Adverb, flat, 50, 51.
Æsthetic sense, 85-87.
Alliteration, 112-114.
Amateur work, 12.
Antithesis, 113-116.
Argument, 123-127, 152-180;
rules for, 179.
Aristotle, quoted, 229.
Arnold, Matthew, 88.
Arts, fine, 1, 135, 160, 240.
Bacon, Francis, quoted, 52.
Bacon-Shakespeare controversy, 303, 304.
“Barabbas,” 83.
Barrie, J. M., use of dialect, 246, 247.
Beethoven, “Ninth Symphony,” 210.
Beginning of story, 232.
Beginning well, 78.
Bible, quoted, 83.
“Biglow Papers,” 247.
Blake, William, quoted, 310.
“Bleak House,” 264.
Brassey, Lady, “Voyage of the Sunbeam,” 212.
Brown, Alice, 244.
Browning, Robert, obscurity of, 63;
quoted, 14.
Browning, Mrs. E. B., quoted, 235.
Bunyan, “Pilgrim’s Progress,” 68.
Burke, Edmund, quoted, 52.
Burroughs, John, 130.
Cable, George, “Old Creole Days,” 245, 246;
use of dialect, 245, 246, 247.
Canning, George, quoted, 213.
Carlyle, Thomas, force of, 71;
invention of words, 117;
Lowell on, 95, 96;
master of emotional emphasis, 141;
obscurity of, 61, 63, 74;
quoted, 61, 301.
Carroll, Lewis, “Through a Looking Glass,” 218.
Cause and effect, 231, 233.
Cervantes, 239.
Character, development of, 238.
Character-drawing, 258-262.
Chaucer, Geoffrey, epithets, 204;
Lowell on, 204.
“Chelsea Householder, A,” 195.
Classics, 289-291.
Classification, 120-122.
Clearness, 60, 61-70;
aided by figures, 98;
aid to force, 73;
in exposition, 131;
in translation, 272.
Climax, 89.
Closing well, 78.
Coherence, 34, 38-42, 61.
Coleridge, S. T., quoted, 54, 189.
Color, local. See Local Color.
Composition defined, 5;
how mastered, 20;
value of, 15-17.
Conjunctions, 53, 54.
Connotation defined, 45;
how produced, 74;
secret of force, 72, 86, 99.
Consecutiveness, 193.
Continuity, 142.
Contrast, 233.
Conversation, 3, 220.
Corelli, Marie, “Barabbas,” 83.
Cowper, William, quoted, 104.
Criticism, 123, 285-298.
Culture, 298.
Dante, 266.
Deduction, 166, 167.
De Maupassant, Guy, quoted, 23, 309.
Denotation, defined, 45.
Description, 123-127, 181-207;
setting of narrative, 235, 236;
subordinate to plot, 234.
Details, how selected, 231;
importance of, 300;
insufficiency of, 301.
Dialect, 244-250.
Dialogue, 250-257;
subordinate to plot, 234.
Dickens, Charles, quoted, 190, 194, 203, 302.
Diction, 43-58. See Words, and Vocabulary.
Dictionary, importance of constant use of, 46;
in schools, 46;
Thackeray’s reading of, 46.
Disraeli, Benj., quoted, 39.
Dodds, James, quoted, 219.
Donne, John, quoted, 52.
Dramatization, 124.
Dumas, A., pÈre, 234;
D’Artagnan romances, 210.
Earnestness, 238.
Education, 298.
Edwards, Miss A. B., “Half a Million of Money,” 102.
Effect, how different from force, 82;
and cause, 231, 233.
Elegance, 60, 84-88;
connected with figures, 100;
with variety, 110.
Emerson, R. W., lacking in continuity, 142;
quoted, 8, 47, 112, 114.
Epigram, 113-117.
Episodes, 227.
Epithets, 197, 203-205.
Euphony, 110.
Events, order of, 231.
Exposition, 123-127, 128-151;
allied to argument, 153, 154, 156;
criticism as, 286.
Expression, difficulty of, 11-14;
perfect impossible, 7-10.
Fallacies, 176-179.
“Faust,” 275.
Fiction, 231;
modern, 260.
Figures, 96-106;
rules for use of, 100.
Fine arts. See Arts, fine.
Fine writing, 83.
Fielding, Henry, 239;
“Tom Jones,” 210;
use of dialect, 250.
Flaubert, Gustave, advice to De Maupassant, 24, 26, 309.
Flippancy, 314-318.
Force, 60, 71-84;
in narration, 237;
lies in connotation, 99;
reserved, 76, 77.
“French Revolution, The,” 141.
Frere, J. H., 277;
quoted, 44, 278.
Fuseli, Henry, 208.
“Gentleman of France, A,” 37.
Goethe, 275;
quoted, 103, 187, 295, 312.
Good use, 31-33, 48, 50;
defined by grammar, 48.
Graham, Kenneth, quoted, 184, n.
Grammar, 48.
Hack-work, 312.
“Half a Million of Money,” 102.
Hardy, Thomas, realism of, 72;
use of dialect, 250;
quoted, 200, 256.
Harris, Joel Chandler, “Uncle Remus,” 245.
Hawthorne, 212, 216, 239;
“Scarlet Letter,” 80, 210, 224, 225, 243;
use of dialect, 250;
quoted, 238, 302.
Hazlitt, William, 129.
“Heavenly Twins, The ,” 140.
Hill, A. S., definition of persuasion, 124, n.
History, 231.
Holmes, O. W., quoted, 14.
Homer, epithets of, 197, 203;
sang to semi-barbarians, 68;
quoted, 204.
Hugo, Victor, “Les MisÉrables,” 212.
Humorous literature written seriously, 316.
Idiom, 48-55;
of different languages, 277.
Imagination, 299, 318;
expression largely dependent upon elegance, 85;
incommunicable, 1, 88.
Imitation, 308.
Individualism, 303, 304.
Individuality, 118, 318.
Induction, 166.
Ingersoll, Robert, 176.
James, Henry, use of loose and periodic sentences, 57;
quoted, 52.
Jeffrey, Francis, quoted, 40.
Jefferies, Richard, 130.
Jerrold, Douglas, quoted, 231.
Jewett, Sarah Orne, 244.
“Job,” 98, 99.
Johnson, Samuel, quoted, 237.
Judd, Sylvester, quoted, 193.
Keats, John, quoted, 95.
Kipling, Rudyard, mysteriousness, 71;
use of dialect, 246;
of physical sensation, 207;
of sense of smell, 199;
quoted, 185.
Kingsley, Charles, quoted, 9, 186.
Klopstock, F. G., Goethe on, 103.
Lamb, Charles, 129, 316.
Lang, Andrew, on criticism, 285.
Lear, Edward, quoted, 135.
Lee, Vernon, 129.
“L’Enfant Prodigue,” 211.
Lewes, G. H., quoted, 274.
Local color, 241-244.
Lowell, J. R., 296;
“Biglow Papers,” 247;
use of dialect, 247;
of loose and periodic sentences, 57;
quoted, 39, 52, 79, 80, 107, 109, 110, 113, 145, 175, 191, 193,
215, 256, 259.
Story, how begun, 232.
Stowe, Mrs. H. B., “Oldtown Folks,” 252;
“Uncle Tom’s Cabin,” 263, 290.
Structure, principles of, 33-42, 60.
Study of art, what it is, 2.
Style, 299-318;
ease of, 77.
Syllogism, defined, 168.
Taine, H. A., 296.
Taj Mahal, 59, 69.
Taste, 294, 295.
Teaching, of language, 282-284;
need of using language of students, 66, 67.
Technique, best learned on dull themes, 26;
defined, 2;
how acquired, 23.
Tennyson, Alfred, quoted, 16.
Term, defined, 167.
Thackeray, W. M., 239, 261;
“Henry Esmond,” 210;
study of dictionary, 46;
use of dialect, 250;
“Vanity Fair,” 80.
Translation, 123, 269-284.
“Trilby,” 140.
Trollope, Anthony, quoted, 214, 253, 258.
Truth, in fiction, 229;
unadapted to fiction, 228.
“Uncle Tom’s Cabin,” 263, 290.
Unity, 33, 34, 61;
in exposition, 132.
“Vanity Fair,” 80, 261.
Variety, 107-110, 233;
in dialogue, 256.
Villon, FranÇois, 317.
Vocabulary, The Riverside Press

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