English: Composition and Literature

PREFACE

In July, 1898, I presented at the National Educational Association, convened in Washington, a Course of Study in English. At Los Angeles, in 1899, the Association indorsed the principles¹ of this course, and made it the basis of the Course in English for High Schools. At the request of friends, I have prepared this short text-book, outlining the method of carrying forward the course, and emphasizing the principles necessary for the intelligent communication of ideas.

It has not been the purpose to write a rhetoric. The many fine distinctions and divisions, the rarefied examples of very beautiful forms of language which a young pupil cannot possibly reproduce, or even appreciate, have been omitted. To teach the methods of simple, direct, and accurate expression has been the purpose; and this is all that can be expected of a high school course in English.

The teaching of composition differs from the teaching of Latin or mathematics in this point: whereas pupils can be compelled to solve a definite number of problems or to read a given number of lines, it is not possible to compel expression of the full thought. The full thought is made of an intellectual and an emotional element. Whatever is intellectual may be compelled by dint of sheer purpose; whatever is emotional must spring undriven by outside authority, and uncompelled by inside determination. A boy saws a cord of wood because he has been commanded by his father; but he cannot laugh or cry because directed to do so by the same authority. There must be the conditions which call forth smiles or tears. So there must be the conditions which call forth the full expression of thought, both what is intellectual and what is emotional. This means that the subject shall be one of which the writer knows something, and in which he is interested; that the demands in the composition shall not be made a discouragement; and that the teacher shall be competent and enthusiastic, inspiring in each pupil a desire to say truly and adequately the best he thinks and feels.

These conditions cannot be realized while working with dead fragments of language; but they are realized while constructing living wholes of composition. It is not two decades ago when the pupil in drawing was compelled to make straight lines until he made them all crooked. The pupil in manual training began by drawing intersecting lines on two sides of a board; then he drove nails into the intersections on one side, hoping that they would hit the corresponding points on the other. Now no single line or exercise is an end in itself; it contributes to some whole. Under the old method the pupil did not care or try to draw a straight line, or to drive a nail straight; but now, in order that he may realize the idea that lies in his mind, he does care and he does try: so lines are drawn better and nails are driven straighter than before. In all training that combines intellect and hand, the principle has been recognized that the best work is done when the pupil’s interest has been enlisted by making each exercise contribute directly to the construction of some whole. Only in the range of the spiritual are we twenty years behind time, trying to get the best construction by compulsion. It is quite time that we recognized that the best work in composition can be done, not while the pupil is correcting errors in the use of language which he never dreamed of, nor while he is writing ten similes or ten periodic sentences, but when both intellect and feeling combine and work together to produce some whole. Then into the construction of this whole the pupil will throw all his strength, using the most apt comparisons, choosing the best words, framing adequate sentences, in order that the outward form may worthily present to others what to himself has appeared worthy of expression.

There are some persons who say that other languages are taught by the word and sentence method; then why not English? These persons overlook the fact that we are leaving that method as rapidly as possible, and adopting a more rational method which at once uses a language to communicate thought. And they overlook another fact of even greater importance: the pupil entering the high school is by no means a beginner in English. He has been using the language ten or twelve years, and has a fluency of expression in English which he cannot attain in German throughout a high school and college course. The conditions under which a pupil begins the study of German in a high school and the study of English composition are entirely dissimilar; and a conclusion based upon a fancied analogy is worthless.

It is preferable, then, to practice the construction of wholes rather than the making of exercises; and it is best at the beginning to study the different kinds of wholes, one at a time, rather than all together. No one would attempt to teach elimination by addition and subtraction, by comparison and by substitution, all together; nor would an instructor take up heat, light, and electricity together. In algebra, or physics, certain great principles underlie the whole subject; and these appear and reappear as the study progresses through its allied parts. Still the best results are obtained by taking up these several divisions of the whole one after another. And in English the most certain and definite results are secured by studying the forms of discourse separately, learning the method of applying to each the great principles that underlie all composition.

If the forms of discourse are to be studied one after another, which shall be taken up first? In general, all composition may be separated into two divisions: composition which deals with things, including narration and description; and composition which deals with ideas, comprising exposition and argument. It needs no argument to justify the position that an essay which deals with things seen and heard is easier for a beginner to construct than an essay which deals with ideas invisible and unheard. Whether narration or description should precede appears yet to be undetermined; for many text-books treat one first, and perhaps as many the other. I have thought it wiser to begin with the short story, because it is easier to gain free, spontaneous expression with narration than with description. To write a whole page of description is a task for a master, and very few attempt it; but for the uninitiated amateur about three sentences of description mark the limit of his ability to see and describe. To get started, to gain confidence in one’s ability to say something, to acquire freedom and spontaneity of expression,—this is the first step in the practice of composition. Afterward, when the pupil has discovered that he really has something to say,—enough indeed to cover three or four pages of his tablet paper,—then it may be time to begin the study of description, and to acquire more careful and accurate forms of expression. Spontaneity should be acquired first,—crude and unformed it may be, but spontaneity first; and this spontaneity is best gained while studying narration.

There can be but little question about the order of the other forms. Description, still dealing with the concrete, offers an admirable opportunity for shaping and forming the spontaneous expression gained in narration. Following description, in order of difficulty, come exposition and argument.

I should be quite misunderstood, did any one gather from this that during the time in which wholes are being studied, no attention is to be given to parts; that is, to paragraphs, sentences, and words. All things cannot be learned at once and thoroughly; there must be some order of succession. In the beginning the primary object to be aimed at is the construction of wholes; yet during their construction, parts can also be incidentally studied. During this time many errors which annoy and exasperate must be passed over with but a word, in order that the weight of the criticism may be concentrated on the point then under consideration. As a pupil advances, he is more and more competent to appreciate and to form good paragraphs and well-turned sentences, and to single out from the multitude of verbal signs the word that exactly presents his thought. The appreciation and the use of the stronger as well as the finer and more delicate forms of language come only with much reading and writing; and to demand everything at the very beginning is little less than sheer madness.

Moreover there never comes a time when the construction of a paragraph, the shaping of a phrase, or the choice of a word becomes an end in itself. Paragraphs, sentences, and words are well chosen when they serve best the whole composition. He who becomes enamored of one form of paragraph, who always uses periodic sentences, who chooses only common words, has not yet recognized that the beauty of a phrase or a word is determined by its fitness, and that it is most beautiful because it exactly suits the place it fills. The graceful sweep of a line by Praxiteles or the glorious radiancy of a color by Angelico is most beautiful in the place it took from the master’s hand. So Lowell’s wealth of figurative language and Stevenson’s unerring choice of delicate words are most beautiful, not when torn from their original setting to serve as examples in rhetorics, but when fulfilling their part in a well-planned whole. And it is only as the beauties of literature are born of the thought that they ever succeed. No one can say to himself, “I will now make a good simile,” and straightway fulfill his promise. If, however, the thought of a writer takes fire, and instead of the cold, unimpassioned phraseology of the logician, glowing images crowd up, and phrases tipped with fire, then figurative language best suits the thought,—indeed, it is the thought. But imagery upon compulsion,—never. So that at no time should one attempt to mould fine phrases for the sake of the phrases themselves, but he should spare no pains with them when they spring from the whole, when they harmonize with the whole, and when they give to the whole added beauty and strength.

It is quite unnecessary at this day to urge the study of literature. It is in the course of study for every secondary school. Yet a word may be said of the value of this study to the practice of composition. There are two classes of artists: geniuses and men of talent. Of geniuses in literature, one can count the names on his fingers; most authors are simply men of talent. Talent learns to do by doing, and by observing how others have done. When Brunelleschi left Rome for Florence, he had closely observed and had drawn every arch of the stupendous architecture in that ancient city; and so he was adjudged by his fellow citizens to be the only man competent to lift the dome of their Duomo. His observation discovered the secret of Rome’s architectural grandeur; and the slow accumulation of such secrets marks the development of every art and science. Milton had his method of writing prose, Macaulay his, and Arnold his,—all different and all excellent. And just as the architect stands before the cathedrals of Cologne, Milan, and Salisbury to learn the secret of each; as the painter searches out the secret of Raphael, Murillo, and Rembrandt; so the author analyzes the masterpieces of literature to discover the secret of Irving, of Eliot, and of Burke. Not that an author is to be a servile imitator of any man’s manner; but that, having knowledge of all the secrets of composition, he shall so be enabled to set forth for others his own thought in all the beauty and perfection in which he himself conceives it.

One thing further. A landscape painter would not make a primary study of Angelo’s anatomical drawings; a composer of lyric forms of music would not study Sousa’s marches; nor would a person writing a story look for much assistance in the arguments of Burke. The most direct benefit is derived from studying the very thing one wishes to know about, not from studying something else. That the literature may give the greatest possible assistance to the composition, the course has been so arranged that narration shall be taught by Hawthorne and Irving, description by Ruskin and Stevenson, exposition by Macaulay and Newman, and argument by Webster and Burke. Literature, arranged in this manner, is not only a stimulus to renewed effort, by showing what others have done; it is also the most skillful instructor in the art of composition, by showing how others have done.

It would be quite impossible for any one at the present time to write a text-book in English that would not repeat what has already been said by many others. Nor have I tried to. My purpose has been rather to select from the whole literature of the subject just those principles which every author of a book on composition or rhetoric has thought essential, and to omit minor matters and all those about which there is a difference of opinion. This limits the contents to topics already familiar to every teacher. It also makes it necessary to repeat what has been written before many times. Certain books, however, have treated special divisions of the whole subject in a thorough and exhaustive manner. There is nothing new to say of Unity, Mass, and Coherence; Mr. Wendell said all concerning these in his book entitled “English Composition.” So in paragraph development, Scott and Denney hold the field. Other books which I have frequently used in the classroom are “Talks on Writing English,” by Arlo Bates, and Genung’s “Practical Rhetoric.” These books I have found very helpful in teaching, and I have drawn upon them often while writing this text-book.

If the field has been covered, then why write a book at all? The answer is that the principles which are here treated have not been put into one book. They may be found in several. These essentials I have repeated many times with the hope that they will be fixed by this frequent repetition. The purpose has been to focus the attention upon these, to apply them in the construction of the different forms of discourse, paragraphs, and sentences, and to repeat them until it is impossible for a student to forget them. If the book fulfils this purpose, it was worth writing.

Acknowledgments are due to Messrs. Charles Scribner’s Sons for their kind permission to use the selections from the writings of Robert Louis Stevenson contained in this book; also, to Messrs. D. Appleton & Co., The Century Co., and Doubleday & McClure Co. for selections from the writings of Rudyard Kipling.

W. F. WEBSTER.

Minneapolis, 1900.

A COURSE OF STUDY

IN LITERATURE AND COMPOSITION

The Course of Study which follows is presented, not because it is better than many others which might be made. For the purposes of this book it was necessary that some course be adopted as the basis of the text. The principles which guided in arranging this course I believe are sound; but the preferences of teachers and the peculiarities of environment will often make it wise to use other selections from literature. Of this a large “supplementary list” is given at the back of the book.

It is now a generally accepted truth that the study of English should continue through the four years of a high-school course. The division of time that seems best is to take Narration and Description in the first year. In connection with Description, Figures of Speech should be studied. The next year, Exposition and Paragraphs form the major part of the work. This may be pleasantly broken by a study of Poetry, following the outline in the chapter on Verse Forms. In the third year, while the work in literature is mainly the Novel and the Drama, Sentences and Words should be studied in composition, with a review of the chapters on Narration and Description. Towards the close of the year, Exposition should be reviewed and the study of Argument taken up. The fourth year should be devoted to the study of such College Requirements as have not been taken in the course, and to the study of the History of English Literature as given in some good text book.

In some instances, it will be found impossible to give so much time to the study of English. In such cases, the amount of literature to be studied should be decreased, and the work in the text book should be more rapidly done. The sequence of the parts should remain the same, but the time should be modified to suit the needs of any special environment.

NARRATION

Composition

To give Spontaneity

I. External Form of Composition (p. 296).

II. Marks for the Correction of Compositions (p. 300).

III. Simple Rules for Punctuation (pp. 301-309).

IV. Forms of Discourse. Definitions (pp. 1-7).

V. Choice of Subject (pp. 8-12).

VI. Study of Narration (pp. 13-48).

a. Definition and General Discussion.

b. Narration without Plot.

Interest the Essential Feature.

c. Narration with Plot.

1. Selection of Main Incident of first Importance.

It gives to the story

Unity,

ridding it of

Long Introductions and Conclusions,

Tedious Enumerations, and

Irrelevant Details.

2. Arrangement of Material.

Close of Story contains Main Incident.

Opening of Story contains Characters, Place, and Time.

Incidents generally follow in Order of Time.

3. Movement.

4. Use of Description in Narration.

5. Some General Considerations.

Literature

The Great Stone Face, The Gentle Boy, The Gray Champion, Roger Malvin’s Burial, and other Stories. Hawthorne.

Tales of a Wayside Inn. Longfellow.

The Gold Bug. Poe.

Marmion, or The Lady of the Lake. Scott.

A Christmas Carol, or The Cricket on the Hearth. Dickens.

The Vision of Sir Launfal, and other Narrative Poems. Lowell.

An Incident of the French Camp, Hervé Riel, The Pied Piper, How they brought the Good News from Ghent to Aix. Browning.

Meaning of the Author, calling for

A Study of Words.

Outline of Story.

Turning Points in the Story.

Central Idea, or Purpose of the Story.

Method of the Author.

Is there a Main Incident?

Do all other Incidents converge to it?

Is the Order a Sequence of Time alone?

Is the Interest centred in Characters or Plot?

Style of the Author.

Compare the Works of the Author.

DESCRIPTION

Composition

To secure Accuracy of Expression (pp. 49-88)

I. Definition and General Discussion.

Difficulties in Language as a Means of Picturing.

Value of Observation.

II. Structure of Whole.

a. To secure Unity.

Select a Point of View.

b. To secure Coherence.

Arrange Details in Natural Order.

c. To secure Emphasis.

Arrange and proportion Treatment to effect your Purpose.

III. Paragraph Structure.

Definition.

Length of Paragraphs.

Development of Paragraphs.

IV. Words.

Specific rather than General.

Adjectives, Nouns, and Verbs.

V. Figures Of Speech (pp. 257-268).

Based on Likeness.

Based on Sentence Structure.

Miscellaneous Figures.

Literature

The Old Manse, The Old Apple Dealer. Hawthorne.

An Indian-Summer Reverie, The Dandelion, The Birch, The Oak, and other Descriptive Poems. Lowell.

The Fall of the House of Usher. Poe.

The Legend of Sleepy Hollow, Selections from the Sketch Book. Irving.

Selections from Childe Harold. Byron.

The Deserted Village. Goldsmith.

Julius Cæsar. Shakespeare.

Poems selected from Palgrave’s Golden Treasury.

Meaning of the Author (as under Narration).

Method of the Author.

Does the Author keep his Point of View?

Are the Details arranged in a Natural Order?

Has any Detail a Supreme Importance?

Are the Details treated in Proper Proportion?

Has the Whole a Unity of Effect? Do you see the Picture distinctly?

For what Purpose has the Author used Description?

Does the Author employ Figures?

Style of the Author.

EXPOSITION, PARAGRAPHS, VERSE FORMS

Composition

To encourage Logical Thinking and Adequate Expression (pp. 89-²)

Exposition

I. Definition and General Considerations.

II. Exposition of Terms. Definition.

III. Exposition of Propositions.

a. Clear Statement of the Proposition in a “Key Sentence.”

This will limit

b. The Discussion.

1. What shall be included?

2. What shall be excluded?

3. How shall Important Matters be emphasized?

Mass and Proportion.

Expansion and Condensation.

To effect these ends use an

4. Outline.

 

Paragraphs (pp. 151-³)

I. Definition.

II. Length of Paragraphs.

III. Development of Paragraphs.

IV. Principles of Structure.

Unity.

Mass.

Coherence.

Verse Forms (pp. 269-291)

Poetry Defined.

Kinds of Feet.

Number of Feet in a Verse.

Substitutions and Rests.

Kinds of Poetry.

Literature

Essay on Milton. Macaulay.

Essay on Addison. Macaulay.

Commemoration Ode. Lowell.

The Rime of the Ancient Mariner. Coleridge.

Intimations of Immortality, and other Poems. Wordsworth.

Selections from Palgrave’s Golden Treasury.

The Bunker Hill Oration, or Adams and Jefferson. Webster.

Sesame and Lilies. Ruskin.

Meaning of the Author.

Outline showing the Main Thesis with the Dependence

of Subordinate Propositions.

Method of the Author.

Does he hold to his Point and so gain Unity

Does he arrange his Material so as to secure Emphasis?

Does one Paragraph grow out of another?

Does each Paragraph treat a Single Topic?

Are the Sentences dovetailed together?

Does the Author use Figures?

Are the Figures Effective?

Are his Words General or Specific?

Style of the Author.

Is it Clear?

Has it Force?

Is the Diction Elegant?

How has he gained these Ends?