discourse. Let him further enquire, whether the amplification of the different parts of the discourse are such as the subject demands, and as aid the principal design of the writer. Let him also notice the transitions from

one part to another.

As a model of what is here required of the student, the following abstract and analysis of (Exercise 3), which is of the persuasive didactic kind, is given. his rea

2.

The design of the writer is to enforce upon ders the instability of objects around him. With this view he directs the attention successively to those things, which seem to give the highest promise of stability. Such are, 1. The prominent parts of creation-the heavens and the earth, the mountains and the rocks. The firmest works of man-those stately monuments and buildings, which have been reared by human skill and power, and, as connected with them, those who reared and inhabited these works of art. 3. The friends and fellow-beings around us, on whom we are prone to lean for support. 4. Our own existence, which is dear to us, and which we desire should be permanent. This is his plan.

The manner of enlarging under the first head, is to enumerate different facts in proof of what is asserted. In the second part, where it is designed to shew the instability of works of art, the attention is directed to these works as they are seen in a state of decay, and then, on the principle of contrast, the perishing nature of these works and of their founders, is most fully shewn. In the third, the conviction of the transitory nature of our friends is enforced, by directing the attention to circumstances, which result from this fact. And in the fourth, that our own fading perishing nature may be felt, we are told to look back upon the past, from which

we learn, that the time of our continuance has been short, and to look forward to the future, when not only the places which have known us shall know us no more, but we shall cease to live in the memory of our friends, and even the monumental stone shall no longer tell where we lie.

The transition from the works of nature to those of art, is founded on resemblance, and is easily made, The second transition from the inhabitants of the world at a former period to those who now dwell upon it, is an instance of contrast. The transition from our friends and fellow-beings as mortal and perishing to ourselves, alike frail, is that of resemblance.

In this production, then, there is unity of object, a good division, happy amplifications of the different parts, and easy transitions.

Argumentative writings are addressed to the understanding with the design of producing conviction. It must be obvious, that unity of design, with a clear statement of this design, and a distinct and full exhibition of every argument which is brought to bear upon it, must be essential to the success of the writer. The transition from one argument to another may be abrupt without injury to the performance, since a common relation to the main object of discourse, forms a chain which binds the different parts together. As to the enlargement, or amplification on different arguments, this must depend on their need of explanation, and their importance in relation to the general subject.

In examining the example of argumentative writing (Ex. 4) let the following enquiries be answered, 1. What proposition would the writer establish? 2. What arguments does he advance in support of it? 3. Are any objections stated and answered?

In reviewing this analysis, let the attention of the student be directed to the importance of the different arguments in relation to the point to be established-to the order of their arrangement, and to their nature, whether a statement of facts and authorities or a connected chain of reasoning.

occurrences.

It is the purpose of narrative writings, to relate past We are not to expect in writings of this kind the regular divisions of a discourse, as in didactic and argumentative productions. Still there will be some prominent or leading event, and the different parts of the narrative will tend to exhibit it fully and clearly. These facts will be the circumstances of the event, such as led to it, such as accompanied it, or such as follow from it; and the writer will dwell upon them in proportion to their importance and connexion with his main design. Occasional reflections may also be made, and inferences drawn, and whatever can illustrate, or throw an interest around the principal event, will be introduced. As to transitions, they will often depend on the order of occurrences in the succession of time, or as one occurrence is accounted to be the cause of another.

In examining the example of narrative writing (Ex. 5) the following enquiries should be made.

1. What is the prominent or leading object of the narration ?

2. What are the principal facts and circumstances stated, and how are they connected with the leading design of the narration?

3. Are the different facts and circumstances dwelt upon in proportion to their relative importance?

In descriptive writing, it is the purpose of the writer to place before the view of his readers some object or

scene. In its design it nearly resembles both historical and landscape painting, and there is a resemblance too in the particulars on which the successful exertion of each depends. A happy selection of circumstances is of importance. A few prominent traits, well chosen, and strongly exhibited, will produce a much better effect, than the enumeration of many particulars. In this kind of writing, much is found which is designed to assist the distinctness of the mind's conception, and when the writer dwells on different parts, it is with this purpose. The transitions, as in the argumentative manner of writing, are often abrupt, and it is thought sufficient connexion, that the different parts tend to the same end. The narrative and descriptive are often found united. In examining the passage of descriptive writing, (Ex. 6), let the student enquire

1. What is the object or scene described?

2. Are the circumstances well selected?

3. Is the scene so represented as to be brought fully and distinctly before the mind?

CHAPTER SECOND.

ON TASTE.

WERE men simply intellectual beings, and were it the only design of the writer to convey instruction to his readers, what has been said in the preceding chapter would be all that is required, preparatory to the consideration of the qualities of a good style. But men have imagination, and are susceptible of emotions; and it is often the purpose of the writer, to cause the imagination to be exercised, and emotions of various kinds to be excited. To give pleasure in this way, may be the immediate object of the writer, or he may seek to please his readers, merely to arrest their attention, increase the distinctness of their views, and favorably incline them to the reception of the opinions he communicates.

From this statement the definite object of this and the following chapter may be learnt. It is to aid in judging of whatever is thus addressed to the imagination in connexion with certain emotions of which men are susceptible. To direct in all that thus pertains to the imagination and these emotions, is regarded as the office of Taste. Hence the nature of taste in general will first be considered. This will be followed by some account of what is implied by a literary taste, including an enumeration of those different properties in a literary production which are objects of its attention, with