ARTICLE II. GENERAL PRAXIS FOR WRITING A LITERARY 1. COMPOSITION. In attempting to write a composition, a bad custom very common among beginners must be avoided, viz: to begin to write on a subject, before it has been thoroughly matured in the mind. Beginners generally strive to catch words, rather than ideas; they care more for the shadow, than the body; and are ignorant of the great principle advanced by Horace, that "He who shall have thoroughly investigated his subject, will neither fail in eloquence nor in clear order." 66 res erit cuj lecta potenter Nec facundia deseret hunc, nec lucidus ordo.” -De Arte Poet. Hence, the general rule for a good composition is "To have the mind clear on a subject, before attempting to write or speak upon it." 2. The special rules for the praxis of composition are: (1.) What wrong custom must a student avoid before commencing to write on a subject? What is Horace's precept on this point? (2.) What is the first special rule for the praxis of compo sition? What is the second?-third?—fourth? First. Review the rules that relate to the subject and species of composition on which you are about to write. Second. Understand thoroughly the nature of the subject of your composition, by defining, dividing and examining every part of it, as an anatomist does, after dissecting a human body. Third. Note down on paper, as soon as they are presented to your mind, indiscriminately, all ideas and vivid imaginations, lest you may forget them. These will be like materials piled on a spot for the erection of a building. Fourth. When all the materials have been collected, the skeleton or outline of the composition must be made, which is like putting up the frame of a building. In this operation, the principal division and symmetry of the structure must be devised: hence it is necessary that the materials collected be arranged properly, and according to a certain order, of either time, place, persons, or other principal adjuncts. Fifth. As in a building, so in a composition, there may be principal and secondary divisions; each division must be worked apart, as though it formed a whole by itself. Each divis(2.) What is the fifth special rule? ion must comprise various points of the subject or theme. Sixth. The points under each division may be designed by numbers, and expressed in a few concise words or short sentences. These short sentences will form what was termed in the first book (Elements of Comp.) on the subject of amplification, a complex idea. Now the skeleton or outline of the composition is complete, as far as sentiment is concerned. Seventh. Determine what kind of style will suit the subject and species of your composition. Eighth. Before commencing the work of developing and amplifying the points or ideas sketched out, read an extract from a classic author somewhat analagous to your subject, until your imagination begins to glow with brilliant thoughts and choice language. Ninth. With a clear and fresh mind, commence the work of amplification of each point or idea laid down in the outline, according to the rules of amplification expounded in the first book of the Elements of Composition. This is like the filling up of a skeleton or frame of a building. (2,) What is the sixth rule?--the seventh ?—the eighth ?—the ninth ?-the tenth? What is the eleventh rule ?-the twelfth ? Tenth. When the imagination begins to grow cool, you must heat it again by farther reading some classic author; this is also necessary, in order to give rest to the mind, which is apt to be exhausted, as well as the body, by excessive labor. Eleventh. The work of amplification of every point being finished, rest a while: then, begin the critical examination of your composition by the rules of analysis laid down above. First, examine the logical connection and development of ideas, and next their proper expression in language, according to the rules peculiar to the subject and species of your composition, and make the necessary corrections. Twelfth. After having once or twice closely examined and criticised your composition, if you cannot discover any more defects, lay it aside for a day or two, and when the mind is fresh, review it again in the same manner; and then, if you cannot detect any defects in language and sentiment, you may regard your composition as correct; but in order to be certain, you must submit it to the criticism of another competent person. 3. We shall afford a practical illustration of this praxis on the subject of historical narrations. |