PREFACE<br > Freshman students， who may have no problems communicating<br >verbally， are too often stymied when they try to put their thoughts on<br >paper. They are faced with the fact that written language is not the same<br >as spoken language， but they do not know how to approach the challenge<br >of writing a composition. Our purpose in this text is to offer models of<br >writing that students can study and， we hope， use to improve their own<br >composition skills. Since human beings first learn to speak--to express<br >themselves--by watching others， by listening， and then by imitating<br >them， we feel that learning how to writ6 compositions can follow this<br >same progression. And since what people~discover for themselves when<br >learning to speak may be more important in their verbal development than<br >what they are told， we hope that this text will help students discover on<br >their own many new things about composition--ideas， techniques，<br >skills--that they can use to increase their powers of written communica-<br >tion.<br > There is nothing new about the forms of exposition: narration;<br >illustration; comparison， contrast， and analogy; Cause to effect， effect to<br >cause， and question to answer; definition; analysis and classification; pro-<br >cess; description; logic. Authors and teachers have long felt that models<br >of various rhetorical categories can be studied and that the techniques can<br >be imitated by students or transferred to the students own compositions.<br >In turn， what students learn about writing in their composition class may<br >be transferred to written examinations and papers in their other courses.<br >Furthermore， the ability to express themselves better orally--obviously<br >an advantage to students in all of their courses=--is inseparably linked to<br >what they learn about written communication. When students leave col-<br >lege， they may continue to use what they have learned as they write<br >letters or reports， or as they engage in other forms of communication.<br > In this text we are concerned with providing models of composi-<br >tion; at the same time we have tried to provide a variety--of topics， of<br >styles， of themes. Within this variety are a number of essays on similar<br >topics， such as language awareness， to provide opportunities for compari-<br >son. We have also sought to provide<br >the works of authors of both sexes<br >a balanced point of view by including<br >and of differing ethnic backgrounds.<br >The classics are represented by the works of such as Mark Twain， D. H.<br >Lawrence， and John Steinbeck， but the flavor is contemporary， with ap-<br >peal to students a major goal. Student writing is included because it s<br >good and because it relates to the reader s own experience and ability.<br > This new ed<br >bined part on Defin<br >treats Logic. The f<br >but many new essa]<br >been expanded in r<br >of the Glossary， a<br >essay.<br > The apparat<br >sider while reading<br >ceding the selection<br >will also find assign<br >feel that little is gaii<br >that illustrate a part<br >variety by includin<br >itself to teaching ad<br >figures of speech， t<br >In each of the first<br >feel that since stuc<br >should be left for tl<br >bers of the class. U<br >the last part contai~<br > We have trie<br >in each section in<br >narration， since thi<br >The progression ru<br >exposition， ending<br >techniques.<br > We sincerel)<br >from the Glossary<br >aware of what is ot<br > We wish to<br >and Bishop College<br >to our friends and 1<br >gratitude goes to E<br >nelius， Baylor Uni<br >College， North;<br >Florissant Valley;<br >Harris， Eastern M<br >The Canfield Press<br >Christie， and the er<br >them we say， "Th~<br ><br >