English: Composition and Literature

by W. F. Webster

INDEX

[ A ]	[ B ]	[ C ]	[ D ]	[ E ]	[ F ]	[ G ]	[ H ]	[ I ]	[ J ]	[ K ]	[ L ]
[ M ]	[ N ]	[ O ]	[ P ]	[ Q ]	[ R ]	[ S ]	[ T ]	[ U ]	[ V ]	[ W ]

• 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].

• “Ugly Duckling, The,” [25].
• Undistributed middle, [131].
• Unity, [20];
  • in narration, [21], [22];
  • in description, [56]-[64];
  • in exposition, [102], [103];
  • in argument, [138];
  • in paragraphs, [173];
  • in sentences, [205].
• “Uses of Astronomy, The,” quotation from, [72].

• Value of observation, [55].
• “Vanity Fair,” example of a plot, [19];
  • quotation from, [157].
• Variations in metre, [276]-[284].
• Verbs in description, [79].
• Verne, Jules, [12].
• Verse, a, definition of, [273];
  • how named, [275].
• Verse forms, [269]-[291].
• “Village Blacksmith, The,” quotation from, [279], [280].
• “Vision of Sir Launfal, The,” [13];
  • quotation from, [67].
• Vocabulary, need of, [236].
• Vulgarisms, [240].

• “Wake Robin,” [9].
• Webster, Daniel, quotation from, to illustrate paragraph structure, [176];
  • his use of words, [247].
• “Wee Willie Winkie,” its climax, [21].
• Wendell, Barrett, quotation on printed words from, [94].
• Whittier, John G., his “Barbara Frietchie” and “Snow-Bound” as narratives, [4].
• Wilkins, Miss, small number of characters in her books, [35].
• [318] Wolfe, Charles, “The Burial of Sir John Moore” quoted, [277].
• Words, [235]-[256];
  • choice of, [78], [79], [80], [254]-[260];
  • reputable, [240], [241];
  • national, [242];
  • in present use, [244], [245];
  • Latin and Saxon, [245]-[248];
  • general and specific, [248]-[252].
• “Wordsworth,” Arnold’s essay on, quotations from, [158], [167];
  • “The Daisy” quoted, [274].

Footnotes:

1. See pp. 13, 14, of the Report of Committee on College Entrance Requirements. [(Back)]
2. See the first essay in Prose Fancies. [(Back)]
3. Unless otherwise stated, all page references are to the Riverside Literature Series. [(Back)]
4. Biglow Papers, No. X. [(Back)]
5. Tennyson’s Œnone. [(Back)]
6. Historical Sketches, by Cardinal Newman. [(Back)]
7. Pierre et Jean, by Maupassant. Quoted from Bates’s Talks on Writing English. [(Back)]
8. Impressions de Théâtre, by Jules Lemaître. [(Back)]
9. The Marble Faun, by Nathaniel Hawthorne. [(Back)]
10. Travels with a Donkey, by R. L. Stevenson. [(Back)]
11. Les Misérables, by Victor Hugo. [(Back)]
12. The Stage Coach, in Irving’s Sketch Book. [(Back)]
13. The Jungle Book, by Rudyard Kipling. [(Back)]
14. To W. L. Garrison, by J. R. Lowell. [(Back)]
15. Idea of a University, by Cardinal Newman. [(Back)]
16. Essay on Milton, by Lord Macaulay. [(Back)]
17. Discussions and Arguments. [(Back)]
18. Essay on Milton. [(Back)]
19. The Physical Basis of Life, by T. H. Huxley. [(Back)]
20. Self-Cultivation in English, by Professor G. H. Palmer. [(Back)]
21. Speech on Conciliation with the Colonies, by Burke. [(Back)]
22. A text-book on Logic, such as Jevons’s, should be used to illustrate the kinds of argument more fully. [(Back)]
23. Silas Marner, by George Eliot. [(Back)]
24. The Odd Number, by Guy de Maupassant. [(Back)]
25. Vanity Fair, by W. M. Thackeray. [(Back)]
26. Idyl of the Honey-Bee, from Burroughs’s Pepacton. [(Back)]
27. Essay on Wordsworth, by Matthew Arnold. [(Back)]
28. Speech on Copyright, by Lord Macaulay. [(Back)]
29. Idyl of the Honey-Bee, from Burroughs’s Pepacton. [(Back)]
30. The Physical Basis of Life, by T. H. Huxley. [(Back)]
31. See Scott and Denney’s Composition-Rhetoric. [(Back)]
32. Legend of Sleepy Hollow, by W. Irving. [(Back)]
33. Essay on Milton, by Lord Macaulay. [(Back)]
34. Kidnapped, by R. L. Stevenson. [(Back)]
35. Præterita, by John Ruskin. [(Back)]
36. Speech on Conciliation with the Colonies, by Burke. [(Back)]
37. Barrett Wendell’s English Composition. [(Back)]
38. Oration on Adams and Jefferson, by Daniel Webster. [(Back)]
39. Present Position of Catholics in England, by Cardinal Newman. [(Back)]
40. Speech on Conciliation with the Colonies, by Burke. [(Back)]
41. Speech on the Reform Bill of 1832, by Lord Macaulay. [(Back)]
42. Idea of a University, by Cardinal Newman. [(Back)]
43. Legend of Sleepy Hollow, by W. Irving. [(Back)]
44. Idea of a University, by Cardinal Newman. [(Back)]
45. Idea of a University, by Cardinal Newman. [(Back)]
46. Speech on Conciliation with the Colonies, by Burke. [(Back)]
47. Legend of Sleepy Hollow, by W. Irving. [(Back)]
48. Function of Criticism at the Present Time, by Matthew Arnold. [(Back)]
49. Speech on Conciliation with the Colonies, by Burke. [(Back)]
50. The Spirit of Modern Philosophy, by Josiah Royce. [(Back)]
51. See Lowell’s Biglow Papers, Introduction to Second Series. [(Back)]
52. Idea of a University, by Cardinal Newman. [(Back)]
53. From The Princess: a Medley, Part IV. [(Back)]
54. From The Seven Seas, published by D. Appleton & Co., New York. Copyright, 1896, by Rudyard Kipling. [(Back)]
55. In any piece of literature there are many figures. The following should be used only to make pupils familiar with varieties of figures. They will find many more in the literature they read. [(Back)]
56. The treatment of this subject is based upon Lanier’s The Science of English Verse. [(Back)]
57. See p. [xix]. [(Back)]

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