The Delawarean., 1900-06-23
ENGLISH COMPOSITION
BY Prof. Vallandigham of Delaware
College.

OflC, mas long Deeu ueSleCleu III Iue
public schools. There is no dearth in
our schools of text books on grammar
and rhetoric, and doubtless they are
as faithfully studied as text books on
other subjects, but the required prac-
tice in tne application of grammatical
and rhetorical theory is utterly made
quate to the needs of pupils if they are
Ito acquire any skill in the art OF eX-
pressing themselves on paper. In some
schools compositions are not required
of the pupils; in others the number OF
compositions required during the whole
wear is far too small; in few or none
ifs the number required sufficient to put
the pupil at ease with pen and paper.
OF all the subjects taught in the pub
lie schools, composition is the one IN
which it is most essential that theory
and practice go hand in hand. NO
matter how glib pupil may be with
coniugations, declensions, and tine
rules of syntax; no mauter how quick
he may be at detecting blunders, gram
nautical or rhetorical, he will remain
a crude and unskilled writer OF Eng
lish unless he have frequent practice
i'm composition. Indeed it IS hardly
going too far to say that the time given
to the theory of grammar and rhetoric
might profitably be reduced one half,
if thus the pupil might gain any con-
siderable time for practice in compo-
sition. Mere acquaintance with the
theory of grammar and of rhetoric is,
in fact. of small value to the pupil un-
less he can 50 apply his theory as to
speak and write grammatically and
rhetorically.
1t is not difficult to discover why in
this matter practice has been neglected
for the sake of theory. Whatever can
be learned from a textbook is, SO to
speak. easily learned. The textbook
saves time and trouble to both teacher
and pupil, and it often happens that
both are sorely pressed for time. Now,
practice in composition is a thing quite
apart from textbooks. 1t requires
much time, and in some part original
effort from both pupil and teacher.
Perhaps nothing is harder to the young
student than to direct his thoughts or
impressions into fitting and properly
ordered words. Perhaps nothing is
more irksome to the teacher than the
critical examination of twenty, thirty
or forty crude compositions, the work
of girls or boys Furthermore, too
many teachers suffer from a sense of
their own unfitness for such critical
work. because they have been taught
as they are accustomed to teach their
pupils, with a maximum Of theory and
a minimum of practice. Teachers con-
scious of such defective training must
study the best books within their
reach, read the best authors and
faithfully practice, not once a week,
but once day, the art of English COM
position. Otherwise they cannot hope
effectively to teach that art.
If teachers can find time for such
self-education, can they also find time
for the critical examination and
correction of many more compost
tions than they have been accustomed
to require of their pupils? Probably
not; but it is possible for teachers to
require more composition work of their
pupils without greatly adding to their
own burdens. 1t is by no means neces-
sary that such additional practice shall
consist in a greater number of set
compositions, written outside the class
room. Indeed, perhaps the best prac-
tice is to be had from impromptu COM
positions written under the teachers
eye. 1t is often possible to steal lit
tie time from the recitation in theory
and devote it to practice. If this can
be done three or four times a week the
result is likely to be far more salts
factory than anything that would come
of doubling the number of required
themes written out of class.
The teacher that will succeed in this
sort of exercise must, however, have
some enthusiasm for the work, and
considerable ingenuity. The exercise
must be made interesting by variety
One day the class may be asked to
describe a picture in the reading book
Another day the class room may be
described. On another a picture may
be made to suggest story. The class
may be asked to write dialogue be-
tween two imaginary persons, or a col
loquy between three or four; or to
describe a familiar Bird to tell the
habits of some bird or beast. Often it
is well to train the class in finding ex-
actly the right words to express some
idea or describe some object. The art
of definition lis an Important aid to the