ia.. _ ,,. . . .

_ _ ..

THE

WRITER
BEI.:>G

o:-m OF A SER!J::S 01''

HANDBOOKS UPON PRACTICAL EXPRESSION
,,\

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ELOCU'J'TO X

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Cl}·' Ti ll: 1· 1: 1:--:(· 11 · 1.1 ::' {))'

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HT!ET<ll~J C

ENGLISJI C011P O SITIO N .
BY

GEORGE 1. R"XY:NlONTh. L.H.D.,
PR O FES SO R OF ORATO RY A}iD JE STH Y.Ttr. C R ITI CTS :\I IS Tll E f' O LJ. EG E
AT PRl!'iCETO:S;

or·

~· r. w J EP.S EY

At!TJI O R OF .. P OF.TRY A S A Rr.PHf. S E:...:T:\TIYF. ~\ RT, " " TH E

GENESIS OF ART F OR-"'.," " T1n: U R.\T O l~· g ~L\:-it: .\I. ,' . .A.:"i !J Tllf.
AllB.IUGEl!E:ST O F TUE L ..\:rrr:H. 1:-i •. T ll L S t· r:.\KL P., "

ETC .

AND

GEORGE P. WHEELElt, LITT.D.,

\

t

UNIYF.RSlTY FEl.LOW 1:-C F.sGJ.I S H, l ~ l-2, ASD IS ORATORY A!'\D A-: ST!ll':TI C CRITI CJ E:'-1.

JS--J:l-3, IS THE C O i.LEGE or· NEW JERSEY.

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SILv'ER, BURDETT AND CO~IPANY
NEW

YORK . . .

BOSTON ...

1893

CHICAGO
- ,,('\

Harvard Colle&re Li'ora.r7
nee. 20, 1918.
Tranef erred from
Bdnr,ai;iOll Library,

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'l'll.E l'E<JGLE:\L
.. No

g1' J1er:d t11 r•1) ry

or

l'.~)'r ess i on St'•'f!IS

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!wen

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ci:itcd. 'l'hc IT!~xi1n s C0:1!:1in c: d in \Y o rk s O! ) co!11po.:;it io n 3.t ;ll rL ·~ ~ ur i c
a re prcscntcJ in :rn 1111org:rniz ,;d io1· 111. St:rnrling as i.soi.i. t.: t! L!P.~ lll:•.s,
a~ empiri<'al g 1 ~1wr:tl i1. :L l i o 11 -;, tl11~y :tn; rwitllf~r ~o rle:1riy ap111···h ·:11d•_
•d,
nor so llluch respect ed, a ..; they wo uld be were t hey deduced irom some
simple first prin ciple. \\' e are told tha t' bre 1·ity is th e sou l of wi t.'
\\' e h ea• .;tyles co11J c n1ncd as verbose or ifll·oherJ . . . . But, howen~r
intlucntial th e trn tl1s thus dogmatically cmbo,Jied, th ey would uc
mu ch more int111ential if re du ced to sornetlting like scientific ordiu:ttion . In this, as in other cases, conviction will b~ greatly strengthened when we und e rsta11Ll the wliy. Arlll 11·e may be sure th:tt' a
co mpreh ens ion of th e general principle from wliich th e rul es of cornposition r esult., will 11ot on ly bring them home to u s wit.h greate r force,
but will discover to us other rul es of like origin ." -Herbert Spencer.
ITS SOLUTION.

"For my own part, I think that we ought to write and spea k on
the same principles a nd by the sam e laws." - Quintilian.

iil

ELECTROT Yl' INO UY C.

J . PETERS

& S ON

PRE SSWORK UY BERWI CK & S>IITU

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PREFACE.

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Tms book is a result of several facts and inferences from
them, appealing to thought in an order somewhat as follows: In many schools and colleges, for various reasons, .
usually because of a lack of means with which to pay separate instructors, Elocution and Rhetoric are taught together.
Might it not be w'ell to prepare a book, or a series of books,
meeting the requirements of this arrangement? Not only,
however, are these two branches taught together, but, as
a result of teaching them thus, many h a ve co me to h old a
theo1:y that, even aside from any ques tion of con ve nience,
they ought to be taught thus. 'fhis theory may be owing
in part to that accommodation of thought to fact, at
which, under the slightest stress of necessity , certain minds
alway s have a h appy faculty of arriving; but it is o wing
in part also to somethi ng else. This is the observation,
that, as a rule, aptitude for Elocution is accompanied by
n.ptitude for Rhetoric; and that, even when this is not so,
the one, after a time, usna1ly creates an aptitude for the
other, as in th e cases of many clergy1nen, lawy ers, auJ
lec ture rs •vh o, beginning by bei ng me rely good elocutionists, come, in t ime, largely because they know j ust whe re
to pause for breath, and to bring in accents, to have rhythmicaJ sty les of writing, which readily accommodate themselves to the natural requirements of easy reading. Besides
this, almost everybody knows that a good literary style is
cultivated better by reading good literature thai1 by study~
ing Rhetorics, however excellent; and he knows also that
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Vl

PREFACE.

PREFACE.

no small part of the beneficial influence of this literature,
whether oratory or poetry, is derived from reading it
aloud, \Yhich involves getting the benefit of its distinctively
·elocutionarv effects. Now, might not systems of Rhetoric,
more }argel~· than at present, avail themselves of inferences
that m ay be legitimately drawn from facts such as these?
~iivht 1 wt these clucution.:lr"\ eff ects of composition, :rnd the
0
n;etl:J:: :_l .: !. ~ f :rrc<l n:_· :n:; t1: ~ · r :1: 1H3 l::u;ht? \\'J1y :::1'. u u1 l 11 ( 1l
t c xt-lJc,oks bt>gin t o cu1ti v:i.te good style in a manner a na1ogous to tbat in whi ch it is now so often cuitiva ted by reading? The moment that tl1ese ques tions are asked, they
suggest anothe r. D oes not all that has been said thus far
indicate that there is some connection between El or.ution
a n d R11d orie more deeply grounded than any thCt t ,,.e lw.ve
so far considered ? Is there any such radical difie rence
between the two as to justify the radically different
methods in accordance with which tl;iey have hitherto been
taught? May they not, in fact, be radically alike? Let
us consider this question for a moment. Elocution and
Rhetoric both give expression to thought, an<l. often, as in
oratory, to the same thought. If this be so, the only dif,. ference between them must lie in · the form in 'vhicl1 the
· thought is expressed. What is this difference ? Both use
words; but in the one case they ai·e used as tones, and in
the other case as symbols; and., as will be shown presently
in the Introduction, this is the only invariable distinction
between the two. But now, when we recall the fact that
words, in order to be what they are, must, all of them, be
both tones and symbols, it certainly does not seem that
there should be any great difference in principle between
their appropriate use in an art which emphasizes the one
fact and in an art which emphasizes the other. Why
should not words as symbols be related to each other in
a way analogous to that in which words as tones are related .
to each other? If we admit that this must be the case,
another thought suggests itself. Inasmuch as Elocution is
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vii

the simpler art, ~nd therefore the more easy to u11d~rstaud
might it not be wise to avail ourselves of our understand'.
ing of this, and", apply it to the solution of the . more intric~te problems of Rhetoric? Might it not be especially
wise to do so at the present time. in view of the very gre at
progress, not paralleled in the case of Rhetoric. that has
been rn:u!c of htc yc:i.rs in ou r undcrst:rndinu of the laws
"
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o: }JocntF1n '? \V.it1-1i n th·~ 1n ·_. 111 ·_·1·y <1f 1n u:~.t (1~ n <. ti 1ci
metl10ds 11mler lyi 11g t.11':' effects of tJ,e hl te r art h:tvc been
so satisfactorily studi ed that thei r esseutials are 11ow practically bcyo11J. di spute. liforcovcr, thc1· have been so
aua.lyzed to their ele men t s, so groun ded upon first principles, and so comprehellsively yet succinctly sL1terl, that
they arc fe·"' in nu 1nher, readily remcrn berct1. an(] cCt.->Y to
:.i.p1,Jy. The sixte en rules, for in stance, for t};e use of. tl1e
downward and upward inflections, not all of th em t oo-e ther .
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0
beginning to cover all possible exceptions, which were given
in the latest and best book upon Elocution published in
England, when, in 1876, an examination was made of their
literature upon the subject, are all contained in an .American manual published in 1879, in a single fund ame ntal
principle and its co'nverse, and to this principle there can
be no exceptions. The principles of Elocution, moreover,
because of the thoroughness and comprehensiveness of the " .
analyses and generalizations to which they have bee n subjected, are all put into positive form. None of these facts
are true of Rhetori.Q.,_ Its rules are 111imerous, difficult to
remember, hard to apply; and many of the more important
of them are put into merely negative form. They tell the
student, for instance, that his style should be elegant and
energetic, and that, th erefore, he should not use colloquial,
vulgar, weak, or verbos e phraseology. Yet, as everybody
must recognize, he could refrain from using all thes e, or
even from suggesting them, and still h ave a style very far
from either elegant or energetic.
As has b ee n said, it is owing to th e influence of thoughts

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PREFACE.

viii

like these, and of inferences from them, that the present
book has been prepared. It covers all the ground that is
thought necessary for elementary instruction in this branch;
and the exercises which, for the best results, should be
written by the pupil partly in his own home and partly in
the l'ecitation-room under the eye bf the instructor, are
designed to make the book, above all things, practical.
Indeed, in preparing it, the one object in view has been to
furnish something that will teach writing itself, rather than
merely gi\'e inform ation about writing. For this reason
tb.~ e~~"'1?~ 1 ~Hn n ' in t.hP: t.Pxt h;:tve. l)cen so '\' Orded. and the
ordinary rhetorit:al ter-1ris so ~nhnrrliriated~ that it is hoped
t-1, ;.·'° t. tJ,t..T ·.~.. :~l :p::o~::c::; up o ~ t!~e pl1..t='~l thA 1n1pn~ ~~1c.n t.h~tt
1~~ i ~ ~_i . . '.t1~i' .~ 111 L \';i~.h Ll-12 l"}J.r.1c.s of t:-::n;:s. 1:..:t V'r' ith th1n~s
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CONTENTS.

PAGE.

INTHOI>UCTION. -

Elocution ruul Rhetori c Correlated.

G es ture

nnd Punctuation - Comparison and Contrast as expresgive
of thought - Eiocntiona.ry Tirne, an d i \ i1P! orical (.;.i·(,Ut'Jing:,
·Movement nnd lH.1ytitm - Eiementary Pitch, anu lfoeL~rit::i
Key 7 li.ele\·anc.Y: TI•.: fe n : itc c i:i. ih.l r,, 1;1t..,.·cc.:.. c y-J-:L:;c: t:~r :_~1~~:·y
l\:.·r-.>2 an-=l l~h.:·ti=· ri·: ;\ l 0 ·-:k ~: ~- i -~1;-1 ;i1~ d .'\ rr:t:-! ;~ rr~c:~: or \Y o!"·-~::3 Eior n tion ::.~· \? 2.r~d lt ile toric~ll ( 11!:1 ! ~ r ~1 •

t i:e111.:..;t_.lvc::; . and tLu .~ dt: \· 1.::cJp in hi:n t ha.0 in tcirl·:-:.;L ~t t;j i!~ 1,l t"­

p en U.eHc.e tel ~\\·liicL t L1_-r ,_' i.J ;11\'::lys su : ::~ l ·_'t 1 1enc\- v:L,'_·r ;_:·,,.·t·r
!:'~-~~- 1 j·-· et i•>:: t {' Pi+=-r~ 1-tv.-. . : ~ " 1n;1_.1t·. t ci g~'-·c-. \~-.- :i·.- tn the fr ccdo1~:
1

H i.

GEO . L. RAYMOND.

STYLE.

LESSON

i_; :r,r .

I. - Ii.me.for Jntrrulurin;; Wurds inl"
~i r~ .: '. · · \\ ",: 1. !...:,-J ' l i r:l.;.- 3 --( ' l:l . ....

~]' ; t1: l l:-:.

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S e 1ti~ncc .;: 0 ·,

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l >: cn_: i.:; ;_:.::;
'J"i11 u.': I~ u l e u/

.J[0i.: n/( 1· i!f .

1~ ; qiLI, l~ ::.cc~ ln1 i t:i.~ io,· 1· !y

nnd to represe nt the Uuimporta11t iu ::ihort \\'on.ls :me.I ::il.!11t e nces - Slow, used Imitatively and to rL!p resent the Impor17

t:rn i in T .crn~ '\\'onl s :ind ~ en tcnc <·s - 1':xPrcise s
T.L:--:...: () _'\ I 11. -- Ti1 u 1· : (' /i 1fi! '.'/ 1\ " in

J[n(• ' /1 1f' nl .

~11()rt . \\.()!'(~\ ar ~d :--:- iJJ__;_1~!1('1' ~ ~ of J,1. > 11~

-

l1n·:tri:11)l t•- l T.--:t>

f 1f

() f 1~n\;i..rit ' tl -- ld ~ :1 1

Parall elism -Exercises •

36

EFFECTS CORRESPONDING TO THOSE OF ELOCUTIONARY PITCH.
LESSON

V. - Pitch : K ey and Relevancy of Form to Form.

Low and High Key, as represented by · Letter-Sounds Rel evancy of Form to Form- Purity and Barbarisms: Slan_g,
Illegitimate, Technical, Provincial, Foreign, Obsolete, and
Coined \Vords and Phrases -Exercises
ix

50

CO~TE:STS

x

CONTENTS.

Xl

PAGE.

LEssox \I. -Relevancy of Form to .Form in Constru ction.
Solecisms in Articles - Nouns __:Adjectives - Adjective
Pronouns - Pronouns- V erbs - Adverbs - Conjunctions Prepositions - Exercises
L Essox VIL - Rele'Vancy of Form to Thought. Precision Synonymes - F orms Expressing Jess than the Thought I nadequacy - Forms E xpressing more than the Though t i

~nln"t~nt :n tiB.l

J·>..:. tra.v a Q'aiiCC -

l{t,; a cr~d

T iLl i. .'. :::; -

~ ~·~·~~-t- ·.::__ l~t~nti on al~ E x trava ga11 c~ -

58

EFFEC TS C ORRESPONDISG TO TH OS E O F Er.ocn TIO NA R Y Q U ALIT Y.

L1 i:.; ~ iC:Il ~

I..1E.s :;o:;.c XV. - ({_ua li ly in lli e Se lection cuul

Hypeiliole in Sul;-

Gi
f 1 F :.;;:;;;:o x \. i I I. - Rt'lt:cto tc µ· f~f ~r h v i;, ~7 h l to ·] 'Ji.o ug ht. l 'rop!·ie : y c~' E gruity - vi.-.ht io ns oL in Co mu i uati o a ~ of tli <: Tri1Lu g
2 r::. =: ::- : :_~:: ·~-- l, t-~r·: t~ ::~:·! t~r:~ V -?1'::. ·:d - P0:: ~ i r• ;-.,n:l Frr;s.:i !t: ______..
J ;;qa);·:.~ :lt.. ~ .. :~ \l ~up --2r~:..:o~: .::: . c ~1_'. ---- E:~l'l'Ci.~,-'.,S
L ;:,~ •.>S

r::s:. -

Of Form to Fo r m -'rhrou::-; h A ~ ree ­
'fhrou;:h rep t?:1.t. in~
\\-or'.::-:. Fc1rr::~ r_:f ('on~tru · · t i•1'.l~ :l!l(1 fdt>:ts- l~·'fr:r 1 -'ilCi:: of :F'onn
tn 'fhougLt tllrou;h rcpc:nin:: l\ou!ls - Pronoun s - -\~ ~r1_1::::.
- _:\ u~il :'."'. ri '. -2' - 1' rL'p o;; l: '. c1:13 - Conjunc:,io:1s anrl .:\.t1 \- t~r"lis and 1hc J,inks :\ssuci:ttiug lde;b i11 Sentenct:s - Ex1..~rci s c:s .
I!_~-==~~~

i!1

-1\H•.!.ic Prose -- ProSai l.'. l ) ul'.~ r y - - Qu~di ty
_Eu p h o !~ y - l{1~p~ titi on ~s ~n _r: 1 ~ n~P n t-

~-:J

R~fere n ce

of Thou g ht to Th oug ht: Simile and
Fi,c:ures of Speech arnl their Classification :-;imik- its l; ,,.s - ?>h•t:q•ltor - ] h U ses - E x e rci,es - Faults
i n S imiles anJ .Meta pl10 rs - 1; ... ,;emblances L ac k iJJg- Sl igl..i t

- Tr ite -Too Apparen t - Unin telligible- Un equal-Mixed
Figures - :M ixed Plain and Figurative Language - Farfetched
Similes - Exercises
XI. -

96

Reference o( T/1011:1ht to Thought : Indirect
,\llegory - Pcr.< onifkat ion - Apostrophe - }{e -

\'('rc: e -P·· r::onific:Ltion -' l'r.-1~,,, - -- ('n1r11 \n1_1n.:

c\l l11sion - :'>fetonnny >f1-·t(i ;1:.-r11:: -- Exe :·ej:;: . •:-:.

Synecdocl1P

X. I I.- J_'rruii~o~acy _ l !1tcrro_::;J.tion - Lp i gr~un - Exc-!:nn:i.ti on - - I n nuendo - I rony - Sa rcasm - Satire - E xo:: rd ses
1'20

EFF ECTS C O R RESPON D ING TO T H OSE OF

~.

..:i l l~tr:g.t..:rr:.:..:11~ ,
1

- 1~.:ip_::.r_ itic· n

LLS:SO~

rt·~

X\,.I. - '[Ju: SelcctiiJ.rt, JJi1rzituUon, un l ]J i ri.\i(i;· ~ i,f ~iu' 1 jccl:3. CliM;1cl1:r of Subj,;cts - J),•rnonst1;1ti ·; ,_, (E;;pll-;itr>rY
a nd Pers1rnsi vr.) a n d Desc r ipt iv e (;'-;'arrative) - \ ' ersificat ion IntroductiCJn ' aml Conclllsi o11s - :Methods of Tr c:i'.menL by
1

r:xclt1:'ii ()Il a11d lnr:'.1usion - thr I)ropo-: itinn i :1 l)i~:1 10:i:;;tr:ttiun
- anti in Descripti on aml K a rrati o n - Di vis iolls of a ::iu bj,:ct:
Gen eral Hules - Inve n t ion - Analysis a s D et ermin ed by
Corup;iring the Subject to an Obj ect as it ap pears in T ime or
S pace -Two General Divisions - Three - F ou r - as D eterm in e <] by Qua li t ies- S u hil ivis iow; - O rde r o f Ohscn a t io11 to
he Hl'g;1nl eil - C li : t~- Exercises
L1· : ~so~~ X\,..Il. - 'f"l1r' Trcnl111r •nl nt' s·u1;ici·t .. , n.~ dct "_'nn inr1l 1 _11
tl1rir ~-1i,in.'I n :1d l:' ' r,11} 0 f' ,-.; • .-\ir1 : s - ~.\ut1i i '1l ( ' 1 ' - lnf()i!ning tlt i··
1

110

T.!~~ox

II..:

l !1

'l'IIDlL.

~'\Ietap/,cn "

: C-',

of

of Ha rn 0n y - All lt-

r:-.. . ~ : Jn - ;\s«or: :tnc:e - t:ttpitui~ n t - Hllyrn2ri ght1y a.1Hl wrung1y ust:J - E .~t:l'C i ::•_:S

Rcfc;·,c1 1~ c.

..,1rrd.tt)UiiCnl

lmit.><t.ion o r 0 1w m:ttopoei;i - Fee li n"' as J: rprc sen tcd in tlli; ~!eanin.:; s of \ro:·tl s - · Pro.s1ic ~~i:l Poc~:c \ Vords
H ' or1] 8.

~t 1 111l1t·r ) ] 1 .- r~,_ )n and f;t:ndf:r -

L i:.sso:s- X . -

Lc:s - o '.'

PAGE.

XIV. - Force in the Arrangement of Words. Initial
Position in the Sentence - In the Paragraph - Terminal ·
Position in the Sentence - Periodic Sentence - Loose Sentence - Terminal Position iu the Paragraph - Climax:.._ Reverse Climax: Bathos - Exercises •
135

LESSON

ELOC UTIO N ARY FORCE .

LESSO~ XIII. - F orce in the Selection of Word.~. 'Vords as
made Short, Definite (Particular, Cor:crete) Suggestive (Picturesque, Figurati ve) - Clauses as made Short- VerbosityExaggeration - Tautology-Redundancy- Pleonasm - Definiteness and Unity in Sentences- Suggestiveness in them Exercises .
127

LTndcr.s~:uHiin'..'.:-}:x:cirin0: thP E111utl tJll~ -

1

~~i1nL~L1.ti 11 ,:. :; t!1'-:

I 1u agi nfi..ti nn ~ I Io1neric :De::;;eriptions, !\Ie n tal - Frag ine u tary
- Specific - T ypical - Progressive - Dramatic Hepresenla181
tion - D escriptions in S pace - Lis t of Subjects

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THE WRITER.
INTRODUC T ION.
l. As alrc;vly stated in the l'refa'-'t', Elnc11 l ion atHl Eli••tnric bo th
gi1·c expression to thou!:;lit, and oft1·n, ~i:; irt or:i t ory , to tii,~ sarnc
thought. 'l'hey diff ~t· ()nly in tl lt~ n~c 1 liun L~ ti...: 1' d for thi; e:-q1;-\_·ssiun.
L u:l 1 lL. .kr u::;c uf \\· u rd~ c1 1d,10 , 1y ~n;: i ·l ·:1:::: \ ::!: t~1"::;'_: '\\"•.':- : ~ 3 ~>~ ('r,::s id crc1i in th·~: f urrn•:: r :lrl :l:i t 1_,i ::;,_.. : , : ~ :1 . : i:1 : L LL:~'--':· ar:, ~i-; --- ~: 1 ::·~ - .. • ·
At first, some way be i11cli11c1! to doubt the accuracy of ti: is st:i:c•mcnt.
It rn:i.y seem to them that Elocution differs from l\11 c tori'2 i!1 being
spoken, and also in being accornp:i.nied by forms appea ling to tl1e cyr,
as in postures and gestures . Dut a momen t's thought ·\\'il l n :,: :dl tl 1•::
fact that Elietoric also is often spoken, and r caLl aloULl , and ti 1:1t ewn
when read with 110 alllli!Jk sotrnds, tl 11; i111 .'lgin:rt ion ,,·1·rn s to L r:i.r
tilesc; and that it also is accomp:rnieLl by forius appcali11~ t o tire ey.c,
:is in the printed t ext. _Preci sely, too, as in conncc"ion with gestures,
we recall the general postures of the body, the special conformations
of the hand s, in their palms, fingers, and fists, and the movements of
the arms, straight, circular, angular, upward, downward, or on a level,
with more or less 'degrees of vehemence, so, in connection with the
printed t ext, we r ecall the gener al look of th e page, th e special a rrangements of sentences, lin es , and stanzas, and th e commas, c'o lons, periods,
interrogation-points, cxGla.mation-points, -lmu dashes, with a more or
less ve h ement use of italics, caps, and small caps.
But gesture
and topography, analogous in their nature, and both helps well-nigh
essential , the one to Elocution and the other to Rhetoric, are neither
of tl1.::111 ,-,1,,.-, \ut.--ly e<,.<<'nti:tl. ]L >vo 11 l.l be l'" ..~iulcl to L l•:u· El u•:utinn
without seeing gestur<'s, arnl Hhetoric without seeing a printr:t! text.
\Vbat is essen tial is the rc pr,·sc11t:<tio11 of tl1 ou'.'.ht through th ~ use, in
the one case, of words as tones and, in t.hc other, of words as symbols.
And , as w:" ~ai<l in tlito 1'r.-f :v~ e , when we r~c:dl the fa c t tl1:it won1s,
in o ri_1~r to 1>e ""·hat t.1!t'Y rtr~ . 111ust., all of t.hr-~ i1l, bt:::. bl):.h t o~~ s J.nd
symbols. it docs not sec~u that. t.bere sho~1ld be any great differ ::nce in
1
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THE

--

wgrTEl~.

INTRODUCTIO:N.

3

principle between their appropriate use in an art which emphasizes
the one fact anJ in au art which emphasizes the other. It is in this
conceotion of the necessarily i11timate connection bet-veen the two
that ~bat follows here bad its orif;in .

feature itself . may compare with something wi th which the surroumling effects do not compare. For this reason, an emphati c u se of
words may often be developed from a n im iiaiice use of th em , a nd, in
fact, involve it.
'

2. The main object of . usin.g wonis, whether in Elocution or Rhetoric, is to make them expressive of thought. There are two methods
of accomplishing this end, - that of comparison and that of contrast. .A cco rding to the forrr.:i e r, ·words~ or series of words, are made
tr.""""' t n h <l VP l'Pri.ain f'ffPl'!-: - .•lnm or _(n..<l , liirrh or low , lnwl or

4. In .Elocution there are four different splleres in which contrast
may take place, and they correspond exactly to the four in wl1ich it
has alreaciy been ind icated, iu tltc exampJ,, w;ctl in th e second paragia.ph aOoYe, tLat cu1Hpu r i.:5urt~ or ·l11di.11f.i(_)n, 1nay take place; f!3.?..Ut· !y,
in time, pitch, force, an rl qualit11 . The nresence of all fonr m ew )ip

" / t

1",t; +f,.

r·:-

/:nr:~ l" ·

-

b•~l.'.l " >'.' :"'l th.-·~i· r-ffr( ~ ~-.; ~t ~ i' ~ 11~1 r~n~0(! ~o i ~::i~ 1 ~tr>

ft'. C:t->,C:-ll iz,-·(i Ly
lik.c: I v.: i. U 1;:.) ,

f'llq)1i :-v.:.i1.ir1:.~ :-., t r '~ l 1 ': ! y ~l

i.l

\\''-!;· ·!

j

J.: .. f~ ":"!n·: , (''.'"" :;. -;: _... .,, .

t:f U-"1.-"1.1_: r-. ;iLL i. uu ~
t !'.i:!;:-s c f ,.,·h '. r: lt t i: ~ wo rJ', l:ik ~~ n e i tl! e f !" in:;ly <J f to~ .... th~r, are :;y 1nb ,_d :; .
'f ila~ t li i.::. priuc i p1t.' I"l'l'1.: i\.l'S l'\.t C:L-..ive a p;il t l':J. ~ !0:1 in L:lu cl >
t io no.ry del iv(' r y w e all k n, 111« \\· iut '.-'. " Od r1·a• kr, f o r i11 ,; tan c <' , w oul<i
fail t o ::; ~ -)•_·J.k th» f1•1low!r.i :..: ~J...;, h-,[·,, i:1d ic:1.tc1l?

1:1 r; i ·.·i: l~ U: .; c; 1 } 1.il•,~ -~ i J i~ ;vill 1h : n11 ti i·t·ii t i,: t'_
tU c syll :. i. Lle L on. a. 11(1 t Lc '\\' Ol' l l :;o a:· c 111ad . · t o f '1 ~ ni r:t :-- t wi '. ll t1 u ~
v.·i:ich :1 f'COnlp1.n ] 1:s tl 1c111 by Ll(:ii 1 ~ ltL L'1t.: Lu f ;·1 ·t . ; ., e : 1. d::Tt:r \· n :. ; llil•.J;iri:
of lime , k ey of 71i lc li , ue:.; 1·,,,, o f furc c, a11d- t.liu11:.;lt ti ii .-; h'l i.-; m or e
difficult t o r\ (' tcd- k ind c,f r111n/il!J .

Jn rzui(k ti 1nc - llc 1\1 ~ \\" ti :,· like a 11::..::h o · l g l1t r1i n ;.: .
l H luu~ pit,~ h -} {,-· g111\vkd out, .. \ \. !10 ' ;-;. tl H·! ·f· :) 1'
Wit ft /0 •1rl fo rcr - F o rward, t he li;li t bri;:1d e !
lFiU1 tit in rol11me- H ere's a kniie; clip quick!

5. Jri ~ r: .-:~ ~qipl i ca ~iun u f tl11· ..; ,.: Lt(_·t ...; , 111.' J •.: 1 11 l1 1 ·~ Intr odtr, .. ::1) :1 ::.: :d
al .-)o f t1 r ~I1 ~ :r u n in the Lo..ly v f t l1 •,'. l1uuk, t l1 !: u i 11 t!~\- i ::; i o : 1s . ~ ::; ., ,.c ~i a s
t il e a rra !l ~ C I11 cnt:-; of t u pi c.s u iu_l:..: r tl18 :u, v1·iil lJ \; 11,L.s,_·Ll u1 10 n 1n:<li 1;d _-.; ul
expression i11 th ese four eleme nts of li me ' Jiilcli '. (ur cc ' a 11,1 iJl'''/i/1'/
.. . . '·

b y ;·; a y cif

r::_::r; ]: {ttf ..... ,,, ~ . t: f ~~:_. i~·. ; -.. t.

{.1)

,..:.. u. ~.11~ .'"'t. f.

by

\V ~ :.. y

In the b ook entitled" Poe try as a Representative Art" it was shown
in what sen ses th e same p rinc iple is appli ed in Poetry. In thi s book
there is to be an application of the same to Rhetoric; and ·though
rhetoricians liav e often igno rc J tl1 e principle, we sliall finJ a1rnnJant
exemplifications of its effects, as well as evidences that these are
neither unapparent nor unimportant.

3. According to the m ethod of expressing thought through contrast, certain words or phrases, because considered by the speaker as
possessing pre-eminent weight of meaning, receive wllat is termed
empllasis. This emphasis is imparted by' the difference or contrast
that is made to appear between tlleir pronunciation and the pronunciation of other words accompanying them. For instance, in the sentence He is the dorsal.fin of humanity, it is the contrast given by the
tones to dorsal fin that imparts elocutionary emphasis, and the contrast given in what the same words symbolize that imparts rhetorical
emphasis.
It is important to notice, however, that imitation and empha:Jis, indeed comparison and contrast, different as they may seem at first
thought, are really very closely related. For the contrast needed for
emphasis n e ver necessitates a di fforence from surrounding effects in
more than one regard. In all other regards tl1at to wllich it giv es
emphasis w:iy compare with them. Besides this, the contrasting

::: u.

1, .:

\,

.

and under each head reference will be made to IJoth their i111 i/11tiec
an<! their e111phatic uses, it IJcing unJ crs tood, howc1·er, tli a t tl; e
two are sowe times, as ind icat eJ in th e h st para"rapb
pra c ~ ic:i l 1y
0
inseparable.
'
•

6. The u se of Time a s an ele ment of elocuti o nary emph asis is a n
adaptation of two natural r equire!ncnts of utterance. Tlle fi rs t of
tllese is the necessity of 'p ausing after every few words, in order to
draw in the breatll. It is evident that this pause may be appropriated
to imitate the interruption or cessation of movem ent, or that it may
be appropriated for the uses of emphasis. ·when made in any way,
it necessarily separates certain words considered as coll ections of ton es
- and, therefore, the ideas expressed in them - into groups. · It is
superfluous to point out th~ similar principle may be applied to the
same words considered merely as symbols of ideas, and accordingly
may be treated under the head of Rhetorical Grouping. Thi s difference, however, n eeds' to be noticed between grouping in . El oc uti on
and in Rh etoric. The form er, a s in uttering tl1 e sentence, I t ell v ou ,
sir, that we are weak, in which one makes a d ecided pause n eith er
before nor after sir, may be ind ependent of topographical marks of
punctuation. The latter is usually indicatetl by th em .

7. The second natural r equirem ent of which elocutionary em ph:isis
in time is an adaptation is th e n ecessity of accent . This arises f_rom
the fact that successive syllables flow through the throat wi th alter-

"'I

II < -

-

THE WRITER.

INTRODUCTION.

nate acfr;e and passive movements, like water through the moutJ1 of
a bottle, the active movement being always more promine~t than the
passi>e. As a result, unless the seco.nd ~f two cous~cut1ve s~llables
or monosyllabic words, the first of which 1s accented, 1s to be slighted,
the voice before passing on to the -second, must pause after the first
sdlable l~ng enough for a silent passive movement. Tl.le imitatio1i
o-f the effects of objects moving slowly often requires this pause. So
too doe-s also the emphasi3 of the thought that i:; t o b e expressed~
F"!' in"tanr.e 7 to take in the full meaning of the sentence, 'Tis not my
t-rnif P t.he hearer musL LLillk of 11.vt r;;,y an<l tru.dc , ~!! tll:·cc.
l!.e
,c-,-:,~;J::o~ llc.>c t:mc to thinlc of C ~"h, nn !Pss P<H:h were 11lt':'.re.1 slowly.
rri!e !:: ~'! !t!~ l •i"in c ip:,._:: can L~'- lil3.1.!1:: to appiy not. only to '\Yurd-: , liu:_ to

the same as those which are short. For this reason there ls little
difference practically between the representation of 11wvcme11ts of
different kinds and of keys, and in this book very small space is
devoted to the latter. But the subj~ct is of interest-on account of its
bearing upon the system as a whole.
Key, as we shall find, has to do with the representation of sense
as well as of sound. But the most important use of pitch in Elocution
is in connection with emphatic tlownwunl or UJHVltrcl siiues of the
voic:11 a .5 given mainly npon sinf!:l<>, worcls. "With ref "r"ll"" to th"""
slides, t.he principle J'! th at tlie ,/rm,n11.1rrrd dirN· tion rln .•P·•, and, if ~n
infl·~ction, crnpLatica11 y chc1:ks , th e currt~nt of thu i. 1g11t, pui11!..i 01:t t.o

4

P~~~t~~ - (' lan :;;;e:;. and ~r~n t.c.nt1..'.f:. .

t .·;

.s: :::

!~:.:::::.

the audience th:i~ vdtich b :1s br~cn s:tid: lc:tds th(~:n to rcth~r·t u1~n71 it. 1
:tntl so p rod ut.'. CS a conclusil: c, dcci0irc cffr_·et. ~ti~·! ind ! c~\tf•s w!::~: is
couq,..:tratively i!! t] 'o'·l 1 ut{, 110.;.;i(ii.1 µ, or 1 1Jiiot"1!i t1 ~ . ·T h~ Fi .. ,·i'''.l 1 ~~r":""1>
t ion o:·-- 0 11.s , n.n d, if a:t inilcction , crn;·11 i:t tl ·.~ : Lll y v;: 1'ns , the clt1 uu: ' l

ln these .. too:- ideas, iu ti1e th:gr(•i.: in

1r:n\·,,:n1 ·'Et , 2. Ltl illi):L::, Cf a~l oppo'>i ~ e cha Lt.rte:· b\· /ir::t n1uvc1

111 Eh)CU~i \): 1

:-:. ~ :-...·'' ~ ;~ , 1

the

g·_':11:;-;d

n__,_. . ~d~- of a::,'1 a,._~:~.~~ L:.-.~~::~(~:::~: \~.. ;~;t:;\ ~:~

1

Y:1ri:~ : io:i_~

1

1

1 1
in tlin •.'.. :~s
. ._ ;.:•=:::.:;-r-rn :·n: .::; of brc:t!h in:; ~uni ~tr_·•:~·:: t, can'.St·~ \'.' h~:. i ~ tt:-:Tt:7-·J rlr~iUrt:r .

r

I~· i~ !:ere :.-i..~aiu supertluous to l oint, out. that t.h·~~ ~a1ne prin ciples
1

r:

:t~t~
~~o';. i~~ !'l~~ ~~ ;1,- ~oc.~l 1~~hc,,n~~: 1~~c; f h~~~~ 1,1~ ~;::; ,-~~ 1 ::·i~r~~u~~:~~ '.1 t-~1 ;:,,i)t '~',' ~ i1

f•_, 7_~r~ ~i treat eJ ln t1.iis livo~;:. u:1dcr t11G Lt·;i.ll i n~s u f Rhetorical l\lo-\-~e­
m e nt and Rhythm.
8. :\s applic1i n1e-reiy to sounds and hf:ncP in }:iocntion ! the ge~:eral
effect of a combination of the e!Pnwnts of Pitch is to prncluce harmony. This is a reason why we may find au ::rn~dogy to the effects of
pitch in that which, as applied in Rhetoric to the meanings that are
in 301mds after they have become words, produces harmony in the
5en oe- T h e use of p itcli in Elocutio11 11~s to rlo fir~t of :tll 11·it h the
ut ~e~:l.nce of t ones on ~ [fJW kc!f, a:-; iL is ti•1·111f·d, tu rt~pr1 · ...;ent ~
n::o!.lY~: t11:t.t

j3

c :·-1:~: {·:1c th~t

i:-:di.'a:_c

i ~ li;/lil,

:::,1uri Cn c:--.:s

-rar i~l!i or

;i.nd ifi ;1ni,"/7_ul ; nn ~ lzi'.fh_ kr·y~ to indihun!/rrnf. an1l Jiipprrut ; nn a sin;/l1 ' k•_'!I . to
o!· self-ri1)/ .. ., r; ; ;u;d on t'.iff\~:·e11 ~ 0 : : ' :< tu i n d: 1 · ~ i'. t'

SCriOHS, rJl"Hl'C,

5

thuuuht, a,3 if to sp~~J its - ~urrcil::. !or·...·J.r ..L ·TL.o.s-:.: 1:.:..tt:.niu; tu i:. i ... ~: ~
thcn~forc, th:i.t the sp e :d-.:1~r L:ts 11ut y e~ ~~rri\~ 1~d a~. :!. \'r" urd) or
an il.h:a, lllJOil \'1·Lich }p_; '\Vi.) Lc'.5 thcilL V t~ ry 1 ,1 : ~ rlicu1.1f iJ· tu r·:f1• :\ '~ . TL:.s
dir ection of vok.~ e produC('. S1 th erefor1:_· , an antt· 1 ·ipati1.~8 o r in 1l 1:1.·i.'> ir e
cfft~Ct~ anLl inLl ic a t cs v,·h:tt 1 as cunqJ:~: ·c cl v.- i ~lt t l'.
Ldli: 1~ dlr t ·, ·L:;J:1 . is
suljorcli1wle, nc11alirc , or r1ue.sli unalJlc . ncsitlcs tbis, the re io ofl c11,
on the s3.111e p~~sa:;;e or sylb.blc, a n1ovcn1cu t lio~li downw:tril :t::d
lJIJ\Yard , or what. , if on a. :single word, is tenni~l a ci r cuFTifle:.t, i uiiccLiu: i.
Thi s, of course , imp:uts sonwthi11g of th e effects of hoth thr: f:11ling
1

-~

:

and r ising rnowmc11Li, tliough often, r~p c t: i:dly in the; i 11fi,'ctio:1', in
accordance with the principl e of cont rast, it is cliietly employctl to gi ..-c
increased eff&t to the falling or rising movement of the voice with
which the circumflex ends, the end of this inflection being th:i.t whicb
indicates its m~in significance. \Ve ca n epitom ize all this Ly s:.ying
that the rlol';nw:1n] i11 fkctio11 points to :H1 idea , the upw~rd 71o i11t.,
rucu 11 _from it, arnl tl1ro ci!·ctwifl,;x infl·~dion po inL' 1J o~J1 /.1; it an ,_\ al-o
U l-': uy

/ruu1 it.

1

ba.v..-:: J~::;c0vcr1...'J th~i..t

eha11getl uvun our uttering t-l!~in \'-' it11 a Ldl i 1i~ {\tor ri ...- inL~_UL oc with

e•cry Yowel has a p itch pecu1!3.r to .it.self. {See L P ue lr·y a~ a R~1-• r t.:-. senb:live Art," page 98.) The sound of Jong u Is lowest, that of long
e h ighest, and those oi· o, ah, iong a, and short i betwee n these. But
if this be so, the use of words containing these vowels makes it possible to represent to the imagination of the reader, irrespective of
his actually hearing their sounds, the effects of what we may term
Rhetorical Key.
9. The majority of vowels necessitating low pitch are the same as
those that necessitate Jong time, and of those necessitating high pitch

a circumtlcx: intlecUon ending v,·ith a f~lling ('") o; o. risi!: ~ ('·' )
movement:-

a. la.J;k Q(

.~t: lf-J ; • , i."te .

Tilt-~ C enua.11s

If so I will go.
It must be so.
It depends.
John declaims well.
Of course it is.
You are not to do that.
Isn't she beautiful?
You-you meant no harm.

If s6 I will g6.
It must be so.
It depends.
John declaims well.
Of course it is . .
You are n6t to do that.
Isn't she beautiful?
You-you meant no hil.rm.

""'""

-

_

6

...

~

........

THE WRITER.

INTRODUCTION.

10. If now, il\ order to find terms that will apply as well t-0 R hetfforic
as to .Elocution, we try to express, in i single word, the gene ra 1 e ect
of each of these directions of pitcli, we may do so by sayin; that the
do!!:n!kard inflection, in pointing to an idea emphasized, through the
inUma~ious, as being important in itself, indicates the immediate reler;a ii.C!i oi the idea to· t he gene ral thought; Lll:i.t the 1;111ca r t!. illflection,
in r, nfnlin~t rnro?t from the idea , emphasized, throw.di th e intonations,
as b ein z impor t:mt only in connectio n with other objects of considera~
t ion, i1~l icai.es the rc:fcrrncc of the idea. to t hese ; arnl tlia t the circu m ff ·: r intl ection , in pointin'.] both I? an idea and also nu:ay from it,
iIFi i:~:-.. :c.::; bot h rcl c r rttte !J 3.nd r~~(e r P nCP, or a double re la tions hip, which
m:i.v be term e(l ez uirocacy. lt is apparent that, in principle, the
~an~e tende11cies underlie what may he and are treated in this book
und er the h eadings of Rheto rical -Relevancy, Reference, and
Equivo cacy .

a~ger, or _horror, :mt! put him into a venlly satisfictl mood, ;in ll he
\Hll
to pure quality . st·11• l 11m
·
tl 1cn t o pro_ use his nearest
.
. appro:i.ch
.
)ound emotwn, rnsp1•etl Ly what is d i.:eply sali.~/ying, and all his
vocal passages will S!XP~l!Hl again, and he will prndiice his nearest
approach to the full, ro1md, resonant quality tcrl!led urolund. If
now, we apply this san1c pri1:ciple to wor.J.; cvusiJcred 11 ot a s tone~
o_ut as symbols, we shall Jim! ourselves neccss:u·i!y making s 11 c!t srlccl1011 s and u.rru.nucmcnls of phraseology as, 011 ing to th ei r s oiuul,, arc
imilatire of certain olij•:i.:ts l::ni11;; sowul.' \•.1 1i,J 1 \le wi:;lt tu lia ve
suggesteJ; or such as, owing to tlt«ir sen."', necessarily call up certain
plia s~ s of fcclinu; :in<! we •·an Jind no L.~ li>' r krni for tlii' tkrn
Rhetorical Quality, as rnanifcstc(I in tltc Selectiou am! Arran~e0
ment of won.ls.

6

''

',.

0

11. The use of F o rce, as · an element ot elocutionary emphasis, is
an adaptation of the natural possibilities conn ecte<I with both accent
and breathin9. as shown in degrees of gradation, or of regularity in the
u tte rance of loud or soft, abrupt or smooth tones or series of them.
Its effect, when made representative of thought, is to reveal the
r eseroe of energy by way either of imitation or of emphasis through
making wl1at may be termed, as contrasted with surrounding effects,
a particular selection or arrangement of the tones. These intensify
extraordinarily certain 'l\"ords, phrases, clauses, sentences, or paragraphs, or parts of them, as in what are termed stress and climax.
Of course, the same principle applied to words considered not as
tones but as symbols would lead to a· particular selection or arrangement of them either singly or in groups, in what will be termed
Rhetorical Force in Selection and Arrangement.
12. Q uality, as an element of elocutionary emphasis, is an adaptation of the necessarily different component effects of breath or
resonance entering into tlle tones, making them more or less harsh or
musical. When not imitatively prod.uced, these tones are always expressive of certain states of the feelings. If, for instance, we frighten
a man severely, we may make it impossible for him to use any other
sound than a whisper; if in conneeti.on with this, we anger him; he
will hiss ; or, if at length he recovers his voice, he will use the hatsh,
jarring, interrupted hard-g quality of tone, termed the guttural; ·or,
if that which he would repel is too great to make anger appropriate,
it may widen and stiffen his throat so as to produce the hollow, almost
inarticulate indication of awe. and horror given by what is termed the
pectoral quality. Release him now from the influence of fright,

7

13. Of course th:sc different elements of Rhetorical expression
that have _been ment1?ned can be fully di sc ussed anll describ ed only
under their own hcadmgs. Herc it is necessary to adcl only that all
of th eip together, namely, Grouping, Movement, Rhythm, Key,
Relevancy, Reference, Equivocacy, Force i11 Selection and
Arrang_ement, and Quality in Selection and Arrangement :lre
exliaust1 ve of the elementary principles of the whole subject.

SELECTIO:;f, LDHTA.TIO~, DIYfSTOX OF SUlJECT=".

THE WP..ITEl: .

166

lt}j"

A . .As D emonstr ati ve , we may class th ose ordinarily trea teJ. unJ cr
Exposition is a
statemeut o[ the divisions into which (:1 s, for exam]Jlc , when c:1:nhinin ·.>
a machine or its worki ngs; or whe n cr itic isin:::: a poe t , o r hi~ p~·,111 :>), ~
general thc 1nc may he an a lyzetl, so :i..s to demon strate>, in tlie seuse of
si1f1win~~ t.t.t 01 1_, r 1.~a<l ~ r wh:i.t n.rc lts CsS L~ IIti:1l ;ltt ri h n11-·<. Per~u::.sion Ls :i.
statement of tl1e s:i.me of such a Hature as t o d c1n o1htratc a cert ai n tru th,
in tl1e sense of in<lucillg tlJe reade r t o agn~ e \\- ith the con c l usion of tlitJ
writa or SJ>C;tker "'ith rc icrcnceto it . ]tis 1:vi>l··nt tln t tl1 e ,:ain c' c:•:n·-' ~;d
principles apply to botlt th csfJ f orm .<, cxc•·1 •t t l1.1t i11 ti"; on e c::s c t i 1o
iHtcl!cct o nly is adil r1_·s_-.;(·11, and in th e otl:t:r ca.-.; ,_: tl1 l'. in t,_·ll•_'(t au1l
~lso th e l11otive 11aturt~, i11 cl ut1ing Luth tl1 1_' crilf iti 1) n;; :u1d tl1e ,,_-ill

the heads of Expositl_o n al!<] al so of Persuasion.

B. Again, wi th s11bjr:ch tl1;1t ar1_' Descriptive, we Ill :l') chss JH•t r111h·
tliusc ti1at are ord111 :nily tcrrn ed thns, whi ch rkal with -0\ijcc:s :i..s t1 1c~·
aru pcrce i•·eJ., or 111 :ty li rJ supposed to l 10 p c rcci,·c"l , wli cn st :rnd i1 1.~ 11 ,_.x-t
to one :u1ot1Jer in sp:t c1_;; l.ut \v e in:ty cLt:-; .. ; licrl·, l (Jo, t l1().-.;c 1i:-.; t1:dl Y tcrrn1·il
r-:arratiVL:, \\l1( ~ t11 LT Ul 1:;ruphtcul or hi.·;f1; r{1:11l, wlii1 ·li d L· al with ::\'\:!J r:-; a.--:
th ey are pc rceivcJ. , or 111:~y be sup110,;etl t u l1c: pnce i1·,, <J, \\·hen f ul luwrn.~
o n e a n oth e r i n tim o. I t is ev ide nt th a t h e re, t oo, t he s:i 111 c g cne r,d princi pl es a ppl y in bo th cases, exce p t t h a t i11 t h e 0110 tlt c effe c ts :i.re in ti111 1'
a11tl in t lie nt lt c·r i n space.
.
1

LESSON XVI.
THE

SELECTIO~,

, AND DIVISION OF
LI "'IITATIO"N
1,
SUBJECTS.

188. A ::: ubj c: ct :::l1 rrn1 11. if possiulc, b e: fresh , as di st111Gl!-~ ~ 1t: d fr1=1:n tri~-·:; interesting. either bt..·caus:: ()f 1t.::: 1 :c ~:tir· ·
~r of t he occasion ; full of information and conviction, Euch

a s are derive d fr om k nowledge conc_e rnin g th e m atte r
t reated a nd from beliefs conceming its truth; a nd , abo ~e
all t hings, definite, in the sense of bein g' not too broad 111
character, and th erefore d evoid of point.
For i nstance, " lVe alth " would b e t oo broad a subj ect. T o tre.at it
ly one sh oul d confine h imself t o some particular phase of i t , as
p roper
. .
\\' 1 1 ,, "Tl 10
" T he Hist on· o[ \\e altl1 ," "T h e J\l eU1o<l s o( Acqumll;::
c:i. ti,
.
lin port.J. r:C ~ o~f W r-:-~1t1i, !' "~fhf' Tla11 .:.: r,,.-s of "\Yea1~11,"" 'l' li c .\ ri~tu~.:'.r:lC',~~,01
\\- ,::-i. 1fr: ,' ' •• T] :'? L•· \· ·· ( •f \'.."•·:tlrh i" ' ' 1-'1H; \\'or:-1L_i;i of \\ ' c :ilt h~ f ·..· . ~ Jt »
l)i :-, tri!.;u~~-, j!.:. (_l ~
~. l 1I ·' ·l: (';_ ~ ; ~, : :--· · , .

\\ 'i· : ~ : :: 1,'' •. ' J' l:< ·. l:1tl J. •-.:Il C O /_,f
1

1

I! ~

\ \ t_ :t 1tii

1

~

:

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,

1

190. Introductions and Conclusions : '1.'he general prrn c1ples u nderlyi ng these are the srrmc.
IT i.-; lwtt.c r for tli 1" b eg inner to l ''"l]>n 11c tlii11ki11g of ri: l: .-·r till
af t f·:· t l11_-. n1:Li: 1 h 1 )dy uf l1i s pr o ~ :l: L'. ti u n l<L~ l 1· t 'l J ]1;· , · ;): l rt \(L

' ,• , I l

i l : ··

( )·

r: "; -·,\ 1. . . ,

1

tL ·· J, ,'

\ li 11•! 1 - 'l''
. l

C. V e rsiflca t ion, \\'l1icl1 i., <•r1li11:irily trC'1l•'>l ~h" fiill1 f 11rrn of Cil :: : 1) <:: 011 . :t:.; !:: .~:i11 __ ~11;...,] p· 1l i ru !!~ 1~·fl ·,·.~·:!c) : ~ ,
, /1 . ,·,-.,....)-.- u.n· ·~ztt'·j h, is s(_: j,:lLdci1 fruu1 tl1e ...;c 111.1iril} Ly a 1, :·i1wip lu i 11 ti ...~ i q ri r1
(S ec §§ 39, 40), l 1aving noth in g to uo with th e prin c ipl e witl1 wlii c h tl1ey
a re separated fr om 011e another ; a11d in accordan ce with this latte r
pri n c ipl e , it is n ot s epara ted from a 11 y of them at a ll, except i n tli e ways
a lrea dy t reated un de r th e h ead o f Q ua l ity i n§§ liO, 171. F or t his reason
Ver sificat'ion n eed n ot Le con sider ed in this co1111cc t io11 .

\'.

j

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\l : \ 1.·1: 1•· \ )

,,)

'

.

' :, :

j,

.

:nc ro.nr..: c :

189. Kinds of Subjects: For p racticai purposes, i Li,., ;,<:e;.::ssarv to conside r on1 y t wo kinds of supj ects; namely, those
tre~ti ng of thought in the abstract, which may _b e term ed
Demonstrative, and of things in the concret e, which m ay be
termed Descriptive.

deter m i ned.

As a. r ule, both In t rorluciions and Conclusions shou ld

be brief.
A . In c h a ra c ter , th ey may b e e ith e r direct or indirect. Tl~e
rlirec't Introdu ction s tat es wh a t tlt e write r inte nds to t e ll or prove ;
the direct Conclus ic>ii sums up wha t h e h a s told or proved: e.g. ,

·

...

SELECTIOX, LIMITATION, D IYISIO.N" OF SUB.TECTS.

169

168
191. Methods of Treatment: Ce rtain general methods are
necessary to success in the trc:1tmcnt of all cbsses of
topics. The first is to define the limits of a subject hy w:ty
of exclusion ; in other words, by separ:tting it from ~d i of
which it is nnt to treat. This is clone 111:u11ly uy way
either of negrltion or of cunti'ast.
If, for in.-;tanct~, WL! \\"i.;;li to dt·iine ;i. si11 _~h: tf'rt1L Wt' c1n do tl 1i:-; to
so111e extent Ly irnli cating w hat iL i.-; 11ul, or with wlt:it it rn:1y be contraslc1l. Thus" str;tight" in:iy l,,, ~:Liu tu l>L' sonH:tl1in;,: tiLtt i-; 11 ut !J,,nt
or crooke<l; :i.nd "opaque'' :-:;urnetllin:: ti1:i. t. i.""' u 1)::, tLi11.-.:.11:1r .· nt. E\·ide 11tly the s:1n11~ prinr~ ipl1~ Jll~l_Y lJ,_• ;q1p1icd uni\·1.·; >;; iJ]_:- , :lli tl ~(-l a:..; td C~lYt' l
the wlio l l' topic that one is disc11 ...:sin_'...(.

slratin.r; tlie et1iciency of a 1uachi111 ~ 1 li0

([;'1n0n-

t~•) t as :t ~
;·;.;:of a:·t tri L1: l(111k 1· d ar , 1i11t· a:-- a 111i·ans f t i l" J'f11ilw ·i;1·; t
n1.1...;t
arti~tie wr1rk, bnt, in. r:r1 nt1·cr·: -. ~ t o cu~11, as SiJ!11 t•t hiu:..: tL;1t \\·i]i pr('l(lil1·n

,.
-•'

B. "TL·:· indirect lr~~rodur:-t!(~n nr ( "i)nCllFion gives eithe r ~l .. -. lu fi ' ~
tl)l"!J (>l' IJU 'J[ll f;o/[
• •,, , 1 , ..; -. _ c;en e:-al prindpl·" t o he rn1ful1l~ 1l , or a 8
~~-1,~·=
· ~:. ~~:~-"~ ::D;_:cifi c app1 ic3.l ion o f this princip_lc.
.
,
S\_-stem"
• · ..He-·~~ Cl~y
-.
..
lJ
·[
\>-.i1c
-\menca11
.
1 ·i·cc:
1
1
1
lw;gi 11 s 1us spcc-c t
11
c P"" --w.~ 1.;;-iY s. .ry'c-nc ra1 princi1111..', t11 us : .
_
_
"''"' --~ "' t .
t Mr Pre·itlent e xprcsset.l. lJy the li onorabl c geutk-

-;-

" l!! o noe sen 1men •• ·
~ ·
'
.
· , . , 'ntent.l.et.l. lJy
.,._ ti Carolina thounh pe rhaps n ut Ill the se n~ c: 1
ma'" f'·~r?o ie·\}ll - 1 ~
~
:"""
c1 · •
o i the
.... ,. · - -~nt irch· conc ur . I a gree \vith him that th e ec1s1011 '.
h1m, I efi . i·c·-,... e mbrac ed in this d ebate involves the future d estmy of
system o po l J
this g:roi>Ung country."
. or",.. ti' on "On Tcm11erance" by stating this
E dwud Everett ends l us
~~uc r=l.! :;~illciplc: ""l ...f."·""• ro;" s ir 1ninglc discretion

,,--

.... ; ~

;: :.~·.~,~~' :.E. ; h ::::

yiure

· · oar
·w1u1

1
zc:l l ; ai
~ 1(

:n~1l !H,h! ·~ t·~ tt»r1,ri..:. ... "

tlio,

.~_·1-..~tcr

will 1Jo

f; ..\- _:-.· ~ """";.. t:· ~~ •·Y r:.-~_::i :~s h~~ ~:~,.,·f"lL '' 1 n 1t+""~,ly l P l I ;1.yn•: / ' ~vi:.11 tbis

, , "'\\'
""
in lllh.:k '''2a.t.hr_.;r
hen the 111ari11er I 1,\.5 t;een to~se·'
- u l~or ma.ny <la.v~
,
..
__ _ ' - ..... ~- 11~ .. :i v ~ >l <;! } 1 in1 c:::;elf of the. fir,;;i,t pa.u:;e ill
. d -n au U116.IHH'Vf1
::,ed., l~C lhu.l'-&:l .. . .) ... '.u~
u
ti narli cst "lance of the sun, to take his latitude, aml a scc rthe storm.
1e ~
o
.
.
,,
- b
'n the elements have driven him from l11s true course.
! J

tam ow..-r

;-

Fur in-.;t.tn< ·t ., if one be

111 :1y ~ay tlt:1t }1P i:..: 11• c'C1) 1-.;id··r it

•

.
.
.
Edwam E vere tt e n els 11 •15 ornt
" 1·011 on "The Importance of Sc1ent1fic
Knowledge ,, with this illustration : " Wh00
. an acorn falls upon au unfavorable spot, and decays there,
111 e extent of the Joss -it is that of a tree like the one from
k
•
·
we
lbemg,
·
f or wan t of culture
h" now
b 1·t .f ell· but
when the mind of a rat1ona
. ·
•
:
;~ to th~ great ends for which it was cr~at~?· it is a. loss which no
man can mea.sure , either for time. or for etermty.
.

results the 1110.-Jt r:q)lilly or a1nrnil .u1tly. Ur, if J Jt; b 1.. · 1..li.'n!'111struilny t1H·
truth of an alistract proposit ion , he rnay say tlt:tt h ci i.3 t o cnric'i•lcr it;-;
bc1rings no t upon ·wealt h or culture or rcli_;i on or n 10:-a.Ls o r hO'>· c ru .
rnent or politics, as the case rnay be , Lut upon sometltillg t liat Ji u contrasts with these. Or, if he be describing a11 object of sight. l: c m:1y ":1y,
that he is to consider the qualities not in acconhnce with that, or in crm.
t rast to tk1t, which might lJe considered \\·e re he trcatillg , s:iy, of a
l::mdscape as a place for a battle, o r for a farm, or for the 'itP of a city, or
for th e mou el of a p:iinting; or which might be consi1kred. if tre~ting
of the life or character of a. mau who hau l.>een a merchan t, or a soluier,
or a statesman, or a poet.

192. The second method of treatment is to define th e
limits of the subject by way of inclusion: in othe r 11-ords,
by ma.king i t comprehensive of all of wh ic h it i~ to trr·:tt.
A. 1'ht:; i.-i lhllally tll)Ilt~ hy puiting wl t:1t is to be pruYcd or ~h0\\"11
i nt o a rl t\a r. 1'0 ::1.·i:.: ,; ,<;tt,•1n\·:1:, \\ lli (' l! i.-: ti.;r:!1 •':1 :;. Proposition .

In tre~t.liug uf <..:ert~~in phases o f science, fo~ instance, the gencr~1.1 li 1uit
n1n.y hfl in1li1:.HlP(i l 1 y ~ rrapcs!tion like "' Hf'~~t cx·p~nds bc-dtcs,n or," ..:\. 11
matter gravitates;" or, if treating of politics, by a proposition like" Universal suffrage elevates the common people," or, "·A secret ballot secures
independence in the voter." It will be obsen·ed that the necessity for · a. ·
proposition, as thus explained, follows logically upon what was said iri
§ 189 with reference to avoiding subjects too broad in character. _A t the
same time, there is evidently a. difference between subject and _a. proposition. Enn if the whole of the former be included, as is sometimes
the case, in the proposition, this latter often requi.res a statement -~!to­
gether too extended to serve in place of the subjec t itself:

a

SELECTIO.N, LDllTATIO~, DIVISIO.:::-< OF Sl:B.JECTS.

THE WIUTER.

170

B. In Demonstration , the Proposition is sometimes accompanied
by an indication of the main lines of thought, or, as we may say,
the outlines of thought through 'Yt!dch the proposition is to be
substantiatal.
T.hese are frequently identical with those of the .Main Dii:iiions con"t itnti n!! what we term th e A iwlys1s of a subject, made in accordance
-;,i~h principles to be considered und er th e ne.xt head; yet ~hi.s i~ not .:he
.

-

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~~~':"..1~~!;:-.~~:~r{:Zt~:~.~~rtn r";:.

i.:;

n:;t1::::~ ·f:f

g-i-.,·~n

;;;

\\Tf: Et-1f·:11 Ph:ili p;'s Oi3t'10il

;;~ ·; I: : :,. nH!t.:!~!.!t!::~ ~~ qu·-·t~·l

±i1

171

without reference to any associated thought that it is desired to sucrgest.. In such cases the outline suffices e1·ery purpose, wheu it uierel.
fu_r~11~h.es a ~omprehensive conception of th e general appearance of th~
w111ch is to lle represented; as when, for instance, a valley is dcscribeu
oblong, ~quare, trim1gular, semicircular, straight, windin;::, etc.; 0 ~ a
!1111 as conical, truncateJ, tlome-shapetl, etc.; or a town as loner rou11 t!
straggling, compact, etc. So in Narration, an outline sufticie 1~;, for th~
purp~se.rnay be furnished by merely mentioning in th ei r order of scqn·c;1 ~~

a.:

:·:; r;~~n! ,1;: ~-~-~";,: ~ ;~:· ~:~~S:~ !~·:'.~,:;~~.\~~:.~~:!:~~~~;:,·~~·;~;-:;~~ :~~~ ~':'. ;;: ,~:~·~' c;;;'. ',:,'-,:\',',·~.·~:
'.:·,~.: ,~\j,' ;,~,,~";,'.~~;,~:: '~,';'\~~ 0~:'., !t~;.'. ,'';~~:· ;~'.: '.'.'"~'. ";"~': '.", ' '.'.~ 11:, '\''.: co~:

:cs

C.
t.;:i;-e

~:.:.:...:...:.-=~?-="'-c;:: !.~n:~ ~~.:.:; :.::: L.::::· ~· .: ii~ -=-~
t-CC'!"i

~:':!:·~~:::i•_'f'.:'•1
!

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a;

tli ~ · l., :!··I, ni~'"'·:/ .:,f

:

~-1 ,-,:1;;:-ht, "'::1;o:!.1:£ ~ r Ll:· l.i.:::t t~>:~:
:.L

cu ~11pei.sitlu11 ~ C•t of ::\ ~r-c -:- ln:!

:'.1 ' :

\Yi.:. 3.t i:: t ·: n ..:.~ ,· ·~: :~ 2"..l~r.::::a:-:1:
~.1 1 ·! :: . ,_· f. :1_·: l':..; r_,'.- tLi...; ::..L:;,J n ; ::::; 1.1 -~· i 1 .-';;:1C-..!.i v.-- ~th ti . B ·.r·--:--~r::..:. c.1z.=.i.f1::.--;_~ ,_,f th:_· \•.' h :_ri~; yBt tney ne-e<l n~-~~. lH_'. :--;.:)

!AJtt!1.~r ...; ;Li'<- ~ frr.~~/ jjp_·iii.- i·~•1! •..:: ·L tl!'--~!l Utt-" 1:!!·! 0 !!~!:"'\!'t!W t ' ~'. nf r i~P fr\ ~ : ::~'.: :~: r.f i · ~
.~u·:~:-:J~nr!n~, :i;-: :1
1::;:.:;: ;\-{;:· 1 ;.·;_ ·;;

l1 :.~ rd:y

ii1ay

~1·:·ve :o 1h· ~t ·rr ::i1:r: the gi=:i:c r:t l l·111iLs of ~h ·.:

t:-e :::.'.Tn•.-: :: ! ~1 . ~ .L<-::- : to''· (, f Description :-~ :111 Narration .

r.hr.n

Li._: iJ!.<i~:....:-11i.C:::::i\~1

\-, . ,..... .. :

ir:~ rir'. ·.- ,--;; .-,p;-;--;.~-r;~, r:. ~ .

}!:.·;; i :_;;t_;.,·t,-a.ti.~-:·n., th~ (~·:U!,
f:-ci:1i ti;e ;--: ._u; 11 ·.

,

; t Ir 1_\ ~:~' !

t ··r-I il ll~ ·"l i:. t!

t:f u l i (
.:::<~::-_; ul .i
·-.;"

'.'. ~ ,'.~'.'. '~!;:,~ ~~; ;·:;::i ~'.; i ';';'~ ~\'~'~ .~~,~·~;: c: ;l,~.r,,rn, ~ ~ :·; ':: (·:\,r·.r;~,: ~ 'l'i ·,'.'. .j i; ,~'.''~\~:~ .J,:, ~', , j
t!·

D. ~ Prupc,-~irion

;ii

L, ;q11 1 l>ol J tr i u !~tr il y.

C•if{lrJur,

a1nl ~u111t.:lir11t~3

<.!.ho

It ~ ,-,:n ·t. i ::1·_·.:. r,_.f·_' L:i t·l LL : . ·
lo the lint'.; S•'i)ar: ~t i::~ (1 ilt.'

.£r{

/,
or di

frun1 ;inot]i+_•r.

l:r:..:t-; t .-:-r:!"." c i :?.~T · l, f .. !"' !!"•-1 :!!!" .... , l;! .~; ·· A~ · } · ·•Hbltl· ;y ;iiC.i •1 ,·. : .: . a.: c~:-..._~~~ . :­
S-tct!!'C"e'S !:;av

tl"=""t.~ :.J-.:;:- l~•·~ ~·-'-."." ~;;,; ._._ ~ i..~ £

L .. ;. :..~~ :.:..-.;,.

~ .:.:.:.....2. ~

J.

~· rui..·l ui L~.:._._.:, ~~ ::· ~

,,ho1J\· wl~l~ r-?f" r er-.r"?- to it .~ [ H· :1ri11'-'."~ u~1u1: th~:-:. a ccrt a ill L:ltt.lc-tlcl(l

11Lty

ll>:; <l'·.- ~cri: ...-:<:.

o~ t11e J·ror· ·5!tiO!! J!!:ty 111 • th:-tt II E ig<> try intt·r f nres "TI""ith ~
n~ti£· H ·~ co i.;- 1 1ne. ~ci:il Jt_;·;clop:ncL:: ~_, a1.:.d 0.'.-3_3. 11ri: 0c1i of ti1l.:..:, J.n 1l "-h c1lly

v,:it-h ref~r•.:;i~ tu i~s be: J..:Liu;.::; u;_iL1u ti1is . :!.. J! :t!·r::itiYc Ina~· ti._ . giv1..·n of 01"
"Expulsion (•f the J1._·-.vs irn1n S11:tin," :uHl its c011scqul·11c1:: :-i. Tliu~ :i.
proposition, in connection with either a description or a narrative, may
serve to give interest to it. That ei th er of these forms of composi t ion

can illustrate a certain clefinite point or points is 110 less true than that a
d emonstration can prove it. Indeed, this is the chief fact to be borne in
mind when preparing work of thi s cl1ar:icter. It is less importa nt that a
5ulij<'ct ~houl·l lJB 11ew than t)i;1t it shou l cl lie given a m :11· p ui11t ill the
v~·ay of au a p p 1ic:itinn.

~ lu:;;t :t.;; the p:-1.int('r wlien ltr_~ copiP;-; :t Lu11iliar

193. \\'c llOW come to a tiiinl l!lf'tiw cl or ti·,·,1t111• ·1 1t. Tr.
lus to do \'.-iLii 1iilmu up
tlie lu111ts as.si'.!11ed
"O
t;t" c; ·1;,
•
,.)
v
l , ....Ir..,,..
1 L,
by anaiyzing iL i:1:0 diiforent p:ut.~ o;· Divisions, ;,n,l t.L'i ;
fur11isliing 1t 11·1tli 11·hat is sumetimcs tcrmccl an Outline .
~

l

__,

,

but which, to avoiJ the confusiu11 of m c:ining.s mc11tio11ctl
at the end of the last paragraph, is better termed a S/;eleton or Fram ewo rk.
A. The rules on!in:nily given for the constnwtion of the main
dieisions of:< subject are as follo1>s :

l.tn•J:-:.cap~ , Ly J•U: tin .; : in~·1 ir- Li~ o-.·.-r 1 jndi,,-i1.~u~1it .\·, an i1 C:lit:'"'in:..:: i1c; t o
See- i~ '".;·;th l~!~ (1\"!1 eye-~, (':-1.::. !!l '.-d->::' f:!-; ;•i•_·tiE•"- • 1 r:.~~!1 : d ~\.- lld !"LrLi:-:.i.icr .--; , J :.l

First: To SeCtir<' unity, thL'r<' slrn11hl IH: one prinripic in acconhrn·"
\•. l· }i '.v1t: c lt :~'.! tl;" di\·:.< u:1s ar t· rn: ~il ._•.

~-r H~!'~ L-Yr· £ i\.·ir•~ a IIMri.. t i .... ~; . ~ tn an u~J. ~:.ur_y c~~~ l.t~J.L :..: i:. I..i.: lllU~•__: i.: _:-_L esting and effective than a new story coui<l possii.Jiy Utj, iu ca::;t;;, iti hi1.J. nu
point; i.e., no iJt:a wi:icL. il .:::uggc~lc:.J Vr f:-U~..:..r..:~d..

J.

·-· ~· tit ..:-1-.~!!•.:.·r~·_: ~!.!!:::- iI ! ~ •:• C\·.~~: ~·- l~ ~l· ---.

1." ankees, Sourherners, and J\fexicanq.

The first anrl last rl1viqinnq aro

E. In the cases of both D esc ription and Narration, however, to
a much greater extent than in Exposition or Persuasion, the limits
may be assigned without the employment of anything like a Propo-

.sUion.
A Description may be given merely !or its own sake; in other
words, to convey a clear conception of a certain scene or series of events,

It. '.';;}; ~; .l

;;;, ;

1ua.Je upvH l11t;

L.. i·;~ "i•r_, r t.o • ii\·~·-i ·_,
1Jri1H.:i11~t:

uf 1:au1iug peopie :liLer Ll1u cou.utrie:; to vn:h;J1

they belong; the other divisions are not.

Second: To secure distinctness, the thought in each division .
should exclude thought properly belonging. to otlier divisions.
The word Southerners in the last exampl.e does not necessarily e·xclude
Mexicans; nor in dividing the powers of a man into physical, n·e rveus,
and mental, would either physical or mental exclu~e nervous.

,·

... -

THE WRITER.

112

Third: To secure completeness, all the divisions taken together
should exhaust the subject.
Korth .America contains more people of more nations than those mentioned in the example illustrating the first rule.

Fourth: To secure progre~s the divisions should be arranged so as
s~ccessi>ely to make an adoance in the line of thought.
E:racth· wh ~t constitutes an advance in th e line of thought depends
upon the ~ircumstances and aim of the prese ntation . A physician, wlshinz to ~ke el~ai" son1c principle ruling iu one's physical nature, rnlght
be'iin by si:-eakin g tirst of the operati?~ of :11'. a1_1aiogous principle il1 :lie
mental n.atnre~ whereas a meta.phys1c1an, w1slnug to proye someth111g
with reference to the mental nature, wouiu more appruprialeiy arra1lgc
h~s ,_~;:..- ~-~~+:--~-~' i:-~ r.2:.::: o;:l'0 -~ ~ t(· on1~_. r. .:\~~:dr: 1 1n a <te~cript1on of monn t~. 1r;~.
a. 111 3.n ~::-:::z :o O~ r~ct a!HA}re r l iO\.V to rrttcl, tLeiii , Hii g ltt lH:~-g :n Ly ~·~•-_· n -

~itr~~~~:'~~~i~~:~~~~ l:g;t::u~c;~\1~t1~,~r ~,;,~:~;~~~~/'~';1 ~e~l~r:ccOt~:c~ 1~·t;;:~
fl• •t· .:-~ ;}~...- ;;-;.:- ~i -i~ .;;.:S.::!
na inei J~ f.p:.-- i1 ke

SELECTION, LIMITATION, DIVISION OF SUBJECTS.

113 .

applying unconsciously to the subject a principle underlying the expression of thought in many other relations. '\Vhy cannot other persons be
instructed so as to apply the same principle consciously? They certainly
can be. The principle is that, in accordance with which, when we have
any thought in mind to which we try to give expression, we instinctively
associate it with certain sights or souuds of the external world. Otherwise, as thought itself is invisible and inaudible, we might not b~ able to
make others acquainted with it. For instance , this term e:cpression, just
used, means a press ing out -an operation that can be affirmed literally
only of a rn~teri::ll suL:stance \Vhich is forcibly expelled f::cm another
n1'1.tt!l'Ld suL~L;.L uce; bu t, Ueca.u:-;u \\-c n :cognize a. }JOSsi1Ji1ity of CO!lljXlrison lJet.\\·eeu this operation antl the 'vay in 'vhich. in:nnater ial thou~ht i:;
TliO.<lt:; to leave Lite iuuualcriai 1ui1ui, we use the ter1n as we do. 8~...,with
th0~1~:tnr1s o f t 0 r n1::: l i kr-· vr; r[:~r,~tnn r! i11~r,

ur,; ·!":/'i'.

1

"

,· , /

· : ;

(;~;.

C;1rrying ( 1li t tht.• ~ <U !ld 11rinci1il r- , tL ..i t-tlH ' i~·1d..; rt"1 •re::-:'="11tetl \;, !!•Jl·~
:= 0n t cr;c1~s tli r1) Ug l t tiiO u .--; 1: of !1ii__>T~°J ~ly11i1i('.';; :ll ! i1 g ;, _•1_'•llF~t ricLll_LS ar:.J SC it:!>
t;'-'! ~: t~Yer: .,--. ~· nur OWH tfnF.·s, l't'f'f i_~')t~TH '.Yh01C' ~rgUtllClltS - tb c ]o,::cic.1. l
-~- - throu;::h the use of lines :J.nd Tignrcs.

fl:.::.~~·~.:.;:; !;-'. .=-!!: tt":=< '.' t.::rh·:;t !:~:- n1s so·:::et11i!:t:! l ;f:~!tiv-2 .

0 ~ t!: .~ t

- .........,

relations of abstract ideas and the ·physical relations of intangible forces

remotest distance.

th e~~:~

""':'

Ile l:t:c·Js t1 :i:::. t (.-J-,
of t1.e Ji..-1·i.si0lls cc•1.:..si·1 •..:rcd iu tll·2lllS·_·lYt:3, l 1;_:.t f :l:-

ft:,_r ~-1 iich the divi;.:ion s c:l1if~tly tll'In:i.nd attc11tlu!2 l.:.~ :-e;

SJ;:.e

sti nn1!J.ting

C1 f

\rh :--~t

rhctorici:-tns term lnrc nt7.r;1z.

In ~ si111iL1r ~J.y, a r.J w!:.L :~

~;1nilar ju~tiii~ ?a tion 1 ,.,- ~ 1n:~ y :tl'lif.Y tht_• i' ~·i i:ci1 ·l ·~ t u t!:1~ t·x 1 1~ 1,~~--:-: c:1 of

t L uu_;.::Lt in a s;11.ji::ct. Cd IJ.sid creil a .-> a. -.r..-·ii1•i"-·

B. Th e sight~ or sonn•1s in exteru:il J1:tt1~n_• to ~.-.; ·Lich 'v e rn:-iy co:::1v1re
this thon gh t 11"1~ty l) c concl:h L'11 o i :ts occupyin.~ c11 lc f1y a C(·r t ,1 i1~ J··);-: i·J I1
1

194 .

!n~entk~n .

Thf.rt are mr.thnds through ~rhich4 wben no

tbo t.lZ h~.5 co ;.i ct~ :-.cing a

sub ject rcaJily SU;! _~est tlu.:1 11.S i: l ves ~ a. lll:lU c:ln
com; t.o i:'.1•€71:. th ought s concerning it, a1lll can deYelop th ese in an
interesting and effective way. Such methods are almost always acquired, being a result of conscious or unconscious cultivation. As a
rule, a man who composes well is one ,1110 firs't d esires to do so, and
tb~l!, L:;- t ~yi:::; 1:'.l rJ t o ar:r::omp lisli his purpusc: , emb 1Jy training l1ill>
s.-::li tL::_.:0·_.;; ;L. : ~· f( t h ·: \\·ork .
1 :'

195_ Jn,enbn as related to the Analysis of Subject s.
A. It is mai&!:~ for the purp :.sa of obtaining son1e.thing tu say, that it is
important for the writer to begin l)y dividing his one f!eneral subject of
consideration into different special subects of consideration. These will
furnish him with material for presentation, even if he does no more than
to state and ex.p lain them. But to do the latter in a manner which will
cause his readeisto regard and remember what is said, necessitates diYisions conceived and arranged logically, as it is termed. The ability to
present tbonghtin this manner, however, is not so much a matter of logic
as of art- As suel1, it does not invariably n ecessitate either logical training or e'("en a IOiVcal mind. The art, too, as will' be shown here, may be
acquired with Cllllllparative ease. Many persons acquire it naturally by
0

~~:~~~r~,~~~t ~;t~~·ii~ ~~~~~ir;: ;i~~~;:~;,t r:~,\·~~·;;n~'.:-;;,~~·ir~,~~',, t,'.'.;,',~,; <~;

th e other of thcso clc1nc11ts, actu :1J ly occupy both, or, ~1-t ] r~a.-.. : , s:_!,::."<·:·:-.t
both; lik1~ a 111 :u1's body, for inst an ce, \ \·hich } 1 ~1 .~ 1_i(Jth s1Ll1Jt--; an1] n~: u\· e­
menb. For thi~ reason tile arts of sight must u sually represent in space

not only what occupies it but also time. Thus a picture often portrays
an event; and this requires a suggestion, at least, of a seri es oi :ictiou s.
In fact, the ability to c mhody s uch a suggestion furnisli cs on e r•c'1 .'c'l! ;1·Jiy
a pro11uct of t1tn lii_:;li c r :tr t

(if

1i:ti 1Jt iri g r'.1nks

:11-i n \" !' a 1 ) ~ 1ot 1 ,:;r;k ,: · '.i

0!1

OH ·~'- ~i 1le of a c:ttt\'a~. for PX:l.~:1rl •\ :i. p:11nt•'r n'::1 ~,- drr1r't :i. r:~ ::.n ~:~ r.~ :l. "';7 ~n ,=::­
;1 1in\I; , a nd 011 tl! t_~ utht'r side of thi- s:11nc can\-:t:> h e In:ty dc·p ic t ~-1 11 :1rruv/
U i:Lt La;'"' PYid··nt ly j 11:-;t left. th0 hc1w :ts }1 :v:in ,:: it1t it~ rn'.1rk . I n t h.--. :1 rt s

of ~otn:d, a.mong \vhk:h \\'e 111u:>L class ail cur..11!-Jusit:o11s iuvol'.'iLi_; a use
of lauguage, a correspona'ing principle operates. 'l' hink: how large a pro-

portion of the most artistic, in tho sense of being the 'most effective, passages in poems and 9rations, describe visible persons or events. The
words occupy time; but they represent to imagination, so that one seems
to see them face to face, things that exist only in space. ...
C. Not merely as judged by separate illustrations, but by general ar- .
rangement, that essay or oration is the most successful which presents
the thought in this depietecl or graphic way,- a way that causes th0. _
reader or hearer to se~1 to see the whole line of the argument mappeg
out before him, the entire framework of the ideas built up and stanfilng

THE WRITER.

174

in frontof him. Butbeforeawri~eror~peake~canproduc~such ai: ~ffec_t,
he himself must be able to see lus subject lymg before h11n, or ris1r.g 111
front of him; in other wor<ls, he must be able to conceit:e of it 113 comable to some external object whose shape or moi:ement can be perpar
·
·
d
1·
·ce-i•ed. The principle that is now to be unfolded, bemg base upon t. llB
·kllid of a conception, is, therefore, of such a nature as uot merely to s1m.plify the wo~k of dividing subjects, but also to make the preseutation of
th.:ra m o~e eITec t iY.,.

1().~

divisions; namely, the Object and its .Actions, analogous to which we can
form other divisions, like In Itself and Its Res11lts. Cause an<l E.Uect,
Character and Influence, :Nature and Acquirements, Matter an<l Jla1rner,
Means and Methods, Theory and Practice, an<l Princ-iple and Tendencies.

197. Three General Divisions.
A. lieca lling now wh:.t has been said in the three pa.ragrnphs a.born,
\\·e sfiall notice that the R;~·lali•i ns of the! c1bj t1c t a:; su gg•::.;te d Ly ·wh:i.t
r;1 ;r 10.i.: 1d ...;. i t- in·'!" •·•_: . ~ ! ~L1._: (J !1j . · · ~ i; ;..,l: : t. a. :;,_1 i ~-"' ~ L :Llu• ~.; a .-.:. ~; ... ~.- ..i.:- 1'. l'··•ccived by its n1ovcmcnts in tirne, c~u1 t"Liso furuish <livisiuns , into ,..,·hich

Le'" uc. . t ~ 1-~t ~-,,1 11 ~•. 1 . . - r t t 1t B H : . n uo.~ u ! 1u: l ~: i n~ two
general divisions suggested by the _appearances of objects.
~~<!-

1

. v

-

••

-

.........

- · "--

-

to put all that can be said of an obj ect or of a topi c.

la~ N·nn e t bin g t. h~ t is "Visibh:'; '\'.'i~~ n::t.Y :--t art Uy It:El ~ i k i: ; ; ~;;at;. ; ;;·:;:: ; :.~.· ~:-:-:

l.Jl e

-i::-~:n..."'e i \.'t5 J

t1.ct c iv1c,

t~:l~ B ~ ~

¢-;,; :..;r_-::_: 1

1~ Y1ti·.:l::_ C:t~-:-

n:hic~ C.l~ ~ it t~ ; lf~ ···~ ·.:-D~"'. n f.

lf

it

h CT::; !:! ....:;.!.:::::. ,· t:!.' i!J. !~!!!€. 1!1

'Y C lJ Cl' C("! ".'£" i~

in S!) ra~ c~

H 10 B'=':

Vn~ i 11 a.y

:~:_,t~~~€~ :;;.~!~~~ ~i~~~~:~~I~<:~~' ~;~,;t~~;i;;~:;:~ ~:d a7s~~~.:s~t21~
M ""."" ~~ ;lH e\t-rVt.1! ~ 1i~ U1r..t lt. i , pc,,c.;_-.;il1le to SJ.Y abo u t the oLj ~ct. : u1 d

f •) l'

::.:.rc~;;~:'~~:bt;:~ ~'1 ~· i;:~~':. ;'i~;::· ,;~\;ii :, '.'/;;~,:;.l·;,·c:.,.'. ~~;~~~;:c~; 1 ·,~:~~ ;, ·;,\~~·~
11}_".".:! _""-,·( ·'. C·; :.-. i:l

i: :: . -:

(_1 ,i,'t ·l

·

J

· 1·7

z 1 ~1 llll

C1..11 .t1nuni!y; i f c· f t!1 ei r cL:1.ra:"t<'r,

~:~;~Lu~~~;:~1E;1/·' ;'·j L,~::.~":~.~·.~1';'~;· ;j\~· 2r~oc:;=t~ ~: ~:.:;;'·~~·, ;;~·;;~
y iJu!!.l l ife, ~- e- ma:· <.1~ sc. ; ;~~ tl:t:ir Ch~:.ract:r a n 11 A .~ .'?nr~; 1 !ti 1 ·!iS;

(•!

th"?i r

Cunstitution and Circumstances ; or, if w e are referring t o principles,
nat ural or philosophic, we may speak of _their Elements and Affinities, or
their Essence and Environment. Practically, in fact, there is no end of
t he wa>s in which we m av change our phraseology, and yet not d e part
from tl~e gen eral m et hod i.n a ccorcl:tnce with which i t i ~ su.:.::.:es te<l.

.I

J
-~

h:t

u~ s u p~HJ;-}t.:

c L,_n ;~ ._, ~ .; ti.:.t;J

thi s . fir .'.)t . tu be ll LL'.

l11J.i_nl:,· Lj- sbu.po;

~i ppt_: ~~ri n ~

holdi11~

still to

i n s;.n:.ce . awl .

~::.J. l~~ i: :; ~..:.:~1-:c ~~.r e ~ ~~:·1i .:)-

1

I

1

...-\ r istotle d id \V! H?ll he s a id t h at e\-c rv 1ivv r :..~ of an sl 1uu id lu. Y~ L-:. 1 ,1i.cu, i 1 ~ .:
jfidc!tc. :i.nd J:'ncl . l'"lot10";"t,-In; ou t hi .::; sn.~'.::c::; : i on . w e rn:1y rn~ k e: d:7 :s:·::r:s
l ike I'ust . } )res ent. an U l'uCure: n-iLuC Ir ._·,_·,_!!:' . H'l! .lt I ~ . .-._' , H-/, ,~ : I erli :ip atc; Ant eceden ts , ~'1chic i·erne n t::;, ::-tn d },,'r11 cctatio n s ; Su u rce, .:Yu.ture, a n il
..-,

1

1

R esults ; Derfration, Condition, and Tendencies; Hist ory, Character and
Destiny, and so on iudefinitely.

198. Four General Divisions.

B . _.\gain , ] f \.\·e cl1 r)1"1S•', , •.; '--~ rn:-i >· co11ti.ne CJu r atten ti on t o on ly tlw o bT!l t hi..: . c:..L:::..t..: ::i thc•rOLt,:. : h cx:-unin~ti0n Ynu:-:t i rH·lttd\: a j ·~ .i1 }~t. it-se1!'.
:;: :-:--·1~- : , 'n l': it:-: ( 111f ,· i ·l· ' :t! i,\ :t l "''' 1•f i t~ I1 1::: i,) ,' , < r, To l i>• · t !1· · lt: CLL.• _"J
~ ··: ~: ::<.: ! !: :H r. " i ..- ..... : : :- :, . : 1·--t 1 ~ ·,.- • j .. ... ; :-: 1u:. ~ 1 i; , ...:.,·. r <-:.:;:;pc·. ct:·.- r: l ~.-. i :.s ('rr;·, 7 '.-, t·_u c-"' :t L•1
~~7..;-: ~ L.;. Q:..:..-i t~~ ~~:J. 11.:·.::>: . a;:.i.:n: ~.7.-: 1::: \· ~ !. wo tli d:::~·-·.:1::, i Hi .-. \-);·"-.. ,-.-;: t-h•·

Coin ,g h ::ick 11n\\- tn th e f :tct ln e11t i1) lH' i1 i n t11 0 fou rt h p:t.r :t.2'r :1p t 1 a1l o\- ~
ti i.~. ! l:l! rl!' ly, t ! 1~1t \";'\' n~:1y ~1i '» ir1 f'' t!w n1)j r'et int n i r-.:. (Ju!si,! ,, :l'i 1 i t."
j
~- i] \ l (/ ,' : [ :' '
1· :\: t • 'l l , \ /,' ,· ,', ; : ;, : ·· ', I J !i

other of which we can put eyerything that it is possible to say about the
object consider ed only. ill Itself. ' And, changing tl1e phraseology in the
way and for the reasons indicated in the last paragrn.ph, we may go on
and form such divisions as Externally and Internally, Superficially and
I ntrinsically, .Appearance and Reality, Class and Kind, R eputation n11d
Character, .Accident and Essential, Form and Spirit, an<l others like tl1 ese.
C. Once more, we may consider the object only in time, or as related
t.o movement; and this again will lead us to put eyerything into two

that are used in logic to iuuicale tl1 e lt:a Lliug a llriuutes of objuot,; , o.od a
knowl edge of which is es pecially h elpful wh en one is describing or defining ; as when we say of a mau, that in his relations he is social, in his
condition healthy, in his qualities intelleatual, a11tl .i n his actions e11ergetic,
Making the same changes in phraseology as in .the -previous
we
may parallel these divisions by such as the following: as applied to a
person or community, by Surroundings, Constitution, Dispositionrand
Occupation; by .Associations, Culture, Temperament, and .Achiei-e:ments;

1

·.

u U jc;~ t.

But

u.-. ;; ,~ , r) .:.._:.;:.., / 1t11 • l _. . : . · 1:.-.;. ,~ .
T'1;l ~_... \'..-; •..;. .. .. . ; ;1 [: ; ~ ~. 1~..· t.L: ;::.:::;_:::: c ~ ~ ~ • . . :...-: .... ; ;;-. ; i
1
he : :; aid that l:Very v.·ork of art H!uSt Ln.ve 1-'~t:l, Ttun.L:., an.J ll·:u J . T'ol,
l o v.-iri .~ uu.t Ids 5.Ui!"gc::iti o n, -....Y o rn ay rn.ak e t li~;i:Ji on .s lil: e lJ o tt :::,•:·~ . S i c!.-:_ ;:; ,
a nd To,n ; f'r n n1rlrrfi11 n ·: . 1Vrr'.r. .., ft!!l l ll•H:f : ~\ f in P !'(/1 , rf'.'/~ tul.1!~ . a !!~1 A 1t i1nu ! ; }'/iy.._;i ,,~·1d, f1;) 'l:' ,·,:t 1( ul and /'-','j ;/Fi(u r: Z; G r "
;;, /,.,'f.·;1 :t: 1,l .<:

ruu;;.dinas. 'This ni! ! g!v~ us two <l i.vlslnns. in t o on~ ur th1:: ulln:. r (.r ;~· i,,~ ;.""'.h

-

175

SELECTION, LIMITATION, DIVISION OF SUBJECTS.

1

!

_I I

cases,

TfIE WRITER.

176

SELECTlO.N, LIMITATION, DIVISION OF SUBJECTS.

lieci t o nalurl.l objects, or systems ()f r•hi1n~opi1 y or go"";ernmcnt. by
asapp
'· A ·1· ·1·
F
EleCv~nt:r_·f it; Jt!., Ph!!.ses! Chrcrnctc r, au<l ln.fl.u:~ice ; oy .L ~ "-~ leS, orms,
·
•
f;r;
-r-·
"
ions
·
b
y
Ra
nk
,
State
,
ll
rnrl,
awl
Pu
u:~rs,
anri
so
Oil.
J'1ic-:?t.! , allf,J ;..-_r~
!
"'
UL

199. So I" '" o ur <1.1v;;;;rnn s h::wc all bee n based upon :i.
c·mnparison of a topic to Lhe conditions of an obj ect , as app-;a;ing either in space or time. But, besides conditions,
th.-e 0 ·0 j~ci.! a~

lici.S

bee:. ;-;:t:l, 1:::-~s

c

f

i1

\-

\\•t

·1•

"~: ":

ki.r rl' of

' ,:' -~ iL

1 ~e1 J. tiulb ,

~~ 1 e:tr' it <' :1..;» (':t11 ::;.ng:.:r: ....;t. l l i\- i.--iiu11:S i ur· 0\:r ! ( 1 1,i c .

~~ ·.'.: ';\~ ~; /,~~ '.~;··'.;.;·,;J.1'.-.~ n_;,~, ~.· :~ f'.\:-.,',~' \\t1i,'.' '~~ 1 ~ ~',~''.~,;~~: tl;~·,_/.:·~ ~ ~'~ ;;~-r;,~i1r11s ~
·.·

!~>~P W f~; C i !
1

;l. ro

'

•

~

1:t f6 f' j'

:~ ~n.n ; ~ :,}

t d a_b~trJ.~t il1 c,;;:.L-lT tL:it it n1 ~y lu.Y1: cert a in fc-rttnrr::s t hat ~ r e
~~t- ,; ~.~-/. 1·t-r: r:~c. ,, Jf .'. ani1 n tL e ;- -:, ni,,·· ul /' (!II tu.r;c 11 us; (' (• l' t :1 i ll 1.'°)' rtjlr_-rior anU ut1icrs

P !rn .~ r:.n. t

:1. -:- ::1

T :i.~ r: .Tr.-,- ,--;'!-..1.-

Tv..-o di\_,.i::;ions, u ( C! J ll!':it;~

(..,.~- h"T ~ :irr~

n;,-,.c·,-. in ;:,--r·r,)·1 1·t 'J:"'

!lUn1L 1' r .

.:\ ri ~! ntie ,

.:\t

Uil:

f":· i11-..:tanc ·l' 1 in

v 11e

, . ; 11 ·

S:l.lll('

til l i C

}~no l-~

TJ

uf \vhicit i.-> cuI 11pl i' t1H'ntary n f the

t:.

tl ·' I<"

tl1c.-:1· alt: I :u~ 1.it'CL' ,".<!.~·i ~ y i i d 1 _:i.- ,1~

Ct1:l;-i t 1'r

x . o f h: :; J:! tC't Prit ~ s:~Y-", "_ \ ;i

tl1111 ....: s are 1..~·_;:: 1.: 'u:, u: ~ n 1.· it.1 er L ~it nf tr. - i1,"r:, 1::: c,r

-

,- , z, -,.~ : ..; a:: ·_! f_.,!, , ,...,.;11.·nr ...:.: Jf, ' 1 1u~ and l,'n!/;:;: at ()1;" },' ,,.. tr ._u:r_· :u :i] tiJ(_'.
r- .. --.- ·'
tl:::: t!:·· nl ~ _; ,_·c-t 1::1<..;~l /j' r ;_,/h ~ 1\ ~i/-- an;l a. ]1 11 rf..· ,'-...'i(? ; ; a!J•l

_ ,

r-:

t n..'1 7

201.

o!

'·.· ': ,]

for l)ltudi.cisi.ons of the

B. _Suppo:5'.l that ono be treating of Political Life, he can spc:i.k of it,
first, Jn Itse(f; anJ under tlus h e can r ef e r to it s (.'hrrra cti;r irn•.1 it s Jnj?u ence, aud to tlte latter both At IIomc auJ .Abroad. Then, scconJ he can
speak of its Surrounrlingo, both I'rhate an t! l'a/Jlic : arnl o f both ~i t h Psi'
be may m ention what is Advanla!JNlltS an r\ JJ ismlrnn!agcous; aud pcrh3.p ~ ~

7

(:Y,_,. _\ LIT r Ec.

•.: _~; :~;~ f,~·; ~ :":\~~,~~~ ' '. '~:r ~~·: /"~.3; ,- ~ \_

The formui~ can be u sed
ma1n divi sions .

177

tlii1 1g.-;

l!(J~ dull\)

11y

ll:! 'll

11 f

otl1 ('rs tL 1_
·y d(,. fr u!! ~ c L : u:t' ~ ·;
t · X l t ·rn a}

a ii ti ia t

t]1f · :11 :-;1 ·1'.·1 ·_.. .; )
Ctf

.~ • !!

tL·· ~, -

l: I )

fr1•lil

L "l ' l · .......... :~ _y,

t l<'J ~~ 1 - 1'. : 1::1'. f r 1):11 1:1· 1·1 ·-...:<:t·: . a I< 1 ;· t a:·.. i~ l

fur< ·1 ·, ti t !~ ll tfll' !'>..; :1- f P frn111 ff\f f' f' ()f Il:\!11 r:l] CC.!l<t,itq\ i "ll
~(_l t} ~:1~
tlu , 11uL t if tl11 ·1 11>ch·c _.. , 1 an; 1·itlH.:r f n111 1 l ·l i:u 1c-u o r fn)ill lLttnr~·

llh_:ll

C•'

1
3 . 1.'t-:--· ~ r: r:i nf t !:·· ki~ : · l ..;, of C i•:;11\: ion ·.:. ~: ;_~ ~ !·..~L:-> t l!.:..t \\"~ l .u.:i :1· CG:l.S i _l i~ -;"
;;r,·r;.'i :i:r:.C: ott ers /.r_r: '" ; :-:. O! t1· · Jiit'h An d <• tlr~ ·;·s l)•)ur: sci;!~~ : rr ·_•:-,1,1 r_r ; ~_."_~·J.n d ~tl:ers l 'npr(·SJ,;:: r1_11ts ; s11 m e .•.Yu!Jli; a nll utl1..:L-; I:n1..r_.!J~·-' ; sorHC: }'rec
~~J. v::L.-:::-s I:es.!ru.~1t~d : St)lll·_· Su-''-'''11lif1l•) and oth er.;; l nscn.sib!c; sor nc

202. 'l'!; i·. n 1.~ ; ;;lw r ,~( i!L1:i .'~~·.,_i; .~ u 1::y 1H· 1Ji1 ·i';!. ·;l :,:1· .. ;ll ; 1 ~ :;: ;: . ,
d 1•,· i1!t?d d 1•lri111 ·· 11L to t/1 1_• l o~i1:;tl cff, ·1_·t 1 if orily tlt '.: or der of obscr-o:.~ a ­
tiou lJ c foilowed.

S-1..fe :.iuJ 0:hcrs ]J'-1 ti g ..: r•J ts. , ct t. .: .

ti 1) n, H'ul!.\·, a :11l I~"~«-'/, for in ~tal! C t' - - an: i :i: j Hi;·Lt :: t 1 )::; 1J 1__· 1·:L11::.;1:_- u:·
or \ler tli:tt tlit"·y i11tr c1 ~1ll!'f • iil~ I ) d1·::::1·r i 1itirir;, _·\ L · ~li'I'[ Ci"1 ; ;_l1l 1;1.: 11.' ~­

1

~h" "•~

1

c . T !:r> idr-'.1. of the k?!ir:, of \ J!1 :11 itit•~ s 1E.:~ e st:; t hat \) C. 1~1:i.~: c uns ~J e r
~~~e G•:"'.i and ot liers Jjad ; some F ine aml otl1ers C'v11r,;e: HJuie Cum·
-~n a"d others i:ncommon · some Plcusmit ::i.11d o thers lJi$CTfj7"£€aiJ/e;
;:n·e

Adm irab/~

and otl1 c rs 'Despicable ; som e Tr11 st1corlh y and others

Untru sticorthy; some P ositive a nd others .Negative , etc.
D. Th~ idea of tl1e kin<ls of Actions sugges ts that we may cons ider
some S/Qw and others Fa st ; som e B eneficial and others Injurious; some
Skilful nnd others B1mr1linr1; some Efficient a nd others In efficient; some
Subjectire and others Objective ; s om e Projilable and others Unp rofit able;
som e P eaceable and others Jlo stile .

200. Such formul re as these can be used, first, for the
main dirisi ons of :t t o-pie.
A . Suppose, for in st:inrc , tl1:it on e lie a sker\ to a•hlrc-s.' a g:ithcring
interested iu a certain cause. I: c krri11g to it, h e w i ll !Jaye so mctltiJJg to
5:1)". i n-::;. ~ ;" only li e can think o f <liYi s ion s like tltc:st:: Jl"/,u! 1 re<:all,
()r :-> H j•jH\~;_' tl1at h•: i:-; t_11 11n ·:u·· l: on:::.. text
]~~~·-- · ~ ; j .:;·n n1·1t :1~~1:-1 111!-· dnftl:.,~n~pelnf { '.hr i:-: t , fnr it i ~ t i11 · p(i\"'t~ rof( ;t 1 · 1
t:=-::G :::~~-...- . ~~;1_,J~
11 (':l:i \':·1·<··1 1t tiit·· ~ 1 ;11.i1· 1- · t 111·,:!i t f'<,~t i.i.~ll:~,· ar:i1 Jr·i .:...::~·--·~tl1y
t .. 7 ~:1.\·ir:::. 1 ~1111 i;rit :--i:::11:lllh;d (Jf titt'. .L':"·. ;, 1,{;l, lit_·1>; t11_.; •. ·, in i t:-; ,)-":u·i_·•:, it i .. ;
c.,f
i;1 it~ _\.ot ur-._', ::l po1scr; and, in i~s l i' ··.-:u l:s, :--:ti\·~tti·•:l .

n·rirt t I .s.-r,

cC:.J;

H 'intt

1 (fJr fi1·i1 ;r1te.

Tho sohJ r c:a,.;on wl iy cc:r tain of tl1e s0 di1·i-- i«11s-tl1osu liku F<>11n• i r1-

csteJ. in au account of a c:1theJ.ral, n or r ememb er it, if tile d cscr iL.·r •,•; , :· c:
to mention one featur e of the foundation, tl1 cn one of the r uuf, t! :cn one
of th e walls, and th en another of the r oof ag ain, aml so on. As a ru l.: , h e
is expecte<l to say everything that h e has to say of th e fouml:ttion Leforo
b eg inning about the wall s ; a nd to end descriLiug th ese before r eferrin g
to the roof. B ecau se in such cases a ll that is essen t ial is to prese r rn th e
ord e r of thought, it is fe as ible sometimes to aualyze on e or m oro of th e
factors of divi sion s, such as Indi v idua l a nd C ommunity, into many h eads,
like Individual, C'onwnmity, Ra ce, and Hum anity; or divi sions, lik e At
H om e and Abroad, into IIome , Tow n, District, Country , Worid, a nd l: niverse. Ofte n it is possiule t o fulfil th e r equire m ents of ord er , and at th e
samo time, b ecau se of allied prin ci ples o f anal ys is, t ogeth er with slightly
diffe re nt methods of jtpply ing th em , to comhino c crt:1in of th o sds oi
di 1·isions tlr:ct li:ll"c l.>ec 11 m:ulc.
Thus, H ise, C ulmin at ion , nn rl D ecl ine, i n cornwc tion with lli,t•.•ry ,
Charact er, ::ulll Dest iny, 111ay g i\· c u:-; l ~ise , ]li:-; to ry~ Culu1iu~~tion . Charai't,•r, I >n: l i111 · 1

J )\· ....;( il !J'

_,

~

SUBJEC'rS,
DIVISIONS AND sunDIVISIONS OF
. HINTS FOR MAKING
AND ALSO DEFINI'rIONS.
Compnrc t I1c •.II \JJ c·cl to some existence, mnnlfcstlng Itself
nnd (or)

In SPACE

In cons idering which, we look first nt
then INTO IT,
AT 11',

TllE LOCATION' ABOUT 11',

In TIME.
then nt the

then.

00

MOYV.MICNT

Jll':\'fl~[) It.

TWO DIVISIONS.

ObJect
In itself
Cons ti tu lion
Chnrncter
Elements
Essence
Indi vidual
J>ri\'l1te
At Home

nnd
nnd
nnd
nnd
nnd
nnd
nnd
nnd
nud

OBJECT.
~
(CONDITIONS.
QUALITIES. S

ACTIONS.

S

RELATION.
its Relntions.
its Surroundings.
Circumstances.
As•ocintions.
Atfinities.
E1wironment. ·
Community.
l'ublic.
Abro11d.

Outside
Extcrnnlly

S~per!lclnlly

Appeurnncc
.Clt«s
Heputntion
Accident ·
Form

nnd
nnd
nnd
nnd
nnd
nnd
nm!
nnd

Inside.
lnterunlly.
Intrln slcully ·
n;cullty.

·

)~Intl.
~hnrnc.t c r .

}~s~entinl.

Spirit.

Object
In It self
Cnuse
Chnrncter
Nnturc
J\l Ill ter
·Theory
l'rinciplc
lllenns

Its Actions.
Its ltcsults.
Effects.
1ntlu cncc.
Acqn trcments.
. J\lnnncr. ,
l'rni:tlcc.
Tendencies. ·
Methods.

nnd
amt
und
nn1l
nnd
nnd
nnd
nnd
und

THREE DIVISIONS.
Following like Things in Time.

Built up like Things in Space.
Dot tom.
Found1ltlons.
Lower.
l\liucrnl.
l'hysicnl.
Grounds.
Certninlies.
Facts.

Sides.
Wnll~.

J\kdium .
Vcgetnble.
Intcllcctlll11.
l.leliefs.
Probnbilities.
Theory.

Deginning .
l'nst.
Whnt I recnll.
Antecedents.
Source.
Dcrlvntlon.

Top.
ltoof.
Ili!)hcr.
A111n111\.
Spirltunl.
Speculntions.
Surtnises.
rrnctice.

m~e.

History.

l\rlddle.
J>rcsent.
Whnt I src•.
Achlcvcmcnta.
Nnture.
Cond ition.
Cu lmlnntion.
Chnrncter.

End.
J•uturc.
Wh11t l 11ntlolpllto.
J~xpcctntlone.

ltesults.
Tendencies.
Decline.
Destiny.

FOUR DIVISIONS.
RELATIONS.

CONDITIONS.

QUALITIES.

*Surroundings.
Constitution.
*Associations.
Culture.
Phnses.
t Connections.
t Atllnitics.
Forms.·
t Rank.
State.
*May npply to Persons or Communities.
t May apply to Natural

ACTIONS.

Disposition. ;
Occupntlon.
Temperament.
.Achic1·ements.
Clrnrncter.
InOuence.
Elements.
Operations.
illnd.
l'owers.
Objects or Systems of Philosophy, Government, eto,

OIVISIONS OF ANALYSIS AND SYNTHESIS.
RELATIONS.

OBJECT.

*Being.
Organized Being.
.
Animal.
Vertebrate.
l\Inmmal . .
Mun.

GENERIC.

Being.
Organized Being.
Anlmul.
Yertebrnte.
l\Iummnl.
A Man.

11! till.

lnrSPECI FIC.W-

GENERIC.

* Hopkins's Outline Study of Jl[nn.
Country.
Rnce.
Government.
Country.
I ntellectunl.
lllornl.
!:;pi ritUlll.
lllornl.
Human Nature . .£sthetlc Nature.
Art .
..rE;thetlc Nature.

IIumnnlty.
Physlcnl.
Nature.

..>

ACTIONS.

Race.
Intellectual.
Human Nature.

Humanity,
l'hyslcaL
Nature.

. TWO DIVISIONS, COMPARED T,O THE KINDS OF
RELATIONS.
One side.
One extreme.
Bright side.
Antecedents.
Means.
'·",

Advanta~eous.

Superior.

·

Other side.
Other extreme.
Dark side.
Consequences.
Ends.
-Disadvantageous.
Inferior.

CONDITIONS,
Higli.
I..~ow.
Rich:
Poor.
Prosperous.
Un prosperous.
li'ree.
Hestrnined.
Eucournglng. Discouraging.
Snsceptiule. -- 111so11sll>lc ..Safe.
Dnngcrou::5.

QUALITIES.

ACTIONS.

Good. ·
Dnd.
Slow.
Fine.
Conrso.
l.lenellclal.
Common.
Uncommon.
Skilful.
Exalted.
Dt•grnded.
Et.llclent.
Admirable.
D~oplcnb l e.
Subjective.
Trustworthy. -Untruatworthy. l'rotltable.
l'ositil'c.
Negutivc,
Peuceuble.

Fast.
_lnjurlous.
Bungling.
Inefiiclent.
Objective.
Unprofitable.
Hostile.

~m:ic, -which is. that in treating a subject, thought should move by
~ccesifr'•eo ;>-eps from th~ generic to the specific, or from the specific
t-0 the generic. This connection is owing to the fact that, in passing
from the generic to the specific, thought usually ::vlvancf's hy a process of
:.anal.sis fri>:n what has to do with only the relations, or at least the en~iru~mc:::ts, of a subject to that which may be saiJ to billong t-0 it more
snecifica!Iy, being, as it were, at its cor"'. Ag;d11, P''"''ing on..-ard from
~i!;;.,.: thou.Z:it usua.l ~y does so in ord·~r l.1J s11ow· the a.cticr•S er i::::fruence of
;:~-.: whit-:h ist in thi~ seust- , spec iiit ~ upvH tL.lL \:; l.ic.L. i3 li::. G;c: b ::.::.:J..: :-! c i!!
=-- ~-·.~ :~·-- r=-..-::.:..."' ..l:...i.'1 l--: ; ~ ~ : .. :;-< D !· . .'.\i_~:-~-: li:y;·. ~~1:-:::, f~~ :~:·~~:: : :· ·· ·. ~:: 'tt; ..;
-t-!";;:~1;!:e ~-;::::d.y oi .:.\ lau. lJH< -:- ;_i ,i..'-c .• :..:......~..::: ~..::L e· : t.:- :::-:-::-- ~ --.-; "\._. ;,; : ~ L·­

;;i::~~r::!1 c.t..:l!.iL·~~_.;:; 0 ;1 of t: e!!:!;~

;;.nr1

p ~1.,~:1n_~ f~ont t h~t thr.!:_n .~1~ L1r .~ ; ~.i1.t···1

=- -~::Jl. ,-._. r t · · 11r:d · ·~ ">f.111~ 1111.l, :i.ru! '!\l:in. to~ spfl<'l!!~ °) 1:in.
~~;~; ~~ r~~~;J~_n.,~hln'. .!: i \f t!i :s rr1:1.11. 111_' f l· l LlC •c ; }ii .":) str}i::-; c :-c 1 ~~t: :: ~ ;:
"';._·.___::_ ......

181

THE T.REATl\IENT OF SUBJECTS.

THE WRITER.

18-0

.J..

~-~:::· ~,:-;~:;.i:;~ l~-:~:~~,'.~:"~ 1z~::,:~:,~:,1":.~~·,;~~ ~'.·~!~· ','. ''· . " :\h::

1 t1t·11,
r--\: >::" : .; . :i.

\

'.': .~

,~ '." ~ ; . -~!-:·~ :-·-·~!-!'::.! (· .·.; .•~.-.T.::-~.-;:1 c: H:..:.::u..~::~ !::, ~:.1: d rt · h-;ir;.-~-;~.~ : ::~ ::::,:~: L.·-:.:..::~
,-.--,-·-6 =:.1 t0 ,-;::?·1-·rnnu>. nt. aEJ. allln11 i ug Eomcthin.~ of t!: ::; , ::l' i';~y \;,.· i: ~!
- .i: ,1 !;~ s1d ·.-·,--_-.....;;, ::1 t o («_,
, l :·t,··, ~-t::•i Jj
.'ii t
S ~' 1::1~ " i
r~-:-.,~~::1 ! I*f-.,!Js.~cu2 . lnl ~U..:ctu,_1;, ar1,1 Jf 11rol 1 tu S1 :irit uu!, h °": L~. 1 :)- :tJ 'i': 2.
~~~ .~t- i::. :-3ilnf ti:~-.: i! 1 ~nci ' ,-. ;;:..j,-11 1 tc• it in its ][r;rctl. l-nf _•U•.•1_·t ·ut!, :tnd l'h:1st ~ ~ ~ re:l:'i:i~y:: :- , a: .. l 11o(l ·~·in ; :.Lruu..:.: l1::·,-tU tU'1_ J!u ml!lt _.Y
: u!
: ;:. ·~ -1 _I-.<~h .- f i,~
,;_~•= =:~:.re, t ..-.. Arr., h e rn:.iy a;.1µl :1· ,;,-L_:!t i .;;, ....:.~i· l uf thi ; i;i S!l ;~·e1-·~ <n;; t D _-f_·~~i:·:~: ·
_\ - _::urr?, J! u :nan ~\-c~u r c, :t!111 _;\ -(!t1i r•' . ] t ):-; f'\·id Pn t tL :lt ~ !-: cnt'YC !" \\' 1_:
i.·~~ ::~ n b\· o1·se r·\·ing in this v;:-iy th1 ~ lnorc gener3.l rrl;i.ti on-; n r f 1 _· ~:\t ure~ ftf a
~~i·j ~._. anJ p J.Ss fr o1n thes e to th0c:::0 ytl.-lt are 1n0re sp.-.r·ltl0 , and, l1aving
tr;-:i ted o! the latter , f:O 011 t o show thl:1h11.w.:11c c t11:tt th e y exert tirst in
tbeir more srccific, :ind then in tlieir morn generic relations, wc pursue

EXERCISES.

204. Give definite limitations, either by another statement
of the subject indicated or by a supplem~ntur!J proposition :
~nu then prepare main divisions, and, if possible, subdh·i;
ions, for the following-~· topics, or. for a corresponH,, i ng
T1nn1h 0 r 0f tho se gi\"-.:ll
+11.~
...
., t.:. iiui .
..... "'"' L~'.~
........ t-.., 0 .....r S··'-~
uuJ1..-vL.-0
t1.v ~l-v.u.t,;
lT•

\V' ~t::diiu .~L 1J!1 {:!.~

Gcn cr:i l.

Pa t riot or
).

:L

ct1~ .

G r :rn t.
Lilci"a.ry Life.
1il 1l i :.~r y l..i:·;.;.

,.., .j.. ..•

,.... ..

]\f 0 : 1:1:..;tici .:; Iil.

~Li. ;;•·ry .

\\·.er.
1:··1 ,1 1l ,1ie;t!li 'i IIl.

r )i'i'\«') t. isi:n.
.- ~ o; · i.-t.f i..,Jl! .

1

; .

1

0

,

t:

~ :d ·: of I n ~ n ~i1'.d i 1:; J~ .. \»: !·~:~ 1 _,~~ . n
c111titl tlF"il Lt~ ilLt·l · ~ :t:S fo'.i o\•,·:<

'Til e D ..: rlL·ul iu JL ui ti10 e\·iI of TnLen1p c r~nC•,~ (in the Iruli:; irli ull
arnl the Co11<11wnily). The Cu1ulilion of tli c c·;il (a~ sLo·,1·11 in tl!ic
111tlicicl1wl allU the Community), :rnu its Tu1J~ncy (u µou the J 71 J ivid1wl and the Conrnwnily) .

an ordero! thought which fulfils the principle underlying all the methods
that have been here unfolded.
A. Enough has been said now, however, to make clear what this prin~plc i,, M well as to suggest the ·methods through which it may be
;:..;; plir:d- It is li:tr<ily neccss:try to acltl that tl1<: sets of d i·; isions ihat
}, .J. ·;c b ce-n ri·\-· e n, illn~tr:.1ti11g thc;;:;r~, 1n:Ly Le a1n1ust i11 f111it -=-1Y Y;lri c d; nr

'

LESSON XVII.
THE

TREAT,\IE~T

OF SUJ;JEC TS AS D'ETEElHNED BY
THEIE ADIS Ai\D nEA.Dm :s.

r:-.1.: , fr ,r ~hi; n ·:--t <.::(1! 1, ther- l.'. is llO ]11.:ces:-'ity tl1:1t th e y s11nu1 1_l lJt.'. u:.; ed o r
i:-:tit~~:ed s::l ·;>.1 :1y . In f.1.,~ :. it l .. .; 1::l r ll ly 11 n .<..:iL )1 · t ~ l ~ttJ f"~): : <.!~ Y h·1 1:_::t h
": :::.:-:•_., 1f ,.·· :·· :-;:~: ( 1~11 · 11 .e 1L--:·~·1 l t!:u _
:::. T h r :·in .'ipl i· :1t tl1n l··i__, :..;: nf tlt t· l!l i . :.
0

: 1l\T (

1

Ll. -- ~

B. FuI co;-.--:cn:c:.cc in ce:1su.ltatk•p. H11 th ~t. l'~-t: hf'_f':n said on this
s ubject is &ummarized in the chart on pages 178 and 179. The pupil who
will use thll chart when preparing outlines or analyses will soon become
familiar with the principles of observation in accordance with which
50
the different classes of divisions are derived, as to be able to do with-

Jt. 13 to t reat, ari.d b~r- g 1¥1n g
~· ···u··
.. 0cpa,;.·a.~1ng
'·
v.Lii.
u..;.a
rt

sl~:1_:l:_:ir~1 ·,·:.~

:

th e
ln~o

~"- ho!e

t.

~' .

''

r

'

' "

L,. \ . ; I

Ft _(,·u.1uf!.,tovrk

t_• l'

' ·
· au;l.slan.3,
,. · · ·
CCi.Ta.1n
tn.ar..n.

it remains now for the writer, as a fourth method of treat:
ment, to select the material to place in these.
It needs to be said, however, that although it is at this point in· composition that one is mainly conscious of selec~ing his material! never:th.i?-

out it.

--

'

-·

THE WRITER.

THE TREATMENT OF SUBJECTS.

lESS the work ef selection, in accordance, too, with the same general
princiB>Ies that are now to be unfolded, really begins with the choice of
bis seject, and is necessarily carried on, more or Jess, through all the
s;;:~uent methods that have been thus far unfolded.

w:ere. incidental to it,(
After mentioning some of their petty but convmcmg reasons, J',facaulay adds, "Such were the ar"uments which did
what Milton's Arcopagitica [the famous · essay of th':i p~t in favor of
the liberty of the press] had failed to do." Locke, it is saicl, furth er, in a
note, is believed to have drawn up the paper. Macaulay goes on: "If
thi~ were s0J it n1nst be r ememb crctl that Lacko ~vrctc, n ot in his o~,yn
name, but in the name of a multitude of plain co11ntry yentlemni and
m.r,rr:h r:nts, to \Vhon1 h1g opin lous tuut:11li.i~ tl1u iiLurLy u[ the pr e~ ;roulll
probab1y have scctncd str~ngc and dangerous. Vir e Inust suppose·, thPre!orcJ tha.t, ~·lt.h his usual prudence, l1P. refrai11e1.1 frorn givin .~ an cxpos'1-

182

206. The Selection of the Material depends, first, upon
tlue Aim of the composition.
ii. for in~tance, oue'i; suujecL were'' \\Tar, " and his aim wece merely
tlC'l<t-;;;:..[ Exposition, it wouiu Le appropriate for him to explain the
~t!::ds of oM:\ining recruits, of drilling them , of handling arms, of
~~~~ ..~z~t~g tL•-c: t.1po.: :r1phic1l fc:itur cs of 3. b:itt lc -.tlcld, of determining the
1c,,...7 ~-~ :.: :. :r~_~:-:.~~-i . ):;, :1 1~d

of m::i.rching t ro-::);1.:; so :Ls to se ize ~1n '1 l:oh1 tL i;-::..
~~! ~i i;i~ aim v; ~re that of Persuasion. if .he \\·!siled t-0 induce iuen to
o~i.-i:.. ~ so:dlcrs in vi e·w· o r a n~rt·~d;.;11 1:: 1 1 i nyas i0n oi hi s c oun t ry, a :;:iy
.-..; ~..-.' :.~;;:c.:; ju:: t:J :i:t i _111ed , ... ,., ~ :l 1 ! t ".' c ·.tt of place. I nstc::..d cf rr: :~:-­
; I=:-;; :::...:-~ -;-;;-:m:; f:t: \\Uuld do berte!.' to exp1a.in ti~e eme!'g-en cy, tot! \v cH upon
1

:i:::o;

,11 ..,.~;;crs ,

to w:un against delay in preparing to meet them, and to

re~~r.- eY ~ry (~i tizeli
.r,; :-~ ;~ ::.-: ,

of hi:' \_1H t.y in

;:;f co ~:1 t1·y,

~c<. 7::; ,--- f> : ,_:.

1

if 0:1c's

viti.\C

uf t.fit:ni.

.Ag<tluJ itt de8cribi ng

~ !r1 1 Y',-t.::· t: to g i vt.: ~ CO !lCt.:f;tio: 1 o f !~ ~-l ~

1i: tt uL111y n 1t· I i t i on tlie 1i1Jr~-s deiiliCHt:ll Ly t11~~· \Yl!! J au 1._1 its l1 t' I)t11 ~:.t tliffen·nt pc<nt-J , t!1·3 de1i...;ity of s u :- ro:i :1 di~:;:: f . -~(~~::,~nil the height :i.nd re1atiYc pcrpen (lic u1~r1ty of th e Lill...; and
;:<-<;;h lf bis aim were to gi ·c e a cunc• ·pti on of it as a farm, ho·.veyc r ,
}.. -:-~ "5'.'iJ:;~ :I 3. tt J.iH t Li.:; tiettf'.r ~ny n1c:ntioning tlH: (·ffect:; o r tiie river i n
i:-~:;-'-'; ::; ;:: i:s soil , tlie c:Dcl n:.ture of this soil , :md t he kind :.n d extent
c .! ~.!: ~e; et ation, forC>~t~, o r roc:ks fo u nd in i'. ; or, if hls airn 'vere to give
a cu=ception of it to an artist desiring a subject for his brush, he would

Le

\\·\_1H 1· l

~:-;;;, -__: ~i r~·;er

183

tiun of lii.~ o\v·n vi1~\.V8, antl co11t.-1it +-> d hJI!lSf_-'lf v..·ith pnttin.~ into~ nt•:tt;
and p~r~pi('l_l f)tl~ ror!n a rg urnrnt.~ S''t[trrl trJ tlu: cr.'J70J: f ~ :l nf t/1; ~ ;:·(/l'!io m'!ntrzry r11'7j1J rity . ' '

B , So, too, in descriptions of sitn;1.tinn;:; 0:· O\"CI'it~. if nn•' h1• sp•' :tking
of U: c ~~! e nc of J. co:niict bctvrccn th o 11'rcnch a.nd tl18 t;cru1a1i..;; , i11
case his audi cnC1) lh_} 11-·n~. w·h, liH \v ill R\V ;th>·n 1nqn_• int ...•n·~:H if h•_• dwe11
upon tl.:.e f'o:-;itious, lllove1nents, difficnltiP.:'i , n.n11 :t.0.hit~v t·111.-~ n1~ t~f U1 e
F'rt:,Hfh troop:-! an,J officers \Vlth ·whou1 l:i ~ ::u.!.<lic:1cc prqs!nnah!y !::t\.'O r.-:n~c
::.cqu::i.!nt;inco and sy111 paU 1y ; o :·, a.:; : i.~~i, if h e'. 1:.: Si 11·. akii:< ,if t i: :;;1ttr<_'.
cunflict lief on_-., a. pop1J..1,-u~ (P.u/,:(-·n1:c, a1 111 LLt• ·r l_i .. f.)ft.~ a cLt.-..: .. .; in :t
ai:.aclc }/iy, t h e f:1cts u pnn \v hlch 11 .. c1 n d\\"t·11 ill f1r(h·r t ( i ac ( ' ( J11 ~ :n· i1.1 :t t 1_'
l iis pres 1__: 11Lttiun to th e d e _!..;Tt~e:-1 of i 11tc·l 1 i,~en<>-~ \Vi t h rufurcric1.' t(_, n1i l i L~ry

rnameuvres, will in uotll cases lJc different.

208 . As a rule, a hearer or r caclcr may be ;i,chht'S:S l'll 1n CJllC
or all CJf th r ee ways; namely, through informin g the under-

do btlter by dwelling merely upon appearances -the smooth or rUffied
surfaces of its river, its pools or cascades, and the hues of the flowers or
tirees or rocks surrounding it.

standing, through exciting the emotions, or through stimulating the imagination.

207. Again, the selectio n of tlie material dep ends upon

209. The mctl10cl of i nforming the understanding is employed
1nainly, th o ug h 11ot c x clti.siv cl y. ill Ex pos ition .

t:~:· ~'

,t;.ndience to

1J ~.

ad clrt)s .sec1. v.·hrthe r het7,rer.;:; or rcadfrs .

ill11 s tr:ttetl1is~: 11't·joct, qnott_' 5
in 'Y h ic h he reiers .to :1. p~pC r d r :-twn 11!1 hy thn
E00c""! of Commons oi Engl;i.nd. to induce th e House o f Lords to pass
certam resoiutions aireaciy passed by the lower house in favor of tbe
_!:..,,

;;

/:....! <cu: ,l erBai n , in hi:-:. '" J:hetriri c ,"to

f'"O.~;tg~

f:om

~f~C:lU 1 ~y

freedom of the press. "They pointed out,'.' says Macaulay, "concisely,
clearly, forcibly, and sometimes with a grave irony which is not unbecoming. the absurdities and iniquities of the statute which was about to
expire. But all their objections will be found to relate to matters of
detail. On the great question of principle, on the question whether the
liJJerty of unlicensed printing be, on the whole; a blessing or a curse to
r.xid~, not a word is said. The Licensing Act is. condemned, not as a
thing essentially evil, but on account of the petty grievances, the exaciwn.. the job:s, the commercial restrictions, the domiciliary visits, which

lar8, facts ~re introd ncc d :-itf0~·din~ in:!il'id r0! or r0nr-r('!r instr.'.~~ r-r' s ilh~::: ­
trating the genera1 principles rhat n.ro to hr~ t:x:11oundr::11. ]i--tor i nstane:e,
if one be writing of art, he m entions certain prtiutings, statues, builtlings, or poems, etc.; if he be writing of the laws of physical science, he
1

mentions certain properties like motion, inertia, velocity, equilibriqm,
elasticity, polarity, or heat, etc.; if of the laws of the hiiman mind, he
mentions certain functions like consciousness, memory, uuclerstanuing,
feeling, will, etc. This method, applied in connection with tho ge?eral
principle that the material must be selected with a 'view to ~ho audience addressed, c.auses the writer to select in all :Cases facts _the import
of which will be most likely to be understood and appreciated by the
reader.

184

THE WRITER.

THE TREATMENT OF SUBJECTS.

210. The method of exciting the emotions is employed mainly,
though not exclush·ely, in Persuasion.
The end of t h is metho<l is best attaine<l in the degree in which the
writer succeeds in accommodating that which is urged to the principles of
condu!:t in t ho--e a<l<lr cssed. Aside ~rom what i:nay be done in this direction by i nf orm i ng th e understandi ng, the feelings can be influenced
directJv b\· sl 1ow illg the co1mcc t ion between the course a<hocated and
t he p~rs~na.1 pleasure ur pain of th e hear.;:r; or t·~t.ue(·n jt rn 1d tte
satisfac tory e x pression of that natural sympathy for others which
:?.C t u.:ttes, ~r ~h·:t~1 1 , 1 actn:Lte. e\·cry one. Of course, of tbc two m o tives,
th~~ _u:.0 t·1n:·d u n c i s tri c 1o ;v\: r- ; :u:U y t:t- , in 1n:1.::y :-~ pta: ~es . ~:.: : a pp:_~a 1 tu Hi~
1
!~gir !ma t '=' ,
Thus, as an incentiv e to industry, it is appropriate to urge
co nsid.o?rati on _~ of futu:re inde pen<l.euce, ea.t;e,. comfort, ,\-eal t h , an_tl in Hueuce; ur ~ µr c;.·cut.i ;·c.; o! i;;..;ri. V i'U l~iy, it L; appropriate to u.rgtl cvnslJ-

· A. Tho first noteworthy feature with reference to his methods rnav be
indicated by saying that the Homeric representations are all men.tal.
By saying this, it is meant that they show that there is a mind Letween
the phenomena of nature and the account Of them that WC get in tho
poetry-a mind addressing our minds. Not th at this mind distorts the
objects which it has perceived anll describes; the fact is the opposite.
Homer's representations are accurate, yet not like those of a photograph.
Ile suggests his picturo by tolling us about those features of it that li:n-..1
ktil an effect upon him as a thinking hoing, or, what is the sam e thing,
that h e expects will have an effect upon us. \\hat h e t ells us is true
to nature, but n ot, by any means, all th(\ tri1th c011cerni!!!! it. c .. ..t_,;,.
parts oi the scen ea pr c~ un1aLly \Yitnessed ]1;1,v c arr t:s tcJ his at teulio u ,
:i.nr1 f' H g"_;J? ~ tJ) :1 rr1. rt 1i n

~-f~r-1·L

()f

C"'~-: '..!.•: :::::: : y ~-:1 ::. :Jy

21!. T h -::-

thP 111("t.h--.::-" ;ipp.:i ai~n_g to ~y rnp ;--1rthy f••r Dfh;::-rs , th;:.r;; 4ri3
!'h:1-.::..-': ' •w!· t1 1 tr·-.od !r:-ti i:\ p·1t ri n·: f,•: J r:(1r: ti : 7: n•1 r~ -r ~~ ~ 1·<-n...: ,

rn~tho<l

of stimulating the imagination is ernuloved

De s cri p ti :) ns a::.1 Narr ati ve s ; Lu : ~u f. tr J ..~ L l 1 ~..: s. 2 ~11 >.::r :­
b·: '.\::~-·· <1f H!:::;: nti<Y1. intn Y'0 T it l n~:~ th:tt a n ~ dis tir u~ t i,· t~ l y e ~pository
(:~· p.e..z =.u2.Si7t:~ i t i :) cn1:;1 ;0 T:'C'1l :r. lso i n t hr:s r. l:ittrr fo !-rr !~ of Po ~ -

!liJ.tul;-

ill

1)0 '): :.: ~:J :1.

t honzi-rt, by wa.~• o f s u:;~·.:.~ t iu u so a.s t v c ~~u ,je tbe rc:3.t11;;r t o co n ct.: i Ye fur
Li~·:1 .:.:(~ f tL•--:· f~~ll i : n~·nn uf t!t0 ! 1 i c turi'~ t hat t11P wr itt·r dr-:--in · ~ t · i }1a \· (·
1,r€:_:; r·::.} t ,c'. (L !.:;. c·:-1-:.~ c,f t hn la.st r e ~ u1t.;.; of li tera ry a rt. nn<l prrlrap~ the 1nns t
impo::-tan; of the m. I t is a r esult, too, for which a 1!'!,Ze a cq ua inta nce

·with t he products and styles of the foremost writers seems almost in_dispensable. For this r eason, it has been thought that the best way of
indicating h ere th e chief characteristics of the method, is to show how
they are ill ustrcite<l in t lie Wc)rks of one w lio is gen erall y acknowleclge cl
sL..;;_ ~: U ~t

t L..,_- l1e ,1J . 1J·_•t l1 iu tli c urll er of tir n e an (l 0f i11crlt, oi all
llcscrJ1,ti\-t.~ v: ri t Lrs; n ::.111t:ly, II o m c r .
'l' ll e fo1lo v,·in.; is ta k en f r 01n
CL:ip :2 :- :x.:-;::: of l_.)~ ~1 :.-c1on d ' s ·· l ' G•._'t ry :ts ~ 1 -U.' p n·~c nt:ll i \·e _-\rt."

tu

212.

Tl!•.: ::: ·__.-

J-i - "'".- rn~

of ]l,_•;11·_-r

L~t-.,·t_' ~t1y)d

tllc-

t,_· ~t::i

nf c · ·1 1t 11r i ·· _..; i an1l

rfL1 _·:;1_'

J .IJ.~ ~~ , (>:.:'Il .:3'~ ~ (-'~~.--; ;:)-

O i:"

L:..; , TH t! :i::' =:t11:-::e i t i ~ ll!:!.~ 1:!::-l t!-:::-.t:!· ~;: L ~·~:~:~: :1~·: :
L-tt u::. look l:O\.'/ n.t s0n1 -.~ of t.he1n , 1Iere is on e of his a ccount :;
of a i.n::ru, :J..rn1 a.r~o t. hPr of a hon1e tit.•"< ~t :lJ lln t h v•-·r:y s in11·1·: , b ut f. _. ~· t1! !::i
roa.so E; ~ ·- -·O , a d !ni ralily a <l ;.t pteJ to o ur pre:::icni purpose.
th ey

Li\.- c ~-i..r r t: .:. U:o1

111(:!1La.L

"An•1 ft rsC ..:E· ne ~·. ~. with <lefi:int n1icn
1\ n11 J1odding c as q•.H_1 1 st vvd fvn h. ]ft: lt~-·ld l:i.3 :)l 1 i~_:l d
J~efnr 0 h l tn, v,·h ic h ho v; ielded ri ~h t :tll•-1 Li t .
...i\.rHl s hook hi s hr:17'.C'n sp P:lr. "
fl iu rl, n ;"")k _x:..: . : J;r _1 ,-·1u(s Fr ,- n?s.

..:.\. t.L1u;Ltcr of

..:\.c1r.L:;~ 1 L:; , a r:d 1L;

tl \\-t:lt

1Jrd.li1 :; .. :(:-~
Ji'er t i l o i n corn \\'L\re }ti s, :tllll n1 :u1y ro1\-.S

Wit11i11

a n1:1nsL1n fi1L ·d y; ith

i,\-t:J.1tli;

Of trees and vi n es aron!l(l him ; br.c;c 11i.s t! od;:.s,
And great his fame as one expert to wield,
Beyond all other Greeks, the spear in war."
fliad , xiv.: Hr!; an t's Trans.

B. ::\oti cc now , in tho sccorn1 pla c0, th at th cs" rl esrr iptio11s a rc fr agmcnt ar,\· , t he i tcrn s n1 c n tio 11c1l jn th c 1n bt2in.~ ft;\'.-. They p r es e nt u s
i.ri t h jus t su c h i 11ri")1npl 0to .t.:l i 11 1 psc~ :1.~ n11(~ \\·onlcl o1 1:;1in o:· r1 _•r-:.1 1' rn h: r
i n c ircu1 11 :-;r:111ccs in ·w l i kl1 t!it• p ~- - r ~o11 _;.; (Ji " (Jhji·\·t:..: (,:_,--:, _·1 ...-1 d \\·(l 11lr1 f•J: 1n
ll :t r t-.: nf \;t1·:_:: ,·r ~ 1 1;j•'1:·t .-~ c,f l·,, 11;,;_i,lt· !· t! i·· ~. ·,··1ii l ·· ;L ~ 1[ ! 1' ,..;:_\

tL-:::c a:-e rc.-i .~D :.lS v;·I1 y : r ~ c :.- l:a Yc s'..ir vi·.- cd t hc1n.

1--

:

T :1c. cu .:: 1si{_L_':~~ t iu11
which should inte rest us m ost in the present connection, is the fact that
the poems ~·•ere produced by a man who spoke directly from the first
prompt ings of nature; a man upon whom the methods of representation in other arts, and of presentation as used in science and philosophy,
b.ad had the least possible influence. In his works, therefore, b etter than
in any others with which in our day we can become acquainted, we
may study the tendencies of poetry in its most spontaneous and una.dult~rated form.

in f ~r;__: : l • > ' : i f\1 l: i:i L

unc o n:~c io<.~s~y, h c1 s e-1f 1-: L; a rl':l a rr:u! ~e ~ iu \ V:tys Lh:t t arn·:-:.t rnir at t1 •nti n n
;13

-r! e -xt

185

C . Notice, in the third place, that the d escriptions are specific. Of
the few items that are mentioned, we have a very definite account in
the " defiant mien," the " nodding casque," the shaking " shield," _and
"spear," the "mansion filled with wealth," the;" broad fields fertiTe_' in
corn," the "rows of trees," the "vines," the "large flocks," and the
"expert" in wielding" the spear." There is no uncertainty of outline
here, and therefore there is no doubt in the mind of the reader~ as to
whether or not tjle author has taken his i;Iescriptions from nature; The

THE TREATMENT OF SUBJECTS.

THE WRITER.

186

And the jasmine flower in her fair young bren.st
(0, the faiut, sweet smell of tl1at jasmine rlower !)
And the one bird singing alone to his nest;
And the one star over the tower.

whole imv.ressiO'll! conveyed is that he is describing the appearance of
some partllt:'lllar man and homestead, am.l of uo other.

D. No6reaL'6, in tl1e fourth place, that the descriptions, while specific,
also .....,,,.ical. The features spoken or are such a.s to indicate the
a.re · ~,""
11 · h · h
~DUS or krnd of person or thing that .is repre.sented. So fu y is t . IS t e
c:i;;e that tlli:-e few specific items m e11t1oned, like the fe w bold outlmes or
'. ter·
"U""~"'t eyer,"thin"
that tlie ima!!ination
reallv
needs
a. pain
. - ·'-e•u ~'!.
•.,.. . ..,
J
........
...
in ord er t "l ~:?i::e out a complete picture. This fact makes it po:;siule for
~

~_.r...

-i:-~--

I thought of our little quarrels ;nd strife,
And the letter that broucrht me back my rin"·
0
'
And it all seemed then, in°tl1e wctste of life,
Such a very little thing!

~

t i:eui to t.~ ;~·~\:'and <l.efiuit.e, anJ j--..:t Ji~tiHctly r<'.prc:3•":nta.th·c. Tbey do
T"~• ;nplu ;;&» ._, n t h e c;b~ ~cts that 111i:;rht be seen, ail that n1i~ht Oe i1Lott_...

~~!:j ;;,i," t~-..-.; on h· a

For I thou,ght of her ::!!'3\TC bclo\\" th e ldll.
. Wl~k'.1 the sentinel cypress-tre e st:incl s O':cr;
/'"\fH11 ttiought '•\Vere s h e only l i\~iii g :-;tiii,
J ·it'1 "~v I c -1U1tl f(Jr~iv e 11er anr11ovc lier !

At the same time, th ~y are those
~ n ! cn l n- "!~·:.~ ~-~ r~-:--.:Hr'i:;t:~LilCC:S "\Youl d. be llkely to attr:ict any one ·s eye-i t11e~-~~

few of

187

thew.

f;-- ~ ;:n ";.\-i;~..::,2: __ ~::. i:-c~;, -.,..-h:ch ri:1 !~,- , eYPn if en·~ ~:t\V tl:·• Sf"ffJtJ h;:. W·iU:d
lo-= Jike1~.,- -;:~.• ~:-:·.:7: h~.s i !1:prrss:cn1' ",;,· !th refrrcnC"~ t 0 t he ,.,, hole oi it.
~m e ,0 f2j r-:::-¥;\~, ;-:; rr1J.y rcn1c1111.Jc::- th:..:.~ J. G. ilo!!i11t!, i!l tL e \'dJrk
c.-~~>- d •• ·-:: :-::: -'. ~-- 'J' ~~1'1-:: · :1,1 ' >:. J.•<t· '- : · ::: . ~' ,,.- 1:,•n .£: i-..·1ii;!' :u1·.-: 1 _·i~ tn yu::7: .~ u:e:1
! :'.'~~t:!!• li!: :.: ~-- ~~ .-.::; to :~i.~::1 · s· soc< t=: y, ti u('. S :n•Jt Lill th•.:'IH a-tl•:'n~l 1n~-i\~-i1 y t•·)
__!..: v,-}: i,-:--' -,'. ::. :~ ;; ,. 1~;_· tli, · r:1 : '.!~1· C :lti:1t clii.::t"'!l t o r c i,·r n 1nor:ll . 1 f~_, \~·r itf • ·. :
f:- .:--::; til t- ,~: , ·).:--;. \.:i!1t , ;f a 11 i ,111 (1f (1 ;:n1 1 ion-s 1 ·n~ 1', 1l!itL·rs LuH1·r •.:.:: LL.: rnJ.11
r;;1.~ urc , ::-!,.:: :: ::l.d -, ;..;.._ ._.; , tli•· rn tl~I a7:, •n d tn their n•>ek tie :s . 'The tr t:ti t i~,
!?::3.t our- f-:-<~ ~·-~,,_i.-- u f a }H~·r:~..._.:i a l'>~·, 1.y ..; 1ig1its uyuJil so1nc one o :- tv;u
F=--·~:n:nc:-:: f "..:!~ ~.! '2....; ~ t1:-=- t--y~~ ~ . i ip ~ 1 .~ini k•, h;-i11•1, g:-d t , cn;-it, o r l ~ •'.ckt.i e , a s
t!-~.:_;;; ca:..:e r:~_·- 1 -.;.- l,-:-~ \;-L. ich, 1_1y :--t1_i...; n rl_iin :; on r :--ttt (~ riti c n i , c:Lu ....;c s u :.:. t() over},_.. _.\._ t.;\ ~ :-~-~:-- 1 r~..;: r..:::
I:1 f:1ct, ',Y l' al\L1 :; s re: nt>1 11 b c r 1wn1d 1: , ai;1! L (_ -~ ~h •_· :-' ,

1

f

1

'

...\n<l I swc: ~1 r as I t hoa,;ht of her ti1us iu tbLt.L Luur,
.i\!t(1 of Lo ·.'.· , ~ft 1~:r :·t]l i ol11 lL l i ,~ '."i are 1 .. _. < ,

Tii at I s1 n;: Jt t1t~: ~r :i e11 of tl:~!t j :1 .~ n 1ii;;; r;1.Y,\·1"' r
"\ \' hir.:11 :::he u.::;1~r l t i> \'.-C ,tr li1 Lf_ :r L1 ,__. i. <t .
It s rnc]t so faint, ~uul it ~111r· l t ~ n swci_·t ,
It in a.t1e 1no Crt.::op, a 111_1 it J!lt!.1 1 •_! I!ie culd 1
Like tho scent that s t-<11:-:; fro!H ll!~: cnnuUlin:: .-..:i 1eet
\\-here a mununy i_-; half u nr o1l1·(_1.
~

a.n J loca.li ti~, by these si n gle and sin1ple, often very absurd, tLings
wh ich a'!:~ in~t~nt 1y suggest ed 'vhe never o ~r 1uinds recur to tbJ.t f or
w! ,i ch , s.:; ;:,,::: as con cerns our r ecollect ion of it, tltey st:inil . It is nL1inly
this fact. .nth r eference to m emory th at gouert Bulwer-Lytton illustrates

And I turn ed an cl looked: site wa.o; sitting tLcrc,
In a d im box over tlte sta.'.'.c; and <1rest
In tha t muslin dress, witlt that full soft l1a ir,
And th at j:isminc in her Lreast.

in his touclling little poem, "Aux Italiens."

My thinking of her, or the music's strain,
••

Or something which never will be exprest,
Lrought lier back from tho g rcwo a"a in
\\" ith the jasmine in her breast.
"'
'

Il~ul

~ean-i;-h ite

I w:is think in;.; of my first lo,·e
As I had not h<:cn thin kin;:: of :tn;.;ht for years;

1~111

o:-er in:.· eyes there heg~1n to rnovc
that fc:1t. like tears.

~.... ;rri·-!.h in ~

w !::'ell we stood 'neath th e cypress-trees together,
In that lost land, iu that soft clime,
In the crimson e;-ening weather;

Of that muslin dress (for the eve was, hot),
And her warm white neck, in its golden chain,
.And lier full soft 11air, just tied in a knot,
And falling loose again.

But 0, the smell of that jasmine f!ov;cr,
A_TH1 0, that 1n11~ie! fU)11 0 , t!:~ way
'f h:tt voic u r.:111µ- o u t f:·o:n tLl; dunc;:i11 L;-.'.-, :r:

I

Non ti scordar di me,
Non ti scordar di me! "

a.. It is in accordance with the workings of observation and me.inory
illustrated here, that the poet, if he wishes to describe persons or things
precisely as they would be recalled by a narrator in the circumstances, must be careful t.o mention but a few items Jn his representation, and these very specifically, so that they ~l seem to have been

'
188

1'HE WRITER.

seen bv him, and not merely ima:gined. He must choose !hese iwms,
t-00, so ·t h :u they will be characteristic or typical of the whol e nature of
the objects or transactions of which they form parts. He must d well
upon those features which wou!<l naturally attr,u;l the attention of a
spectator and impress him. These principles are so important and so
frequently illustrated in the poetry of Homer, th at, before dismissing
t he subj~t. it. will not be out or place to give several examples of
t h!' m. l'•:it ice eve rything iu tlie following, Lut esµccially th .o italic ized
p b: r--SCS:

"Tl! e h •"lm
(Jf 1ni;:;~iv e Lr.ass \\'as v:ii11 t 'J

st:iy

tl11.'." lJ!o v1:
T ];:; ,., 2 a. p •.: :n µi c r-:::..:d i~ au ·-~ t ti.:. })(H~ i.:\ ;i. n<l st.~i n c tl
Tl.~· L :- . ~~ ll v: ::L Lk,u·1. i: f, ·'. '. :; d Li :1 : nL~Lir ! g C·!l.
Th-? 1nnn:1.n: h ~tri p pf' r1 t1 H· slain, and: l eaving thC' nl
l J.ith t hrir 7.r: hi t r: bn('np1(' h n ir, ,v0nt nn t n ~ l ay
J5us a nJ _-\llt ip11u ~ , Ki ng Pr ia1u';-; sons .='

-v-·

I liad , xi . : Bry,111! 's T ra ns .

•JI'<
. .

•· :.re:1? 1·,\- 11ih·
.-\n t il o(·1 1t:s ~::ai 1 1st l ii _-; Cl i:1ri 1-1tPrr,
:·lyii •_J!l , t! :·.' l •Ll\'t,' ~ '-'L CY'. _-\ty1 11 11 i . 1~ , hu r led
..:\ s:o:1 t ~:::: S!-::10: ! i~s c li ·0w a'.:l h e \\·h el' 1•:1_l
H i~ tir111-pJ. Ct: ·l st et.:J s i n Ili g Lt.
lie tlr01J JJ C1..l t li c r i.:·i n.s ,
1•

1

•

(j! (;(lm ing uith !l' c1r y as they tra iled i n du s t.
_.\ntiloc h u s le aped fo rwa rd, smiti n.g him
Upon ilrn te w ples with his sword. He fell
Gasping amidst th e sand, his head immersed
Up to his shou lders, -for the sand was deep, And there remained till he was beaten down
Before the horses' hoofs."

fliad, v.: Idem.

"And now the mighty speannan, Phyleus' son,
Drew near and smote him with his trenchant lance
Where m e et the head and spine, and.pierced the neck
Beneath the tongue; and forth the weapon came
Between the teeth. He fell, and in the fall
Gnashed with his teeth upon the cold, bright blade."

Iliad;v.: Idem.
"Th eir beloved wives meanwl1ile,
And their young children , stood and watched the walls,
With aged m en among them, while th e youtl1s
~!arched on, with :.'>brs an d Pal l::ls at th eir h f'~ a.
Bot h ·wrou g h t in go1d ,

.:.

,~-it l!

.

.

.• .. ·. , ' . .· ,~~:'~~~~:~;1·i~~(.,~~!.t<.

. THE ' TREAT?.IBNT OF SUBJECTS.

g o11le 11 gannents ::in,

Stately aw.l large i11 form, and over all
Conspicuo us in bright armor, as became
The go<ls ; th e re..;L were o f a u l1urn1,ler size. "
fliad, xviii.: Idem.

189

"Meantime the assembled Greeks
Sat looking where the horses scoured th o 'plain
.And filled the air with dust. Idomeneus,
The lord of Crete, descrieJ the courses first,
For on the height he sat above the crowd .
He hen.rd the chief encouraging his steeds,
.And knew him, and he markeJ before th e rest
A courser, ch cstnut-col1>red, sa 1·c a sp ul
U1io n tl10 middle of th o f ureh e,u l, i1_'71i t e,
And rnunr/ as th ~ f111l m 01J 11. "\nll then J,c s tou1!
Upri ;.d1t, arnl from h is pbc c h'.ir : m~u e J the ( ;ree b ."
Il ia,!. xx ii i.· It em .
b. The following- jg a ve ry <lifforcnt kin 1l of •l esc r ipti un, l>1ll 11 ot icti in
it th e sam e clt a r.1ct e ris t ics- wl i:t t an air o f r•· a l1ty is g i·cen to tl1 u w!t olc1
b y th e Rpcci!icnc s.s with wL ic lt a f i; f f k cit 11rt' c> only , a wl tile .' '' tlti 1 ty piec• l
feature s likely to impress th o spedator, <J.ru 111e 11lion c Ll. Sp nakin g o f
II eca u ie1l t:, i t i.'I s ai 1]:
" F irst Rlir: rlr11w forth <J. Ltl1l• ' fa ir ly wr .. 11cJ 1t,
Of Jii ·li.-;ht ·d s 1ir i:1(· (·, :u1d lr it/1 s i, ·,)-iJ!11 1· f ,- ,_'t,
...i\1 1d on it p l:1c~tl a i 1r~z (_'.ll tr~ty which L o r ~
.li_ thirs t -pr o v oki ng o ni o n, l1oney con1b,
A nll sac rcJ m ea l vf wlt cat . i"' oar th es e s h o se t

A 1101l e beaker wl1i cli th lJ :rnc ie 11t ch id
H a d brought from hom e , em uo:;seJ wi t h s tu Js of gold.
Four were its h<J.ndl es, and each handl e showed
Two golden turtles fee<ling, while Lelow
Two others form ed the base. Anot h er h and
Could scarce have raised that beaker from its place,
But Nestor lifted it with ease. The maid,
Fair as a goddess, mingled Pramnia.n wine,
.And grated o'er it, w it h a rasp of brass,
A goat's-milk cheese, and, sprinkling the white flour
Upon it, bade th e m drink. With this they qu enched
Their parching thirst, and then amused the timo
With pleasant talk. Patroclus to the door
l\Ieautime, a god-like presence, came, and stood.
The old man, as he saw him, instantly
Rose from his princely seat and se ized his hand,
And led'him in and baJ e him s it ; but h e
R e fused th o proffer ed conrtcsy, and said:"
l !iwl, :x i. : I dem .
c . \Villiarn von IIu1nbo1Jt, in his cri t icisn1 of Goe th e 's " 1I c rma nu

and Dorothea," direc ts attention to a similar clrn ract.e ristic i11 t h e paseago in wh id1 Goetlto rna kt:~ h is lt t• 1·0 L1esc:r iLe l1 i,; fi rs t rneel i1 q.; with tho
heroine. Hore :no Hermann':; \von1s ;

190

THE WRITER.

"!'ow my .eyes, as I r:::ade my v;:iy :ilon:; the new street there,
Cnance.I to fall on a wagou, Lui!t" of the Lcaviest timber,
D:rawn bJ a pair or stee rs of the largest stock and stoutest.
By their side a maid with vigorom; step w:i.s walking,
Kolding a Jong staff up io guhie the strong pair onward,
Starting them now, then stopping them, defily did she guide them."
d. One wbo wa;; les5 of an artist, instead or revealing ln a single
glance the sturdy swinging gait and de ftly wielded i;taff, which were
enou12:h to account for the young pe:v;ant's falling in love with Dorothea,
would Lave given us a lengthy description of the color of h er hair and
eyes, th e crook or h er nose, the pout or her . lips, the wl1iteness of her
teeth the number of the dimples on her cheeks, with a minute enumeration' probably of all th e articles of her wearing apparel, .as in the follow.· __ing from" The Lovers of Gudrun,'' by William Morris:
"That spring was she just come to her full height,
Low-bosomed yet she was, .and slim and light,
Y et scarce might she grow fairer from that day;
Gold w ere the locks wherewith the wind did play,
Finer than silk, waved softly like the sea
Aiter a three days' calm, and to her knee
Well-nigh th ey reached; fair were the white hands laid
Upon the door-posts where the dragons played;
Her brow was smooth now, and a sm}le began
To cross her deli cate mouth, the snare of man;
For some thought rose within the heart of her
That made her eyes bright, h er cheeks ruddier
Than was their wont, yet were they delicate
A.a are the changing steps of high he.aven's gate;
Bluer than gray her eyes were, somewhat thin
Her marvellous red lips; round was h er chin,
Cloven and clear wrought; like an ivory tower
Rose up her neck from love's white-veiled bower.
But in such lordly raiment was she clad
.As midst its threads ihe scent of southlands had,
And on its hem the work of such-like h~nds
As d eal with silk and gold in sunny lands.
Too dainty seemed her feet to come anear
The guest-worn threshold-stone. So stood she there,
And rough the world about her iseemed to be,
A rnde heap cast up from the weary sea."
The Earthly Paradi8e.
e. Imagine a man telling a story in natural conversation, and going
into these minute particulars. Imagine him noticing them in the presence of the character described. To conceive of his doing it, is almost
impossible. Therefore the detailing of them imparts an air of unreality

, •.

THE TREATMENT OF SUBJECTS.

191

to the iiarrative, aml for this reasou makes it also uuinteresting. There
is much excellence, however, lll these lines of Morris, aside from that
which is here criticised. To recognize just how uninteresting thi s kind
of description can be, as well M how much less it really tells us about the
persons described than the kind of representation exemplifieJ iu liomer
and in Hermann's glimpse of Dorothea, let us take a passage kss excell ent in other reg;rn]s than that of Morris. It is from Southey's'' Thcil al,a," Ly many co1isiJered his best poem:
"The stranger was an ancient man,
Yet one wh ose green old age
Bore the fair characters of temperate youth ;
Sil much of manhood's strength hi s limbs retained,
It seemed h e· n eeded not th e staff lrn bore .
His beard was long a nd gray and crisp;
Lively his eyes and quick,
And reaching over th em
The large broad eyebrow curled.
His speech was copious, and his winning words
Enrich ed with knowl edge that tho attentive youth
Sat listening with a thirsty joy."
Notice this also:
"Black were his eyes and bright;
The sunny hue of health
Glowed on his tawny cheek;
His lip was darkened by maturing life;
Strong were his shapely limbs, his stature tall,
P eerless among Arabian youths was h e."

Idem .
!. All that is given us in these descriptions might be said of a thousand
men that everybody meets in a lifetime.

E. This passage suggests a fifth characteristic of the H omeric desc riptions, which probably is the underlying and determinin g ca·use of the last
three. It is that th ey are progressive, -the fact that they al"l"l'ays represent what is in motion. They are constructed in fulfilment of that principle of nature first noticed by Lessing in his cel ebrated criticism on
"The Laocoon," in ~ccordance with which words represen t id.eas, feelings,
even ta - whatever it may b e to whiell th 11y give cxp re ~ion -that follow
one another in the order of tim e. In the last passage quoted from Homer
we are not told what Hecamede found on the .table; th e poet ·pictures
the maid in the act of spreading the table and pqtting th e different articles of food on it. So in the following we are not told how Patroelus or
Juno looked when dressed ; but we are told how they dressed themselves.
The successive words in the descriptions are all made to represen.J; successive acts.

THE TREATMENT OF SUBJECTS.

THE WRITER.

192

193

A chosen band of Greeks, who, going forth,
Heaped round it from th e earth a common tomb
For all, and built a wall and lofty towers
Near it,-a bulwark for the fl eet and host.
Aud i n the wall they fitted m ass ive gates,
Through which there passed an ample chariot-way;
And on its outer edge they sank a trencl1, Broad, d eep, -and planted it with pointed stakes.
So hbored through th e night th e l0ng-hairerl Greeks ."
nia.J, vii.: I rion.

" He spake: Patrocl us, then in glittering brass,
Arrayed himself; and first around his thighs
H e put the beautiful greaves, and fastened th em
'With si lver clasps; around his chest he bouml
T he breastplate of the swift fEacides,
With star-like points, and richly ~based; he hung
The sword, with silver studs and blade of brass,
Upon llis shoulders, and with it the shield,
S olid aHtl va.st; upvn hi:; ga ll ~:1 t h c:itl
llt piu.\.:iJ'--1 tLc t:; l v ~·i:.:~ h •_·l111 \'.· i t}1. J;:-1fSt-: h:tir p1G:!i C.
·r t:-i ~ _:--:T :t r:r!::.~ "',-;·:1""t "! f-~·~ h~ g h. 'J\~.n.rn;v~f:.h.·~ ~p~ a.rs
1

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A TT1 1 i :- r l '-'. i ~ d . :-. 11f: . :ti: ! f :·:1 :..:r~u1 t . v.: /1 icl 1, \1,·/1 1·11 t . )u 1·lt 1 \l

"'\'\" it iJ i n .t u ·; ,-· ' .::. f, ~· ;-i:': •-T: f: :-~ ::::: . p :; :-f u: ::ed tfp~- :t !r-

()f P :;. :th :i. n d l F ':l\·i · ! l. \ Yit· ·n t ftu:-: h er :--!i :qw 1y
]L1J L e e!1 ~ n o int cd , :u 1r 1 h ~·r11 :-tn(lS h:l <l cu 1nl1c d

I ~ i 1 -: i 1" -.; , ~Tl d r L' (' (1.-.: , ti t:t t r i 1· Ii l _\' fr i 11~·: • · • l t l 1· · L. u i ~<
tli :t t L ti r- HO \\·in :~ CL lIT1·n t. , ·wt : l" t~ c1111.-; 111 11 \_.d.
'l'iit ~ c c·! 3 an d fi s:1cs, t l 1a !.. \'.· er~~ \ \ . \ • ~ t t t11 .~~ } i , lo
Ji it h r·.r ;·1,:Hl thither thruu~li t1 1u 11l 1_:-.t::..l i l t d 01_..tl.l j
An<l edd ies , L'.n'.! ui-;] tt,.1 i11 tli o !i .:: ry lm ·at l1
Of \ "" u 1can, ll1i ;: h t y ar t l :-; :-in . 'l'l 11· ~ l f 1_' llgt i1

j qr!f i

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l ft:: r t re.;.:;...:·s, ~lH_'. :i. rr: 111.~c t l t lil' l ust ro us c ur} ~,

Ron P. rl h<>r im mo rtal hrow.

A11d uext su e
.:\ r ou n 1i h e r :i n a rn 11r n:-; i~d roUe, the 'vork

tlirew

Of P allas, all its \veli crubroitlered o·er
With form s of rare device. She fastened it
Over the breast with clasps of gold, and then
She passed about h er waist a zone which bore
Fringes an hundred-fold, and in her ears
Sh e l1uHg lier t l1n· e-ge mm e '1 ear-rin g.o;, from wh ose gleam
Sh e "\': u n :in ~i..d .Jc<l grace. J\ r 0 111111l1 t: r1i c :: (1
"l'L C' ,g ~ n ~ 1Tt: ~ ..c:,-. r1 ,·~,..., s:-; d ;-r";">' ~ ti n-.,~l;!~ vt·d .
J~t. !r:.JH.:. i.i!t:: l~vl.! !, h.i.::..J :::l1iHiHg h kt: t L·:· t::-\U • ;
-~ln·t , la.~t. J h 6 rien. t. h ho?-i" bright. whitn lee:. ~in; huu tnl

The shapely sauUai s . Uloriously arra.yc"1
In all u~r on:i::u11t:uts, ehe lc!t li~r 1::-vnor. n

fliarl, xiv.: Idem.
a. So when Homer describes a camp, he connects it with action; we
are told of a process of building or of demolition.
"And ere the morning came, while earth was gray
With twilight, by the funeral pile arose
·

Of tho g reatest ri\·or with e red. "

I!iar/, xxi.: I dem .

c. So a snowstorm seems interesting to him mainly because it is doing
something, a nd can ho used as an illustration of somethin g else that is
doin ,~

soni ething ; P.g.,
" "\ s w111-, n thn thkcs
()f ;.;n O\\.

f:tll thick

Ujl CH1 : L \\ · in t i~· r- \1 ay ,

\\'~h e n ,Ju\' t• t lttJ l') u •..-t" r • · i,'. ~ il 1~ 1•\l r ...;

t L . \ i !I

i'"i.1i·. 1; :~ u u E l ·..: : t \

I iike n.rro,vs, from abo~,· r, ; ~ 1:c- lii "-b th•_I wi n d
I1 n :;i..LLt..: 1il1t ! cuntinu.:lllv L e 1 ; u ~~ :- ::.: t h e:;::. d 1JW !! ;
A nrl covers every mount.ain-top :mil peak,

And flowery mead, and field of fertile tilth,
And sheds them on the havens and th e shores
Of the gray deep; but there the waters bound
The covering of snows,-all .else is white'
Beneath that fast-descending shower of Jove;So thick the shower of stones from either side.
Flew toward the other."
.; Iliad, xii.: Idem.

Look ow at the way in which Homer describes the scenes by which
d. f h __nheroes pass in ftight. How few comparatively are the obsome
o . · 13 d ·n tl,em yet how 5pecifically do t.bev m
• d.
· l
1cat e th e t yp1ca
•
d
1ects nonce · Ih ·n ·the •circumstances one would see
and
remember,
an
features, .w·nI ucin 1the ranid glance that he would have of everything,
·
he
from W h I C ,
r
.
w~uld deri.-e all his impressions.
"'T!:PJ p ~_;.;s.P. d th e :,l Oiiflt of \:-i ~ 'N 1
}•.:d t he w!,,J.-t-e a t•"n !~;-tree , a n ti th e y ran

~~:~e:\~~..~;~~ji~~ 1\t\:;'.~: ~·,:, !::,'.~'~l'~ ~~;~:~:·,~:\ l !•Ch ~Co'. l ~
1

:C

TL>: t«lf"' L\~ r ~p ri!! '.2'5 o f er\dyi n :~ X a u ti :us ri .-:.1_: , --

~~-.~ J~~l~:;,'.;~ ~ ~,:;, ' ,; ~;.ch·C.· e.:,:t~,;,l~.;.il·r· ~.:~'-B ~~;~.·~.) .1 ~!~:. : :;liJ;
_A:. (". ii !"!'i:: il ~- t."'-011

:.l..:::.

L ..i~: J

u:-

d:t\l;_rid • r· .-;

Stru gg lin g t h rou g h c rag s :ilon g :i. narrn \\" p Zl- .'-~ .
r av i11 ~ o' er :1.11 v!1 0w cou rse ,

.t\.nU l o! 'v h ere ,

'l'he ev t ·r - tlu\1,-·ir i ~ t iuu d
I{,0:1rns i n :-t tl 1ous:u_1•l v.·iiir l p•:,,:il:-;.

j r>_ ·.

1 'Lat tl1 _·ir
1

\',':l::: :11·•1 th ,'i r ~'!.li !\i't_:: ;: i; ..; T1··

l\~t tlws~; tlt 1..· y s ·s1·pt , 11:1•' :\ed an 11 O!F~ p ;<r.-;:; ! :!.
:i 1.Jr.'1- ·.,. ~-- i;'...1.:-. f ! !..: ~~ ~ !::·:-::Y!"'"r fnl\ 1!',Vt=-:t1 clos•),
J[i nrf , xx~i .:

_ ~v~;;,· cc:.::Li..-::: v:itlt t11 ·-:;::,•"' t hr fr11~nw i 11C! <l ~=--'c ri ption .

l t ls nnt a l")or

~,·~~s~ 1 .!~ i~~~<l i;t 1:.'.~~i ~~ 1 :~~.~~~~~t\~~ ~::~,~/:':7\'.:~~!~~,i~:tcc;::~~ ;r ~~~!,

'iec 0r ci~~; n-.: on ~ccount of the i r 1:~"}.: of t ho qu:-i.litic~ nc1tlce1l in t11i 1 ~'-'· oi
u -vv y ...... 0. .
Homer tend t-0 interrupt the plot and the interest felt in iLs charac ters.
-- J

Besid~ this, of the many items mentioned here, few are described :With

sufficient specificness to make us feel that they were really perceived,
an d not me rely fa ncied.
It

\ i, · :1<

[,:(n•_1 1prv \r~lic: l 1t. :uP.l ot , ~ cL t n: o r 1r::;t

Tl :• · ~ i.:-i1 ·' " ti.-:i·.:

1:1:;,
P,. n t th e: p r 3t houn<l~ry rose tlistluctly I.r.i.J.rli..L;J.
THl ii Li il' l: ti;~,
~ '' sl c pLn e;: upl:.!..!...!. ·l~ liiti1 1g 1" the

~J'!;(·. :-:.t'. "'\'\f:Ti:'

S llll

The ir vineyards with frt-;sh vtn-dure, '1.nd tht: =h~t·l~

Of aDcient woods, courting the loiterer
To win the easy ascent; stone mountains these,
Desolate rock on rock,
The burdens of the earth,
Whose snowy summits met the morning beam
When night was in the vale, whose feet were fixed
In the world's foundations.

.

,·

fi n pr.-->. 1~ ipi:o;; ·..; 1

carth - ~1i:iki .u .~ ru,Lr C.lli1•.

J,,lke subterr(l.ne:;1n

di_-.t . l,..:1: •_; ._l UJ .'

thu111L:r~ .
'j'}i, -/~r / 1 ••[ :

f. 'J'ho Cn1ln v.- in;; d\\';(_
·.dp tio11J r;i 1; 1i l. t.r ii; ~;1·. : 1 1 ";-;i. J
it 13 n:o:-e s1.1·..:·..:ir: , ~ a:1J :::L ~ ·.· r.

\ ii .•

i'-.,'

~, .· ~}.

c1i ~ 1. r;1.1 ;t(.r , 1 ~ t i h)ri:

in~cr 1 ~·:-::ti1i~. b 1 ·c:i.~.L.; ,_;

" UHwarJ a micl the COI•be 'g:rn l'"tll'
1

;~!~~:7;~:: :~~~·~ s:~ ~1'.\'.~:~ ~~~~i,"ui
~\s

0

Ti ;c·r~ :u~o·sn

roe~~:

~ i' L-nt 1''!!lle~6 a tail;

.·\r~ \ l tf:1·r~ · v.-t·r~· b:-·_·,_1•1 ~:11!U' -t\ ~t 'i!:...;, f.1~r~y v; r tiu,::11 :,
),_: wLi ·:1 :~, t :r: · t'f }" · l (',' 1· ··f··:-,. 111t• ( ; i ,_'c 1-:s
J{a-d Li lld. ~ J u;.__i tl1•.' l ': 1: 11 1 tlt• __· 'J'rc·j ·1n 1Lu; n::-1
..:-~ ·l t/11•!:- f: t !r

Of that fair garden o'er a rocky bed,
Toward the·mountain base
Still full and silent, held its even way.
But farther as they went, its deepening sound
I:°~~e.r ~nd lou.der in the distance rose,
LI..;; u iL iun;e<l Its st re>Ha

~lnn g ~ t.lH~,_"vhoi ;' ~va t.i:_\ r:-\ ;

~ __ . . ._
Ci;· s;;,y,\"!

Silent and calm the river rolled along,
Aud at the verge arrived

'Th ·:: p·-·r fc,:·c1t c-1

.

T::~_.. ,«~7',1: :- :~ \'t: :.::: ±!...!. :::-•i:

195

' THE TREATMENT OF SUBJECTS.

THE WRITER.

194

Le:::: ,

St.: r \·cJ the "\'.·i lJ Ll~ t_:k';-; Lr u\J\1 tu s·,\-·i:::,

Lost i o r a sp ~ c c, th rough t l1 ic:kct...; \· ccri~1;.
But br o:J.dcr ~.·hen :i.g::d.rr :ippc.J.dn ;,
·T:1ll r0f'ks :-i.nil t ufted k11 n1b tlP-·i: f.1.r.1·
Co u! t.l O !l til e tla rk- b lu ci mirror \L tCl';

Arnl fa rther as the hunter s t ray e J,
Still broader sweeps its channels made.
The shaggy mounds no longer stood,
Emerging from entan gl ed wood,
But, "IYa vc -c nci rclccl , sccmc:l to float ,
J,i'.;: ·'

c1.-.;ti~ -, girc1:l~d

Yl·~ L:-,ud ~·:-

\)-itL 1t.-; l ii i 1, d ;
11!·ld .--; t·x:i'.iLl::: -~
;;;

~~ ;·; i:1~,\'.'. '',''.\ ;;;~:. t}\'~i; r ,:'.';,'~';"]
.!\._ !!

}~h.d.~

iR

f1.!i

i11 1",l! l
1

•'',

~ ··-: t- . "

Lady of ihe. Lak.e, L; &vil.
. g. But this is still more interesting, because it represents action that
is closely connected with the plot.
·
"Then did Apollo and the god of sea
Consult together to destroy the wall
By turning on it the resistless might
Of rivers.
nine days against the wall

196

THE WRITER.
He mde their currents rush, while Jupiter
Pe<rrM. constant rain, that fioous rnight ovcrwllcl m
Tine r.i.rup;;.rt; and the go<l wh0 sha.kes the earth,
W1ei.dillg his tri.l.:u•, lcil th e rin::rs .on.
H°" ;J,ung among the billows th e huge Leallls
An lii s tones which; with hard toil, the Greeks bad laid
y,~:-- ~ h~ f·:---nn:la.~iDn~. Thus hr: k•ye.!11.•. t_l a.1 I
p .....~,. the hurrying Hellesµout , J.cstroyeu

LIST OF SUJ;,JECTS.

! :'.w : ~ :k .s 11 tte r1 ~·. a; ;1l t 1 ';1·r..:.1~r . .:~i..d

T :t:-:=: ~~r~g . br:Jad shore 1r\·itL1 s anrl ."

Fi· u.l, xi i. : JJruan t"s

EXPOSITORY AND

Tr an~ .

.N Y.Cr:S:·;JTY

for l 11 ,1 t: !'" ll <10 II t
Tlio11gli t.
Th e Broth e rh'!'1 1 ()i >Lt:i.
Co Lh ic .-:\rc L1 : e cL u ;· r: ;1.-.; :1!1 J:>.::pc:

h _ TL:·~· J · ~-:7=7p1 es t11:1t 3pp1y to t\ir.,<:.~ rr:prescnt:itions of 11ersous an<l
sr•: r: -=' ~ 'i:::; 1: ~ : :.;. :o= ap p Jy ~ 1~o to .conYt.'fS ~ttitlllS in <1rarn~1til..~ r111t·1ns . . .All
11·: : .:·~ ~~ y .:.· ...~-- =-~= ·:i or:~ 0 ~ dcc+:irn:i~o~y 1·:t..;" :t~ ...... ;. t.ha.t. l1a.v1~ uo:.hi11;..: 1'..) tlu
rlir~;etiy -;,=.-i1:.£.. g:.-~ i r~ ; C e 1iH i L .-.:11~.:s~, ' ·11: :r.t( :l·-r 1 arlll i ir .. _:;a:ss t u tLc 1·1ot .
(1,. ·:;- ._.-· : : : :.:___ : ~· ·' jn · •·:- t'..: : nf t L» 1, ,-.. · ! ! ~. <·n i. s i1l•_·r• ·•l ~L..:, a v;1 10'. •_
' . 'Tll c
1
t-:: ._-·: ,,f : ~ . ' ~---- -= --- ~ :1 ; ...: t.: 1·1,1 :1 t L ·.~ L • :-: !1 i..: t i: e :<ll!l· · :1..: t l i: lt o f r :_ : '. 1 f i · -~ 11 ! : r,, ·,,- !1
i ·<" (t ~~ :· · c·.:. :-:- ~ .. of :1 ~< re:un - i t i1npnlt·:-:i t he 1uO Yl 't ll C ll t , ~1 nd TC! H:i ; :-s tL e
·w.1 : , ~ ; ~- ~;;;- -:~ ~=- ~·:3 p :t r t~ n t. 'Tlds is th e chi1_
·f re:lson \vhy th u \ :orks oi the
l1 r;. l :.:-1:i.t : ~: s f· '.: : '.t e a _z: .• o f tho h is t or y u( onr liter:i.tun) cornrnonly calletl
c h~c:-t ? , Ek,;> D ryden, Autliso11, Euwe, J [ome, aml Brp okc, n otwithF-ta.nJ. in 5 ~~.;.;.!:. thJ.t is excellent in t!tPir wri t ing ...; , 11a.v o llOt. b e en aLld to
~tain t::~ :-popnlariry . Ordinary auclienc es do not care to Le prea<.:hed

tl1t;

J~1 · li ;; irni:;

'fit t\ \Yill

Senti-

"\ .c: •·, .
l~ 11ifo rn1 i 1y .

Pa r ti sanship .
Int c r11:<tion:1l A rlii tr:tt ion.
}uuerica11 St:tlcsrn:rnsliip of Today.
Capital and L:dJO r.
l~eligious Inte nsitv.
Europe and R cpuLli cauism .
Fame and Greatness.
Radicalism.
Mental Instincts.

at -in thi > sty~e:
" T_h;?cSe a re a1l virtues of a meaner rankPcrfections that are placed in bones arnl nerves.
A Roman soul is bent on high er views:
T .o ci\-ilize the rude, unpolished world,
.And lay it under the restraint of laws;
To·make man mild and sociable to man;
Tucultivate the wild, licentious savage
With wisdom, discipline, and liberal arts,
The embellishments of life; virtues like these
M3.ke human nature shine, r eform th e soul,
_·idrl/ .~ r..ni.

llH~-~ . ;. ...;,ita.t.ing .:J. SC!iL'j
of ewi:!iit:;~ •~ ~d.asir-::-d , a;:; is- oit--e-u t-lie c~L-;: . 1_'. ) e.-->11ecia;l_y in F '" ';:,- 1 1 u L1c·:..;cr.·iU:_·
in Qetaii an e:tjcct in space and its exact ourroundings, tll(~ cfT eets of
progress a n d movement arc much icss important. At the sama time,
even in such cases, progress in the sense of an indication of the order of
observation, 1iS explained in § 20-2, is essential to hold the interest of the
rea.:der, and th.115 to in.sum tho highest success.
r C' f Cf("Ut_' ("I

to

rl' h t ~ PtH~t ry

ft S t(ff _y

I

C11". t_· r- ii-

' ·

.

1

T\11: lnflll c'll Ct: .,[A:.: ,, "" l'c--c lrY .

i>I o li:t1111U C<l :tll tl his.J: c: l i ~'.u: L .

~Int cllc sti,i:..tl '.1Lt11ho ucl. .
,j

iJ-1..tn~

The Spirit of ltevolt ill Lit c'rtture.
The Greek \\.. orship of Hunnnity.
P e rsonality in La~v-

~~~i;f;;!lll~~;ea
!lil+~io~-u~.

11> oefry~

'I
Forgotten ·Heroes.
Life at High Press ure.
Scholarship and Originality.
The 1\[orlcr11 Soc i;d P:111a cc·:1.
American Lif e a,; a Theme' of Tm:L .~i1i:1ti 1. · c I.i t t'Lltllr L'.

'J'h L' Etl1~c:11 }_'.lc~ncnt in ti~e Fin•;
~-\rt:-;.

1.::q1eri t: 11 ce a :-:; :L T i.: .t c 1wr.

i.. 0 .i C·:~~:-5Z, When, "\Yitll.OUt

.

SuLj.· <.:t tu

110 '.»- t·r of ::-; :t r. < r1~ o \· 1· r ) Ii: :,_:.
'l'!i r· J () we r ( if Fp it hi· t:-: .
'f!t e \\~o r.--;1 1i p 1-_)f tl1 1; 1).1 ..:t.

Partial Truths.
Success conditioned upon Law.
German Influence in Literature.
Public Treatment of Public l\fcn. ·
Lit erature a s a Soc i:tl Force.
"T heir \Yorks do f.,]\ow Them."
Life an Art.

.tin.J 'ur e ~\ k our fierc ~ L ~1rb~ri~1ns into 1n e r1."

a-.;

T i ,. S •; cret 1-'· ·rc" t>f l : >'. ·• :: •
Ti: ·· 11'. t· ·r.u·\· .\l :L!l (1 '. \. ! . · ' )'.

1·' !" ' ' I : '_l ' / ~ I ' . '

1h ·f1H·u1liy i11

Jlril!ci 1 11·~'.

To'.>:trcl tli" Li.:.:lit.

111e 11t .

1

Cato, i. 4:

' 1']11 } Pllil1..l.-;opliy of

1

Jl (' llt of

PERSUASIVE.

Sc ie nce.·
l'"c;,~til thu Ba.::!i::; 0£ L~ i·-~ ;~ll.s .
J;Ienta.1 Culture:.

' Philos ophy in Hn111 o r.

o[

1l Lc

Siicnt Forces.
l\Iau, not :Men.
Cromwell the Champion of Protes tan tism.
Old Times and New.
!/~re Beyond.

197

Fcd~r.t~

lds..: ;i.

itt l i i~~ ·- •:-';,

D0n1vcrucy n.iid Soci:il Disv-r--Jcr:.;.
l'oc tic Treatment o f K~turo in
Literature.
Realism in .l\fodern Fiction.
Lost and Surviving Hellenism.
The Ethics of G eorge Eliot. ·
L eg islation au<l the Louby.

.

:i.':.· ;. . . . .. .

198

THE WHITER.

L;.;;r :he Interpreter of Truth .

'r4ie L•oiu;.ion uf L:i!Jor.
£;.hiL..:s C.(. r.su .s _:E.::t. l!~t i cs .

{::VJ.C'Jf..;ttace in Public Life.
l..,.fui-ek:.y and Sce!Jticisw .
T'"ne Contribution of Christi:rnity
• 11:0 Engiish J urispruden c.:,
P.;-~e= of th e :'.\inetecnth Cen't:L..-: .
WU.-at Pl1ilantliropy owes t o Chris-

tianity.
Assassina tion as a Political
""eapon .
'Jl1e Fanatic and the States man.
D.111..,.erous T ende ncies in Ameri~ Kational Life .
Lor.alt> to Dutv.
Tl;e ll-;,bility of Am e rican Society.
The: "\\orth of :Memorials.

The Doctrine of a Future State as
taught by the Classic ' Vriters.
England's Rul e in the East.
The Quaker in Ame rica. T he Influence of Rivers upon
History.
Pessimism and Optimism in Literature.
The Temperance Question in P olitics.
The P..eligious Element in the
History of th e Drama.
The Spain of th e Sixteenth Century.
English and Am erican Philanthropists.
The French Literature of the
· Second Empire.
Memory ill" Education.
C irilization and Chemistry.
erican Judiciary.
f the Jury System .
I\ ooernc Inventions as r elated to
Human Happiness.
P artisan History.

Tl 1e lJ n rest of the l\ ge, as expressed
in its Pm•try.
Tl: c r: c,·iv al of Greek Learn in;; in
,\.esteni Europe.
T ile :'-!oral D an;;ers o f a Com m ercial Lifo.
Astrolo~.

The 1'\o\·el as a Dida.dic Agc11 cy.
T he Caprices of Fa.sh ion.
Journalism as a Profession.
Habits of Observation.
T lie Iconoclasm of l\lode rn History.
The Stoic Ideal of Cl1aracter.
Impulse and Principl e.
Characteristics of the Scientific
l\lincL
Illiteracy as a foe to Civilization.
Independence a factor in the For.
mation of Charact~r.
The Limits of Toleration.
The State and the Convict.
The Comedy of Circumstance.
Stoicism and Christianity.
The Christian Elem e nt in Patriotism.
Historical Parallels.
Civil Libe rty the result of Restraint.
The Field for the Scholar.
The Conservative Influence of the
Legal Profession.
Th e Rhetoric of the Bible.
Egyptian and American Civilization.
Literature as a hindrance to Freedom of Thought.
Music and R eligious Worship.
Man's Duty to the Brute.
The Political Campaign as an Educator.
Types of Hebraism and Helle11ism.
God in the Constitution.
Vo:i: P opuli, Vo:i: Dei .
The" Machine" in Politics.
The Ideal Element in Life.
The Meaning of American lii:>tory.
Harmful Sympathy.
Litera~y Criticism.

LIST OF SUBJECTS.
Greek Lyric Poetry.
The Modern Elegy.
'l'he Fable.
The H imloo Epic.
"A Free, Creative A ctiv it y is tho
True Fuuctiou of .Mau:"
The Social State in th e Heroic
Age.
Ecce ntri citi es of Gcllius.
The Bacon-Shakespea r Theory.
The Present Foreign Policy of
France .
·
The Future Bas is of our Banking
System.
The Study of Local History.
hak espear.
, manitananism .
The Ancient and th e· Mod e rn Jew.
Tho True Office of Cdticism.
Gardening as onc of tho Fine Arts.
The Temple and tl1 0 Cathedral.
Versatility.
Common Superstition s.
The N ecessity and th o .Abuses of
Party Spirit.
Physica l Science and Mode rn Civilization.
Evolution and Theism.
Science and Credulity.
Economics versus Ethics.
The R elation of Education and
Morality.
The English Republicans of the
Eig hteenth Century.
The R elation of Physical and M ental Culture.
Retribution as delin eated in English and American Fiction.
English Translat ions of the Bible.
Russia's Problem.
Fate and Providence in Literature.
Shakes pear's E sHmate of Greatness.
The Weakness and Strength of the
U . S. Constitution.
The Heroism of th e Naturalist.
The Necessity of Belief.
The Littleness of Greatness.
Modern Civilization.

Christianity injure<l Ly its Frieuds.
Cynicism.
The (+reek Revol11tion of tJ,., );°in,;teenth Ce11tury .
The Dignity of Tr:1dt>.
Hero \Yor,;hip.
Indepeudcn cc in l'olitics.
Civilization m oditie,l liy Clinute.
The ~[i ssio n of a l'olit ic:1l Pcuty.
Tho N cw Fcutlc\J i~11L
The Puritan Idea th e h ope of 8<>ciety.
Social Revolt.
Hori zons .
Dreamers.
Tho Influence of Matter over
J\Iind.
The Influen ce of Roman Law.
The Practicality of Idealism.
Ancient and l\Iodern 'Varfare.
Tho Philosophy of the Strong.
Tho Fall of th e ::IIyth.
l\Ioderu Delusions.
The Over-estimate of R eputation.
Tendencies of th e Present.
The Engl ish L ang uage.
The l\! agnctic T el egraph.
The Mi ssionary Enterprise.
The Power of l\Iusic.
The Effects of 'Var.
Mental R efin eme nt.
Value of H ealth .
Power of H eat.
Military Ambition.
En~lrn s iasm.

The Invention and Use of Steamp owe r.
Moral Courage.
Ancient and M ode rn Oratory.
The Importan ce of restrai nin g the
Passions.
The Power and Abuses of Faith.
The Effects of Labor.
A R e publican Form of Gov ernm ent.
New England aud Old England.
Effects of th e Discovery of Am erica.

201

LIST OF SUBJECTS.
THE WRITER.

200

Refsm Schools: their Character
:and Usefulness.

Tille )laguetic ?'" eedle and the
B ible.
T r.ie.Telescope and the :Microscope.
T !O:e Slavery of Evil Habits.

vr :~ -~

P=:-~..==--;.;.L~

'T ..-' --'

E :~.;;~;~, ~ ~ T '! " ;; 'r ·~':-1· ·
~. ;

..

.-

~· ~

~ ---~ · :· ~ :i.~~ r~ F:..! H ~; , 1 1
l!::!:';;-~~ rir1 ~ c~ !

,..fhc .h....m e ri c3. n Civil \\""fl.r oi 18G1.
'Th<> H"f!innin l! o[ 1\Iormonism.

.,

~

'"·':" ·",°'.: 1) :~ ".";~ ~·v:::~~~ ~ ~ :,.--,"' ~'! :• · :-·:·-·:""_ !'~'!" 0 ~­
tOr. or \\"' cbs~cr '.!
I s thl; Se1bi.; o[ :Sight of l l i V-i"l:- V aiu ;:

,"":", .iii'ip3."i"i:\.; .

t.:~,1-

:~~ t:x _

4- •...; <_'>. '._'. i:.::... ;_.J_ - ...... -·

· ~·
. .
, ..
·1 · .
( J.::~~ - -::': ; "}'-,~ : · : :L.: :1 :1 - . ~ ~ " · 1);
•\ •1
t---;-·.,.,'.-"> ;_ .... : .... r.1: iJ. c ~ '. ::..'.l~ icy L~\'S , ,

CO L<:· ,1 ·;; •_' .

C_' 1_1

:!l !li ; r c· ·

of tl»: fr a 1ncr:; o f t l1+:0 Cu1;~ti ­
tutio11?
\\'a.' tl 1c Intiucnrc nf the '\' ri ti ng ~

Of

t:re :t t•.'. r Gc-.)\1 u; I>.- ii·:
I ~ th ~ Civi : ized prefcn\,1c to th e
5;±vage E--ta~ ...:- ·/
~~:the

r..;2ht of Snffra-gc in ~
- R epuhEc to he limited by an
£-Oucatioual l'rovisiou "?

}'L i •

~

;tt

P ! y ! Lt_• :;~ ! :

...~-~ ....

D;;:~c..:~;;:;::,
trq 11 11 f

'1r~e

T :-i:il, :t!:'-1

1

TT·· .

'fl! lj 1~iv. · r 1\ nL17. .") ;~ ;

t! ~ 2

~'i l:~s ::: ­

sippi; th•: J 1,11111iie.
C:1.~,~ l ! :t n f:.;: :t: i! 1e l),
I~:the. Su1•er;ur .

: l11

s, . ,1,:

'i'l1e { 'i l \- uf f,f i·xico; tL.-· City o f
1 \ ·~~;: : tl 1·_· ( ' ity (\f _ \~' --·1.~: P :0
c:~:. u~ \\':t..,! : :l!~: ..•n .

ti ·

,ll \\.i);·1,... ;; , __· . . .
• • . ,.
1·r1itc i1 S::tty ~; G 11\ ·1· r : :!:P · nt i11
a1 ~ i_' 1•rd:1111? " with th.+· ,11':~i-~n~

nf Tl:nrna~ C a r l \·} 1• or of (ieor~c

E li<>t th•' gr e:1te-r upc•ll Tlioug.h t

and Life?
ls the Policy of tlte A11 1eri.ccan Gm·er111nen-t0 in respect to the l'uU-

"\ l;o;1r::r>· }:" ,,\

T !1" (~r· · :tt :\ 111.·r;i~;Ln l >:..; _--.:,::- t.

...:\ l ~;"l i 11 iJ1)"1 \ " .

'J' j p_•

"\ S ton n at S··:c .
A \\"a te rfa ll.
A Th111i.ler S tor m.
_\ Tn •pir,1 1 Forest.
Twi li.,:;h t.

The \\"hitc >Iount :iins.
Tl1r, Cu\f of .:>lcxico.
1: 1_· l'. c . , c '. l 1r· -1!i--:tnr ie

1\_

Count ry S t 1i1·l._

~\.

guincd ;\lill.

A l lescrterl Honse.
An Olcl-fasl1i o nctl E:itcl1 en .
An Old Grnv e yarcl.

lic Lamb, wi :;e?

An Art Gallery.
A Museum.
A Country Church.
The Abode of Poverty.

?-l i .. .; ...,i :-.· ~i111ii \" :tllc y.
T'l 1n }"'; ~11-.: <i f ?\. 1:l .~ :1r :i..

'\f1 ·11 ' ln

..-\ ]Jl !'f i(';l..

(hk -trce .-;.
A Hi vc of IIo:ir·y-bePs .
Be:.vers arnl their Custonio; .

Ancient lhbylon .
A Ship of \Y<tr.
A Steam En gi ne.
The Pyramids.
The Seven Wond ers o! th e Ancient
World.

The Discussion b etween Hayne

at the Diet o[ \\orms.
'JiL£ ~lirln i ;::i . t Wat c h of Coliunlrns.
'Jfr:-.c~ I >iscn-:.: r_..ry of _;-\Ill1'.rit _': t by c(~
1

•

( >·'1 -:l:l l)ict1lri .. .:. .

DESCRIPTIVE AND NARRATIVE .

c f tl i e ]'ilgri1n ...;

\ [ n·1

.-\ S:10 ·:; S t:C ll !_: .

L ~ ~L~::: :-

y~.-f.. 1>·b did -;.; . t· 11: 11< f·.)r ii1 .. .; C\_):i.ii t~·y, Fra:r."k1in u~· \\. ;l:=;l:in g ton ·;l

l!1mb ~ _:: .

th;.; l: c puUlican J';1rty .

A \V inter 1:-1 i;.:ltt.
Yir-w from a H ili -tn p.
_.\ J~;ti1iy 1 1:1:; ii 1 tiie t'\.J llntr,-,,·.

1

.-\ ;-:._: t L··

'Ii.._::; L~ n d.:..:2 .2:

o[

An Ocean Steamer.
A Castle.
The Old Garret.
A Prison.
A Factory.
· A Blacksmith Shop.
A Library.
;.1ount \ es uviit...;; ~Iv < • •~ ~ ..-Et:.:.!..

T·t;r-

lJ0 ::).--:·.- ~~e ~:1 L u:• ~ !~~-·- ::;.:: '..:~-=: ;t FLI>
htg1tt tu li!~-"I :S•,d I
! ;.; tl r" \\.nrld ~ilY '."11 1 r ! n'? i,.: "\f1·n t:11
:1;:d )!c;::-.:..1 Cli.L:·.L c l l_·r .'
\V!:1r·h t.:f;n ·_t1•i. t;. ; 1· {~ 11\'1· )~ :·~7--J tt r f:-

~- ~;..: :-r
·.,.1.:,,.,. ...
t_i ~·-· ._\:(·:· >L:. :
;: .. a:-' 11i n.:_ · r1 :~ t-:· -;\; lt1u ~ t..", ) ;:'.'

1-f~_,~ \\ ar·.;. 11C2ll rr 0Ju·~tlYO

Tb c I!.i.'>e

t•} ~t ~n t ! i:ui ih:t!.. of H::;;.ri!l~?

\\, .ii tr~~· } ':._._~- ,,:' :; .·!._, , . L)~ _-\ 1.:_ _-., \ :.!. ~ · :
~:.! l" ;1 ~-: - ·l ;S~ . ~ : t• . .:. cf _-\1: 1t:r>_·.c

.--~

"'1

• ~ r~· i

....

..:\=:nc u1 tt!r:d

The Life as illustrating the Character of Socrates; of Lord Bacon ; of George Washiugton;
of Milton; of Cowper; or Byron, etc.
The Destruction of Pompeii.
The Earthquake at Lisbon in 17:;:;.

fa a Hilly and Mountainous Country prderable to one that is
level?
Have we reason to expect as Great
Improvements in the Useful
Arts duringt he next hundred
yearsn as during the •nast hun-

and \\'cLst e r in tl1 c
Senate.

~\m e ri c:c n

'!'lit : S:1 lc 111 \\ .itc11cr.1ft .

Tl11· ~ :o n· (Jf t h . ; '' _\f,-..:rc1J.:--,:1t

uf

\TeI-:1Ce . n

Ex·_· i~·+. t -

Burr.

>Ltj;,r ..:\n ,\n:· .

Pa-ssa.ze of the l)eciaration oi
independence, in lllo.

The Battle o! Waterloo; of Bnnlter Hill; of Gettysburg; of
Navarino, of New Orleans, of
Marathon, etc.

The Death and Funeral of Abraham Lincoln.
The Burning of Moscow.

Tl 1 ~

Great Cl1il:agu Fire;.
The Legend of l{ip V a n Winkle.
The War of 1812.
The First Railway.
The First Steamboat.
The Shooting of President Garfield.
The Bridging of the East River.

•

I
i

\_

··-

-- ~

INDEX.

llletre , 30.
M(>taphor, %, Iii; Ust>s of 99-101 ·
Fault; of, 81 -S.1, 10:\-108. '
'
Metonymy 96, llt>-11\l; t:scs of, 11s ·
Compound, 118, 11\1.
'
Jlfigltt nnd Jlfay, 6-:'.
l\.1 011o t o 111v, '..!i, 51.
0

·

J.fost and A/111 ost, 6B.

Accest. 3. :.?>. 3i, 40, H.
A d jed:ia, t;re of , 9, 59, 61, 69, 9'.!,
D8,

Adn :d1. t:";e of, IO, !I"!, 138.
Aim. of S...b~ct , JS'.!.

Allegmy. !i6. 10 1, 115.
Alli it~. 15i-!61.
.,{i.mllt, I:!.
Allu,,oi.U!l, ~. 115 , llG.
.A.nmlp;liof :;ubject.; , lil-180.
An~46 .

A ~. IH.
.Ap~D,9,129.
.A ~;.5.&"l.
.Az~nt of Word>,

6, 7; fo r C le !lr-

Dek'!,,8-17, 86- '.lO ; fo r Force , 135-Hi ;
fa:r Qlllllity , 154-166; for Rhythm,
l6-ff
Artiidf. The, 9, 59.
.AS1!:~9 , 96, 116, 162.
A !!lO~. 156-161.
Au~.te2.

.Auto
113h, 116.
.Auxi!:lly. Use of, 10, 60, 91.
Aw\kT.L""'1!l:eH in Arrangement, 3&-10.
B~ti-!S.

B amttt-. :!l_
B~aa. :;J.-55.
lbthM,,Ui.
Bo:ma.<t.. 73, H .
B remy in W o rd> ·and S en tence» 17;
liiD>Jlar:, ;o.
B "J'S%lt. \Y". C . , bi3 pro;;crib edWord >,5G.
By, h-i14. and through, 69.
~.Rhyt hmic, 41.
0:1a au:r.d may, 68.
Cilia~ in liovement, 26-33 .
C~x Inflection, 5, 120.
c~. so.

CMmsx. 1!2-H7; Reverse , IH-H7.

COl!DXUect.3, 5-1, 71, 78, i9,81,b'2 ,1 3I,IH.
~:ulion , 2, 82, S.1, 96, 116.
ColKCw"ion of a Prod uctio n, 167-169 .

em.rur.so.
C jla!lldloru, 62, 92.

CoollrlEt. 2, 46 .
Coedll,.6
Co!i~!, Poetic, 44, 45 .
Ddiaoey of Effect, 71.
~tr:itive Subj ects, 166, 167, 170.
DBc:riptiYe Subjects and Style, IGO, IG7,
w. ~. 181-196.
Di~cy,70.
! of Subjects, 171-180.
D~ Descriptions, 196.
~ Enlc1dre, 120.

on-···

Eillu:r. or, 12, 6?.
E!abw:l!ioo, 93.
t:t!ir.sll. 93.
Emiiti9m, Exciting the, 184.

E mpbasl>, :i, 4.
Ensil age, 65.
l::pigran1, 1~2 .
Equirncacy, 6, 52, J:!Q-1 '.!5.
Euph e mism, 71.
Euph o nic, 154-156.
Euphuisru, .J59.
l-~x:i ~gc ratio1!·. 130•

I·.xc1te ment, /ti.
Excl:unution, 123 .
Exclu sion in Treating a Theme, l f.9.
Exposition in Treating 11 Th e mt: 167,
liO, 182, 183, IH.
'
Extended Expressions, 17.
Extriwag1rnce, Unintention a l, 72 .
F eelin i;. Expres sion of, B7, 150, 151.
Feet , I oetic, 36, :J7.
Fi ctio n, 5-l .
Figurative Language, S.1 , 96-120.
Foreign Expressions, 5-1.
F orce , 3, 6, lti - 1-17.
Framewo rk, 171, 181.
Ge nder as influencing Refe r e nce, 87.
Gestures, I.
Grave Expressio ns, 81.
Grouping, 3, 8-16.
Hig h, Th e , Expressive of, 81.
Home r, Descriptive Me thods of, 184196.
Humor, 30, i9, 82, 83. (S ee Comic.)
Hype rbole , ii-79, 96; R eve rse H ., 71.
I deal Move m ent, 3'.!.
If nn1l 'l'hough, 69 .
Ill egitimat e Words , 5!.
Illu st rating, 96.
Jma ginntion, 77, 96; Addressing, 184.
Imit11tion, 3, 4, 18-:!:l, 50, 51, 127, H S. ·
Inn deq n:icy, iO.
In clu sion , in Tr eatin~ a Th e me, 169.
Inflections, 5, 52 ; Circumfle x IW.
Initial Me tre, 36; Position in'Sentence,
136, 137.
Innue nd o, 12-1.
In sinuation , 123.
Int errogation, 121.
Introdur.tion to n Subject, 167-169.
Im·e ution, 172.
Irony, 12!.
.
Key, 4, 5,.50-52.
Libo tes , 7-1.
Lin es , Poetic, 41, 45.
Loculis ms, 81.
Low Expressions, 81.
Long Words and Sente nces, 2'.l-24, 2830, 32.
J..oose Sentences, 43, 140-142.
May, .Might, 68.
Meanings of ·words conn ect ed with
Quality, 150.
Measures, POletic, 36, 37.
·

20'.l

1'fove1nt'ut, 4. 1i-:Y.!.
.1\nrra1i1·c <:itJlc, It.ii, 170, 171, JS:?, IS4l~).

/\!"eith er , 1u.n·, J:! , fi'2.
N oun Hqu·llt<·<I , 91.
Numbe r, Influ e ncing R e fe rence 87.
Ob solete Expressions, 55.
'
Obsolesce nt, 55 .
Omi <s lon, a ~ nu Element of Force, J.30.
011/y, II, 12.
Ord"r In Arrnnge ment of Sentences
l:\5-H7; In Presentation nnd De'.
scrlption, Iii. (See Grouping.)
Outline, 171.
l'arndox, 122.
l'aragruph, 16; Arrang ement of, 137.
l'aralleltsm, Poe tic, 44; Ithetoric nl,
47.
Parall el Structure, 31.
l'Rren thcs ls, 00.
Pau ses, 3J. 8 ; In Rhythm, 43-47 .
l'eriodic ;:, e ntence , 139.
Person, a s Influencing Refe re nce 87 .
Personificatlon, 96, I12-116; Re~erse ,
96, 115.
Persu as ion, 167, 170, 182, 18! .
Pitch, 3, 4, 50-52.
Pleonasm, 132.
Poe tic Effects, 53, 77, 83, 131; Word»
151-154.
Poetry, :J6, 39, H, 45, 55.
Possessi ve Case, 59:
Preci sion, 67, 80.
Pre positions, 62, 9'!; List of, following
Ce rtain 'Vord;, 63; Separate from
object, II.
Pre positional Phrases , 129, 138.
Pronoun s, 60, !H.
Propos ition, The, IU9, liO.
Propriety, 80.
l'rosaic Wor<h, 151-15-1.
Pun, 123.
·
Punctuation l\!arks, I, 8.
l'urity, 53-57, 80.
Quality, 3, 7, H7-1&6.
Rapid .Movem e ut, 18-:?2, 27, 32.
R e:iders, ns d e t e rmining Trea tm e nt of
'l'he m c, 182.
R edundancy, 131.
R e fe re nce, 6, 52, tid-120.
Regularity of lll ovem e nt, 31, 39, 40.
Helativca, 87, 91.
R elevancy, 6, 52-85, l~O .
R e pe tition for Clcnrnes s , 69, 91-!l~; for
Connection of Sc11tences, 87-00;
for Emph ~1 s is, 155-IU5; 'Vrong U se
of, 162, 163.
R e ve rse-Climax, IH-147; Hype rbole,
71; Climax, 1H-H7.
Rhythm, 4. 36-48, 1 ~2 , H2.
Rhymes, 157, 15()..161.
Sarc.-ism, 12!.

Sati re, 1~"1.
~t-. h·ctinn o f

\Yard.: 6, 7, 1~7-t:'..), H74'
l 10-11'2; On.lt>r in
Arra11.gl~111e 11t ,
13.5-B 7; P t:' ri odic,
1 3 ~; l 111t1· of, IT!.
Scntc 11 ces , C;.ldt·ticL' in, -! l; C n 11nectio11
15:J.
Scntc11ct:,

Loo.; t.' i

ln·t~v~en, -! l, ~=- -'.fO, ~ n ; ('o nt:rt'fr,
Dd1111tt·, l'a rtil' 1ilar , ~11 g~ t·~t i Ye
l :J:!, l:):J; Sh o rt, :!O , '..!:!, :.!.~, :·t!, 1:.~l '.
L ong-, 2:~, :.>"9, :l:.!; l · riifor111 1. ~ nC7t
l1
0
1

30, :n.

•

~rr iou :o: Exprt-o ~:-: i 0 11 "' ~I.

Separario11 of "·oni;.
Shall, Will, GS.

\Sec Group ing .)

~hort \Vord s und S c nt l"UCe5, 1 8-2'~, 27,

:J:!, 40.

Sh ou ld, Jro 11/d, f'"·
8ignilicn11cc of Word s, 12S, 150. (Sec
Word s.)
S imile, 7i; Fault~ of, 8 1-s3 , 103-JOS·
U ses or, %-9!l .
'
Skeleton of Subj ect, 171-181.
Slang, 53.
Soleci sm, 58-65.
8ub)ect, separated fr om Predi cate 9 ·
f e rmin al l'o ; iti on in Sen te nce , fa.<
Subj ec ts , li:ind s of, JM; Treatme nt of,
l f>ll-1%.
~ u gg.es ti v;'_Sent e n ccs, 133 ; W o rd ; , 1 ~8.
SuUl1me , 1<:> .
Symbols, \\"ords a s, l, 2, 120.
Sy necdoch e, 96, 117.
Syno11ymes, 67--0'), 73.
Tautology, 130.
,
Technical T e rm s, 5-l .
T e nses, ·wron g ly used t oge th e r, 60.
Terminal Metre, 36; l'os 1tion i n Sentence, 131:$-IH .
Tim e , Element of, 3, 8--18.
Titles, Extravagant Use of, i2.
That and which, W.
Though and if, 6Y.
Through, b-y, and 1cith, 69.
Trifling Expressio ns, 31.
Trope, 00, 117.
~
Unde rstandin g , as addressed, IS.3.
Undignified Express ion s, 81.
U ni versal a n d L ocnl Truth s, 81.
Unity of Sente nce, 13:?.
Usn~e , Good, 58.
Yanety, 2!>-3:? , 5:?. ,
.
Verbs, 60, 61, 91, 138; S eparat ed from
Auxilia r y , IO.
V e rbosi ty, 130.
Y erse , 36.
Ve rsification, 167.
Wh ether , 11o t ; 63 .
Whi ch, that, 60.
Who, that, 60.
JVill, shall, 68.
With, b-y, through, 6\l.
\\'ords .. Arrange ment for Clearne;;s,
8-17, 86-00; for Force, J:l5-H7; f o:
Quality, 154--166; fo r 1{)1ythm, 36-·
48 ; Concre t e, Definite, Figurati\"e,
Particular, Picturesque, S uggest ive, 128 ; Selection for Cl e nrness. 6771; for Force, 127-1 35; for Quality,
H7-15i. .
-

