The Story of Judith. The Story of Naaman's Healing. G. W. Cable: Posson Jone'. 'Sieur George. Joseph Conrad: Amy Foster. Falk. To-Morrow. S. R. Crockett: Accepted of the Beasts. Charles Dickens: The Cricket on the Hearth. A New England Nun. A Village Singer. Calla Lilies and Hannah. The Revolt of "Mother." Hamlin Garland: Among the Corn Rows. Up the Coolly. E. E. Hale: My Double and How he Undid Me. Bret Harte: Tennessee's Partner. The Luck of Roaring Camp. The Outcasts of Poker Flat. The Iliad of Sandy Bar. Nathaniel Hawthorne: The Ambitious Guest. The Wives of the Dead. Ethan Brand. W. W. Jacobs: A Change of Treatment. An Elaborate Elopement. S. O. Jewett: A Winter Courtship. Rudyard Kipling: .007. The Brushwood Boy. The Courting of Dinah Shadd. The Man Who Would be King. The Phantom Rickshaw. The Return of Imray's Ghost. The Strange Ride of Morrowbie Jukes. Without Benefit of Clergy. Charles Lamb: The Superannuated Man. 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. INDEX ABBOTT, LYMAN, 124-125. ferent audiences, 94–95. Esthetic writing defined, 43. Analysis in exposition, 231–233. informal, effectiveness in, 294- BRIGGS, LE BAROn Russell, 247– 298. kinds of, 260-261. the completed, 288-293. 259-260. 248. BROOKS, PHILLIPS, 176. BROWNING, ROBERT, 165. 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. Beauty, sense of, 214-215. COBBETT, WILLIAM, 199. Composing, variations in the pro- DIONYSIUS OF HALICARNASSUS, 318. in exposition, 236. cesses of, 186-187. Composition, an art, 40–44. 148. DOBELL, SYDNEY, 175. as communication, 17-18. DOWDEN, EDWARD, 179. 27. 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. Contrast as a means of emphasis, Emotional stress, 143-144. see Emphasis. in character portrayal, 356- 357. in description, 318–319. in exposition, 236-237. Emphasis, in the paragraph, 142-- 144. in the sentence, 144-148. 142. Conversation, handling of, 348- Ending, effective, 210. |