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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