2. Processes of Invention.

The first step in preparing the matter for a composition is to select a subject upon which to concentrate the thoughts. The next is to accumulate materials by which to explain, illustrate, or enforce the subject. The next is to select from the mass of materials that which is adapted to our purpose and arrange it in a suitable manner. These processes, (1) The Choice of a Subject, (2) The Accumulation of Materials, and (3) The Arrangement of the Matter, will be treated of in the following sections.

SECTION I

THE CHOICE OF A SUBJECT.

1. Importance of Choosing a Subject.

It is impossible to write clearly unless one has a theme in mind on which the attention is steadily fixed. If there be no subject, words will be strung along loosely and to no purpose, confusion of thought will be evident, and the production will be useless.

A steady adherence to the subject, making everything bear upon and support it, was the chief merit of the greatest orator of antiquity, the Grecian, Demosthenes. So thoroughly was he possessed with his theme that when we read his orations "it is as though we were embarked upon a mighty river. All is animation and energy around, and we gaze with a momentary rev. erie upon the deep and transparent waters. But even while we admire, the current grows deeper and deeper, and we are unconsciously hurried onward with increasing and irresistible power."

2. How to Obtain a Subject.

Sometimes a subject is given to a writer, and he is required to write about it. More frequently the selection is left to the writer himself. In the latter case he is likely to be at a loss how to decide upon a suitable theme. The best way is to begin by asking yourself questions until something suggests itself which really interests you. Having in this way obtained a theme, before finally adopting it, try it carefully by the following rules, in order to test its fitness. It should be suited to the writer and the occasion, as well as suitable in itself.

Much should be made of the suggestion to ask yourself questions. This is the door to all great discoveries in science, inventions in art, and originality in literature. If learners would only open their eyes and notice what is occurring about them every day in nature, society, and their own personal experience, they would find attractive subjects suggested almost every moment.

3. Qualities of a Good Subject.

Since we cannot write equally well on every subject, some rules for judging of the fitness of a subject in itself may be given.

(1) A subject must have unity. that it must be one subject, and

By this is meant

not a medley of

thoughts without connection.

The narrower a

(2) It must not be too broad. subject is the more fresh and original will be your treatment of it. This seems strange at first, but you see more things with the help of a microscope than you see with the naked eye; and by examining a subject closely more ideas are suggested.

(3) It must be clear. Everything will be cloudy unless the theme be clear. The subject is the sun, the paragraphs are the planets, and the sentences are the satellites in a composition. The sentences reflect light on the paragraphs, the paragraphs shine with the light of the subject, but if you blot this out all is darkness.

(4) It must be fresh. Do not be satisfied with old or musty themes that have no interest for any one. The world is full of subjects that quicken and delight the curiosity. Composition writing is a joyous occupation when it is made a fountain of knowledge.

4. Relation of the Subject to the Writer.

A subject may be very interesting in itself and yet not suited to the writer who has chosen it. Hence we have some rules on this point.

(1) The writer must be interested in his subject. It is very disagreeable and unprofitable to regard composition writing as task-work. There is no necessity for this slavish feeling. Every one is interested in something.

(2) He should choose something about which he can express what he believes. Earnestness of conviction is a great help to clear, strong expression, and without it there is danger of all kinds of fanciful vaporizing.

(3) He should choose a subject suited to his powers. It is not necessary that all the knowledge required for a full treatment of the subject should be possessed beforehand. One of the best results of writing is that learners study a subject carefully in order to write about it well. But the subject should not be

above the writer's ability to understand, with a reason. able amount of reflection, advice and reading.

5. Relation of the Subject to the Occasion.

A subject may be good in itself and suited to the writer, but still fail of its purpose because not fit for the occasion. We must, therefore, consider a third class of rules.

(1) The subject should be harmonious with the feelings proper to the occasion. A due regard must always be had for the position, character, and sentiments of the persons whom we address.

(2) The subject should be of interest at the time, and to the persons whose attention is enlisted. No one has the right to rob others of their time, and tax their patience, in listening to what is untimely or dull.

(3) The subject should be suited to the intelligence of those for whom it is intended. Unless this rule is obeyed, our efforts are wasted, and the previous rule is violated.

6. Adapting a Subject.

Possibly a subject may be too good to reject and yet require some change, in order to suit the writer or the occasion. In this case it may often be adapted by some slight limitation. Thus, for example, let us take the subject "Virtue." This is too broad for treatment in a single composition. We may modify it in a great many ways. We may say, for instance, "The Origin of Virtue," "The Advantages of Virtue," "The Rewards of Virtue," "The Hindrances to Virtue," etc.

By breaking up the subject in this way we make the new subjects less broad, but some of them are quite difficult as compared with others. This helps us to select from the different views of a subject that which is pest suited to us. We may then continue the process of limitation. For instance, we may limit "The Rewards of Virtue" to some particular class, say merchants, and we should have, "The Rewards of Virtue to Merchants." We may further limit virtue by confining it to some one kind of virtue, say honesty, and we should have, "The Rewards of Honesty to Merchants."

7. Statement of a Subject.

If any one will examine the last subject a little, he will discover that it is ambiguous; and this leads us to some rules on the statement of a subject.

(1) The statement must be clear. "The Rewards of Honesty to Merchants" may be a good subject, but it is not perfectly clear what it means. Does it mean, the rewards of those who are honest to merchants, or the rewards of merchants who are honest? It may mean either, and hence ought to be differently stated; as, "The Rewards of Honesty in Merchants."

(2) Avoid meaningless combinations of words. A celebrated American writer calls one of his books, "The Past, the Present and the Future," and no one can guess what it is about.

(3) Avoid figurative expressions. No meaning is conveyed by such titles as "Sesame and Lilies," and "Chips from a German Workshop," which great authors sometimes give to their books.

(4) Be careful to limit properly the statement of the subject. If one were to write, for example, on