English: Composition and Literature. William Franklin Webster

it Clear?

      Has it Force?

      Is the Diction Elegant?

      How has he gained these Ends?

      SENTENCES, WORDS, ARGUMENT

Composition Sentences (pp. 200-4)

      I. Definition and Classification.

      II. Principles of Structure.

      a. Unity.

      b. Mass.

      1. Prominent Positions in a Sentence.

      2. Periodic Sentences.

      3. Loose Sentences.

      c. Coherence.

      1. Parallel Constructions.

      2. Connectives.

Words (pp. 235-256)

      Reputable Words.

      Latin or Saxon Words.

      General or Specific.

      Figures of Speech.

      The One Rule for the Use of Words.

Narration and Description ReviewedExposition ReviewedLiterature Argument (pp. 128-5)

      I. Kinds of Argument.

      II. Order of Arguments.

      III. Refutation.

      Sir Roger de Coverley Papers. Addison.

      The Vicar of Wakefield. Goldsmith.

      Silas Marner. Eliot.

      Ivanhoe. Scott.

      Macbeth, The Merchant of Venice, A Midsummer Night’s Dream. Shakespeare.

      Conciliation with the Colonies. Burke.

      COMPOSITION

      In the last year of the course, the compositions should be such as will test the maturer powers of the pupil. They should be written under the careful supervision of the teacher. They should be of all forms of discourse, and the subjects should be drawn from the subjects of study in the high school, especially from the literature.

      LITERATURE

Difficult Selections

      L’Allegro, Il Penseroso, Comus, and Lycidas. Milton.

      Paradise Lost. Two Books. Milton.

      Essay on Burns. Carlyle.

      In Memoriam, The Princess, and other Poems. Tennyson.

      Selections. Browning.

      Selections. Emerson.

      A History of English Literature

      ENGLISH:

      COMPOSITION AND LITERATURE

CHAPTER I

      FORMS OF DISCOURSE

      Composition. Composition, from the Latin words con, meaning together, and ponere, meaning to place, signifies a placing together, a grouping or arrangement of objects or of ideas. This arrangement is generally made so that it will produce a desired result. Speaking accurately, the putting together is the composition. Much of the desired result is gained by care in the selection of materials. Placing together a well-worn book, a lamp, and a pair of heavy bowed spectacles makes a suggestive picture. The selection and grouping of these objects is spoken of as the composition of the picture. So in music, an author composes, when he groups certain musical tones and phrases so that they produce a desired effect. In literature, too, composition is, strictly speaking, the selection and arrangement of materials, whether the incidents of a story or the details of a description, to fulfill a definite purpose.

       English Composition. In practice, however, English composition has come to include more than the selection and arrangement of the materials,—incidents, objects, or ideas, as the case may be; the term has been extended to include the means by which the speaker or writer seeks to convey this impression to other persons. As a painter must understand drawing, the value of lights and shades, and the mixing of colors before he can successfully reproduce for others the idea he has to express, so the artist in literature needs a knowledge of elementary grammar and of the simpler usages of language in order clearly to represent to others the idea which lies in his own mind. As commonly understood, then, English composition may be defined as the art of selecting, arranging, and communicating ideas by means of the English language.

      Composition, Written and Oral. The term “English composition” is now generally understood to mean written composition, and not oral composition. At first thought they seem to be the same thing. So far as the selection and arrangement of matter is concerned, they are the same. Moreover, both use words, and both employ sentences; but here the likeness ends. If sentences should be put upon paper exactly as they were spoken, in most instances they would not convey to a reader the same thought they conveyed to a listener. It is much more exacting to express the truth one wishes to convey, by silent, featureless symbols than by that wonderful organ of communication, the human voice. Now, if to the human voice be added eyes, features, gestures, and pose, we easily understand the great advantage a speaker has over a writer.

       Conventions of Composition. Moreover, there are imposed upon a writer certain established rules which he must follow. He must spell words correctly, and he must use correctly marks of punctuation. These things need not annoy a speaker; yet they are conditions which must be obeyed by a writer. A man who eats with a knife may succeed in getting his food to his mouth, yet certain conventions exclude such a person from polite society. So in composition, it is possible for a person to make himself understood, though he write “alright” instead of “all right,” and never use a semicolon; still, such a person could hardly be considered a highly cultured writer. To express one’s thoughts correctly and with refinement requires absolute obedience to the common conventions of good literature.

      The study of composition includes, first, the careful selection of materials and their effective arrangement; and second, a knowledge of the established conventions of literature: of spelling; of the common uses of the marks of punctuation,—period, question mark, exclamation point, colon, semicolon, comma; of the common idioms of our language; and of the elements of its grammar. From the beginning of the high school course, the essay, the paragraph, the sentence, the word, are to be studied with special attention to the effective use of each in adequately communicating ideas.

      Five Forms of Discourse. All written composition may be arranged in two classes, or groups. The first group will include all composition that deals with actual happenings and real things; the second, all that deals with abstract thoughts and spiritual ideas. The first will include narration and description; the second, exposition, argument, and persuasion. All literature, then, may be separated into five classes,—narration, description, exposition, argument, and persuasion.

      Narration tells what things do; description tells how things look. Narration deals with occurrences; description deals with appearances. Exposition defines a term, or explains a proposition; argument proves the truth or falsity of a proposition; persuasion urges to action upon a proposition. Exposition explains; argument convinces; persuasion arouses. These are the broad lines of distinction which separate the five forms of discourse.

      Definitions. Narration is that form of discourse which recounts events in a sequence. It includes stories, novels, romances, biographies, some books of travel, and some histories.

      Description is that form of discourse which aims to present a picture. It seldom occurs alone, but it is usually found in combination with the other forms of discourse.

      Exposition