REMARKS

ON THE MOTION TO ADOPT THE REPORT ON THE METHOD OF TEACHING ENGLISH COMPOSITION.

BY W. H. McGUFFY, A. M.

The report is judicious. No doubt is entertained but that the plan proposed is much superior to those in common use. Indeed, so much is this most important exercise neglected in our schools, that scarcely any method can be said to be in common use. The exercise of deriving and compounding words, recommended in the report, is invaluable. And those are no ordinary benefactors to their country who have given to common schools, books that render this practice not only possible, but easy and even delightful.

But it is submitted whether this exercise is not better calculated to cultivate an acquaintance with the philosophical elements, and composition of words, than to improve the taste, or cultivate elegance and precision, in the consecutive combinations of the symbols of thought.

Synonymizing and paraphrasing, it is believed, will have a deletereous influence upon the style of the pupil. Let him be required to try the first. He will of course seek to connect as many words as possible, in his performance, of similar, or nearly similar import-but without much regard to the logical connection of the ideas In truth, this is not his object. His mind is fixed upon the words and their relations. But as no two words in any language are exactly alike in their appropriate meaning, he must express himself vaguely and without precision, in the use of any other terms, however nearly synonymous, than those which are the exact representative of his thought.

Or let the derivative method, illustrated most happily in the report, be adopted; and the mind of the youth is diverted from the search after clear and distinct and yet connected thoughts; and solicited to a chase after words cognate and conjugate, relative and correlative in almost endless progression.

The specimen of this kind of composition furnished in the reportfrom the book of a pupil, is a most admirable specimen. Nothing of the kind can excel it, either in execution, or in the selection of a root which, in the number of its descendants may fairly claim the appellation of patriarch. Pono, or pose with its numerous family of affixes,

and prefixes, such as compose, decompose, discompose, etc., etc., etc., will furnish phraseology sufficient for the longest theme, that either teacher or pupil need desire. But nothing is hazarded in affirming that four-fifths of all the words thus supplied and so employed, will, in every such attempt, appear to be misapplied, when considered as words ought always to be considered, as the exact sensible equivalent, to the intellectual catenation of precise thoughts. Nor would ány judicious teacher, it is believed, be able to endure the inaccuracy of expression thus induced, were he not to view it in reference to this exercise in conjugate terms. This practice may cultivate analogical recollection of terms; and ingenuity in forcing them into syntactical adjustments with their kindred; but must, it is feared be inimical to that simplicity of style, which shows the thoughts of the writer as through a perfectly transparent medium. Words coerced into unnatural combinations, such as the method alluded to above, is likely to effect, like the parties in reluctant marriages, soon break away from the bonds of relationship, upon which the union was founded, and thus happily prevent a kind of philological_incest.

The method of teaching composition by paraphrasing the composition of others is, it is thought, equally reprehensible. If the author paraphrased, has used correct language; then, as has long ago been observed by no mean judge in such matters, the paraphrase must be incorrect. If the original be elegant; the copy, which professedly differs from it must be inelegant. Whatever way it may be tried, these and similar objections will be found to lie against it, as a means of teaching composition. It will be asked, then, what method is best? That might be hard to determine; though it would seem less difficult to devise a better method than either of those alluded to above. Let it be repeated however, that, the worst method is better than utter neglect of the whole affair. Some acquaintance will be gained with language and for this purpose, the methods censured, in these remarks, in relation to teaching composition, are not censurable as an exercise in philology. They are, perhaps the best substitute that has yet been devised for the study of the classics.

A lofty style is always a bad style: but in children it becomes ridiculous. A simple style is equally removed from that turgid, orotund, Johnsonian balancing of words, which in a youth, has correctly been styled sophomoric; and from that syllabub, water-pap stuff, which disfigures, the often correct sentiment of our juvenile school books. Such puerile language cheats the understanding and depraves the taste. In short, what ever method will best cultivate a habit of correct and severely logical thought, will be the best for procuring materials for composition; and whatever method will best contribute to furnish a stock of expression, ought next to claim our attention. Nothing, it is believed will enable the pupil to use these

in combination but actual practice, in real life; or on occasions which approach, in their circumstances to real life. For furnishing a "copia verborum," probably nothing has yet been devised equal to a correct study of the Latin and Greek classics.

But the doubt is whether composition, as such, should ever be attempted by the undeveloped mind of a child. Let children acquire ideas; extend their acquaintance with things; and by the historical and etymological study of their own language, gain that stock of terms which will be sufficient to supply an appropriate name for every thought; with which that thought may spontaneously cloth itself at the moment of utterance. Yet children even very young children may and ought to be, practiced in composition. Their themes, however, should be narative or descriptive, or at any rate, they should belong to subjects with which the child is perfectly familiar, both in idea and expression.

XII. PENMANSHIP.

REPORT ON THE CARSTAIRIAN SYSTEM OF PENMANSHIP.

BY G. W. WOOLLEY.

GENTLEMEN-In compliance with your request, I furnish you a report on the Carstairian system of Penmanship. But want of time has obliged me to be very much indebted to the work of Mr. B. F. Foster, of Albany, who has published so excellent an edition of the system of Mr. Carstairs.

The public are probably not aware of the loss of time and money resulting from the erroneous and defective manner in which the art of writing is commonly taught. It is time that the people generally, and teachers especially, should be informed upon this subject; that they should be made acquainted with a philosophic, scientific system; that the evils arising from the old systems be eradicated, and that something effectual be done to raise the art of writing to its proper standard among the branches of useful and accomplished education.

The Western College of Teachers are paying some attention to this subject; and it is hoped that they will give such an impulse to the philosophy of wielding the pen, that it will spread at least throughout the western country.

Truth is powerful and must prevail; but, as says the excellent author of the Philosophy of the Human Voice, "she is often obliged to lean for support and progress on the arm of Time; who, then only when supporting her, seems to have laid aside his wings."

Before proceeding to give an abstract of the principles of Mr. Carstairs, it may be proper to notice the errors and defects in the common methods of teaching the art of writing.