thing else is indented. The reason for requiring a uniform method of numbering and spacing is that the relative importance of a point may be instantly seen by its notation and its distance from the margin - this for the guidance both of the writer and of the instructor.

Paragraphing. In the case of a short composition the principal divisions are likely to coincide with the paragraphs. An ordinary paragraph in modern English exposition varies from 150 to 300 words, averaging perhaps 200, which is equivalent in ordinary handwriting to about a page to a page and a third of theme-paper, or in ordinary speech to about a minute and a half or three-quarters. Therefore a 600-word theme or a five-minute oral exposition will have not less than three nor more than four paragraphs. Paragraphs much longer than 250 words are used in expository writing by many good writers, but for short practice pieces written in college this is a suitable maximum.

A paragraph in exposition or argument is a coherent group of sentences dealing with one distinct phase of the subject, and slightly separated from those other paragraphs which precede and follow. This separation in thought is indicated in writing and printing by indention, in speech by a pause and a change of tone. A careful speaker will unconsciously mark his paragraphs just as unmistakably as a writer. While the analytical outline is not intended primarily to indicate the paragraphs, in a threefold or fourfold division for a short composition it frequently will serve that purpose. Even in the currency outline, if II is to occupy as much as half of the space, it may be best to assign II A and II B to one paragraph, and II C to another, treating the paper money more fully than the plan indicates. In longer outlines for more extended compositions, the three to five principal divisions will seldom be limited to single paragraphs. In such essays the paragraphs will more often coincide with subdivisions (see Woolley, Rules 183190, 196-208).

Choosing a subject for the first exposition.

We are now ready to test the application of these methods of securing unity, coherence, and emphasis in a short exposition. A subject may be chosen from the following list, or from others suggested by the instructor or the student. It must be (1) concrete, not abstract relating to things that are tangible, visible, or at least familiar, not to theories or arguments; (2) already known to the student, not based on reading undertaken for the purpose; (3) simple enough to be capable of treatment in 600 words; (4) complex enough to permit threefold division, not a mere paragraph subject. The topic "Value of Higher Education" is unsuitable for the first reason, 66 Construction of the Gatun Locks" for the second, "Plant Diseases and Parasites " for the the third, “The Manufacture of Tin Cans" for the fourth. Further, there are to be no themes on the construction of simple objects, such as "How to Build a Canoe"; nor on the rules of a game, such as "How to Play Hockey," for the reason that in such essays the order of treatment is determined in advance, and the student is not called upon to exercise choice in either materials or arrangement. The following subjects are offered as suggestions:

SUBJECTS FOR FIRST EXPOSITION

1. Precautions against Residence Fires.
2. How to Read a Newspaper.

3. Developing a Young Orchard.

4. Running a Furnace.

5. Heating Systems for Residences.

6. The Proper Care of a Motor Car or Boat.

7. The Lighting of Residences.

8. The Lighting of Factories.

9. Essentials of a Model Dairy.

10. Dust.

11. Eye-Strain.

12. Camping Outfits.

13. Teaching a Boy to Swim.

14. Appropriate Picture Framing.

15. Stencil Work.

16. How a Stranger can spend a Day in the City of..

the Best Advantage.

17. The Most Desirable Residence Districts in

of Moderate Means.

18. Sailing a Boat.

19. Comparison of Cooking with Gas and with Coal.

20. Sanitary Precautions in the Village Home.

21. Trout Fishing.

22. New Methods of Street Lighting.

23. Effective Planting of a Small City Lot.

24. A Model Kitchen.

for People

25. Equipment of a High School Chemical Laboratory.

26. Simple Work in Copper and Brass.

27. How a Linotype Machine Works.

28. Spraying Fruit.

29. Planning Meals for Economy and Nutrition.

30. Training for Distance Running.

31. The Equipment and Management of a Playground.

32. An Amateur Wireless Outfit.

33. Different Types of Vacuum Cleaners.

34. How to Avoid Taking Cold.

35. The Transmission Gear of a Motor Car.

36. Fireless Cooking.

37. Making a Fire without Matches.

38. Vacant Lot Gardening.

39. The Best Paying Variety of Apples.

40. Sleeping Porches.

41. Explanation of a Speedometer.

42. A Modern Steam Laundry.

43. Care and Recharging of Storage Batteries.
44. Good Walks or Rides near the City.
45. Drainage on the Farm.

46. The Ventilation of School Buildings.
47. Simple Cement Work on the Farm.
48. Duties of a Department Store Salesman.
49. Simple Taxidermy.

50. The Care of the Teeth.

The purpose of this assignment is to develop the power of analyzing a simple, familiar subject so as to reveal its unsuspected possibilities. With this purpose in mind each member

of the class is to choose a topic and make first a preliminary division, then a rough inventory of all possible points bearing on it, then a selection by cancellation and addition, then a second more satisfactory division into groups, and finally an analytical outline in three or four parts. The method illustrated above in the development of the currency theme should be closely imitated. In each case the reader for whose benefit the subject is to be explained is to be thought of as an intelligent person who knows something, but not much, about the matter. One will not undertake to explain the care of a motorcar to a person who has never seen the inside of one, but to the son of a man whose father or friend has owned a car a few days. Camping outfits will be discussed with the inexperienced camper; model kitchens with people who have worked in kitchens that are not models. This principle will govern in the selection, arrangement, and emphasis of the material.

The outline should be first worked out in a rough draft; then it should be copied for submission to the instructor. The words "Introduction," "Body," and "Conclusion" are not to appear as separate divisions of the outline (see Woolley, Rules 296, 297). When the outline is complete, it should give an adequate idea of the contents and method of the proposed exposition. It will cover from one to two pages of theme-paper, allowing for the necessary indention of all the subordinate divisions. The student should forget his high school habits of outline making, study the rules and examples above given, and follow them closely.

Oral exposition.-Pending the return of the analytical outlines with the instructor's criticisms, some of the students may be called upon to give before the class a five-minute oral exposition of the subjects chosen. In all such exercises the speaker should stand at the front of the room, without notes, and address the class as his audience. He may illustrate his talk with a hastily drawn diagram on the blackboard, sketched as he speaks, provided his exposition does not become a mere

pointing to lines, and is properly introduced and concluded independently of the diagram. Explanation of an object which. can be held in the hand, as in the subject "How to Read a Newspaper," may be accompanied by pointing to the object to enforce particular statements, but the object should be laid aside for the conclusion.

The importance of gesture. Natural gesture should be employed, such as pointing to parts of the room in a talk on lighting or ventilation; the two-hand gesture with parallel vertical palms to illustrate length or breadth; the one-hand gesture with palm downward to indicate height; rotary or rectilinear motion to illustrate mechanical subjects; and others which will suggest themselves. For the very reason that oral exposition of concrete subjects almost demands gesture, it should precede oral discussion of theories, ideas, relations.

The fundamental importance of liberating the hands and arms from the tyranny of pockets and self-consciousness does not arise from the rules of elocutionists, or even from the need of movement to relieve the monotonous appearance of a gestureless speaker. It has a deeper meaning, a meaning that affects the speaker himself far more than it affects the teacher or the hearer. We think and speak more freely when we cease to restrain our motor impulses in other words, when we allow our muscles to contribute to expression. Gesture as an ornament belongs to elaborate and highly artificial forms of speech such as declamation and acting; gesture as an interpretation of thought to aid the audience in following the discourse is an important but difficult accessory of formal public speaking; but gesture as a liberation of the speaker's own personality, a release from the muscular constraint and rigidity which bind his mind as well as his body, is essential to all free utterance.

When one stands before an audience, however informally, if the hands are not hidden in the pockets or behind the back, they sometimes actually hinder thought until the speaker lets himself go. Then he surprises himself by pointing, or counting