(7) (8) (11) (12) (13) The pilot of the Brill could not discern the sea marks, and carried the fleet too far to the west. The danger was great. (10) To return in the face of the wind was impossible. Plymouth was the next port. But at Plymouth a garrison had been posted under the command of the Earl of Bath. The landing might be opposed; and a check might produce serious consequences. There could be little doubt, moreover, that by this time the royal fleet had got out of the Thames, and was hastening full sail down the channel. Russell saw the whole extent of the peril, and exclaimed to Burnet, "You may go to (15) (16) prayers, doctor. All is over." At that moment the wind changed, a soft breeze sprang up from the south, the mist dispersed, the sun shone forth, and, under the mild light of an autumnal noon, the fleet turned back, passed round the lofty cape of Berry Head, and rode safe in the harbour of Torbay.” (14) QUESTIONS. 1. What is the most noticeable feature in the structure of this paragraph? What effect does it produce? 2. To what kind of composition does it belong? 3. Are there any examples of abrupt transition? 4. What relation do sentences (9) to (13) bear to (8)? 5. Estimate the proportion of Classical and Saxon words. 6. Is any word or phrase inappropriate? 7. What does the greater portion of the paragraph lead the reader to expect? Where does the change come, and with what effect? 8. Can the style be characterized as melodious? A. (1) (2) (3) Exercise 12. "To this conclusion, then, hast thou come, O hapless Louis! The Son of Sixty Kings is to die on the Scaffold by form of Law. Under Sixty Kings this same form of Law, form of Society, has been fashioning itself together these thousand years; and has (4) become, one way and another, a most strange Machine. Surely, if needful, it is also frightful, this Machine; dead, blind; not what it should be; which, with swift stroke, or by cold slow torture, has wasted the lives and souls of innumerable men. And behold now a King himself, or say rather Kinghood in his person, is to expire here in cruel tortures;-like a Phalaris shut in the belly of his own red-heated Brazen Bull! It is ever so; and thou shouldst know it, O haughty tyrannous man: injustice breeds injustice; curses and falsehoods do verily return (7) 'always home,' wide as they may wander. Innocent Louis bears (5) (6) བྱེ B (8) (9) (10) (11) (12) (13) the sins of many generations: he too experiences that man's tribunal is not in this earth; that if he had no Higher one, it were not well with him. "A King dying by such violence appeals impressively to the imagination; as the like must do, and ought to do. And yet at bottom it is not the King dying, but the man! Kingship is a coat the grand loss is of the skin. The man from whom you take his Life, to him can the whole combined world do more? Lally went on his hurdle; his mouth filled with a gag. Miserablest mortals, doomed for picking pockets, have a whole five-act Tragedy in them, in that dumb pain, as they go to the gallows, unregarded; they consume the cup of trembling down to the (14) lees. For Kings and for Beggars, for the justly doomed and the (15) unjustly, it is a hard thing to die. Pity them all: thy utmost pity, with all aids and appliances and throne-and-scaffold contrasts, how far short is it of the thing pitied!" QUESTIONS. 1. Point out examples of abrupt expression in this passage. 2. With what figure of construction does the paragraph open? How far does it extend? 3. Are any of the expressions harsh or inelegant? 4. Are any of the expressions colloquial or undignified? 5. What figure of language is employed in (5)? 6. Note instances of an inverted construction of sentences: what is the effect of this? 7. What is noticeable in the use of the word "doomed" in (13) and (14)? 8. What is the difference in subject between A. and B. ? 53 PART II.-PROSE THEMES. 61. A Theme is a series of paragraphs discussing the different parts of a subject, so arranged as to give a complete exposition of the subject of which it treats. 62. As already explained in connexion with the Paragraph, there are three kinds of composition, to any one of which mainly, though not exclusively, a Theme may belong. These are Narration, Description, and Exposition. Reflection, as was formerly shown, may better be regarded as an element which may be introduced into any kind of Theme, than as itself a distinct kind of composition. While a Theme is less likely than a Paragraph to belong entirely to only one of the above named classes, it is convenient to classify Themes according to their prominent character, into, I. NARRATIVE THEMES. Chapter I.-Narration. 63. A Narrative Theme has for its object to give a complete account of all that happened in connexion with a particular event; and only such details are to be introduced into it as are necessary for that purpose. 64. The Narrative Theme may therefore be regarded as an expansion and enlargement of the narrative paragraph, as the paragraph is of the sentence (I. § 82). It affords, however, greater scope for the introduction occasionally of descriptive and reflective elements. 65. The particulars embraced in the Theme will generally refer to the following heads:— 1. The Event itself. 2. The Persons or Instruments concerned in it. 4. The Place. 5. The manner and accompanying circumstances. 6. Reflections on the causes and consequences of the event. The last two heads will obviously afford the greatest scope for amplification, as they will include a detailed account of the course of events to which the incident under consideration belongs. 66. Narrative Themes may be classified, according to the nature of the subjects treated of, under these three heads:I. Incidental Themes, including such miscellaneous subjects as Mechanical Processes, and Incidents of every-day life. II. Biographical Themes. III. Historical Themes. 67. Rules for Narration: I. Narrate the events in the order of their occurrence. II. Introduce Description, only when really necessary to explain objects referred to in the narrative. III. Introduce Reflection sparingly, and always keep it subordinate to Narration, which is the main object of the Theme. IV. Each circumstance which forms a distinct unity should occupy a separate paragraph. As the drawing out of a scheme or skeleton before writing any Theme is an important exercise in itself, only one or two model schemes are here given under each head. It is recommended that, as a first exercise, the pupils should be required to prepare the scheme, and as a second, to write the Theme therefrom. The following directions for scheme-making are given to aid the pupil in doing this for himself. 68. Directions for Scheme-making: I. When the facts are not derived from personal observation, read some plain and authentic account of them; and in the course of reading, make notes. II. From these notes, select the points most worthy of attention, and arrange them in the order in which they are to be taken up in the narrative. III. Indicate by marginal notes those objects that may require description, and the points which suggest reflections. IV. Write the Theme from the scheme and notes alone, and not from the author consulted. V. The division into paragraphs is most conveniently made in the course of composition. I. INCIDENTAL THEMES. 69. The style, in Incidental Narrative, should be plain and unaffected. The language should be simple and direct, and the construction natural. The sentences should, for the most part, be short and uninvolved. An excess of Periods, in compositions of this class, is apt to make the style formal and pompous, and is generally inconsistent with the character of the subject. Exercise 13. 1. THE OPENING OF PARLIAMENT. The gathering of the Houses-the House of Lords the crowds outside-military guardarrival of the Queen-Her entrance into the House-arrival of the Commons 2—reading of the Royal speech3-withdrawal of the Commonsreading of the speech in the Lower House-the address and debate thereupon in both Houses. D.* The interior and aspect of the House. 2 R. The different elements of the constitution. 3 D. The form and parts of the speech. 2. A Military Review and Sham Fight. | 4. A Public Funeral. 3. A Jury Trial. 5. A Cricket or Football Match. 6. The Break-up at School. Exercise 14. 1. PAPER-MAKING. 3 R. Purpose of this. 4 R. Effect of this. Rags collected dusting-sorting-cutting-|D. Knife, cylinder. washing-teasing-bleaching-stirring pulp in 2 D. Machine. vat-passage through strainer-over wire cloth 2 -vacuum box3-lateral vibration-passage of film between iron rollers-on to felt web-rollers again-under steam-heated cylinders-on to a drum or reel, a perfect web of paper.5 5 2. The Process of Photographing, R. Beauty of the contrivance; ingenuity; effects, spread of knowledge, etc. *D. Description. R. Reflection. |