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course, none would be perceived.

In such a case, it

is peculiarly necessary to recur to safe and fundamental principles to sustain those principles, and, when sustained, to make them the tests of the argument to be examined.

[Mr. Justice JOHNSON concurred in the judgment of the court, in a separate opinion. Judgment reversed.]

5

GENERAL INDEX

(References to citations and quotations are in italics)

A
Abruptness, produced by asyndeton,
16; produced by many short sen-
tences, 21; in measure, 223.

abstract, and concrete, 130, 140, 149,
189, 213.

accent determines English rhythm, 223.
accumulation, never equivalent to

composition, 7, 44, 46, 74, 104, 114,
122, 164, 175, 179.
action, in narrative and description,
130, 172-173; must be uninterrupted,
134, 150, 160-162, 173; antecedent,
134, 146, 152, 153-157, 308; and re-
action, 136; expressing character,
140; unity of, 145-148, 306; cohe-
rence of, 149-162, 308; the mode of
narration, 150, 307; two modes of,
drama and story, 151-153, 307-308.
ADDISON, The Spectator, 219-220, 301.
ad hominen, argument, 99.
adjectives, in description, not all suf-
ficient, 181.

ad terrorem, argument, 99.

analogy, argument, 84-85, 281-289.
analysis, for exposition, in reading,
47; of the rough draught, by para-
graphs, 53-54; by the expository plan,
55-56; for argument, argumentative
plan, 64-74; destructive (see refuta-
tion); a priori, 104-109, 291; a pos-
teriori, 109-114, 280, 292; working
plan, 114-115.
and which, 251.

antecedent action, 134, 146, 152, 153-
157, 307-308.

antecedent probability, 76.
a pari, argument, 84.

a posteriori, argument, 75; analysis,

109-114, 292.

appeal, to feeling, 61-63, 116-117, 124;
choice of words for (see force).
appreciation, of literature, heightened
by composition, 136-137, 202.
a priori, argument, 74-75; analysis,
104-109, 291.

aptness, of diction, 205, 208 (see ele-
gance).

adventure, characteristic of romance, argument, 64-125 (see deduction, in-

139, 165-166.

a fortiori, argument, 84.
agreement, Mill's Canon of, 78; and

difference (joint method), 79.
ALBALAT, ANTOINE, L'Art d'Écrire,
249, 336, 344, 353; la Formation du
Style par l'Assimilation des Auteurs,
242, 351, 362.

ALDEN, R. M., The Art of Debate,

281, 290.

alliteration, 223, 228-230, 358–362.
allusion, the method of using history
in description, 177; a habit of style,
209-210.

duction, antecedent probability, syl-
logism, and other sub-headings, as in
Contents).

argumentative plan, 64-74, 275-279.
ARISTOTLE, Rhetoric, 77-78, 86, 115-

116, 125, 247, 254-255, 282-284, 286-
287, 289-291, 293, 298, 344, 354-355;
Poetics, 138, 162, 169, 242, 300-304,
306-308.

ARNOLD, MATTHEW, The Literary
Influence of Academies (Essays in

Criticism, 1st Series), 33, 35, 349;
Sweetness and Light (Culture and
Anarchy), 267.

art, for art's sake, 199.
artificiality, from thinking too much of
the process, 23, 147, 220, 230.
artistic, form or structure (see literary).
assent, the object of persuasion, 2, 60.
asyndeton, 16, 247.

attention, holding, 62.

audience, determines exposition, 50;
addressing individuals, 62.

AUSTEN, JANE, Emma, 145; Pride and
Prejudice, 163.

BUCK, GERTRUDE, Figures of Rheto-
ric: a Psychological Study, 353.
BUNYAN, JOHN, Pilgrim's Progress,
130.

burden of proof, 100-101, 290.
BURKE, EDMUND, Conciliation with
America, 13, 32, 101; The Middlesex
Election, 18; The Revolution in
France, 22, 29, 30, 35; The Present
Discontents, 29; To the Electors of
Bristol, 102-103.

authority, in testimony, 112; in usage, BURROUGHS, JOHN, An Idyll of the
195-196, 208.
Honey-Bee, 301-302.

autobiography, form of, for unity, 147- BUTCHER, S. H., edition of Aristotle's
148.

B

BACON, Essays, 7, 17, 130-131.
BAIN, ALEXANDER, Composition and
Rhetoric (Appleton's 1 vol. ed.), 284-
285, 287, 290, 293.

BAKER, GEORGE P., Principles of Ar-
gumentation, Specimens of Argumen-
tation, 69, 281.

balance, in detail, 18, 25, 34-36, 223,
225, 255-256, 356-358; of elegance
and force in classic prose, 215-221.
barbarism, 202-204, 349.
begging the question, 95.
Beowulf, 138.

beside the point, arguing, 99.
Bible, The, Numbers, 255, 356; Job,
130; Psalms, 224, 256; Proverbs,
255; Habakkuk, 224-225; Haggai,

224.

bombast, 206, 210-211, 223.

BRÉAL, MICHEL, Essai de Sémantique,
348.

BREWSTER, W. T., Studies in Struc-

ture and Style, 266, 307, 348, 351,
359; Specimens of Narration, 310.
BRONTË, CHARLOTTE, Villette, 362.
BROOKINGS AND RINGWALT, Briefs
for Debate, 281.

BROWNE, SIR THOMAS, Religio Me-
dici, 19, 30; Urn Burial, 226-227,
358-359.
BRUNETIÈRE, FERDINAND, Littéra-
ture Contemporaine, 282, 289, 350;
Le Roman Naturaliste, 310, 336.

Poetics, 306-307.

BUTLER, BISHOP, The Analogy of Re-
ligion, 84, 85, 87.

C

Cadence, 223, 354-355 (see rhythm).
cæsura, variety in placing, 225-227,
355-356.

CAMPBELL, THOMAS, Philosophy of
Rhetoric, 348.

CANBY, H. S., The Short-Story, 311.
Canons, Mill's, of induction, 78-81,
114, 286-287.

CARPENTER, G. R., and FLETCHER,
J. B., Theme-Writing, 274, 286, 303.
catalogue (see accumulation).
catastrophe, or conclusion, in drama
and story, 152-153.
cause, proof of (see Canons).
CELLINI, BENVENUTO, Autobiography,

199-200.

certitude, as an object of persuasion,
92-93.

character (in narration), 139-145;

creation, 139-140, 303; suggested,
not summarized, 130-in the con-
crete, 140, 177 - by reaction of char-
acter on character, 141; confusion
of characters, 141, 305; dominance
of one (unity), 141-142; develop-
ment (coherence as consistency),
143-144, 304; dialogue, 134, 140–141,
144-145; predominance of interest
in, marks realism, 163.
characteristic detail, in description,
176-177, 344.

CHAUCER, The Pardoner's Tale, 153, | composition, kinds of, 1, 2, 129; forms

169; The Prologue, 344.
chiasmus, 35.

chivalry, romance the literary expres-
sion of, 168.

chronology, order of, unprofitable for

exposition, 50.

CICERO, de Oratore, 105, 116, 223,
280-281, 283-286, 290-291, 293, 298,
355; Orator, 298.

circumstantial evidence, 82-83, 287.
citation and quotation in exposition, 45.
classic quality of style, 215-221.
classical rhetoric (see rhetoric).
classical rhythms, and English, 223.
clause, or sentence? 21; as a unit of
rhythm, 223.

climax, 9; in a paragraph, 18; in a
sentence, 32-33, 255; in narration,
141, 143-144, 148-150; of story and
of drama compared, 151-153, 306-
308.

coherence, 9; dependent on paragraph
emphasis, 19; of a paragraph, 13-17;
of a sentence, 26–28, 30, 251–254; in
exposition, 52; in persuasion, 122–
124; in literary composition (general
statement), 133-135; in narration, of
character, 143-144, of plot, 149–162;
mode of drama and mode of story,
151-153, 307-308; antecedent action,
dialogue and description woven in,
153-162, 173; in description, 180-
186; avoidance of explanatory inter-
polations, 180-182, 184, 302, 338;
plan, 182-183; narrative method,
183-184; dialogue, 185; dramatic
method "by effects," 185-186.
coining, of words, 203-204.
COLERIDGE, The Ancient Mariner,
133, 153, 185, 309.

colour, in narration and description,
130.

commonplace, predilection of realism
for the, 164; style demands escape
from, 201, 206, 353.

of (see literary forms).

composure, of style, 217, 219 (see ele-
gance).

conception, unity of, 130, 131-132, 163-
164, 174-175, 189; determines dic-
tion, 209.

conclusion, the goal and measure of
composition, 10; in exposition, 52;
in argument is a proposition, 65;
involves appeal to feeling in the per-
oration, 117; in narration, 131, 136,
141, 148; in drama and in story,
152-153, 306-308.

concomitant variations, Mill's Canon
of, 80.

concrete, the mode of literary expres-
sion, 130, 299, 300, 344; character
expressed in, 140; dialogue, 144, 146;
story must culminate in, 149; thought
and emotion suggested by, 160-162;
words, force of, 182, 189, 213, 215, 353.
connotation, 154, 181, 189, 198, 208-209,
213, 222, 225-226.

conservative tendency in usage, 195–
196, 197, 209.
consistency, necessary in testimony,
III; of character, in narration, 143-
144, 304; of plot, in narration, 150,
151.

contrast, as a means of paragraph de-
velopment, 13, 244-245; in balanced
sentences, 35; in general a means of
emphasis, 136.
conventionality, of diction, 206, 211,
215, 232, 244, 253.
conversation (see dialogue).
conviction and persuasion, 64.
COOK, ALBERT S., edition of Newman's
"Poetry," 266, 304.

coördination and subordination, in the
paragraph, 21; in sentences, 25, 26,
251-252.

COPE, E. M., Introduction to Aristotle's
Rhetoric, 280, 282, 283, 284, 286, 289,
290, 291, 293.

'commonplaces" of persuasion, 283- correlatives, 252; in a periodic sentence,

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complication and solution, in drama CRABBE, GEORGE, The Borough, 322-

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