VI. In a more elaborate way, having chosen a definite purpose and specified definite conditions, describe the following objects and analyze the following descriptions, making outlines as that given for the eyeball and the "Stronghold."

1. A lead pencil. 2. A penknife. 3. An apple. 4. An orange. 5. A heart. 6. An umbrella. 7. A river. 8. A mountain. 9. II. A real landscape. 12. A 13. An imaginary scene. 14.

A ship. 10. A steam-engine. scene suggested by a picture. The village of Grand Pré, in " Evangeline." 15. A scene from "Snow Bound." 16. An invented scene to illustrate private life in some locality. 17. An invented scene of sublimity and grandeur. 18. An invented scene of the picturesque. 19. An invented scene of simple beauty. 20. Lowell's description of the brook in "The Vision of Sir Launfal.” Happy Valley in "Rasselas." the Coyote.

21. Johnson's description of the 22. Mark Twain's description of

NARRATION.

Narration is the process by which one mind presents to another, through language, an individual as changing in time as having successive attributes and parts.

Narration and description are alike in that both deal with individuals; they differ in that narration presents the individual as it exists at successive moments of time, while description presents the individual as it exists at a single moment of time. Both processes present the same object, but each presents it under different relations. Description presents it as a whole with its attributes and parts coexisting, fixed in their relation to each other and the whole - the statical relation; while narration presents the object as a whole with its attributes and parts changing in time under some force — the dynamical relation. Narration is truer to the object, for it is the nature of things to change. Every object, in "fulfilling its own nature, passes out from its own nature." Hence, the process of narration brings us more closely into the real nature of the object into the moving force which is its life

and being.

A striking contrast between narration and description is found in the relation of each to language. It was observed in description that words succeed each other in time, while the attributes and parts of the object coexist; and that language is not so well adapted

fixed object.

as painting or sculpture to present the outer unity of a But this is reversed in narration, for words follow in order of time as do events; and thus in narration language has an advantage over painting and sculpture, corresponding to the advantage which these have over language in description.

Narration and description are alike in their primary laws. While the leading conception in description is that of a fixed unit, in narration it is that of a changing unit. Yet the object must still be presented as a unit, and the law of unity prevails in narration as in description. The unity is found in the changes of the theme, and the problem is to present the changes so that they will be unified in the object narrated. When the object is presented for its own sake, the law of unity is found in the necessary relations involved in the change; but when the object is presented to please or to move the will the changes must be unified in their effects to those ends. Thus purpose and unity, controlling the thought relations under which the theme is presented, are the primary laws in narration, as they are in description.

While the object is changing, it still has coexisting attributes and parts, and these must be held in mind while the object is viewed as changing. There can be no conception of a changing unit without involving the conception of the unit as fixed at successive moments in the process of change. The object, at any moment, must consist of such attributes and parts as were given in description. At this moment the growing orange consists of a given form, size, flavor, odor, and

parts; and without conceiving these as coexisting it is impossible to think the next change it may undergo. An object cannot be presented in the act of change. The change is inferred from a comparison of the object at a given moment with itself at a succeeding or a preceding moment. It is presented to the mind at a given moment by a process of description, and then at the succeeding moment by the same process. It thus appears that description is an essential part of the process of narration. But so intent is the mind on the changes which the object is undergoing, that the descriptive phase of narration is carried on unconsciously and informally; and it does not necessarily rise to the rank of a subordinate process. In most narrations, however, there are prominent descriptive parts, many of which are of great length. In the story of one's travels, a description of the scenery may constitute the larger part; yet the story is narration, for the scenery is given to present the changes in the traveler's experience. "Childe Harold," as a whole, is a narration, while it is chiefly composed of descriptive parts. In the narration of a battle, it is necessary to state how things appear to the eye before the onset. Irving's story, "The Widow and Her Son," is necessarily interspersed with distinct descriptive parts. This element is so prominent in some narrations that it requires a second thought to decide to which class the discourse belongs. This cannot be decided by the relative amount of space given to description; but only by ascertaining whether the writer intended to leave the impression of a fixed or of a changing object,

The first step in narration is that of presenting

THE CHANGE AS A WHole.

It has already been observed that the conception of change in an object is the fundamental conception in narration. The idea of the change as a whole involves the following conceptions; and the presentation of these conceptions is the first step in the narration of an object.

Purpose. A conception of change involves the idea of end, or purpose, which the change is to accomplish. Purpose, prompting and guiding every movement, is both the beginning and the end of every movement. The need of a reaper is felt, and this prompts the purpose to satisfy the need through an invention. This purpose institutes a series of changes in the object to meet the need which prompted to the purpose. Hence, it may be said that purpose is the moving force in a series of changes, and that in narration, as in description, it is the most fundamental thought relation. Because it determines and explains every change, it is usually the first relation presented. Even when there is no conscious purpose we understand that there is some force moving to an end, in which the moving force is satisfied.

Time. A conception of change involves also the idea of time, as a conception of attributes and parts in the fixed object involves the idea of space. A change cannot take place except in time, and cannot be presented to the mind without its time relations.

There