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.
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
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 .
The College Entrance Requirements
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 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-
Brackets, rule for, 407.
Brofeldt, Johani (pseud. Johani Aho),
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-
Characters of the situation, 16, 17, 46-
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-
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),
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,
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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