Third, expression cannot be compelled, it must be coaxed. Only under favorable conditions can we expect that reaction of intellect and emotion which renders possible a full expression of self. A most important one of these favorable conditions is that the pupil shall write something he wishes to write, for an audience which wishes to hear it. With this in view, the suggested subjects are those in which it has been found that high school pupils are interested and about which they wish to write. It is hoped that the work will be so conducted by the teacher that every theme will be read aloud before the class. It is essential that the criticism of a theme so read shall, in the main, be complimentary, pointing out and emphasizing that which the pupil has done well; and that destructive criticism be largely impersonal and be directed toward a single definite point. Only thus may we avoid personal embarrassment to the pupil, give him confidence in himself, and assure him of a sympathetic audience all of which are essential conditions of effective teaching of composition. The plan of the book is as follows: 1. Part I provides a series of themes covering description, narration, exposition, and argument. The purpose is to give the pupil that inspiration and confidence in himself which comes from the frequent repetition of an act. 2. Each theme differs from the preceding usually by a single point, and it will be found desirable to confine the teaching effort to that point. It is a false standard of accuracy which demands that every error be corrected every time it appears. Such a course loses sight of the main point in a multiplicity of details. It renders instruction ineffective by scattering effort, produces hopeless confusion in the mind of the pupil, and robs composition of that inspiration without which it cannot succeed. In composition, as in other things, it is better to do but one thing at a time. 3. Accompanying the written themes is a series of exercises, each designed to emphasize the point presented in the text, but more especially intended to provide for frequent drills in oral composition. 4. The paragraph is the unit of composition throughout the first four chapters, but for the sake of added interest some themes of greater length have been included. Chapter V, on the Whole Composition, serves as a review and summary of the methods of paragraph development, shows how to make the transition from one paragraph to another, and discusses the more important rhetorical principles underlying the union of paragraphs into a coherent and unified whole. 5. The total result of the training furnished by Part I should be to give the pupil some fluency of expression, some confidence in his ability to make known to others that which he thinks and feels, and some power to determine that the theme he writes, however rough-hewn and unshapely it may be, yet in its major outlines follows closely the thought that is within his mind. If he has failed in this, it will be of little advantage to him to have mastered some of the minor matters of technique, or to have learned how to improve his phrasing, polish his sentences, and distribute his commas. 6. Part II provides a series of themes covering the same ground as Part I, but the treatment has been made more complete and the material has been adapted to the increased maturity and thought power of the pupils. By means of references the pupil is directed to all former treatments of the topic he is studying. 7. Part II discusses some topics usually treated in college courses in rhetoric. These have been included for three reasons: first, because comparatively few high school pupils go to college; second, because the increased amount of time now given to composition enables the high school to cover a wider field than formerly; and third, because the topics included can with profit be handled by pupils in the upper years of the high school course. 8. It is not intended that the text shall be recited. Its pur pose is to furnish a basis for discussion between teacher and pupil before the pupil attempts to write. The real test of the pupil's acquisition of a principle discussed in the text will be his ability to put it into practice in his theme writing. Any judgment of the success or failure of the book should be based upon the quality of the themes which the pupils write. Criticisms and suggestions will be welcomed from those who use the book. The authors wish to express their obligation for advice and assistance to Professor Edward Fulton, Department of Rhetoric, University of Illinois; Messrs. Gilbert S. Blakely and H. E. Foster, Instructors in English, Morris High School, New York; Miss Elizabeth Richardson, Girls' High School, Boston; Miss Katherine H. Shute, Boston Normal School; Miss E. Marguerite Strauchon, Kansas City High School. The selections from Hawthorne, Longfellow, Lowell, Holmes, Whittier, Warner, Burroughs, Howells, and Trowbridge are used by permission and by special arrangement with Houghton, Mifflin, and Company, publishers of their works. Grateful acknowledgment is made to Harper and Brothers; The Century Company; Doubleday, Page, and Company; and Charles Scribner's Sons for permission to use the selections to which their names are attached; to the publishers of the Forum, Century, Atlantic Monthly, McClure's, Harper's, Scribner's, and the Outlook for permission to use extracts; and to Scott, Foresman, and Company; D. Appleton and Company; Henry Holt and Company; G. P. Putnam's Sons; Thomas Y. Crowell and Company; and Benjamin H. Sanborn and Company for permission to use copyrighted material. CONTENTS III. EXPRESSION OF IDEAS ACQUIRED THRough LanguaGE IV. THE PURPOSE OF EXPRESSION V. THE WHOLE COMPOSITION VII. POETRY 113 |