The Art of Writing English: A Book for College ClassesAmerican Book Company, 1913 - 382 lappuses |
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1.5. rezultāts no 74.
12. lappuse
... relation of exposition to other forms of composition C. Two kinds of exposition · 227 230 II . EXPOSITORY METHODS 231 B. In æsthetic exposition . A. Analysis B. Definition C. Exemplification D. Comparison . E. Contrast F. The methods in ...
... relation of exposition to other forms of composition C. Two kinds of exposition · 227 230 II . EXPOSITORY METHODS 231 B. In æsthetic exposition . A. Analysis B. Definition C. Exemplification D. Comparison . E. Contrast F. The methods in ...
13. lappuse
... relation of description to other forms of composition C. The kinds of description 304 304 · 306 THE DESCRIPTIVE PROCESS A. The point of view 1. Time and place 2. Mental attitude B. Selection 1. Necessity of selection . 2 ...
... relation of description to other forms of composition C. The kinds of description 304 304 · 306 THE DESCRIPTIVE PROCESS A. The point of view 1. Time and place 2. Mental attitude B. Selection 1. Necessity of selection . 2 ...
14. lappuse
... relation of narration to other forms of composition C. The universal interest in narration D. Classifications of narration II . THE ELEMENTS OF NARRATION A. Action . 1. Mastery of the narrative material 2. Selection of events 3 ...
... relation of narration to other forms of composition C. The universal interest in narration D. Classifications of narration II . THE ELEMENTS OF NARRATION A. Action . 1. Mastery of the narrative material 2. Selection of events 3 ...
16. lappuse
... relation of narration to other forms of c C. The universal interest in narration D. Classifications of narration II . THE ELEMENTS OF NARRATION A. Action . · . 1. Mastery of the narrative material 2. Selection of events 3. Treatment of ...
... relation of narration to other forms of c C. The universal interest in narration D. Classifications of narration II . THE ELEMENTS OF NARRATION A. Action . · . 1. Mastery of the narrative material 2. Selection of events 3. Treatment of ...
24. lappuse
... relation between reading literature and writing . Sometimes we are told that if we thoroughly saturate ourselves with the writings of others , we thereby learn how to write without submitting to the pains of systematic practice . This ...
... relation between reading literature and writing . Sometimes we are told that if we thoroughly saturate ourselves with the writings of others , we thereby learn how to write without submitting to the pains of systematic practice . This ...
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æsthetic appears argument ART WRIT artistic attitude Bailey Saunders beauty beginning character clear coherence complete concrete course definite demands effect emphasis employed English essay essential evidence example experience explain exposition expository express eyes fact familiar feeling George Herbert Palmer Gettysburg Address give hand ideas imagination important impression interest Jane Austen kind knowledge language literary lives look Lord John Russell material matter means mental method mind narration narrative nature never observation one's ourselves paragraph person phrase point of view possible practice principles purpose reader reason relation result revision Robert Louis Stevenson sentence simple Sisera skill sometimes spirit stand story student suggest sure T. B. Aldrich tence Tennessee's Partner Théophile Gautier things thought tion true truth unity usually Vanity Fair variety vocabulary whole composition words writer writing
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216. lappuse - O eloquent, just, and mighty Death! whom none could advise, thou hast persuaded; what none hath dared, thou hast done; and whom all the world hath flattered, thou only hast cast out of the world and despised: thou hast drawn together all the far-stretched greatness, all the pride, cruelty, and ambition of man, and covered it all over with these two narrow words, Hie jacet.
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157. lappuse - ... the elaborate and vacillating crudities of thought, at the true purposes seized only at the last moment, at the innumerable glimpses of idea that arrived not at the maturity of full view, at the fully matured fancies discarded in despair as unmanageable, at the cautious selections and rejections, at the painful erasures and interpolations...
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