contrary system will not only cause an unpleasant sensation of emptiness, but will often destroy in the mind of the hearer or reader, the favorable impression which may have been produced by the former part of the composition.

3. Analysis of a literary composition is the resolution of the same into its nearest components, viz: periods. But, since a literary composition is not simply a collection of elements, but principally a work of invention, hence this kind of analysis has regard not only to the use of proper language and right collocation of the elements, but moreover to the rules which must govern ideas, and are peculiar to each subject and species of composition.

Hence, analysis with respect to a whole composition is of two kinds-general and particular. The general analysis applies to all species. and subjects of composition, and comprises three points-first, the number and connection of the periods; second, their variety of arrangement

(3.) What is analysis of a literary composition?

Does this kind of analysis refer only to language and collocation of parts in a composition?

(4.) How many kinds of analyses are there, with respect to an entire composition?

To what species and subjects of composition does the

general analysis apply?

How many points does it comprise?—and what are they?

and government; third, the gradation and close of the composition.

5. The particular analysis consists in the observation of the compliance of the requisites peculiar to each species of composition, as will be seen hereafter. Both the general and particular analysis constitute a third class distinct from the sentential and periodal analysis, which third class may be called composition analysis.

6. In analyzing and criticising a composition, the student must observe the following method: First, he must give a definition, or quote the appropriate rule. Second, he must apply the definition or rule to the subject under discussion. Third, he must conclude that the part examined is either right or wrong, according as it conforms or not with the definition or rule given.

7. The necessity and utility of composition analysis cannot be sufficiently extolled. It may

(5.) In what does the particular analysis consist?

What class of analysis do the general and particular analyses before-mentioned constitute?

How may it be called?

(6.) What method must a student follow in analyzing and criticising a composition?

(7.) Is composition analysis necessary and useful?

Can a scholar attain eminence in composition without it?
Why not?

be safely asserted that a pupil will never attain even a low degree of eminence in the art of a literary composition, if he cannot point out wherein the beauty, or deformity of a composition consists. Yet, to our regret, we often meet persons who, after reading or hearing a fine specimen of composition, will exclaim, beautiful! sublime! and if asked to point out where the beauty or sublimity lies, they must acknowledge that they do not know. The cause of their ignorance is mainly to be ascribed to the imperfect method, and perhaps total omission in schools, of analysis and criticism of different authors' writings. Hence it is highly necessary (as it has been stated in the preface), that after having thoroughly understood the principles and rules here given, and also seen some models of their execution, that the student should be introduced into the museum of literature; and that the works of different authors be shown him for criticism and analysis. Such is the practice observed by the masters of sculpture, painting, music, and of other liberal arts.

8. We shall conclude this important subject on the analysis of composition, with some practical directions, which may be of service to the teacher and pupil, in the analysis and criticism of the extracts from different authors, as pre

scribed in the exercises of this, and the following book.

First. Both the general and particular analysis must be made on a correct example at first, and on a faulty one afterwards, so that there may be a positive and negative illustration of the rule or rules explained.

Second. The teacher should exercise the pupil first, on the examples produced in this book, and afterward, on others not contained herein.

Third. For the successful analysis and criticism by the pupil, of extracts not contained in this book, it is necessary that the teacher should give the pupil ample time to prepare himself. The teacher may make a selection in the Rhetorical Reader of a piece for analysis, or leave the choice of it to the pupil, if he is capable.

Fourth. When the time for criticism has arrived, the pupil may be required to write either the whole, or a part of the extract on the blackboard, or otherwise simply read it in the book.

Fifth. The pupil shall commence by repeating the rules, the observance of which he proposes to show in the extract.

Sixth. He will then show, one by one, how each rule has been faithfully observed in the The pupil must, in the positive

passage given.

illustration of the rules, take the side of the author, and argue in his favor.

Seventh. For the negative illustration of the rules, it is necessary to bring out some example which contains various violations. This may be easily obtained from bad writers, or by perverting a good example; which task may be assigned to the scholar. The wrong example may be written on the board, and criticised in the same manner as the correct one, by the application of the rules.

Eighth. When the pupil appointed to criticise a composition, omits, or falsely quotes a rule, other pupils will note down his mistake, and report it, when their criticism is demanded. When a good example has been perverted, for the sake of a negative illustration, by one scholar, it should be criticised by another; and if he, and others fail to point out the violations, the author must indicate them.

Ninth. The same system of analysis and criticism is to be observed in compositions written by pupils.

9. We shall present an example of composition analysis on the subject of oratorical narrations, Part 4, Chapter 2.