CONTENTS.

PART I-PERSPICUITY IN STYLE.

CHAPTER I.

STYLE.....

Page 13

§ 1. Derivation and Definition of the Term Rhetoric; § 2. Main

Divisions of the Subject of Rhetoric; § 3. Definition of Style;

§ 4. Style differs among Nations and Individuals; § 5. Utility of

Rules; § 6. General Divisions of Style.

CHAPTER II. PERSPICUITY IN WORDS.-SIMPLICITY.

17

§ 7. Perspicuity Defined and Explained; § 8. Divisions of the Sub-

ject of Perspicuity; § 9. Sources of Perspicuity in Words; § 10. Sim-

plicity; § 11. Concrete Terms; § 12. Words of Anglo-Saxon Origin;

§ 13. Table showing the Percentage of Words of Anglo-Saxon Origin;

§ 14. Anglo-Saxon the Essential Element in the Language; § 15. The

most Popular Books in the Language show a Preponderance of the

Anglo-Saxon Element; § 16. Many Latin Words equally Simple;

§ 17. Importance of the Latin Element in our Language.

CHAPTER III. PERSPICUITY IN WORDS, Continued.-PRECISION... 27

§ 18. Precision; § 19. In Substantive Terms; § 20. In Attributive

Terms; § 21. In Predicative Terms; § 22. Clearness of Conception; ·

§ 23. Care in the Use of Words; § 24. Synonymous Words; § 25. Im-

propriety; § 26. Vague Words; § 27. Verbosity; § 28. Tautology;

§ 29. Circumlocution; § 30. Verbosity in the Pulpit and the Press.

CHAPTER IV. PERSPICUITY IN WORDS, CONTINUED.-PURITY...... 41

§ 31. Purity; § 32. Obsolete Words; § 33. Obsolete Terminations

and Meanings; § 34. Obsolete Words used in Religious Literature;
§ 35. In Poetry; § 36. In Fiction; § 37. Archaism; § 38. Obsolete
Words Restored to General Use; § 39. New Words; § 40. Their
Growth; 41. Sources; § 42. Rapidity of Increase; § 43. Proper
Authority Defined; § 44. Faulty Use of New Words; § 45. New Com-
pound Words; § 46. Faulty Use of New Compounds; § 47. Conclud-
ing Remarks on Purity; § 48. Grammar and Idiom.

CHAPTER V. PERSPICUITY IN SENTENCES.

Page 56

§ 49. Periodic and Simple Structure; § 50. Rule for Arrangement

of Words; § 51. Limitation of Rule; § 52. Unity; § 53. Prominence

of the Principal Subject; § 54. Appended Clauses; § 55. Parenthesis;

§ 56. Long and Short Sentences.

CHAPTER VI. PERSPICUITY IN GENERAL...

72

$ 57. Clearness of Conception and Method; § 58. Conciseness;

§ 59. Diffuseness; § 60. Repetition; § 61. Digression; § 62. Loose
Style; § 63. Perspicuity sometimes not aimed at.

PART II.—PERSUASIVENESS IN STYLE.

CHAPTER I. FIGURES OF SPEECH..

85

§ 64. Persuasiveness; § 65. Definition of; § 66. General Divisions;

§ 67. Figures of Speech; § 68. Their Importance; § 69. Tropes;

§ 70. Various Classifications of Figures; § 71. Classification adopted

in this Work.

CHAPTER II. FIGURES OF RELATIVITY ARISING FROM THE IDEA OF

CONTRAST.

93

§ 72. Figures of Relativity; § 73. Contrast; § 74. Antithesis De-
fined; § 75. Its Utility; § 76. Its Effectiveness in Various Departments
of Literature; § 77. Antithesis Compared with Plain Statement;
$ 78. Various Forms of Antithesis; § 79. Antimetabole; § 80. Para-
diastole; § 81. Synoceosis, or Enantiosis; § 82. Oxymoron; § 83. Pa-
rison, Isocolon; § 84. Prosapodosis.

CHAPTER III. FIGURES OF RELATIVITY ARISING FROM THE PERCEP-

TION OF RESEMBLANCE.......

102

§ 85. The Perception of Resemblance; § 86. Parallel; § 87. Diexo-

dus; § 88. Tricola; § 89. Diallage; § 90. Metabole; § 91. Exergasia;

§ 92. Paradiastole; § 93. Comparison; § 94. Of Degree; § 95. Of

Analogy; § 96. Of Similarity; § 97. As an Ornament; § 98. For Ex-

planation; § 99. Faults in the Use of Comparison; § 100. Metaphor;

§ 101. Where one Living Thing is put for Another; § 102. One Inani-

mate Thing for Another; § 103. Inanimate Things for Things having

Life; § 104. Inanimate Things Represented as Endowed with Life;

§ 105. Metaphor used as an Ornament; § 106. For Explanation ;

§ 107. To give Emphasis; § 108. Faults in their Use; § 109. Mixed

Metaphors; § 110. Not always Objectionable; § III. Catachresis;

§ 112. Allegory; § 113. Parable; § 114. Fable; § 115. Personification;

§ 116. Apostrophe; § 117. Vision; § 118. Allusion; § 119. Historical

Allusion; § 120. Literary Allusion; § 121. Quotation; § 122. Plagiar-

ism; § 123. Other Figures; § 124. Irony; § 125. Sarcasm; § 126. In-

nuendo.

CHAPTER IV. FIGURES OF RELATIVITY ARISING FROM THE IDEA OF

.Page 134

CONTIGUITY.

§ 127. Figures of Contiguity; § 128. Synecdoche; § 129. Antimeria,
Enallage; § 130. Metonymy; § 131. Metalepsis; § 132. Periphrasis;
§ 133. Euphemism; § 134. Hypocorisma; § 135. Litotes; § 136. Ex-
emplum; § 137. Epithets; § 138. Importance of; § 139. Their Popu-
larity; § 140. In P'oetry; § 141. In Prose; § 142. Faulty Use.

CHAPTER V. FIGURES OF GRADATION-Augmentative...

152

§ 143. Figures of Gradation; § 144. Augmentative Figures; § 145.

Amplification; § 146. By Dwelling upon Details; § 147. By Direct

Statement; § 148. By Comparison; § 149. Accumulation; § 150. Col-

lectio, Aggregatio; § 151. Synathroismus; § 152. Diasceue; § 153.

Synezeugmenon; § 154. Epexergasia; § 155. Dinumeratio; § 156. De-

scription; 157. Ecloge; § 158. Hypotyposis; § 159. Metastasis;

§ 160. Climax; § 161. Incrementum; § 162. Progressio; § 163. Hyper-

bole; § 164. Transgressio.

CHAPTER VI. FIGURES OF GRADATION-DECREMENTIVE..

..........

168

§ 165. Decrementive Figures; § 166. Diminution; § 167. Deprecia-

tion; § 168. Anticlimax.

CHAPTER VII. FIGURES OF EMPHASIS.-DIRECT STRESS AND ITERA-

172

TION.....

§ 169. Figures of Emphasis; § 170. By Direct Stress.-Assertion;

§ 171. Negation; § 172. Emphasis by Repetition; § 173. The Iterative

Figures; § 174. Epizeuxis; § 175. Repetitio Crebra; § 176. Anapho-

ra; § 177. Epistrophe; § 178. Antistrophe; § 179. Epanaphora ;

§ 180. Anadiplosis; § 181. Epanodos; § 182. Epanalepsis; § 183.

Ploce; 184. Symploce; § 185. Synonymia; § 186. Alliteration;

§ 187. Homœoteleuton.

CHAPTER VIII. FIGURES OF EMPHASIS ARISING FROM THE INVERSION

OF WORDS..

182

§ 188. Inversion; § 189. In Poetry; § 190. In Prose; § 191. Anas-

trophe; § 192. Synchesis; § 193. Tmesis; § 194. Hyperbaton; § 195.

Hysteron Proteron.

CHAPTER IX. FIGURES OF EMPHASIS ARISING FROM AN UNUSUAL OR

189

STRIKING PRESENTATION..

196. Unusual Modes of Statement; § 197. Exclamation; § 198.

Salutation; § 199. Epiphonema; § 200. Interrogation; § 201. Sermo-

cinatio; § 2c2. Percontatio and Expositio; § 203. Responsio Sibi Ipsi;

§ 204. Parenthetical Figures; § 205. Commentum; § 206. Appositio

and Explanatio; § 207. Elliptical Figures; § 208. Ellipse; § 209.

Zeugma; § 210. Synesis; § 211. Anacoluthon; § 212. Aposiopesis ;

§ 213. Epanorthosis; § 214. Interruptio; § 215. Suppressio; § 216.

Asyndeton; § 217. Pleonastic Figures; § 218. Pleonasm; § 219. Ana-

lepsis; § 220. Polysyndeton; § 221. Asyndeton and Polysyndeton Con-

trasted; § 222. Parœmiac Figures; § 223. Proverb; § 224. Apoph-

thegm; § 225. Epigram.

CHAPTER X.

ENERGY...

Page 204

§ 226. Definition; § 227. Simplicity as Tending to Energy; § 228.

Conciseness; § 229. Retrenchment of Superfluous Words; § 230. Pre-

cision; § 231. The Definite; § 232. The Concrete; § 233. Demonstra-

tive Terms; § 234. Proper Terms; § 235. Other Qualities that Tend

to Energy; § 236. Illustrations; § 237. Faults of Style as Opposed to

Energy.

CHAPTER XI.

VIVACITY...

218

§ 238. Definition; § 239. Vivacity in Thought; § 240. In Expression;

§ 241. Copiousness; § 242. Versatility; § 243. Brilliancy; § 244. Vivid-

ness; 245. Felicity of Style; § 246. Faults of Style as Opposed to

Vivacity.

CHAPTER XII. THE ILLUSTRATIVE STYLE....

226

§ 247. The Illustrative Style; § 248. Example; § 249. Allusion;

§ 250. Comparison and Metaphor; § 251. Anecdote.

CHAPTER XIII. THE EPIGRAMMATIC STYLE..

230

§ 252. Epigrammatic Style; § 253. In Poetry; § 254. In Prose;

§ 255. Faults in the Epigrammatic Style.

CHAPTER XIV. OTHER QUALITIES OF STYLE ASSOCIATED WITH VI-

VACITY....

234

§ 256. Classical Style; § 257. Suggestive Style; § 258. Other Terms

applied to Style.

CHAPTER I.

PART III.-HARMONY IN STYLE.

EUPHONY...

239

§ 259. Harmony in Style; § 260. Euphony; § 261. In Different Kinds

of Composition; § 262. Examples; § 263. Violations of Euphony in

Various Letters and Syllables; § 264. By Repetition of Words; § 265.

Repetition of Words sometimes Necessary.

CHAPTER II. ELEGANCE..

247

§ 266. Elegance; § 267. Violations of Elegance; § 268. Affectations;

§ 269. Mannerism; § 270. Colloquialisms; § 271. Slang; § 272. Cant;

§ 273. Vulgarisms.

CHAPTER III. THE HARMONIOUS ARRANGEMENT OF Words........

254

§ 274. Harmonious Arrangement of Words requires Euphony and

Elegance; § 275. Harmonious Succession of Words; § 276. Modi-
fying Words; § 277. Impersonal Constructions; § 278. Appended

Clauses; § 279. Explanatory Words; § 280. Prepositions; § 281. Va-
riation of Connectives; § 282. Variety in Clauses; § 283. Co-ordina-
tion of Clauses; § 284. The Close of the Sentence.

CHAPTER IV.

TRANSITIONS..

.. Page 261

§ 285. Harmony in General; § 286. The Introduction; § 287. Transi-

tions; § 288. The Formal Transition; § 289. The Elegant Transition;

§ 290. Paragraphs; § 291. Conclusion.

CHAPTER V. WORD-PAINTING AND ONOMATOPŒIA..

265

§ 292. Word-Painting; § 293. The Music of Words; § 294. Onoma-

topoeia; § 295. In Poetry; § 296. In Prose; § 297. The Latin Element
in the English Language Invaluable for Purposes of Harmony.

CHAPTER VI. RHYTHM....

§ 298. Rhythm in Poetry; § 299. Rhythm in Prose.

276

CHAPTER VII. QUALITIES OF STYLE ASSOCIATED WITH HARMONY.. 282

§ 300. Qualities of Style Conducive to Harmony; § 301. Figures of

Speech; § 302. Ease of Style; § 303. Ornament; § 304. Violations of
Elegance; § 305. Carelessness; § 306. The Florid Style; § 307. The
Pretentious Style; § 308. Ostentation; § 309. Vulgarity.

CHAPTER I.

PART IV.-METHOD.

SUBJECT-MATTER.

§ 310. Method Defined; § 311. Subject-Matter.

CHAPTER II. THE PURPOSE OF THE WRITER....

294

.... 296

§ 312. The Purpose of the Writer; § 313. The Aim to Instruct;

§ 314. The Aim to Convince; § 315. The Aim to Persuade; § 316.
The Aim to Please; § 317. The Union of Different Aims.

CHAPTER III. MODES OF INVENTION...

304

§ 318. Two Kinds of Invention; § 319. Accumulative Invention;

§ 320. Creative Invention; § 321. The Real and the Ideal; § 322.

Poetic Fiction; § 323. Prose Fiction; § 324. The Two Kinds of In-

vention Intermingled; § 325. Of the Two Kinds, the Creative is the

Greater.

CHAPTER IV. THE STATUS....

309

§ 326. Arrangement of Subject-Matter; § 327. Status; § 328. Where

the Aim is to Instruct; § 329. Where the Aim is to Convince or Per-
suade; § 330. Leading Stages of Oratory; § 331. The Status where the
Aim is to Please; § 332. The Title.

CHAPTER V.

CLASSIFICATION.

315

§ 333. Classification; § 334. In Narrative; § 335. In Description;