News from Ghent to Aix, Evelyn Hope, Home Thoughts From Abroad, Home
Thoughts from the Sea, Incident of the French Camp, The Boy and the
Angel, One Word More, Hervé Riel, Pheidippides. III.
Bryant’s Translation of the Iliad and Odyssey (selections). I, II.
Burrough’s Birds and Bees, Sharp Eyes, A Bunch of Herbs, etc. I, II.
Burke’s Conciliation With America. IV.
Carlyle’s Essay on Burns. III, IV.
Carlyle’s Heroes and Hero Worship. III, IV.
Chaucer’s Prologue. III.
Coleridge’s Ancient Mariner. II, III.
Cooper’s Last of the Mohicans. II, III.
De Quincey’s Joan of Arc, and The English Mail Coach. III, IV.
Dickens’ Tale of Two Cities. II, IV.
Dickens’ Christmas Carol. I.
Emerson’s Essays (selected). III, IV.
Franklin’s Autobiography. I, II, III.
Mrs. Gaskell’s Cranford. III, IV.
George Eliot’s Silas Marner. IV.
Goldsmith’s The Deserted Village. II, III.
Goldsmith’s The Vicar of Wakefield. II, III.
Hawthorne’s House of the Seven Gables. II, III.
Hawthorne’s Twice Told Tales. I.
Irving’s Life of Goldsmith. II, III.
Irving’s Tales of a Traveler. I, II.
Irving’s Alhambra. II.
Irving’s Sketch Book. I, II.
Lamb’s Essays of Elia. II, III.
Lincoln’s Gettysburg Speech, etc. II, IV.
Longfellow’s The Courtship of Miles Standish. I, II.
Lowell’s Vision of Sir Launfal. II.
Macaulay’s Lays of Ancient Rome. II.
Macaulay’s Essay on Addison. III, IV.
Macaulay’s Lord Clive. II, IV.
Macaulay’s Life of Johnson. II, IV.
Milton’s Lycidas, Comus, L’Allegro, and II Penseroso. III, IV.
Palgrave’s Golden Treasury (First Series) Books II and III with
special attention to Dryden, Collins, Gray, Cowper, and Burns. III,
IV.
Palgrave’s Golden Treasury (First Series) Book IV with special
attention to Wordsworth, Keats, and Shelley. III, IV.
Poe’s Poems. III, IV.
Poe’s Short Stories. II, III.
Pope’s The Rape of the Lock. III.
Pope’s Essay on Man and Essay on Criticism. III.
Ruskin’s Sesame and Lilies. II, III.
Scott’s Ivanhoe, Lady of the Lake, and Quentin Durward. II, III.
Shakespere’s Julius Caesar. II, III.
Shakespere’s Macbeth. IV.
Shakespere’s As You Like It, Henry V., Twelfth Night, and Midsummer
Night’s Dream. III.
Shakespere’s Merchant of Venice. II, III.
Spenser’s Faerie Queene (selections). III.
Stevenson’s Treasure Island. I, II.
Thoreau’s Succession of Forest Trees. I, II.
Tennyson’s Gareth and Lynette, Lancelot and Elaine, The Passing of
Arthur. II, III.
Thackeray’s Henry Esmond. IV.
Warner’s A-Hunting of the Deer. I.
Washington’s Farewell Address. II, IV.
Webster’s First Bunker Hill Oration. II, IV.
XI
OUTLINE FOR THE STUDY OF COMPOSITION AND STYLE
The following is a fairly complete outline of the essential elements of
rhetorical theory as applied in composition work and in a study of
structure and style. As such, it is designed primarily for the teacher
who desires to review any part of the subject in preparation for
teaching composition. Many portions may be used in the class room in a
simplified form, to supplement or summarize parts of the text-books in
rhetoric and composition. The books to which references are given are in
general the most convenient and comprehensive manuals for the particular
parts of the subject with which each deals.
The references as abbreviated in the outline are as follows:
(P), Pearson, Principles of Composition. Heath, Boston ($.50).
(W), Barrett Wendell, English Composition. Scribner, New York. ($1.50).
(M), Minto, Manual of English Prose Literature. Ginn, New York. ($1.50).
(C), Cairns, Forms of Discourse. Ginn, New York. ($1.15).
(BI, BII), Bain, English Composition and Rhetoric, 2 Vols. American Book
Co., New York. ($1.20 a vol.).
1. Whole Composition
I. SUBJECT. 1. What is it? 2. Is it indicated by title? 3. Is it
stated at the beginning? 4. Is it proportionate to the length of the
composition? P. 11–12.
II. PURPOSE. 1. What is it? 2. Is it stated? 3. Is it accomplished?
III. INTEREST. 1. Is it an interesting subject? 2. Is it made
interesting? 3. How is it made interesting?
IV. KIND OF COMPOSITION. 1. Narration, Description, Exposition,
Argumentation, or Persuasion? 2. A combination of forms?
V. PLAN. 1. What are the main divisions of the composition? 2. How is
the subject introduced? 3. What are the subdivisions in the body of
the composition? 4. How is the composition concluded?
VI. TITLE. 1. Accurate? 2. Concise? 3. Attractive? P. 12–13.
A. UNITY. P. 15–25. W. 155–162.
1. Selection of Material.
_a._ Subject and Purpose?
_Violations of unity of selection._
(1) _False Introduction._ P. 18.
(2) _Tag Conclusion._ P. 42.
(3) _Digressions._ P. 20.
2. Unity of Expression.
_a._ Point of View? P. 25.
_a′._ Point of view evident? P. 25.
B. COHERENCE. P. 26–33. W. 162–178.
1. Arrangement. W. 162–166.
_a._ Order of parts of composition. P. 26.
_b._ Arrangement evident? P. 29.
_c._ Announcement. P. 31.
_d._ Summary. P. 30. cf. P. 44.
2. Connection. W. 173–178.
_a._ Devices for Transition and Connection.
(1) Transition words, phrases, and sentences.
(2) Transition paragraphs. P. 30.
(3) Repetition.
(4) Parallel construction. W. 174.
(5) Retrospective and prospective reference.
C. EMPHASIS. P. 34–45. W. 166–172.
1. Selection of Material. P. 34.
_a._ Important details chosen?
2. Proportion. P. 34.
_a._ Parts given space proportionate to their importance?
3. Arrangement. P. 38–43.
_a._ Important parts in emphatic positions?
_a′._ At end.
_b′._ At beginning.
_c′._ Summary.
_d′._ Climax.
_e′._ Antithesis.
2. Paragraphs
P. 53–60. W. 114–149. M. 11; 53–55; 89–97; 152. BI, 91–134.
A. FORM.
1. Related Paragraph.
2. Independent Paragraph.
3. Transition Paragraph.
4. Paragraph in Conversation.
B. LENGTH. W. 121–126.
1. Short—100 words or less.
2. Medium—100–300 words.
3. Long—300 words or more.
C. UNITY. P. 53–60. W. 122–126.
I. Topic.
1. Definition of Topic (i. e. determination of its limits).
2. Division of Topic (i. e. subtopics).
3. Topic Sentence. P. 57. W. 124.
4. Do first and last sentences give substance of the paragraph? P.
71–75. W. 128.
II. Selection of Material.
1. Topic and subtopics?
2. Point of View?
_Violations of unity of selection._
(1) _False Beginning._ cf. P. 18.
(2) _Tag Conclusion._ cf. P. 42.
(3) _Digressions._ P. 56–57.
III. Unity of Expression (cf. Paragraph Coherence).
1. Uniformity of Construction.
_Violations._
(1) _Needless change of voice or tense of verbs._
(2) _Needless change of subject of sentences._
D. COHERENCE. P. 61–70. W. 133–146.
I. Arrangement. P. 61–65. BI, 114–120.
1. Order of Parts.
_a._ Related ideas brought together? W. 135.
2. Arrangement evident?
_a._ Subtopic and transition sentences.
II. Connection. P. 65–70. W. 142–146. BI, 94–108.
1. Devices for Coherence.
_a._ Connective words, phrases, and clauses.
_b._ Transition sentences.
_c._ Repetition.
_d._ Parallel construction. W. 137–142.
_e._ Retrospective and prospective reference.
2. Position of Connectives. W. 144.
_a._ At beginning of sentences.
_b._ Imbedded in midst of sentences.
E. EMPHASIS. P. 71. W. 126–133. BI, 121–134.
I. Selection of Material.
1. Most important parts chosen? cf. P. 34.
II. Proportion. W. 131. cf. P. 34.
1. Parts given space proportionate to their importance?
III. Arrangement. P. 71–78. W. 126–131.
1. Position of parts.
2. Position of important parts.
_a._ At end.
_b._ At beginning.
_c._ Climax.
_d._ Summary.
_e._ Antithesis.
F. VARIETY.
1. In sentence construction.
_a._ Grammatical.
_b._ Rhetorical.
2. In sentence beginnings.
3. In devices for coherence.
4. In devices for emphasis.
3. Sentences
P. 83–116. W. 76–113. M. 3–11; 50–53; 87–89; 149–152. BI, 55–90.
A. LENGTH. W. 84; 89–94. M. 7. BI, 84–85.
I. Short Sentence—15 words or less.
1. Use; _e. g._:—
_a._ Single short sentence.
_a′._ Topic sentence.
_b′._ Subtopic sentence.
_c′._ Conclusion.
_d′._ Transition sentence.
_e′._ For emphasis.
_b._ Series of short sentences; _e. g._:—
_a′._ Rapidity.
_b′._ Excitement and suspense.
_c′._ Abruptness; staccato effect.
II. Medium Sentence—15–30 words.
III. Long Sentence—30 words or more.
1. Use; _e. g._:—
_a._ To group minor details.
_b._ Climax.
_c._ Rhythmical effect.
B. CONSTRUCTION.
I. Grammatical.
1. Simple. 2. Complex. 3. Compound.
II. Rhetorical.
1. Loose Sentence. P. 86–89. W. 84–89. BI, 55–63.
_a._ Effect and use of loose sentence.
2. Periodic Sentence. P. 86; 106–112. W. 84–89. M. 4.
_a._ Means for securing periodic effect.
_a′._ Essential parts at end of sentence.
_b′._ Phrases and dependent clauses at beginning.
_c′._ Use of correlatives.
_b._ Effect and use of periodic sentences.
3. Balanced Sentence. P. 112. W. 95. M. 8. BI, 66–74.
_a._ Means for securing balanced effect.
_a′._ Parallelism.
_b′._ Use of correlatives.
_b._ Effect and use of balanced sentences; e. g.:—
_a′._ Antithesis.
_b′._ Epigrammatic expression.
C. UNITY. P. 83–93. W. 96–99. M. 10. BI, 85–90.
I. Unity of Thought.
_Violations._
(1) _Digression._
(2) _Separation of parts of thought into independent sentences._
P. 89–92.
II. Unity of Expression. (cf. Sentence Coherence).
1. Relation of Parts.
_a._ Grammatical construction evident?
_b._ Parallelism of construction. P. 102–3.
_c._ Subordination in predication. P. 86. W. 108–9.
_d._ Implied predicate (no sentence).
D. COHERENCE. P. 94–104. W. 105–110.
I. Order. W. 105–106.
1. Collocation accurate? (i.e. words closely related in thought
placed together).
_a._ Modifiers in accurate relation to modified elements?
_Violations._
(1) _Squinting construction._
(2) _Participle in false relation._
(3) _Misplaced adverbial modifier._
_b._ Reference exact? P. 94–96.
_Violations._
(1) _Ambiguous reference._
(2) _No antecedent._
(3) _Disagreement._
_c._ Correlatives properly placed? P. 100–101.
_d._ Collocation close?
_Violation._
(1) _Awkward separation of essential parts._
II. Construction (i. e. elements similar in significance similar in
form). P. 102–104.
_a._ Balance.
_b._ Parallel construction.
_Violations._
(1) _Needless change of voice or tense of verbs._
(2) _Needless change of grammatical subject._
III. Connection. W. 108–110.
_a._ Accurate expression of relation of parts by connectives.
(1) Subordination indicated? (cf. subordination in predication
under sentence unity. P. 86).
(2) Co-ordination accurately expressed?
E. EMPHASIS. P. 105–115. W. 99–103. BI, 74–84.
I. Arrangement of Parts.
1. Important parts in emphatic positions?
_a._ At beginning.
_b._ At end.
_c._ In other positions more emphatic.
2. Suspense—periodic effect.
3. Antithesis—balanced construction.
4. Climax. P. 113.
II. Subordination in Predication, (cf. Sentence Unity. P. 86.)
4. Words
P. 119–129. W. 50–75. M. 1–3; 49–50; 87; 147–149. BI, 27–54.
A. VOCABULARY.
I. Size.
1. Actual?
2. Relative? W. 50–52.
II. Range.
1. Narrow or wide? (cf. Kinds of words.)
III. Character.
1. General classes of words.
_a._ Long or short? W. 57–58.
_b._ Anglo-Saxon or classical? W. 52–57.
_c._ Common or learned?
_d._ General or specific? P. 121–129. W. 58–60.
_e._ Connotative or denotative? W. 71–75.
2. Kinds of words.
_a._ Literary.
_b._ Scientific.
_c._ Technical.
_d._ Colloquial.
_e._ Cant.
_f._ Slang.
_g._ Coined.
_h._ Archaic.
_i._ Foreign.
5. Figures of Speech
M. 11–14; 55–60; 97–104; 152–159. BI, 135–233.
(See Bradley, Classification of Rhetorical Figures, Modern Language
Notes, Vol. I, pp. 280–284.)
A. TERM FIGURES (accentuated designation of object of thought).
I. Figure of Contrast.
1. Antithesis.
II. Figures of Resemblance.
1. Simile (resemblance affirmed).
2. Metaphor (resemblance assumed).
3. Personification (resemblance of inanimate to animate).
III. Figures of Contiguity and Association.
1. Synecdoche (part and whole, genus and species).
2. Antonomasia (individual with type of its class).
3. Metonymy (sign or symbol, cause and effect).
4. Transferred epithet (fancied sympathy or participation).
B. MODAL FIGURES (accentuated statement of proposition).
I. Interrogation.
II. Exclamation.
III. Apostrophe (absent addressed as if present).
IV. Vision (absent represented as if present).
V. Hyperbole (statement stronger than intent).
VI. Innuendo (statement weaker than intent).
VII. Irony (statement negatory to intent).
C. SENTENCE AND PARAGRAPH FIGURES (Co-ordination and gradation of
terms or propositions):
I. Figures of Co-ordination.
1. Balance.
2. Parallelism.
II. Figures of Gradation.
1. Climax (ascending series).
2. Anticlimax (descending series).
6. Qualities of Style
A. INTELLECTUAL QUALITIES. M. 15–19; 60–68; 104–109; 159–161. W.
193–233. BI, 233–257.
I. Simplicity. Relation to elements of style.
II. Clearness. Relation to elements of style.
1. Perspicuity (general clearness).
2. Precision (minute clearness).
B. EMOTIONAL QUALITIES. M. 19–23; 64–81; 109–115; 162–167. W. 234.
I. Strength. Relation to elements of style.
1. Animation, vivacity, liveliness, rapidity.
2. Nerve, vigor, force, energy, fervor.
3. Dignity, stateliness, splendor, grandeur, magnificence,
loftiness, sublimity.
II. Pathos. M. 20.
III. The Ludicrous. M. 23. BII, 236–279.
1. Humor.
2. Wit.
3. Satire.
C. AESTHETIC QUALITIES. M. 23–26; 71–72; 115; 167–169. BII, 280–294.
W. 272–307.
I. Melody (sound or modulation).
II. Harmony (sound expressive of sense).
III. Taste.
7. Forms of Discourse
A. NARRATION. C. 58–112.
I. Kind.
1. Narration without plot. C. 58–67.
2. Narration with plot. C. 67–93.
II. Form. C. 59; 78–88.
III. Purpose. C. 59; 68.
IV. Interest. C. 65–68; 69–71.
V. Methods.
1. Number and choice of details. C. 63–64; 89–90. 2. Order of
details. C. 65; 88–89.
_a._ Beginning. C. 65; 86–88.
_b._ Development. C. 65–66; 74–78.
_c._ Culmination. C. 67.
3. Diction. C. 66–67; 91.
B. DESCRIPTION. C. 113–169.
I. Kind.
1. Circumstantial. C. 142.
2. Dynamic. C. 143.
3. Suggestive. C. 144.
4. Objective. C. 148.
5. Subjective. C. 149.
II. Subject. C. 123–142.
III. Purpose. C. 113; 147.
IV. Methods.
1. Point of view.
2. Number and choice of details. C. 147–149.
3. Arrangement of details. C. 151.
4. Diction. C. 153.
C. EXPOSITION. C. 170–226.
I. Kind.
1. Subject.
_a._ Scientific or technical.
_b._ Popular.
2. Treatment.
_a._ Scientific or technical.
_b._ Popular.
II. Form. C. 170; 194–207.
III. Purpose. C. 170–171.
IV. Methods for Term. C. 172.
1. Definition. C. 172–174.
_a._ Logical definition. C. 174–178.
(1) Complete logical definition.
(2) Incomplete logical definition. C. 182.
_b._ Incomplete definition. C. 178–186.
(1) Repetition (synonyms). C. 179.
(2) Exclusion (what not).
(3) Comparison. C. 180–182.
(4) Contrast. C. 180–182.
(5) Example. C. 179.
(6) Logical description (particulars and details). C. 185–186.
2. Division. C. 186–191.
_a._ Classification. C. 187–190.
_b._ Partition. C. 190–191.
V. Methods for Proposition. C. 191–194.
1. Exposition of terms (cf. Methods for term).
2. Repetition.
3. Obverse.
4. Example.
5. Analogy.
XII
BIBLIOGRAPHY
1. The Teaching of English
A bibliography of some thirty pages consisting of all the important
books, pamphlets, and magazine articles published before 1903, that
treat of the different phases of English work in elementary and
secondary schools is appended to Carpenter, Baker, and Scott’s “The
Teaching of English”, and will be of great assistance to those who
desire material on any part of the work since the references are
classified under such heads as, rhetoric and composition, literature,
grammar, spelling, college entrance requirements, etc. The volumes of
the educational periodicals such as “Education”, “Educational Review”,
“School Review”, etc., that have appeared since 1903, also contain many
articles on English work. The following are the most important books on
the teaching of English in the high school:
Carpenter, G. R., Baker, F. T., and Scott, F. N. The Teaching of
English, Longmans, Green and Co., New York, 1903. ($1.50). The best
discussion of every phase of English work in elementary and
secondary schools, with excellent bibliographies.
Chubb, Percival. The Teaching of English, Macmillan, New York, 1902.
($1.00). A valuable discussion of the aims, ideals, and methods in
teaching English in elementary and secondary schools.
Hinsdale, B. A. Teaching the Language-Arts: Speech, Reading,
Composition. Appleton, New York, 1896. ($1.00). A comprehensive
treatment of all the elements in the study of language.
Laurie, S. S. Lectures on Language and Linguistic Method in the
School. 2d edition, revised. Macmillan, New York, 1893. ($1.00). An
excellent presentation of the value, the purposes, and the methods
of language study.
Report of Committee on Secondary School Studies (The Committee of Ten)
U. S. Bureau of Education, Washington, 1893. This report has been
the basis of most of the present courses in English for secondary
schools.
Other books bearing more or less directly on the teaching of parts of
the English work are:
Bates, Arlo. Talks on Teaching Literature. Houghton, Mifflin Co.
($1.50). Practical methods are given for teaching literature in the
high school.
Bates, Arlo. Talks on the Study of Literature. Houghton, Mifflin Co.
($1.50).
Bates, Arlo. Talks on Writing English. First and Second Series.
Houghton, Mifflin Co. ($1.50 a vol.).
Corson, H. Aims of Literary Study. Macmillan. ($.75).
Corson, H. Voice and Spiritual Education. Macmillan. ($.75).
Copeland and Rideout. Freshman English and Theme Correction at Harvard
College. Silver, Burdett & Co. ($1.00). Some of the suggestions for
theme writing and theme correcting can be adapted to high school
composition.
Palmer, G. H. Self-cultivation in English. Crowell. ($.35).
2. Literature
The following list contains the standard histories of English and
American literature, the biographical and critical works on some of the
writers to whom especially attention is generally given, and volumes on
the history and development of the various types of literature.
Brooke, Stopford. English Literature to the Norman Conquest.
Macmillan. ($1.50). A review of Anglo-Saxon literature with
translations of many Anglo-Saxon poems.
Cook, A. S. and Tinker, C. Translations of Old English Poetry. Ginn.
($1.00). Translations of parts of Beowulf and of all the important
Anglo-Saxon poems.
Schofield, W. H. English Literature from the Norman Conquest to
Chaucer. Macmillan. ($1.50).
Saintsbury, G. History of Elizabethan Literature. (1557–1660).
Macmillan. ($1.50).
Gosse, E. Eighteenth Century Literature. (1660–1780). Macmillan.
($1.50).
Saintsbury, G. History of Nineteenth Century Literature. (1780–1895).
Macmillan. ($1.50).
Ward, H. English Poets, 4 vols. Macmillan. (Students’ edition $4.00).
Brief biographies, good criticisms, and representative selections of
all the English poets from Chaucer to Tennyson.
Bronson, W. C. History of American Literature. Heath. ($.90). A good
handbook for American literature.
Wendell, B. and Greenough, C. N. History of Literature in America.
Scribner. ($1.40.) A good short history of American literature.
Pollard, A. W. Chaucer Primer. Macmillan. ($.35). A convenient little
handbook on Chaucer’s life and work.
Sweet, H. Second Middle English Primer. Oxford Univ. Press. ($.50). A
very good handbook for the pronunciation of Chaucer with a phonetic
transcription of the Prologue to the Canterbury Tales.
Dowden, E. Shakespeare Primer. American Book Co. ($.35). A very useful
little manual of Shakespearean criticism.
Lee, Sidney. Life of Shakespeare. Macmillan. ($1.75). An invaluable
critical analysis of all biographical material relating to
Shakespeare.
Moulton, R. G. Shakespeare as a Dramatic Artist. Oxford Univ. Press.
($1.90). A detailed consideration of the motives, plots, and
characters of a number of Shakespeare’s plays.
Symonds, J. A. Shakespeare’s Predecessors in the English Drama.
Scribner. ($2.00). An excellent account of the origin and the
development of the English drama.
Baker, G. P. The Development of Shakespeare as a Dramatist. Macmillan.
($1.75). A discussion of the Elizabethan stage, the public, and
other conditions in relation to the development of Shakespeare’s
dramatic art.
Freytag, G. The Technique of the Drama. Scott, Foresman & Co.,
Chicago. ($1.50). A comparative study of drama as a literary form
with considerable discussion of the plays of Shakespeare.
Raleigh, W. History of the English Novel. Scribner. ($1.25). An
interesting account of the development of the English novel to
Scott.
Cross, W. L. The Development of the English Novel. Macmillan. ($1.50.)
A history of English fiction from the Arthurian romance to
Stevenson.
Perry, Bliss. A Study of Prose Fiction. Houghton, Mifflin Co. ($1.25).
A suggestive discussion of plot, characters, setting and other
elements in the novel and short story, with suggestions for original
work in construction and analysis.
Alden, R. M. Specimens of English verse. Holt. ($1.25). A practical
handbook of poetics with numerous selections.
Gayley, C. M. Classic Myths in English Literature. Ginn. ($1.50). An
excellent collection of Greek, Roman, Norse, and German mythological
stories.
3. Language and Grammar
Sweet, H. New English Grammar; Vol. I., Phonology and Accidence.
($2.60). Vol. II. Syntax. ($.90). Oxford Univ. Press. The most
complete logical and historical grammar.
Emerson, O. F. History of the English Language. Macmillan. ($1.25).
Greenough and Kittredge. Words and their Ways in English Speech.
Macmillan. ($1.10). An interesting popular account of the origin and
development of language and of changes in the meaning of words.
Trench, R. C. The Study of Words. Armstrong, N. Y. ($1.00). An
excellent introduction to the study of the development of the
meaning of words.
4. Rhetoric and Composition
Bain, A. English Composition and Rhetoric. 2 vols. American Book Co.
($1.20 a vol.). A discussion, with numerous illustrations, of all
the elements and qualities of style in prose and poetry.
Brewster, W. T. Studies in Structure and Style. Macmillan. ($1.10). An
analysis of the structure and style of seven modern English essays.
Cairns, W. B. Forms of Discourse. Ginn. ($1.15). A consideration of
the various forms of narration, description, exposition,
argumentation, and persuasion.
Genung, J. F. Working Principles of Rhetoric. Ginn. ($1.40). A
comprehensive discussion of rhetorical principles.
Minto, W. Manual of English Prose Literature. Ginn. ($1.50). A
detailed analysis of the styles of Macaulay, De Quincey, and
Carlyle, with briefer discussions of the style of all English prose
writers to the beginning of the nineteenth century.
Scott, F. N. and Denney, J. V. Paragraph-Writing. Allyn and Bacon.
($1.00.) An interesting discussion of paragraph structure with many
examples.
Wendell, Barrett. English Composition. Scribner. ($1.50). A suggestive
explanation of the principles of unity, coherence, and mass or
emphasis.
------------------------------------------------------------------------
TRANSCRIBER’S NOTES
1. Silently corrected obvious typographical errors and variations in
spelling.
2. Retained archaic, non-standard, and uncertain spellings as printed.
3. Enclosed italics font in _underscores_.