English: Composition and Literature

by W. F. Webster

• 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].