Composition-Rhetoric.
by Stratton D. Brooks.
PREFACE
The aim of this book is not to produce critical readers of literature, nor to prepare the pupil to answer questions about rhetorical theory, but to enable every pupil to express in writing, freely, clearly, and forcibly, whatever he may find within him worthy of expression.
Three considerations of fundamental importance underlie the plan of the book:--
First, improvement in the performance of an act comes from the repet.i.tion of that act accompanied by a conscious effort to omit the imperfections of the former attempt. Therefore, the writing of a new theme in which, the pupil attempts to avoid the error which occurred in his former theme is of much greater educational value than is the copying of the old theme for the purpose of correcting the errors in it. To copy the old theme is to correct a result, to write a new theme correctly is to improve a process; and it is this improvement of process that is the real aim of composition teaching.
Second, the logical arrangement of material should be subordinated to the needs of the pupils. A theoretical discussion of the four forms of discourse would require that each be completely treated in one place. Such a treatment would ignore the fact that a high school pupil has daily need to use each of the four forms of discourse, and that some a.s.sistance in each should be given him as early in his course as possible. The book, therefore, gives in Part 1 the elements of description, narration, exposition, and argument, and reserves for Part II a more complete treatment of each. In each part the effort has been made to adapt the material presented to the maturity and power of thought of the pupil.
Third, expression cannot be compelled; it must be coaxed. Only under favorable conditions can we hope to secure that reaction of intellect and emotion which renders possible a full expression of self. One of the most important of these favorable conditions is that the pupil shall write something he wishes to write, for an audience which wishes to hear it. The authors have, therefore, suggested subjects for themes in which high school pupils are interested and about which they will wish to write. It is hoped that the work will be so conducted by the teacher that every theme will be read aloud before the cla.s.s. It is essential that the criticism of a theme so read shall, in the main, be complimentary, pointing out and emphasizing those things which the pupil has done well; and that destructive criticism be largely impersonal and be directed toward a single definite point. Only thus may we avoid personal embarra.s.sment to the pupil, give him confidence in himself, and a.s.sure him of a sympathetic audience--conditions essential to the effective teaching of composition.
The plan of the book is as follows:--
1. Part 1 provides a series of themes covering description, narration, exposition, and argument. The purpose is to give the pupil that inspiration and that confidence in himself which come from the frequent repet.i.tion of an act.
2. Each theme differs from the preceding usually by a single point, and the teaching effort should be confined to that point. Only a false standard of accuracy demands that every error be corrected every time it appears. Such a course loses sight of the main point in a multiplicity of details, renders instruction ineffective by scattering effort, produces hopeless confusion in the mind of the pupil, and robs composition of that inspiration without which it cannot succeed. In composition, as in other things, it is better to do but one thing at a time.
3. Accompanying the written themes is a series of exercises, each designed to emphasize the point presented in the text, but more especially intended to provide for frequent drills in oral composition.
4. Throughout the first four chapters the paragraph is the unit of composition, but for the sake of added interest some themes of greater length have been included. Chapter V, on the Whole Composition, serves as a review and summary of the methods of paragraph development, shows how to make the transition from one paragraph to another, and discusses the more important rhetorical principles underlying the union of paragraphs into a coherent and unified whole.
5. The training furnished by Part 1 should result in giving to the pupil some fluency of expression, some confidence in his ability to make known to others that which he thinks and feels, and some power to determine that the theme he writes, however rough-hewn and unshapely it may be, yet in its major outlines follows closely the thought that is within his mind. If the training has failed to give the pupil this power, it will be of little advantage to him to have mastered some of the minor matters of technique, or to have learned how to improve his phrasing, polish his sentences, and distribute his commas.
6. Part II provides a series of themes covering the same ground as Part I, but the treatment of these themes is more complete and the material is adapted to the increased maturity and thought power of the pupils. By means of references the pupils are directed to all former treatments of the topics they are studying.
7. Part II discusses some topics usually treated in college courses in rhetoric. These have been included for three reasons: first, because comparatively few high school pupils go to college; second, because the increased amount of time now given to composition enables the high school to cover a wider field than formerly; and third, because such topics can be studied with profit by pupils in the upper years of the high school course.
8. It is not intended that the text shall be recited. Its purpose is to furnish a basis for discussion between teacher and pupils before the pupils attempt to write. The real test of the pupils" mastery of a principle discussed in the text will be their ability to put it into practice.
Any judgment of the success or failure of the book should be based upon the quality of the themes which the pupils write. Criticisms and suggestions will be welcomed from those who use the book.
The authors wish to express their obligation for advice and a.s.sistance to Professor Edward Fulton, Department of Rhetoric, University of Illinois; Messrs. Gilbert S. Blakely and H. E. Foster, Instructors in English, Morris High School, New York; Miss Elizabeth Richardson, Girls" High School, Boston; Miss Katherine H. Shute, Boston Normal School; Miss E.
Marguerite Strauchon, Kansas City High School.
The selections from Hawthorne, Longfellow, Lowell, Holmes, Whittier, Warner, Burroughs, Howells, and Trowbridge are used by permission of and by special arrangement with Hoaghton, Mifflin, and Company, publishers of their works.
Grateful acknowledgment is made to Harper and Brothers; The Century Company; Doubleday, Page, and Company; and Charles Scribner"s Sons for permission to use the selections to which their names are attached: to the publishers of the _Forum, Century, Atlantic Monthly, McClure"s, Harper"s, Scribner"s_, and the _Outlook_ for permission to use extracts: and to Scott, Foresman, and Company; D. Appleton and Company; Henry Holt and Company; G. P. Putnam"s Sons; Thomas Y. Crowell and Company; and Benjamin H. Sanborn and Company for permission to use copyrighted material.
PART 1
1. EXPRESSION OF IDEAS ARISING FROM EXPERIENCE
+1. Pleasure in Expressing Ideas.+--Though we all enjoy talking, we cannot write so easily as we talk, nor with the same pleasure. We seldom talk about topics in which we are not interested and concerning which we know little or nothing, but we often have such topics a.s.signed to us as subjects for compositions. Under such conditions it is no wonder that there is little pleasure in writing. The ideas that we express orally are those with which we are familiar and in which we are interested, and we tell them because we wish to tell them to some one who is likewise interested and who desires to hear what we have to say. Such expression of ideas is enjoyed by all. If we but choose to express the same kinds of ideas and for the same reason, there is an equal or even greater pleasure to be derived from the expression of ideas in writing. The purpose of this book is to show you how to express ideas _clearly, effectively_, and _with pleasure_.
+2. Sources of Ideas.+--We must have ideas before we can express them.
There are three sources from which ideas arise. We may gain them from experience; we may recombine them into new forms by the imagination; and we may receive them from others through the medium of language, either by conversation or by reading.
Every day we add to our knowledge through our senses. We see and hear and do, and thus, through experience, acquire ideas about things. By far the greater part of expression has to do with ideas that have originated in this way. The first chapter in this book is concerned with the expression of ideas gained through experience.
We may, however, think about things that have not actually occurred. We may allow our minds to picture a football game that we have not seen, or to plan a story about a boy who never existed. Nearly every one takes pleasure in such an exercise of the imagination. The second chapter has to do with the expression of ideas of this kind.
We also add to our knowledge through the medium of language. Through conversation and reading we learn what others think, and it is often of value to restate these ideas. The expression of ideas so acquired is treated in the third chapter.
+3. Advantages of Expressing Ideas Gained from Experience.+--Young people sometimes find difficulty in writing because they "have nothing to say."
Such a reason will not hold in regard to ideas gained from experience.
Every one has a mult.i.tude of experiences every day, and wishes to tell about some of them. Many of the things which happen to you or to your friends, especially some which occur outside of the regular routine of school work, are interesting and worth telling about. Thus experience furnishes an abundance of material suitable for composition purposes, and this material is of the best because the ideas are _sure to be your own_.
The first requisite of successful composition is to have thoughts of your own. The expressing of ideas that are not your own is mere copy work, and seldom worth doing.
Ideas acquired through experience are not only interesting and your own, but they are likely to be _clear_ and _definite_. You know what you do and what you see; or, if you do not, the effort to express your ideas so that they will be clear to others will make you observe closely for yourself.
Still another advantage comes from the fact that your experiences are not presented to you through the medium of language. When experience furnishes the ideas, you are left free to choose for yourself the words that best set forth what you wish to tell. The things of your experience are the things with which you are most familiar, and therefore the words that best apply to them are those which you most often use and whose meanings are best known to you.
Because experience supplies an abundance of interesting, clear, and definite ideas, which are your own and which may be expressed in familiar language, it furnishes better material for training in expression than does either imagination or reading.
+4. Essentials of Expression.+--The proper expression of ideas depends upon the observance of two essentials: first, you should say what you mean; and second, you should say it clearly. Without these, what you say may be not only valueless, but positively misleading. If you wish your hearer to understand what occurred at a certain time and place, you must first of all know yourself exactly what did occur. Then you must express it in language that shall make him understand it as clearly as you do. You will learn much about clearness, later; but even now you can tell whether you know what is meant by each sentence which you hear or read. It is not so easy to tell whether what you say will convey clearly to another the meaning you intend to convey, but you will be helped in this if you ask yourself the questions: "Do I know exactly what happened?" "Have I said what I intended to say?" "Have I said it so that it will be clear to the listener?"
+Oral Composition 1.+--_Report orally on one of the following:_--
1. Were you so interested in anything yesterday that you told it to your parents or friends? Tell the cla.s.s about it.
2. Tell about something that you have done this week, so that the cla.s.s may know exactly what you did.
3. Name some things in which you have been interested within the last two or three months. Tell the cla.s.s about one of them.
4. Tell the cla.s.s about something that happened during vacation. Have you told the event exactly as it occurred?
+5. Interest.+--In order to enjoy listening to a story we must take an interest in it, and the story should be so told as to arouse and maintain this interest. As you have listened to the reports of your cla.s.smates you have been more pleased with some than with others. Even though the meaning of each was clear, yet the interest aroused was in each case different.
Since the purpose of a story is to entertain, any story falls short of its purpose when it ceases to be interesting. We must at all times say what we mean and say it clearly; but in story telling especially we must also take care that what we say shall arouse and maintain interest.
+6. The Introduction.+--The story of an event should be introduced in such a manner as to enable the hearer to understand the circ.u.mstances that are related. Such an introduction contributes to clearness and has an important bearing upon the interest of the entire composition. In order to render our account of an event clear and interesting it is usually desirable to tell the hearers _when_ and _where_ the event occurred and _who_ were present. Their understanding of it may be helped further by telling such of the attendant circ.u.mstances as will answer the question, _Why_? If I begin my story by saying, "Last summer John Anderson and I were on a camping trip in the Adirondacks," I have told when, where, and who; and the addition of the words "on a camping trip" tells why we were in the Adirondacks, and may serve to explain some of the events that are to follow. Even the statement of the place indicates in some degree the trend of the story, for many things that might occur "in the Adirondacks"
could not occur in a country where there are no mountains. Certainly the story that would follow such an introduction would be expected to differ from one beginning with the words, "Last summer John Anderson and I went to visit a friend in New York."
It is not always necessary to tell when, where, who, and why in the introduction, but it is desirable to do so in most cases of oral story telling. These four elements may not always be stated in incidents taken from books, for the reader may be already familiar with them from the preceding portions of the book. The t.i.tle of a printed or written story may serve as an introduction and give us all needed information. In relating personal incidents the time element is seldom omitted, though it may be stated indirectly or indefinitely by such expressions as "once" or "lately." In many stories the interest depends upon the plot, and the time is not definitely stated.