4. It teaches them courtesy to opponents. 5. It corrects their opinions, and widens their view. 7. It is a rhetorical and a logical exercise in composition. 1. What the Winds do. 2. October Woods. The teacher should exact the most careful attention of his pupils to the co-ordination and the subordination of points, requiring them to use the Roman, the Arabic, and the literal notations, as above. Their whole work should be criticised rigidly by the teaching of this Lesson. The teacher should allow for individuality; should not insist that his pupils' analyses must conform each to the others and all to his. Out of all the points presented let him prepare one framework each day that shall be as nearly exhaustive and perfect as possible. Let him talk with his pupils, asking and giving reasons for every step. Let him insist that they shall carry this kind of work over into the preparation of ordinary compositions, or themes. If the pupils need more drill than these Lessons furnish, the teacher can easily supply subjects and continue the exercise. A single subject may be sufficient for a lesson. LESSON 28. ANALYSIS OF SUBJECTS. The wisdom of treading the steps taken in leading up to the analysis of subjects and the preparation of frameworks -the finding of the subject-matter of discourse we hope is by this time apparent. The resolution of the subject could not be taught without thoroughly acquainting the pupil with the nature and office of a paragraph; the paragraph could not be explained without familiarizing the pupil with the sentence; and the sentence could not be understood by him without his seeing that it was the embodiment of thought. And so we have attempted to teach what thought is and how it is formed; how the sentence expressing it may grow up from two or three words to forms most complex and intricate, with words, phrases, and clauses in myriad combinations, and how by contraction, expansion, and substitution almost any sentence may be transformed; how sentences may combine into paragraphs, and why they must; and how the making of paragraphs compels the pupil to brood over his subject and bring to light the great thoughts, which, fitly joined, form the frame. of the structure he is to build. In addition to what was said in the Lesson upon the Preparation of a Framework, it may be serviceable to add that in forming frameworks upon Narrative or Descriptive Subjects, real or fictitious, the pupil should be careful to select only the salient, the representative, points. These, arranged in their natural order, carry with them the minor points. Multiplicity confuses. The outline fully and clearly presented, the more the reader or hearer can easily supply, and is left to supply, the better. Argumentative Subjects. Resolve such subjects into all possible points, and then use great discretion in selecting such points as are cardinal; such as, if fitly developed, establish beyond question the conclusion you seek to prove. Here, perhaps, more than elsewhere, the matter of arrangement is vital. If, for example, a man were accused of burning his neighbor's house and were brought to trial, all evidence and the arguments based upon it going to show that the accused was near the building at the time of the burning, or that his clothes bore marks of his having done the deed, would have little weight with the jury unless preceded by proof that he was interested in the removal of the building or that he hated his neighbor, and that his character was such that he would not scruple to commit the crime if a fit opportunity offered. All circumstantial proof of the arson would be discounted, if not set aside, by the ignorance of the jury that the accused had any motive to commit the deed, and was without principle to restrain him. What Whately calls arguments from cause to effect, arguments accounting for anything, assigning the cause of it, should precede circumstantial proof, arguments of sign, arguments from effect to condition. Direction. subjects: Prepare the framework of a theme on each of these 1. What should we Read for? 2. Cloud Scenery. 3. The Story of a Pebble. Direction. subjects: - LESSON 29. ANALYSIS OF SUBJECTS. - Prepare the framework of a theme on each of these 1. The Effects of Clearing away the Forests. 2. The Battle of Bunker Hill. 3. Travel by Rail and by Steamer. INVENTION. LESSON 30. ANALYSIS OF SUBJECTS. Direction. - Prepare the framework of a theme on each of these subjects: 1. A murdered B. 2. Ancient and Modern Warfare compared. 3. Nature's Sounds. A SCHEME FOR REVIEW. Definition and Vindication of Rhetoric (Lesson 1). Simple Sentence with Simple, Compound, and Complex Modifiers INVENTION. Compound Sentence (Lessons 10 1. Clauses in the Same 2. Clauses Adversative. a Consequence of the 4. One Clause Expressing an Inference from the other. Sentences with Compound and Complex Clauses (Lessons 12 and 13). Substitution and Contraction (Lessons 14-17). Expansion and Substitution (Lessons 18-20). Synthesis of Sentences into Paragraphs (Lessons 21-24). Synthesis of Sentences into Paragraphs and of Paragraphs into a Theme (Lessons 25 and 26). Preparation of a Framework (Lesson 27). Analysis of Narrative, Descriptive, Fictitious, and Argumentative Subjects (Lessons 27–30). Capital Letters and Punctuation (Lessons 2-6, 8-10, 12 and 13). |