Now something of this large requirement which composition makes, the young writer instinctively feels, and he is terrified. He knows how ill-fitted he is to direct "toil coöperant to an end"; and when he sits down to the desk and sees the white sheet of paper before him, he shivers. Let him know that the shiver is a suitable part of the performance. I well remember the pleasure with which, as a young man, I heard my venerable and practised professor of rhetoric say that he supposed there was no work known to man more difficult than writing. Up to that time I had supposed its severities peculiar to myself. It cheered me, and gave me courage to try again, to learn that I had all mankind for my fellow sufferers. Where this is not understood, writing is avoided. From such avoidance I would save the young writer by my precept to seek every opportunity to write. For most of us this is a new way of confronting composition--treating it as an opportunity, a chance, and not as a burden or compulsion. It saves from slavishness and takes away the drudgery of writing, to view each piece of it as a precious and necessary step in the pathway to power. To those engaged in bread-winning employments these opportunities will be few. Spring forward to them, then, using them to the full. Severe they will be because so few, for only practice breeds ease; but on that very account let no one of them pass with merely a second-best performance. If a letter is to be written to a friend, a report to an employer, a communication to a newspaper, see that it has a beginning, a middle and an end. The majority of writings are without these pleasing adornments. Only the great pieces possess them. Bear this in mind and win the way to artistic composition by noticing what should be said first, what second and what third.