course, none would be perceived.
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.]
(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,
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-
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,
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.
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,
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.
BUTLER, BISHOP, The Analogy of Re- ligion, 84, 85, 87.
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,
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
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,
complication and solution, in drama CRABBE, GEORGE, The Borough, 322-
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