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Place-description- the camp in the evening. Use as a fundamental device the effect the campfire had on the details of the picture. Find materials in portions of paragraphs 11 and 28, and add details enough from your own imagination to make the picture complete.

Description of personal appearance - that of Uncle Nathan. Find material in paragraphs 3, 10, 14.

Retrospective narrative-Uncle Nathan's experiences. Find material in paragraphs 10, 14–20, 22, 23.

General reflection —the influence of environment on character. Supply material from your own thought.

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A LIST OF THE READINGS

Classics Outlined for Reproduction

The King of the Golden River John Ruskin
Horatius at the Bridge
Enoch Arden

The Great Carbuncle .

The Great Stone Face

The Sister Years

Thomas Babington Macaulay 125
Alfred Lord Tennyson

137

Nathaniel Hawthorne

140

Nathaniel Hawthorne

257

Nathaniel Hawthorne

262

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Nathaniel Hawthorne

351

355

361

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Nathaniel Hawthorne
William Cullen Bryant
William Cullen Bryant
William Cullen Bryant
William Cullen Bryant
Edmund Burke
William Shakspere

Outlined in the Appendix
Henry W. Longfellow.
John Greenleaf Whittier.
James Russell Lowell .
Lord Byron.

Nathaniel Hawthorne .

Nathaniel Hawthorne

John Burroughs .

The College Entrance Requirements

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As the list of college entrance requirements is a variable one, the treatment of these books in this volume is general, intended to furnish a method for handling certain types of books which may be selected as material for composition. An outline for reviewing the novel, play, or the epic is suggested on page 314; of the collection of short stories, on page 327; of miscellaneous essays and poems, on page 331.

THE INDEX

(The references are to pages)

Abbreviations, list of, 410-412.
Abstract idea, 272, 275.
Addison, Joseph, 224-225, 303.
Aldrich, Thomas Bailey, 56.
Amiel, Henri Frédéric, 43-44.
Analogy, between the situation and
pictures, 53; used as a descriptive
device, 221-223; as expository ma-
terial, 279, 296-297.

Analysis, of the situation, 16-17; of
Theme-model I., 19; of Situation-
type I., 46-47; of Theme-model II.,
79-80; of Theme-model III., 116; of
Theme-model IV., 129-130; of model
for description of place, 152; of per-
sonal appearance, 156; of charac-
ter, 159; of mode of life, 160, 161; of
an occasion or assemblage, 166; of
a sermon or speech, 167; of a con-
versation, 168; of a book or author's
works, 169; of mood, 170; of climate
or season, 172; of music, 173; of
sound, 174; of odor, 174-175; of audi-
ble thought, 176; motive analysis
of The Great Stone Face, 257-262;
of The Merchant of Venice, 390-402.
And, use of, 36-37.

Anticipatory narrative, 258, 260.
Antigone, story of, 143.
Antithesis, 191.

Apostrophe, a descriptive device,
227-228; rule for the sign, 408.
Argumentation, colloquial origin of,
365-367; formal, 367-368; the
argumentative paragraph, 369-373;
material of, 374; combined with
exposition, 375; the argumentative
theme, 374-378.

Arnold, Matthew, 107, 187.
Assemblage, description of, 165-166;
in pictures, 166.

Audible thought, description of, 175-
176; as a descriptive device, 212-213.

Author's narrative, 114-115.
Author's works, description of, 168-
169.

Barbarian Invasions, The, outline
of theme, 338-339-
Barrie, J. M., 378-380.
Bentham, Jeremy, 292-293.
Bikélas, Demetrios, 170, 175.
Bishop's Island, The, Griffin, 119-122.
Book, description of a, 167, 168-170.
Book review, The, 314; the setting,
315-316; summary of plot, 317-318;
of character, 318-321; of striking
occasions, 321-323; of the back-
ground, 323-324; the general esti-
mate of a book, 324-325; review of a
collection of stories, 327-328; of a
collection of essays or poems, 331-

332.

Brackets, rule for, 407.

Brofeldt, Johani (pseud. Johani Aho),

81-82.

Browning, Robert, 93, 222, 241-242, 267.
Bryant, William Cullen, 361-363.
Buchanan, Robert, 222.
Bunner, H. C., 123-124.

Burke, Edmund, 298, 369-372.

Burns, Robert, 382-383. See Carlyle.
Burroughs, John, 173-174, 209, 277, 299-
300, 301, 305-306, 311-312.
Butler, Charles, 219-220.
Byron, Lord, 413.

Capital letters, rules for, 409-410.
Carlyle, Thomas, 70-71, 168-169, 286-
287, 359.

Cataloguing of details, 197-198.

Catechism, The, study of the pic-
ture, 102-103.

Changeable Charlie, Pickens, 107-111.
Channing, William Ellery, 385-386.

Character, description of, 158-159;
sketch, 354-357.

Characterizing sentence, 79, 116, 129-

130.

Characters of the situation, 16, 17, 46-

47.

Cicero, Marcus Tullius, 220, 381
Circus Maximus, The, study of the
picture, 166.

Classification used as expository
material, 279.

Class name, 277.
Clay, Henry, 382.

Clemens, Samuel L. (Mark Twain),
98-102.

Climate, description of, 171-172.
Climax, 19, 106, 125, 136, 139.
Coherence, in the expository para-
graph, 283.

Coleridge, Samuel Taylor, 176-177,213.
College entrance requirements, 326,
332, 354, 416.

Colloquial origin of literary forms,

in the situation, 15-16; of Theme-
model I., 58-60; of retrospective
narrative, 75-77; of the description-
motives, 147-149; of exposition, 272-
273; of argumentation, 365-367.
Colon, rules for the, 406-407.
Comma, rules for the, 403-405.
Comma fault, 32-34.

Commonplace, charm of the, 70-71.
Comparison, a single comparison or
analogy, 221; a series of compari-
sons, 222-223.
Conclusion, in Theme-model II., 80,
97, 107; in Theme-model III., 115,
116; in Theme-model IV., 129-130.
Concrete, sacrificing the concrete in
condensation, 42; value of con-
crete words in description, 186-189.
Confirmatio, 375-376.
Confutatio, 376-377.
Contrast, a single contrast, 216-219; a
series of contrasts in description,
219-220; in exposition, 303.
Conversation, description of a, 167-

168.

Coördination, in the expository par-
agraph, 284-286, 288-289.

Cotton, Charles (and Izaak Walton),
160, 336.

Curtis, George William, 366-367.

Dash, rules for the, 408.

Debate, 374-378. See Theme-model
XVIII.

Definitions, of narration, 20; of nar-
rative, 20; of a paragraph, 20; of
the situation, 20; of the situation
elements, 21; of a theme, 21; of a
theme-model, 21; of description,
146; of emphasis in description,
150; of unity in description, 150-
151; of fundamental quality, 151; of
audible thought as a motive, 175;
of the general reflection, 201; of
audible thought as a device, 212; of
exposition, 271; used as expository
material, 278, 297-299; successive
definition in the expository para-
graph, 308-309.

Deland, Margaret, 290-291.

De la Ramée, Louise (Ouida), 182.
Departure for Sainte-Evette, The,
study of the picture, 122-123.
Description, used in elaborating dia-
logue, 93-94; relation between nar-
ration and description, 145-146; defi-
nition of, 146; colloquial, 147-149;
outline of description-motives, 149-
150; emphasis in description, 150;
unity in, 150-151; of place, 151-152,155;
of personal appearance, 155-158; of
character, 158-159; of mode of life,
160-162, 164; of an occasion or
assemblage, 165-166, of a conversa-
tion, sermon, book, or oration, 167-
169; of mood, 170-171; of climate or
season, 171-172; of music, sound,
or odor, 172-175; of audible thought,
175-176; method in description,
176-177; description generalized,
179; obverse description, 211 212.
For ornamentation in description,
see Fundamental Devices and
Minor Devices.
Description-motives, 149-150.
Descriptive themes, general sugges-

tions, 237; description of a person,

237-239; of a place, 239-240; of mode

of life, etc., 240-244.
Devices, of question, 116; used in
description, 152, 153-155, 156, 160,
161-163, 166, 167, 168, 169, 170, 173, 174,
175. See also Fundamental Devices
and Minor Devices.
Diæresis, rule for, 409.
Diagram, of sentence relation in the
expository paragraph, 285, 287, 289;
of differentia, 297.
Dialect, use of, 97.

Dialogue, outline of the study of, 80-
81; paragraphing of, 81-84, punctu-
ation of, 84-87; varying the introduc-
tory verb, 87-88; varying the sub.
ject of the introductory verb, 89;
varying the position of the intro-
ductory verb, 90-91; the elabora-
tion of dialogue, 92-96; general
directions, 97; dialogue as a device
in description, 223-225.
Directions, for sentence revision,

41-42; for Situation-type I., 47-48;
for Theme-model I., 60-61, 63; for
dialogue, 97; for oral narration,
118-119; for description in general,
154-155; for describing personal
appearance, 156-157; giving of di-
rections as a descriptive device,
209 210; series of general direc-
tions in exposition, 304.
Direct proof, 368-369, 375-376.
Direct quotation, punctuation of,
84-85; as a rhetorical device, 226.
Dobson, Austin, 119.

Dodgson, Charles L. (Lewis Carroll),

104.

Drama, combines all of the five

forms of discourse, 389.

Dryden, John, 189.

Dunbar, Paul Lawrence, 167.

Effect of light, storm, etc., used in
description, 205-207; effect on ob-
server, 208-209.

Elaboration, of dialogue, 92-96; of

a fundamental image 200-201.
Eliot, George, 21, 65, 83, 91, 93-94, 197,

223-224.

Emphasis, in description, 150; in ex-
position, 283.

Enumeration, 161-162, 197-198.
Essay, The, review of a collection of,
331-332; the historical, 314, 334, 348;
scientific, literary, or moral, 348;
biographical, 357-361.

Exclamation point, rule for, 407.
Exordium, in the debate, 375; in the
oration, 388.

Exposition, definition of, 271-272; col-
loquial, 272-273; scientific and liter-
ary, 274-275; motives of, 275-278;
material of, 278-282.

Expository paragraph, examples for
classification, 280-282, 290-293; CO-
herence in, 283; unity and empha-
sis in, 283, types of, 284-293-
Expression, variety in, 26-30.

Farmer, Lydia, 273.

Figures of speech, personification,
153; simile, 153-154; metaphor, 162-
163, allusion, 189, antithesis, 191;
onomatopoeia, 192-193.
Forward-moving narrative used to
elaborate dialogue, 94; in The
Great Stone Face, 258-262; in The
Merchant of Venice, 402.

Four w's, The, in the situation, 17.
Fundamental devices, definition, 185,

195-196; outline of, 196-197; the
cataloguing of details, 197-198;local-
izing of details, 198-200; elaboration
of an image, 200-201; a series of
images, 202-203; personification of
details, 203-204; effect of light, etc.,
205-207; effect on observer, 208-209;
giving of directions, 209-210; ob-
verse description, 211-212; audible
thought, 212-213; a general reflec-
tion to introduce description, 214-
215; a single contrast, 216-219; a
series of contrasts, 219-220; a single
analogy, 221; a series of analogies,
222-223; dialogue as a descriptive
device, 223-225; vision as a descrip-
tive device, 225-227; apostrophe,
227-228; examples for analysis, 228-
235.

Fundamental quality in description,
151, 152, 154, 155, 156, 158, 159, 160,
161, 165, 167, 170, 171, 172.

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