Length, of paragraphs, 122, 123-125; | Mass, of paragraph, 110-113; of sen-
of sentences, 161-165.
Lessing, G. E., 289.
Letter heads engraved for professional
Letter, parts of, 210-217; heading,
211-212; introduction, 212-213;
body, 214; conclusion, 214-216;
superscription, 217; folding, 218.
Letter-Writing, 209-237; importance
of, 209-210; parts of a letter, 210-
217; folding a letter, 218; business
letters, 218-222; postal cards and
telegrams, 222-224; advertisements
and applications, 224-228; official
letters, 228-229; invitations and
replies, 230-232; friendly letters,
232-235; some don'ts, 236; impor-
tance to literature, 237; exercises
in, 81, 338.
Material, how to gather, 16-27; gath-
ering by seeing, 16-19; gathering
by reading, 21-26; gathering by
thinking, 26-27; how to select, 29-
33; how to arrange, 33-41. See
under Arrangement.
Matsell, G. W., 177.
Matthews, Brander, 84-85, 93-94, 299-
300, 305-306.
Maupassant, Guy de, 18.
Memory not to be depended on, 11-12.
Metaphors, 200-201.
Methods of explanation, 315–317.
Microscope, study with, 90.
Miller, C. H. (Joaquin), 85–86.
Millet, J. F., study of "Angelus," 105-
106.
Mixed metaphor, 200.
Limiting a subject, 5-8. See under Modern usage. See under Present.
Modifiers, placing of, 138-139.
Lincoln, Abraham, 21, 50, 57-59, 72, Monotony, avoidance of.
128, 147, 155, 187, 196, 207.
Literary criticism, exercises in, 319-
Literature and the letter form, 237.
Little and big words, 187-193.
Liveliness in explanation, 317. See
under Effectiveness, Variety,
Vigor.
Localisms, 173-174, 175-176. See un-
der Usage, Words.
Longfellow, H. W., 200, 324.
Loose sentences, 152-157.
Lowell, J. R., 191-192, 200.
Lubbock, Sir John, 353.
McCarthy, Justin H., 125.
Macaulay, Lord, 111-112, 117, 148–150,
157-158, 158, 172, 354.
Mahabharata, 200.
Mahaffy, J. P., 336-337.
Major, Charles, 53.
Manuscripts, preparation of school,
347-351.
Margins in school manuscripts, 348.
Marks used in correcting school manu-
scripts, 350-351.
See under
Effectiveness, Liveliness, Variety,
Vigor.
Morley, John, 157.
Mother Goose, 34, 251, 252.
Movement in stories, 258-261.
Narration, 238-274; distinguished,
207-208; characters in, 242, 245,
256-257; nature of, 247-248; ele-
ments of, 248-249; purpose in, 249-
251; plot in, 251-256; situation in,
257-258; movement in, 258-261;
beginning and ending a story, 261-
263; point of view in, 263–265; con-
versation in, 265-269; exercises in,
247, 269-274; specimens of, 238–274,
passim; list of specimens of, 247.
Narrator, point of view of, 263-265.
National usage in words, 171-176.
Native and foreign words, 171–172.
Nature, of narration, 247-248; of de-
scription, 282-284; of explanation,
312-315; of argument, 325-327.
Nature study, 98.
Neatness in school manuscripts, 348-
349.
Oral composition, exercises in, 5, 10,
18-19, 20-21, 28-29, 32, 46-47, 49-
50, 54-55, 56-57, 59, 61-62, 64-66,
66-67, 71-75, 77, 79-81, 85-89, 90-
91, 94-98, 99, 102-105, 119, 120,
120-122, 125, 128, 148-150, 155, 159-
160, 164, 175-176, 180, 187-188, 196,
198-201, 238-247, 250-251, 254-255,
258, 260, 262-263, 265, 269-274,
passim, 275-281, 288, 291-292, 293-
295, 300-301, 304, 307-311, passim,
317-325, passim, 327, 331, 333, 335-
339, passim, 343.
Order. See under Arrangement.
Order of time. See under Time.
O'Rell, Max. See under Blouet.
Origin of words, 171-172; study of, 183.
Outline, how to prepare, 33-41; on
cards, 35. See under Brief.
Outlines, specimens of, 36-37, 45, 105;
specimen brief, 340-343.
Outlook, The, 319.
Pages of a letter, order of, 214.
Painting and description, 289, 310. See
under Picture.
Paper for letters, 218, 227, 236; for
school manuscripts, 347-348.
Paragraph, the, 51-128; advantages
of, in work of school, 51-52, 131-
132, Preface; defined, 51-52; distin-
guished from whole composition,
51; distinguished from sentence,
131-132; indention of, 52, 53-56;
subject of, 56–57; subject-sentence
of, 59-67; construction of, 67–105;
methods of construction enumer-
ated, 69; psychology of construc-
tion, 69; construction by definition,
70-77; construction by reversion,
77-82; construction by comparison,
82-84, 85-93; construction by con-
trast, 84-93; construction by ex-
ample, 93-100; construction by
restatement, 100-106; essentials of,
106-116; unity of, 106-110; mass
of, 110-113; coherence of, 113-116;
binding paragraphs together, 116-
120; length of, 122, 123–125; intro-
ductory and concluding paragraphs,
126-128.
Parallel structure in sentences, 157-
161.
Parentheses, rules for, 359.
Parkman, Francis, 91.
Participle, connection of, 138.
Participial phrases to suspend thought,
156.
Parts of a letter, 210-217.
Pater, Walter, 181, 302, 303.
Perception by sight, 284–288.
Period, rules for, 352-353.
Periodic sentences, 152-157.
Persons, descriptions of, 28, 50, 56, 170,
283, 300, 302, 306.
Perspicuity. See under Clearness.
Picture study, 105-106, 310, 323.
Planning, writing, and rewriting, 131-
132. See Preface.
Plausibility, a test of narration, 254.
Plot in narration, 248, 251-256.
Poe, Edgar Allan, 257, 261, 278.
Poems, lists of, 21, 44, 48-49, 251, 255.
See under Selections.
Poetical words in prose, 169.
Poetry, study of, 21, 77, 170; words
in present use in, 169. See under
Selections.
Point at issue, 331-333.
Question mark, rules for, 358.
Quotation marks, rules for, 360-361.
Rabelais, François, 199.
Point of time in description, 292- Rapid suggestion in description, 301-
Point of view in narration, 263-265; Reading, of a poem, 21; directions
in description, 290–292.
Pope, Alexander, 179, 198.
Position of modifiers, 138-139; of only,
Position of words, etc., for clearness,
138-139; for effectiveness, 140-141;
inversion, 140-141; for coherence,
142. See under Antithesis, Climax,
Effectiveness, Parallel structure,
Periodic.
Postal cards, 222-224.
for, 21-23; taking notes of, 24-25;
gathering material by, 21-26; lists
for, 21, 24, 44, 48-49, 55, 59, 81, 91,
180, 237, 242, 251, 254, 255, 257, 258,
271.
Recommendation, letter of, 225–226.
Redundancy, 185.
References, how to find and make,
25-26.
Repetition. See under Restatement.
Replies to invitations, 230-232.
Precision in the use of words, 180-183. Reports of speeches, etc., 15-16.
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Provincialisms, 171-176, passim.
Psychology of comparison, 83; of para-
graph construction, 69; of sight
(in description), 284–288.
Purpose in narration, 248, 249-251.
Punctuation, 351-362; in letters, 213,
Letter-Writing, passim; origin of,
351; reason for, 351-352; how to
learn, 352; rules for period, 352-
353; rules for colon, 353; rules for
semicolon, 354; rules for comma,
355-357; rules for exclamation
point, 357-358; rules for interro-
gation point, 358; rules for dash,
358-359; rules for parentheses, 359;
rules for brackets, 359; rules for
apostrophe, 359-360; rules for hy-
phen, 360; rules for quotation
marks, 360-361; rules for italics,
361; use of asterisks and leaders,
361; rules for capitals, 362.
Reputable usage in words, 177-180.
Resemblance. See under Comparison.
Restatement, construction of para-
graphs by, 100-106.
Reversion, construction of paragraphs
by, 77-82.
Reviews of books, 319-320.
Revision, work of, 42; of school manu-
scripts, 349-350. See under Rewrit-
ing.
Rewriting, work of, 42-44, 131-132,
151, 156, 161, 164; of school manu-
scripts, 349-350. See Preface,
passim.
Rhetoric, as record of good usage, 168.
See under Composition.
Riis, Jacob, 319.
Rossetti, D. G., 323-324.
Ruskin, John, 55, 76–77, 79, 86, 88-90,
96-97, 157.
Salutation in a letter, 212-213.
Samuels, 296.
Scene in stories. See under Situation.
Schoenhoff, U. S. consul, 95-96.
School manuscripts, how to prepare,
347-351; need of system, 347;
paper, 347-348; margins, 348; legi-
bility and neatness, 348-349; fold-
ing and indorsing, 349; revising
and rewriting, 347-350; marks used | Similarity in sentence structure, 142.
in correcting, 350-351; how to criti-
cise, Preface.
Scientific description, 296.
Scott, Walter, 12, 86-87.
Sculpture and description, 289.
Seeing, rules for, 17-18; power of see-
ing tested, 18-19; gathering mate-
rial by, 16-19; perception by sight
explained, 284–288.
Selecting material, 29-33; in descrip-
tion, 296-297. See under Material.
Selections, poetry, 20, 34, 44, 76–77,
170, 194, 198-199, 200-201, 293–295,
298, 307, 323-324.
Semicolon, rules for, 354.
Similes and metaphors, 200–201.
Simple sentences, 145-151.
Simplicity in style, 187-193.
Situation in narration, 248, 257-258.
Slang, 177-180; references on, 177.
See under Reputable.
Smell in descriptions, 306–307.
Smith, Adam, 94-95.
Smith, F. Hopkinson, 309.
Smith, Goldwin, 86–87.
Smoothness, aided by coherence and
transition. See under Coherence.
Social instincts, development of stu-
dent's. See Preface, A Word at the
Start, passim.
Sensations other than of sight in de- Sound in descriptions, 305–306.
Sense-impressions in description. See Specific and general words, 193-196;
Sentence, subject-sentence, 59-67.
Sentence, the, 133-166; distinguished
from paragraph, 131-132; defined,
133-134; and grammar, 133-134;
essentials of, 134-143; correctness
of, 134-135; clearness of, 136-139;
effectiveness of, 139–141; coherence
of, 141-142; unity of, 142-143;
kinds of, 143-157; declarative,
interrogative, imperative, and
exclamatory sentences, 143-145;
simple, complex, and compound
sentences, 145-151; loose and peri-
odic sentences, 152-157; balanced
and parallel structures, 157-161;
length of, 161-165; variety in, 166.
Sequence of thought. See under
Coherence.
Setting of stories. See under Situation.
Shakspere, 31, 154, 159, 169, 198, 199,
200, 298.
Sherman, L. A., 119, 162.
Sherman, W. T., 83.
Sight, perception by, 284-288; sensa-
tions other than of, 304-307.
under Seeing.
Signature in a letter, 215-216.
Silence in descriptions, 305.
Similarity. See under Comparison.
cises in, 338-339.
Spencer, Edward, 189–190.
Spenser, Edmund, 170.
Split infinitive, 135.
Standard Dictionary, 76, 360.
Stevenson, Robert Louis, 12, 65-66, 83,
238-241, 242, 255-256, 259, 302.
Stories, movement in, 258-261; be-
ginning and ending a story, 261-
263; conversation in, 265–269. See
under Narration.
Story-teller, how to become a, 16.
Style and the Bible, 55.
Subject of a composition, 3-11; choos-
ing a subject, 3-5; limiting a sub-
ject, 5-8; wording a subject, 8-11;
of a paragraph, 56–57.
Subject-sentence of a paragraph, 59–67.
Subordinate clauses to suspend
thought, 155.
Subordination of clauses, 150. See
under Complex sentences.
Suggestion in description, 301-303; in
words, 185-186, 189-190.
Summary of a narrative, 255-256.
Superscription of a letter, 217.
Suspended sentences. See under
120; between sentences, 113–116;
between parts of a sentence, 141-
142. See under Coherence.
Trenck, Baron, 64.
Suspending thought, devices for, 155- Truth, a test of narration, 254.
Suspense in narration, 259-261.
Sweet, Henry, 133.
Twain, Mark, 299. See under Clemens.
Typewriting letters, 214.
Synonyms, 180-183; exercises in, 181- Unity, of paragraph, 106-110; of sen-
Taking notes, 11-16. See under Notes.
Taste in descriptions, 307.
Teall, F. H., 360.
Technical words, 174, 175-176.
Telegrams, 222–224.
Tennyson, Lord, 194, 293–295.
Term in argument, 328-331.
Test questions, for choosing subject,
3, 7-8; for power of seeing, 19; for
selecting material, 31; for study
of paragraph, 79; for study of
conversation in stories, 245; for
study of elements of narration,
249; for finding point at issue,
Text-book, use of, 4.
Thayer, 160.
Theme, how to write a, 41-45; how to
name a, 45-50. See under Whole
composition.
tence, 142-143; rules for, 143.
Usage, good, in words, 167-180; pres-
ent usage, 168-171; national usage,
171-176; reputable usage, 177-180.
Uses of composition. See A Word at
the Start, passim.
Value of composition. See A Word at
the Start, passim.
Van Dyke, Henry, 313-314, 316.
Van Dyke, J. C., 79–80.
Variety in sentences, 166.
Verbs. See Helps to Study, passim.
Vigor in use of words, 184-201. See
under Effectiveness.
Visiting card, index to character, 227.
Vocabulary, study of. See under
Words.
Washington, George, 59.
Watterson, Henry, 60.
Webster, Daniel, 80-81, 102-105, 187-
188, 339, 354.
Thinking, gathering material by, 26- Wellman, Walter, 39-41, 62.
Wendell, Barrett, 35, 185-186.
Wheatley, H. B., 71.
White, Gilbert, 97-98.
Whole composition, 3-50; choosing a
subject, 3-5; limiting a subject, 5-
8; wording a subject, 8-11; taking
notes, 11-16; gathering material,
16-27; selecting material, 29-33;
arranging material, 33-41; writing
a theme, 41-45; naming a theme,
45-50; distinguished from para-
graph, 51.
Woodbridge, E., 285-286.
Word-breaking, 360.
Wording a subject, 8-11. See under
Subject.
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