Those days are long past now. But still I walk upon the Battery. I look towards the Narrows. Beyond them there are many friends. I know this. They are separated from me by the sea. Of these I would so gladly know. Of these I so rarely hear.

Direction. - Expand the two absolute phrases, the two phrases beginning with participles, and the explanatory phrase below into clauses, contract the adjective clause, and rewrite the sentence:

And then-Homer's frenzy of youthful adventure once appeased, his knowledge embracing everything that was known in his agethe image of the beautiful Ionia once more arose to his vision, and a home-longing, like that of Odysseus, sitting on the rocky shore of Calypso's isle, yearning for Ithaca, the dwelling of his wife and son, compelled him to return.

Direction. - Change a noun clause in the sentence below to an infinitive phrase and a prepositional phrase to an adverb, get rid of the adjective clause, and convert the whole into two sentences:

Twice referring to the witticism of Cato, who declared that he did not see how the soothsayers could avoid laughing each other in the face, Cicero exhibits the disbelief which prevailed, at his time, respecting the heathen gods.

Direction. Change the proper connectives and form two compound sentences out of the first group of sentences below, and three out of the second group:

Charles II. bestowed much. He never gave spontaneously. He neither enjoyed the pleasure nor acquired the fame of beneficence. It was painful to him to refuse.

The poet uses words. We observe certain phenomena. We cannot explain them into material causes. Logicians may reason about abstractions. We therefore infer something not material. The great mass of men must have images. They are merely the instruments of his art, not its objects. We can define it only by negatives. Of this something we have no idea. The tendency of the multitude in all ages to idolatry can be explained on no other principle. We can reason about it only by symbols.

Direction. - Group the sentences below into four, some complex and some compound, one or two with complex clauses:

Mr. Ruskin says that Shakespeare has no heroes. He says that Shakespeare never casts around human nature a really heroic lustre except in the persons of women - Cordelia, Desdemona, Hermione, Imogen. It is indisputable that Shakespeare assigns to his good women a spiritual purity and elevation. This he attributes to none of his men, or to Brutus only. But the character in his dramas which leads is in the vast majority of instances a man. The part played by women is more self-sacrificing than that played by man. It is the world of man, however, that the action of the play chiefly illustrates. In Shakespeare's dramas the women throw light upon the men. In George Eliot's novels the men throw light upon the

women.

LESSON 21.

SYNTHESIS OF SENTENCES INTO PARAGRAPHS.

You are now acquainted with all the parts of speech, and have used them in their various offices and relations in the sentence. You have familiarized yourselves with word, phrase, and clause modifiers, simple, compound, and complex, and have constructed sentences of all kinds, simple, complex, and compound. You have learned the ways of contracting complex and compound sentences to simple, of expanding simple sentences to complex and compound, and of substituting one word, phrase, or clause for another -in fine, you have been brought face to face with the sentence, and have learned to construct it in all its varieties.

The Paragraph.-Having put words, phrases, and clauses together to form sentences, we must learn to join sentences

together to form paragraphs. We say join sentences together; for, just as words, phrases, and clauses are more or less closely united in the sentence in meaning and in position, excluding from, or admitting, between them a comma, a dash, a semicolon, or a colon, so sentences separated by a period or other terminal mark may be connected the bond that unites them being their common relation to the thought, or point, which jointly they develop and express. Sentences thus related and grouped together form what we call a paragraph. Sometimes a single sentence, sufficiently developing the point, forms a paragraph. The paragraph is exceedingly useful, if not absolutely necessary, in announcing to the reader where the development of a point begins and ends. The paragraph is indicated to the eye by beginning a little to the right of the marginal line of the page.

James II. at the moment of his accession was in doubt whether the kingdom would peacefully submit to his authority. The Exclusionists, lately so powerful, might rise in arms against him. He might be in great need, as was his brother, of French money and French troops. He was, therefore, during some days, content to be a sycophant and a mendicant. He humbly apologized to Louis XIV. for daring to call Parliament together without the consent of the French government. He begged hard for a French subsidy. He wept with joy over the French bills of exchange. He sent to Versailles a special embassy charged with assurances of his gratitude, attachment, and submission.

Direction. Note the facts which the paragraph above contains, and how they are expressed:

1. James the Second's doubt. 2. The possible rising of the Exclusionists. 3. The King's possible need. 4. What he was content to be. 5. His apology—to whom and for what. 6. His petition. 7. His joy. 8. His embassy-whither and for what

sent.

Direction. State and number the facts in these paragraphs, and then, without reference to the text, develop these facts into paragraphs of your own:—

For many years after the Restoration, the Puritans were the theme of unmeasured invective and derision. They were exposed to the utmost licentiousness of the press and of the stage, at the time when the press and the stage were most licentious. They were not men of letters; they were, as a body, unpopular; they could not defend themselves; and the public would not take them under its protection. They were, therefore, abandoned, without reserve, to the tender mercies of the satirists and dramatists. The ostentatious simplicity of their dress, their sour aspect, their nasal twang, their stiff posture, their long graces, their Hebrew names, their contempt of human learning, and their detestation of polite amusements were, indeed, fair game for the laughers.

The Puritans recognized no title to superiority but the favor of God; and, confident of that favor, they despised all the accomplishments and all the dignities of the world. If they were unacquainted with the works of philosophers and poets, they were deeply read in the oracles of God. If their names were not found in the registers of heralds, they were recorded in the Book of Life. If their steps were not accompanied by a splendid train of menials, legions of ministering angels had charge over them. Their palaces were not made with hands; their diadems, crowns of glory which should never fade away. On the rich and the eloquent, on nobles and priests they looked down with contempt; for they esteemed themselves rich in a more precious treasure and eloquent in a more sublime language, nobles by the right of an earlier creation, and priests by the imposition of a mightier hand.

When More heard the voice of one who was known to have boggled hard at the oath a little while before, calling loudly and ostentatiously for drink, he only noted him with his peculiar humor. "He drank,” More supposed, "either from dryness or from gladness" or "quod ille notus erat Pontifici." More was called in again at last, but only repeated his refusal. It was in vain that Cranmer plied him with distinctions which perplexed even the subtle wit of the ex-chancellor; he remained unshaken and passed to the Tower.

For the moment, even Cromwell shrank from his blood. More remained a prisoner, while new victims were chosen to overawe the silent but widely spread opposition to the bill of Supremacy.

A mock trial was hardly necessary for the condemnation of More or for that of Fisher, the most learned among the prelates who had favored the New Learning, and who had been imprisoned, on the same charge, in the Tower. The old bishop approached the block with a book of the New Testament in his hand. He opened it, at a venture, ere he knelt, and read, "This is life eternal to know Thee, the only true God." His death was soon followed by that of More. On the eve of the fatal blow, he moved his beard carefully from the block. "Pity that should be cut," he was heard to mutter with a touch of the old, sad irony, "that has never committed treason."

LESSON 22.

SYNTHESIS OF SENTENCES INTO PARAGRAPHS.

Direction. - Construct out of each group of these bald facts a paragraph of three sentences, placing the facts in their proper relation and supplying what is needed, and write on the first line of each paragraph the topic it develops:

The same elements in flesh as in flour. In animals as in plants. The vegetable draws water and minerals from the soil. Absorbs and incorporates the air. Eaten, it sustains the life of animals. Hence animals gain the substances the vegetable first acquired. The vegetable receives from the animal the air thrown out in respiration. Lives and grows upon it. The animal itself becomes its food. The very bones made to increase the growth of vegetables. These eaten by the animal, the animal eats its own bones and lives on its own flesh.

Organs and tissues of the body continually changing. Atoms present one hour gone the next. When gone, the body wasted. Unless renewal attends the process. Renewing substance must be