the discourses appointed by the wisdom of the Church to be everywhere held on the recurrence of the seventh day. By these, the meanest and most illiterate are enabled to hear moral and philosophical treatises on every thing which concerns their several duties, without expense, and without solicitation."

An introduction of this character would be appropriate to the essay on Anger, analyzed in the last lesson; something, for instance, like the following::

Every passion in the breast of man, when allowed to control his action, unrestrained by the conservative power of reason, is attended with the unhappiest consequences, both to himself and the community in which he lives. If this is true of the passions in general, even of those which are comparatively mild in their nature, how emphatically is it the case with Anger, which, more than all others, disdains the control of good sense and a sound understanding.

§ 408. A happy allusion to some story, tradition, or historical fact, is among the most pleasing, and therefore successful, introductions that can be employed. When the circumstance to which reference is made is well known, the mere allusion is sufficient; as when we say, "There are some to whose charity ties of blood are the only open sesame." The story of "The Forty Thieves," in which these words occur as the charm used in opening the door of the robbers' cave, is familiar to every one, and therefore an explanation is unnecessary. If, however, there is a likelihood that some may be ignorant of the subject alluded to, it is well briefly to tell the story, and then to apply it in the case in question. This is gracefully done in the following example, which would be an admirable introduction for the subject, "Liberty to be cherished, under whatever form it may appear":-

"Ariosto tells a pretty story of a fairy, who, by some mysterious law of her nature, was condemned to appear at certain seasons in the form of a foul and poisonous snake. Those who injured her during this pe riod of her disguise were forever excluded from participation in the blessings she bestowed. But to those, who, in spite of her loathsome aspect, pitied and protected her, she afterwards revealed herself in the beautiful and celestial form which was natural to her; accompanied their footsteps, granted all their wishes, filled their houses with wealth, made them happy in love, and victorious in war. Such a spirit is Lib

408. What is mentioned as one of the most pleasing introductions? Tr what case is the mere allusion sufficient? When is an explanation necessary? Give an example of a happy introductory allusion.

erty. At times she takes the form of a hateful reptile. She grovels, she hisses, she stings. But woe to those who in disgust shall venture to crush her! And happy are those, who, having dared to receive her in her degraded and frightful shape, shall at length be rewarded by her in the time of her beauty and glory."

§ 409. A definition may be amplified by presenting the meaning of the term defined under different forms, if there is danger of its being misunderstood; by stating any erroneous impression respecting it against which it may be necessary to guard; or, negatively, by pointing cut in what it does not consist. Historical illustrations and quotations may be multiplied according to the reading of the student. Arguments for or against a proposition may be extended by enumerating the particular instances from which the general truth has been de duced, in which case the process is known as Induction; or by an appeal to the statements of others, which is called the argument from Testimony; or by referring to what is proved or acknowledged to be true in similar cases, which is the argu ment from Analogy. Under the head of effects, we may ex tend our observations to collateral consequences; or contrast the subject under discussion with its opposite, as regards the results which follow from each. The conclusion, in many cases, makes a practical application of the subject; which may be diversified by appealing to the conscience, or sense of right and wrong; to the selfish propensities, on which considerations of expediency act; to the common sense, which weighs what is said, and opens the mind of the candid enquirer to conviction; or to the feelings, which awaken the sympathy, and persuade, though they may fail to convince.

§409. How may a definition be amplified? What is said of historical illustrations and quotations? In what three ways may arguments be extended? Under the head of effects, how may we amplify? What does the conclusion in many cases do? How may it be diversified ?

LESSON LXIX.

REVISION AND CORRECTION OF COMPOSITIONS.

§ 410. Revision of Compositions.—When a composition has been prepared according to the suggestions in the last two lessons, the next thing is to revise it. Before this is attempted, a short interval should be allowed to elapse, so that the writer may, in a measure, forget the expressions he has used, and criticise his work as severely and impartially as if it were the production of another.

To ensure time for this important examination, at least a week should be allowed for the preparation of each exercise; the first part of which should be appropriated by the student to its composition, and the remainder to its careful correction. In revising, each sentence should be read aloud slowly and distinctly, that the ear may aid the eye in detecting faults. The principles laid down for the promotion of Propriety, Precision, Strength, &c., should be strictly followed. Whatever violates them must be altered, no matter what the expense of time or trouble. Even such passages as seem doubtful to the writer, although he may be unable to detect in them any positive error, it will be safest to change. The commonest faults are solecisms, tautologies, redundancies, and a want of unity; for the detection of these, therefore, the reviser should be constantly on the alert. Having satisfied himself that, in these par ticulars, his sentences will pass criticism, he should next seek to in crease their effect and enhance their beauty, by improving, polishing and ornamenting his style, when this can be done without the appear ance of affectation. He should ensure that a proper connection is maiëtained between the parts, supplying omitted matter that may be essential to a proper understanding of the train of thought, and omitting whatever of a foreign nature he may at first inadvertently have introduced.

A clean copy is now to be made, in doing which regard must be had to neatness of chirography. A careless habit of writing is apt to lead to a careless habit of composing, a careless habit of study, and a careless nabit of life. What is worth doing at all, it has been remarked, is worth doing well; and, therefore, though it may seem to some a tri

§ 410. After a composition is written, what is next necessary? What is said with respect to allowing an interval between the act of composing and revising? Describe the process of revision. In making a clean copy, what must be regarded? What is

fling matter, the careful student will see that his exercise is presented in the neatest possible form. The most convenient paper, as regards size, is the ordinary letter sheet. A margin of an inch and a half should be allowed on each side for the remarks of the teacher. The subject should occupy a line by itself, should be equally distant from both margins, and should be written in a larger hand than the rest. Attention must be paid to the spelling and punctuation. When there is not room for the whole of a word at the end of a line, it must be divided after one of its syllables, and the hyphen must connect the separated parts as directed in § 202.

SUGGESTIONS TO THE TEACHER.

§ 411. Correction of Compositions.-Most teachers have their own system of examining and correcting compositions; those who have not, may find the following suggestions of service :

I. Read the exercises presented in the presence of the class, and invite criticism from all. The credits allowed should be based, as well on the promptitude and soundness of the remarks thus made, as on the merits of the performances submitted. It is surprising to see how soon this simple exercise develops a critical taste, and what a salutary effect this taste in turn produces on the style of those in whom it is awakened. Underline words in which errors of any kind occur, and require the student to correct them himself. Remarks on the style may with advantage be made by the teacher, and their substance embodied in the margins left for that purpose.

II. In certain words, errors in orthography are very common; busi ness is apt to be written buisness; separate, seperate; believe, beleive, &c When such errors occur, let the words be spelled by the whole class in concert. If, as is often the case, special difficulty is found in spelling particular words, it is well for the teacher to keep a record of the latter, and to give them to the class from time to time as a lesson in orthography.

III. In correcting compositions, do not criticise so closely or severely as to discourage the pupil; but adapt your remarks to his degree of advancement. Let your corrections, in every case, be in harmony with

said of a careless habit of writing? What suggestions are made with respect to paper, &c.?

the scope and style of the exercise. With beginners, it is well to make no other alterations than such as are absolutely required. As the composer advances, his performances may be more closely criticised, and his attention may be directed to those nicer points, to which, at an earlier period, it would be injudicious to refer.

IV. After a criticism by the class and remarks by the teacher, the student should make the required corrections, and submit them for approval. He should then copy his exercise in a book provided for the purpose, a comparison of the different parts of which will at any time show what progress he has made.

V. In correcting, the student will save time and trouble by availing himself of some of the marks used in the correction of proof, and exhibited on a specimen sheet at the close of this volume.

EXERCISE IN AMPLIFICATION.

I. Amplify, according to the example in § 404, in five or more successive sentences, each of the following simple propositions :

1. Alfred the Great died.

2. Richard Cœur de Lion engaged in one of the Crusades.

3. A storm wrecked the Spanish Armada.

4. Cornwallis surrendered at Yorktown.

5. Can we doubt the immortality of the soul?

II. According to the example in § 406, construct an introduction asserting,

(Generally) that a knowledge of music is becoming rapidly extended in this country; (Particularly) that singing and instrumental music are studied in different sections and by all grades of society; and (Individually) that almost every household contains some performer. These propositions must be amplified, and constitute not less than three distinct sentences.

III. Write, on the same plan, an introduction laying down the proposition that dissimulation is one of the promi nent faults of the present generation.

IV. According to the example in § 407, write introductions stating,