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The real object of Composition work, in the study of a foreign language, is not so much to teach the student to write correctly in a tongue which, after all, he may seldom be called upon to use, as it is to acquaint him with its construction, a mastery of which he can never acquire by translation alone. There are many A mericans, for instance, who read French with ease, and yet are incapable of framing a correct sentence in that language, whether in writing or by word of mouth. Those instructors who believe, perhaps rightly, that all the American youth require is ability to read fairly well French and German, will continue to give their pupils from three to ten pages to translate for a lesson, leaving out altogether composition. But there are others who believe that the time has gone by when a mere reading knowledge of a foreign language was considered sufficient; that French, German, Spanish and I talian, especially French, are no longer to be treated as dead languages and that there is something decidedly incongruous in the fact that a student who can put into good idiomatic English page after page ofF rench is yet unable to express himself in that tongue, either with his pen or with his lips. The advantage of Composition work over translation is that it obliges the student to think in the language he is sttirdying; in translating, the student thinks in English and expresses himself in English.
(Typographical errors above are due to OCR software and don't occur in the book.)
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