PAGE

APPENDIX 5: LETTERS (238-247): General Directions (238-240);

Envelope and Business Letters (241-243), Models I-VI, Ex-

ercise 55; Semiformal Letters (244-245), Models VII-VIII,

Exercise 56; Informal Letters (246), Model IX, Exercise

57; Notes in Third Person (247), Models X-XII, Exercise 58 115

APPENDIX 6: VERSIFICATION (248-274): Characteristics of

Poetry (248-253); Regular Scansion (254-257) Exercise 59;

Irregular Scansion (258-266) Exercise 60; Additional Terms

and Principles (267-274)

APPENDIX 7: POETIC ORNAMENT (275-286): Meter (275);

Verse-Pauses (276-278); Rhyme (279); Alliteration (280-

282); Onomatopoeia (283-285); Figures of Speech (286)

APPENDIX 8: REVIEW OF GRAMMAR (287-325): Parts of

Speech (288); Noun, Adjective and Adverb Constructions

(289-291); Phrases and Clauses (292-300); Subject and

Predicate (301-302); Introducers of Subordinate Clauses

(303-311); Noun Clauses (312); Ellipsis and Independent

Elements (313-314); Participles and Infinitives (315-318);

Miscellaneous Constructions (319-324); the Same Word as

Different Parts of Speech (325); Exercise 61, consisting of

Four Hundred Sentences for Analysis, Graded in Accordance

with the Foregoing Review

APPENDIX 9: SUPPLEMENTARY RHETORICAL PRINCIPLES, for

Reference or Advanced Study (326-338): Omitted Topic-

Sentences (326); Labored Topic-Sentences (327); Cutting

the Complicated Sentence (328) Exercise 62; Number (329);

Case (330); Gender (331); Person and Number (332-333);

Shall and Will (334); Tense Sequence (335); Already, Yet

(336); Overuse of Compound Sentence (337); Ambiguous

Syntax (338)

APPENDIX 10: RULES OF PUNCTUATION, ETC.: 1, Main Clauses,

Exercise 63; 2, Subordinate Clause Preceding, Exercise 64;

3, Participial Phrase, Exercise 65; 4, Adjectival Clause,

Exercise 66; 5, Words Kept Apart, Exercise 67; 6, Direct

Discourse, Exercises 68-69; 7, Vocative, Exercise 70; 8, Ap-

positive, Exercise 71; 9, Parenthetical Expression, Exercise

72; 10, Clause Within Clause, Exercise 73; 11, Series, Exer-

cise 74; 12, Colon, Exercise 75; 13, Capitalization of Titles,

Exercise 76; 14, Capitalization of Proper Nouns and Proper

Adjectives, Exercise 77; 15, Capitalization of Common Nouns

in Proper Names, Exercise 78; 16, Italics, Exercise 79; 17,

Questions and Exclamations; 18, Strayed Punctuation; Ex-

ercise 80, in General Review

APPENDIX 11: SPELLING

Part I: Fifty Appeals to Reason (Lessons 1-50): 1-2, Final

y; 3, -aid; 4-7, Possessives; 8, Contractions; 9-11, Silent

128

137

143

153

160

e; 12-15, Doubling before Suffix; 16-19, ei, ie; 20-22, -able,

-ible, -ant, -ent; 23-28, Other Suffixes; 29-30, English Pre-

fixes; 31-37, Latin and Greek Prefixes; 38, Summary of All

Cases of Doubling; 39, Verbs in -1; 40, sc; 41-42, Solid

Compounds; 43, Hyphenated Compounds; 44, Identifying a

Slurred Vowel; 45, Mispronunciations; 46-50, Words Often

Confused.

PAGE

Part II: Three Hundred Trouble-makers (Lessons 51-65) 166

APPENDIX 12: EXERCISES. (All the Exercises Are Grouped

Together, for Convenience of Reference and Review. Each

Exercise is Referred to, Both in the Text of the Book and

in This Table of Contents, under the Topic Which It Treats.

The Exercises Are Preceded by a Brief Synopsis)

APPENDIX 13: SUGGESTED LESSON ASSIGNMENTS

APPENDIX 14: SUGGESTED FORMS OF EXAMINATION

202

406

411

A MINIMUM COURSE IN RHETORIC

A MINIMUM COURSE

IN RHETORIC

Definition.-English rhetoric is the study of how to compose English in the best possible way.

CHAPTER I

UNITY

THE FIRST QUALITY OF GOOD ENGLISH

1. The first and most important quality of good English is unity. Unity requires that a composition should give the impression of dealing with only one subject, that a paragraph should give the impression of dealing with only one branch of the subject, and that a sentence should give the impression of dealing with only one thought.

UNITY OF THE COMPOSITION OR THEME

2. A composition or theme, to possess unity, must give the impression of dealing with only one subject. Every sentence and every paragraph must have some direct connection with the theme-subject.

3. In planning a theme, do not begin too far afield; do not let your introduction or conclusion (if you have any) tempt you too far away from your real subject; after you are once started on your subject, do not wander away from it.

UNITY OF THE PARAGRAPH

4. A paragraph, to possess unity, must give the impression of dealing with only one branch of the subject. Fix on a