Guy de Maupassant: A Coward. Moonlight. La Mère Sauvage. The Necklace. A Piece of String. Prosper Mérimée: Mateo Falcone. The Taking of the Redoubt. O. Henry (Sydney Porter): The Four Million (The Volume) or The Trimmed Lamp (The Volume). A. T. Quiller-Couch: A Pair of Hands. E. A. Poe: Berenice. Ligeia. The Cask of Amontillado. The Fall of the House of Usher. The Tell-Tale Heart. R. L. Stevenson: A Lodging for the Night. Markheim. The Merry Men. Will 'o the Mill. Count Leo Tolstoy: A Prisoner in the Caucasus. Master and Man. Two Old Men. What Men Live By. Henry Van Dyke: The Blue Flower. The Story of the Other Wise Man. informal, effectiveness in, 294- BRIGGS, LE Baron Russell, 247– 298. kinds of, 260-261. the completed, 288-293. 259-260. 248. BROOKS, PHILLIPS, 176. Argumentation, importance of, BRYCE, JAMES, 238-239, 244-245, 246. relation of, to exposition, 258- BURROUGHS, JOHN, 311, 318, 322- Attitude toward training, impor- CHANNING, WILLIAM ELLERY, 31. tance of, 36-40. Audience, respect for, 216–217. Character portrayal, 350-359. indirect, 351-358. of familiar objects, 93. CHASE, WILLIAM MERRITT, 46. BALDWIN, CHARLES SEARS, 216, CHAUCER, GEOFFREY, 154. 218-219. BATES, ARLO, 199. Clearness, devotion to, 204-205. Climax, 347-348. Beauty, sense of, 214-215. COBBETT, WILLIAM, 199. Coherence, applied to the para- graph, 132–136. applied to the sentence, 136- 140. applied to the whole composi- tion, 129-132. COLVIN, SIDNEY, 313–314. Comparison, in description, 317- 318. in exposition, 236. cesses of, 186-187. effectiveness in, 321-329. relation to other forms, 304. 313. through narration, 320–321. DICKENS, CHARLES, 352, 353, 354. Dictionary, perusal of, 89-90. Composing, variations in the pro- DIONYSIUS OF HALICARNASSUS, Composition, an art, 40-44. 27. 148. DOBELL, SYDNEY, 175. DOWDEN, EDWARD, 179. Drama, 370-371. Earnestness, 207. similarity of, to other arts, 41- Economy, 108-110. 43. value of training in, 27-35. Concreteness, importance of, in exposition, 246-249. See Thinking. Effect to cause, reasoning from, ELIOT, GEORGE, 353–354. 61- 62, 82, 171, 178, 207, 212. Contrast as a means of emphasis, Emotional stress, 143-144. Conversation, handling of, 348- Ending, effective, 210. |