1. Statement of theory.

2. Explanation of theory.

3. Observation (experiment, experience).

4. Conclusions.

In case the theory held is new or generally discredited, we should add a point in refutation of objections made against it. We may, for instance, have a theory about study, which in our own case at least works well, though an opposite theory may be held by others which works better for them. Our plan might stand as follows:

I. Statement.

MY THEORY OF STUDY

1. My theory is that, whatever subject we may be studying, we should have pencil and paper at hand and jot down notes all along the way.

II. Explanation.

1. Divide lesson into units.

2. Study each one separately.

3. Make notes for each unit or section.

4. Take these in some suggestive form.

III. Experiment (illustration).

1. Chapter on Exposition.

a. Four sections.

2. Notes on each section.

a. Unity and Coherence.

b. Method.

c. Kinds.

d. Emphasis.

3. Review of notes.

IV. Conclusions.

1. I find the material easier to recall than after a mere reading.

2. I have the salient features in a nutshell.

3. I can now review the whole easily and quickly.

4. Hence, my theory seems to be substantiated, at least in my

own case.

EXERCISES

1. Examine the following plan:

A. Statement.

IS MARS INHABITED?

1. I believe the planet Mars to be inhabited by some kind of intelligent being.

B. Explanation.

1. The planet.

a. Its location in the heavens.

b. Its comparative size and form.

c. Its distance from earth.

2. The means of study.

a. Powerful telescopes.

b. Accumulation of centuries of astronomic study.

C. Observation.

1. Examination of atmosphere.

a. Shows it is habitable.

b. Not unlike that of earth.

2. Certain corroborative marks.
a. Canals?

b. Rivers?

c. Lakes?

d. Mountains?

D. Conclusions.

1. The physical features seem to indicate conditions not very dissimilar to those on earth.

2. There are certain indications of achievement other than by nature.

E. Refutation of objections.

1. No other planet is observed to be so favorable to life.

2. This belief has been held for many years.

3. Methods of observation are more perfect to-day than ever

before.

4. Our observations not only go beyond all that have been previously made; but

5. They are corroborative of all the most fanciful speculations that have been made in the past.

More interesting, however, than the detail of color is the structure of the hair among men of genius. Upon this phase of the subject our data lend marked sanction to a popular fancy mentioned in an early paragraph of this paper. The "poet's ringlets" seem to represent a distinct fact in biography. Of the sixty individuals whose hair is described in our data the structure of the hair is given as to twenty-six, and of these twenty-two possessed curly or wavy hair. It is an interesting circumstance that of these twenty-two personages no less than nineteen were poets, artists, or literary men. Hair of marked softness or fullness seems likewise a frequent accompaniment of artistic and literary genius. The abundant hair of musicians, as observed upon the concert platform, will in this connection suggest itself to the reader.

In view of the prejudice in all ages against coarse, bristling hair, the personal qualities of Napoleon and Andrew Jackson are not unworthy of note in connection with the structure of the hair in those cases, and the Indian-like hair of Webster, perhaps, we may associate with the coarse strain that betrayed itself not infrequently in the character of that distinguished personage; but the wiry hair of Lowell is a warning against too hasty a generalization, and the straight hair of Grieg may read to us a valuable lesson against carrying too far the notion that wavy hair is the unfailing accompaniment of artistic genius.

Genius would seem to abide chiefly with the class of humanity called by Huxley the "Xanthachroic," with their tall stature and blue or gray eyes; but the hair of that type ranges from straw-color to chestnut, whereas the hair of genius, as we have seen, is in the very large majority of cases dark. .

Beyond this it may be safe so far to generalize as to declare that individuals of artistic or literary genius in general possess wavy or curly hair, and that even in the case of genius it is not amiss to look

for a coarse organization where the hair is coarse and stiff. If, moreover, our data may be relied upon, red and yellow hair rarely accompany genius.

It must be confessed, however, after all is said, that anything beyond tentative conclusions seems forbidden by the scantiness of the data available upon this subject. The inattention of many biographers to the details of personal appearance is a blighting obstacle in inquiries of this nature.

The Literary Digest, Oct. 12, 1912.

III. Explain in writing or orally a chemical, a historical, a physical, a mathematical, or a political theory.

By Exposition of Character is meant the detailing and explanation of the characteristics of a person. The character sketch may be very much enhanced by the use of subordinate description. We may be able to throw a good deal of light upon a person's character and disposition by telling just what this person looks like. Such expressions as pug nose, ""large jaw," "high forehead," "keen eye," and many others with which, so to speak, we earmark our friends, are descriptive, to be sure, but they are at the same time significant of characteristics. Yet we must concern ourselves primarily in character portrayal with explanation, placing our descriptive details in the introduction or introducing them along with, and subordinate to, the characteristic on which each throws light.

Roughly speaking, there are three different methods of drawing up a character sketch of a person, though these, it must be remembered, are in no wise hard and fast, and are subject always to a wide range of variance. Indeed, it is not too much to say, perhaps, that the character sketch of a person should be like the person, and, since no two people are quite alike, hence no two character sketches can be quite alike. The three general styles, however, are illustrated by the three following plans:

Α

MY FRIEND

I. His characteristics.

A. Honest.

B. Hard-working.

C. Faithful.

II. Honest.

A. Found employer's purse and returned it.

B. Found a watch and advertised for the owner.

C. Treasurer of our club for the last six years, and has always kept accurate acounts of the club's moneys.

D. Is connected with the treasurer's department, in his place of business, and is trusted by all.

III. Hard-working.

A. Goes to school and works at night.

B. Does his lessons after work.

C. Stands high in his studies.

1. Although handicapped by his work.

IV. Faithful.

A. Is a firm friend.

1. Always to be relied upon.

2. Keeps things to himself.

3. Helps me when I am in need of aid.

B. To his employer.

1. Does extra work.

2. Must be told only once.

3. Looks out for employer's interests.

C. To his own best interests.

1. Takes regular exercise.

2. Neither smokes nor drinks.
3. Keeps his mind developing.
4. Tries to be always cheerful.

V. Fine fellow.

A. All these qualities prove it.
B. His friends all say so.