72; standard of purity, 72; purity af- | Elision, in verse, 248; mistake of the
fected by foreign words, 72; by obso-
lete words, 73; by new words, 74; pro-
priety of diction, 78; means of at-
taining it, 79; violations of propriety,
80, 81; precision, 83; how attained,
83, 84.
Dictionary, habit of consulting it rec-
ommended, 72.
Didactic poetry, 272.
Difficulty, how differing from obstacle,
84.
Directly, used incorrectly, 81.
Discourse, defined, 17.
Discourses, 301; orations, 301; ad-
dresses, 301; sermons, 302; lectures,
302; speeches, 302; unity of a dis-
course, 303; adaptation to the audi-
ence, 303; symmetry, 304; parts of a
discourse,304; introduction,304; state-
ment, 304; conclusion or peroration,
305.
Discover, different from invent, 86.
D'Israeli, adverbial clause misplaced,
107.
older critics in regard to it, 249; eli-
sion not necessary, 249.
Ellipsis of verb, requires comma, 35.
Elocution, its pauses not marked by the
grammatical points, 22; elocutionary
pause marked by a dash, 50; elocution
aided by a proper arrangement of the
sentences, 120.
Emerson, The Mountain and the Squir-
rel, as a specimen of wit, 214.
Emphasis, sentences should be con-
structed with reference to emphasis,
117.
English language, essay on it, 351-
379; true place of English in general
philology, 353; occupation of Eng-
land by successive races, 363-367;
origin and composition of the lan-
guage, 363-379.
English verse, accentual, not syllabic,
Enough, distinguished from sufficient,
Entire, distinguished from whole, total,
complete, 86.
Doane, Bishop, abounds in short sen- Epic poetry, 263-266. (See Poetry.)
Doddridge, a hymn writer, 269.
Dramatic poetry, abounds in exclama-
tions, 174; general description, 266-
268. (See Poetry.)
Dryden, mixed metaphor, 164; meta-
phor, 180, 184; simile, 183, 184; tro-
chaics in St. Cecilia's Day, 228; his
verse compared with that of Milton
and Chaucer, 247; specimen of verse,
257; odes, 269.
Dwight, a hymn writer, 269.
Earthquakes, sublime, 199.
Epigram, origin and meaning, 171; re-
lation to antithesis, 171; examples,
171, 191, 193.
Epitaph, 271.
Epithets, used incorrectly, 82.
Essays, 291; how differing from re-
views, 291; number of essayists, 291;
present mode of publication, 291;
Whipple,Tuckerman, and Lowell, 292.
Etiquette, in addressing a letter, 281.
Etymology, study recommended, 72.
Euphony, construction of sentences
with reference to it, 140-142.
Euripides, 267.
East India Company, the means of Evacuate, used incorrectly, 82.
linguistic research, 354.
Edified, how used by Spenser, 79.
Editorials, 287; a high order of com-
position, 287; not impersonal truth,
287; editor's estimate of his own po-
sition as a public teacher, 287; differ-
ence between editorials and news, 288.
Education, a source of corruption to the
language, 371.
Elegy, 270. (See Poetry.)
Evangeline, Longfellow's, its versifica-
tion, 238.
Every, used incorrectly, 83.
Example, distinguished from instance,
Except, used for unless, 80.
Exceptionable, for exceptional, 82.
Excite, distinguished from incite, 86.
Exclamation, as a figure of speech, 173;
akin to interrogation, 173; caution in
regard to the use of it, 174; relation | Flirtation, peculiarity of the word, 74.
Exclamation point, 47, 48; O and oh, Forbes, Professor, a beautiful example
48; double exclamations, 48.
Expect, used incorrectly, 83.
Expression, beauty of, 211; things in-
compatible with beauty of expression,
212.
of scientific allegory, 168.
Foreign words, not to be used unnec-
essarily, 72; may become domesti-
cated, 73.
Formidably, used incorrectly, 82.
Expressions, parenthetical, 24; inter- Franklin, Benjamin, samples of pun,214.
Explicit, express, distinguished, 86.
Faber, as a hymnist, 269.
Frenchified diction, 73.
French writers use short sentences, 101.
Frontispiece, 62.
Fable, akin to allegory and parable, 167; Gaelic languages, 356.
Faerie Queene, an allegory, 168; writ-
ten in the Spenserian stanza, 241.
Falstaff, incompatible with epic char-
acter, 265.
Far-fetched similes, 159.
Fashion, its terms mostly French, 377.
Fear, composition on it, 315.
Feet, name for accentual divisions, 223;
foot defined, 226; different kinds of
feet, 226.
Fellowship, used incorrectly, 82.
Fero and bear, the stem of these words
a prolific source of words, 360–362.
Fiction, its prevalence, 298; kinds, 299;
historical novels, 299; appeal to cu-
riosity, 299; delineation of character,
300; effect of novel-reading, 300; re-
ligious fiction, 300.
Figure, (mathematical,) a source of
beauty, 208; what kind of figures
pleasing, 208.
Figures, (rhetorical,) 154–196; relation of
figures to diction and sentences, 154;
definition, 154; tropes, 155; origin of
figures, 156; simile, 157; metaphor,
162; allegory, 167; antithesis, 169; epi-
gram, 171; metonymy, 171; synecdo-
che, 172; interrogation, 173; excla-
mation, 173; apostrophe, 174; person-
ification, 175; hyperbole, 177; irony,
178; effect of undue use of figures, 166.
Fine Arts, poetry one of them, 263.
Fire-worshippers, ancient inhabitants
Gay, personification, 182; metaphor, 190.
Gentle most agreeable, 208.
Gerald Massey. (See Massey.)
German writers use long sentences, 101.
Germanic languages, 357.
Ghosts inspire awe because of their ob-
scurity, 201.
Gibbon, use of Latin words, 376.
Glacier, allegorical description of one,
168.
God, names and attributes to begin with
a capital, 65; his goodness shown by
the beauty of color in the natural
world, 207.
Golden Legend, Longfellow's, a speci-
men of mixed verse, 239.
Goldsmith, metaphor, 190; simile, 190;
Madame Blaize, 213.
Gospels, sublimity of them, 205.
Got, example of its misuse, 81.
Gothic languages and peoples, 357.
Gould, Edward S., on good English, 352.
Governor, how to be addressed, 281.
Grammar, related to rhetoric, 17, 18;
derives its authority from use, 89.
Gray, metaphor, 190; versification, 259;
odes, 269; Elegy, 271.
Greatness, moral, sublime, 201.
Greek language, 357; proportion of
Greek words in English, 373.
Greeks and Latins, greater variety of
feet, 227; Greek verse syllabic, not
accented, 247.
Habit of punning, bad, 216; habit of
being witty, dangerous, 216.
Firmament, an instance of the sublime, Hallam, pronoun misplaced, 112.
Halleck, specimen of versification, 255.
Hallelujah metre, formula given, 244.
Hammers. (See Steam.)
Hand, (printer's term,) 61.
Harmony of sentences, 140-146; pro-
moted by proper choice of words, 140;
by arrangement of the words, 141;
by accents at convenient intervals,
142; by cadence at the close, 143; by
adapting the sound to the sense, 144.
Hawtrey, best specimen extant in Eng-
lish hexameter, 239.
Heading of a letter, 275, 276.
Heaviness, how differing from weight,85.
Heber, example of simile, 193; specimen
of dactylic verse, 231; a hymn, 251;
as a hymnist, 269.
Hebrew once supposed to be the fountain
of all languages, 353.
Hellenic languages, 357.
Heptameter, 227.
Hero, of the epic, 265; heroic odes, 269.
Hexameter, 227, 231; fine specimens,
239, 240.
Hiawatha, Longfellow's, its versifica-
tion, 238.
Hindoo epigram, 213.
History, 293; general character, 294;
unity of subject, 294; complex sub-
jects, 295; chronological order, 295;
qualities of historical composition,
295; keeping up the connection of
events, 295; dulness to be avoided,
296; gravity of style, 296; delineation
of characters, 297; sound morals to be
enforced, 297; relation to annals, me-
moirs, and biography, 298.
Holland, example of metaphor, 165, 195;
simile, 195.
Holmes, examples of simile, 193; a hu-
morist, 219.
Homer's Iliad, one of the three great
epics, 263.
Hood, specimens of pun, 215; a humorist,
219; versification of Bridge of Sighs,
231; specimen of verse, 258.
Hook, specimen of pun, 215.
Horace, his dictum in regard to new
words, 76; as a writer of odes, 270;
Art of Poetry a didactic poem, 272.
Horne Tooke. (See Tooke.)
Humanitarian, used incorrectly, 82.
Humor, how far like wit, 217; incon-
gruity an element of humor, 217;
surprise, 217; contempt an ingredient
in humor, 217; humor something
characteristic, 218; humor kindly, 219.
Hymns, 228; abound in exclamation,
174; a species of lyric poetry, 269;
Latin rhyming hymns, 232; construc-
tion of the hymn stanzas, 242; long,
short, common, particular, hallelujah
metres, etc., 242-246; nomenclature
proposed for the 8's, 7's, etc., 245.
Hyperbole, 177; explanation, 177; cau-
tion in regard to the use of hyperbole,
177; hyperbole of the imagination
distinguished from that of passion,
177; school-girl hyperbole, 178; ex-
ample from Young, 190.
Iambus, 227; iambic verse, 227, 229;
blank verse usually iambic, 237.
Iliad, Homer's, one of the three great
epics of the world, 263.
Imaginary Subjects for compositions,
318-322.
Imagination, necessity of an excited
and a creative imagination in order
to the production of poetry, 262.
Impulse, vocal, 222; the origin of sylla-
bles, 222; strong and light impulses,
222; time between impulses, 222.
Inaugurate, used incorrectly, 82.
Incite, distinguished from excite, 86.
Incongruity, an element of humor, 217.
Index, (printer's term,) 61.
India, its language, 354–356.
Indo-European, family of languages,
358.
Infection, different from contagion,
86.
Inflexible, different from inexorable,
Ingelow, Jean, example of metaphor, 192.
Initials, the inconvenience of signing
the initials only of one's first name,
278.
Insolent, how used by Milton, 79.
Instance, distinguished from example,
87.
Hugo, Victor, excessive use of antithe- Intensify, coined by Coleridge, 73;
sis, 170.
idiom, ignore, 74; ivorytype, 75.
Intermediate expressions, different | Language, Use the law of, 89; essay on
from restrictive clauses, 26; require
commas, 26.
Interrogation point, 46, 47; when to
be followed by a capital, and when
not, 46; interrogation as a figure of
speech, 173; peculiarities, 173; akin
to exclamation, 173; example from
Bible, 183.
Invent, different from discover, 86.
Invention, a division of rhetoric, why
treated last, 18; defined, 306; mistake
of the older writers in regard to in-
vention, 306; its true office, 307; com-
parative importance, 307; how treated
in this book, 307.
Inversion, sometimes useful in making
a sentence emphatic, 118; inversion
produced by using "there" and "it,"
118.
Invite, used incorrectly, 82.
Iranic, languages, 356.
Irish, or Erse, language, 357.
the English language, 351-379.
Latham, on the English language, 352,
366.
Latin, languages, 357; migrations of the
Latin race, 357; effect of the study
of Latin on English, 371, 372; propor-
tion of Latin words in the English,
373, 374; Latinizing tendencies of the
language, 372-376; classification of
the Latin-English words, 374.
Latins and Greeks used greater va-
riety of feet than we do, 227; Latin
rhyming hymns, 232; Latin verse syl-
labic, not accentual, 247.
Lays, Macaulay's, peculiarity of the
verse, 228.
Leaders, (printer's term), 62.
Leads, (printer's term,) 63.
Lectures, 302.
Lee, F. G., specimen of verse, 260.
Leibnitz, first shook the old theory of
language, 353.
Irony, a figure of speech, 178, 179; ex- Letters, 273-283; letter-writing an im-
Irving, instance of harmonious sen-
tences, 144; a humorist, 219; his skill
in the use of words, 378.
Italic, languages, 357.
Italics, 62; marking emphatic words
with italics, 120.
Japhetic, family of languages, 358.
Jesus Christ, the sublimity of his utter-
ances, 205.
Johnson, example of balanced sentence,
94; harmonious sentence, 143; his
Latinized diction, 375.
Junius, example of balanced sentence,
99; metaphors, 164.
Ken, a writer of hymns, 269.
Kill, how different from murder and
Kindness, characteristic of humor and
of the humorists, 219.
Kingly, how differing from regal and
royal, 86.
Lady of the Lake, versification of, 231.
Lamb, a humorist, 219.
Lampoon, 272.
portant part of composition, 273;
variety of style requicu, 273; Blair's
recommendations, 274; correspond-
ence, 274; letters of distinguished
persons, 274; what is required in a
letter, 274; what letters are best, 275;
carelessness in letters, 275; forms re-
quired, 275; the heading, 275, 276;
the street, number, state, etc., 275;
contractions, 275; reasons for particu-
larity, 276; the date, 276; form of the
heading, 276; the address, 277; mili-
tary form, 277; form for ordinary
letters, 277; for business letters, 278;
the subscription, 278, 280; inconven-
ience of signing the initials only of
one's first name, 278; sex, how to be
distinguished in the signature to a
letter, 279; married women and wid-
ows, their signatures, 279; terms of
endearment in a signature, 279; ar-
rangement of the signature, 279; ex-
amples, 279, 280; superscription, or ad-
dress of a letter, 280-283; why im-
portant, 280; penmanship in address-
ing a letter, 280; nicknames and fancy
names not allowable on the outside of
a letter, 280; professional titles, how
to be given in the address, 281; how | Marsh, Professor, recommends extem-
to address a clergyman, a governor,
a president, etc., 281, 282; how to ar-
range the items on the envelope, 282.
Like and as confounded, 80.
Likeness, how related to simile, 158.
Line, synonymous with verse, 226;
lengths of line, 226.
Linguistics, the newest of the sciences,
351; its scope, 351; recent works on
poraneous translation as a means of
extending one's command of words,
71; Lectures on the English Lan-
guage, 352.
Massey, Gerald, faulty metaphor, 165.
Mathematical figures, how far con-
sistent with beauty, 208.
Matinée, afternoon (?), 82.
Meditative poetry, 272.
Melodrama, 268.
Linguistic studies enlarge one's vo- Memoirs, how related to history and
Liquidate, meaning changed, 79.
Memory, outline for composition on it,
317.
Liquid sounds, how far desirable, 140, Metaphor, 162–166; difference between
Locomotive, an example of the sublime,
199; its shriek not sublime, 201.
Logic, related to rhetoric, 17, 18.
Longfellow, sound adapted to sense,
146; far-fetched simile, 160; metaphor,
191, 192, 194; Hiawatha, its versifica-
tion, 238; Evangeline, its versification,
238, 239; fine specimen of mixed verse,
in the Golden Legend, 239; examples
of versification, 254, 257, 258.
Longinus, his comment on the sublim-
ity of the first chapter of Genesis, 205.
Long metre, formula given, 242.
Loose sentences, 93; uses, 93; dangers,
93; examples from Milton, Macaulay,
and Trench, 94–96.
Lowell, James Russell, examples of meta-
phor, 180-187, 194, 195; a humorist,
219; Commemoration Ode, 269; as an
essayist, 292.
Lucid, luminous, how differing, 85.
Lucy Larcom, specimen of versifica-
tion, 250.
Lyric poetry, abounds in exclamations,
174; discussed, 268–270. (See Poetry.)
Macaulay, examples of periodic sen-
tences, 94; skill in the management
of long periods, 124, 125; simile, 187;
lays in heptameter verse, 228; review
of Milton, 289.
Malice, malevolence, malignity, how dif-
fering, 85.
Married women, how to sign their
names in letter-writing, 279.
metaphor and simile, 162; effective-
ness of metaphor, 162; rules common
to metaphor and simile, 163; meta-
phorical and literal should not be
mixed, 164; examples of metaphor,
164; mixed metaphors, 165; crowded
metaphors, 165; straining the meta-
phor, 166; difference between meta-
phor and allegory, 166; examples
from Joanna Baillie, 190; Bible, 179,
180, 184; Browning, Mrs., 187, 191;
Bulwer, 189; Byron, 190; Cowper, 189;
Dryden, 180, 183; Goldsmith, 190;
Gray, 190; Holland, 195; Jean Inge-
low, 192; Longfellow, 191, 192, 194;
Lowell, 180-188, 194, 195; Milton, 189,
190; Moore, 189; Pope, 182; Shake-
speare, 179, 182, 187, 189, 190, 193; Ten-
nyson, 196; Tribune, N. Y., 179; Whit-
tier, 188; Willis, 192; Young, 180, 181,
182, 188.
Metonymy, 171; kinds of metonymy
with examples, 172, 191.
Metres, psalms and hymns, mode of des-
ignating them, 242-246.
Metrical chronicle, 266.
Metrical romance, akin to the epic, 266.
Military form in addressing letters,
Milton, examples of periodic sentence,
92, 93; instance of euphony, 142;
prose writings rhythmical, 143; sound
adapted to sense, 145; similes, 157,
159; metaphor, 181; personification,
181; metaphor, 189; simile, 190; sub-
lime description, 204; Paradise Lost
|