investigation. Without it, mental conclusions are loose and desultory. As soon as a habit of generalizing the thoughts is acquired by this artificial process, the pupil is released from his restraints, and is at last allowed to write Essays without being required to observe the order pursued in his simple and complex themes."

The method which I recommend in writing complex themes is similar in its character to that pursued with simple subjects. A simple theme describes some particular subject, generally expressed in a single word, term or phrase; and embraces a view of its properties, qualities and effects. A complex theme is a proposition or assertion which relates to a simple subject; an exhortation to practice some particular virtue, or action, or to avoid some particular vice or deed proving of some truth.

or it is the The directions relating to the study of simple themes are to be regarded, and applied to complex subjects in addition to which certain special rules must be observed, which pertain only to subjects of this nature.

The time that I have already taken up will prevent my extending these remarks to the length which I originally intended. I have already trespassed upon your patience, and have but entered on my subject. I must here leave the consideration of complex themes, unfinished as it is. But I cannot take leave of this department of my theme, without suggesting to the pupil, in this stage of his progress, the advantage to be gained by the study of general subjects, of every kind of variety, without taking the trouble to record the result of his reflections. Such a practice will have a beneficial effect in giving him fluency, when he is unexpectedly called upon; and will also impart skill and readiness in extemporaneous discourse or debate.

This accords with the advice of Cicero, who "recommends to the young and ambitious rhetorician to study subjects in the abstract; that he may be prepared on every topic which shall come into discussion, or at all events, require only a little time to fill up names, dates, and circumstances."*

After the subject of simple and complex themes, the next step towards the higher departments of composition is an exercise, which for the want of a better term, I call methodising.

* From Jardine, page 163.

It resembles that part of a regular discourse, which in common treatises on rhetoric, is called the Division. The difficulty of the exercise should not deter the pupil from attempting it; for, it must be recollected that no one can write well, who has no ability to present his subject in a methodical manner. As no two individuals would probably methodise a subject in the same manner, the only directions that can be given here, are

First, That diligent attention must be paid to the unity of the subject; and no particular, or head, be introduced that is not strictly and intimately connected with it.

Second, The heads or divisions must be sufficiently comprehensive to embrace all that is important pertaining to it.

In methodising a subject, it must be borne in mind that there are three important particulars which generally require notice in simple themes-namely, the nature the importance and the effects; and in compound subjects, the explanation, the proof and the confirmation.

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The study of a subject will sometimes involve a process of reasoning, leading to conclusions and results wholly unforeseen and unexpected. This method called Investigation, is very fully, clearly and skilfully explained in a work to which I have already referred - I mean Jardine's "Outlines of a Philosophical Education." The teacher who would carry his pupil to the highest attainments in the art of writing, will find many very valuable suggestions in this excellent work.

I here conclude what I have to offer in relation to that first difficulty which besets the pupil in his early attempts at composition, namely, the want of ideas. What I have further to say will detain you but a few moments longer. I have shown that there is a generating principle in every mind, however immature, which by the aid of its own powers will lead it to new acquisitions; will open to it new mines of wealth, and discover new springs, flowing from inexhaustible fountains. There is, it is true, a widely extended difference in the strength and capacity of every intellect; and the teacher must proportion his expectations to this difference-yet he will find in all, (such is the fertility of minds) that the miracle which the prophet wrought for the widow of Sarepta, has its analogy in the productions even of the youngest intellect. The mind is

never drained, the barrel of meal shall not waste- neither shall the cruse of oil fail. Every idea every thought seems like the worm encircled in its silken shroud, intent alone on the business of leaving its progeny behind

nay, more like the polypus, that connecting link between animal and vegetable existence, it may be divided and subdivided, and still exist a perfect being of its kind in each of its minutest subdivisions. And again, like the newly discovered spring, which at first, sends forth to human labor, a brackish and a muddy current, that is soon succeeded by a purer flow, the mind becomes a richer and more copious fountain of thought and sentiment, the more it is called upon to impart its riches.

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I come now to the subject of expression. And in the first place, the pupil must be made acquainted with the origin and component parts of the language-its structure, its prevailing idioms the principles which regulate the position of words in sentences, the nature, diversity, and requisites of the principal kinds of style the causes of this diversity- the means of forming a correct taste in composition. He must not be confined to the mere properties or offices of the different parts of speech, but extend his observations and inquiries to the connexion which exists between them, and the things or thoughts for which they stand. He must be accustomed to compare the naked idea with the dress in which it is clothed. The Venus de Medici itself would cease to enchant the world, were it arrayed in the habiliments of a modern belle. The beauties of style must be thoughtfully blended with the beauties of sentiment, in order to form those models, which an admiring world will applaud, as they shine forth in the polished pages of the author, the beautiful imagery of the poet, the harmonious periods of the orator, or the conversational smartness of the man of letters. All this is accomplished by regular steps, and laborious application. It is not of spontaneous growth, it is not of voluntary and unaided intuition. I would that my limits would allow me to refer to the principles of rhetorical rule, of grammatical analysis, of logical synthesis, and philological detail. But I am admonished by the hour, to bring my remarks to a close. I cannot, however, dismiss the subject, without enjoining it upon the teacher, to impress upon the pupil, the importance, in writing as well as in speaking, of regarding that advice,

quaintly given by a late venerable head of one of our literary institutions, in his valedictory address, to one of the classes:

"Young gentlemen," said the president, "let me give you this word of parting advice. Never to speak, until you have something to say and be sure to finish, as soon as

you have done."