in blank verse, 237; a better rhyth- | Norman invasion, its effects on the lan-
mist than Pope and Dryden, 247; ex-
Notes, to be taken on the spot, when we
wish to describe, 335.
ample of versification, 254; Paradise | Norton, Mrs., specimen of versification
Lost one of the three great epics of the
world, 263; Lycidas, an elegy, 271;
Macaulay's review of, 289.
Miracles of Christ sublime, 205.
Miscellaneous subjects for composition,
341-346.
Missionaries, English and American,
the means of linguistic research, 354.
Mixed verse, 238-240; English verse
compared with classic in regard to
mixed verse, 239.
Modern verse, distinguished from the
Numbers, represented by capital letters,
64; a name for accentual divisions,
223.
Objects, compositions on, 308.
Obscurity, an element of the sublime,
200.
Obsolete words, rule in regard to them,
classic, 247, 248; requirements in re- Obstacle, how differing from difficulty,
gard to elision, 249.
Monometer verse, 227, 231.
Montgomery, a hymn writer, 269.
Moon, criticism on Dean Alford, 113;
The Dean's English, 352.
Moon, Man in the Moon, compositions
on it, 319-322.
Moore, Thomas, metaphor, 189; exam-
ples of versification, 253, 258; a writer
of songs, 270.
Moral greatness, sublime, 201; exam-
ples, 202; moral beauty, 210; moral
odes, 269.
Motion, a source of beauty, 208.
Occasion, opportunity, how differing,
Octave, the major division of the sonnet,
Only, how differing from alone, 85.
Opera, 74, 268.
Orations, 301.
Oratory, not included in this work, 17.
Ossian, simile, 158; metaphor, 164.
Outline, the preparation of one neces-
sary in beginning to write composi-
tions, 308; specimens of outlines, 308,
310, 312, 314, 315, 317.
Müller, Max, Works on the Science of Outsider, when eoined, 73.
Murder, how differing from kill and Pale, pallid, wan, how differing, 85.
Palmer, Ray, as a hymnist, 269.
Mutual, used improperly for common, 80. Paper, composition on, 309.
Names, how to be given in addressing
letters, 281.
Napoleon, reference to the pyramids,
sublime, 203.
Parable, akin to allegory and fable, 167;
where found, 168.
Paradise Lost, one of the three great
epics of the world, 263.
Paradox, apparent, in the effect of con-
junctions, 134.
Narratives, personal, an exercise in
composition, 326; examples, 326–334. | Paragraph, 61.
National use of words, as opposed to
local, 76.
Neither, used incorrectly, 82.
News, 284; literary character of news-
writing, 284; things to be aimed at by
the news-writer, 285; accuracy, 285;
condensation, 286; perspicuity, 286;
news different from other reading, 286.
Newton, a hymn writer, 269.
Night, awful, 200.
Parallelism of the Hebrew poetry, 100.
Parenthesis, 54-56; different from par-
enthetical expression, 24; origin of
the word, 54; difference between pa-
renthesis and marks of p., 54; danger
in using parenthetical clauses, 127;
Blair's opinion of them, 127.
Parenthetical expressions,explained,
24; requiring a comma, 24; requiring
dashes, 52.
Parker, Archbishop, example of section-
Participial construction, how em-
ployed in producing emphasis, 119.
Pastoral poetry, 271. (See Poetry.)
Pedantry in the use of foreign words,
Pell-mell, used incorrectly, 82.
Penmanship, in addressing a letter,
280.
Pentameter, 227, 231; blank verse usual-
Period, 42-45; derivation and meaning
of the word, 42; used after abbrevia-
tions, 43; per cent., or per cent, 44; use
of parenthesis in reporting speeches,
55; in scientific enumerations, 55; re-
quires a capital after it, 64.
Periodic sentence, 92; example from
Temple, 92; from Milton, 93.
Peroration, 305.
Persia, its ancient inhabitants and lan-
Persians, prevalence of rhyme, 233.
Personal narratives, as exercises in
composition, 326; examples, 326-334.
Personification, distinguished from
apostrophe, 175; special facilities in
English for personification, 175; vari-
ous kinds and degrees of it, 175, 176;
example from Bible, 180; from Bry-
ant, 181; from Milton, 181; Bible, 187.
Perspicuity, importance of, 111.
Phrases, when parenthetical, 24, 25.
Piers Ploughman, example of alliter-
ative verse, 233.
Pilgrim's Progress, the most perfect
allegory in literature, 168.
Pindar, odes, 269.
Plagiarism, what it is, 58.
Please, the primary object of poetry, to
please, 262.
Poe, sound adapted to sense, 146; versifi-
cation of the Raven, 229, 259.
Poetry, punctuation of, 65; Hebrew, 100;
different from verse, 220; poetical
form more pleasing than the prose
form for the same thought, 220, 221;
poetry differs from prose in the
greater perfection of its rhythm, 224;
more general term than verse, 225;
defective definitions of poetry, 225;
difference between poetry and what
is poetical, 261; verse indispensable to
poetry, 261; when any composition is
poetical in essence, 261; poetical dis-
tinguished from prosaic, 262; origin
of the word poet, 262; definition of
poetry, 263; relation to the other arts,
263; epic poetry, 263-266; high char-
acter of the epic, 263; the subject
should be great, 263; unity of the epic,
264; method of narration in the epic,
264; the epic must have a hero, 265;
must have a plot, 265; must be serious,
265;
must have a story, 265; metrical
romances near akin to the epic, 266;
dramatic poetry, 266-268; likeness to
epic, 266; dramatic unities, 266, 267;
acts and scenes, 267; tragedy and
comedy, 267; Greek dramatists, 267;
Shakespeare, the greatest of drama-
tists, 268; farce, opera, melodrama,
268; lyric poetry, 268-270; lyric poe-
try the oldest kind in every nation,
268; differing from epic, 268; odes,
268-270; sacred odes, 269; psalms and
hymns, 269; hymn writers, 269; heroic
odes, 269; comic songs, 270; Baccha-
nalian songs, 270; sonnets, 270; elegy,
270; epitaph, 271; pastoral poetry,
271; Theocritus and Virgil, 271; Spen-
ser's Shepherds' Calendar, 271; ec-
logues, 271; idyls, 271; didactic poe-
try, 272; poetry less affected with
Latinisms than prose, 376.
Polysyndeton, 134.
Pope, Alexander, his rule in regard to
use of new words, 75; balanced sen-
tences, 98; inversion, 118; sound
adapted to sense, 145; belittling sim-
ile, 161; mixed metaphor, 164; meta-
phor, 182; simile, 189; alliteration,
233; mistake in regard to the true
genius of English verse, 248; essay
on criticism, an example of didactic
poetry, 272; Essay on Man, meditative
poetry, 272.
Posture of devotion, how differing from
attitude, 84.
Pouring, more precise than turning
out, 83.
Power, an element of the sublime, 199;
a locomotive and train as an example
of power, 199; steam-hammers, 199; | Questions, when to be followed by an
various natural objects, 199, 200; the
war-horse, 200.
Precision of diction, 83-88; meaning of
the term, 83; examples of words not
used precisely, 83; precision promoted
by use of synonyms, 84.
Predicate, principal p. in the sentence,
the place for it, 117, 120; skill in dis-
posing of the principal predicate im-
portant in elocution, 120.
Predicate, used for predict, 80; for
founded, 82; for presage, 83.
Preposition,ending a sentence with, 136.
Present use of a word, as opposed to
President, true etiquette in addressing
him, 282.
Prevent, meaning changed, 79.
Procter, Adelaide, specimen of verse, 256.
Professional titles, in addressing let-
ters, 281.
Promise, used incorrectly, 82.
Pronouns, misplacement of them causes
ambiguity, 112-114.
Proper names require capitals, 65, 66.
Propriety of diction, 78-83.
Prose, less rhythmic than poetry, 224;
prose composition, 273-305; letters,
273-283; diaries, 283, 284; news, 284-
287; editorials, 287, 288; reviews, 288-
291; essays, 291, 292; treatises, 292;
travels, 293; history, 293–297; annals,
297; memoirs, 298; biography, 298; fic-
tion, 298-300; discourses, 301-305.
Provoke, how used formerly, 79.
interrogation point, and when not
46; question and answer followed by
dash, 53; when to begin with a capi-
tal, 64.
Quintilian, rule about ambiguity, 110.
Quotations, 58, 61; short quotations re-
quire comma, 35; quotations, when
preceded by a colon, 40; rule for the
use of quotations, 58; use of single
commas instead of double in quoting,
59; plagiarism, 58; quotation inside
of another quotation, 59; quotation
marks at the beginning of every line
discouraged, 60; quotation, when to
begin with a capital, 64.
Rabbit and Cat, described, as an ex-
ercise in composition, 336.
Read, T. Buchanan, Sheridan's Ride a
specimen of mixed verse, 240.
Recommend, used incorrectly, 82.
Redundancy, effect of, 131; source of,
132; danger in the opposite direction,
132.
Regal, royal, kingly, how distin-
guished, 86.
Regularity of figure pleasing, 207.
Relative clauses, require comma, 28;
danger of making the sentence com-
plicated, 127; how to be prevented,
127.
Relative pronouns, often improperly
omitted, 132.
Religious fiction, 300.
Replace, peculiar use of the word, 81.
Pruning, needed, 132; striking out Reputable use of a word, as opposed to
Rhyme, 231-237; origin of rhyme, 231; | Sculptor, 74; sentimental, 74.
Section, used incorrectly, 83.
Semicolon, pp. 36-39; word explained, 36.
Sentences, 92-153; periodic, 92; loose,
93; balanced, 98; short and long, 100;
rules for the construction of sen-
tences, 104; clearness, 104; emphasis,
117; unity, 123; strength, 131; har-
mony, 140; long sentences, how to
maintain their unity, 124; sometimes
to be broken into several, 126.
Sermons, 302.
Latin rhymes, 232; etymology of the
word, 232; definition of rhyme, 232;
location of rhyme, 232; single, double,
etc., 233; rhyme at beginning of a
word, 233; conditions of rhyme, 234;
usual place of the rhyme, 236; sec-
tional rhyme, 237.
Rhythm, on what it depends, 224; ex-
ists in both prose and poetry, 224;
difference between prose and poetry
as to rhythm, 225; a source of pleas-
ure, 224; definition of rhythm, 225;
requirements of modern verse in re-
gard to rhythm, 249.
Rhythm-royal, the Chaucerian stanza,
its construction explained, 240.
Right, used incorrectly, 82.
Rogers's Pleasures of the Memory, 272.
Roget, Thesaurus of English Words, use-
ful in studying synonyms, 84.
Rollo, invasion and settlement of Nor-
mandy, 369.
Roman, migrations of the race, 363; set-
tlement in Spain, Gaul, and Britain,
363, 364; words left in Britain by the
early conquest, 364.
Romance, metrical, 266.
Running titles, 62.
Sanscrit, its discovery by Europeans,
354; the linguistic theory to which it
has given rise, 355.
Satire, 272.
Savage races, addicted to the use of
figures, 155.
Saxe, a humorist, 219; specimen of ver-
Saxon alliterative verse, 233. (See
Anglo-Saxon.)
Scandinavian languages, 357.
Scenes in dramatic poetry, 267.
Schele de Vere, Studies in English, 352.
Scholarship, a means of corrupting the
language, 372.
Scientific, how differing from the beau-
tiful, 211.
Scott, Sir Walter, versification of the
boat-song in Lady of the Lake, 231;
examples of double rhymes, 233; sec-
tional rhymes, 236; his metrical ro-
mances, 266.
Sestette, a division of the sonnet, 242.
Settle, used incorrectly, 82.
Sex, how to be distinguished in the sig-
nature to a letter, 279.
Shaftesbury, example of misplaced ad-
verb, 105; example of skilful construc-
tion, 121.
Shakespeare, example of metaphor,
162, 163, 165, 182, 187, 189, 190; simile,
190, 192; sonnets punning on his own
name, 215; alliteration, 233; plays in
blank verse, 237; example of Chau-
cerian stanza, or rhythm-royal, 240;
freedom of his verse, 247; on poetical
imagination,262; the greatest of dram-
atists, 268; purity of his English, 376.
Shelley's Adonais, an elegy in the Spen-
serian stanza, 271.
Shemitic languages, 358.
Sheridan's Ride, T. B. Read, a speci-
men of mixed verse, 240.
Sherlock,example of pronoun misplaced,
114.
Short and long sentences, 100-103;
rule on the subject, 101; difference
of French and German writers in
this respect, 101; Bishop Doane's short
sentences, 101.
Sighs, Bridge of, versification of, 231.
Signature to a letter, 278, 279.
Simile, 157–161; why similes please, 157;
burlesque similes, 158; object of sim-
ile, 158; mere likeness not simile,
158; example from Ossian, 158; rules
for simile, 159-161; likeness should
not be too near, 159; a likeness that
surprises, 159; trite similes, 159; s.
far-fetched, 159; likeness to things
with which common readers are un-
acquainted, 160; likeness to things
mean and low, 160; similes inappro- | Style, a division of rhetoric, 18; why
priate to strong passion, 161; differ-
ence between s. and metaphor, 162;
example of simile, from Bible, 185;
Dryden, 183, 184; Goldsmith, 190;
Heber, 193; Holland, 195; Holmes,
193; Longfellow, 194; Macaulay, 187;
Shakespeare, 182, 190, 192; Willis, 192.
Simplicity necessary to the sublime, 204.
Slavonic languages, 357.
Solitude and silence inspire awe, 200.
Songs, a species of lyric, 269, 270.
Sonnet stanza, its construction ex-
plained, 241; a species of lyric, 270.
Sophocles, 268.
Sound, mere sound of words not to be
disregarded, 140; adapted to the sense,
144, 145; great variety of sound ad-
missible in the higher kind of har-
mony, 145; loudness of sound an ele-
ment of the sublime, 201.
Speeches, 302.
Spencer, Herbert, metaphor, 163.
Spenser, author of the Spenserian stan-
za, 241; freedom of his verse, 249;
position of the Faerie Queene, 266;
Hymns on Love and Beauty, 269;
Shepherds' Calendar, 271.
Splitting particles, 133.
Squinting construction, 109.
Stanza, defined, 226, 240; Chaucerian
stanza, or rhythm-royal, 240; Spense-
rian stanza, 241; sonnet stanza, 241;
psalm and hymn stanzas, 242.
Starvation, when coined, 74.
State, care about contracting the name,
in heading and addressing a letter,
276, 282.
Station, how used by Shakespeare, 79.
Steam-hammers, an example of the
sublime, 199.
Stopping, used incorrectly, 82.
Story, a story needed as a main element
in the epic, but not in lyric, didactic,
pastoral, etc., 265.
Strength of Sentences, 131-140; af-
fected by redundant words, 131; by
the use of "very," etc., 133; by skill
in using the words of connection and
transition, 133; by the mode of bring-
ing to a conclusion, 135; by con-
trasted changes, 137; by climax, 137.
treated before Invention, 18; origin
of the word, 19; relations of style to
invention, 20; topics included in style,
20; special properties of style, 197-219.
Subject, place of the principal s. in the
sentence, 117, 118; not necessarily the
grammatical subject, 117; important
for the emphasis, 118; change of s.
breaks the unity of sentence, 125;
subject of discourse should be beauti-
ful, 211.
Subjects for compositions, 310, 314,
317, 324, 334, 340, 342–346.
Sublimity, 198-206; how we get the idea
of sublimity, 198; how defined, 198;
elements of the sublime: 1. vastness,
198; 2. power, 199; 3. awfulness, 200;
4. obscurity, 200; 5. loudness of sound,
201; 6. moral greatness, 201; the sub-
lime in writing, 202; sublimity of
subject, 202; vivid conception of
strong points, 203; suppression of be-
littling details, 203; simplicity of ex-
pression, 204; sublimity destroyed by
use of too many words, 205; relation
of sublimity to beauty, 206.
Sufficient, distinguished from enough,
Sunday-school story-books, 301.
Superscription or address of a letter,
Supplementary clauses objectionable,
128; Blair on the subject, 128.
Surprise, an element in simile, 159; an
element of wit, 212; an element of
humor, 217.
Swift, example of misplaced adverb, 105;
adverbial clause misplaced, 107; mis-
placement of the relative pronoun,
114; want of unity, 123; sentence
with unconnected things crowded
together, 125; crowded metaphor, 165;
metaphor, 189.
Sydney Smith, illustrations of wit, 212;
advantages and disadvantages of being
witty, 216, 217; observation on humor,
217; as a reviewer, 290.
Syllable, the measure of a vocal impulse,
222; syllabic verse distinguished from
accented, 247.
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