Having grasped the parts of the story, we turn to write the story itself. In the simplest form of treatment, set down (iv) first,-the time of the story, which may be very vaguely "Once upon a time," or very exactly, the year or period; then whatever descriptive account of the place and situation is necessary. Then bring forward (iii) the character, describing those characteristics of person or disposition out of which the story springs. Then pass into the plot (see principles of narration, pp. 120, 125 f.). The motive (iv) is developed in the details of the story.

COMPOSITION I.-The Story of Grumble Tone (Ella Wheeler Wilcox).

-goes into -visits

(1) Motive, the false idea that a discontented mind can find happiness by change. (2) Plot, Grumble Tone leaves his father's farm because . . . —goes to sea; leaves ship because . foreign lands; complains of foreign lands because foreign cities and courts; dislikes them because returns home and dies still discontented. (3) Character, discontented mind, not seeing that happiness is chiefly of its own making. (4) Setting, the boy's home and farm life (very briefly indicated).

-grows old,

COMPOSITION 2.-In imitation of Addison's "Adventure of a Shilling," "Tatler," No. 249,1 tell the story of a Dollar Bill. 3. The Adventures of a Drop of Water (see Shelley's "Cloud"). 4. The Personal History of a Looking-Glass. 5. The Story of My Knife. 6. The Adventures of an Umbrella. 7. The Story of a Broom.

Pupils familiar with Mr. Kipling's "Jungle Book' stories and Mr. Seton-Thompson's "Biography of a Grizzly" and "Wild Animals I Have Known," will be tempted to write the biography or assumed autobiography of familiar animals, some particular dog, canary, horse, squirrel, ground-hog, etc.

Reprinted in Dobson's "Eighteenth Century Essays." (London: Kegan Paul and Co)

LESSON LXIX.

MEMORIZATION.-"SHE DWELT AMONG THE UNTRODDEN
WAYS."

She dwelt among the untrodden ways
Beside the springs of Dove,1

A maid whom there were none to praise
And very few to love :

A violet by a mossy stone
Half hidden from the eye!

Fair as a star, when only one

Is shining in the sky.

The motive of the story here is the sudden death of a child-musician through over-excitement and over-work, coincident with the breaking of the string of his violoncello in his sick-room. Study the development of each part of the plot; note how the interest rises, and how striking and effective is the conclusion. The story gains in plot interest by departing from the simple plan of bringing forward its parts. Inversion, bringing a part of the action before the setting, is a frequent device for a successful opening.

COMPOSITION I.-Tell the story of the Child-Musician. COMPOSITION 2.-Tell the story suggested by this

COMPOSITION 3.-Tell this simple story:-
"Two children in two neighbour villages

Playing mad pranks along the heathy leas1;
Two strangers meeting at a festival;

Two lovers whispering by an orchard wall;
Two lives bound fast in one with golden ease;
Two graves grass-green beside a gray church-tower,
Wash'd with still rains and daisy-blossomed :
Two children in one hamlet born and bred;

So runs the round of life from hour to hour."

1 meadows.

COMPOSITION 4.-Tell a short story, taking as scene this picture.

Determine what you will make the motive, plot, character and setting of the story before beginning to write.

COMPOSITION 5.-Tell a short story suggested by Wordsworth's lines "She dwelt among the untrodden ways," quoted above.

COMPOSITION 6.-Tell any story of interest that you have read.

COMPOSITION 7.-Tell any story of interest that you have heard told of real people.

ADDITIONAL THEMES.

COMPOSITION I.-Wordsworth's "Michael." 2. Cowper's "John Gilpin." 3. Whittier's "Maud Müller." 4. Tennyson's "Dora" ("Fourth Reader," p. 137). 5. Tennyson's "Lady Clare" ("Fourth Reader," p. 128). 6. Tennyson's "Lord of Burleigh." 7. Tennyson's “Edwin Gray." 8. Tennyson's “Enoch Arden." 9. Tennyson's "Lancelot and Elaine." 10. Longfellow's "Bell of Atri" ("Fourth Reader," p. 111). 11. Longfellow's "Birds of Killingworth." 12. Arnold's "Forsaken Merman" ("Fourth Reader," p. 298). 13. Wordsworth's "Reverie of Poor Susan." 14. William Watson's "A Lute Player." 15. Aldrich's "The Face Against the Pane” (“Fourth Reader,” p. 74). 16. The scene of the story within the light of a street lamp; the time, when the light is near going out; the catastrophe simultaneous with the last flickering gleam (Hawthorne).