serve, Plainly its first purpose is to get the reader's attention; then it must interest him, and create a favorable impression in his mind; and lastly it must give him to understand what we intend to write about. We should, then, begin with something fresh and interesting; and this should prepare the way for a brief statement of the subject. Sometimes a short anecdote or an apt quotation will answer the purpose; again, we may begin with some brief assertion that will strike the reader with surprise or pleasure, or arouse his curiosity. The use of the first personal pronoun is often effective, as it invites familiarity and confidence. On simple topics we may begin a theme as we should begin a conversation with a friend. If we have spent an enjoyable day at the seashore, and wish to tell a friend about it, we do not hesitate for a way to begin. We say naturally, “I spent a most delightful day at the seashore yesterday;" and then we proceed to tell him all the particulars. We may do the same in our writing, although, of course, in a somewhat more formal way. Look over Irving's "SketchBook," or some similar work, and note how the author begins his different sketches. In a recent magazine article on "Railroading as a Profession," the author begins as follows:

"Ever since the Civil War, railroading as a career has probably been more attractive to the bold and enterprising youth of America than any other occupation."

An article in the "Atlantic Monthly," entitled "A Girl of Sixteen at Brook Farm," begins thus:

"Of all the memorable company whom I found seated at the tea table when I arrived at Brook Farm, a few weeks after its opening, not one is now alive."

In general, the pupil will find little difficulty in beginning, if he keeps in mind what he wishes to accomplish, and does it as briefly and simply as is consistent with what he has to say.

2. The Ending. - Somewhat less perplexing is the question, how to end the theme. Every teacher has doubtless listened to the despairing cry of the pupil who has written all he has to say upon his subject, but cannot think of a suitable way to end his theme; there is an indefinite something in his mind which he would like to say to bring his work to a fitting close, but he cannot frame it in words. As in the case of the beginning, the difficulty will be easily solved if the pupil will keep in mind what he wishes to accomplish in the ending. If we were to analyze the indefinite something in the pupil's thought, we should probably find that it is a desire to impress more firmly on the reader the important points that have been made, and to round out gracefully his theme, so as to produce a finished whole. This is the purpose of an ending; and this purpose can be accomplished best by a brief summary of the several points, which will present them in one view to the mind of the reader. If the theme is a simple narrative, a simple, happy turn of expression, when interest in the subject is closed, will suffice for an ending. (Introduction and Conclusion will be treated more fully in Part III.)

3. The Body of the Writing.

Having now outlined our plan of work, it only remains for us to develop the topics with the material at our command; that is, to write out a complete and connected draft. In our early writing this may need a great deal of revision, but as soon as possible we should train ourselves to make the first draft as nearly what we would have it as possible. In particular we must be careful to make the first writing of the desired length and of the proper proportions. Once written the form of our composition is in a degree fixed, and later revision will not wholly correct faults.

4. The Theme, an Organic Whole. We are now in a position to see that a theme is not a mere collection of material on a given subject, but an organized whole, made up of parts, having a close relation to one another, being mutually dependent on one another, and arranged in logical sequence. The whole theme, in fact, is one in thought and purpose, a unit, made up of smaller units, and these, in turn, of smaller units, which are developed on the same general lines, and in turn contribute to the unity and symmetry of the whole.

EXERCISES.

1. Let the pupils study the following beginnings taken from some of the magazines of the day, and say if they conform to his ideas of a good beginning, if they are attractive, if they serve their purpose, etc.

I, TITLE: "The Little Tricks of Smuggling."

Beginning: "Successful smuggling at the port of New York may be classed as one of the polite forms of crime,"

2. TITLE: "The Respectable Wolf."

Beginning: "There is nothing good in the wolf. He has a base look, a savage aspect, a terrible voice, an insupportable smell, a nature brutal and ferocious, a body so foul that no animal or reptile will touch it.' So says Buffon, in a characterization well nigh as savage as the nature of the beast characterized."

3. TITLE: "The Cuckoo Clock." A Story.

Beginning: "No one, not even his wife, could deny that
Mr. Bates was the meekest of men. All his married

life he had submitted to the superiority of his

and

when his daughters grew up, to theirs also rior

ity which he invariably acknowledged."

4. TITLE: "The Place of French Literature."

a

Beginning: "The preeminence of French literature over
its rivals has been complacently taken for granted by
most Frenchmen."

5. TITLE: “The Unofficial Government of Cities."
Beginning: "There is probably no subject to which,
during the last few years, the attention of public-
spirited Americans has been more carefully directed-
than to that of municipal government."

Let the pupil look over the periodicals at hand, note the beginnings and the endings of some of the articles, and bring to the class two of each which especially please him. Let him tell what he sees in them that makes them suitable for their purpose.

NOTE. The teacher should have a number of the popular magazines and periodicals in the class-room for distribution among the pupils.

3. Let the pupil read one or two of the lighter articles in the magazines, note down the important points, and make a topical outline for each article. Irving's "SketchBook" furnishes excellent material for such an exercise.

4. From the list of books which you have recently read, either in or out of school, bring to the class five subjects upon any one of which you could write a theme. Look over the daily newspapers carefully, and from the

topics under discussion select five which seem to you suitable for themes.

5. Look up material on three of the following subjects, using an encyclopedia only as a last resort; bring in your notes on paper, and tell the source of each jotting.

1. The Invention of the
Steam Engine.

2. David Harum and Mrs.
Cullom in David Harum.
3. The Cape to Cairo Rail-
road.

4. The Story of Chevalier
Bayard.

5. Electric Railroads.
6. The Story of Orpheus.
7. A Cyclone at Sea.
8. The Boston Library.

9. The City of Manila. 10. The Gulf Stream.

11. The Government of the Boers.

12. The Movements of the Glaciers.

13. The Making of Pottery. 14. The Colony of Porto Rico.

15. General Gordon in Egypt. 16. The Coal Supply of the World.

6. Make notes about something which particularly interests you, if possible giving the results of your own ex-' perience and observation, for instance, the use of the Develop a theme from the notes you have

camera.

made.

7. Which of the following subjects, as it seems to you, would require a treatment of no more than two hundred words? Which, five hundred? Which would require more? Justify your decision in each case.