The Two Classes of Analysis Formal analysis is sometimes called logical analysis that is, complete, as in the report of a tariff commission because it continues its splitting into subheadings until the demands of the thought are entirely satisfied. Such thorough meeting of all demands might well occur in an analysis of trades-unions, or methods of heating houses, or such subjects. Informal analysis, on the other hand, which is sometimes called literary analysis, does not attempt to be so thorough, but aims rather at giving the core of the subject, at making the spirit of it clear to the reader. For example, Mr. P. E. More in an essay on Tennyson, which is primarily an informal analysis, makes one main point, that "Tennyson was the Victorian Age." This he divides into three headings: (1) Tennyson was humanly loved by the great Victorians; (2) Tennyson was the poet of compromise; (3) Tennyson was the poet of insight. Now in these three points Mr. More has not said all that he could say, in fact he has omitted many things that from some angle would be important, but he has said those things truthfully that are needed for a proper interpretation of the subject, for a sufficient illumination of it, for showing its spirit. It is, therefore, a piece of informal analysis. The two examples which follow illustrate formal and informal analysis, the first one classifying rock drills thoroughly, and the second very informally discussing some odds against Shakespeare. Hammer drills may be classed under several heads, as follows: (1) Those mounted on a cradle like a piston drill and fed forward by a screw; (2) those used and held in the hand; and (3) those used and mounted on an air-fed arrangement. The last two classes are often interchangeable. Mr. Leyner, though now making drills of the latter classes, was the pioneer of the large 3-inch diameter piston machine to be 116 EXPOSITORY WRITING worked in competition with large piston drills. The smaller Leyner Rock Terrier drill was brought out for stopping and driving; it could not, apparently, compete with machines of other classes. When the drills are thus divided we have: 1. Cradle drills - Leyner, Leyner Rock Terrier, Stephens Imperial hammer drills and the Kimber. 2. Drills used only with air feed - Gordon drill and the large sizes of the Murphy, Little Wonder, and others. Murphy, 3. Drills used held in the hand or with air feed Flottman, Cleveland, Little Wonder, Shaw, Hardy Nipper, Sinclair, Sullivan, Little Jap, Little Imp, Traylor, and others. Again, they may be divided into those that are valveless, with the differential piston or hammer itself acting as a valve. The Murphy, Sinclair, Little Wonder, Shaw, Little Imp, Leyner Rock Terrier, and Kimber drills belong to this class. The large Leyner drill is worked by a spool valve resembling that of the Slugger drill; the Flottman by a ball valve; the Little Jap by an axial valve; the Gordon drill, by a spool valve set at one end of the cylinder at right angles to it; the Waugh and Sullivan drills by spool valves set in the same axial line as the cylinder; the Hardy Nipper, and the Stephens Imperial hammer drills by an air-moved slide-valve set midway on the side of the cylinder; the Cleveland by a spool set towards the rear of the cylinder. They may again be divided into those drills in which the piston hammer delivers its blow on the end of the steel itself. A collar is placed on the drill to prevent its entering the cylinder. The other class has an anvil block or striking pin. This anvil block fits into the end of the cylinder between the piston and the steel. It receives and transmits the blow, and also prevents the drill end from entering the cylinder.1 Powerful among the enemies of Shakespeare are the commentator and the elocutionist; the commentator because, not knowing Shakespeare's language, he sharpens his faculties to examine propo sitions advanced by an eminent lecturer from the Midlands in stead of sensitizing his artistic faculty to receive the impression of moods and inflexions of being conveyed by word-music; the elocutionist because he is a born fool, in which capacity, observing with pain that poets have a weakness for imparting to their dramatic dialog a quality which he describes and deplores as “sing-song," he devotes his life to the art of breaking up verse in such a way as to make it sound like insanely pompous prose. The effect of this on Shakespeare's earlier verse, which is full of the naïve delight of pure oscillation, to be enjoyed as an Italian enjoys a barcarolle, or a child a swing, or a baby a rocking-cradle, is destructively stupid. In the later plays, where the barcarolle measure has evolved into much more varied and complex rhythms, it does not matter so much, since the work is no longer simple enough for a fool to pick to pieces. But in every play from Love's Labour's Lost to Henry V, the elocutionist meddles simply as a murderer, and ought to be dealt with as such without benefit of clergy. To our young people studying for the stage I say, with all solemnity, learn how to pronounce the English alphabet clearly and beautifully from some person who is at once an artist and a phonetic expert. And then leave blank verse patiently alone until you have experienced emotion deep enough to crave for poetic expression, at which point verse will seem an absolutely natural and real form of speech to you. Meanwhile, if any pedant, with an uncultivated heart and a theoretic ear, proposes to teach you to recite, send instantly for the police.1 Analyses are to be divided also upon the basis of whether the subject is an individual or a group of individuals, that is, whether the subject is, for example, the quality of patriotism, which is to be analyzed into its components, or, in the second place, shade trees, which are to be grouped into the classes which together constitute such trees. Of these two kinds of analysis we call the first Partition and the second Classification. The logical process is the same in the two cases, in that it divides the subject; the difference lies in the fact that in the first case the subject is always single, 1 George Bernard Shaw: Dramatic Opinions and Essays. Archibald Constable & Co., Ltd., London, publishers, 118 EXPOSITORY WRITING though it may of course be complicated, and in the second it is always plural, and may contain a very large number of individuals, as for example the human race - all the billions of all the ages gone and yet to come. In this treatment of analysis you will find the main divisions made on the basis of formality and the matter of single or plural subject treated under each of the other headings. Formal Analysis Formal analysis, which requires completeness of division, - which is not well done until every individual case is accounted for, or, in Partition, every quality or factor or part, — is found in reports to corporations, in estimates of conditions for some society, in government documents, in textbooks, and in other kinds of writing where detailed and complete information is necessary for judgment. A report to the city of Chicago on the subject of the smoke nuisance will be valuable largely as it entirely covers the ground, discovers all the conditions that the city has to face. Such a report will be primarily a partition of the question, though it may employ classification of various like situations or conditions. Likewise an account of the game birds of North America will be a formal analysis only if every kind of game bird is given a place in the account. The object of formal classification and partition is to give information, to array facts completely. The following classification of oriental rugs, which in its course also employs definition, or a close approach to it, will be finally sufficient only if no rug can be found which is not included within the classes named. The partition of the character of Queen Elizabeth will be of lasting value as formal partition only if it really accounts for the total character of the subject. That it makes only It is a common impression that oriental rugs are as difficult to know as the 320,000 specimens of plants, and the 20,000,000 forms of animal life that Herbert Spencer advised for the teaching of boys. This impression is wrong. There are only six groups or families of oriental rugs, and less than fifty common kinds. The novice can learn to distinguish the six families in sixty minutes. He would confuse them occasionally on so short acquaintance, but a college examiner would give him a passing grade. Persian rugs are the rugs that are profusely decorated with a great variety of flowers, leaves, vines, and occasional birds and animals, woven free hand, with purely decorative intent. India rugs are those in which flowers, leaves, vines, and occasional animals are woven as they appear in nature. Early Indian weavers transcribed flowers to rugs as if they were botanists; modern Indian weavers are copyists of Persian patterns and their copies are plainly not originals. In broad generalization, therefore, the two families of oriental rugs that are decorated almost exclusively with flowers have distinct styles that render their identification comparatively easy. The Turkoman and Caucasian families of oriental rugs also pair off by themselves. They are the rugs of almost pure geometric linear design. Turkoman rugs, comprising the products of Turkestan, Bokhara, Afghanistan, and Beluchistan, are red rugs with web or open ends, woven in the patterns of the kindergarten squares, diamonds, octagons, etc. That wild tribes should dye their wools in the shades of blood and weave the designs of childhood is fitting and logical. Caucasian rugs differ from Turkoman rugs in being dyed in other colors than blood red, in omitting the apron ends, and in being more crowded, elaborate, and pretentious in geometric linear pattern. The Caucasian weaver's distinction as the oriental cartoonist, the expert in wooden men, women, and animals, is well deserved. He holds the oriental rug patent on Noah's ark designs. Incidentally Mount Ararat and Noah's grave, “shown" near Nakhitchevan, are located on the southern border of his country. Chinese and Turkish rugs pair off almost as logically as the other rug families, although they are totally unlike in appearance. They contain both geometric linear and floral designs; the designs of the |