For example, the argument for the judges made from the assertions given above might be stated as follows:
Introduction. “That the judges were right when they pronounced Captain Preston and the eight British soldiers not guilty of murder when they fired on the colonial mob in what is incorrectly called the ‘Boston Massacre’ will be proved in this argument.”
Body of the Argument. “The citizens of Boston were English subjects who had been fostered by the mother country. Since the settlement at Plymouth in 1620 no other nation had claimed or exercised any control over them, and I maintain that loyalty to his country is one of the highest duties of every citizen.” (It is not advisable to write here the “body” of the argument. It would naturally be continued step by step till the eleven “points” given above had been exhausted. If those “points” had been brought up in the general conversation lesson every child would be expected to add others that he had found by his own study. Liberty of omission, arrangement and addition should always be allowed. Originality is always at a premium.)
Conclusion. “I have now presented to you the reasons for my belief. I have shown you conclusively that the colonists were British subjects and owed unquestioning loyalty to their country; that——[Here recapitulate briefly but forcibly the arguments, so as to present them convincingly and at one time.] In view of all these facts I maintain that I have shown that the judges did not err when they pronounced Captain Preston and the eight soldiers not guilty of murder.”
Of course, the form of the introduction and conclusion may vary from that given here. Each child should be allowed the greatest freedom of expression consistent with the facts that there must be an introduction that states the question fairly and clearly, and a conclusion that shows how much the contentions have been proved.
Conclusion. While narration, description, exposition and argument are the four forms of prose composition, we do not find frequently that selections are exclusively one or another. Nearly every story contains description, and exposition is not infrequent; expositions often contain description and narration, and arguments are often based upon narration and exposition. Excellent language lessons may be given by examining masterpieces to see what forms of composition they represent or which form predominates.
Thus, in An Exciting Canoe Race (Volume VII, page 79), an extract from Cooper’s The Last of the Mohicans, may be found several forms of composition:
1. The story as a whole is narration.
2. On page 81 is this passage in exposition: “That’s a trail that nothing but a nose can follow; grass is a treacherous carpet for a flying party to tread on, but wood and stone take no print from a moccasin. Had you worn your armed boots, there might indeed have been something to fear; but with the deerskin suitably prepared, a man may trust himself, generally, on rocks with safety. Shove in the canoe higher to the land, Uncas; this sand will take a stamp as easily as the butter of the Jarmans on the Mohawk. Softly, lad, softly; it must not touch the beach, or the knaves will know by what road we have left the place.”
3. On page 86 is this descriptive passage: “The well-known crack of a rifle, whose ball came skipping along the placid surface of the strait, and a shrill yell from the island interrupted his speech and announced that their passage was discovered. In another instant several savages were seen rushing into the canoes, which were soon dancing over the water in pursuit. These fearful precursors of a coming struggle produced no change in the countenances and movements of his three guides, so far as Duncan could discover, except that the strokes of their paddles were longer and more in unison, and caused the little bark to spring forward like a creature possessing life and volition.”