n exposition or
argument? If the man cared nothing about convincing another that there
are dangers in intemperance, did not wish to prove that the end of
intemperance is death and dishonor, the composition is as much
exposition as the explanation of a steam engine. If, on the other
hand, he explained these results in order to convince another that he
should avoid intemperance, then the piece is argument.

Persuasion introduces a new element into composition; for, while
exposition and argument are directed to a man's reason, persuasion is
addressed to the emotions and the will. Its purpose is to arouse to
action. One can readily imagine that a simple explanation of the evils
of intemperance might be quite enough to convince a man that its
dangers are truly great,--so great that he would determine to fight
these evils with all his strength. In such a case explanation alone
has convinced him; and it has aroused him to do something. Is the
piece exposition, or argument, or persuasion? Here, as before, the
answer is found in the purpose of the author. If he intended only to
explain, the piece is exposition; if to convince, it is argument; if
to arouse to action, it belongs to the literature of persuasion.

It must now be plain that few pieces of literature are purely one form
of discourse. The forms are mingled in most of our literature. Hardly
a story can be found that does not contain some descriptions; and a
description of any considerable length is sure to contain some
narrative portions. So, too, narration and description are often found
in exposition, argument, and persuasion; and these last three forms
are frequently combined.

Purpose of the Author.

It must also be evident that the whole piece of literature will best
be classified by discovering the purpose of the author. If his purpose
is simply to tell a good story, his work is narration; if the purpose
is merely to place a picture before the reader's mind, it is
description; if to explain conditions and nothing more, it is
exposition; if to prove to the reason the truth or falsity of a
proposition, it is argument; while, if the writer addresses himself to
the emotions and the will, no matter whether he tells anecdotes or
paints lurid pictures, explains conditions or convinces of the dangers
of the present course,--if he does all these to urge the reader to do
something, the composition belongs to the literature of persuasion.
The five forms of discourse ar