Chapter XII: Part 12

The robin is thought by some to be migratory. But he stays with us all winter. Cheerful. Noisy. Poor soloist. A spice of vulgarity in him. Dash of prose in his song. Appetite extraordinary. Eats his own weight in a short time. Taste for fruit. Eats with a relishing gulp, like Dr. Johnson's. Fond of cherries. Earliest mess of peas. Mulberries. Lion's share of the raspberries. Angleworms his delight. A few years ago I had a grapevine. A foreigner. Shy of bearing. This summer bore a score of bunches. They secreted sugar from the sunbeams. One morning, went to pick them. The robins beforehand with me. Bustled out from the leaves. Made shrill, unhandsome remarks about me. Had sacked the vine. Remnant of a single bunch. How it looked at the bottom of my basket! A humming-bird's egg in an eagle's nest. Laughed. Robins joined in the merriment.

* * * * *

LESSON 158.

PARAGRAPHS AND THE THEME.

+Direction+.--_Weave these facts into four paragraphs_:--

Note that the several paragraphs form a composition, or +Theme+, the general subject of which is WOUTER VAN TWILLER (according to Diedrich Knickerbocker).

I. +Who he was+.--Van Twiller was a Dutchman. Born at Rotterdam. Descended from burgomasters. In 1629 appointed governor of Nieuw Nederlandts. Arrived in June at New Amsterdam--New York city.

II. +Person+.--Was five feet six inches high, six feet five in circumference. Head spherical, and too large for any neck. Nature set it on the back-bone. Body capacious. Legs short and sturdy. A beer-barrel on skids. Face a vast, unfurrowed expanse. No lines of thought. Two small, gray eyes. Cheeks had taken toll of all that had entered his mouth. Mottled and streaked with dusky red.

III. +Habits+.--Regular. Four meals daily, each an hour long. Smoked and doubted eight hours. Slept twelve. As self-contained as an oyster. Rarely spoke save in monosyllables. But never said a foolish thing. Never laughed. Perplexed by a joke. Conceived everything on a grand scale. When a question was asked, would put on a mysterious look. Shake his head. Smoke in silence. Observe, at length, he had doubts. Presided at the council, in state. Swayed a Turkish pipe instead of a scepter. Known to sit with eyes closed two hours. Internal commotion shown by guttural sounds. Noises of contending doubts, admirers said.

IV. +Exploits.+--Settled a dispute about accounts thus: sent for the parties; each produced his account-book; Van T. weighed the books; counted the leaves; equally heavy; equally thick; made each give the other a receipt; and the constable pay the costs. Demanded why Van Rensselaer seized Bear's Island. Battled with doubts regarding the Yankees. Smoked and breathed his last together.

+Direction.+---_Weave these facts into four paragraphs, write on the margin the special topic of each, and over the whole what you think it the general subject of the theme:--_

The prophets of Baal accept Elijah's challenge. They dress a bullock. Call on Baal. Are mocked by Elijah. Leap upon the altar. Cut themselves. Blood. Cry till the time of the evening sacrifice. No answer by fire. Elijah commands the people to come near. Repairs an old altar with twelve stones, one for each tribe. Digs a trench. Sacrifices. Pours water three times upon it. Prays. Fire falls, consumes flesh, wood, stones, dust, licks up water. People see it. Fall on their faces. Cry out twice, "The Lord, he is the God." Take the prophets to the brook Kishon, where they are slain. Elijah ascends Mount Carrael. Bows in prayer. "Go up now, look toward the sea." Servant reports, "There is nothing." "Go again seven times." "Behold there ariseth a little cloud out of the sea, like a man's hand." Orders Ahab to prepare his chariot. Girding up his loins, he runs before Ahab to Jezreel.

* * * * *

LESSON 159.

PARAGRAPHS AND THE THEME.

+Direction.+--_Weave these facts into as many paragraphs as you think there should be, using the variety of expression insisted on in Lesson 150, and write on the margin of each paragraph the special topic, and over the whole the general subject of the theme:--_

Fort Ticonderoga on a peninsula. Formed by the outlet of Lake George and by Lake Champlain. Fronts south; water on three sides. Separated by Lake Champlain from Mount Independence, and by the outlet, from Mount Defiance. Fort one hundred feet above the water. May 7, 1775, two hundred and seventy men meet at Castleton, Vermont. All but forty-six, Green Mountain boys. Meet to plan and execute an attack upon Fort T. Allen and Arnold there. Each claims the command. Question left to the officers. Allen chosen. On evening of the 9th, they reach the lake. Difficulty in crossing. Send for a scow. Seize a boat at anchor. Search, and find small row boats. Only eighty-three able to cross. Day is dawning when these reach the shore. Not prudent to wait. Allen orders all who will follow him to poise their firelocks. Every man responds. Nathan Beman, a lad, guides them to the fort. Sentinel snaps his gun at A. Misses fire. Sentinel retreats. They follow. Rush upon the parade ground. Form. Loud cheer. A. climbs the stairs. Orders La Place, it is said, in the name of the great Jehovah and the Continental Congress, to surrender. Capture forty-eight men. One hundred and twenty cannon. Used next winter at the siege of Boston. Several swords and howitzers, small arms, and ammunition.

+Direction+.--_These facts are thrown together promiscuously. Classify them as they seem to you to be related. Determine the number of paragraphs and their order, and then do as directed above_:--

Joseph was Jacob's favorite. Wore fine garments. One day was sent to inquire after the other sons. They were at a distance, tending the flocks. Joseph used to dream. They saw him coming. Plotted to kill him. In one dream his brothers' sheaves bowed to his. In another the sun, moon, and stars bowed to him. Plotted to throw his body into a pit. Agreed to report to their father that some beast had devoured Joseph. Joseph foolishly told these to his brothers. Hated him because of the dreams and their father's partiality. While the brothers were eating, Ishmaelites approached. They sat down to eat. Were going down into Egypt. Camels loaded with spices. At the intercession of Reuben they did not kill Joseph. Threw him alive into a pit. Ishmaelites took him down into Egypt. Sold him to Potiphar. Judah advised that he be raised from the pit. Jacob recognized the coat. Refused comfort. Rent his clothes and put on sackcloth. They took his coat. Killed a kid and dipped the coat in its blood. Brought it to Jacob. "This have we found; know now whether it be thy son's coat or no."

* * * * *

LESSON 160.

PARAGRAPHS AND THE THEME.

+Direction+.--_Classify these promiscuous facts, determine carefully the number and the order of the paragraphs, and then do as directed above_:--

Trafalgar a Spanish promontory. Near the Straits of Gibraltar. Off Trafalgar, fleets of Spain and France, October 21, 1805. Nelson in command of the English fleet. The combined fleets in close line of battle. Collingwood second in command. Had more and larger cannon than the English. English fleet twenty-seven sail of the line and four frigates. Thirty-three sail of the line and seven frigates. He signaled those memorable words: "England expects every man to do his duty." Enemy had four thousand troops. Signal received with a shout. They bore down. The best riflemen in the enemy's boats. C. steered for the center. C. in the _Royal Sovereign_ led the lee line of thirteen ships. A raking fire opened upon the _Victory_. N. in the _Victory_ led the weather line. C. engaged the _Santa Anna_. Delighted at being the first in the fire. At 1.15 N. shot through the shoulder and back. At 12 the _Victory_ opened fire. N.'s secretary the first to fall. Fifty fell before a shot was returned. "They have done for me at last, Hardy," said N. They bore him below. At 2.25 ten of the enemy had struck. The wound was mortal. At 4 fifteen had struck. The victory that cost the British 1,587 men won. These were his last words. At 4.30 he expired. "How goes the day with us?" he asked Hardy. "I hope none of our ships have struck." N.'s death was more than a public calamity. "I am a dead man, Hardy," he said. Englishmen turned pale at the news. Most triumphant death that of a martyr. He shook hands with Hardy. "Kiss me, Hardy." They mourned as for a dear friend. Kissed him on the cheek. Most awful death that of the martyr patriot. The loss seemed a personal one. Knelt down again and kissed his forehead. His articulation difficult. Heard to say, "Thank God, I have done my duty." Seemed as if they had not known how deeply they loved him. Most splendid death that of the hero in the hour of victory. Has left a name which is our pride. An example which is our shield and strength. Buried him in St. Paul's. Thus the spirits of the great and the wise live after them.

TO THE TEACHER--Continue this work as long as it is needed. Take any book, and read to the class items of facts. Require them to use the imagination and whatever graces of style are at their command, in weaving these facts together.

* * * * *

LESSON 161.

ANALYSIS OF THE SUBJECT OF THE THEME.

+Analysis of the Subject+.--A Theme is made up of groups of sentences called Paragraphs. The sentences of each paragraph are related to each other, because they jointly develop a single point, or thought. And the paragraphs are related to each other, because these points which they develop are divisions of the one general subject of the Theme.

After the subject has been chosen, and before writing upon it, it must be resolved into the main thoughts which compose it. Upon the thoroughness of this analysis and the natural arrangement of the thoughts thus derived, depends largely the worth of the theme. These points form, when arranged, the +Framework+ of the theme.

Suppose you had taken _The Armada_ as your subject. Perhaps you could say under these heads all you wish: 1. _What the Armada was_. 2. _When and by whom equipped_. 3. _Its purpose_. 4. _Its sail over the Bay of Biscay and entrance into the English Channel_. 5. _The attack upon it by Admiral Howard and his great Captains--Drake and Hawkins_. 6. _Its dispersion and partial destruction by the storm_. 7. _The return to Spain of the surviving ships and men_. 8. _The consequences to England and to Spain_.

Perhaps the 1st point could include the 2d and the 3d. Be careful not to split your general subject up into very many parts. See, too, that no point is repeated, that no point foreign to the subject is introduced, and that all the points together exhaust the subject as nearly as may be. Look to the arrangement of the points. There is a natural order; (6) could not precede (5); nor (5), (4); nor (4), (1).

TO THE TEACHER.--Question the pupils carefully upon every point taken up in this Lesson.

+Direction+.--_Prepare the framework of a theme on each of these subjects_:--

1. The Arrest of Major Andre. 2. A Winter in the Arctic Region.

* * * * *

LESSON 162.

ANALYSIS OF SUBJECTS.

+Direction+.--_Prepare the framework of a theme on each of these subjects_:--

1. Battle of Plattsburg. 2. A Day's Nutting. 3. What Does a Proper Care for One's Health Demand?

* * * * *

LESSON 163.

ANALYSIS OF SUBJECTS.

+Direction+.--_Prepare the framework of a theme on each of these subjects_:--

1. A Visit to the Moon. 2. Reasons why one Should Not Smoke, 3. What Does a Proper Observance of Sunday Require of One?

* * * * *

LESSON 164.

ANALYSIS OF SUBJECTS.

+Direction+.--_Prepare the framework of a theme on each of these subjects_:--

1. The Gulf Stream. 2. A Descent into a Whirlpool. 3. What are Books Good for?

* * * * *

LESSON 165.

HOW TO WRITE A THEME.

+I. Choose a Subject+.--Choose your subject long before you are to write. Avoid a full, round term like _Patriotism_ or _Duty_; take a fragment of it; as, _How can a Boy be Patriotic?_ or _Duties which we Schoolmates owe Each Other_. The subject should be on your level, should be interesting and suggestive to you, and should instantly start in your mind many trains of thought.

+II. Accumulate the Material+.--Begin to think about your subject. Turn it over in your mind in leisure moments, and, as thoughts flash upon you, jot them down in your blank-book. If any of these seem broad enough for the main points, or heads, indicate this. Talk with no one on the subject, and read nothing on it, till you have thought yourself empty; and even then you should note down what the conversation or reading suggests, rather than what you have heard or read.

+III. Construct a Framework+.--Before writing hunt through your material for the main points, or heads. See to what general truths or thoughts these jottings and those jottings point. Perhaps this or that thought, as it stands, includes enough to serve as a head. Be sure, at any rate, that by brooding over your material, and by further thinking upon the subject, you get at all the general thoughts into which, as it seems to you, the subject should be analyzed. Study these points carefully. See that no two overlap each other, that no one appears twice, that no one has been raised to the dignity of a head which should stand under some head, and that no one is irrelevant. Study now to find the natural order in which these points should stand. Let no point, to the clear understanding of which some other point is necessary, precede that other. If developing all the points would make your theme too long, study to see what points you can omit without abrupt break or essential loss.

+IV. Write+.--Give your whole attention to your work as you write, and other thoughts will occur to you, and better ways of putting the thoughts already noted down. In expanding the main points into paragraphs, be sure that everything falls under its appropriate head. Cast out irrelevant matter. Do not strain after effect or strive to seem wiser than you are. Use familiar words, and place these, your phrases, and your clauses, where they will make your thought the clearest. As occasion calls, change from the usual order to the transposed, and let sentences, simple, complex, and compound, long and short, stand shoulder to shoulder in the paragraph. Express yourself easily--only now and then putting your thought forcibly and with feeling. Let a fresh image here and there relieve the uniformity of plain language. One sentence should follow another without abrupt break; and, if continuative of it, adversative to it, or an inference from it, and the hearer needs to be advised of this, let it swing into position on the hinge of a fitting connective. Of course, your sentences must pass rigid muster in syntax; and you must look sharply to the spelling, to the use of capital letters, and to punctuation.

+V. Attend to the Mechanical Execution+.--Keep your pages clean, and let your handwriting be clear. On the left of the page leave a margin of an inch for corrections. Do not write on the fourth page; if you exceed three pages, use another sheet. When the writing is done, double the lower half of the sheet over the upper, and fold through the middle; then bring the top down to the middle and fold again. Bring the right-hand end toward you, and across the top write your name and the date. This superscription will be at the top of the fourth page, at the right-hand corner, and at right angles to the ruled lines.

TO THE TEACHER.--Question the pupils closely upon every point in this Lesson.

Additional Subjects for Themes.

1. Apples and Nuts. 2. A Pleasant Evening. 3. My Walk to School. 4. Pluck. 5. School Friendships. 6. When my Ship Comes In. 7. Ancient and Modern Warfare. 8. The View from my Window. 9. Homes without Hands. 10. I Can. 11. My Friend Jack. 12. John Chinaman. 13. Irish Characters. 14. Robin Hood. 15. A Visit to Olympus. 16. Monday Morning. 17. My Native Town. 18. Over the Sea. 19. Up in a Balloon. 20. Queer People. 21. Our Minister. 22. A Plea for Puss. 23. Castles in Spain. 24. Young America. 25. Black Diamonds. 26. Mosquitoes. 27. A Day in the Woods. 28. A Boy's Trials. 29. The Yankee. 30. Robinson Crusoe. 31. Street Arabs. 32. Legerdemain. 33. Our Neighborhood. 34. Examinations. 35. Theatre-going. 36. Donkeys. 37. The Southern Negro. 38. A Rainy Saturday. 39. The Early Bird Catches the Worm. 40. Spring Sports 41. How Horatius Kept the Bridge. 42. Jack Frost 43. My First Sea Voyage. 44. Monkeys. 45. Grandmothers. 46. The Boy of the Story Book. 47. Famous Streets. 48. Pigeons. 49. Jack and Gill. 50. Make Haste Slowly. 51. Commerce. 52. The Ship of the Desert. 53. Winter Sports. 54. A Visit to Neptune. 55. Whiskers. 56. Gypsies. 57. Cities of the Dead. 58. Street Cries. 59. The World Owes me A Living. 60. Politeness. 61. Cleanliness Akin to Godliness. 62. Fighting Windmills. 63. Along the Docks. 64. Maple Sugar. 65. Umbrellas. 66. A Girl's Trials. 67. A Spider's Web. 68. The Story of Ruth. 69. Clouds. 70. A Country Store. 71. Timepieces. 72. Bulls and Bears. 73. Bore. 74. Our Sunday School. 75. The Making of Beer. 76. Autumn's Colors. 77. The Watched Pot Never Boils. 78. The Mission of Birds. 79. Parasites. 80. Well-begun is Half-done. 81. The Tides. 82. The Schoolmaster in "The Deserted Village." 83. A Day on a Trout Stream. 84. A Stitch in Time Saves Nine. 85. Of What Use are Flowers? 86. A Descent in a Diving Bell.

* * * * *

LESSON 166.

LETTER-WRITING.

Letters need special treatment. In writing a letter there are five things to consider--The Heading, The Introduction, The Body of the Letter, The Conclusion, and The Superscription.

THE HEADING.

+Parts+.--The Heading consists of the name of the +Place+ at which the letter is written, and the +Date+. If you write from a city, give the door-number, the name of the street, the name of the city, and the name of the state. If you are at a Hotel or a School or any other well-known Institution, its name may take the place of the door-number and the name of the street; as may also the number of your post-office box. If you write from a village or other country place, give your post-office address, the name of the county, and that of the state.

The Date consists of the month, the day of the month, and the year.

+How Written+.--Begin the Heading about an inch and a half from the top of the page--on the first ruled line of commercial note. If the letter occupies but a few lines of a single page, you may begin the Heading lower down. Begin the first line of the Heading a little to the left of the middle of the page. If it occupies more than one line, the second line should begin farther to the right than the first, and the third farther to the right than the second.

The door-number, the day of month, and the year are written in figures; the rest, in words. Bach important word begins with a capital letter, each item is set off by the comma, and the whole closes with a period.

+Direction+.--_Study what has teen said, and write the following headings according to these models:_--

1. Ripton, Addison Co., Vt., July 10, 1895.

2. 250 Broadway, N. T., June 6, 1890.

3. Saco, Me., Feb. 25, 1887.

4. Polytechnic Institute, Brooklyn, N. Y., May 3, 1888.

1. ann arbor 5 July 1820 michigan 2. champlain co clinton n y jan 14 1800 3. p o box 2678 1860 oct 19 chicago 4. philadelphia 670 1858 chestnut st 16 apr 5. saint nicholas new york 1 hotel nov 1855

THE INTRODUCTION.

+Parts+.--The Introduction consists of the +Address+--the Name, the Title, and the Place of Business or Residence of the one addressed--and the +Salutation+. Titles of respect and courtesy should appear in the Address. Prefix _Mr._ to a man's name, _Messrs._ to the names of several gentlemen; _Master_ to the name of a young lad; _Miss_ to that of an unmarried lady; _Mrs._ to that of a married lady; _Misses_ to the names of several young ladies; and _Mesdames_ to those of several married or elderly ladies. Prefix _Dr._ to the name of a physician (but never _Mr. Dr._), or write _M.D._ after it. Prefix _Rev._ to the name of a clergyman, or _Rev. Mr._ if you do not know his Christian name; _Rev. Dr._ if he is a Doctor of Divinity, or write _Rev._ before the name and _D.D._ after it. Prefix _His Excellency_ to the name of the President, [Footnote: The preferred form of addressing the President is, _To the President, Executive Mansion, Washington, D. C._; the Salutation is simply, _Mr. President._ ] and to that of a Governor or of an Ambassador; _Hon._ to the name of a Cabinet Officer, a Member of Congress, a State Senator, a Law Judge, or a Mayor. If two literary or professional titles are added to a name, let them stand in the order in which they were conferred--this is the order of a few common ones: _A.M., Ph.D., D.D., LL.D._ Guard against an excessive use of titles-- the higher implies the lower.

Salutations vary with the station of the one addressed, or the writer's degree of intimacy with him. Strangers may be addressed as _Sir, Dear Sir, Rev. Sir, General, Madam_, etc.; acquaintances as _Dear Sir, Dear Madam_, etc.; friends as _My dear Sir, My dear Madam, My dear Jones_, etc.; and near relatives and other dear friends as _My dear Wife, My dear Boy, Dearest Ellen_, etc.

+How Written+.--The Address may follow the Heading, beginning on the next line, and standing on the left side of the page; or it may stand in corresponding position after the Body of the Letter and the Conclusion. If the letter is of an official character or is written to an intimate friend, the Address may appropriately be placed at the bottom of the letter; but in ordinary business letters, it should be placed at the top and as directed above. Never omit it from the letter except when the letter is written in the third person. There should be a narrow margin on the left side of the page, and the Address should begin on the marginal line. If the Address occupies more than one line, the initial words of these lines should slope to the right.

Begin the Salutation on the marginal line or a little to the right of it when the Address occupies three lines; on the marginal line or farther to the right or to the left than the second line of the Address when this occupies two lines; a little to the right of the marginal line when the Address occupies one line; on the marginal line when the Address stands below.

Every important word in the Address should begin with a capital letter. All the items of it should be set off by the comma; and, as it is an abbreviated sentence, it should close with a period. Every important word in the Salutation should begin with a capital letter, and the whole should be followed by a comma, or by a comma and a dash.

+Direction+.--Write these introductions according to the models:-- 1. Prof. March, Easton, Pa. My dear Sir,

2. Messrs. Smith & Jones,
771 Broadway,
New York City.
Gentlemen,

3. My dear Mother,
When, etc.

4. Messrs. Vallette & Co.,
Middlebury, Vt.
Dear Sirs,

1. mr george platt burlington iowa sir 2. mass Cambridge prof James r lowell my dear friend 3. messrs ivison blakeman taylor & co gentlemen new york 4. rev brown dr the arlington Washington dear friend d c 5. col John smith dear colonel n y auburn

* * * * *

LESSON 167.

LETTER-WRITING--CONTINUED.

THE BODY OF THE LETTER.

+The Beginning+.--Begin the Body of the Letter at the end of the Salutation, and on the same line if the Introduction is long--in which case the comma after the Salutation should be followed by a dash,--on the line below if the Introduction is short.

+Style+.--Be perspicuous. Paragraph and punctuate as in other kinds of writing. Avoid blots, erasures, interlineations, cross lines, and all other offenses against epistolary propriety. The letter "bespeaks the man." Letters of friendship should be colloquial, chatty, and familiar. Whatever is interesting to you will be interesting to your friends, however trivial it may seem to a stranger.

Business letters should be brief, and the sentences short, concise, and to the point. Repeat nothing, and omit nothing needful.

Official letters and formal notes should be more stately and ceremonious. In formal notes the third person is generally used instead of the first and the second; there is no Introduction, no Conclusion, no Signature, only the name of the Place and the Date at the bottom, on the left side of the page, thus:--

_Mr. & Mrs. A. request the pleasure of Mr. B.'s company at a social gathering, on Tuesday evening, Nov. 15th, at eight o'clock.

32 Fifth Ave., Nov. 5_.

_Mr. B. accepts_ [Footnote: Or regrets that a previous engagement (or illness, or an unfortunate event) prevents the acceptance of ----; or regrets that on account of ---- he is unable to accept ----.] _with pleasure Mr. & Mrs. A.'s kind invitation for Tuesday evening, Nov. 15th._

_Wednesday morning, Nov. 9th_.

THE CONCLUSION.

+Parts+.--The Conclusion consists of the +Complimentary Close+ and the +Signature+. The forms of the Complimentary Close are many, and are determined by the relations of the writer to the one addressed. In letters of friendship you may use, _Your sincere, friend; Yours affectionately; Your loving son_ or _daughter_, etc. In business letters you may use, _Yours; Yours truly; Truly yours; Yours respectfully; Very respectfully yours_, etc. In official letters you should be more deferential. Use, _I have the honor to be, Sir, your obedient servant; Very respectfully, your most obedient servant_; etc., etc.

The Signature consists of your Christian name and your surname. In addressing a stranger write your Christian name in full. A lady addressing a stranger should prefix to her signature her title, _Mrs._ or _Miss_ (placing it within marks of parenthesis), unless in the letter she has indicated which of these titles her correspondent is to use in reply.

+How Written+.--The Conclusion should begin near the middle of the first line below the Body of the Letter, and, if occupying two or more lines, should slope to the right like the Heading and the Address. Begin each line of it with a capital letter, and punctuate as in other writing, following the whole with a period. The Signature should be very plain.

+Direction+.--_Write two formal notes--one inviting a friend to a social party, and one declining the invitation._

+Direction+.--_Write the Conclusion of a letter of friendship, of a letter of business, and of an official letter, carefully observing all that has been said above._

+Direction+.--_Write a letter of two or three lines to your father or your mother, and another to your minister, talcing care to give properly the Heading in its two parts, the Introduction in its two parts, and the Conclusion in its two parts. Let the Address in the letter to your father or your mother stand at the bottom._

* * * * *

LESSON 168.

LETTER-WRITING--CONTINUED.

THE SUPERSCRIPTION.

+Parts+.--The Superscription is what is written on the outside of the envelope. It is the same as the Address, consisting of the Name, the Title, and the full Directions of the one addressed.

+How Written+.--The Superscription should begin just below the middle of the envelope and near the left edge--the envelope lying with its closed side toward you--and should occupy three or four lines. These lines should slope to the right as in the Heading and the Address, the spaces between the lines should be the same, and the last line should end near the lower right-hand corner. On the first line the Name and the Title should stand. If the one addressed is in a city, the door-number and name of the street should be on the second line, the name of the city on the third, and the name of the state on the fourth. If he is in the country, the name of the post-office should be on the second line, the name of the county on the third, the name of the state on the fourth. The number of the post office box may take the place of the door-number and the name of the street, or, to avoid crowding, the number of the box or the name of the county may stand at the lower left-hand corner. The titles following the name should be separated from it and from each other by the comma, and every line should end with a comma except the last, which should be followed by a period. [Footnote: Some omit punctuation after the parts of the Superscription. ] The lines should be straight, and every part of the Superscription should be legible. Place the stamp at the upper right-hand corner.

+Direction+.--_Write six Superscriptions to real or imaginary friends or acquaintances in different cities, carefully observing all that has been said above._

+Direction+.--_Write two snort letters--one to a friend at the Astor House, New York, and one to a stranger in the country._

Master H. Buckman,
Andover,
Mass.]

[Cursive Text:

Ithaca, N. Y, June 15, '96.
My dear Friend,

You tell me that you
begin the study of English Literature
next term. Let me assume the
relation of an older brother, and tender
you a word of counsel.

Study literature, primarily, for
the thoughts it contains. Attend
to these thoughts until you understand
them and see their connection
one with another. Accept only such
as seem to you just and true, and
accept these at their proper value.

Notice carefully the words each
author uses, see how he arranges
them, whether he puts his thought
clearly, what imagery he employs,
what allusions he makes, what
acquaintance with men, with books,
and with nature he shows, and in
what spirit he writes.

Your study of the author should
put you in possession of his thought
and his style, and should introduce
you to the man himself.

Pardon me these words of unsought
advice, and believe me.

Your true friend,
John Schuyler.

Master H. Buckman,
Andover, Mass.]

A SUMMARY OF THE RULES OF SYNTAX.

We here append a Summary of the so-called Rules of Syntax, with references to the Lessons which treat of Construction.

I. A noun or pronoun used as subject or as attribute complement of a predicate verb, or used independently, is in the nominative case.

II. The attribute complement of a participle or an infinitive is in the same case (Nom. or Obj.) as the word to which it relates.

III. A noun or pronoun used as possessive modifier is in the possessive case.

IV. A noun or pronoun used as object complement, as objective complement, as the principal word in a prepositional phrase, or used adverbially [Footnote: See Lesson 35.] is in the objective case.

V. A noun or pronoun used as explanatory modifier is in the same case as the word explained.

+For Cautions, Principles, and Examples respecting the cases of nouns and pronouns, see Lessons 119, 122, 123, 123. For Cautions and Examples to guide in the use of the different pronouns, see Lessons 86, 87.+

VI. A pronoun agrees with its antecedent in person, number, and gender.

+For Cautions, Principles, and Examples, see Lessons 118,142.+

VII. A verb agrees with its subject in person and number.

+For Cautions, Examples, and Exceptions, see Lesson 142.+

VIII. A participle assumes the action or being, and is used like an adjective or a noun.

+For Uses of the Participle, see Lessons 37, 38, 39.+

IX. An infinitive is generally introduced by _to_, and with it forms a phrase used as a noun, an adjective, or an adverb.

+For Uses of the Infinitive, see Lessons 40, 41, 42.+

X. Adjectives modify nouns or pronouns.

+For Cautions and Examples respecting the use of adjectives and of comparative and superlative forms, see Lessons 90, 91, 128.+

XI. Adverbs modify verbs, adjectives, or adverbs.

+For Cautions and Examples, see Lesson 93.+

XII. A preposition introduces a phrase modifier, and shows the relation, in sense, of its principal word to the word modified.

+For Cautions, see Lessons 98, 99.+

XIII. Conjunctions connect words, phrases, or clauses.

+For Cautions and Examples, see Lessons 100, 107.+

XIV. Interjections are used independently.

CONJUGATION OF THE VERB.

+Remarks+.--The scheme of conjugation presented below is from English text-books. In some of these books the forms introduced by _should_ are classed, not as Future, but as Secondary Past Tense forms of the Subjunctive.

If we substitute this scheme of conjugation for the simpler one given in the preceding pages, we still fail to get a classification in which every form corresponds in use to its name. The following examples will illustrate:--

He _returns_ to-morrow. (Present = Future.)

When I _have performed_ this, I will come to you. (Present Perfect = Future Perfect.)

If any member _absents_ himself, he shall pay a fine. (Indicative = Subjunctive.)

You _shall_ go. (Indicative = Imperative.)

After memorizing all the terms and forms belonging to the conjugation here outlined, the student will find that he has gained little to aid him in the use of language. For instance, in this synopsis of the Subjunctive are found nineteen forms. As there are three persons in the singular and three in the plural, we have one hundred and fourteen subjunctive forms! How confusing all this must be to the student, who, in his use of the subjunctive, needs to distinguish only such as these: If he _be_, If he _were_, If he _teach_! Beyond these, the subjunctive manner of assertion is discovered from the structure of the sentence or the relation of clauses, not from the conjugation of the verb.

Those English authors and their American copyists who eliminate the Potential Mode from their scheme of conjugation tell us that the so-called potential auxiliaries are either independent verbs in the indicative or are subjunctive auxiliaries. With the meager instruction given by any one or by all of these authors, the student will find it exceedingly difficult to determine when these auxiliaries are true subjunctives. To illustrate:--

1. _May_ you be happy. 2. I learn that I _may_ be able to teach. 3. He _might_ have done it if he had liked. 4. If he _should_ try, he _would_ succeed. 5. I _would_ not tell you if I _could_. 6. I _could_ not do this if I were to try.

The forms italicized above are said to be subjunctive auxiliaries; those below are said to be independent verbs in the indicative.

7. He _may_ be there. 8. He _might_ ask you to go. 9. You _should_ not have done that. 10. He _would_ not come when called. 11. I _could_ do this at one time.

We are told that _can_ and _must_ are always independent verbs in the indicative, and that _may, might, could, would_, and _should_ are either subjunctive auxiliaries or independent verbs parsed in the indicative, separately from the infinitives with which they seem to combine. But in parsing these words as separate verbs the student is left in doubt as to whether they are transitive or intransitive, and as to the office of the infinitives that follow.

_Shall_ (to owe) and _will_ (to determine) are, in their original meaning, transitive. _May, can_, and _must_ denote power (hence potential); and, as the infinitive with which they combine names the act on which this power is exercised, some philologists regard them as originally transitive. Among these is our distinguished critic, Prof. Francis A. March. _May_ denotes power from without coming from a removal of all hindrance,--hence permission or possibility. _Can_ denotes power from within,--hence ability. _Must_ denotes power from without coming from circumstances or the nature of things,--hence necessity or obligation. _Should, would, might_, and _could_ are past forms of _shall, will, may_, and _can_.

The auxiliaries take different shades of meaning. In some constructions the meaning is fainter or less emphatic than in others. To say just how little of its common or original meaning _may, can, must, shall_, or _will_ must have to be an auxiliary, and how much to be a "notional," or independent, verb would be extremely venturesome For instance, _could_ in (6) above expresses power or ability to do, as does _could_ in (11), yet we are told that the former _could_ is a mere auxiliary, while the latter is an independent verb. _May_ in (1) denotes a desired removal of all hindrance; _may_ in (7) denotes a possible removal of hindrance. It is hard to see why the former _may_ is necessarily a mere auxiliary, and the latter a "notional," or independent, verb. These are some of the difficulties--not to say inconsistencies--met by the student who is taught that there is no Potential Mode.

In a scholarly work revised by Skeat, Wrightson, speaking of _I may, can, shall, or will love_, says, "These auxiliary verbs had at some time such a clear and definite meaning that it would have been tolerably easy to determine the case function discharged by the infinitive; but these verbs, after passing through various shades of meaning, have at last become little more than conventional symbols, so that it would be worse than useless to attempt to analyze these periphrastic tenses of our moods."

A CONJUGATION OF TEACH.

Active Voice.

INDICATIVE MODE.

Present Indefinite............He teaches. Present Imperfect.............He is teaching. Present Perfect...............He has taught. Present Perfect Continuous....He has been teaching.

Past Indefinite...............He taught. Past Imperfect................He was teaching. Past Perfect..................He had taught. Past Perfect Continuous.......He had been teaching.

Future Indefinite.............He will teach. Future Imperfect..............He will be teaching. Future Perfect................He will have taught. Future Perfect Continuous.....He will have been teaching.

SUBJUNCTIVE MODE.

Present Indefinite............(If) he teach. Present Imperfect.............(If) he be teaching. Present Perfect...............(If) he have taught. Present Perfect Continuous....(If) he have been teaching.

Past Indefinite...............(If) he taught. Past Imperfect................(If) he were teaching. Past Perfect..................(If) he had taught. Past Perfect Continuous.......(If) he had been teaching.

Future Indefinite.............(If) he should teach. Future Imperfect..............(If) he should be teaching. Future Perfect................(If) he should have taught. Future Perfect Continuous.....(If) he should have been teaching.

IMPERATIVE MODE.

Present.......................Teach [thou].

INFINITIVE MODE.

Present Indefinite............(To) teach. Present Imperfect.............(To) be teaching. Present Perfect...............(To) have taught. Present Perfect Continuous....(To) have been teaching.

PARTICIPLES.

Imperfect.....................Teaching. Perfect.......................Having taught. Perfect Continuous............Having been teaching.

Passive Voice.

INDICATIVE MODE.

Present Indefinite............He is taught. Present Imperfect.............He is being taught. Present Perfect...............He has been taught.

Past Indefinite...............He was taught. Past Imperfect................He was being taught. Past Perfect..................He had been taught.

Future Indefinite.............He will be taught. Future Imperfect..............------------------------ Future Perfect................He will have been taught.

SUBJUNCTIVE MODE.

Present Indefinite............(If) he be taught. Present Imperfect.............------------------------ Present Perfect...............(If) he have been taught.

Past Indefinite...............(If) he were taught. Past Imperfect................(If) he were being taught. Past Perfect..................(If) he had been taught.

Future Indefinite.............(If) he should be taught. Future Imperfect..............------------------------ Future Perfect................(If) he should have been taught.

IMPERATIVE MODE.

Present.......................Be [thou] taught.

INFINITIVE MODE.

Present Indefinite............(To) be taught. Present Perfect...............(To) have been taught.

PARTICIPLES.

Imperfect.....................Being taught. Perfect.......................Taught. Compound Perfect..............Having been taught.

INDEX.

_A_, or _an_, uses of
_A_ and _the_ uses of distinguished
_A_ (day) _or two_, or _one or two_ (days)
+Abbreviations+
common ones
how made and written
of names of states
+Absolute Phrases+
definition of
diagram of
expansion of
+Adjective+ an, definition of
+Adjectives+
apt ones to be used
+classes+
definitive (numeral)
descriptive
+comparison+
adjectives not compared
adjectives irregularly compared
form preferred
in _er_ and _est_
with adverb
descriptive, used as nouns
errors in use of
having number forms
needless ones avoided
not always limiting
not used for adverbs
numeral
cardinal
ordinal
proper order of
scheme for general review
used as abstract nouns
+Adjective Clauses+
connectives of
definition of
= adjectives
= explanatory modifiers
= independent clauses
= infinitive phrases
= participle phrases
= possessives
modifying omitted words
position of
restrictive and unrestrictive
unrestrictive, punctuation
+Adjective Complement+
distinguished from adverb modifier
+Adjective Modifiers+
analysis of
nouns as
+Adverb+ an definition of
+Adverbs+
apt ones to be used
classes of
comparison of
errors in use of
expressing negation
irregular comparison of
modifying
clauses
phrases
prepositions
sentences
not used for adjectives
not used needlessly
position of
scheme for general review
sometimes like adjective attributes
+used+
independently (note)
interrogatively (note)
with connective force (note)
+Adverb Clause+, definition of
+Adverb Clauses+
+classes+
cause, real
concession
condition
degree (result)
evidence
manner
place
purpose
time
+contracted+
by omitting words
to absolute phrases
to participles and participle phrases
to prepositional phrases
= adjective clauses and phrases (note)
= adverbs
= independent clauses (note)
position of
punctuation of
+Adverbial Modifiers+
analysis of
nouns as
parsing of
+Adversative Connectives+, list
+Adversative+, meaning of (note)
_A few, a little_, vs. _few_ and _little_
+Agreement+
of parts of a metaphor
of pronoun with its antecedent
of verb with the subject
+Allusion+ (note)
+Alphabet+
definition of
perfect one what
the English imperfect how
+Alternative+, meaning of (note)
+Alternative Connectives+, list
+Ambiguity+ of pronouns, how avoided
+Analysis+
examples for, additional
of a sentence
of subjects of themes
+Antecedent+, a clause, phrase, or word (note)
+Antithesis+ (note)
_Any body_ (or _one_) _else's_ (note)
+Apostrophe+ the
+Appositives+
+Argumentative Style+
+Arrangement+
+Articles+
+classes+
definite
indefinite
errors in use of
repeated when
uses of _a_, or _an_, and _the_
_As_
introductory conjunction
relative pronoun (note)
with clauses of degree, manner, and time
with variety of clauses
_As ... as_, construction of
_As it were_, construction of
+Aspirates+
+Assumed Subject+, what
+Attribute Complement+
definition of
diagram of
+Auxiliary Verbs+

_Be_,
conjugation of
derivation of (note)
_Beside_ and _besides_ distinguished (note)
_Best of the two_
_Between_ with three or more (note)
+Brackets+, use of
_But_
adversative conjunction
a preposition
various uses of
with or without _that_
with _what_ incorrect for _but that_ or _but_
_Can_
+Capital Letters+
in abbreviations
in beginning sentences
in class names
in compound names
in names of the Deity
in proper names
in titles
rule for _I_ and _O_
summary of rules for
+Case+
defined
of attribute complement
of explanatory modifier
of noun or pronoun independent
of noun or pronoun used adverbially
of objective complement
+Cases+
definitions of
in Anglo-Saxon and in Latin
+Case Forms+
errors in use of
five pronouns have three
nouns have two
only eight nominative
only seven objective
+Cause+, adverbs of
+Cause Clauses+, divisible
+Classification+
necessity of
not governed by logical relation
+Clauses+
classes
dependent
independent
complex and compound
+dependent+
adjective
adverb
noun
+independent+ (the thought)
in alternation
in contrast
in same line
inferred
+Collective Nouns+
form of verb with
of what number
+Colon+
+Comma+, rules for
+Comparison+
adjectives without it
cautions to guide in
definition of
degree used with two
degrees of, defined...257. 268
double, origin of
double, to be shunned
errors in use of
forms of
irregular
when adverb used
which form preferred
+Complement+
is what
the modified is what
+Complements+
attribute
(subjective)
object
objective
+Complex Sentences+
definition
treatment of
+Compound Attribute Complement+
+Compound Object Complement+
+Compound Personal Pronouns+
+Compound Predicate+, defined
+Compound Relative Pronouns+
+Compound Sentence+
changed to complex
contracted
defined
treatment of
+Compound Subject+, defined
+Condition Clauses without conjunction+
+Conjugation+
definition of
forms of
more elaborate form
+Conjunction a, definition of+
+Conjunctions+
+classes+
co-ordinate
subordinate
+co-ordinate+
adversative
alternative
+Conjunctions+ (cont.)
+co-ordinate+
copulative
co-ordinate connect sentences and paragraphs
scheme for review
+Conjunctive Adverbs+
are what
offices of
+Connectives+
apt ones to be chosen
+co-ordinate+
adversative
alternative
copulative
errors in use of
in correlation
introductory
+subordinate+
of adjective clauses
of adverb clauses
of noun clauses
+Consonants+, classes of
+Contraction+ of +Sentences+
+Co-ordinate Conjunctions+
+Copulative+, meaning of
+Copula+, what
+Correlatives+, errors in use of

_D_ of the _ed_ of verbs in past tense _D_ of the _ed_ of past participles _Dare_, without _s_ form +Dash+ the +Declarative Sentence+, defined +Declension+ defined of interrogative pronouns of nouns of personal pronouns of relative pronouns +Degree+, adverbs of +Descriptive Style+ +Diminution+, degrees of +Diagram+ a, what may be omitted _Do,_ idiomatic use of

_Each other_
construction of
with two or more
_Ed_ of past tense and participle
_Either_ and _neither_, pronouns and conjunctions, with two or more
_Either_ may be used for _each_
+Elocution+, object of
+Energy+
defined
exercises in
secured how
+English Grammar+, definition of
+Epigrams+ are what
+Evidence+ distinguished from +Cause+
+Exclamatory Sentences+
definition of
order of words in
+Expansion+
of absolute phrases
of infinitive phrases
of participles
of sentences
+Explanatory Modifier+
definition of
punctuation of

+Figures of Speech+
basis of
definition
illustrations of
names of
uses of
_First two_, etc.
+Force+ (see +Energy+)
_For to_

+Gender+
defined
distinguished from sex
of names of animals
of what importance
of pronouns, errors in
used in personification
+Gender Forms+
+Genders+, the three defined

_Had better, rather, sooner_ _Hand in hand_, construction of _Have written_, history of _He_ or _one_ after the indefinite _one_ +Humor+, in style +Hyphen+, use of

+Idea+ distinguished from object
_If_
for even if, although
for whether
omission of
variety of uses
+Imagery+, discussion of
+Imperative Sentence+
definition of
order of words in
_In_ and _Into_ distinguished
_In case that_, construction of
+Independent Clauses+
definition of
joined without conjunction
punctuated
+Independent Expressions+, punctuated
+Indirect+, or +Dative+, Object
+Inference+, expressed by an independent clause
+Infinitive+ (the),
and assumed subject after _for_
definition of
double nature of
old dative of
use of present perfect after past indicative
why called infinitive
+Infinitive Phrase+
after a preposition
as adjective
as adjective modifier
as adverb modifier
as attribute complement
as explanatory modifier
as object complement
as objective complement
as subject
cleft or split
does not with the noun form a clause
expansion into clauses
independent
_In order that_, construction of
+Interjections+
+Interrogation Point+, use of
+Interrogative Pronouns+
declension
definition
list
+Interrogative Sentences+
definition of
order of words in
+Intransitive Verbs+, definition
+Introductory Words+
+Invitations+, form of
+Irregular Verbs+
definition of
inflections of
list of
persistence of
_It_
for a clause
idiomatic use of
use for animals and children
vague
_It is me_, _him_, etc.
_Just as_, construction of
+Language+
definition of
made up of words
natural
word
_Last two_, etc.
_Lay_ and _lie_
_Less_, the final _s_ of, and _lesser_
_Lest_
equaling that not
various uses of
with noun clause
+Letters+, the alphabet
+Letters+
body of
conclusion of
heading of
illustration of
introduction of
parts of
superscription of
+Letter-Writing+
+Loose Sentence+
_Many a_, explanation of
+Manner+, adverbs of
+Masculine Gender+ distinguished
+Masculine Pronoun+, use of
_May_
+Metaphor+
definition of
exercises in use of
_Methinks_
+Metonymy+
definition of
exercises in use of
_Mine, thine, of mine_, etc
+Mode+ is what
+Modes+
+classes+,
imperative
indicative
potential
subjunctive
definitions of
imperative, no 2d and 3d persons
indicative, uses of
potential omitted
subjunctive
+Modifications+, definition
+Modified Complement+
+Modifiers+,
definition
different rank
explanatory, punctuation
_Must_
_Myself_, explanatory

+N+, Saxon _ne_, the negative particle
+Narrative Style+
+Natural Language+
_Need_, without _s_ form
+Negation+ by adverbs
+Negatives+, double
_No_ and _yes_, sentence-words
_No body_ (or _one_) _else's_
+Nominative Forms+, eight
+Noun+ a, definition of
+Nouns+
abstract
as adjective modifiers
as adverb modifiers
cases of
classes of
collective
common and proper
declension
gender of
number, kinds of
person of
roots of
scheme for general review
+Noun Clauses+
as attribute complement
as explanatory modifier
as object complement
as principal term of prepositional phrase
as subject
connectives of
contraction of
definition of
position of
punctuation of
+Noun Modifier+
explanatory (appositive)
explanatory of a sentence
possessive
+Number+
definition of
kinds of
of noun agreeing with adjective
of nouns determined
of verbs shows what

_0_ and _oh_ distinguished
+Object+ and +Object Complement+ distinguished
+Object+, indirect
+Object+, indirect, made subject
+Object Complement+
becoming subject
compound
definition of
retained after verb in passive
+Objective Forms+, seven
+Objective Complement+
an infinitive phrase
a participle
becoming an attribute complement
definition of
extended beyond its factitive sense
_Of_
in place of possessive sign
not always indicating possession
_Of mine_, etc
_On condition that_
_One another_
syntax of
with two or more
_Only_,
position of
syntax of
+Order+ (words and phrases)
transposed
usual
_Other_, misuse of
_Ought_
+Paragraph+ (the)
composition of
definition of
topics and subtopics of
unity of
+Paragraphing+, exercises in
+Parallel Construction+
+Parenthesis+, marks of
+Parenthetical Classes+, punctuation
+Parsing+
definition of
first step in
models for written
+Participles+
adjectival
as adjective modifiers
as attribute complements
as mere adjectives
as mere nouns
as objective complements
as prepositions
as principal word in a phrase
definition of
expansion of
forms of
in independent phrases
misuse of
modified by _a_ and _the_
modified by a possessive
nounal, called _gerunds, infinitives, verbal nouns_
place of
punctuation of
used in slurring
+Passive Voice+, idiomatic constructions
+Period+, use of
+Periodic Sentence+
+Person+
forms
of a noun or pronoun
of a verb
why regarded in the grammar
+Personification+, the figure
+Persons+, the three defined
+Perspicuity+
definition of
exercises in
+Phrases+
absolute
adjective and adverb
as prepositions
complex and compound
definition of
infinitive
interchange with clauses
interchange with words
participial
position of
prepositional
punctuation of
used independently
verb
+Place+, adverbs of
+Plural Number+
+Plural+
ending, origin
foreign forms of
formed irregularly
formed regularly
form same as singular
forms treated as singular
no form for
of compound words
of letters, figures, etc.
of proper names
some originally singular
some words always
two forms with different meaning
without singular of like meaning
+Possessive Ending+
added to explanatory word
ambiguity avoided by
attached to the adjective
confined to what
error respecting
errors in use of
_of_ for
of compound names
origin of
when omitted
when pronounced _es_
+Predicate+
adjective defined
a verb or contains one
compound
definition of
modified
noun defined
of two or more words
+Preposition+ a, defined
+Prepositions+
becoming adverbs
ending a sentence
ending in _ing_
errors in use of
list of
two before a noun
where sometimes found
with verb before a noun
+Pronoun+ a, defined
+Pronouns+
agreement
Nom. and Obj. forms
+classes+
adjective
interrogative
personal
relative
declension of
denote relations
errors in use of
need of
number
scheme for review
vagueness of
+Pronouns (Adjective)+
_a_ (day) _or two_
_all, both_, and _whole_ before _of_
_any body_ (or _one_) _else's_, etc.
declension of
definition of
demonstrative
distributive
_each other_, with two or more
_either, neither_, with two or more
_either_ for _each_
_first two, last three_, etc.,
_he_, etc. after indefinite _one_
indefinite
_none in both numbers_
_ones_, plural
_other_ and _than_, words between
_other two_, when one of three is taken
partial list of
_such_ or _so_ with adjectives
+Pronouns (Interrogative)+
declension
definition
list
+Pronouns (Personal)+
avoided when
compound
consistent use of
declension
definition
_its_, history of
misuse of _them_ for _those_
_my_ and _mine_, etc.
order of
_ours, yours_, etc., double possessives
+Pronouns (Personal)+ (cont.)
use of compound
used needlessly
_we_ hardly plural of _I_
_we_ instead of _I_
_ye_ has given way to _you_
+Pronouns (Relative)+
agreement of
compound
declension
definition
discriminated in use
omitted when
same with same antecedent
_that_ in restrictive clauses
_that_ instead of _who_ and _which_
_what_ misused for _that_
_who_ and _which_ restrictive and unrestrictive
with omitted antecedents
+Pun+, a
+Punctuation Marks+
exercises in
summary of rules for
+Qualities of Style+
+Question+, direct and indirect
+Quotation Marks+, use of
+Quotations+
capitalization of
definition of
direct
indirect
punctuation of
_Quoth_

+Regular Verbs+ definition increasing inflections of +Relative Clauses+, position +Result+, clauses of +Review Questions+ +Review+ of +Sentence+, scheme for

+Satire+
+Semicolon+, rules for
+Sentence+ (the)
balanced
contracted
defined
expanded
loose
period
+Sentences+ (classed)
+form+
complex
compound
simple
+meaning+
declarative
exclamatory
imperative
interrogative
_Set_ and _sit_
_Shall_ and _will_
_Should_ and _would_
+Simile+, definition and exercises in
+Simple Sentences+
definition of
treatment of
_Since_, various uses of
+Singular Number+
_So ... as_, construction of
_Some body_ (or _one_) _else's_
+Sounds+ and +Letters+
+Speech+
figures of
mechanism of
+Spelling+, rules for
+Style+
argumentative
definition of
descriptive
illustrations
narrative
qualities of
+Subject+
assumed, what
assumed, changed to prevent ambiguity
compound
defined
determined how
+Subject+ (_cont_.), modified, or logical
+Subjunctive Mode+
definition of
disappearing
uses of
+Subordinate Conjunctions+
+Subordinate Connectives+
+Synecdoche+
+Synopsis+ is what
+Syntax+, rules for

+Tense+
defined
future, how used
future perfect, how used
past, how used
past perfect, how used
present, how used
present perfect, how used
+Tenses+
defined
emphatic form of
errors in use of
conjunctive adverb
_Than_
errors in use of
followed by adjective
replaced by _but_, etc.
use after comparatives
with _me_ after it
_Than whom_
_That_ and _this_, adjectives, plurals
_That_ and _this_ (Adj. Pro.)
declension
reference
_That_ (Conj.)
with cause clause
with noun clause
with purpose clause
_That_, Conj. Adv., degree clause
_That_ (Rel. Pr.)
distinguished from _who_ and _which_
for _who_ and _which_
generally restrictive
preposition follows
_The_, uses of
_The ... the_
construction of
explanation of
+Themes+
framework of
how to write them
subjects for
_The one, the other_
_This_
+Thought+, how expressed
_Three times_ four _is_ twelve
_To_ with infinitive
construction of
expressing relation
extension of
no part of
not expressed
position of
without relation
+Transitive Verbs+
definition of
conjugated passively

+Unity+ of paragraphs _Unless_ (= _if not_) +Usage+