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      English: Composition and Literature

      PREFACE

      In July, 1898, I presented at the National Educational Association, convened in Washington, a Course of Study in English. At Los Angeles, in 1899, the Association indorsed the principles1 of this course, and made it the basis of the Course in English for High Schools. At the request of friends, I have prepared this short text-book, outlining the method of carrying forward the course, and emphasizing the principles necessary for the intelligent communication of ideas.

      It has not been the purpose to write a rhetoric. The many fine distinctions and divisions, the rarefied examples of very beautiful forms of language which a young pupil cannot possibly reproduce, or even appreciate, have been omitted. To teach the methods of simple, direct, and accurate expression has been the purpose; and this is all that can be expected of a high school course in English.

      The teaching of composition differs from the teaching of Latin or mathematics in this point: whereas pupils can be compelled to solve a definite number of problems or to read a given number of lines, it is not possible to compel expression of the full thought. The full thought is made of an intellectual and an emotional element. Whatever is intellectual may be compelled by dint of sheer purpose; whatever is emotional must spring undriven by outside authority, and uncompelled by inside determination. A boy saws a cord of wood because he has been commanded by his father; but he cannot laugh or cry because directed to do so by the same authority. There must be the conditions which call forth smiles or tears. So there must be the conditions which call forth the full expression of thought, both what is intellectual and what is emotional. This means that the subject shall be one of which the writer knows something, and in which he is interested; that the demands in the composition shall not be made a discouragement; and that the teacher shall be competent and enthusiastic, inspiring in each pupil a desire to say truly and adequately the best he thinks and feels.

      These conditions cannot be realized while working with dead fragments of language; but they are realized while constructing living wholes of composition. It is not two decades ago when the pupil in drawing was compelled to make straight lines until he made them all crooked. The pupil in manual training began by drawing intersecting lines on two sides of a board; then he drove nails into the intersections on one side, hoping that they would hit the corresponding points on the other. Now no single line or exercise is an end in itself; it contributes to some whole. Under the old method the pupil did not care or try to draw a straight line, or to drive a nail straight; but now, in order that he may realize the idea that lies in his mind, he does care and he does try: so lines are drawn better and nails are driven straighter than before. In all training that combines intellect and hand, the principle has been recognized that the best work is done when the pupil’s interest has been enlisted by making each exercise contribute directly to the construction of some whole. Only in the range of the spiritual are we twenty years behind time, trying to get the best construction by compulsion. It is quite time that we recognized that the best work in composition can be done, not while the pupil is correcting errors in the use of language which he never dreamed of, nor while he is writing ten similes or ten periodic sentences, but when both intellect and feeling combine and work together to produce some whole. Then into the construction of this whole the pupil will throw all his strength, using the most apt comparisons, choosing the best words, framing adequate sentences, in order that the outward form may worthily present to others what to himself has appeared worthy of expression.

      There are some persons who say that other languages are taught by the word and sentence method; then why not English? These persons overlook the fact that we are leaving that method as rapidly as possible, and adopting a more rational method which at once uses a language to communicate thought. And they overlook another fact of even greater importance: the pupil entering the high school is by no means a beginner in English. He has been using the language ten or twelve years, and has a fluency of expression in English which he cannot attain in German throughout a high school and college course. The conditions under which a pupil begins the study of German in a high school and the study of English composition are entirely dissimilar; and a conclusion based upon a fancied analogy is worthless.

      It is preferable, then, to practice the construction of wholes rather than the making of exercises; and it is best at the beginning to study the different kinds of wholes, one at a time, rather than all together. No one would attempt to teach elimination by addition and subtraction, by comparison and by substitution, all together; nor would an instructor take up heat, light, and electricity together. In algebra, or physics, certain great principles underlie the whole subject; and these appear and reappear as the study progresses through its allied parts. Still the best results are obtained by taking up these several divisions of the whole one after another. And in English the most certain and definite results are secured by studying the forms of discourse separately, learning the method of applying to each the great principles that underlie all composition.

      If the forms of discourse are to be studied one after another, which shall be taken up first? In general, all composition may be separated into two divisions: composition which deals with things, including narration and description; and composition which deals with ideas, comprising exposition and argument. It needs no argument to justify the position that an essay which deals with things seen and heard is easier for a beginner to construct than an essay which deals with ideas invisible and unheard. Whether narration or description should precede appears yet to be undetermined; for many text-books treat one first, and perhaps as many the other. I have thought it wiser to begin with the short story, because it is easier to gain free, spontaneous expression with narration than with description. To write a whole page of description is a task for a master, and very few attempt it; but for the uninitiated amateur about three sentences of description mark the limit of his ability to see and describe. To get started, to gain confidence in one’s ability to say something, to acquire freedom and spontaneity of expression,—this is the first step in the practice of composition. Afterward, when the pupil has discovered that he really has something to say,—enough indeed to cover three or four pages of his tablet paper,—then it may be time to begin the study of description, and to acquire more careful and accurate forms of expression. Spontaneity should be acquired first,—crude and unformed it may be, but spontaneity first; and this spontaneity is best gained while studying narration.

      There can be but little question about the order of the other forms. Description, still dealing with the concrete, offers an admirable opportunity for shaping and forming the spontaneous expression gained in narration. Following description, in order of difficulty, come exposition and argument.

      I should be quite misunderstood, did any one gather from this that during the time in which wholes are being studied, no attention is to be given to parts; that is, to paragraphs, sentences, and words. All things cannot be learned at once and thoroughly; there must be some order of succession. In the beginning the primary object to be aimed at is the construction of wholes; yet during their construction, parts can also be incidentally studied. During this time many errors which annoy and exasperate must be passed over with but a word, in order that the weight of the criticism may be concentrated on the point then under consideration. As a pupil advances, he is more and more competent to appreciate and to form good paragraphs and well-turned sentences, and to single out from the multitude of verbal signs the word that exactly presents his thought. The appreciation and the use of the stronger as well as the finer and more delicate forms of language come only with much reading and writing; and to demand everything at the very beginning is little less than sheer madness.

      Moreover there never comes a time when the construction of a paragraph, the shaping of a phrase, or the choice of a word becomes an end in itself. Paragraphs, sentences, and words are well chosen when they serve best the whole composition. He who becomes enamored of one form of paragraph, who always uses periodic sentences, who chooses only common words, has not yet recognized that the beauty of a phrase or a word is determined by its fitness, and that it is most beautiful because it exactly suits the place it fills. The graceful sweep of a line by Praxiteles or the glorious radiancy of a color by Angelico is most beautiful in the place it took from the master’s hand. So Lowell’s wealth of figurative language and Stevenson’s unerring choice of delicate words are most beautiful, not when torn from their original setting to serve as

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