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note, when at supper, warning him of the danger with which he was threatened. He put it in his pocket, saying he would read it on the morrow. He retired to bed at twelve. At two in the morning, Prince Suboff, whose situation and credit in the palace gave him access at all times to the imperial chambers, presented himself with the other conspirators at the door. A hussar, who refused admission, was cut down on the spot, and the whole party entered, and found the royal apartments empty. Paul, hearing the noise, had got up, and hid himself in a closet. 'He has escaped !' said some of the conspirators. “That he has not,' returned Benning

No weakness, or I will put you all to death.' At the same time, Pahlen, who never lost his presence of mind, put his hand on the bed-clothes, and feeling them warm, observed that the emperor could not be far off, and he was soon discovered and dragged from his retreat. They presented to the emperor his abdication to sign. Paul refused. A contest arose, and in the struggle, an officer's sash was passed round the neck of the unhappy monarch, and he was strangled, after a desperate resistance. The two grand-dukes were in the room below. Alexander eagerly inquired, the moment it was over, whether they had saved his father's life. Pahlen's silence told too plainly the melancholy tale, and the young prince tore his hair in an agony of grief, and broke out into sincere and passionate exclamations of sorrow at the catastrophe which had prepared the way for his ascent to the throne. The despair of the empress and the grand-duke Constantine was equally vehement; but Pahlen, calm and collected, represented

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that the empire indispensably required a change of policy, and that nothing now remained but for Alexander to assume the reins of government.”

The same principle is adopted in the above extract as in the one before it. The facts are related in the order in which they happened, without any observations or reflections. The emperor's neglect of the warning note—his retiring to bed—the appearance of

the conspirators—the assassination of the sentineland the other circumstances which led to the catastrophe, are vividly and graphically told ; what immediately followed the death of the emperor, being naturally reserved for the close of the description.

The following subjects are proposed as exercises in narrative :

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Materials :—The date of sailing name of the ship -port from which she sailed — place of destination passengers how many. describe incidents of the voyage - way of passing the day — the weather

- date of arrival, &c.

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the cargo



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A trial. Materials :—The court - judges — counsel — ap

:— pearance of the prisoner — charge brought against him - evidence given by witnesses — positive or circumstantial — cross-examination the defence

the summing up and charge to the jury - time of the jury's deliberation their verdict, &c.

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Materials : Date of his accession - whose son his general character - persecution of the Jews —

crusade — quarrel with Philip II. at Messina – his marriage at Cyprus — exploits in Palestine - his haughty temper - Philip's return - Richard quits —

the Holy Land — his shipwreck and imprisonment —

return to England war against Philip circumstances and date of his death.


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A battle. Materials :-Number of forces engaged — infantry - cavalry -- guns - the description of the battle-field - disposition of the forces --- position of the generals

the first attack - how sustained - vicissitudes of fortune the reserve - last grand charge — victory and its consequences.

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A conspiracy. Materials : The object — names of the leaders. their secret meetings — watchword — oath of secrecy

- the plan of execution - betrayal by a conspirator — his motives bribe? conscientious ? consequent discovery of the plot — arrest of the leading conspirators —their trial and execution.

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A rebellion. Materials: Causes of discontent – grievances of the people

measures taken by the government inflammatory harangues of orators - excitement of the populace

- defiance of authority – depredations, fires, &c. measures taken to restore order — special constables - the military - collision

- the insurgents defeated — order restored - grievances redressed, &c.


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A fire. Materials :— Midnight - silent - sudden outburst of fire waking of the inmates the increase of the flames-smoke--suffocation rescue of the sufferers injuries received

- loss of property consequent distress destruction of valuable papers — insurance, &c.

Subjects for Narrative. 1. A coronation.

17. A retreat (from Moscow?). 2. The plague of London. 18. An invasion. 3. An accident.

19. A rebellion. 4. The Norman Conquest. 20. A storm at sea. 5. A marriage ceremony.

21. A visit to a library. 6. A siege.

22. A concert. 7. A death-bed.

23. A sea-fight. 8. A tiger-hunt.

24. A campaign. 9. A shipwreck.

25. A visit to some friends. 10. A regatta.

26. The voyage of a whaler. 11. A continental journey. 27. A visit to a salt-mine. 12. A trip to the lakes.

28. The execution of Mary 13. The ascent of Mont Blanc.

Queen of Scots. 14. A boat-race.

29. Imprisonment in an ene15. An inundation.

my's country. 16. A visit in the country. 30. A conflagration.


Of all the forms of composition, letter-writing, with which everybody is expected to be practically acquainted, is the one most frequently required. It is scarcely possible to lay down any positive rules on the subject of epistolary composition ; since, as letters embrace a very great variety of matter, the style will naturally vary with the subject, feelings of the writer, &c.

The form of a letter has been frequently adopted by writers wishing to convey their thoughts to the public on history, philosophy, &c. But these works

&c are not to be classed as letters. Epistolary writing is recognised as a distinct form of composition, only when it is an easy and familiar conversation carried on between two friends by means of a letter.

The letters of illustrious persons have always been interesting ; sometimes from the importance of the subject; but more frequently, because, being easy and friendly communications, they are generally a good criterion of the writer's character. For here, if any. where, we naturally expect to find the man-his whole disposition and turn of mind.

In every case, therefore, of letter-writing, the main point, and one to be constantly held in view, is a simple and natural mode of expression. In a letter, everything should be easy and flowing ; the communication should be made in a clear, straightforward way, with no straining after effect, and no adoption of out-of-the-way terms or far-fetched expressions. With regard to the arrangement of the matter, it may be proper to say that whatever the writer wishes to

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