of political wisdom, the life of Washington his constant study, and something of Jefferson and Madison reached him through Henry Clay, whom he honored from boyhood. For the rest, from day to day, he lived the life of the American people; walked in its light; reasoned with its reason; thought with its power of thought; felt the beatings of its mighty heart; and so was in every way a child of nature- -a Ichild of the West-a child of America.

At nineteen, feeling impulses of ambition to get on in the world, he engaged himself to go down the Mississippi in a flat-boat, receiving ten dollars a month for his wages, and afterwards he made the trip once more. At twenty-one he drove his father's cattle as the family migrated to Illinois, and split rails to fence in the new homestead in the wild. At twenty-three he was captain of volunteers in the Black Hawk war. He kept a shop; he learned something of surveying; but of English literature he added to Bunyan nothing but Shakespeare's plays. At twenty-five he was elected to the Legislature of Illinois, where he served eight years. At twenty-seven he was admitted to the bar. In 1837 he chose his home at Springfield, the beautiful center of the richest land in the State. In 1847 he was a member of the National Congress, where he voted about forty times in favor of the principle of the Jefferson proviso. In 1854 he gave his influence to elect from Illinois to the American Senate a Democrat who would certainly do justice to Kansas. In 1858, as the rival of Douglas, he went before the pecple of the mighty Prairie State, saying: This Union

cannot permanently endure, half slave and half free; the Union will not be dissolved, but the house will cease to be divided;' and now, in 1861, with no experience whatever as an executive officer, while States were madly flying from their orbit, and wise men knew not where to find counsel, this descendant of Quakers, this pupil of Bunyan, this child of the Great West, was elected President of America."

Swett's Common School Readings.

I.-EXERCISE.

In the preceding examples show whether they possess the qualities of a historical narration, viz perspicuity, and probability. Indicate the kind of style used.

II.-EXERCISE.

Make a similar criticism of other narratives contained in your Rhetorical Reader or other books.

III.-EXERCISE.

Relate the fall of Richmond, and Lee's surren-. der to General Grant.

IV. EXERCISE.

Analyze your composition, showing the compliance of the rules with respect to historical narrations. Hear the criticism made by other students.

ARTICLE II.

PRAXIS OF WRITING A HISTORICAL NARRATION.

1. First; gather the principal points and adjuncts of the fact, and ascertain their truth.

2. Second; write them down first, promiscuously, as they are presented to the mind; and afterward in order, according to time, place, persons, or other principal circumstances. The order of time is generally preferable.

3. Third; each point or item, being expressed in a few concise words, will form what was termed in the first book, (Elem. of Comp.) on the subject of amplification, a complex idea.

4. Fourth; each point, or complex idea, must be developed and amplified in suitable language and style.

5. Fifth; when all the points have been properly expounded, read your composition; observe if you have followed the rules of historical narrations, make the necessary corrections, and let the composition stand for a day or two.

(1.) What is the first thing prescribed for the praxis of writing a historical narration?

(2.) What is the second direction?—the third?—fourth? (5.) What is the fifth ?-and sixth?

6. Sixth; after the lapse of one or more days, review it again, and if nothing appears deserving correction, you may have reason to consider it good. But in order to be certain, submit it to the review of another experienced person.

7. We shall illustrate this praxis by offering the skeleton of the historical narration above quoted from Livius.

THEME.-The Fight of the Horatii and Curiatii.

66

1.

OUTLINE OF NARRATION.

The sign of battle is given.

2. The spectators rise in breathless suspense. 3. In the first encounter one of the Romans remains unscathed; two are killed; and the three Albans are wounded. The Alban army raises a shout of applause.

4. The Roman soldier then feigned to flee. The three Albans followed him at different intervals.

5. After having fled a short distance, he turned back and slew the first pursuer while the Curiatii were shouting to the other brothers, to run to his assistance.

6. The Romans, then raised a shout of applause, and bid their soldier to finish the contest.

7. Horatius then slaughtered the second Cu

(7.) Can you illustrate this praxis by example?

riatius before his brother could come to his assistance.

8. Horatius said to the last Curiatius, I have sacrificed two brothers to the Manes; I will sacrifice the third also, that the Romans may have command over the Albans.'

9. The Romans then received their soldier with ovations and rejoicings."

8. This is the skeleton of the narration, and may serve to illustrate the directions given in Part I., Article II., No. 2, as far as the seventh direction. Now, the student must begin the work of amplification of the points contained in this outline; and follow the directions, seventh, eighth, et seq., given in the same place.

9. The composition being finished, the student must compare it with the original model. In the comparison, he will learn, that many hich do not alter the substance of a osed, and embodied in the

things,

fact, can be suppo.

narration. He will also discov

ver, what he could

added;

have omitted, and what he could have .. what vivid language he could have used, and what figures he might have dispensed with; in brief; the perfection of the model will show clearly, the imperfections of the copy which the student must correct.