CONTENTS.

11

112. Wit defined,...

113. Wit combined with the Ludicrous,.

MELODY.

114. Involves the voice and the ear,..

115. Letters of the alphabet in the order of easy pronunciation,.

116. Abrupt consonants should alternate with vowels,.

117. A sharp and a flat mute difficult to combine,.

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108

109

110

110

111

111

118. Cumulation of consonants harsh,..

111

119. Alternation of vowel and consonant in successive words,.

120. Clash of vowels should be avoided,

112

112

121. Long vowels out of accent,.

112

122. Varying the letters,..

123. The succession of syllables,.

124. The closing syllables of a sentence,.

125. Variety of sound in composition generally,.

Examples of the rules of melody,..

HARMONY OF SOUND AND SENSE.

113

113

114

115

115

126. An example of the general Law of Harmony,...

127. Imitation of Sounds, .

128. Imitation of Movements,.

129. Bulk expressed by slowness of rhythm,.

130. Expression of the Feelings or Passions,.

TASTE-ELEGANCE-POLISH-REFINEMENT.

131. Meanings of Taste,.....

The Permanent and the Variable in Taste,.

CHAPTER V.

116

116

117

119

119

120

120

THE SENTENCE AND THE PARAGRAPH.

THE SENTENCE.

132. Grammatical laws of the Sentence,..

122

133. Rhetorical division of Sentences.-The Period and the Loose

Sentence,.

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147. The Condensed Sentence used for Comic effect,.

130

148. The Pointed Style,..

130

149. Requisites of the Sentence generally,.

130

150. A conspicuous place to the Principal Subject:-(1.) In the be-

155. Unity of the Sentence,.

135

156. Clauses united in a Sentence without breach of unity,.

136

157. It is often requisite to include in a Sentence several distinct

facts.-Examination of a Narrative Extract,..

136

166-170. Cases in which connecting words are unnecessary,

145

171. Demonstrative Phrases of reference,.

146

172. Repetition in substance of what has been said,.

147

173. Inversion with a view to reference,.

147

174. De Quincey remarkable for explicit reference,.

148

175. Second Requisite of the Paragraph.-The rule of Parallel Con-

struction,..

148

176. Third Requisite.-The opening sentence to indicate the subject

of the Paragraph,.

150

177. Fourth Requisite.-Freedom from dislocation, .

151

178. Fifth Requisite.-Unity of the Paragraph,,

151

179. Sixth Requisite.-A due proportion between Principal and Sub-

ordinate statements,. . . .

2. First. To combine with the Enumeration of the parts a Plan of

the whole,...

154

3. The Form, or Outline, may be the comprehensive plan,.

154

4. The Magnitude to be also stated,..

154

5. Some objects may be viewed as branching from a Centre,..

6. Any feature may be chosen suggesting a comprehensive aspect.-

Examples of the general rule,..

7. Second. The Description may be panoramic,.

8. Third.-Description aided by Individuality,.

9. Fourth.-Description by Associated Circumstances,.

10. Associated human Feelings in Description,..

11. The particulars of a Description may be mutually supporting,.

12. Description of Mind.-First, the proper vocabulary of Mind,.

13. Intellectual Processes.-Examples of subjective description,

14. Second.-Feelings may be suggested by their Associations,.

15. Description involved in all other kinds of Composition,.

16. In Exposition or Science,...

....

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157

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160

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163

17. In Poetry. What Descriptions may be undertaken by the poet,. 164

CHAPTER II.

NARRATIVE.

19. First rule.-To follow the Order of Events,.

18. Narrative implies sequence or shifting of the scenes. Conditions

to be observed,..

20. Importance of Chronology,....

166

167

167

21. A backward reference may be necessary,.

168

22. Sometimes what is recent is best to start from,...

169

23. Second.—The narrative of concurring streams of events.—A prin-

26. Contending parties.-Danger of stealthy transition,.

31. Fifth.-The ends of Historical Composition.-Instruction,

174

32. Interest, or the gratification of the Feelings,.

176

33. Sixth.-History based on Geography,...

178

34. Seventh.-History a series of delineations with intermediate nar-
rative,....

178

35. A nation's existence analyzed into departments,.

179

36. History involves the arts of Exposition and of Poetry,

183

37. Much of what has been said on History applies to Biography,.
38. The Environment should be delineated,.

184

184

39. The form of Narrative in Science, and in Poetry,.

184

CHAPTER III.

EXPOSITION.

40. Applies to knowledge in the form of Science,.

41. Chief attribute of Science, Generality,.

42. Constituents of Science,..

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185

186

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43. Whenever truth is expressed generally, we have Science,

44. Clearness of statement presupposed,..

45. Individual facts, by themselves, not peculiar to science,.

46. First generalized element, the NOTION,....

188

188

47. DEFINITION,.

188

51. The Complex Notion Defined by Analysis.-The Verbal Definition, 190

52. The scholastic definition a form of Analysis,.

192

53. The other methods superadded to Analysis,

192

54. The PROPOSITION, or Principle,.

193

55. Methods of expounding the Proposition.-Iteration,.

193

56. There should always be one chief statement,.

57. Obverse Iteration,..

58. Advantages of the Obrerse Statement,.

59. The principal medium of Exposition is Examples,

60. Choice of Examples,:

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194

195

196

197 -

61. The particulars may precede the generality,.

62. The Example in the form of the Extreme Case,.

63. Principles embodied in Examples,.

66. Illustrations as distinguished from Examples,.

67. The imparting of extended human interest to Science.-Plato,... 201

68. The choice of Examples and Illustrations with this view,..

69. The conditions of the employment of Illustrations for expository

ends,..

70. Calling attention to Difficulties,.

71. The Proof of a principle contributes to its exposition,.

72. Inferences and Applications serve to elucidate principles,.

73. The Expository Paragraph,.

74. Various forms of the Paragraph,.

76. Maxim of proceeding from the known to the unknown,.

81. Pulpit Oratory.-Cultivation of the Religious Feelings,.

215

82. Moral Suasion,.

215

.....

83. KNOWLEDGE OF THE PERSONS ADDRESSED.-Sources and extent of

the knowledge required.-Consideration of men's ordinary max-

ims and received opinions,. . . . .

215

84. An orator has to overbear men's special views by means of larger

principles of action,....

219

85. Knowledge of a class or assemblage,.

219

86. Examples of the failure of great efforts of genius from unsuit-

ability to the minds addressed-History of the abolition of

the Censorship of the press in England,.

87. MEANS OF PERSUASION,.

88. A thorough knowledge of the subject a chief requisite.-Re-

sources of language and illustration also requisite,.

89. Different aspects of Persuasion,..

90. Persuasion as based on Description, Narration, or Exposition,..

91. Persuasion aided by all the arts that impress ideas,.

92. Persuasion by Argument, or Proof,..

93. An Argument defined,.

94. First requisite in Argument, certain admitted principles,.

95. Second requisite, an admitted similarity between the principles

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229

100. Devices for stifling Arguments,

236

101. How to arrange a Plurality of Arguments.-Stating them sep-

104. Setting forth all that is admitted on the other side,.

105. Separating the arguments on the other side,.

106. Refutation follows all the methods of Proof,.

237

238

238

107. Kind of Refutation called Argumentum ad hominem,.

108. Exposure of defective Arguments from Analogy,

109. Debate often turns on opposing Probabilities,

110. Throwing the Burden of Proof on the other side,.

111. Tactics of Debate,.

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241

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243

112. Oratory of the FEELINGS.-Classes of human motives,.

113. Address to the Feelings considered under three heads :-First,

244

our own Pleasures and Pains considered as remote,.

245

114. Secondly, Sympathy with the Pleasures and Pains of others,.

115. Thirdly, the Emotions and Passions :-Fear, Love, Vanity, and

Pride, Anger, Ridicule, Fine Art Emotion, the Moral Senti-

ment,..

119. Poetry a Fine Art, working by Language.-Pleasures of Fine

Art generally,...

257

120. Subjects and Form peculiar to Poetry.-Pure and mixed kinds,. 259

121. External Nature furnishes materials for Poetry,.

122. Our interest in Humanity enters into Poetry,.

260

262

123. Concreteness and Combination are characteristic of Poetry,.

263