(3) Feelings consequent upon the indulgence of anger.
(4) Effects on the individual and on society.

(5) Moral character of this passion.

(6) Quotations — what others say of it.

(7) A person in a violent fit of passion has the appearance

of a maniac.

(8) An angry man opens his mouth and shuts his eyes.—Cato.

4. Prepare an analysis of Hamlet, Richelieu, first book of Paradise Lost, Irving's Legend of Sleepy Hollow, Goldsmith's Deserted Village, or Hamilton's lecture on The Causes of Philosophy.

5. Take account of your present knowledge or opinions on each of the following subjects; after reflection and (if necessary) after investigation, decide upon the point of view from which the subject shall be regarded - if the status is not given in the form in which the subject is presented for treatment; read, either as you may elect or as indicated by the accompanying references; determine the general heads, and arrange the special under them, or revise your provisional analysis if such has been made; amplify-dispose your materials in effective order:

(1) HAPPINESS MORE IN PURSUIT THAN IN POSSESSION.

See Montaigne's Essays, p. 383; Royal Path of Life, p. 384; Hamilton's Metaphysics, Lecture I, pp. 6–9; Haven's Mental Philosophy, p. 512; Ruskin's Modern Painters, Vol. I, p. 16.

(2) CONSCIENCE.

See Montaigne's Essays, pp. 229, 231; Gladstone's Might of Right, p. 110; Smiles' Duty, p. 13; Clarke's Self-Culture, p. 195; Coleridge's Aids to Reflection, pp. 145, 147, 303; Popular Science Monthly, Vol. IX, p. 80; ibid, Vol. XIII, p. 5; Joseph Cook's Conscience, pp. 13, 87, 171; Wayland's Elements of Moral Science, pp. 49, 59, 71; Hoyt's Cyclopædia of Practical Quotations, pp. 61-63; Haven's Mental Philosophy, p. 314; Schuyler's Empirical and Rational Psychology, pp. 439, 489; Ruskin's Modern Painters, Vol. II, p. 35; Shakespeare's Henry VI, Act 3, Scene 1; Richard III, Act 1, Scene 4, Act 5, Scene 3; Henry VIII, Act 2, Scene 2, Act 3, Scene 2.

(3) DOES POVERTY OR RICHES DEVELOP CHARACTER BEST. See Royal Path of Life, p. 120; Hamerton's Intellectual Life. pp. 187, 341; Le Roy Pope's Modern Fancies and Follies, p. 79; Talmage's Daily Thoughts, p. 263; Holland's Gold Foil, p. 179; Holland's Letters to the Joneses, p. 335; Bacon's Essays, XXXIV;

Mathews' Getting On in the World, p. 280; Smiles' Self-Help, pp. 40, 342, 344; (Nation, Vol. III, p. 215, Atlantic Monthly, Vol. XLVI, p. 846; Whipple's Success and its Conditions, p. 273; George Macdonald's Cheerful Words, p. 67; Ruskin's Modern Painters, Vol. I, pp. 4-5.

(4) FRIENDSHIP.

See Alcott's Table-Talk, p. 76; Bacon's Essays, XXVII; Emerson's Essays, First Series, VI; Greeley's Hints toward Reforms, p. 357; Mitchell's Reveries of a Bachelor, p. 212; Munger's On the Threshold, p. 31; Foster's New Cyclopædia of Practical Quotations, pp. 172-5; George Macdonald's Cheerful Words, p. 167; North American Review, Vol. LXXXIII, p. 104, Vol. CXXXIX, p. 453; Living Age, Vol. CXXIX, p. 214; Thackeray's London Sketches, pp. 26, 94; Alcott's Table-Talk, p. 77.

(5) DANCING.

See Blackwood's Magazine, Vol. VI, p. 43; Talmage's Abomination of Modern Society, p. 79; Chambers' Encyclopædia, Vol. III, p. 412; Munger's On the Threshold, p. 191; Thomason's Fashionable Amusements, p. 115; Living Age, LXXIII, p. 55; Penny Magazine, Vol. V, p. 1; Leigh Hunt's Seer, p. 105; Wise's Young Lady's Counselor, p. 199.

(6) NOVEL-READING.

See Potter's American Monthly, Vol. XII, p. 187; Edinburgh Review, Vol. XLIII, p. 356; Putnam's Magazine, Vol. IV, p. 389; Living Age, Vol. CXL, p. 349; Nation, Vol. II, p. 138; Talmage's Daily Thoughts, p. 327; Holland's Every-Day Topics, p. 269; Royal Path of Life, p. 162; Le Roy Pope's Modern Fancies and Follies, p. 172; Princeton Review, Vol. XLI, p. 202.

(7) A TASTE FOR LITERATURE.

See Dr. Porter's Books and Reading, pp. 30, 37-47, 72-80; Montaigne's Essays, p. 254; Hamerton's Intellectual Life, pp. 147, 353, 384; Munger's On the Threshold, p. 155; Beecher's Star Papers, p. 250; Emerson's Society and Solitude, p. 167; Scribner's Monthly, Vol. XV, p. 681; Living Age, LXIII, p. 72; Clarke's Self-Culture, p. 307; Isaac D'Israeli's Miscellanies, Vol. I, p. 22.

(8) FLOWERS.

See Beecher's Star Papers, p. 93; Beecher's Fruit, Flowers, and Farming, p. 117; Ruskin's Studies of Wayside Flowers; All the Year Round, Vol. VII, p. 414; Atlantic Monthly, Vol. X, p. 694;

Living Age, Vol. XIX, p. 241; Chambers' Journal, Vol. XXII, p. 117; Ruskin's Modern Painters, Vol. II, p. 91, Vol. III, pp. 193, 227, Vol. V, pp. 88, 92, 97; Hoyt and Ward's Cyclopædia of Practical Quotations, pp. 125–132.

(9) CO-EDUCATION.

See The Nation, Vol. X, p. 134; ibid, Vol. XI, pp. 24, 383; ibid, Vol. XVI, p. 349; ibid, Vol. XXIX, p. 364; Eclectic Magazine, Vol. XLII, p. 208; Living Age, Vol. CXXXVI, p. 685; Holland's EveryDay Topics, p. 237; American Journal of Education, Vol. XVII, p. 385; International Review, Vol. XIV, p. 130; North American Review, Vol. CXXXVI, p. 25.

(10) DREAMS.

See Haven's Mental Philosophy, p. 351; George Macdonald's Cheerful Words, p. 143; Eclectic Magazine, Vol. LXXXII, p. 279; ibid, Vol. XCVI, p. 27; ibid, Vol. LXVI, p. 701; Atlantic Monthly, Vol. XLVI, p. 402; North American Review, Vol. CXXIV, p. 179; Living Age, Vol. CXL, p. 314; Seaffield's Literature and Curiosities of Dreams; Boismont's Hallucinations, p. 159; Hoyt's Cyclopædia of Practical Quotations, pp. 96-8; also various works on Mental Science.

(11) INFLUENCE OF THE CRUSADERS.

See Bryce's Holy Roman Empire, pp. 164, 166, 167, 193, 205, 209; Lewis' History of Germany, pp. 171, 185, 213, 215; Michaud's History of the Crusaders, Vol. I, Introduction, p. 24, Vol. III, pp. 326, 339; Hallam's Middle Ages, Index; Gibbon's Rome, Index; Yeats' Growth and Vicissitudes of Commerce, pp. 171, 174; Hallam's Literature of Europe, Vol. I, pp. 113, 146; Milman's Latin Christianity, Vol. IV, pp. 24-34, 54, 68, Vol. VIII, pp. 370, 440; Palgrave's History of Normandy and England, Vol. VI, chap. xi; May's Democracy in Europe, Vol. I, pp. 254-256; Blanqui's History of Political Economy, pp. 125-133, 147.

(12) LEADING CAUSES OF THE FRENCH REVOLUTION.

See Thiers' French Revolution, Vol. I, chap. i; Comparative Display of Different Opinions of British Writers on French Revolution, Vol. I, pp. 1, 41, 80, 113, 129, 131, 148, 155, 159, 109, 604, Vol. II, p. 450; Van Laun's French Revolutionary Epoch, Introduction, Vol. I, chaps. i, ii; Taine's French Revolution, Vol. I, chaps. i, ii; ibid, Ancient Regime, Book V, chaps. i, ii; Abbott's French Revolution, chap. iv; Schlosser's History of Eighteenth Century, Vol. VI,

chap. i; Von Sybel's History of the French Revolution, Vol. I, Book I, chaps. i-iii, Book III, chap. i; Adams' (C. K.) Monarchy and Democracy in France, p. 3; Dyer's Modern Europe, Vol. III,' pp. 507-547; Alison's History of Europe (Edinburgh, 1835), chaps. ii, iii; Kitchin's History of France, pp. 362, 492, 505, 506; North American Review, Vol. CXXXVII, p. 388; Mason's History of France; Carlyle's French Revolution.

(13) TRIAL BY JURY.

See Stubb's Constitutional History of England, Vol. I, pp. 275, 395, 472, 473, 488, 489, 607–609, 620 (Grand Jury), Vol. I, pp. 469, 617; Stubb's Select Charters, Part IV; Creasy's English Constitution, chap. xiii; Forsyth's (Wm.) History of Trial by Jury; De Tocqueville's Democracy in America, Index; Taswell-Langmead's Constitutional History of England, pp. 90, 128, 158, 161-170; Stephens' De Lome's English Constitution, Vol. II, p. 788; Blackstone's Commentaries (Covley's edition), Vol. II, p. 347; North American Review, Vol. XCII, p. 297; ibid, Vol. CXIX, p. 219; Nile's Register, Vol. XIII, p. 139; Century, Vol. XXVI, p. 299; International Review, Vol. XIV, p. 158.

(14) ENGLISH DRAMA.

See Blair's Lectures on Rhetoric; Hazlitt's Literature of the Age of Elizabeth; Warton's History of English Poetry; Hallam's Literature of Europe; New American Cyclopædia; Knight's, Hudson's, or Malone's Life of Shakespeare; Chambers's Cyclopædia of English Literature; Encyclopædia Britannica; North American Review, Vols. XXXVIII and CXXVI; Galaxy, Vol. XIX; Eclectic Review, Vol. XC; Blackwood's Magazine, Vol. LXXIX; Collier's English Dramatic Poetry.

6. Discuss the life and work of Goethe under the heads of biography, writings, style, rank (among the world's authors), character, and influence.

See Emerson's Representative Men; Carlyle's Essays; Hutton's Essays in Literary Criticism; Hurst's Life and Literature in the Fatherland; Goodwin's Cyclopædia of Biography; Tuttle's German Leaders; American Cyclopædia; Encyclopædia Britannica; Nation, Vol. XXXII; Edinburgh Review, Vol. CVI; Living Age, Vol. CXXIX; Eclectic Magazine, Vol. LXXX; Contemporary Review, November, 1884.

FORMS OF EXPRESSION.

What I would therefore recommend to you is, that before you sit down to write on any subject you would spend some days in considering it, putting down at the same time, in short hints, every thought which occurs to you as proper to make a part of your intended piece. When you have thus obtained a collection of the thoughts, examine them carefully with this view, to find which of them is proper to be presented first to the mind of the reader, that he, being possessed of that, may be better disposed to receive what you intend for the second; and thus I would have you put a figure before each thought to mark its future place in your composition. For so every preceding composition preparing the mind for that which is to follow, and the reader often anticipating it, he proceeds with ease and pleasure and approbation, as seeming continually to meet his own thoughts. In this mode you have a chance for a perfect production; because the mind attending first to the sentiments alone, next to the method alone, each part is likely to be better performed, and, I think, too, in less time.- DR. FRANKLIN.

HE several kinds of composition may be considered under four general types.

Description.-Description is the exhibition of the coexistent parts and qualities of an object, real or imaginary, material or spiritual, by means of words. It is akin to drawing, painting, sculpture. It cannot equal them in vividness, but what they can only suggest, it can fully recount. Its picture contains more information, more thought, more enlivening touches. How much, for instance, does Byron add to the expressive power of marble in his fervid lines on the dying gladiator:

I see before me the Gladiator lie:

And through his side the last drops, ebbing slow