• Abstract vs. concrete, 89, 90.
  • “Adams and Jefferson,” Webster’s, quotation from, 176.
  • Adjectives, 78.
  • “Alice in Wonderland,” a story without facts, 25.
  • Allegory, 261.
  • Allusion, 263.
  • Amphibrach, 273.
  • Analogy, use of, 137.
  • Anapest, defined, 273;
    • interchangeable with iambus, 278.
  • “And,” use of, 192.
  • Andersen, Hans Christian, his “Tannenbaum,” 12.
  • Anecdotes in exposition, 97.
  • “Annabel Lee,” quotations from, 271, 278, 279.
  • Anti-climax, 210.
  • Antithesis, 227.
  • “Apologia,” Newman’s, quotation from, 160.
  • Apostrophe, 261.
  • Argument, 4, 128-137;
    • from cause, 133;
    • sign, 133-137;
    • example, 137.
  • Arnold, Matthew, quotation from, 159;
    • quotation to illustrate repetition, 167;
    • to illustrate sentence structure, 222.
  • Arrangement, in narration, 29-32;
    • description, 74, 75;
    • exposition, 108-114;
    • argument, 138-141;
    • sentence, 222, 223.
  • Association of ideas, 103.
  • “Autumn Effect, An,” quotation from, 17.
  • “Baa, Baa, Black Sheep,” its purpose, 7;
    • beginning, 29;
    • length of sentences in, 33;
    • time for the action, 36.
  • Balanced sentences, 227, 228.
  • Ballad, defined, 285.
  • “Barbara Frietchie,” a narrative poem, 4.
  • Bates, Arlo, quoted, 35.
  • Beauty, gained by use of figurative language, 258.
  • Beginning of a story, 29.
  • Bellamy, Edward, his “Looking Backward,” 7.
  • “Biglow Papers,” quotation from, 51.
  • “Birthmark,” Hawthorne’s, 24.
  • Blake, William, “Tiger, Tiger,” quoted, 282, 283.
  • “Bonnie Brier Bush, Beside the,” 25.
  • Bookish words, 242.
  • “Break, Break, Break,” quotation from, 283.
  • “Bridge of Sighs, The,” quotation from, 270.
  • Brief in argument, 138, 139.
  • Browning, Robert, vivid narration of, 23.
  • “Burial of Sir John Moore, The,” quotation from, 277.
  • Burke, Edmund, quotation from his speech on “Conciliation with the Colonies,” 116;
    • that speech analyzed, 142-147;
    • quotations to illustrate paragraph structure, 171, 175, 177, 188;
    • quotations to show sentence structure, 200, 209, 214, 226.
  • Burroughs, John, his knowledge of his field, 9;
    • quotations from, 158, 160.
  • “But,” use of, 192.
  • Capital letters, 303.
  • Cause and effect, 133-136.
  • Characters, number of, 35.
  • Chaucer, Geoffrey, quotation from, 245.
  • Choice of subject, 8-12.
  • Choice of words, 78-80, 239-255.
  • “Cinderella,” 12.
  • Clearness and coherence, 180-193, 224, 225.
  • Clearness gained by use of figurative language, 258.
  • Climax, 139-141, 211, 218;
    • defined, 262.
  • Coherence, 20;
    • in narration, 31, 32;
    • in description, 74, 75;
    • in exposition, 116-118;
    • in paragraphs, 180-193;
    • in sentences, 224, 225.
  • Colons, 306, 307.
  • Comedy, 286.
  • Commas, 303, 304.
  • Comparisons, use of, 77, 98;
    • paragraph of, 165;
    • confusion of, 259.
  • Composition, 1;
    • oral and written, 2;
    • conventions of, 2.
  • “Conciliation with the Colonies,” Burke’s speech on, quoted, 116, 171, 175, 177, 188, 214, 226;
    • analyzed, 142-147.
  • 314 Conclusion of a story, 23.
  • Concrete facts, use of, 89, 90.
  • Conjunctions, use of, 190, 191.
  • Connectives in sentences, 228, 229.
  • Consistency, 25.
  • Cooke, Josiah P., his essay on “Fire,” 8.
  • “Copyright,” quotations from Macaulay’s speech on, 159, 172.
  • Correction, marks for, 300.
  • Curtis, George William, quoted, 111.
  • Dactyl, defined, 272;
    • interchangeable with trochee, 278.
  • “Daisy, The,” Wordsworth’s quotation from, 274.
  • “Darkness and Dawn,” 8.
  • Dash, 307, 308.
  • “David Copperfield,” description quoted from, 65.
  • “David Harum,” its construction criticised, 22.
  • Davis, Richard Harding, small number of characters in his books, 35;
    • simple plot in his “Gallegher,” 36.
  • Deduction, 129.
  • Definition, a, 91-94.
  • Description, 4, 49-80;
    • an aid to narration, 34;
    • and exposition, 91.
  • Description and painting, 50.
  • Details, in narration, 22-25;
    • paragraph of, 163.
  • Dickens, Charles, his “Nicholas Nickleby” as an exposition, 5;
    • description from his “David Copperfield” quoted, 65;
    • quotations from Mr. Micawber’s conversation, 253.
  • Dictionary, use of, 237.
  • Differentia, 92, 93.
  • Digression, 22.
  • Dimeter, 274.
  • Discourse, forms of, 3-7.
  • “Discussions and Arguments,” Newman’s, quotation from, 97.
  • Dramatic poetry, 286.
  • Dynamic point of sentence, 221.
  • Elegy, the, 285.
  • Eliot, George, her “Silas Marner,” 13;
    • quotation from, 152-156.
  • Emerson, Ralph Waldo, primarily an essayist, 9.
  • Emotional statement, 115.
  • Emphasis, how secured, 110-112, 115, 116, 217-219.
  • End of a paragraph, 175-179;
    • of a sentence, 208-212.
  • “English Composition,” Wendell’s, quotation from, 94.
  • Enthymeme, 130.
  • Enumeration vs. suggestion, 52.
  • Enumerative description, 54.
  • Epic, the, 284.
  • Epithet, 260.
  • “Evangeline,” quotation from, 277, 278.
  • Events, order of, 29, 30.
  • Everett, Edward, description from, quoted, 71.
  • Examples, paragraph of, 171.
  • Exclamation, 262.
  • Exclamation point, 308.
  • Exclusion of details, 22, 23, 26.
  • Exposition, 4, 89-120;
    • and description, 91.
  • Facts in stories, 25.
  • “Faerie Queene, The,” quotation from, 281.
  • “Fall of the House of Usher, The,” descriptions in, 34;
    • quotation from, 69, 71.
  • Familiar images, 76.
  • Farrar, Canon, as a writer of sermons, 8.
  • “Feathertop,” 13.
  • Figurative language, 257;
    • value of, 258.
  • Figures of speech, 77, 250, 257-268.
  • Fine writing, 253.
  • “First Snow-Fall, The,” quotation from, 274.
  • Fiske, John, his “History of the United States,” 25.
  • Foot, a, in poetry, 272;
    • one kind may be substituted for another, 277-281;
    • first and last foot of a verse may be irregular, 281, 282.
  • Force, gained by use of figurative language, 258.
  • Foreign words, 243.
  • Francis I. quoted, 113.
  • “Function of Criticism at the Present Time,” Arnold’s, quotation from, 222.
  • “Gallegher,” simple plot of, 36.
  • General terms, 89, 248-252.
  • Genung, J. F., on paragraph structure, 162.
  • Genus and differentia, 92, 93.
  • “Gold Bug,” length of sentences in, 33.
  • Good usage, 222, 223, 239-245.
  • Grant, U. S., his “Memoirs” have no plot, 16.
  • Hackneyed phrases, 253.
  • Haggard, Rider, 12.
  • Hawthorne, Nathaniel, a story writer, 9;
    • his “Feathertop,” 13;
    • his descriptions in “The Marble Faun,” 34;
    • quoted, 50;
    • quotations from, about “The Old Manse,” 58, 59;
    • descriptions from his “House of the Seven Gables” quoted, 66;
    • from “The Old Apple Dealer,” 67.
  • Heading of essay, 297.
  • Heptameter, 275.
  • “Hervé Riel” as a piece of narrative, 23.
  • Hexameter, 275.
  • “Hiawatha,” quotation from, 270.
  • “Historical Sketches,” Newman’s, quotation from, 52-54.
  • Hood, Thomas, “The Bridge of Sighs” quoted, 270.
  • “House of the Seven Gables,” descriptions quoted from, 66.
  • 315 Hugo, Victor, his description of Waterloo quoted, 67.
  • Huxley, Thomas, example of his use of comparison, 98;
    • quotation from, to illustrate paragraph structure, 161.
  • Hyperbole, 263.
  • Iambus, defined, 272;
    • the common foot of English verse, 272, 279;
    • interchangeable with anapest, 278.
  • “Idea of a University,” quotations from, 95, 171, 193, 203, 210, 247.
  • Illustrations, their value, 97.
  • “Impressions de Théâtre,” quotation from, 63.
  • “Incident of a French Camp, An,” as an example of a short story, 23.
  • Incident, the main, 20, 21.
  • Incidents, order of, 29, 30.
  • Inclusion of material, 24.
  • Indention of paragraph, 297.
  • Individual arrangement of paragraph, 181-188.
  • Individuality of author, 8.
  • Indorsement of essay, 298.
  • Induction, 128, 132.
  • Interest, 11, 12.
  • Interrogation, 262.
  • Interrogation point, 308.
  • Introduction of story, 23.
  • Inversion, 262.
  • Irony, 262.
  • Irrelevant matter, 22, 23.
  • Irving, Washington, as a story writer in the third person, 27;
    • description from, quoted, 54;
    • short characterization quoted, 70;
    • description of a coachman quoted, 75;
    • quotations to illustrate paragraph structure, 164, 183;
    • to illustrate sentence construction, 202, 203, 219, 220, 229.
  • Jonson, Ben, quotation from, 280.
  • “Jungle Books,” 12;
    • quotation from, 78.
  • “Kidnapped,” quotations from, 15, 165;
    • its unity, 27.
  • “King Lear,” its plot, 16;
    • quotation from, 60.
  • Kingsley, Charles, “The Three Fishers” quoted, 271.
  • Kipling, Rudyard, his “Baa, Baa, Black Sheep,” 7;
    • his “Jungle Books,” 12;
    • his use of climax, 21;
    • as a story-teller, 22, 27;
    • small number of characters in his stories, 35;
    • quotation from his “Light that Failed,” 60;
    • description quoted from his “Jungle Books,” 78;
    • quotation to illustrate sentence construction, 201;
    • his “L’Envoi” quoted, 252.
  • “Lady of the Lake, The,” quotation from, 269.
  • Language vs. painting, 49-52.
  • Lanier, Sidney, “The Science of English Verse,” cited, 269;
    • quoted, 273.
  • Latin words, 245-248.
  • Le Gallienne, Richard, his essay on pigs, 10;
    • quoted, 257.
  • “Legend of Sleepy Hollow, The,” 27, 29;
    • description in, 34;
    • quotation from to show paragraph structure, 163, 183;
    • to show sentence structure, 202, 219.
  • Lemaître, Jules, criticism of Zola quoted, 63.
  • Length, of a description, 63, 64;
    • of a paragraph, 151-156;
    • of a sentence, 178, 179, 204, 205.
  • “L’Envoi” to “The Seven Seas,” quoted, 252.
  • “Les Misérables,” its intricate plot, 16;
    • quotation from, 67.
  • “Light that Failed, The,” quotation from, 60.
  • “Little Dorrit,” large number of characters in, 35.
  • “Little Red Riding Hood,” 12.
  • Logical definition, 91.
  • “London Bridge,” quotation from, 282.
  • Longfellow, Henry Wadsworth, “Hiawatha” quoted, 270;
    • “Evangeline” quoted, 277, 278;
    • “The Village Blacksmith” quoted, 279, 280.
  • “Looking Backward,” as a novel with a purpose, 7.
  • Loose sentences, 212, 214, 215.
  • Lovelace, Richard, quoted, 112.
  • Lowell, James Russell, his “Sir Launfal,” 13;
    • quotation from “Biglow Papers,” 51;
    • from a “Song,” 52;
    • from “To W. L. Garrison,” 89;
    • from “The First Snow-Fall,” 274.
  • Lyric poetry, 285.
  • Lytton, Lord, quotation from, 241.
  • Macaulay, Lord, quotation on Milton from, 96;
    • quotation to illustrate comparison, 98;
    • his essay on “Milton” analyzed, 106;
    • last sentence of that essay quoted, 111;
    • that essay as an example of proportion in treatment, 114;
    • his denunciation of Charles I. quoted, 115;
    • further quotations from his “Milton,” 117;
    • his speeches on “Copyright” and the “Reform Bill” quoted, 159, 172, 193;
    • quotations from the “Milton” to illustrate paragraph structure, 164, 166, 168, 178, 182, 184.
  • “Macbeth,” 13.
  • Maclaren, Ian, 25.
  • Main incident, 20-26.
  • Major term, 129.
  • “Marble Faun, The,” description in, 34.
  • Margin of composition, 296.
  • “Marmion,” 27, 29;
    • quoted, 276.
  • Mass, 20;
    • in description, 64-75;
    • in exposition, 108-114;
    • in paragraphs, 174-178;
    • in sentences, 207-212.
  • Masson, David, 104.
  • Maupassant, Guy de, quotation from his 316 “Pierre et Jean,” 56;
    • from his “Odd Number,” 156.
  • Meredith, George, quotation from, to illustrate paragraph structure, 161;
    • sentence structure, 205.
  • Metaphor, 77, 260.
  • Metonymy, 250, 263.
  • Metre, kinds of, 273-275;
    • variations in, 276.
  • Metrical romance, the, 284.
  • Middle term, 130.
  • “Milton,” Macaulay’s essay on, quotations from, 96, 98, 111, 115, 117, 119, 164, 166-168, 178, 184;
    • analyzed, 106.
  • Milton, John, quotations from, 241, 245, 248.
  • Minor term, 129.
  • Monometer, 273.
  • Mood in description, 59-62, 67-69.
  • “Mosses from an Old Manse,” quotation from, 50.
  • Movement of story, 32, 33.
  • Narration, 4, 13-37.
  • Narrative poetry, 284.
  • National usage, 242.
  • “New Testament,” quotation from, 241.
  • Newman, Cardinal, quotation from, about Athens, 52;
    • quotation on theology, 95;
    • quotation to illustrate the use of specific instances in exposition, 97;
    • to illustrate paragraph structure, 160, 171, 177, 193;
    • to show sentence construction, 203, 210;
    • to show use of words, 247.
  • “Nicholas Nickleby,” as an exposition of school abuses, 5.
  • Nouns, 78.
  • Number of characters, 35.
  • Observation, its value, 55.
  • Obverse statement, 95, 96;
    • paragraph of, 169-171.
  • Octameter, 275.
  • “Odd Number, The,” quotation from, 156.
  • Ode, defined, 285.
  • “Œnone,” quotation from, 51.
  • “Old Apple Dealer, The,” quotation from, 67.
  • Omniscience of an author, 27.
  • Order of events in stories, 29;
    • of words in sentences, 217-219.
  • Outline, use of, 32, 109, 110, 138, 139, 174.
  • Palmer, Professor G. H., quotations from, on composition writing, 101, 112.
  • “Paradise Lost,” quotations from, 241, 245, 248.
  • Paragraphs, 151-195.
  • Parallel construction, 192-194, 226, 227.
  • Particulars in exposition, 96;
    • paragraph of, 163.
  • Penmanship, 300.
  • Pentameter, 274.
  • “Pepacton,” 9;
    • quotations from, 158, 160.
  • Period, 308.
  • Periodic sentences, 212-216.
  • Personification, 77, 260.
  • Persuasion, 4.
  • Philippians iv. 8, 241.
  • “Physical Basis of Life,” Huxley’s, quotations from, 98, 161.
  • “Pierre et Jean,” quotation from, 55.
  • “Pilgrim’s Progress,” 13.
  • Place of a story, 29.
  • Plot, 15-20, 36.
  • Poe, Edgar Allan, his sentences, 33;
    • his use of description in “The Fall of the House of Usher,” 34;
    • quotations from that work, 68, 71;
    • “Annabel Lee” quoted, 271, 278, 279.
  • Poetic feet, 272.
  • Poetical words, 254.
  • Poetry, kinds of, 284-286.
  • Point of view, 56-59;
    • change of, 58;
    • mental, 59.
  • Position of words in sentences, 217.
  • “Præterita,” Ruskin’s, quotations from, 169.
  • Premises, 129;
    • false, 131.
  • “Present Position of Catholics in England,” Newman’s, quotation from, 177.
  • Present usage of words, 244, 245.
  • “Prince Otto,” quotations from, 72, 73.
  • “Princess, The,” quotation from, 251.
  • Pronouns, use of, 188, 189.
  • Proportion in description, 73;
    • in exposition, 104-108, 114;
    • in paragraphs, 179.
  • “Prose Fancies,” 10.
  • Provincialisms, 242.
  • Purpose, of an author, 6, 7;
    • in description, 59-62.
  • Quotation marks, 308.
  • “Quo Vadis,” 7.
  • Rapidity of movement, 32.
  • “Reform Bill,” quotation from Macaulay’s speech on, 193.
  • Refutation in argument, 141.
  • Repetition, its value, 94;
    • paragraph of, 167.
  • Reputable words, 239-241.
  • “Richard Feverel,” quotations from, 161, 205.
  • “Richelieu,” quotation from, 241.
  • “Robinson Crusoe,” has little plot, 16.
  • Royce, Josiah, quotation from, 242.
  • Ruskin, John, 49;
    • quotation to illustrate building up a paragraph, 169;
    • his “Sesame and Lilies,” 239.
  • Saxon words, 245-248.
  • Scale of treatment, 104-108.
  • Scansion, 275-284;
    • requisites for scanning, 283, 284.
  • “Science of English Verse, The,” quotation from, 273.
  • Scott, Sir Walter, as a story-teller in the 317 third person, 27;
    • his dull introductory chapters, 31;
    • “The Lady of the Lake” quoted, 269;
    • “Marmion” quoted, 276.
  • Selection of material in narration, 21-28;
    • in description, 56-62;
    • in exposition, 102-104;
    • in argument, 138.
  • “Self-Cultivation in English,” quotation from, 101, 112.
  • Semicolons, 202, 203, 305, 306.
  • Sentences, 200-230;
    • simple and compound, 200, 201;
    • long or short, 204, 205.
  • Sequence of events, 29, 30.
  • Serial arrangement of paragraph, 181-188.
  • “Sesame and Lilies,” 239.
  • Sienkiewicz, Henry, his “Quo Vadis,” 7.
  • “Silas Marner,” written for a purpose, 13;
    • example of a plot, 20;
    • time consumed in the story, 36;
    • quotation to show paragraph length, 152-156.
  • Simile, 77, 261.
  • Sing-song, natural tendency toward, 269, 276.
  • Slang, 240.
  • Slowness of movement, 33.
  • “Snow-Bound,” narrative or descriptive?, 4.
  • Song defined, 285.
  • Sonnet defined, 285.
  • Specific words, 248-252.
  • Spencer, Herbert, on the philosophy of the periodic sentence, 212.
  • Spenser, Edmund, “The Faerie Queene” quoted, 281.
  • “Spirit of Modern Philosophy,” Royce’s, quotation from, 242.
  • Spondee, 273.
  • Stanza, 275.
  • Stedman, E. C., an authority on literature, 9.
  • Stevenson, Robert Louis, his “Treasure Island” and “Travels with a Donkey” as narratives, 4;
    • quotation from “Kidnapped,” 15;
    • his “An Autumn Effect” quoted, 17;
    • unity in his stories, 27;
    • descriptions from, quoted, 62, 72;
    • examples of personification from, 77;
    • his unusual use of words, 79;
    • quotation to show paragraph structure, 165.
  • Subdual of subordinate parts, 219.
  • Subject, 8-12;
    • common, 11;
    • interesting, 11;
    • in exposition, 99, 100.
  • Suggestion vs. enumeration, 52.
  • Suggestions to teachers, 257-260.
  • Suggestive description, 55.
  • Summary, a, 119.
  • Superlatives, 80.
  • Syllogism, 129-132.
  • Synecdoche, 250, 263.
  • “Tannenbaum,” 12.
  • Technical words, 242.
  • Tennyson, Lord, quotations from, 51, 251, 283.
  • Terms of syllogism, 129, 130.
  • Testimony, 136.
  • Tetrameter, 274.
  • Thackeray, W. M., quotation from, 157.
  • Theme in exposition, 100, 101.
  • “Three Fishers, The,” quotation from, 271.
  • “Tiger, Tiger,” quotation from, 283.
  • Time of story, 35.
  • Title in exposition, 102.
  • “To W. L. Garrison,” quotation from, 89.
  • Topic-sentence, 157;
    • its position, 157-161.
  • Tragedy, 286.
  • Transitions, 118, 119.
  • “Travels with a Donkey,” narrative or descriptive? 4;
    • absence of plot, 17;
    • quotations from, 62, 65, 157.
  • “Treasure Island,” a narrative, 4;
    • plot simple, 16.
  • Trimeter, 274.
  • Trochee, defined, 272;
    • interchangeable with dactyl, 278.
  • Type-form of paragraph, 162.