[INDEX]
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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