercise will improve, not only your skill in the art of writing, but also in the art of thinking, for those involved sentences are almost always the result of confused thoughts; the resolve to write clearly will compel you to think clearly, and you will be surprised to discover how often thoughts, which had appeared to you definite in contemplation, are found, when you come to set them upon paper, to be most incomplete and shadowy. Knowing the fault, you can then put your wits to work and furnish the remedy.

Exercises in Composition.

SIMPLE SENTENCES.

SUBJECT AND PREDICATE.

The sentence ‘John writes’ consists of two parts:—

(1) The name of the person of whom we are speaking,—John

and

(2) What we say about John,—writes.

Similarly the sentence ‘Fire burns’ consists of two parts:—

(1) The name of the thing of which we are speaking,—fire.

(2) What we say about fire,—burns.

Every sentence has two such parts.

The name of the person or thing spoken about is called the Subject.

What is said about the Subject is called the Predicate.

Exercise 1.

Point out the Subjects and the Predicates.

William sings. Birds fly. Sheep bleat. Henry is reading. Rain is falling. Rain has fallen. Stars are shining. Stars were shining. Cattle are grazing. Soldiers are watching. Soldiers watched. Soldiers were watched. School is closed. Donkeys bray. Donkeys were braying. I am writing. We are reading.

Examples.—William sings: “William” is the subject; “sings” is the predicate. Henry is reading: “Henry” is the subject; “is reading” is the predicate. In like manner you should go through the list and point out the subjects and verbs.

Exercise 2.

Place Predicates (Verbs) after the following Subjects:—

Baby. Babies. Lightning. Flowers. Soldiers. Lions. Bees. Gas. The sun. The wind. The eagle. Eagles. The ship. Ships. The master. The scholars. The cat. Cats. Bakers. A butcher. The moon. The stars. Carpenters. The carpenter. The mower. Porters. Ploughmen.

Examples.—“Baby” smiles. “Babies” cry. “Lightning” strikes. Supply verbs for all the subjects.

Exercise 3.

Place Subjects before the following Predicates:—

Mew. Chatter. Grunt. Ran. Hum. Fly. Howl. Is walking. Plays. Played. Fell. Whistled. Shrieked. Sings. Sing. Sang. Sleeps. Slept. Bark. Barks. Cried. Bloom. Laughed. Soar. Swim. Swam. Was swimming. Dawns. Dawned. Gallops. Roar.

Examples.—Cats “mew.” Monkeys “chatter.” Pigs “grunt.” Go on and write subjects for all the verbs.

SUBJECT, PREDICATE, AND OBJECT.

The Predicate always is, or contains, a Verb. In many sentences the Predicate is a Verb alone. When it is a Verb in the Active Voice, it has an Object, thus:—

Exercise 4.

Pick out the Subjects, Predicates, and Objects.

Soldiers fight battles. Tom missed Fred. Mary is minding baby. Job showed patience. Abraham had faith. Romulus founded Rome. Titus captured Jerusalem. Arthur loves father. Walter threw a stone. Tom broke a window. The servant swept the room. Masons build houses. The girl is milking the cow. The dog bit the beggar. Artists paint pictures. I am expecting a letter. We have won prizes.

Examples.—The word “soldiers” is the subject; “fight” is the predicate; “battles” is the object. “Tom” is the subject; “missed” is the predicate; “Fred” is the object. You do not need to be confined to the sentences here given; write others of your own, and name the subjects, verbs and objects.

Exercise 5.

You will readily understand what is required to complete the sentences in Exercises 5, 6 and 7. A poet writes poems. The smith strikes the iron, etc.

Supply Predicates.

A poet ... poems. The smith ... the iron. Horses ... carts. Cows ... grass. Cats ... milk. The sexton ... the bell. The horse ... the groom. Grocers ... sugar. The hounds ... the fox. Birds ... nests. The gardener ... the flowers. Miss Wilson ... a ballad. Horses ... hay. The dog ... the thief. The banker ... a purse. Tailors ... coats. Brewers ... beer. The girl ... a rose.

Exercise 6.

Supply Objects.

The servant broke.... The cook made.... The hunter killed.... Farmers till.... Soldiers fight.... Tom missed.... Mary is minding.... Romulus founded.... Titus captured.... Cæsar invaded.... The gardener sowed.... Somebody stole.... Artists paint.... The sailor lost.... Children learn.... Authors write.... Farmers grow.... Birds build.... I admire.... We like.... I hurt....

Exercise 7.

Supply Subjects.

... dusted the room. ... is drawing a load. ... loves me. ... met Tom. ... caught the thief. ... grow flowers. ... bit the beggar. ... won the prize. ... has lost the dog. ... has killed the cat. ... felled a tree. ... are singing songs. ... is making a pudding. ... is expecting a letter. ... gives light. ... makes shoes. ... sold a book. ... like him. ... likes him.

Enlarged Subject.

Subjects may be enlarged by Adjuncts. Thus the sentence “Boys work” may, by additions to the subject, become

The boys work.

These boys work.

Good boys work.

My boys work.

The good boys of the village work.

The good boys of the village, wishing to please their master, work.

Exercise 8.

Point out the Subject and its Adjuncts.

Tom’s brother has arrived. The careless boy will be punished. The laws of the land have been broken. The sweet flowers are blooming. The poor slave is crying. The boat, struck by a great wave, sank. The little child, tired of play, is sleeping. A short letter telling the good news has been sent.

Exercise 9.

Add Adjuncts to each Subject.

Birds fly. Sheep bleat. Stars are shining. Cattle are grazing. Soldiers are watching. Donkeys bray. Lightning is flashing. The sun is shining. The scholars are studying. The ploughman is whistling. Monkeys chatter. Pigs grunt. The lark is soaring. Lions roar.

Enlarged Objects.

Objects, like Subjects, may be enlarged by Adjuncts. Thus the sentence “Boys learn lessons” may, by additions to the Object, become

Boys learn the lessons.

Boys learn their lessons.

Boys learn home lessons.

Boys learn difficult lessons.

Boys learn lessons about Verbs.

Boys learn the lessons set by Mr. Edwards.

Boys learn the difficult home lessons about Verbs set by Mr. Edwards.

Exercise 10.

Point out the Object and its Adjuncts.

The servant dusted every room. Fred loves his sweet little sister. We have rented a house at Barmouth. We saw our neighbor’s new Shetland pony. I am reading a book written by my father. The policeman caught the man accused of theft. The gardener is hoeing the potatoes planted by him in the early spring.

Exercise 11.

Add Adjuncts to each Object.

The soldiers fought battles. Mary is minding baby. Walter threw a stone. Tom broke a window. The servant swept the room. The girl is milking the cow. The dog bit the beggar. The artist painted pictures. I am expecting a letter. We have won prizes. The fire destroyed houses. The general gained a victory. The engineer made a railway. The children drowned the kittens. We have bought books. He teaches geography.

Enlarged Predicate.

Predicates, like Subjects and Objects, may be enlarged by Adjuncts. Thus the sentence “Boys work” may, by additions to the Predicate, become

Boys work diligently.

Boys work now.

Boys work in school.

Boys work to please their teacher.

Boys work diligently now in school to please their teacher.

Exercise 12.

Pick out Predicate and its Adjuncts.

Tom’s brother will come to-morrow. The careless girl was looking off her book. The laws of the land were often broken by the rude mountaineers. Pretty flowers grow in my garden all through the spring. The poor slave was crying bitterly over the loss of his child. The corn is waving in the sun. The great bell was tolling slowly for the death of the President. The trees are bowing before the strong wind. I am going to Montreal with my father next week.

Exercise 13.

Add Adjuncts to each Predicate in Exercises 8, 9, 10 and 11.

Verbs of Incomplete Predication.

Some Verbs do not convey a complete idea, and therefore cannot be Predicates by themselves. Such Verbs are called Verbs of Incomplete Predication, and the words added to complete the Predicate are called the Complement.

Examples of Verbs of Incomplete Predication.

The words, “London is,” do not contain a complete idea. Add the words, “a great city,” and you have a complete sentence. “William was,” needs a complement, and you can finish the sentence by writing, “Duke of Normandy.”

Exercise 14.

Point out the Verbs of Incomplete Predication and the Complements.

Thou art the man. I am he. It is good. He is here. The house is to be sold. The horse is in the stable. The gun was behind the door. Jackson is a very good gardener. Those buds will be pretty flowers. Old King Cole was a merry old soul. I’m the chief of Ulva’s isle. William became King of England. The girl seems to be very happy. The general was made Emperor of Rome.

Supply Complements.

London is.... Paris is.... Jerusalem was.... The boy will be.... He has become.... We are.... I am.... He was.... Richard became.... The prisoners are.... The man was.... Those birds are.... Grass is.... Homer was.... The child was.... The sun is.... The stars are.... The sheep were.... Charleston is.... Havana was....

PRACTICE IN SIMPLE SENTENCES.

A sentence when written should always begin with a capital letter, and nearly always end with a full stop.

A sentence which is a question ends with a note of interrogation (?), and one which is an exclamation ends with a note of admiration or exclamation (!).

Exercise 15.

Make sentences about

Fire. The sun. The moon. The sea. Bread. Butter. Cheese. Wool. Cotton. Linen. Boots. Hats. A coat. The table. The window. The desk. Pens. Ink. Paper. Pencils. Lead. Iron. Tin. Copper. Gold. Silver. A knife. The clock. Books. Coal. The servant. A chair. Breakfast. Dinner. Supper. The apple. The pear. Oranges. Lemons. Water. Milk. Coffee. Tea. Cocoa. Maps. Pictures.

Exercise 16.

Make sentences introducing the following pairs of words:

Fire, grate. Sun, earth. Moon, night. Bread, flour. Pen, steel. Wool, sheep. Cotton, America. Boots, leather. Ink, black. Paper, rags. Walk, fields. Pair, gloves. Learning, to paint. Brother, arm. Wheel, cart. London, Thames. Bristol, Avon. Dublin, Ireland. Paris, France. Columbus, America. Shakespeare, poet. Threw, window. Useful, metal. Carpet, new. Wall, bricklayer. Road, rough. Lock, cupboard. Jug, full. Hawaii, island. Pencils, made. Drew, map.

Exercise 17.

Write complete sentences in answer to the following questions:—

If you said simply “John Smith” your answer would not be a complete sentence.

What is your name? When were you born? How old are you? Where do you live? How long have you lived there? What school do you attend? Of what games are you fond? During what part of the year is football played? And lawn-tennis? Are you learning Latin? And French? And German? Can you swim? And row? And ride? And play the piano? Do you like the sea? Have you ever been on the sea? Have you read “Robinson Crusoe?” What is the first meal of the day? And the second? And the third? Where does the sun rise? And set? How many days are there in a week? And in a year? And in leap year? How often does leap year come?

Exercise 18.

Make three sentences about each of the following:—

The place where you live. France. India. Australia. America. A horse. A cow. A dog. A sheep. A lion. A tiger. Spring. Summer. Autumn. Winter. The sun. The moon. Stars. Holidays. Boys’ games. Girls’ games. A railway. A steam-engine. The sea. A ship. Flowers. Fruits. A garden. Wool. Cotton. Leather. Silk. Water. Milk. Rice. Wheat. Books. Tea. Coffee. Sugar. Cocoa. Paper. Houses. Bricks. Stone. A field. Guns. A watch. A farm. Knives. Bees. Shellfish. Fresh-water fish. Coal. Glass. Gas. The United States. New York. The Mississippi. Canada. Indians. Chicago. St. Louis. Oakland. Philadelphia. Bicycle. Golf.

Exercise 19.

Combine each of the following facts into a sentence and write it out:

Example: Take the first name below, thus:—“Joseph Addison, the essayist, was born at Milston in Wiltshire, in the year 1672.” Pursue the same plan with all the other sets of facts here furnished.

These facts should be combined into sentences in various ways, thus:

The Normans defeated the English at Senlac, near Hastings, in the year 1066.

The English were defeated by the Normans at Senlac, near Hastings, in the year 1066.

In the year 1066, at Senlac, near Hastings, the Normans beat the English, etc. etc.

SENTENCES COMBINED.

A number of simple sentences may sometimes be combined so as to form one.

Example:—The girl was little. She lost her doll. The doll was pretty. It was new. She lost it yesterday. She lost it in the afternoon.

These sentences may be combined in one, thus:—The little girl lost her pretty new doll yesterday afternoon.

The combined sentence tells us as much as the separate sentences, and tells it in a shorter, clearer, and more pleasing way.

Exercise 20.

Combine the following sets of sentences:—

1. The man is tall. He struck his head. He was entering a carriage. The carriage was low.

2. Tom had a slate. It was new. He broke it. He broke it this morning.

3. The cow is black. She is grazing in a meadow. The meadow is beside the river.

4. The apples are ripe. They grow in an orchard. The orchard is Mr. Brown’s.

5. The corn is green. It is waving. The breeze causes it to wave. The breeze is gentle.

6. The father is kind. He bought some clothes. The clothes were new. He bought them for the children. The children were good.

7. The boy was careless. He made blots. The blots were big. They were made on his book. The book was clean.

8. The bucket was old. It was made of oak. It fell. It fell into the well. The well was deep.

9. Polly Flinders was little. She sat. She sat among the cinders. She was warming her toes. Her toes were pretty. They were little.

10. Tom Tucker is little. He is singing. He is singing for his supper.

11. There were three wise men. They lived at Gotham. They went to sea. They went in a bowl. They had a rough trip.

12. The man came. He was the man in the moon. He came down soon. He came too soon.

13. I saw ships. There were three. They came sailing. They sailed by. I saw them on Christmas day. I saw them in the morning.

14. Cole was a king. He was old. He was a merry soul.

15. A great battle began. It was between the English and the Scotch. It began next morning. It began at break of day. It was at Bannockburn.

Sentences are often combined by means of Conjunctions or other connecting words.

Sentences are combined, by means of the Conjunction and.

Examples:—1. The boy is good. The boy is clever.

2. William is going to school. John is going to school.

3. I admire my teacher. I love my teacher.

These may be combined into single sentences, as follows:—

1. The boy is good and clever.

2. William and John are going to school.

3. I admire and love my teacher.

Note the use of the comma when more than two words or sets of words are joined by and:—

I met Fred, Will and George.

Faith, Hope and Charity are sometimes called the Christian Graces.

I bought a pound of tea, two pounds of coffee, ten pounds of sugar and a peck of flour.

The comma is used in the same way with or.

Exercise 21.

Combine the following set of sentences by means of the Conjunction and:—

1. Jack went up the hill. Jill went up the hill.

2. The lion beat the unicorn. The lion drove the unicorn out of town.

3. Edward is honest. Edward is truthful.

4. The child is tired. The child is sleepy.

5. Tom will pay us a visit. Ethel will pay us a visit. Their parents will pay us a visit.

6. The grocer sells tea. He sells coffee. He sells sugar.

7. Maud deserves the prize. She will get it.

8. Coal is a mineral. Iron is a mineral. Copper is a mineral. Lead is a mineral.

9. The boy worked hard. He advanced rapidly.

10. Little drops of water, little grains of sand make the mighty ocean. Little drops of water, little grains of sand make the pleasant land.

Sentences are combined by means of the Conjunction or, thus:—

1. The boy is lazy. The boy is stupid.

2. I want a pen. I want a pencil.

3. The horse is lost. The horse is stolen.

These sentences may be combined as follows:—

1. The boy is lazy or stupid.

2. I want a pen or a pencil.

3. The horse is lost or stolen.

Remember to put in the commas when more than two words or sets of words are joined by or, thus:—

We could have tea, coffee or cocoa.

The beggar asked for a piece of bread, a glass of milk or a few pennies.

Exercise 22.

Combine the following sets of sentences by means of the Conjunction or:—

1. The child was tired. The child was sleepy.

2. My father will meet me at the station. My mother will meet me at the station.

3. Will you have tea? Will you have coffee?

4. The colonel must be present. One of the other officers must be present.

5. The cup was broken by the servant. The cup was broken by the dog. The cup was broken by the cat.

6. I must find the book. I must buy another.

7. The horse is in the stable. The horse is in the barnyard. The horse is in the meadow.

8. The prize will be gained by Brown. The prize will be gained by Smith. The prize will be gained by Jones.

Sentences may be combined by either ... or, and neither ... nor, thus:—

James was at school this morning. His sister was at school this morning.

These sentences may be combined thus:—

Either James or his sister was at school this morning.

Neither James nor his sister was at school this morning.

Exercise 23.

Combine the following sets of sentences:—(a) By either ... or. (b) By neither ... nor.

1. The man can read. The man can write.

2. He is deaf. He is stupid.

3. That shot will strike the horse. That shot will strike the rider.

4. The king was weak in mind. The king was weak in body.

5. The king was loved. The queen was loved.

6. The cow is for sale. The calf is for sale.

Sentences may be combined by both ... and, thus:—

The man is tired. The horse is tired.

These sentences may be combined in the following:—

Both the man and the horse are tired.

Exercise 24.

Combine, by means of both ... and, the sets of sentences given in Exercise 23.

Sentences may be combined by means of Conjunctions of Cause, Consequence or Condition, such as if, though, although, because, thus:—

1. You are tired. You may rest.

2. The boy was not bright. He was good.

3. He is liked. He is good tempered.

Combine these sentences as follows:—

1. If you are tired you may rest.

2. Though the boy was not bright he was good.

3. He is liked because he is good tempered.

Exercise 25.

Combine the following sets of sentences:—

(a) By means of if.

1. You will get the prize. You deserve it.

2. He might have succeeded. He had tried.

3. You are truthful. You will be believed.

4. Send for me. You want me.

5. You do not sow. You cannot expect to reap.

6. You are waking. Call me early.

7. I will come with you. You wish it.

8. We had known you were in town. We should have called on you.

(b) By means of though or although.

9. The man was contented. He was poor.

10. The little girl has travelled much. She is young.

11. The story is true. You do not believe it.

12. He spoke the truth. He was not believed.

13. It was rather cold. The day was pleasant.

14. He is often told of his faults. He does not mend them.

(c) By means of because; also by means of as and since.

16. I came. You called me.

17. I will stay. You wish it.

18. The dog could not enter. The hole was too small.

19. You are tired. You may rest.

20. Freely we serve. We freely love.

21. The hireling fleeth. He is a hireling.

22. We love him. He first loved us.

Sentences may be combined by means of Conjunctive Adverbs (such as where with its compounds, also when, whence, why), and of Conjunctions of Time (such as after, before while, ere, till, until, since).

Exercise 26.

Combine, by means of one of the words given in the last paragraph, the following sets of sentences:

1. This is the place. My brother works.

2. Mary went. The lamb was sure to go.

3. The boy was reading. His master came up.

4. The moon rose. The sun had set.

5. It is now three months. We heard from our cousin.

6. Do not go out. The storm has abated.

7. The man arrived. We were speaking to him.

8. I remember the house. I was born.

9. I know a bank. The wild thyme blows.

10. There is the field. The money was found.

11. The workman did not hear. He was called.

12. He goes out riding. He can find time.

Supply the omitted clauses:

The tree is still lying where.... Wherever ... was my poor dog Tray. William came after.... My brother cannot stay till.... The merchant has been here since.... Go where.... Smooth runs the water where.... She stayed till.... The boy has worked hard since.... We shall be pleased to see you whenever.... The train had gone before.... The little girl was tired after.... Make hay while....

Sentences may be combined by means of Relative Pronouns, thus:

1. That is the boy. The boy broke the window.

2. That is the man. The man’s window was broken.

3. Mary is the girl. You want Mary.

4. This is the house. Jack built the house.

5. The knife was lost. The knife cost fifty cents.

Combine as follows:

1. That is the boy who broke the window.

2. That is the man whose window was broken.

3. Mary is the girl whom you want.

4. This is the house that Jack built.

5. The knife which was lost cost fifty cents.

Exercise 27.

Combine, as in the examples just given, the following pairs of sentences:

1. The boy is crying. The boy is called Tom.

2. The man was hurt. The man is better now.

3. The grocer has sent for the police. The grocer’s goods were stolen.

4. The child is very naughty. The father punished the child.

5. My uncle gave me the book. The book is on the table.

6. The horse goes well. I bought the horse.

7. The lady sings beautifully. You see the lady.

8. They did not hear the preacher. They went to hear the preacher.

9. The gentleman is very kind to the poor. You see the gentleman’s house.

10. I have just bought an overcoat. The overcoat is waterproof.

11. The tree was a chestnut. The wind blew the tree down.

12. Tom had just been given the dollar. He lost it.

13. The boy drove away the birds. The birds were eating the corn.

14. The girl is very clever. You met her brother.

15. The dog fetched the birds. Its master had shot them.

16. Where is the book? You borrowed it.

17. The cow has been found. It was lost.

PUNCTUATION.

If the proper stops are left out, the meaning of a sentence may be doubtful. Take, for example, the toast at a public dinner:

Woman without her man is a brute.

This might mean that woman without man is a brute. Punctuate the sentence correctly by the right use of the comma, and you will see that the meaning is quite different. Thus: Woman, without her, man is a brute.

The misplacing of the stops may make nonsense of a sentence. Take the sentence:

Cæsar entered, on his head his helmet, on his feet sandals, in his hand his trusty sword, in his eye an angry glare.

This may become: Cæsar entered on his head, his helmet on his feet, sandals in his hand, his trusty sword in his eye, an angry glare.

The barber’s sign also had two meanings according to its punctuation:

1. What do you think?

I shave you for nothing and give you a drink.

2. What! Do you think

I shave you for nothing and give you a drink?

The Full Stop.

A Full Stop is placed at the end of every sentence.

Exercise 28.

Insert full stops where wanted. Place a capital letter after each.

The old man was sitting under a tree the house was burned the roses were scattered by the wind the carpet was beaten this morning the mower was bitten by a snake that book is liked England was conquered by William the corn was ground by the miller the father was called by a little girl the cheeses were eaten by mice that fish is caught with a hook the flowers were gathered by Ellen that carving is much admired the lady was nearly stunned snow had newly fallen the sun had just risen the moon was almost setting Amelia is always reading Nelly had often driven the horse the week has quickly gone the bells were merrily ringing.

Examples:—The old man was sitting under a tree. The house was burned. The roses were scattered by the wind, etc.

Write the following, insert stops where wanted, and make good sense of it.

The celebrated Rabelais was once staying at a remote country inn he wished to go to Paris but had no money to pay his traveling expenses he therefore hit upon a plan of traveling at the expense of the government out of brickdust he made up three little parcels on the first he wrote “For the king” on the second “For the king’s son” on the third “For the king’s brother” the landlord seeing these on the table where they had been purposely left sent word to the king’s ministers they ordered a messenger to fetch the traitor when he reached Paris he was recognized he proved that he was no traitor and his trick was discovered.

Example:—The celebrated Rabelais was once staying at a remote country inn. He wished to go to Paris, but had no money to pay his traveling expenses. He, therefore, hit upon a plan of traveling, etc.

Exercise 29.

Correct the punctuation.

A farmer had several sons. Who used to quarrel with one another. He tried to cure them of this bad habit. By pointing out how foolish and wicked it was. But he found. That he did no good. By talking to them. So one day he laid a bundle of sticks before them. And he bade them break it. The eldest put out all his strength. But in vain. The other sons tried in vain. But they all failed. Then the father. Untying the bundle. Gave his sons the separate sticks to break. And they broke them easily. “Remember,” he said, “the lesson. Which this bundle teaches. While you help each other. None can harm you. When you quarrel. You are easily hurt.”

The Note of Interrogation.

Every direct question is followed by a Note of Interrogation; as, “How do you do?” “When did you see your father?” “I suppose, sir, you are a doctor?”

Sometimes a question forms part of a larger sentence, as,

They put this question to the committee, “Will you grant us a hearing?” in a manner that proved their earnestness.

Except in such cases, a note of interrogation is always followed by a capital letter.

Carefully observe the full stops and notes of interrogation in the following:

A Paris fortune-teller was arrested and brought before a magistrate. He said to her, “You know how to read the future?” “I do, sir.” “Then you know what sentence I mean to pass on you?” “Certainly.” “Well, what will happen to you?” “Nothing.” “You are sure of it?” “Yes.” “Why?” “Because if you had meant to punish me you would not be cruel enough to mock me.”

Exercise 30.

Insert full stops and notes of interrogation.

Is the gardener pruning the trees has the baker been here is the teacher liked were those roses cut to-day had the gentleman lost his hat was the thief caught is the water boiling have the girls learned their poetry has the window been broken was the ship wrecked has the crew been saved was Susan knitting will Mr. Robinson sing has Frank started

A boy was going away without his mother’s leave she called after him “Where are you going, sir” “To the village” “What for” “To buy ten cents worth of nails” “And what do you want ten cents worth of nails for” “For a nickel”

The Comma.

The Comma is the most frequently used of all stops.

As a general rule, it may be stated that when, in reading, a slight pause is made, a comma should be inserted in writing; thus:—

The Spaniards were no match for the Roosevelt fighters, however, and, as had been the case at La Quasina, the Western cowboys and Eastern “dandies” hammered the enemy from their path. Straight ahead they advanced, until by noon they were well along toward San Juan, the capture of which was their immediate object. Fighting like demons, they held their ground tenaciously, now pressing forward a few feet, then falling back, under the enemy’s fire, to the position they held a few moments before.

Without books God is silent, justice dormant, natural science at a stand, philosophy lame, letters dumb and all things involved in Cimmerian darkness.

When a Noun or Pronoun in Apposition is very closely connected with the preceding word, no comma is needed, as,

William the Conqueror.

My cousin Fred.

Cromwell the Protector.

When the connection is not so close, or when the words in apposition are qualified, the phrase should have commas before and after, as,

William, the Norman conqueror of England, lived a stormy life.

My cousin, the bold and gallant Fred, fell in battle.

Cromwell, the great Protector, died in 1658.

Exercise 31.

Insert the necessary commas.

Napoleon the fallen emperor was sent to St. Helena. I live in Washington the capital of the United States. The children love their uncle Mr. Holmes. That coat was made by Brown the village tailor. It was the lark the herald of the morn. Tom the piper’s son stole a pig. Frank the jockey’s leg is broken. Rome the city of the emperors became the city of the popes. He still feels ambition the last infirmity of noble minds. Julius Cæsar a great Roman general invaded Britain.

Examples:—Napoleon, the fallen emperor, was sent to St. Helena. I live in Washington, the capital, etc. The children love their uncle, Mr. Holmes, etc.

A Nominative of Address is marked off by commas, as,

Are you, sir, waiting for anyone?

Should the Nominative of Address have any qualifying words joined to it, the whole phrase is marked off by commas, as,

How now, my man of mettle, what is it you want?

Exercise 32.

Insert the necessary commas.

O Romeo wherefore art thou Romeo? In truth fair Montague I am too fond. O grave where is thy victory? I pray you sire to let me have the honor. Exult ye proud patricians. Put on thy strength O Zion. My name dear saint is hateful to myself. I am sorry friend that my vessel is already chosen. O night and darkness ye are wondrous strong. Good morrow sweet Hal. Now my good sweet honey lord ride with us to-morrow. Come my masters let us share. For mine own part my lord I could be well content to be there.

Examples:—O Romeo, wherefore art thou, Romeo? In truth, fair Montague, I am too fond. I pray you, sire, to let me have the honor, etc.

An Adverbial phrase or clause let into a sentence should be marked off by commas, as,

His story was, in several ways, improbable.

The letter was written, strange to say, on club paper.

A time there was, ere England’s griefs began,

When every rood of ground maintained its man.

They sat, as sets the morning star, which goes

Not down behind the darkened west.

Exercise 33.

Supply commas where necessary.

You will hear in the course of the meeting a full account of the business. The story is however true. The wounded man is according to the latest news doing well. He arrived in spite of difficulties at his journey’s end. He explains with perfect simplicity vast designs affecting all the governments of Europe. In France indeed such things are done. I will when I see you tell you a secret. I had till you told me heard nothing of the matter. There where a few torn shrubs the place disclose the village preacher’s modest mansion rose. You may if you call again see him. You cannot unless you try harder hope to succeed.

Examples:—You will hear, in the course of the meeting, a full account, etc. The story is, however, true. You cannot, unless you try harder, hope to succeed, etc.

Words, phrases, or clauses of the same kind, coming after one another, must be separated by commas, except when joined by Conjunctions, as,

Let Rufus weep, rejoice, stand still or walk....

Let him eat, drink, ask questions or dispute.

Her lower weeds were all o’er coarsely patched

With diff’rent colored rags, black, red, white, yellow.

On I walked, my face flushed, my feet sore, my clothes dusty and my stomach as empty as my purse.

Exercise 34.

Supply commas where necessary.

I met Fred Will and George. Faith hope and charity are the Christian graces. The grocer sold four pounds of cheese two pounds of bacon and seven pounds of sugar. Little drops of water little grains of sand make the mighty ocean and the pleasant land. We could have tea coffee cocoa lemonade or ginger beer. The beggar asked for a piece of bread a glass of milk or a few pence. The prize will be won by Smith Brown or Jones. The first second third and fourth boys in the class will be promoted.

Examples:—I met Fred, Will and George. Faith, hope and charity are, etc. The first, second, third and fourth boys, etc.

A participial phrase is generally marked off by commas; as,

The general, seeing his soldiers turn, galloped up to them.

The baby lying asleep, the children were very quiet.

Exercise 35.

Insert commas where necessary.

James leaving the country William was made king. The storm having abated the ships ventured to sail. Henry returning victorious the people went forth to meet him. My friend Sir Roger being a good churchman has beautified the inside of his church. The woman being in great trouble was weeping. Fearing the storm we returned.

Examples:—James leaving the country, William was made king. Fearing the storm, we returned, etc.

Exercise 36.

Insert commas where necessary in the following sentences:—

On their bridal trip they took a palace car went down the Cumberland Valley stopped awhile at a watering place and wondered at the divorce cases recorded in the newspapers.

In those distant days as in all other times and places where the mental atmosphere is changing and men are inhaling the stimulus of new ideas folly often mistook itself for wisdom ignorance gave itself airs of knowledge and selfishness turning its eyes upward called itself religion—George Eliot.

When I was running about this town a very poor fellow I was a great arguer for the advantages of poverty but I was at the same time very sorry to be poor.—Johnson.

Sail on Three Bells forever

In grateful memory sail!

Ring on Three Bells of rescue

Above the wave and gale!

As thine in night and tempest

I hear the Master’s cry

And tossing through the darkness

The lights of God draw nigh.—Whittier.

The Semi-colon.

It may be generally stated that a Semi-colon is used in a complex sentence when a comma would not be a sufficient division.

Co-ordinate clauses or sentences, especially if not joined by Conjunctions, are generally separated by semi-colons.

Examples of the use of semi-colons.

The first in loftiness of mind surpassed;

The next in majesty; in both the last.—Dryden.

Many a man lives a burden to the earth; but a good book is the precious life-blood of a master-spirit, embalmed and treasured up on purpose to a life beyond life.—Milton.

All nature is but art unknown to thee;

All chance, direction, which thou canst not see;

All discord, harmony, not understood;

All partial evil universal good.—Pope.

Exercise 37.

Supply semi-colons where necessary.

Of the great men by whom Milton had been distinguished at his entrance into life some had been taken away from the evil to come some had carried into foreign climates their unconquerable hatred of oppression some were pining in dungeons and some had poured forth their blood on scaffolds.

Then palaces shall rise the joyful son

Shall finish what his short-lived sire begun

Their vines a shadow to their race shall yield

And the same hand that sowed shall reap the field.—Pope.

Examples:—Of the great men by whom Milton had been distinguished at his entrance into life, some had been taken away from the evil to come; some had carried into foreign climates their unconquerable hatred of oppression; some were pining in dungeons, and some had poured forth their blood on scaffolds.

Then palaces shall rise; the joyful son

Shall finish what his short-lived sire begun;

Their vines a shadow to their race shall yield;

And the same hand that sowed shall reap the field.—Pope.

The Note of Admiration or Exclamation.

The Note of Admiration or Exclamation is used

1. After Interjections; as,

Alas! he is already dead.

2. After a phrase in the nature of an address or exclamation; as,

Vital spark of heavenly flame!

Quit, oh quit this mortal frame;

Trembling, hoping, ling’ring, flying,

Oh the pain, the bliss of dying!—Pope.

3. As a mark of surprise; as,

Two and two are five!

Prepare the way, a god, a god appears!

“A god! a god!” the vocal hills reply.

Exercise 38.

Insert notes of exclamation where necessary.

Alas he is already dead. Alas poor Yorick. Tush never tell me that. Well-a-day it is but too true. Tut, tut that is all nonsense. Hey come here. O for a falconer’s voice. Hurrah our side has won. Bravo that was well done. Hush the baby is asleep. Ah the cowards. Oh what beautiful flowers. Heigh-ho I am tired of waiting.

Hush hush mee-ow mee-ow

We smell a rat close by.

Hurrah, hurrah a single field hath turned the chance of war

Hurrah, hurrah for Ivry and Henry of Navarre

Ho maidens of Vienna ho matrons of Lucerne,

Weep, weep for those who never will return.

Examples:—Alas! poor Yorick. Tut, tut! that is all nonsense. Bravo! that was well done, etc.

Ho! maidens of Vienna, ho! matrons of Lucerne,

Weep, weep! for those who never will return.

Quotation Marks.

A Quotation is said to be direct when the exact words are given; it is said to be indirect when the substance is given, but not the exact words; thus:—

Direct quotations.

1. Mr. Brown said, “I am going for a walk.”

2. Mrs. Evans writes, “I hope to see you soon.”

3. He asked me, “What is your name?”

Indirect quotations.

1. Mr. Brown said he was going for a walk.

2. Mrs. Evans writes that she hopes to see us soon.

3. He asked me what my name was.

Exercise 39.

Turn the direct quotations into indirect.

Johnson said, “I am a very fair judge.” “I doubt the story,” observed Mrs. Beckett. “That was not quite what I had in my mind,” answered the widow. “I am very tired,” added Mr. Brown. “That is false,” we all shouted. “You must be a born fool,” shouted the old man to me. “Our host is an inferior person,” he remarked. “Are you better?” inquired she. Some one asked, “Do you mean to stay till to-morrow?” “Little kitten,” I say, “just an hour you may stay.” “I’ll have that mouse,” said the bigger cat. Bun replied, “You are doubtless very big.”

Examples:—Johnson said he was a very fair judge. Mrs. Beckett observed that she doubted the story. Some one asked if you mean to stay, etc. Bun replied that he was doubtless very big, etc.

A direct quotation always begins with a capital letter, and is placed within inverted commas, thus:—

But his little daughter whispered,

As she shook his icy hand,

“Isn’t God upon the ocean,

Just the same as on the land?”

The man said, “Where are you going?”

The titles of books are generally placed within inverted commas, thus:—

Defoe wrote “Robinson Crusoe.”

Thackeray is the author of “Vanity Fair,” “Pendennis,” “Esmond,” “The Newcomes,” and other novels.

Exercise 40.

Place all direct quotations within inverted commas.

Oh Charley, this is too absurd ejaculated Mrs. Beckett. Why, Mr. Paton must be going mad exclaimed Mrs. Beckett. Oh dear! dear! I can indeed gasped the widow. The butler announced Major and Mrs. Wellington de Boots. You will give my love to your mother when you write said Mary warmly. He smiled as though he were thinking I have it not to give. The elder replied I was, as usual, unfortunate. How naughty he is said his mother. Do you understand the language of flowers? inquired Uncle Ralph. Why, that is lightning exclaimed the knight. Juan replied Not while this arm is free. He thought The boy will be here soon. Tom broke in with You do not know whom I mean. He will soon be back continued Mr. Brooke. Remember the proverb Small strokes fell great oaks. Provoking scoundrel muttered the antiquary. Out with those boats and let us haste away cried one. Hearts of oak! our captains cried.

Shoot, if you must, this old gray head,

But spare your country’s flag she said.

Who touches a hair of yon gray head

Dies like a dog. March on he said.

He woke to hear his sentries shriek

To arms! They come! The Greek! The Greek!

Out spake the victor then,

As he hailed them o’er the wave,

Ye are brothers! ye are men!

And we conquer but to save.

Examples:—“Oh! Charley, this is too absurd,” ejaculated Mrs. Beckett. “Why, Mr. Paton must be going mad,” exclaimed Mrs. Beckett. “Hearts of oak!” our captains cried.

“Shoot, if you must, this old gray head,

But spare your country’s flag,” she said.

He woke to hear his sentries shriek,

“To arms! They come! The Greek! The Greek!”

The student should write out all of the above sentences and place the quotation marks where they belong. You have enough examples to guide you.

Sometimes, in the course of a quotation, words are inserted which form no part of the quotation; thus,

“Out with those boats and let us haste away,”

Cried one, “ere yet yon sea the bark devours.”

In such cases every separate part of the quotation is marked off by inverted commas. A capital letter is placed only at the beginning of the quotation, or after a full stop.

Exercise 41.

Place all direct quotations within inverted commas.

I cannot tell you that replied the young man; it would not be fair to others. It was not answered the other; your house has always seemed like home. But, surely, argued the widow it must be a comfort to feel that. In the meantime said Edgar I will write to you. A common rose, said Uncle Ralph, like common sense and common honesty, is not so very common. Poor faithful old doggie! murmured Mrs. Currie, he thought Tacks was a burglar. Capital house dog! murmured the colonel; I shall never forget how he made poor Heavisides run. Cloudy, sir, said the colonel, cloudy; rain before morning, I think. I don’t see the dog I began; I suppose you found him all right, the other evening. Oh, uncle, pleaded Lilian; don’t talk like that.

Little kitten, I say,

Just an hour you may stay.

Agreed, said Ching, but let us try it soon:

Suppose we say to-morrow afternoon.

They’re there, said Chang, if I see anything

As clear as day-light.

May Heaven look down, the old man cries

Upon my son and on his ship.

Nay, Solomon replied,

The wise and strong should seek

The welfare of the weak.

Oh king! she said; henceforth

The secret of thy worth

And wisdom well I know.

Examples:—“I cannot tell you that,” replied the young man; “it would not be fair to others.” “It was not,” answered the other; “your house has always seemed like home.”

“Little kitten,” I say,

“Just an hour you may stay.”

“May Heaven look down,” the old man cries,

“Upon my son and on his ship.”

When double inverted commas are used for an ordinary quotation, a quotation within a quotation is marked by single inverted commas; thus,

Miriam sang, “The enemy said, ‘I will pursue, I will overtake, I will divide the spoil.’”

Exercise 42.

Place all direct quotations within inverted commas.

Mr. Brocklehurst said When I asked him which he would rather have, a gingerbread nut to eat or a verse of a Psalm to learn he says Oh the verse of a Psalm: angels sing Psalms. He continued, On her return she exclaimed Oh, dear Papa, how quiet and plain all the girls at Lowood look. I shall remember I said how you thrust me back though I cried out Have mercy! Have mercy, Aunt Reed. The father said Remember the proverb Keep not evil men company lest you increase the number. But said the lecturer you must note the words of Shakespeare

Spirits are not finely touched

But to fine issues.

The teacher asked in what play do the words All the world’s a stage occur? My sister writes in her last letter Will you please get me a copy of the song Tell me, my heart. In a poem on Dr. South preaching before Charles II. we read

The doctor stopped, began to call,

Pray wake the Earl of Lauderdale.

Examples:—He continued, “On her return she exclaimed, ‘Oh! dear Papa, how quiet and plain all girls at Lowood look.’” “But,” said the lecturer, “you must note the words of Shakespeare,

‘Spirits are not finely touched

But to fine issues.’”

A colon (:) is used to separate parts of a sentence that are complete in themselves and nearly independent, often taking the place of a conjunction, thus:—

Labor is the first great law: labor is good for man.

A period (.) brings the sentence to a full stop, thus:—

He rode down the valley, over the hill, and finally coming to a farmhouse, there he stopped.

Exercise 43.

You now come to a very important part of these exercises. You are to turn to practical account what you have learned concerning Punctuation. Write the lines that follow, and make good sense by dividing them into sentences and placing the punctuation marks where they belong. Take time for this and do it thoroughly.

The following Example will aid you in carrying out your instructions. The sentences are first printed without punctuation. I then construct the sentences and give them punctuation marks:

The smoke from the Spanish fleet rose above the headlands of Santiago Harbor are they coming out I shouted to Fowler aye sir there they come he cried instantly we took in the situation and being ready for battle stood to our guns did you ask if it was a hot chase well our captains gunners and marines can answer that what thunder of guns our victory was complete the President cabled congratulations.

Divided into sentences and punctuated, you have the following: The smoke from the Spanish fleet rose above the headlands of Santiago Harbor. “Are they coming out?” I shouted to Fowler. “Aye, sir, there they come,” he cried. Instantly we took in the situation, and, being ready for battle, stood to our guns. Did you ask if it was a hot chase? Well, our captains, gunners and marines can answer that. What thunder of guns! Our victory was complete; the President cabled congratulations.

Insert the necessary stops and capital letters.

Mr. Rich had much money and little politeness he thought it beneath him to be civil to ordinary people one wet day he was driving in his carriage along a turnpike road when he came to the toll gate he called out what’s to pay five cents if you please sir said the keeper Mr. Rich instead of handing the money rudely flung a quarter on the muddy ground and cried there take your change out of that the keeper stooped for the quarter and picked it up then placing twenty cents exactly on the same spot he coolly walked back into his cottage.

The statement is beyond doubt true. They set out and in a few hours arrived at their father’s. We live in an old beautiful and interesting town. Sir I believe you. He is guilty of the vice of cowards falsehood. The horse tired with the long gallop could go no further. Yes I am coming. Nay you are wrong. Philosophers assert that nature is unlimited in her operations that she has inexhaustible treasures in reserve that knowledge will always be progressive and that all future generations will continue to make discoveries of which we have not the least idea. Is this the gray-haired wanderer mildly said the voice which we so lately overheard Hark ’tis the twanging horn. O what a fall was there my countrymen Oh why has worth so short a date Such inquiry according to him was out of their province. The conflict was terrible it was the combat of despair against grief and rage.

Exercises in Easy Narratives.

In the preceding pages you have been advised to practice the writing of compositions by reading the productions of authors, and then writing from memory what you have read. This may not be easy at first. You will, however, find it less difficult as you proceed. You could not become an expert typewriter or pianist without faithful practice, yet we have expert typewriters and pianists.

It is so with learning to express your thoughts in writing. What is hard at first becomes “second nature” afterward. I have prepared some helpful rules and examples to aid you.

When writing a Story which you have read or heard, observe the following directions:—

1. Before beginning to write, think over the whole story, to make sure that you remember all the points, and the order in which they come.

Neglect of this direction may cause you to omit something or to put something in the wrong place.

2. Before beginning to write each sentence, arrange the whole of it in your mind.

If you neglect this direction you may find that the second part of a sentence goes badly with the first, or that you cannot finish at all a sentence such as you have begun. Here is an example:—

I am desired to inform the Board of Aldermen that Mr. Alderman Gill died last night by order of Mrs. Gill.

The words printed in italics could not have been in the mind of the writer when he began, or he would have placed them after desired, or (better still) he would have said, “I am desired by Mrs. Gill, etc.”

3. Make short sentences.

Beware of using and and so too much. Avoid such a sentence as the following:

Once upon a time there was a fox and he went into a vineyard and there he saw many bunches of beautiful ripe grapes hanging on high and he tried to reach them and he could not jump high enough and so he turned to go and said “It does not matter; the grapes are sour.”

Such a sentence ought to be divided into several; thus:—

A fox once went into a vineyard. There he saw many bunches of beautiful ripe grapes hanging on high. He tried to reach them, but found that he could not jump high enough. As he turned to go he said, “It does not matter; the grapes are sour.”

The following sentence has several faults besides its length:—

He [Swinton] did with a sort of eloquence that moved the whole House lay out all his own errors and the ill spirit he was in when he committed the things that were charged on him with so tender a sense that he seemed as one indifferent what they should do with him, and without so much as moving for mercy or even for a delay he did so effectually prevail on them that they recommended him to the king as a fit object of his mercy.—Burnet: History of his Own Time.

It is amended somewhat by division into shorter sentences, thus:—

With a sort of eloquence that moved the whole House, he did lay out all his own errors and the ill spirit that he was in when he committed the things that were charged on him. He spoke with so tender a sense that he seemed as one indifferent what they should do with him. Without so much as moving for mercy or even for a delay, he did so effectually prevail on them that they recommended him to the king as a fit object for mercy.

4. Use no word of which you do not know the exact meaning.

Neglect of this rule led some one to write:

At the dedication of the Gettysburg Monument, President Lincoln gave the ovation.

5. Do not use long words if you can find short ones.

The barber who advertised himself as “a first-class tonsorial artist and facial operator,” meant only that he could cut hair and shave well.

6. Arrange the different parts of each sentence so that they convey the meaning which you intend.

The following sentence is badly arranged:—

He tells stories which Mountain would be shocked to hear after dinner.—Thackeray: The Virginians.

Mountain would be shocked to hear them at any time. To convey the author’s meaning the sentence should be:—

After dinner he tells stories which Mountain would be shocked to hear.

7. When you have written your story, always read it over, and correct all the mistakes which you can find.

SHORT STORIES TO BE READ CAREFULLY, AND THEN WRITTEN FROM MEMORY.

The Fox and the Goat.

A fox that had fallen into a well tried in vain to get out again. By-and-by a goat came to the place to quench her thirst. Seeing the fox below she asked if the water was good. “Yes,” answered the cunning creature, “it is so good that I cannot leave off drinking.” Thereupon the goat, without a moment’s thought, jumped in. The fox at once scrambled on her back and got out. Then, looking down at the poor fool, he said coolly, “If you had half as much brains as beard, you would look before you leap.”

The Vain Jackdaw.

A vain jackdaw found some peacocks’ feathers and stuck them amongst his own. Then he left his old companions and boldly went amongst the peacocks. They knew him at once, in spite of his disguise; so they stripped off his borrowed plumes, pecked him well, and sent him about his business. He went back to the daws as if nothing had happened, but they would not allow him to mix with them. If he was too good for them before, they were too good for him now. Thus the silly bird, by trying to appear better than he was, lost his old friends without making any new ones.

The Ant and the Grasshopper.

One frosty day a grasshopper, half dead with cold and hunger, knocked at the door of an ant, and begged for something to eat. “What were you doing in the summer?” asked the ant. “Oh, I was singing all the time.” “Then,” said the ant, “if you could sing all the summer you may dance all the winter.”

The Wolf and the Lamb.

A wolf, coming to a brook to drink, saw a lamb standing in the stream, some distance down. He made up his mind to kill her, and at once set about finding an excuse. “Villain,” he said, “how dare you dirty the water which I am drinking?” The lamb answered meekly, “Sir, it is impossible for me to dirty the water which you are drinking, because the stream runs from you to me, not from me to you.” “Be that as it may,” replied the wolf, “you called me bad names a year ago.” “Sir,” pleaded the lamb, “you are mistaken; a year ago I was not born.” “Then,” said the hungry beast, “if it was not you it was your father, and that is as bad. It is of no use trying to argue me out of my supper.” Thereupon he fell upon the poor creature and ate her up.

What the Bear Said.

As two friends were traveling through a wood, a bear rushed out upon them. One of the men without a thought to his companion, climbed up into a tree, and hid among the branches. The other, knowing that alone he had no chance, threw himself on the ground, and pretended to be dead; for he had heard that bears will not touch a dead body. The creature came and sniffed him from head to foot, but, thinking him to be lifeless, went away without harming him. Then the man in the tree got down, and, hoping to pass his cowardice off with a joke, he said, “I noticed that the bear had his mouth very close to your ear; what did he whisper to you?” “Oh,” answered the other, “he only told me never to keep company with those who in time of danger leave their friends in the lurch.”

Bad Company.

A farmer who had just sown his fields placed a net to catch the cranes that came to steal his corn. After some time he went to look at the net, and in it he found several cranes and one stork. “Oh, sir, please spare me,” said the stork; “I am not a crane, I am an innocent stork, kind to my parents, and——” The farmer would hear no more. “All that may be very true,” he said, “but it is no business of mine. I found you amongst thieves, and you must suffer with them.”

Mercury and the Woodmen.

A woodman was working beside a deep river when his axe slipped, and fell into the water. As the axe was his living, he was very sorry to lose it, and sat on the bank to weep. Mercury, hearing his cries, appeared to him, and, finding what was the matter, dived, and brought up a golden axe. “Is this the one which you lost?” asked the god. “No,” said the woodman. Then the god dived a second time, and brought up a silver axe, and asked if that was the one. The woodman again answered “No.” So Mercury dived a third time, and then he brought up the axe which had been lost. “That is mine,” cried the woodman joyfully. The god gave it to him, and presented him with the other two as a reward for his truth and honesty.

One of the woodman’s neighbors, hearing what had happened, determined to see if he could not have the same good luck. He went to the bank of the river, began to fell a tree, purposely let his axe slip into the water, and then pretended to cry. Mercury appeared as before, dived, and brought up a golden axe. The man, in his eagerness to grasp the prize, forgot to act as his neighbor had done; so when the god asked, “Is that yours?” he answered “Yes.” To punish him for his lying and dishonesty, the god would neither give him the golden axe nor find his own.

Dr. Johnson and Mrs. Siddons.

Dr. Johnson always spoke scornfully of actors and actresses, but he treated the famous actress, Mrs. Siddons, with great politeness. She called on him, and his servant could not readily find a chair for her. “You see, madam,” said the doctor, “wherever you go no seats can be got.”

Clever Children.

An ignorant Englishman once visited Paris. After his return he was talking to some of his friends about the wonders he had seen. “I was most surprised,” he said, “with the cleverness of the children. Boys and girls of seven or eight spoke French quite as easily as the children in this country speak English.”

One Good Turn Deserves Another.

A Cambridge student sent to another student to borrow a book. “I never lend my books out,” was the answer, “but if the gentleman chooses to come to my rooms he may use them there.” A few days after the book owner sent to the other student to borrow a carpet sweeper. “I never lend my carpet sweeper,” replied he, “but if the gentleman chooses to come to my rooms he may use it there.”

Learning Rewarded.

A rich farmer sent his son to a famous university. The young man was rather foolish, and brought home more folly than learning. One night, when there were two fowls for supper, he said, “I can prove these two fowls to be three.” “Let us hear,” answered the old man. “This,” said the scholar, pointing to the first, “is one; this,” pointing to the second, “is two; and two and one make three.” “Since you have made it out so well,” replied the father, “your mother shall have the first fowl, I will have the second, and you may keep the third for your great learning.”

Daring a Dutchman.

A Dutch vessel and an English vessel were lying near each other. One of the Dutch sailors wished to show his activity, so he ran up the mast, and stood upon his head on the top of it. One of the English sailors (who did not like to be beaten by a Dutchman) also tried to stand upon his head on the top of the mast. He, however, fell. The rigging broke his fall and he alighted on the deck unhurt. “There, you lubber,” he cried, “do that if you dare.”

The Miserly Planter.

A very miserly planter formerly lived in the island of Jamaica. He often gave his poor slaves too little food. They complained, and he answered that he could not help himself, because the provision ships had been taken by pirates. This lying excuse satisfied them once, twice, thrice, and again, but in the end long fasting made them impatient. Then they went to their master and said to him, “Is it not strange that the pirates have so often taken the ships bringing food, but have never taken the ships bringing pickaxes and hoes?”

A Precious Turnip.

Before Louis the Eleventh became king he used to visit a peasant whose garden produced excellent fruit. After his accession, the peasant brought him as a present a very large turnip which had grown in his garden. The king, remembering the pleasant hours that he had spent under the old man’s roof, gave him a thousand crowns. The lord of the village, hearing of this, thought that if one who gave a paltry turnip received so large a reward, one who gave a really valuable present would receive a still larger reward. He, therefore, offered a splendid horse. The king accepted it and, calling for the big turnip, said, “This cost me a thousand crowns; I give it to you in return for your horse.”

The Dangers of a Bed.

A carpenter asked a sailor, “Where did your father die?” The sailor answered, “My father, my grandfather, and my great-grandfather were all drowned at sea.” “Then,” said the carpenter, “are you not afraid of going to sea, lest you should be drowned too?” Instead of replying, the sailor asked, “Where did your father die?” “In his bed.” “And your grandfather?” “In his bed.” “And your great-grandfather?” “In his bed also.” “Then,” said the sailor, “why should I be more afraid of going to sea than you are of going to bed?”

How to treat Enemies.

A Scotch minister had in his parish a man who sometimes used to get drunk. One day the minister, reproving him for his bad habit, said, “You love whisky too much, Donald; you know very well that it is your worst enemy.” “But,” answered the man slily, “have you not often told us that we ought to love our enemies?” “True, Donald, but I never told you that you ought to swallow them.”

The Secret of Success.

During the long struggle between England and France, two ignorant old ladies were discussing the war as they went to church. One said, “Is it not wonderful that the English always beat the French?” “Not at all,” answered the other; “don’t you know that the English always say their prayers before going into battle?” “But,” replied the first, “can’t the French say their prayers as well?” “Tut, tut,” said the second; “poor jabbering bodies, who can understand them?”

The Preacher for Prisoners.

When David Dewar was a member of the Prison Board the question of appointing a chaplain for the jail came up. The favorite candidate of the other members of the Board was an unsuccessful clergyman. David, when asked to vote for him, said, “I have no objection; I hear that he has already preached a church empty, and if he will only preach the jail empty too, he is just the man for our money.”

The Squire and his Servant.

A Scotch squire was one day riding out with his man. Opposite a hole in a steep bank the master stopped and said, “John, I saw a badger go in there.” “Did you?” said John; “will you hold my horse, sir?” “Certainly,” answered the squire, and away rushed John for a spade. He got one and dug furiously for half an hour, the squire looking on with an amused look. At last John exclaimed, “I can’t find him, sir.” “I should be surprised if you could,” said the squire, “for it is ten years since I saw him go in.”

Proper Payment.

A boy went into a baker’s shop and bought a five-cent loaf. It seemed to him rather small, so he said that he did not believe it to be of full weight. “Never mind,” answered the baker, “you will have the less to carry.” “True,” replied the lad, and throwing four cents on the counter he left the shop. The baker called after him, “Hi! this is not enough money.” “Never mind,” said the boy, “you will have the less to count.”

The Corporal’s Watch.

A corporal in the life-guards of Frederick the Great was a brave but rather vain fellow. He could not afford a watch, but managed to buy a chain, and this he wore with a bullet at the end. The king, hearing of this, thought he would have a little fun at the soldier’s expense, so he said to him, “It is six o’clock by my watch; what time is it by yours?” The man drew the bullet from his pocket and answered, “My watch does not mark the hour, but it tells me every moment that it is my duty to face death for your Majesty.” “Here, my friend,” said Frederick, offering him his own costly watch, “take this, that you may be able to tell the hour also.”

Three Toasts.

When the Earl of Stair was ambassador in Holland he was once at a banquet with the French and Austrian ambassadors. The Frenchman proposed the health of his master, calling him, “The Sun.” The Austrian then proposed the health of his mistress, calling her “The Moon.” The Earl of Stair was equal to the occasion, for when his turn came he proposed the health of his sovereign as “Joshua, who made the sun and moon to stand still.”

Going to Sleep in Church.

A Scotch clergyman had a youth in his congregation who was underwitted, and was commonly spoken of as being half daft. One Sunday the clergyman observed that all his hearers were asleep except this youth. After the service the minister congratulated him upon being awake, when he naively replied, “Maybe if I hadn’t been half daft I would have been asleep too.”

Striking Back.

A little girl complained to her brother that a boy had struck her. “Why did you not strike back?” he asked. “O,” said the innocent creature, “I did that before he hit me.”

Outlines to be Turned into Narratives.

The following is an outline of one of Æsop’s fables:—

1. Donkey carrying salt—passing through stream—falls—loses load.

2. Next day loaded with salt—lies down in stream.

3. Master resolves to teach lesson—third journey load of sponge.

4. Donkey lies down—load heavier.

This outline may be filled in thus:—

A donkey laden with salt happened to fall while passing through a stream. The water melted the salt, and the donkey on getting up was delighted to find himself with nothing to carry. Next day he had to pass again, laden with salt, through the same stream. Remembering how the water had yesterday rid him of his burden, he lay down purposely, and was again rid of it. But clever as he was his master was cleverer, and resolved to teach him a lesson. On the third journey he therefore placed on the creature’s back several bags filled with sponges. The donkey lay down as before, but on getting up he found that his load, instead of being much lighter, was much heavier.

In the fable, as thus told, there are several points (printed in italics) which are not in the outline. Such little details help to make the story more real.

The Snake’s Ingratitude.

1. Cold winter’s day—snake half dead.

2. Peasant pities it—places in bosom—takes home—lays before fire.

3. Snake revives—attacks children—peasant kills it.

This outline may be filled in as follows:—

On a cold winter’s day a peasant discovered a snake that was half dead. He pitied the half-frozen creature, placed it in his bosom, and upon taking it home, laid it before the fire. The snake soon revived, and, true to its nature, attacked the children of the household, when it was promptly killed by the peasant.

The Lion and the Mouse.

1. Lion sleeping—mouse happens to wake him.

2. Lion going to kill mouse—mouse begs for mercy—mercy granted.

3. Lion caught in a net—roars—mouse hears him—nibbles net.

The Frog and the Ox.

1. Ox feeding in marshy meadow—treads among young frogs—kills many.

2. One that escapes tells mother—“Such a big beast!”

3. Vain mother asks, “So big?”—“Much bigger.”

4. Mother puffs out—“So big?”—“Much bigger.”

5. This several times—at last mother bursts.

The Hare and the Tortoise.

1. Hare jeers at tortoise for slowness.

2. Tortoise proposes race—hare accepts.

3. Tortoise starts—hare says, “Will take a nap first.”

4. When hare wakes tortoise has passed post.

5. “Slow and steady wins the race.”

Dividing the Spoils.

1. Lion, donkey and fox hunting—much spoil.

2. Lion asks donkey to divide—divides into three equal parts.

3. Lion angry—kills donkey—asks fox to divide.

4. Fox makes very great heap for lion and very little one for himself.

5. “Who taught you to divide so well?”—“The dead donkey.”

The Wind and the Sun.

1. Wind and sun dispute which is stronger.

2. Agree to try on passing traveler—which can soonest make him take off cloak.

3. Wind begins—blows furiously—traveler holds cloak the tighter.

4. Sun shines—traveler too warm—throws off cloak.

5. Kindness better than force.

The Bundle of Sticks.

1. Quarrelsome brothers—father speaks in vain.

2. Asks sons to break bundle of sticks—each tries and fails.

3. Asks them to undo bundle and break separate sticks—easy.

4. Brothers united, like bundle—quarrelsome, like separate sticks.

5. “Union is strength.”

The Goose with the Golden Eggs.

1. Man has goose—lays golden egg daily.

2. Man greedy—thinks inside must be full of gold—kills goose—finds her like all other geese.

The Frogs asking for a King.

1. Frogs ask Jupiter for a king—he laughs at their folly—throws them a log.

2. The splash frightens them—finding log still they venture to look at it—at last jump on it and despise it.

3. Ask for another king—Jupiter annoyed—sends them a stork.

4. Stork eats many—the rest ask Jupiter to take stork away—he says “No.” “Let well alone.”

The Battle of the Birds and Beasts.

1. Bat is a beast, but flies like a bird.

2. Battle between birds and beasts—bat keeps aloof.

3. Beasts appear to be winning—bat joins them.

4. Birds rally and win—bat found among victors.

5. Peace made—birds and beasts condemn bat—bat never since dared show face in daylight.

The Hart and the Vine.

1. Hart fleeing from hunters—hides among leaves of vine—hunters pass without seeing him.

2. He begins to eat leaves—a hunter hears noise—shoots hart.

3. Hart lies wounded—reproaches itself for committing so great a folly.

4. “Vine protected me; I injured it; deserved my fate.”

The Lion and the Bulls.

1. Three bulls feeding together in a meadow.

2. Lion wished to eat them—afraid of the three.

3. Lion tells each that the others have been slandering.

4. Bulls quarrel—lion kills each separately.

Saved by the Life-boat.

1. Vessel goes to sea—overtaken by storm.

2. Storm increases—ship driven on the rocks.

3. Officers and crew in distress—clinging to the rigging—making signals.

4. Seen by the Life Guard on shore.

5. Boat hurries to the rescue—heroic seamen.

6. Men on board brought ashore—benumbed—famishing.

7. Revived—grateful to rescuers.

Story of a Tramp.

1. Early home—restless youth—runs away.

2. Goes to seek his fortune—falls in with vicious companions.

3. Roams from place to place—becomes an idle beggar.

4. Young man in a police court charged with burglary—sentenced to state prison.

5. First mistake was leaving home—next, companionship—then, theft.

6. Value of home attachments—industry—honesty.

7. Beware of the first wrong step—not easy to remedy our mistakes.

Stories in Verse to be Turned into Prose.

The following poem, by Charles Kingsley, tells a touching little story:—

Three fishers went sailing away to the west,

Away to the west as the sun went down;

Each thought on the woman who loved him the best,

And the children stood watching them out of the town.

For men must work, and women must weep,

And there’s little to earn, and many to keep,

Though the harbor bar be moaning.

Three wives sat up in the lighthouse tower,

And trimmed the lamps as the sun went down;

They looked at the squall, and they looked at the shower,

And the night-rack came rolling up, ragged and brown!

But men must work, and women must weep,

Though storms be sudden and waters deep,

And the harbor bar be moaning.

Three corpses lay out on the shining sands,

In the morning gleam, as the tide went down,

And the women are weeping and wringing their hands

For those who will never come home to the town.

For men must work, and women must weep,

And the sooner it’s over the sooner to sleep,

And good-bye to the bar and its moaning.

Here is the same story, told in prose:—

One afternoon in a western port, three fishermen might be seen walking slowly down towards the beach. Heavy masses of clouds were moving rapidly overhead; the setting sun had tinged the sky an angry crimson, and the waves broke with a moaning noise over the bar at the mouth of the harbor. The fishermen knew that a storm was threatening, but still they were going to sea, for their families were large and their earnings had of late been small. Yet they were sad at heart, and as they sailed away they thought of the dear wives left behind, and of the dear children watching them out of the town.

The women were so anxious that they could not rest at home, so they went up to the lighthouse to trim the lamps and peer out into the darkness. The storm came on even sooner than was expected. A huge billow caught the fishermen’s boat and sank it, and the tide carried their dead bodies to the shore.

By morning the storm had passed, and the rising sun shone on the wet sand and on three poor women wringing their hands over the corpses of their husbands.

Note that in this prose rendering there is no attempt to preserve the poetry. Attention has been paid to the story only, and that has been told in the simplest manner. I here append a cluster of poems to be turned into prose.

THE SANDS OF DEE.

“O Mary, go and call the cattle home,

And call the cattle home,

And call the cattle home,

Across the sands of Dee!”

The western wind was wild and dark with foam,

And all alone went she.

The creeping tide came up along the sand,

And o’er and o’er the sand,

And round and round the sand,

As far as eye could see;

The blinding mist came up and hid the land,

And never home came she.

Oh, is it weed, or fish, or floating hair,—

A tress of golden hair,

Of drownèd maiden’s hair,

Above the nets at sea?

Was never salmon yet that shone so fair,

Among the stakes of Dee!

They rowed her in across the rolling foam,

The cruel, crawling foam,

The cruel, hungry foam,

To her grave beside the sea;

But still the boatmen hear her call the cattle home

Across the sands of Dee.—Charles Kingsley.

THE WAY TO WIN.

There’s always a river to cross,

Always an effort to make,

If there’s anything good to win,

Any rich prize to take.

Yonder’s the fruit we crave,

Yonder the charming scene;

But deep and wide, with a troubled tide,

Is the river that lies between.

PRESS ON.

Press on! there’s no such word as fail;

Press nobly on! the goal is near;

Ascend the mountain! breast the gale!

Look upward, onward—never fear!

Press on! if once, and twice thy feet

Slip back and stumble, harder try;

From him who never dreads to meet

Danger and death, they’re sure to fly.

To coward ranks the bullet speeds;

While on their breasts who never quail,

Gleams, guardian of chivalric deeds,

Bright courage, like a coat of mail.

Press on! if fortune play thee false

To-day, to-morrow she’ll be true;

Whom now she sinks, she now exalts,

Taking old gifts and granting new.

The wisdom of the present hour

Makes up for follies past and gone;

To weakness strength succeeds, and power

From frailty springs:—Press on! Press on!—Park Benjamin.

THE DYING WARRIOR.

A wounded chieftain, lying

By the Danube’s leafy side,

Thus faintly said, in dying,

“Oh! bear, thou foaming tide,

This gift to my lady bride.”

’Twas then, in life’s last quiver,

He flung the scarf he wore

Into the foaming river,

Which, ah, too quickly, bore

That pledge of one no more!