ly to do it away is apt to be adopted. The piece, therefore, which is prescribed, must not be at hand, ready to be referred to, and to be minutely perused, so as to save the trouble of application. Such a method of performing the second course of compositions, would reduce it to something not much different from the first; and as good writing has its foundation in clear and vigorous conceptions, little improvement could be reasonably expected from a course of exercises, in which the mind came so slightly into action. The book, from which the subjects of the second course of compositions are taken, should be in the possession of the teacher only: it should not be in the hands of the pupil longer than is sufficient to admit of his reading a few times, the paragraph which is to be the subject of his exercise. When the paragraph is read, the book should be returned to the teacher.

III. COURSE.

THE teacher should read to the pupil a piece suitable for the subject of an exercise, and dwell particularly on the subject, scope, topics, and method; so that the pupil may be led to compose from these points, more than from a reference to his recollection of what the teacher has read.

Much of the effect of this course of composition depends on the exertions of the teacher to render the

subjects familiar and interesting. In this and the following course, whilst the teacher is explaining and illustrating, the pupil may be permitted to write down the method and the subordinate topics of the subject; or, if it seems preferable, to recapitulate orally the remarks of the teacher. This exercise, whilst it facilitates the pupil's progress in writing, is very serviceable in training his mind to regular and connected thinking.

Young persons who are studying this work, without the assistance of a teacher, will find it beneficial to commence this course by drawing up slight outlines of the subjects which they read. In the first attempts, a mere outline will be sufficient. As the student advances, he may gradually fill up his outlines, till he acquire such a facility in expanding topics, as will enable him to attempt a whole piece.

As the practical effect of this course is chiefly derived from the oral explanations and directions of the teacher, it is not necessary that the subjects should be inserted. Besides, the same reasons which precluded the insertion of subjects for the second course, are applicable to this.

IV. COURSE.

THE exercises should now be written without any farther assistance than what is derived from the sub

ject, scope, topics, and method, being prescribed. These points may, at first, be slightly extended by the teacher; and if the assistance thus given, is gradually diminished, the pupil will soon be enabled to fill such outlines and give them the form of regular exercises.

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With the view of saving the teacher's time, the subjects for the third class of this course are inserted. The subjects of the first and second classes are necessarily omitted. In prescribing the topics and method of narrative and descriptive pieces, it is implied that the pupils, as well as the teacher, are familiar with the events to be related, and the scenes to be described. The history of individuals, of institutions, of towns, and states, with which the pupil is known to be familiar, and the description of well-known objects or scenes, will furnish the teacher with materials sufficient for this course of composition.

III. CLASS.

REGULAR didactic compositions, or, as they are sometimes called, themes, are divided into simple and complex.

A simple theme generally contains a subject expressed in a single word; as, Virtue, Patriotism, Honor.

A complex theme contains a proposition, or complete sentence; as, Virtue is respected: Patriotism is admired.

The topics and method of a simple theme, are contained in the following rules:

1. When the subject requires explanation, define, or explain it.

2. Show in what the subject originates.

3. State the subject as it existed in ancient, and as it exists in modern times; or, in other words, give a history of the subject.

4. Show the extent of the subject; that is, whether it relates to the whole world, or to a particular part

of it.

5. State the effects of the subject, as good or bad.

Recapitulation:-Topics and method of a simple

1. Definition.

theme.

2. Cause. 3. Relation to time :

4. to place. 5. Effects.

Use of the above-mentioned topics.

THE first two are designed to give us a clearer view of the subject, by bringing it more fully and distinctly before the mind. The next two are intended to produce an impression of the importance of the subject, by exhibiting it as receiving the attention of many ages and nations; or to give us an idea of its insignificance, by showing the slight estimation in which it has been held, and the limited extent to which it has prevailed. Sometimes, also, the importance or insig

nificance of the subject is displayed by the peculiarities of time and circumstances, in which it is represented as existing. The last topic serves to create an attachment or an aversion to the subject, by inculcating its advantages or disadvantages. In a mixed subject, this topic leads to correct views, by exhibiting both of the last-mentioned points.

The topics which have been mentioned, may all be comprehended under the following three:

1. The nature ;-2. The importance ;-3. The effects of a subject.

The following example will serye better than any explanations, to illustrate the meaning and application of the foregoing rules for the composition of a simple theme.

PEACE.

1. Definition.* "Peace is the ultimate wish of all

men.

2. Cause. For, in whatever manner we desire to exercise our faculties, in the acquiring of knowledge, riches, or honors, we all look forward to a state of peace and tranquillity, in which alone we think that we can enjoy them. In this happy state it is, that the merchant expects to enjoy his riches, the soldier to be secure from toils and dangers, and the statesman to lay aside his anxious cares.

3. History. So agreeable to the mind of man is a *This term is here employed in an arbitrary sense.