Purity and Precision, and, (one instance excepted,) contain nothing inconsistent with Propriety. The structure of this sentence is not characterised by Clearness, Unity, or Strength. The style possesses Simplicity. The eloquence approaches to Perspicuity. The ideas are distinguished by Vivacity, and a degree of Beauty.

3. The peculiarities of the author. This writer seems to be distinguished by the Simplicity and the Plainness of his Style.

4. Beauties of thought and expression. The shortness of the piece selected, does not admit of any conspicuous beauty being pointed out. When a passage is designated as beautiful, the allusion on which the beauty of thought or expression is founded, should be traced to its object in nature or in art; and the particular principle of taste, to which it is addressed, should be mentioned.*

When analysis and criticism are performed on a poetical piece, the department of poetry, to which it belongs, ought to be specified; and the verses should be scanned according to the rules of prosody.

In particularising the benefit of analysis it is unnecessary to enter on parsing, punctuation, and classification. The exercises in transposition, synonymes,

* A longer extract for a subject, might have given a more imposing effect to some of the exercises which have been exemplified; but brevity, as far as consistent with a sufficient illustration of the plan, being a principal object, a short piece seemed preferable.

and variety of expression, are the best means of acquiring a ready command of language, and an easy harmonious style. The practice of tracing the figures of speech, is adapted to produce a correct and happy use of figurative language,—a department of writing in which beginners are so liable to err. The statement of the subject, scope, topics, and method, of a composition, has also a great tendency to improve the mind of the pupil. It impresses the leading ideas more deeply on his memory; it is a useful exercise of the understanding, and habituates him to clear and vigorous thinking. By suggesting the invention of topics, and the methodising of a subject, it supplies him with a fund of materials for composition, and strengthens and increases the resources of his own mind.

Minute and careful criticism is the most effectual of all aids to the formation of a good style. Besides guarding the learner against inaccuracies, it habituates him to acuteness of thought, quick observation, and close attention, which are all indispensably requisite to clear and forcible expression.

Analysis enables the student to reduce a piece of writing to its component parts, and thus to become acquainted with the nature and the use of each, and prepares him to arrange and combine, with effect, the corresponding parts of his own subsequent labors. Criticism guides him in forming his judgement of the individual correctness of every part, and of its adaptation to the whole; and by pointing him alternately

to the errors and to the excellencies of others, it aids him in correcting and refining his own productions.

The instructions and exercises on the foregoing points, gradually ascend from what is simple and easy, to what is complex and difficult. The arrangement is designed to be such as will make every stage of the pupil's progress intelligible and interesting, and insensibly prepare his mind for the business of composing. These exercises are also suggested as a useful and pleasing relaxation from severer study, to those who have left the business of an elementary course, and have commenced the higher departments of literature.

6*

PART III.

COMPOSITION.

PLAN OF THE EXERCISES.

1st. Class, Narrative.-2d. Descriptive.—3d. Didactic.

THIS arrangement is preferred, because it leads the pupil on by degrees, from what is more easily understood and practised, to what is more difficult.

I. COURSE.

1. CLASS.-NARRATIVE PIECES.

Let the pupil take an historical work, and, at the place selected by the teacher, read the first sentence once or twice, according to its length, till the idea it contains is fixed in his memory. Having shut the book, let him revolve the idea in his mind, clothe it in his own words, and commit it to paper. He may proceed in the same way with as many sentences as are thought sufficient for an exercise. The practice of criticism, as laid down in Part II. and of that branch, especially, which regards the peculiarities of an author, will prevent the pupil from inadvertently imitating the style of the work which he reads; and the

attention of the teacher will prevent any expressions being purposely borrowed. A course of narrative writing may be completed in from twelve to twenty exercises; the number being limited or extended, according to the capacity of the pupil.*

In the first exercises, many ill-chosen expressions will necessarily occur; since nothing but practice and skill, can insure perfect propriety of language. The pupil's first attempts in this course, ought, indeed, to be regarded as extended exercises in variety of expression, rather than as regular compositions. The teacher, however, should embrace the opportunity, which any impropriety affords, of endeavouring to impart greater accuracy to the mind and the language of the pupil. Every error ought to be carefully and distinctly shown, and minutely discussed: and the pupil should be required to recite the rule of Syntax, Punctuation, Structure, or Style, which, in any instance, has been violated. Pupils may afterwards be permitted to criticise one another's compositions, submitting the corrections to a review by the teacher.

The following subjects for exercises have been set down, with the view of saving time and trouble to the teacher, and of enabling the pupil to proceed, unencumbered by a variety of references to different books.

*The second and third classes are to be written on the same plan as the first.