different phase of life, beginning with character and personality, and
concluding with art and literature. The whole together, as the table of
contents will show, thus presents a body of ideas that includes
practically all the great departments of human thought and interest.

It is evident that certain ideals of teaching composition underlie the
scheme. The editors believe heartily with Pater that "the chief stimulus
of good style is to possess a full, rich, complex matter to grapple
with". Instruction in writing, it is to be feared, too often neglects
this sound doctrine and places an emphasis upon formal matters that
seems disproportionate, especially when form is made to appear as a
thing apart. Form and content go together and one must not suffer at the
expense of the other. But a sustained interest in the ways and means of
correct expression is aroused only when the student feels that he has
something to express. Instructors often contend indeed that the ideas of
undergraduates are far to seek, and that most of the time in the
class-room is therefore best spent upon formal exercises and drill. The
editors do not share this view. They believe that there is no class of
people more responsive to new ideas and impressions than college
students, and none more eager, when normally stimulated, to express
themselves in writing. They have therefore aimed to present a series of
related selections that would arouse thought and provoke oral discussion
in the class-room, as well as furnish suitable models of style. In most
cases the pieces are too long to be adequately handled in one class
hour. A live topic may well be discussed for several hours, until its
various sides have been examined and students are awakened to the many
questions at issue. The editors have aimed, also, to supply selections
so rich and vital in content that instructors themselves will feel
challenged to add to the class discussion from their own knowledge and
experience, and so turn a stream of fresh ideas upon "stock notions".