Far be it from me then to join the ranks of those who would dismiss with a rude rebuff these Latin-English intruders. They are now here. They form a large and valuable element of our language. They are a part of our national wealth; and they should be cherished and protected accordingly. All I would ask, is to protest against the unnecessary introduction of more, and to insist upon making the native element of the language a subject of more distinct attention than it has hitherto received in our schemes of education.
Abbreviations, when requiring periods, | Affectation in using foreign words, 72.
Absolute case, requiring comma, 34.
Abstract subjects for compositions, 315.
Accents, in punctuation, 62; accents at
convenient intervals promote the
harmony of the sentence, 142; needed
near the close of a sentence, 144; in-
terval between accents, 222; accent
not arbitrary, 223; a paramount law
in all speech, 223; names of the accent-
ual divisions, 223; place of the accent
important in giving ease and pleasure
to pronunciation, 224; rhythm de-
pendent upon the proper adjustment
of the accents, 224; accentual verse
characteristic of modern poetry, 247,
Acts, in dramatic poetry, 267.
Addison, example of misplaced adverb,
104; misplaced pronoun, 112; inappro-
priate simile, 161; mixed metaphor,
165; purity of his English, 376.
Addresses, 301; college addresses, 302.
Admire, meaning changed, 79.
Adroitness, 74.
Adverbial clauses, position of, 106.
Adverbs, position in the sentence im-
portant to clearness, 104; position of
only, wholly, at least, etc., 104, 105.
Eschylus, 267.
Etna, Sir Richard Blackmore's descrip-
tion of it, belittling, 204.
Aggravates, used incorrectly, 82.
Akenside's Pleasures of the Imagina-
tion, 272.
Aldus Manutius, inventor of the art
of punctuation, 21.
Alford, example of misplaced adverb,
104; adverbial clause misplaced, 107;
squinting construction, 109; misplace-
ment of pronouns, 112; The Queen's
English, 352.
Allegory, 167-169; difference between
allegory and metaphor, 167; points in
common in metaphor and allegory,
167, 168; allegory, parable, and fable,
points in common, 167; rule for alle-
gory, 169; scientific allegory by Prof.
Forbes, 168.
Alliteration of the Saxon verse, 233.
Alone, how differing from only, 85.
Alternatives, used incorrectly, 82.
Amatory odes, 269.
Ambiguity, sentences made ambiguous
by faulty arrangement, 104-110; by
misplacement of pronouns, 112-114.
Anacreon, his odes, 270.
Anapest, 227; anapæstic verse, 227-230;
anapæstic metres for hymns, how
designated, 249.
And, management of, 134.
Anglo-Saxon, language, 357; conquest
of Britain, 365; linguistic results, 366,
367.
Antithesis, 169, 170; effect of it, 169; | Barbauld, a hymn writer, 269.
rule in regard to it, 169; examples,
169; caution in regard to the use of
antithesis, 170; relation to epigram,
171; example of antithesis, 169.
Apostrophe, 61; a figure of speech, 174;
akin to exclamation, 174; examples,
175.
Apposition, nouns in, require comma,33;
reflex apposition requiring dash, 51.
Apt, used incorrectly, 83.
Arabians, sometimes supposed to be the
inventors of rhyme, 232; rhyme ex-
tending to more than three syllables,
233.
Arabic figures, when requiring pe-
Architecture, compared to rhetoric, 197.
Aristophanes, of Alexandria, an in-
ventor of points, 21; the dramatist,
268.
Arts, Fine, poetry one of them, 263.
Aryan, language, 358.
As and like, confounded, 80.
Bear and Fero, number of words de-
rived from this stem, 360, 361.
Beattie, specimen of anapæstic verse, 254.
Beauty, 206-211; relation of beauty to
sublimity, 206; color an element of
beauty, 207; how far we are influenced
by association in our admiration of
colors, 207; color in the natural world
an evidence of God's goodness, 207;
figure an element of beauty, 207;
regularity pleasing, 207; variety pleas-
ing, 208; curved lines beautiful, 208;
motion a source of beauty, 208; com-
plex beauty, 209; beauty of counte-
nance, 209; moral beauty, 210; the
beautiful in writing, 210; beauty of
subject, 211; difference between the
beautiful and the scientific, 211;
beauty of expression, 211; concise-
ness not necessary to beauty, 211.
Beecher, Henry Ward, specimen of wit,
Asiatic Society, the originator of San- Belittling comparisons, 161; details,
Avocation, distinguished from vocation, Biography, 298.
Avow, acknowledge, confess, how differ-
ing, 85.
Awfulness, an element of the sublime,
200; objects which inspire awe, 200;
night awful, 200.
Bacchanalian songs, 270.
Bailey, metaphor, 182.
Baillie, Joanna, metaphor, 190.
Balance, used ineorrectly, 83.
Balanced sentence, 98; examples from
Johnson, Junius, Pope, and others, 99;
use of balanced sentence, 100; the par-
allelism of Hebrew poetry a kind of
balanced sentence, 100.
Barbarism in language, 72.
Blackmore, Sir Richard, description of
voleano, 204.
Blair, remarks on synonyms, 84; on
position of adverbs, 105; on supple-
mentary clauses, 128; on omission of
connectives, 134; on letter-writing,
274; on historical composition, 294.
Blank verse, 237, 238; not always iam-
bic or pentameter, 237.
Boker, instance of euphony, 141; sound
adapted to sense, 144, 145; example of
alliteration, 233; Song of the Earth,
specimen of blank verse not iambic
or pentameter, 237; specimen of mixed
verse in Ivory-Carver, 240; specimens
of versification, 253-255.
Bonar, a hymn writer, 269.
Brace, in punctuation, 61.
Brackets, 56, 57; different from paren-
thesis, 56; relations of brackets, pa-
rentheses, dashes, and commas, 56;
use in dictionaries, 57; use in critical |
editions, 57; in plays, 57.
Bridge of Sighs, versification of, 231.
Britain, Great, its settlement and lan-
guage, 363, 364.
Carelessness, in letter-writing, 275.
Case, vocative and absolute, requires
comma, 34.
Cat and Rabbit, described, as an exer-
cise in composition, 336.
Cataracts, sublime, 199.
Catch, used incorrectly, 83.
Cedilla, 62.
Browning, examples of ambiguity, 111; Celtic, peoples and languages, 356; Celtic
Bryant, personification, 181; versifica-
tion, 257; Thanatopsis, 272.
migrations, 363; conflict of Celts and
Saxons, 365, 366.
Censure, meaning changed, 79.
Bugle Song, Tennyson, an instance of Change of Subject impairs the unity
sound adapted to sense, 146.
Bulwer, example of antithesis and sim- Channing, examples of periodic sen-
ile, 170; metaphor, 189.
Bunyan's Pilgrim's Progress, the best
allegory in all literature, 168; purity
of his English, 376.
Burlesque, similes intended for, 158, 160.
Burns, examples of sectional rhymes,
237; specimens of versification, 254;
as a writer of songs, 270.
Chaucer, inventor of the rhythm-royal,
240; high character of his verse, 247.
Chester, origin of the word, 364.
Classic verse, different from English,
238.
Claudian, sublime passage spoiled by
belittling details, 204.
Burton, Tom Flynn's bewilderment at Clauses, intermediate, 26; dependent,
the misuse of he and his, 113.
By, distinguished from with, 86.
Byron, example of apostrophe, 175; met-
aphor, 190; description of thunder-
storm, 203; a passage from Byron
turned into prose, 220; example of
triple rhymes, 233; sectional rhymes,
237; wrote chiefly in the Spenserian
stanza, 241; example, 253; anapæstic
verse, 255.
27; relative, 28; co-ordinate, 30; in-
verted, 34; having a common depend-
ence, 37; clause additional, 38; ad-
verbial position of, 106; qualifying
clauses, how to be disposed of, 119;
relative clauses, 126; parenthetical,
127; supplementary, 128.
Clearness, of sentences, rule on the sub-
ject, 104; order of words important, 104;
clearness hindered by wrong position
of adverbs, 104; Blair's remark, 105.
Cadences, a name for accentual divi- Clergymen, etiquette in addressing
sions, 223.
Cæsar, answer to the pilot, sublime, 202. Clerk, meaning changed, 79.
Calculated, used incorrectly, 83.
Campbell,George, his positions in regard
to Use as the law of language, 76; his
essay, 89-91; language should be a
transparent medium, 110.
Campbell, Thomas, example of anapas-
tic verse, 252; Pleasures of Hope, 272.
Cant, 61.
Capitals, pp. 63-67; object of using them,
21; origin of the word, 21; history of
their use, 22; rules for use of capitals,
63-67; use of capitals in works of de-
votion, 65.
Climax, adds to the strength of a sen-
tence, 137; climax of sentences, 138;
poor climaxes, 138.
Close of a sentence, rules for its manage-
ment, 143, 144.
Cobbett, misuse of it, 112.
Coining new words, 73, 74.
Coleridge, example of sectional rhyme,
236.
Collins, Odes, 269.
Colon, pp. 39-42.
Color, a source of beauty, 207; how far
influenced by association, 207.
Columbus, composition on him by a boy
of nine, 323.
Comedy, 267; comic songs, 270.
Commu, pp. 23–35; origin of the word,
23; meant at first a portion of a sen-
tence, 23; rules for its use, 24-35;
double commas, 62.
Commenced, used incorrectly, 83.
Common metre, formula given, 242.
Complete, how differing from whole,
Complex beauty, 209; the most com-
plete example in a landscape, 209.
Complex sentences, when requiring a
colon, 40.
Composing (as a printer's term), 63.
Compositions on Objects, 308-311; on
Transactions, 312-314; on Abstract
Subjects, 315-317; on Imaginary Sub-
jects, 318-325; Personal Narratives,
326-334; Descriptions, 335-340; Mis-
cellaneous, 341-346.
Concede, capability, criminality, conti-
nental, 74; cable-gram, cable-graph,
Conception, vivid, necessary to sublim-
Conciseness, necessary to the sublime,
204; not necessary to beauty, 211.
Conclusion, bringing a sentence to, 135.
Confess, how differing from avow and
acknowledge, 85.
Confidence, used incorrectly, 83.
County, when to be given in heading or
in superscription of a letter, 276–282.
Couple, used for two, 83.
Couplet, defined, 226.
Cowley, far-fetched simile, 159.
Cowper, example of metaphor, 189;
Task, 272.
Crabbe's Dictionary of Synonyms, 84.
Crowding together things unconnected,
impairs the unity of a sentence, 125.
Crusoe, Robinson, his adventures inca
pable of forming an epic, 265.
Curran, sample of pun, 215.
Curves, an element of beauty, 208.
Cyclops and Vulcan, 199.
Cymric, languages and peoples, 356.
Dactyl, 227; dactylic verse,
tylic metres for hymns, how desig-
nated, 245, 246.
Danish, invasion, its effect on the lan-
guage, 367.
Darkness, sublime when inspiring awe,
200.
Dash, 49-53; origin and how used, 49;
mistake of careless writers in the use
of the dash, 50; marks change of con-
struction, or of sentiment, 50; em-
phatic generalization, 50; elocution-
ary pause, 50; rhetorical repetition,51;
parenthetical, 52; titles run in, 52;
omissions, question and answer, etc.,
53.
Connectives, effect of their omission, 134. Date, in letter-writing, 276; in diary, 284.
Consider, used incorrectly, 83.
Construe and construct confounded, 81.
Contagion, how differing from infection,
86.
Contempt, an ingredient in humor, 217.
Contemptible, for contemptuous, 80.
Contractions, in addressing letters, 275,
282.
Decimated, used incorrectly, 82.
Demean, used incorrectly, 82.
Dependent clauses, explained, 27; re-
quire commas, 27.
Descriptions, as an exercise in compo-
sition, 335-340; taking notes impor-
tant, 335; rules to be observed, 336;
examples, 336-340.
Contrasts,faulty,137; contrasted changes Diaries, 283; essential character, 283;
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