CHAPTER II.

OF COMPOSITION.

470. After all, however, the surest means of writing well is to habituate one's self to the practice of composition. This is indispensably necessary. "Stylus optimus ac præstantissimus dicendi magister et effector."-Cic.

In fact, composition is the principal object to which the precepts of rhetoric, the study of models, and the various exercises of analysis, of translation, and of imitation tend. Besides, the practice of composition is a singularly efficacious means of developing the understanding, the judgment, and the taste, as will be readily seen from what we are about further to say.

471. To compose is to find out, to collect, to put in order the ideas, the images, the sentiments which the mind, the imagination, the heart can conceive upon any given subject. A composition, then, is an assemblage of thoughts, images, and sentiments so disposed and connected together that they form one entire whole.

472. To compose well the writer should,

1. Obtain a thorough knowledge of the subject of which he is to treat, and acquire a true, just, and clear idea of it under all its relations and dependencies. If, for example, an incident or a fact is to be related, all its circumstances should be carefully

studied in detail; if a scene, a place, or a person is to be described, all the parts, all the traits, all the details should pass in review; if a truth or a maxim is to be expounded and enforced, the proofs should be carefully examined and scrutinized, as well those that make for it as those which may be brought forward as objections. In a word, the first business of the writer or composer is invention.

2. When the writer is thus once master of his subject, he should then dispose in proper order the ideas and sentiments which have occurred to his mind, distribute the circumstances relating to the fact, and arrange the proofs of the truth he wishes. to establish in such a manner as to produce the impression he wishes to convey, and confirm upon the mind of the reader the truth he wishes to lay down. This comprises the disposition of his subject.

3. He may then refresh his imagination by reading some author who treats of the same or some analogous subject. Longinus says, "great models. inspire us as Apollo inspired his priestess." And it is said of Bossuet that he used to go to bed reading Homer, and when he awoke he felt the glow of inspiration upon his mind.

4. When this preparation has been made, and the impulse of genius is felt, then commence, and give the mind up to the inspiration which animates it. Give free reins to the imagination, and full scope to the feelings to operate uncontrolled, provided always, that you do not lose sight of the train of thought, and that your eye is steadily fixed upon the object you wish to attain.

473. If you feel your mind flag or grow weary, and the transport which animated you becomes cool, and you find that your ideas come reluctantly, or not at all, do not obstinately persevere. "Tu nihil invitâ dices facies-ve Minerva."-Hor. Suspend your labour for a time, and refresh your mind by reading some excellent author, such as Homer, Horace, Terence, this will tend powerfully to renew your energy, even if you should be writing in prose, or however different the subject of the book you take up may be from that which occupies your mind. It often happens, too, that a vigorous and well directed effort will free you from this sort of lethargy, which benumbs the mind as well as the fingers of the writer. In this state when the mind seems perfectly blank, the imagination paralyzed, and the heart unsusceptible of emotion, it will often be sufficient merely to set earnestly to work and make a commencement, in order to unlock the springs of thought and feeling. "Tantum modo incepto opus." Sall.

474. When at length the labour of composition is over, lay aside your work. The next day, when the imagination is cool, and the mind collected, examine with a calm and severe eye the production of yesterday. Suppress all superfluous thoughts, images, and words, correct redundancies and useless repetitions, in a word, retrench every thing that does not add grace, energy, or animation to your ideas, every thing that does not conduce to the object you have in view. Supply such thoughts and expressions as

may be necessary to render your thoughts more clear, more graceful, or more energetic and striking. Alter those which are false or exaggerated, as well as those images and figures which appear forced and unnatural, prune off all ambitious ornaments, and change those words and expressions which are improper, incorrect, too bold, too feeble, or too strong.

475. In the last place, you ought to be aware that no person is less fitted to judge of the merits of your composition than you are yourself, however cultivated your taste, and however correct your judgment may be. Under this conviction, then, you will not rely upon yourself, but you will submit your production to the inspection of a critical friend. But if you neglect this advice,-if you reject or despise the authority of a prudent and judicious friend, and, in spite of his counsel to the contrary, you venture to publish your writings,-know that there is another judge awaiting you, from whose decision there is no appeal; and from whom you cannot expect any thing but the severe and inevitable decree which condemns both you and your book

to oblivion, if not to contempt. public.

This judge is the

TABLE OF QUESTIONS.

"Debebit præceptor frequenter interrogare et judicium discipulorum experire.”—Quintil.

It is not sufficient that the principles of literature and eloquence be learned merely by heart. They ought to be thoroughly understood. Now, it is only by judicious questions that these principles can be impressed upon the memory, and engraved upon the mind of the pupil. This practice should be repeated, and persevered in, until correct answers are obtained, and the teacher is assured that his pupil has become master of what he has studied.

The following table of questions has the farther advantage of presenting a review of the principles laid down in the preceding work, of supplying certain explanations which may seem to have been omitted in the body of it, though implicitly contained in the definitions, and of illustrating some passages which, at first view, might seem obscure, or even contradictory. It forms, in fact, the key to the foregoing principles.

1. What is literature?

QUESTIONS.

the difference between literature and erudition?

2. What knowledge does it require?

5. What is the utility of literature?