creation, of character, 139–140; impulse | diction (Part II), 193-232, 346–362.
crisis (see climax, issue, situation). criticism, value of composition in im- proving, 136, 202; suggestions for the writing of, 273-274 (see review); sug- gestions for the criticism of daily themes, 334.
cross-examination, 292.
culmination, 151, 152 (see climax, con- clusion).
Daily themes, 332, 335.
DANTE, Inferno.
dictionaries, as records of usage, 194–
difference, Mill's Canon of, 79. dilemma, 102-103, 290.
directness (see force), natural and ac- quired, 231-232.
division, for exposition, 40-42, 266; for three speakers in debate, 117-120, 293-298.
drama, mode of, and mode of story, 151-153, 307-308; Greek, parts of, 152, 307-308.
dramatic method ("by effects") in de- scription, 185-186.
DAUDET, ALPHONSE, Trente ans de dramatic reverse, 152, 307–308.
debate, division among three speakers, 117-120, 293-298; rebuttal (see refu- tation), 105-109, 114-115, 117-118,
definition, 43, 44, 266-267, 291-292, 293. DEFOE, Robinson Crusoe, 172, 307. deliberative oratory, 125-126.
demonstration, not usually attainable, 86, 88-89, 289.
denotation, and connotation, 198, 208- 209.
DE QUINCEY, THOMAS, The English Mail-Coach, 15, 17, 29, 30; Levana and Our Ladies of Sorrow, 228- 229; Pope, 242; Rhetoric, 286; Con- versation, 302. description, 171-174, 332-345 (see sub- headings in Contents). details, and the whole, in logical com- position, 45-46, 115-124; in literary composition, 131-132; in description, 174-180, 337; details for themselves, as salient, characteristic, or pictu- resque, 175-178.
development, of character, 143, 162,
304; of plot, 149-153, 304. dialect, to express local or personal peculiarity, 140-141, 304. dialogue, 134, 140-141, 144-145, 146,
157-160, 185, 304. DICKENS, David Copperfield, 141, 145, 147, 305; The Old Curiosity Shop, 224; A Tale of Two Cities, 256.
dramatic unities, 147, 169.
EARLE, JOHN, English Prose, 349.. EDWARDS, GEORGE WHARTON, Thumbnail Sketches, 190. effects, description by, 185-186. EGGER, E., Histoire de la Critique chez les Grecs, 306.
eighteenth century, prose of the, 211, 215.
elegance, 207-212; as choiceness, 208; as reserve, 209-210; preciosity, ped- antry, and bombast, 210-211; stress on elegance in manuals of rhetoric, 211; stress in the eighteenth cen- tury, 211-212; corrected by force, 215-221.
ELIOT, GEORGE, Middlemarch, 164, 304, 305; Adam Bede, 338. ellipsis, undue, 27.
EMERSON, R. W., Intellect, 20. emotion (see feeling). emphasis, general, in logical composi- tion, 9, 10; of a paragraph, position, 17, 121, 246, proportion, 18, 21, 120- 121, 246-247, in relation to the cohe- rence of the whole, 19, 246; of a sentence, 28-36, in relation to the coherence of the paragraph, 32, 36, 250-251, at the beginning, 33-34, after a pause, 34, 121; in argument, 120-121; general, in literary compo- sition, 136; in narration, one main
character, 141-142, dominance of fall, a stage of Greek tragedy, 152-
climax, 148-150, 306-307, subordina- tion of antecedent action, dialogue, and description, 153-162, 173; in description, 174-175.
energizing knowledge, the office of persuasion, 40.
epic, 138, 163-165, 302, 303, 304-305. epigram, in balanced sentences, 35, 256.
ERSKINE, LORD, Defence of Lord George Gordon, 292.
essay, the, as a literary form, 57-58, 129, 300.
essays, directions for (see themes). etymology, suggestion of, 209. euphony, 222-223, 354.
evidence, of cause, 79-82; circumstan- tial, 82-83, 287; analyzed, 95-98, 109-114, 280, 292; corroboration sought, 106, 280; testimony as to fact, III-113, 280.
fallacies, 96-100; petitio principii, 95; non sequitur, 96; non causa pro causa, 96; post hoc, 97; ignoratio elenchi, 99; argumentum ad homi- nem, 99, 290; ad terrorem, 99; of objections, 99.
familiar words, for force, 213 feeling, appeal to, 61-63, 124, 284–286; and reason, not appealed to sepa- rately, 63; in the peroration, 117, 124; a measure of literary composi- tion, 129-130; suggested, not sum- marized, or explained, 130, 140, 160- 162; dominance of a single, 133; description by the feelings of the describer, 185-188; suggested by diction, 209 (see force), 212-215; re- serve in expression of, 188, 209, 215, 218-219 (see elegance); rhythm as the expression of, 224. FIELDING, Tom Jones, 141, 163, 305.
example, as a means of exposition, 13, figures, 189, 214-215, 353.
exclusion, logical, 101-102, 290–291. exordium, 116.
expert testimony, 112.
explanation and suggestion, 129, 131, 149 (see exposition); to be com- pressed in literary composition, 134, 140, 145, 149, 154-155, 160, 177, 180- 181, 183.
explicit reference, 9, 13, 16, 122.
FLETCHER, J. B., and CARPENTER, G. R., Theme-Writing, 274, 286, 303.
for, and therefore, in argumentative plan, 74.
force, 212-215; and correctness, 194, 197; emotional directness, 213; con- crete and specific, 213-214; figure, 214-215; corrected by elegance, 215- 221; violence, 215, 218-219.
forensic oratory, 125-126. forms, of composition (see literary forms).
exposition, 37-59, 257-274 (for sub- foreign words, 349. headings see Contents). "expository plan," 55-56. expression, and repression, 187-188, 209-211 (see elegance); and idea, 205; daily themes an exercise in, 335.
formulation, and impression, 133. FREYTAG, GUSTAV, Die Technik des Dramas, 307-308.
extensions, of the meaning of words, FROMENTIN, EUGÈNE, Une Année dans le Sahel, 300-301, 336, 350; Un Été dans le Sahara, 336-337.
Fable, Aristotle's distinction between complicated and simple, 162, 169, 304, 310.
fact, and inference, 45, 109-114, 292; testimony as to, III-113; and fiction, in narration, 142, 163-165, 303-304.
GARDINER, J. H., The Forms of Prose Literature, 242, 274. general terms, lack suggestiveness, 213-214.
generalization, an object of exposition, | HENRY, M. A., Cours Pratique et
37, 43-45; in argument, 74-75, 78-
81 (Mill's Canons), 82, 98; for science and for art, 179.
generosity, a motive of romance, 167.
Raisonné de Style et de Composition, 237, 319-320.
HILL, A. S., Principles of Rhetoric, 348-349.
genius, and technical skill, 139-140,"historical method," in argument, 292. history, argument from (analogy), 84– 85; allusions to, in description, 177. Holy Grail, a typical romance, 168. homeliness, of style, 197, 220, 349. HOMER, Iliad, 138; Odyssey, 165, 168. horror, best suggested indirectly, 186.
GENUNG, JOHN F., The Working Principles of Rhetoric, 344. gesture, in narration and description, 130; to express character, 140, 143; to forward plot, 154.
GIBBON, The Decline and Fall of the House-that-Jack-built sentence, 24.
HUGO, Les Misérables, 182.
GILLESPIE, ELIZABETH D., A Book of HUXLEY, T. H., The Physical Basis Remembrance, 321-322. of Life, 102, 287.
GOLDSMITH, The Vicar of Wakefield, hypotaxis, 253 (see sentence emphasis). 130, 176. hypotheses, forming of, 82, 289.
gradation, artistic coherence, 134, 304; consistency in development of char- acter, 143-144.
grasp, the mastery aimed at in logical composition, in exposition, 40; in argument, 70-71, 105, 115, 122, 124. grouping, a process of exposition, 38, 44; of argument, 114, 122.
HALE, E. E., JR., A Constructive Rheto- ric, 351.
hanging participle, 251.
HARDY, THOMAS, Tess of the D'Ur- bervilles, 178.
harmony, of scene and emotion, 186- 188; of diction, 222-232, 354-362; the constant quality of good style, 222; the connotation of sound, 222; euphony, 222-223, 354; rhythm, 223-227, 354-357; alliteration, 228- 232, 357-362. HART, A. B., Revised Suggestions on the Study of the History and Govern- ment of the United States, 267. HAZLITT, WILLIAM, Originality (Criticisms of Art), 350; The Prose Style of Poets, 355-356.
HEARN, LAFCADIO, Glimpses of Un- familiar Japan, 177–178. heightening, of diction, 188, 208, 213- 215 (see style, concrete, figure).
Idiom, 197, 349. ignoratio elenchi, 99.
illusion, artistic (verisimilitude), 143, 154.
illustration, in exposition, 13, 38, 244; in persuasion, 62.
images, mental, the object of description, 171; and visual representation, 173– 174; concrete and specific suggest, 213-214; figures specify, 214-215. imagination, a measure in literary
composition, 129, 164; over-stimu- lated by a habit of figure, 215. imitation, study of style by, 187-188, 202, 205-206, 217, 351.
incident, in narration (see plot, situa- tion).
indentation, to mark paragraphs, 11. induction, in exposition, 52; in argu- ment, 78-83, 87-88, 286–287. inevitable, a characteristic of literary coherence, 133-134, 151. inferences, and facts, 45, 109-111, 113-
114; refutation of (fallacies), 96–100. interest, keeping the, in a story, 151. interpretation, as giving artistic unity, 131-132, 163.
interruption, of movement, to be
avoided, 134-135, 145, 150-151, 153- 162, 173, 180-182, 184.
introduction, in argument, 73-74, 115- | language, and the artist, 198, 202–203.
116, 118, 279, 293. "inversion for adjustment," 22. issue, meeting the, in argument, 70, 72, 105-109, 115-116; determines a story, 141-142, 143, 148-149. iteration, in paragraph development, 13; in definition, 44; in persuasion, 121, 123-124, 298.
JAMES, HENRY, The Lesson of the Master, 157-160; Brooksmith, 190; The Art of Fiction, 310.
JAMES, WILLIAM, The Will to Believe, 93.
JANVIER, THOMAS, Colour Studies,
JOHNSON, CHARLES F., Elements of
Literary Criticism, 301, 303, 307. JOHNSON, DR. SAMUEL, A Journey to the Western Islands of Scotland, 212; Life of Addison, 212; Letter to the Earl of Chesterfield, 220-221. joint methods of agreement and differ- ence, Mill's Canon of, 79.
KEATS, Ode on a Grecian Urn, 256. KER, W. P., Epic and Romance, 303, 310.
KILLICK, A. H., The Student's Hand- book Synoptical and Explanatory of Mr. J. S. Mill's System of Logic, 78, 79, 281, 286, 290.
kinds of composition, 1, 2, 129-130. KIPLING, RUDYARD, 007, 171; Little Tobrah, 306; Without Benefit of Clergy, 309; Georgie Porgie, 309; Dinah Shadd, 309; On Greenhow Hill, 309; The City of Dreadful Night, 336; Thrown Away, 344.
LAROUSSE, P., Grand Dictionnaire Universel, 306.
LEGOUVE, L'Art de la Lecture, 284. LEMAITRE, JULES, Impressions de Théâtre, 337; Les Contemporains, 353. length of sentences, 19-22. LESSING, Laokoon, 307, 336. letters, 137, 207, 304.
LEWIS, E. H., A First Book in Writing English, 244, 247.
limiting, the theme in exposition, 45, 46; the issue in argument, 104-109; the characters in narration, 141-142; the time and place in narration, 143, 146-147, 152.
literal translation, 346. literary composition, distinguished from logical, 129.
literary forms, of exposition, 57-59; of persuasion, 125–126; of narration, 162-170; of description, 173, 190. literary quality, 200 (see style). literature, and other arts, appeal to feel- ing in, 130; subject-matter in, 131, 175, 198, 199, 200; and science, 163- 164; measured by style, 198-200. "live questions," not to be settled by demonstration, 87, 91.
"local colour," characteristic detail, in description, 176, 177, 301, 337. logical exclusion, 101-102, 290–291. logical progress, in a sentence, 32, 33; in exposition, 52; in argument, 117, 122-123; distinguished from literary, I, 129, 133-135. logical relevancy (unity) and literary, 131.
logical subordination (see emphasis), and literary, 136.
longer clause after the shorter, for cadence, 223.
La Farge, John, An Artist's Letters | MACAULAY, Francis Bacon, 34; His- from Japan, 184; Considerations on Painting, 301, 336, 350; Ruskin, Arl and Truth, 301.
tory of England, 35; Lord Mahon's War of the Succession in Spain, 244– 245, 256; Machiavelli, 245.
LANDOR, WALTER SAVAGE, The Pen- MCMASTER, JOHN BACH, History of
tameron, 178, 303, 361-362.
the People of the United States, 331.
MARSHALL, JOHN, CHIEF JUSTICE,
Gibbons vs. Ogden (Selection IV), 71-73, 243, 244, 245, 250, 251, 255, 290, 293, 402, 437; Cherokees vs. the State of Georgia, 293.
marvellous, the pleasure of romance in, 164, 166.
mass (see emphasis, proportion). MATHER, COTTON, Magnalia Christi Americana, 324-331, 349. MATTHEWS, BRANDER, Vignettes of Manhattan, 190; Speech-making, 284; The Short-Story, 304, 306, 307, 310- 311; The Study of Fiction, 310; Parts of Speech, 348-349.
MAUPASSANT, GUY DE, Pierre et Jean, 310, 352; Lettres de Flaubert à George Sand, 354.
measure, 223, 354-355 (see rhythm). mechanism, in literary composition, should be simple and invisible, 134, 148, 154, 180-184. memory, descriptive appeal to, 172. MEREDITH, GEORGE, Diana of the Crossways, 160-162; Vittoria, 163, 342-344; The Ordeal of Richard Feverel, 165, 344; Lord Ormont and his Aminta, 218-219. metaphor, 215.
metre, out of place in prose, 224 (see rhythm).
MONTAGUE, EARL, Defence of the Court of the Lord High Steward, 98. mood, unity of, in artistic composition, 133, 146, 148, 155; expressed by the diction, 209 (see elegance).
Moral," of a story, 133, 149 (see climax, conclusion).
MORE, SIR THOMAS, Apology, 357-358. movement, artistic coherence, 134-135; in narration, 149-162, 307-308; in story and in drama, 151-153; ante- cedent action should not delay, 154, 155-157; description should not de- lay, 160-162, 173; dialogue should forward, 157-160; in description, 180-182; in detail (see rhythm). music, and literature, appeal to feeling in, 130.
mystery, the mood of romance, 166- 167.
Narration, 138-170, 303-331 (see sub- headings in Contents). narrative poems, 153, 162. narrator, choice of a (for unity of plot), 147-148, 306.
nationality in the conception of good style, 216.
native words, for force, 213. nature, described through personal feeling, 186-188.
NEWMAN, JOHN HENRY, CARDINAL,
Literature (Selection III), 32, 35, 243, 246, 301, 350, 383-402; A Grammar of Assent, 81, 88, 93, 266, 280, 286, 289-290; Poetry Considered with Reference to Aristotle's Poetics, 350. non causa pro causa, 96. non-restrictive clauses, 28.
MEYNELL, ALICE, Symmetry and Inci- dent (Selection II), 53-54, 55-56, 242, 246, 247, 250, 256, 349, 359, 372- 383. MILL, JOHN STUART, Logic, 78-81, 87, non sequitur, 96. 281, 286, 287, 289, 290, 292, 293. Mill's Canons of induction, 78–81. mode, of drama and of story, 131-
modifiers, faulty placing, 27-28; put first in periodic sentence, 28. monotony, an affair of sentence-length, 22, 250; of measures, 223, 225, 354- 356.
notes, taking, 44-50, 240; composing, 50-53, 240-241; analyzing, 53-56; palmed off for novels, 163-164. novel, defined, 162–163, 309-310; in its two moods, 138-139, 163, 310; epic, leading to realism, 138-139, 162–165; romance, 138-139, 165-169, 310. novelty, interest of, in literature, 176; in diction, 197, 204, 206.
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