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, 82, 95, 108, 113, 119, 146, 204.
Macaulay, T. B., 129;
“Machiavelli,” 77, 78, 137-139, 154;
quoted, 64, 103, 108, 114, 237.
“Machiavelli,” 137-139, 154.
Mannerism, 118.
Mass, 34-38, 61.
Material, collection of, 147-151, 239.
Meredith, George, dialogue of, 251;
obscurity of, 61, 63, 74, 84;
“Ordeal of Richard Feverel,” 74;
style, 258;
quoted, 251.
Metaphor, 98.
Milton, “Paradise Lost,” 68.
Montgomery, Robert, quoted, 103.
Moral purpose, 262-268.
Movement, 233.
“My Lady Rotha,” 37.
Narration, 123-127, 206, 210;
reality in, 75.
“Native, The Return of the,” 140.
Newman, Cardinal, 129;
quoted, 52, 111, 114.
Newspapers, 296, 297;
English of, 18;
expositions in, 130.
Note-book, advantage of, 148.
Novel, modern, 214, 223, 227;
with a theory, 214;
without plot, 213.
Novelty, 117.
Observation, cultivation of, 149.
“Old Creole Days,” 245, 246.
Oratory, 124.
“Ordeal of Richard Feverel, The,” 74.
O’Reilly, J. B., quoted, 6.
Originality, 117-119.
Page, T. N., “Marse Chan,” 245.
“Paradise Lost,” 68.
Paragraphs, 30;
analysis of, 31.
Particles, final, 51, 52;
unidiomatic, 52, 53.
Pater, Walter, 129;
quoted, 90, 146, 306.
“Pembroke,” 226.
Personification, 105.
Persuasion, 123, 124.
“Phormio,” translation of, 278.
“Pilgrim’s Progress,” 68.
Plan, 132-134.
Plot, 238.
Point of View, 90-96;
in dialogue, 252.
Programme music, 212.
Progression, 132, 141.
Proportion, 40, 136-141, 227.
Proposition, defined, 167.
Province, laws of, 290.
Putnam, Eleanor, quoted, 270.
Quality, principles of, 33, 59-88.
Reading, effect on style, 307-309.
Realism, 75.
Reality, in narrative, 75.
Reed, Prof., quoted, 52.
Rembrandt, “Lesson in Anatomy,” 210.
Revision, 27.
Reynolds, Sir J., quoted, 313.
“Rob Roy,” 243.
Ruskin, John, 129;
“Modern Painters,” 159.
Sainte-Beuve, 296.
Saintsbury, George, use of loose and periodic sentences, 57;
quoted, 311.
“Scarlet Letter, The,” 80, 243.
Scott, Sir Walter, “Rob Roy,” 243;
use of dialect, 246, 250.
Self-consciousness, 236, 298.
Sensational books, 18, 19;
why effective, 74.
Sentences, long and short, 55;
loose and periodic, 56-58;
structure of, 30.
Shading, 77.
Shakespeare, 206, 266;
epithets of, 197;
great effects by simple means, 70;
Jeffrey on, 40;
“Romeo and Juliet,” 252;
use of dialect, 250;
wrote for pit, 68.
Shakespeare-Bacon controversy, 303, 304.
Shelley, P. B., on “Faust,” 275;
quoted, 189.
Sidney, Sir Philip, quoted, 81.
Significance, 227, 231.
Simile, 98;
description by, 204.
Sincerity, 238.
Smoothness, 77.
Socratic method, 158, 159.
Spenser, Edmund, quoted, 95.
Stephen, Leslie, 130, 296.
Stevenson, R. L., 130;
“Kidnapped,” 207;
use of loose and periodic sentences, 57;
of physical sensations, 207;
quoted, 25, 52, 79, 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, 43;
means of increasing, 46-48;
personal, 305, 306.
Ward, Mrs. Humphry, “Robert Elsmere,” 264, 265.
Wendell, Barrett, quoted, 36, 72, 84, 271.
Weyman, S. J., “A Gentleman of France,” 37;
“My Lady Rotha,” 37.
Whitman, Walt, 160, 161;
quoted, 111.
Wilkins, Mary E., 213, 244;
“Pembroke,” 226.
Wister, Mrs. A. L., 279, 280.
“Wooing, A Woodland,” 270.
Words, connotation of, 45;
denotation of, 45;
estimating by number of, 135-137;
Latin vs. Anglo-Saxon, 43, 44;
long and short, 44, 45;
specific and general, 75.
Wordsworth, William, quoted, 45, 99.
Wormeley, Katherine, 269;
translation of Molière, 281.
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