Objections, fallacy of, 99, 104, 120.
obscurity, from surcharging, 203-204;
from preciosity, 209-210.
observation, for science and for art,
179, 187.

occasional speeches, 125.
omission, in art, as the converse of
selection, 131-132; as a means of
conciseness, 134-135; as contribut-
ing to movement, 134-135, 146-147,
169-170, 180-182, 184; carried too
far, 204.

oratory, deliberative, forensic, occa-
sional, 125 (see persuasion).
order (see sequence, coherence).
organon, rhetoric as the, 273.
originality, and eccentricity or novelty,
202-204; in combinations of words,
206-207, 350.

ornament, extraneous, 231.

Panegyric, 125.

P

panoramas, in description, to be es-

chewed, 180, 182, 342-344.

parable, a method of literary interpre-
tation, 130, 140, 166, 168.
paragraph, defined, 10; subject stated,
12, 243; short, incorporated or de-
veloped, 11, 121, 124, 241; of transi-
tion, example, illustration, 12; unity,
tested by summary in a sentence,
12; development, 13, 244-245; co-
herence, 13-17; emphasis, 18, 21,
246-247; in relation to the cohe-
rence of the whole, 19, 246-247;
number of sentences, 19-22; oral,

121.

parallel construction (see balance).
parataxis, 253 (see coördination).
particulars, demanding, in refutation,
99-100, 120; analysis of evidence
for, III.

PATER, W. H., Imaginary Portraits, 34;
style, 200, 301, 351-352; Marius the
Epicurean, 209-210; Greek Studies,
267, 348; Miscellaneous Studies, 336;
The Renaissance, 359-361.

peroration, 116-117, 124, 293.
personality, as a means of persuasion,
63; in selection, gives artistic unity,
131, 163, 174-175; in expression,
opportunity for, 137; personal feel-
ing in description of nature, 186-
188; in diction, is style, 198-207,
230; and eccentricity or barbarism,
202-204; and range of vocabulary,
204-206; in combinations of words,
206-207; daily themes cultivate ex-
pression of, 332.

persuasion, the proper field of rhetoric,
1, 60, 283; energizes knowledge, 40,
283; is personal, 60, 62, 63, 289; is
the real object of conviction, 64;
deals with enthymemes, not syllo-
gisms, 78, 92, 94, 286, 289; i.e. with
probabilities, 86-94; with certitudes,
92, 94; of the pulpit, 93; exordium,
116; peroration, 116-117, 293; liter-
ary forms, 125; kinds, 125.
petitio principii, 95.
PHILLIPS, STEPHEN, Herod, 301.
phrase, borrowing, 45, 206 (see style);
as a unit of rhythm, 223.
phrase-hunting, 210, 220, 230-231.
"picturesque" details, in description,
178.

PINCHOT, GIFFORD, A Primer of For-

estry, Part I (Selection I) (238, 246,
247, 249, 250, 254, 255, 349), 363-
372.

place, of a story, limiting the, 146–147;
unity of, 147.

plan, by paragraphs, 53-54; "exposi-
tory," 55-56; argumentative, 64-74,
275-279; working plan, 49-50, 114-

309; Ivanhoe, 164, 342; Guy Manner-
ing, 166; The Heart of Midlothian,
305; The Lady of the Lake, 309.

review of a book, simple plan for, 239.
revolutions, in plot, 162 (see
"dra-

matic reverse").

dence, 290, 292.

rhetoric, defined, 1, 282; ancient, com-
mensurate with persuasion, 2, 60;
ancient, still valid in essentials, 60-
61; manuals of, accused of laying
too much stress on elegance, 211;
and literature, study of, 274.
"rhetorical" style, 232.
rhythm, 223-227, 354-357.
RINGWALT, R. C., Modern American

Oratory, 281 (see Brookings).

rise, the, a stage of a Greek tragedy,
152-153.

ROBINSON, W. C., Forensic Oratory,

285-286, 289-291, 292–293.
ROLAND, The Song of, 138.

romance, 139, 163, 164, 169, 303, 310.
rounding, a sentence, 223, 354-355
(see cadence, rhythm).

rules, use of, in learning to write, 3.
RUSKIN, JOHN, The Stones of Venice,
183, 359; Modern Painters, 186, 344.

S

ST. JOHN, JAMES, Letters from France
to a Gentleman in the South of Ire-
land, 338-342.

scene, of a story, limited, 146-147;
unity of, 147; involved in the action,
not explained, 154, 155, 157, 160-162;
distinct enough for sympathetic real-
ization, 176; described through per-
sonal feeling, 186-188.

300-301; in characterization, 140,
143; in plot, 146-147, 169; in de-
scription, 174-175; carried too far,
204; implies elegance of style, 208.
senses, and intellect, appeal to, 130,
171-172.

sentence, the subject of a short essay,
9; the subject of a paragraph, II, 12;
the smallest unity of composition,
193; unity, 23-25; coherence, 26-28;
emphasis, 28-36; after a pause, 34;
in relation to the coherence of the
paragraph, 32, 36, 250-251; periodic,
28-31, 254-255; climax, 32, 33; bal-
ance, 34-36; measure, 223.

sentences number of, i.e. long or
short, 19-22, 247, 249 (see cadence,
rhythm).

sequence (see coherence, logical prog-
ress); of tenses, 252-253.
setting (see description, narration).
SHAKESPEARE, Macbeth, 130, 133, 152:

Hamlet, 139; King Lear, 141, 185;
The Merchant of Venice, 141, 145;
Twelfth Night, 153.

short-story, the, 144, 147, 150, 153, 169-
170, 304, 310–311.

SIDGWICK, ALFRED, The Process of

Argument, 88, 286, 287, 289, 291-292.
significance, the test of artistic rele-
vance, 131, 133-134, 136, 140-141,
143, 146, 147, 150, 154, 165, 166; of
incident, a mark of romance, 165-166.

204-206, 209-210.

scientific interest, and literary interest,
163-164, 176.

198, 205, 208.

SCOTT, F. N., Paragraph Writing,

243; Composition Rhetoric, 243 (with
J. V. Denney); edition of Spencer's
Philosophy of Style, 352.
SCOTT, SIR WALTER, Kenilworth, 147,

situation, in narration, 143, 144, 148-
150, 310.
slang, 197, 218.

smoothness, of movement, in detail, 21,
223; in general (see coherence, tran-
sitions).

solution, in narration (see climax, con-
clusion).

sound, suggestions of, a mainstay of
description, 174, 190; connotations
of, harmony by, 222; and sense,
222-223.

speaking and writing, 60, 61.
specific, force of the, 145, 182, 213-215,

344, 352-353.

SPENCER, HERBERT, Philosophy of
Style, 30, 255, 302, 352.
statement, of the case (introduction) in
argument, 115-116, 118; and sugges-
tion, 129, 154, 155.

STEEVENS, G. W., With Kitchener to
Khartum, 182.

position, 129, 133, 299, 300-301 (see
concrete); and representation, 173-
174, 180; range of, in description,
174, 178; of terror and horror, best
indirect, 186; and denotation, in
diction, 208, 213-214.

summary, by paragraphs, II, 53-54,
237-239; by "expository plan," 65-
74; in conclusion of argument, 116;
and suggestion, 130, 133, 149.
surcharging, of words, leads to obscu-
rity, 204; to fatigue, 215.
surprise, in narration, 136, 151.
suspense, in a paragraph, 17; in a sen-
tence, 28-31; in persuasion, 123-124;
in narration, 151, 307.

135, 172, 184, 199, 218.
STEVENSON, ROBERT LOUIS, Kid-
napped, 147; David Balfour, 147;
The Beach of Falesa, 155-157; A
Gossip on Romance, 165, 303, 310; A
Gossip on a Novel of Dumas's, 310;
Travels with a Donkey in the Ce-
vennes, 171, 190, 338; Dr. Jekyll and
Mr. Hyde, 185; A Humble Remon-
strance, 310; Across the Plains, 190;
The Wrecker, 214; Markheim, 306;
Some Technical Elements of Style in
Literature, 228, 356-357; The Sire de
Malétroit's Door, 304, 306; Vailima
Letters, 307; A College Magazine,
351.

stimuli, physical, used in narration and
description to suggest thought and
emotion, 160-162, 170, 179; to sug-
gest mental images, 171-174.
stories, plots for, 318-331.
story, and drama, distinction of mode,
151-153, 307-308.

strength, of style (see force).
structure (see composition, forms).
style, 198-232, 350-362 (see sub-head-
ings in Contents).

subject, of a paragraph, is a sentence,
II, 12; or matter, in literature and in
the other arts, 131, 175, 198-199, 200;
and style inseparable, 231.
subordination (see emphasis).
suggestion, the method of literary com-

syllogism, 77, 86, 96, 200.
symbolism, 130, 140, 166, 168, 300.
synonyms, 209.

T

Tabulation, for exposition, 55-56; for
argument, 64-74.
taste, in diction, 197-198, 209, 219, 231
(see elegance).
TAYLOR,

JEREMY, BISHOP, Holy
Dying, 214, 230.
TENNYSON, ALFRED, Mariana, 344.
terms, in argument, 95, 104-105; in
narration and description, 145, 181,
188-190 (see abstract, concrete, and
the whole of Part II).

terror, best suggested indirectly, 133,

186.

tertium quid, 103.

testimony, as to fact, 111-113, 292;
expert, 112.

THACKERAY, Vanity Fair, 139, 141,
150, 165; Henry Esmond, 148.
theme, statement of, 10.

themes, subjects and directions for,
235-239, 257-280, 299, 311-319, 332-
336, 346-348.

therefore and for in argumentative
plan, 74.

thoughts, in story, expressed in the
concrete, 160-162.
time, limiting the, in narration, 143,
146-147; unity of, 147, 306, 308.

tone, unity of, 146, 148, 155.

V

paragraph, 9.

tragedy, Greek, parts of a, 152.
transitions, in logical composition, 9,
12, 13-17, 22-23, 34, 36, 53, 118, 122-
124; in literary composition, 134,
145, 153-162, 173, 180-182, 184.
translation, of thought easy, of style
almost impossible, 198; directions
for, 346-348.

trite, the, to be eschewed, 188, 206, 215,
349.

truth, as an object of argument, 88-89,
92-93; to fact, in logical composition,
88, 92-93, 109-114; to personal con-
ception, 131, 163–165, 187, 189, 300-

301.

U

Underplot, 141.
uniformity, of nature, a postulate of in-
duction, 81; of usage, English tem-
per against, 194-196.

unities, the dramatic, 147, 169, 306.
unity, logical, in general, 7; test of by
summary in a sentence, 9; of a para-
graph, 12; of a sentence, 23-25, 30,
253; regulated by the conclusion, 10,
52; artistic, in general, 130-133, 299;
of conception, selection, or interpre-
tation, 131-132, 163-164; of impres-
sion, 133, 146, 230; in narration, of
character, 141–142; of plot, 145-148,
304-307; in the short-story, 169; in
description, 174-175.
unperiodic sentence, 31-33.
usage, 193-198, 202-204, 208, 348-349.
use, good (see usage).

of, 80.

variety, in sentence length, 22, 144,

259; as a means of reclaiming atten-
tion, 62, 124; in general, as a means
of emphasis, 136; in dialogue, 144-
145; in measure, 223, 225-227, 354-
358; as a mark distinguishing epic
from drama, 302.

verbs, in description, should bear their
share, 145, 181, 183, 344.
verisimilitude, 143, 147, 154, 300-301.
VIRGIL, Eneid, 168, 178.
vivacity, or vividness, of style (see
force).

vocabulary, range of, 197, 204–206, 350-
351; as the register of experience,
205.
vulgarity, of style, 197, 206-208, 211.

W

WENDELL, BARRETT, English Com-
position, 246, 352.
WHATELY, Rhetoric, 287.
WILDE, OSCAR, A Ballad of Reading
Gaol, 351-352.
witnesses, comparative credibility of,
III-113.
"word-painting," expresses a confusion
of ideas, 173-174.
words (see usage, style); sense of, 202,
205; coining of, 203.

working, plan, 49-50, 114-115.
WRIGHT, T. H., Review of Spencer's
Philosophy of Style, 352.