of this, referring to the door. Can you find any other arrangement by which 3 will follow 2 so naturally? Can you change 3 so as to make the reference of it clearer? What is the office of the till clause? Does the clause following the semicolon modify anything? Would you call such a clause dependent, or would you call it independent? Explain the punctuation of 3.

Give the effect of changing resting in 1, paragraph 2, to the assertive form. Find in 1 a pronoun used adverbially and a phrase used as object complement. Expand the phrase into a clause. Give the modifiers of passes in 2. Read the first part of 3 and put the explanatory phrase in place of it. What is the office of the though clause? Find in this a clause doing the work of a noun and tell its office. In 4 would his in place of the before aged and before heart be ambiguous? If so, why? Find in this paragraph an infinitive phrase used independently. Find the object complement of ascertains in 6. Are 7 and 8 identical in meaning?

Give the modifiers of passes in paragraph 3. Explain the as clause.

What does that in 1, paragraph 4, stand for? What kind of clause is introduced by where in 3? By which in 4? Expand the as clause in 4 and tell its office. Find in 4 and 5 an infinitive phrase and a participle phrase used independently. Tell the office of the that clauses in 5 and 6, and of the who clause in 6.

The Grouping of Sentences into Paragraphs. Look (1) at the order of the sentences in each paragraph, and (2) at the order of the paragraphs themselves. Neither order could be changed without making the stream of events run up hill, for each order is the order in which the events happened. Look (3) at the unity of each paragraph, and (4) at the larger unity of the four paragraphs - that of each

paragraph determined by the relation of each sentence to the sub-topic of the paragraph, and that of the four paragraphs determined by their relation to the general topic of the extract. We add that the obvious reference of the repeated he to the same person, and of that and secret in paragraph 4, demonstrates both unities. Look (5), and lastly, at the fact that the sub-topic of each paragraph is found in the first line of each paragraph. Could Webster have done more to make his thought seen and felt?

The Style of the Author. This selection is largely Narrative. Its leading facts were doubtless supplied by the testimony given in the case; but much of the matter must have come from the imagination of Mr. Webster. Everything is so skillfully and vividly put that the story, touched with description, has all the effect of an argument. One quality of it is its clearness, its perspicuity. It is noticeable also that very little imagery is used, that the language is plain language. But it is impossible to read these paragraphs without being most profoundly impressed with their energy, their force.

The style is forcible because (1) the subject-matter is easily grasped; (2) because simple words are used, words understood even by children; because (3) these words are specific and individual, not generic; because (4) of the grateful variety of sentences; (5) because of the prevalence of short sentences; because (6) of the repetition of the thought in successive sentences; because (7), though the murder took place some time before, Webster speaks as if it were now taking place in our very sight. Find proof of what we have just said proof of (2), in paragraphs 1 and 3; proof of (3), in sentences 3, 4, and 5, paragraph 2; proof of (4), throughout; of (5) and (6), in paragraphs 3 and 4; and of (7), in the first three paragraphs.

In paragraph 3, a remarkable sameness prevails. The sentences here are framed largely on one plan. They are mostly of the same length. The order of the words in them is the same; often the words are the same; and, even when they are not, those in one clause or sentence seem to suggest those in the next. This sameness is not accidental. The more real the murderer's fancied security is made in this paragraph to appear, the more startling in the next paragraph will be the revelation of his mistake. Hence no novelty in the words or in their arrangement is allowed to distract our attention from the dominant thought. The sentences are made to look and sound alike and to be alike that their effect may be cumulative. The principle of Parallel Construction, the principle that sentences similar in thought should be similar in form, is here allowed free play.

TO THE TEACHER. Do not be discouraged should your pupils fail to grasp at first all that is here taught. They will probably not fully comprehend it till they have returned to it several times. It will, however, be impossible for them to study it without profit. The meaning will grow upon them. In studying our questions and suggestions the pupils should have the "Extract" before them, and should try to verify in it all that is taught concerning it.

Parts of Speech Subdivided

LESSON 85

CLASSES OF NOUNS AND PRONOUNS

Introductory Hints. You have now reached a point where it becomes necessary to divide the eight great classes of words into sub-classes.

You have learned that nouns are the names of things; as, girl, Sarah. The name girl is held in common by all girls, and hence does not distinguish one girl from another. The name Sarah is not thus held in common; it does distinguish one girl from other girls. Any name which belongs in common to all things of a class we call a Common Noun; and any particular name of an individual, distinguishing this individual from others of its class, we call a Proper Noun. The "proper, or individual, names" which in Rule 1, Lesson 8, you were told to begin with capital letters are proper nouns.

Such a word as wheat, music, or architecture does not distinguish one thing from others of its class; there is but one thing in the class denoted by each, each thing forms a class by itself; and so we call these words common nouns.

In Lesson 8 you learned that pronouns are not names, but words used instead of names. Any one speaking of himself may use I, my, etc., instead of his own name; speaking to one, he may use you, thou, your, thy, etc., instead of that person's name; speaking of one, he may use he, she, it, him, her, etc., instead of that one's name. These little words that