Shakespere’s Merchant of Venice. II, III. Spenser’s Faerie Queene (selections). III. Stevenson’s Treasure Island. I, II. Thoreau’s Succession of Forest Trees. I, II. Tennyson’s Gareth and Lynette, Lancelot and Elaine, The Passing of Arthur. II, III. Thackeray’s Henry Esmond. IV. Warner’s A-Hunting of the Deer. I. Washington’s Farewell Address. II, IV. Webster’s First Bunker Hill Oration. II, IV. XI OUTLINE FOR THE STUDY OF COMPOSITION AND STYLE The following is a fairly complete outline of the essential elements of rhetorical theory as applied in composition work and in a study of structure and style. As such, it is designed primarily for the teacher who desires to review any part of the subject in preparation for teaching composition. Many portions may be used in the class room in a simplified form, to supplement or summarize parts of the text-books in rhetoric and composition. The books to which references are given are in general the most convenient and comprehensive manuals for the particular parts of the subject with which each deals. The references as abbreviated in the outline are as follows: (P), Pearson, Principles of Composition. Heath, Boston ($.50). (W), Barrett Wendell, English Composition. Scribner, New York. ($1.50). (M), Minto, Manual of English Prose Literature. Ginn, New York. ($1.50). (C), Cairns, Forms of Discourse. Ginn, New York. ($1.15). (BI, BII), Bain, English Composition and Rhetoric, 2 Vols. American Book Co., New York. ($1.20 a vol.). 1. Whole Composition I. SUBJECT. 1. What is it? 2. Is it indicated by title? 3. Is it stated at the beginning? 4. Is it proportionate to the length of the composition? P. 11–12. II. PURPOSE. 1. What is it? 2. Is it stated? 3. Is it accomplished? III. INTEREST. 1. Is it an interesting subject? 2. Is it made interesting? 3. How is it made interesting? IV. KIND OF COMPOSITION. 1. Narration, Description, Exposition, Argumentation, or Persuasion? 2. A combination of forms? V. PLAN. 1. What are the main divisions of the composition? 2. How is the subject introduced? 3. What are the subdivisions in the body of the composition? 4. How is the composition concluded? VI. TITLE. 1. Accurate? 2. Concise? 3. Attractive? P. 12–13. A. UNITY. P. 15–25. W. 155–162. 1. Selection of Material. _a._ Subject and Purpose? _Violations of unity of selection._ (1) _False Introduction._ P. 18. (2) _Tag Conclusion._ P. 42. (3) _Digressions._ P. 20. 2. Unity of Expression. _a._ Point of View? P. 25. _a′._ Point of view evident? P. 25. B. COHERENCE. P. 26–33. W. 162–178. 1. Arrangement. W. 162–166. _a._ Order of parts of composition. P. 26. _b._ Arrangement evident? P. 29. _c._ Announcement. P. 31. _d._ Summary. P. 30. cf. P. 44.