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PREFACE
In re-modelling the
Manual of English Composition and Ehttoric, after twenty years’
experience of teaching, I have seen fit to narrow its scope, so as to do
more ample justice to certain portions of the work chosen for their
general utility.
The subject as thus modified has been much enlarged both in exposition
and in illustration, and is made to fall under two divisions; a separate
volume being given to each. With certain reservations, it may be said,
that the first division is occupied with the Elements of Style that
concern the Understanding; while the second division, without any
reservation, is to comprise the Emotional Qualities.
The topics of the present volume are the following:— Order of Words;
Number of Words; the Sentence; the Paragraph; Figures of Speech; and
finally, the Qualities of Style named respectively Clearness,
Simplicity, Impressiveness and Picturesqueness. Every one of these
topics is fully expounded, exemplified, and applied to the arts of
criticism and composition.
In further explanation of the mode of treatment, I may refer to the
department of Figures of Speech, occupying nearly one-third of the
volume. Never before has that branch received so large a share of
attention. Under the designation of 'Figures, the ancient authors of the
Ehetorical art not only originated a considerable part of our critical
vocabulary, but discussed many of the fundamentals of style and com-
position. Their enumeration of Figures in detail was voluminous, while
the classification of them was imperfect. Still, the place of these
Figures in Rhetoric is now established beyond recall. Under such
circumstances, the best thing to do is to select and methodize all such
as disclose any capital or leading features of style. This has been my
first object. Next, in expounding the kinds so selected, I have steadily
endeavoured to prescribe the conditions regulating the efficiency of the
several varieties of figure, and to apply these conditions in particular
testing examples. This is necessarily a hazardous proceeding; but it
cannot be evaded by whoever aims at expounding the Rhetorical art with
any degree of thoroughness.
It is under the Figures, that the Intellectual and Emotional Elements
are unavoidably mingled; so that special precautions have to be taken to
obviate the risk of confusing the learner. "While the applications to
the Understanding are fully stated, the amount of attention given to the
aspects that relate to Feeling is such, as to make it necessary to lay
down briefly the principles that regulate this department; the complete
handling being reserved for the Second Part.
The rest of the volume bears almost exclusively on the species of
composition addressed to the Understanding. As regards this particular
aim, the new work differs from the existing one in omitting to handle,
under express headings, the so-called Kinds of Composition—namely,
Description, Narration, Exposition, Oratory. Much of what was included
under those designations is here reproduced in other connexions : the
laws of Description are' exhaustively treated in the discussion of
Picturesqueness; and a considerable part of what pertains to the
Expository art will be found distributed throughout the several topics
as now arranged. Still, there is room for separate Manuals, giving an
exhaustive treatment of the Kinds of Composition, under their own
specific designations, as in the first Rhetoric, where there remain a
number of suggestions, as well as illustrations, that have not been
transferred to the present work.
As with the Figures, so with the other portions, the laws governing the
efficiency of the various devices of style are sedulously applied to
individual cases.
It appears to me to be a possible thing, to arrive at a definite code of
prescriptions for regulating the Intel-lectual Qualities of composition.
Granting that a certain progress has been made towards this
consummation, the fact would seem to mark out the department as a fit
subject for school discipline, at the proper stage; not to mention its
direct bearing upon the valuable accomplishment of writing well. The
several topics embraced are mostly on a level as regards ease of
comprehension; and the exposition is conducted with the view of bringing
the pupil’s own judgment into play. The concluding subject of the volume
— the quality named Picturesqueness, is properly an introduction to Part
Second, but does not very deeply involve the peculiar niceties
inseparable from the Emotional Qualities.
The exemplification is conducted partly by short instances adduced under
the principles, and partly by the minute and critical analysis of
passages of some length; both methods being essential to good teaching.
In most cases, the number of examples adduced for illustration and
criticism has been purposely made large, in order that the principles
may be seen in the widest range of their application; and, for the same
reason, they have been chosen from a considerable variety of English
writers. In the discussion of individual passages, there is frequent
room for difference of opinion as regards the judgments pronounced;
nevertheless, the object in view is attained, if the pupil is exercised
in comprehending the principles, and in discriminating their
applications.
There is no attempt to provide additional exercises. These are best
obtained in the readings that accompany instruction in literature. No
one author, however eminent, is enough for the purpose of reference; and
our miscellaneous reading-books are not as yet on a great enough scale.
Fortunately, there is a valuable resource in the cheap reprints of
English Classics that have lately become common. I may instance the
Messrs. Chambers, as having taken a lead in this enterprise. In the
Eeprints, together with the Miscellany of Tracts, published by them, a
little library can be selected for a very small sum, comprehensive
enough to illustrate all the matters of importance in the fullest
Bhetoric text-book.
The labour bestowed upon the present work, both in its original form and
in the revision, has been incurred under the belief that, in any
complete course of instruction in Literature, there must be a place for
Bhetoric, as methodically expounded. What that place should be, I have
discussed at length in a separate treatise, devoted to the entire
question of Teaching English.
Aberdeen, January, 1887
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