started back at full speed for the wagons; the rest of us barely waited to put up the bars and make the corral secure before galloping after them. We had to ride right in the teeth of the driving storm; and once at the wagons we made small delay in crawling under our blankets, damp though the latter were, for we were ourselves far too wet, stiff, and cold not to hail with grateful welcome any kind of shelter from the wind and the rain. Theodore Roosevelt

Note the "setting" given in the first paragraph.

In the latter part of this description we are told that darkness had set in. How did the writer see what happened?

Pick out passages that make you see, hear, or feel what took place.

5. But the boatswain was a more amusing personage. He was considered to be the taughtest (that is, the most active and severe) boatswain in the service. He went by the name of "Gentleman Chucks,"

the latter was his surname. He appeared to have received half an education; sometimes his language was for a few sentences remarkably well chosen, but, all of a sudden, he would break down at a hard word; but I shall be able to let the reader into more of his history as I go on with my adventures. He had a very handsome person, inclined to be stout, keen eyes, and hair curling in ringlets. He held his head up, and strutted as he walked. He declared “that an officer should look like an officer, and comport himself accordingly." In his person he was very clean, wore rings on his great fingers, and a large frill to his bosom, which stuck out like the back fin of a perch, and the collar of his shirt was always pulled up to a level with his cheek bones. He never appeared on deck without his "persuader," which was three rattans twisted into one, like a cable; sometimes he called it his Order of the Bath, or his Trio juncto in uno; and this persuader was seldom idle. He attempted to be very polite, even when addressing the common seamen, and, certainly, he always commenced his observations to them in a very gracious manner, but, as he continued, he became less choice in his phraseology. O'Brien said that his speeches were like the sin of the poet, very fair at the upper part of them, but shocking at the lower extremities. As a specimen of them, he would say

to the man on the forecastle, "Allow me to observe, my dear man, in the most delicate way in the world, that you are spilling that tar upon the deck a deck, sir, if I may venture to make this observation, I had the duty of seeing holystoned this morning. You understand me, sir, you have defiled his Majesty's forecastle. I must do my duty, sir, if you neglect yours; so take that and that and that (thrashing the man with his rattan) - you haymaking son of a sea cook. Do it again, and I'll cut your liver out."

Captain Frederick Marryat

In this selection we have a description of the appearance of Boatswain Chucks, but we also get a very good idea of his character. The writer has done this by showing us: a. How he looks and dresses, and why he dresses as he does. b. What he does, and the manner in which he does it.

LESSON III

Oral composition. Look over the following exercises and come to class prepared to answer intelligently the questions that are asked. Your answers should be complete; and to make them such, you will have to give more than mere sentences. You will have to say something about the composition of the pictures; you will have to indicate clearly what details illustrate your points; you will have to show that there is a definite connection between what you say about the pictures and what you say about descriptions. You must, of course, be very particular about your English.

THE LIGHT OF THE WORLD-HOLMAN-HUNT

Examine carefully the picture facing page 234. Note that it is late twilight, that the lantern sheds the kind of light it would in late twilight; and yet the leaves on the bushes, and even the veins of the leaves, stand out as clearly as they would in bright daylight. What

comment can you make on this? Does it suggest any helpful ideas about writing descriptions?

A HUGUENOT-MILLAIS

ANGELUS - MILLET

Compare the pictures facing pages 208 and 271. You will notice that the composition is about the same in both. There are two central figures in each, the figures are in each case moved by certain emotions (the emotions in the first cause the figures to be tense, in the second relaxed). In the first, the artist has spent great care in bringing out every possible detail, even to the mortar between the bricks, and the lichens growing on the bricks and the mortar. In the second, the eye without any hesitation, without being detracted by other things, immediately rests on the two central figures. In the first one, the two lovers form the "point" or "effect" of the picture, but this is weakened by certain distracting elements. In the second, there is nothing to distract. What suggestion does the contemplation of these pictures give you about Unity? About the writing of descriptions?

ST. JEROME IN HIS CELL - DÜRER

Note the overinsistence on detail in the picture facing page 245; but note at the same time that the central figure, which forms the "point" or "effect" of the picture, stands out very clearly. The artist has succeeded in doing this by making the light parts of this central 'point" or "effect" a little lighter, the dark parts a little darker, and the outlines a little clearer and sharper than those of the details in the rest of the picture. Comment on this, and note fully what suggestions it gives about bringing out the "point" or "effect" of a description.

RAILWAY STATION - FRITH

Is there any one concrete idea brought out by the picture facing page 30, or are there so many different ones that the mind is confused? How many groups of people, each one of which could form the subject of a painting, can you pick out?

Does this picture suggest anything that would help you in the writing of a description?

TRACK TEAM

NIGHT-WATCH

REMBRANDT

Look at the pictures facing pages 132 and 261. The first of these is a photograph; the second, a painting. In the first, every face and every figure stands out equally clearly. There is no central "point" or "effect."

Comment on the difference, in that respect, between the two pictures. Does it suggest anything that might be of help to you in writing descriptions?

LESSON IV

Choose from the list of subjects for descriptive compositions given in the appendix, one subject, and write a theme of about three hundred or four hundred words on it. Or describe, in a theme of about the same length, some scene or some picture that particularly interested you or particularly moved you.

CHAPTER XXVIII

EXPOSITION

LESSON I

Exposition. Exposition is really explanation. Description aims to make us see something; exposition, to make us understand something. Description tries to tell us what a thing looks like; exposition, what it is, why it is, and how it works. Description has been likened to a photograph and to a painting; exposition could be likened to an architect's plans or working-drawings.

In the lesson on description you were told to be orderly, accurate, thorough, and clear; in writing an expository theme you must be even more careful to be orderly, accurate, thorough, and clear. In writing narratives and descriptions, you will find an outline of great help. In writing an exposition, you will find an outline absolutely

necessary.

In studying about narration, you were told to gather together all the material you were to use, and then to arrange it. In exposition you should follow the same plan. You should collect all the points you are to discuss, being very careful not to overlook any important detail; then, for your outline, arrange related things in groups. Each group would probably take up one paragraph. It is a good plan to have a topic sentence at the beginning