85. What an anchor is to a ship in a dark night on an unknown coast, aud amidst a boisterous ocean, Christian hope is to the soul when beset by the confusions of the world. In danger, it gives consolation; amidst general fluctuation, it affords one fixed point of enjoyment.

36. Can the stream continue to advance, when it is deprived of the fountain? Can the branch improve, when taken from the stock which gave it nourishment? No more can dependent spirits be happy when they are no longer in communion with the Father of spirits, and the Fountain of happiness.

37. The man who has no rule over his own spirit, possesses no antidote against poisons of any sort. He lies open to every insurrection of illhumor, and every gale of distress. Not so with the man who is employed in regulating his mind. Such a one is making provision against all the accidents of life. He is erecting a fortress, into which, in the day of sorrow, he can retreat with satisfaction.

ORIGINAL PROSE COMPOSITION.

The preceding lessons, embracing so large a variety of prescribed practice on sentences, the constituent parts of every composition, and on style and figurative language, have prepared the way for prosecuting successfully the various forms of prose composition which are to be exhibited in the present part of the work; but it may be useful to set forth some additional preparatory methods, which have been suggested by experienced writers and teachers, for securing facility and accuracy in original composition.

The subject on which the student is required to write, should be one of which he has some knowledge, and in which he feels, or may be brought to feel, some interest. If needful, let some information respecting it be imparted to him in conversation; let inquiries be proposed and answers requested, so that the mind of the student may be excited to think upon it with somewhat of readiness and clearness.

Young pupils might be required to write about objects in the school-room, or scenes with which they are familiar, and to ex

press their opinions upon what they have seen and heard, and about which it would not be difficult for them to hold intelligent conversation.

Dr. Todd has well advised, in the selection of a subject, to take one that is common and simple:

"Some have an idea," says he, "that it is easier and every way better to select out-of-the-way subjects, and import all their thoughts from a long distance; but this is too expensive. If we rear a house, we take the tone and the timber which are nearest and easiest to come at. We build ur factories near the waterfall, and carry the water as short a distance as we can. Do not try to see what new, uncommon words and thoughts you can obtain. Express your thoughts in clear, simple language, and, if you can, eloquently. Common things become beautiful when expressed with elegance. Dean Swift once wrote a composition upon a broomstick, and found no lack of materials or of interest; and we all know how charmingly Cowper has sung the sofa."

LESSON CXXIII.

ELEMENTARY EXERCISES IN ORIGINAL COMPOSITION.

1. Enumerate all the parts of your own dwelling-house and out-houses, also of your school-edifice and surroundings. Enumerate also the articles which they contain.

2. Enumerate all the parts of other objects, viz.: of a tree, of a bush, of a horse, of a cow, sheep, dog, cat; of a map, book, clock, watch, &c.

3. Enumerate all the qualities and the uses of various objects: such as iron, copper, tin, leather, snow, ice, cotton, wax, wool, chalk, paper, pen, ink, penknife, inkstand, &c.

4. Enumerate the parts, properties, qualities, and uses of the following objects: the hand, the arm, the foot, the eye, the ear, the mouth, the nose, the face, a wagon, a sleigh, a spade, a button, a kite, &c.

5. No form of composition is more useful or suitable for beginners, nor more easy of execution, than letter-writing. The earlier letters may be employed in giving to parents, or some other relatives, or to some friend. an account of school-duties-pleasures,

advantages, restraints, grievances, difficulties, studies, temptations, dangers, hopes, fears, &c. These will furnish topics for several letters.

The subject of letter-writing will hereafter be more fully presented.

LESSON CXXIV.

VARIOUS KINDS OF EXERCISE IN ORIGINAL COMPOSITION.

The following plans for introductory practice in original composition, are recommended for adoption:

1. The preparing of written reports of conversations held with friends, of scientific or literary information given by the teacher, of lectures, and of sermons, would have a most important effect, and exert a most direct influence in making ready writers. It is not here recommended that such report shall be made at the time of hearing what has been referred to, but afterwards, from memory.

2. As preliminary to this, the practice of keeping a daily journal of events interesting to the writer, is especially to be recommended as one of the happiest and easiest expedients of training a person to the use of the pen in the communication of thought.

Chiefly by pursuing this course, and also by recording her recollections of sermons and lectures, which she had heard in the course of two or three years, a young lady, under the writer's instruction, had acquired a most skilful use of the pen, not only in reference to accurate and full reports of sermons or lectures, but in the preparing of ordinary compositions, and in epistolary correspondence. It is frequency of writing, such as the keeping of a daily journal implies, that insures readiness and excellence.

3. With the more advanced pupils in a school, it would be found a most advantageous practice to set apart, on three or four successive days of the week, one half-hour, in school, for writing on an appropriate subject, given out by the teacher at the time—the pupil having no access to books, or opportunity for conversation, but being obliged to apply the mind with energy to the task in hand. 4. As introductory to the successful accomplishment of this

scheme, it might be well to lead them first to the habit of making out, at such times, a written report of some story or narrative read or spoken by the teacher.

Such exercises should afterwards be reviewed, corrected, rewritten, and handed in to the teacher for examination and criticism. Simplicity and naturalness of style in such writings should be studiously encouraged.

5. A still more simple method of securing the last-named purpose (as exemplified in a former lesson), would be to give out to a class from three to ten detached words, that as many sentences may be framed, each of which should contain one of these words. Afterwards, the task may be assigned of incorporating the entire number of words into one sentence, so as, at the same time, to make good sense.

This being done, the written exercises of each pupil may advantageously be read before the class, and the criticism of the class elicited upon each; not giving, however, the name of the writer, or subjecting any individual to ridicule for errors discovered.

LESSON CXXV.

CHANGE OF POETRY INTO PROSE.

Much advantage would be given, in learning the art of composition, by the frequent practice of converting poetry into good, regular prose, without altering the sentiment or meaning. It may be required to present it in as nearly the same words as the prose style will admit; and then, again, to give the utmost freedom as to the words employed, provided the same meaning shall be preserved.

This would be attended with the advantage of imparting not only a command of language, but also skill in tracing the difference between poetic words and poetic arrangement, as contradistinguished from those befitting prose. It would also lead the way to the writing of poetry, where a talent for this form of writing may exist.

The following may serve as a specimen of the exercise now recommended. The exercises of the various members of the class might profitably be read aloud successively, sentence by sentence, and compared.

"He scarce had ceased, when the superior Fiend

Was moving toward the shore; his pond'rous shield,
Ethereal temper, massy, large, and round,

Behind him cast; the broad circumference
Hung on his shoulders like the moon, whose orb
Through optic-glass the Tuscan artist views
At evening from the top of Fesolé,
Or in Valdarno, to descry new lands,
Rivers, or mountains, in her spotty globe.
His spear, to equal which the tallest pine
Hewn on Norwegian hills, to be the mast
Of some great admiral, were but a wand,
He walk'd with, to support uneasy steps
Over the burning marl, not like those steps
On Heaven's azure, and the torrid clime
Smote on him sore besides, vaulted with fire;
Nathless he so endured, till on the beach
Of that inflamed sea he stood, and call'd
His legions, angel-forms, who lay entranced,
Thick as autumnal leaves that strow the brooks
In Valombrosa, where th' Etrurian shades
High over-arch'd imbower; or scatter'd sedge
Afloat, when with fierce winds Orion arm'd
Hath vex'd the Red Sea coast, whose waves o'erthre
Busiris and his Memphian chivalry,

While with perfidious hatred they pursued
The sojourners of Goshen, who beheld
From the safe shore their floating carcasses

And broken chariot-wheels; so thick bestrown,
Abject and lost, lay these, covering the flood,
Under amazement of their hideous change.
He call'd so loud, that all the hollow deep
Of Hell resounded," &c.

The above is thus presented in the prosaic form:

"He had scarce done speaking when the superior fiend, Satan, was moving towards the shore; his heavy shield of heavenly workmanship, massy, large, and round, was cast behind him; the broad compass of it hung on his shoulders like the moon, whose orb the Tuscan artist views through optic-glasses in an evening, from the top of Fesolé, or else in Valdarno, to discover mountains, rivers, or new lands on her globe; the tall