LB tf*z .Tie in Digitized by the Internet Archive in 2011 with funding from The Library of Congress http://www.archive.org/details/zeublinsshorteasOOzeub .-/_ v / ZEUBLIN'S SHORT AND EAST METHOD EACHING COMPOSITION, RENDERING IT SHORT, EASY AND PRACTICAL, INSTEAD OF THE MOST IRKSOME TASK IN SCHOOLS. BIT 3D. ZEXJ333L.I3ST. AUTHOR OF "OUTLINES OF LETTER WRITING.' He who renders his work as brief and practical as possible, should bo deemed a benefactor of his race. " The manner is as important as the matter." — Chesterfield. 2 f 7/ 1 CINCINNATI: e PRTNTID FOR THE AUTHOR. 18 6 1. \ * PREFACE. fity: This is a fast age. It is an age in which we try in how short a time we can correctly accomplish anything. Hence, if we write a book, try how short it can be written; if we teach Composition, in how short a time it can be taught ; and if we study it, in how short a time we can acquire a knowledge thereof. That Composition is one of the most irksome tasks for teachers and scholars, needs only to be named. Therefore a work which briefly obviates this difficulty, facilitates study, and abridges and saves time, should be prized as one of the most desirable, and great- est literary achievements ; and should be liberally patronized by teachers, parents and scholars. The want of a system of natural Classification of Parts, Qualities, Uses, Effects and Relations of a Composition as given on the left hand margin of the Composition on the 7th page, has greatly embar- rassed and retarded the progress of the student. The utility of contrasting forms of Composition, as given on the 6th and 7th pages, will doubtless be obvious to, and duly appreciated by every intelligent teacher and scholar, as one of the most speedy, successful and impressive modes of teaching. The erroneous Composition on the Gth page is deemed to be a truthful representative of a large proportion of the compositions now written in our schools ! It is hoped, however, that its influence will soon render it obsolete as a representative of what is, only of what was. The arrangement of the different paragraphs or changes of a subject, as in the corrected Composition on the 7th page, has hith- erto been almost entirely neglected in teaching Composition in our schools, although there is not a book nor newspaper printed without observing it ! The beauty, convenience and advantage of this is obvious, by comparing the Compositions on the (3th and 7th pages. The ruled or black lines on each side of the Composition on the 7th page are designed to teach scholars to write all their lines of a paragraph or change of a subject exactly the same length as in a printed book, excepting the line that begins or ends a paragraph or change of subject, or even the subject itself. The work is not designed to supersede more elaborate works on Composition, but be auxiliary to them. The author anticipates that the work will prove a great auxiliary and advantage to youth in writing Compositions, and prove a me- mento, as his " Outlines of Letter Writing " has already done, that he has successfully contributed his mite towards elevating and refin- ing society. Cincinnati, 0., 1861. Entered according to Act of Congress in the year 1SG1, by D. ZEUBLIN, in the Clerk's Office of the District Court of the United States, for the Northern District of Ohio. OUTLINES OF COMPOSITION Composition, from two Latin words, signifies to put together. Hence when we speak on any subject, we mean the putting together of the thoughts which belong to the subject. There are many thoughts belonging to every subject which should be so put together that they will appear to follow each other in a natural order; for in one sense, composition is the art of forming ideas, and expressing them in the most natural and appropriate written language. In writing a Composition, the first thing necessary is to obtain ideas ; the second, the proper expression of them; and the third, the proper arrangement of them. In acquiring ideas, we must accustom ourselves to make observa- tions; and not only notice entire objects, but also their different parts, qualities, uses, effects and relations to other things. The chief elements of a Composition are clearness, unity, strength and harmony. The most obvious and natural divisions of subjects are the Narra- tive, the Descriptive, the Didactic, the Pathetic, the Persuasive and the Argumentative. The style may be deemed plain, neat, elegant, flowery, brief, copi- ous, strong, simple, affected, barren, fruitful, cold or violent. It would be absurd to attempt to give rules by which all the departments of Composition should be governed, as genius cannot be fettered, but must be left to soar or amplify as nature shall dictate. However, to acquire a ready and correct expression of our ideas in writing, is one of the greatest literary accomplishments ; and, when properly illustrated, is much easier attained than is generally imag- ined. Whatever width you want your border, indicate it by drawing light lead lines, as represented by the ruled lines on each side of the Composition on the 7th page. Be careful not to rule higher up 4 .•T7TLINli3 OP than the first blue or ruled line of the sheet at the top ; nor closer to the bottom of any page, than on next to the last line, which will give you about as much border as at the top. Thus you will have a border at the top and bottom, and also on each side of your page, like around the printed page of a book. Always write the title or name of your Composition on the first ruled line of the first page of the sheet, and exactly in the middle of the page, and in a large hand as on the first line of the Composi- tion on the 7th page. Let the second ruled line a blank, or if you prefer it, draw a plain or fanciful black line on it, about two-thirds as long as the title of your composition, and right under the middle of it. Let also your third ruled line a blank, and be careful not to draw a plain or orna- mental line on it. By thus reserving blank lines at the beginning of a composition, they greatly beautify its appearance. Begin your composition on the fourth line, about half an inch in from the ruled line, observing to write the first word thereof in round hand, or a size between small and large hand, as in the first word "Glass" of the Composition on the 7th page. Wherever a paragraph or change of subject occurs, as in the 4th line of the Composition on the 7th page, begin the first word exactly as far in from the lead line as you began the word "Glass" on the first line, and so also begin every paragraph exactly the same dis- tance from the lead line. Write every line of a composition exactly the same length, except- ing the line that begins or ends a paragraph of a subject. Of course lines of poetry interspersed will be shorter than those in prose, and should be inserted right in the middle of the page from either side. Where you cannot get an entire word in a line, be careful to di- vide it properly into syllables, observing to put a hyphen or dash at the right hand side only, to indicate that the remainder of the word is on the next line below and at the left hand side of the page, as in the Composition on the 7th page, at the end of the fifth and sixth lines, in the words "durable" and " impenetrable." It is immate- rial where the last line of a paragraph ends, as it may contain only pari of a word ; an entire word; a quarter, half or whole line, as in the 15th or 20th line. No matter where your paragraph ends, begin your next paragraph in as far from the lead line on the left hand side of the page as the word " Glass" is began in on the first line of the Comp isition on the 7th page. Punctuate your manuscript as carefully and correctly as though it were designed to be prnved. Tt e better plan for punctuating is not to do it as you are writing, but while reviewing or reading it over after it shall have been written. In this way you can much easier ascertain the sense and punctuate correctly, than while writing. When writing for the press, if you wish to indicate Italics, under- score one line; for small capitals, two lines, and for large capitals, tkrss lines. COMPOSITION. Before teaching a pupil to write a composition, lie should bo taught to enumerate and classify Objects, their Parts, Qualities, Uses, Effects and Relations to other things, as in the following Examples : OBJECTS AND THEIR PARTS. A SCHOOL HOUSE. Its Parts are The walls, The doors, The desks; The inside, The windows, The seats, The outside, The rooms, The black-boards, etc. In the same manner write the parts of the following objects : A book, A map, A tree, A slate, A church, A horse, etc. OBJECTS, THEIR QUALITIES AND USES. GLASS. Its Qualities are solid, durable, inflexible, smooth, brittle, impenetrable, hard, water-proof, uninflammable) transparent, fusible, useful, etc. Its uses are For windows to admit light; For bottles to contain liquids; Por lanterns and lamps to give light; For spectacles to assist sight. In a similar manner write the Qualities and uses of the following objects : A pump, A dress, Wood, A mill, Paper, Water. WHAT IS NOT A COMPOSITION. Lottie Burr is a good girl ; the Sunday School is a good insti- tution ; temperance promotes health. The above is not a Composition, because the thoughts are not put together , or connected with each other. WHAT IS A COMPOSITION. Lottie Burr is a good girl, and attends Sunday School ; she practices temperance, and therefore enjoys health. The above is a Composition, because it connects the three thought* together in a natural order. OUTLINES or ia. xj/iadd id '/aimed c# dand and al/ialied. 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