cation of principles and rules, which are there found. The aid furnished by an instructor, is principally in the correction of attempts in composition, with such general guidance and advice, as the intellectual habits and peculiarities of the individual may require. I offer, therefore, on this head, merely a few practical suggestions.

1. It is highly important, that the attention of the student, in his first attempts, should be directed to the management of his subject. I would require of him to exhibit a plan, or skeleton, stating the precise object he has in view, the divisions he proposes to make with reference to this point, and the manner in which he designs to enlarge on each head. In this way, he will not only be aided in forming habits of methodically arranging his thoughts, but will be led to adopt the easiest and most direct method of proceeding, in writing on any subject.

2. I have ever found, that, so far as the construction of sentences is concerned, and here I refer both to the division of a paragraph into sentences and to the phrases and forms of expression,-I remark, that, in relation to this part of the work of composition, I have ever found, that students derive important aid from translating select passages from the writings of good authors in other languages. Every one knows, that in this way a command of language is acquired. And I would extend the meaning of the phrase, so as to include, not only that copia verborum, and that power of nice discrimination in the use of words, which are generally understood to be implied by it, but also the right arrangement of words, and the correct construction of sentences. Other things being equal, he who, during the first six months in which the attention is directed to composition, should devote half of his efforts to the writing of translations would, I doubt not, be in advance of him, whose exertions had been wholly employed in the work of composition.

3. I would further recommend a familiar mode of correcting the first attempts of the student. If practicable, the instructor may with advantage read over

with the pupil his production, and alone with him freely comment upon its defects and excellences. While in this way proper encouragement is given, the attention of the student is directed to that point where there is most need of improvement. Besides, it not unfrequently happens, that the efforts of the student have taken some wrong direction. He has some erroneous impressions as to the nature of style, or as to the manner in which a good style may be formed. It may be that he is labouring too much in the choice and arrangement of his words, or the construction of his sentences; or, assigning undue importance to the ornaments of style, he may be seeking principally after what is figurative, and the elegances of expression; or, again, with false notions of what is original and forcible, he may be striving after what is sententious and striking. Sometimes, too, there exists a fastidiousness of taste, which is detrimental. The student is kept from doing any thing, because he is unable to do better than he can do. In other instances, there is an injurious propensity to imitation. The student has fixed upon some writer as his model, and, servilely copying his master, his own native powers are neglected. Now, in all these instances, the advice of the instructor may be of essential benefit.

One general remark is all that I have to offer further on this head. It should ever be impressed on the student, that, in forming a style, he is to acquire a manner of writing, to some extent, peculiarly his own, and which is to be the index of his modes of thinkingthe development of his intellectual traits and feelings. It is the office of the instructor to facilitate the accomplishment of this important end, both by wisely directing the efforts of his pupil, and by removing every obstacle in his way.

A SYSTEM OF RHETORIC.

"The last degree of refinement is simplicity; the highest elo

quence is the plainest; the most effective style is the pure, severe

and vigorous manner, of which the great masters are the best teachers."

CHAPTER I.

ON THOUGHT AS THE FOUNDATION OF GOOD WRITING.

Plan of the work.

WHEN We read the production of one who is justly accounted a good writer, we are conscious that our attention is engaged; that we are pleased; and, if the subject is one which can interest the feelings, that we are moved. If from being conscious of these effects we are led to search for their causes, we find, that our attention is engaged by the valuable thoughts and just reasonings that are exhibited; that we are pleased by what gives exercise to our imagination,-by happy turns of expression, by well introduced and well supported illustrations; and that we are moved, because the writer, whose productions we are reading, is moved; and our feelings of sympathy cause us to be borne along on the same current, by which he is carried forward. But we now ask, what may hence be inferred in relation to the writer? Do we not discover, that his mind has been stored with knowledge? that his reasoning powers have been strengthened and subjected to salutary discipline?-that his imagination is active and well regulated, and his heart alive to emotion? and is it not from his possessing these resources-these intellectual and moral habits, that he has been able to engage our attention, to please and to move us, and consequently has acquired the reputation of a good writer?

Now if this view be just, we may infer, that the foundation of good writing is laid in the acquisition of the stores of knowledge,-in the cultivation of the reasoning powers, in the exercise and proper regulation of the imagination, and in the sensibilities of the heart.

B