English: Composition and Literature

by W. F. Webster

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[312]
[313]

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].