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102.

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Elements of, 120.

Ethics and Æsthetics, 135.
Criticism and Liberal Train- Euphony in Style, 163.
ing, 121.

Everett, Edward, 52.
Ignorant Criticism, 123.

F
The Critic and the Writer,
126.

Fairbairn, Principal, 232.
The Critic and the Man, 129. Feeling, means of inducing, 76.
Critical Insight, 130.

Fenelon, 16.
Superficial Criticism, 134. Fiction, 162.
Conscience in Criticism, 135. Figures in Style, 161.
American Criticism, 141. First English, 122.

Examples, 122, 133, 146. Flexibility of Style and Method,
Crusades, 77
Culture, 12, 14, 15, 55.

Froude, J. A., 30, 138.

G
D

Geniality in Humor, 209.
Dante, 11.

Genius, 249.
Delicacy in Humor, 206,

Gibbon, Edward, 289.
De Quincey, Thomas, 44, 60.
Despondency, in Authors, 238. Goethe, 119, 268, 290.

.

Gladstone, W. E., 38.
Dignity in Style, 47.

Gosse, Edmund, 50, 124.
Disraeli, Isaac 184, 207.

Grote, George, 30.
Dogmatism, in Style, 227.
Draper, J. W., 296.

Hallam, Henry, 79, 118.
E

Hamilton, Sir Wm., 15.
Earnestness, Ethical, 84.

Hellenic Style, 27, 237
Eliot, George, 20, 231. Higginson, T. W., 108.
Eliot, President, 20.

History, Literary, 10.
Embellishment in Excess, 56. Holmes, O. W., 213, 246, 260,
Emerson, R. W., Style of, 246. 271.
Characteristics of, 247, 257, Horace, 174.
264.

Hugo, Victor, 71, 74.
Defects and Faults, 253, 262, Humor and Style, 193.
271.

Necessity of, 193.
Place in American Letters, Object of, 194.
272.

Relations to Wit, 197.
Mission, as a Writer and Relations to Satire, 199.
Man, 273.

Forms of Humor, 201.
Need of the Emersonian

Elements of, 203.
Element, 276.

Absence in English Prose,
Examples, 278.
Emotion in Style, 70.

Place and Function, 212.
Environment, 281.

Examples, 197, 199, 214.

210.

Humorists, English, 196. Longfellow, H. W., 52.
Huxley, 13, 261.

Longinus, 49, 290.
Lowell, J. R., 8, 57.

Lucilius, the Satirist, 124.
I
Imagery, 161.

M
Incisiveness, in Style, 250.

Macaulay, Lord, 160.
Individuality in Humor, 208.
Insight, Philosophic, 130.

Magazine, Modern, 110.
Literary, 132.

Maurice, 8.
Intelligibility, in Style, 96, 220.

McCarthy, Justin, 30.

Method, the Æsthetic, 17.
Invective, 179.

The Mental, 15.
Irving, W., 66.

Modesty, in Criticism, 289.

Molière, 189, 208.
J

Montesquieu, 230.
Jansenism, 80.

Morley, Henry, 10.
Johnson, Samuel, 125, 291. Morley, John, 140.
Joubert, 236.

Müller, Max, 27.
Journalism, 110.
Judgments, Literary, Indepen-

N
dent, 280.

Narrowness in Style, 233.
Conditions of Freedom, 283. Naturalness, 47.
Need and Duty of Freedom, “ Noctes Ambrosianæ,” 48.
290.

North, Christopher, 109, 238.
Mental and Literary Servil-

ity, 296.
Juvenal, 174.

Originality, in Style, 249.

Ouida, 88.
K

“ Obiter Dicta,” Bissell's, 105.
Kingsley, Charles, 49.
Knickerbocker School, 66, 206,

P
Knowledge, Literary,9,58,122. Personality, in Authorship. 78.

National, 79.

Pleasantry, 269.
L

Poetry, and Prose Style, 148.
Lamb, Charles, 159.

Indebtedness of Prose to
Landor, W. S., 51.

Verse, 151, 153, 154, 157.
Latimer, Hugh, 84.

Poetical Prose, Examples,
Laureates, English, 128.

148.
Lecky, W. E. H.,

Prose Poetry, Examples,
Lessing, 16, 290.

32.

149.
Limitations, in Thought, 280. Study of Poetic Laws, 165.
Literature and Life, 193. Study of Standard Verse,
Periodical, 100.

165.

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Need of the Poetic Element ! Relation to Scholarship, 190.
in Style, 169.

Examples, 118, 119, 180, 185,
Examples, 150, 171.

191.
Portraiture, Historical, 162. Savonarola, 76.
Possnett, 19.

Saurin, 54.
Practicality, in Style, 99. Shairp, Principal, 32.
Precedent, Literary, 280. Shakespeare, 11, 268.
Prose, Lyric Element in, 73. Scenes, Literary, 60.
Dramatic, 74.

Sismondi, 10, 20.

'Spectator,” Addison's, 48.
e

Stedman, E. C., 57, 141.
Questions, Unsettled, 292.

Stevenson, R. L., 104.

Stockton, F. R., 105.
Quintilian, 122.

Studies, Classification of, 7.

Studies, Literary, Claims of, 7,
R

284.
Rabelais, 198.

Pleasure, 8.
Race, as Affecting Literature,

Knowledge, 9.
79.

Culture, Forms of, 12, 14,
Racine, 59.

Discipline, 17.
Reflection, in Humor, 202. Attitude of Scholars, 22.
Renaissance, 27, 223.

Colleges, 22.
Rénan, 88.

English Studies, 23.
Review, the Edinburgh, 119, Style, Standard Forms, 28.
184.

Historical, 30.
The Westminster, 9.

Philosophical, 31.
Richter, Jean Paul, 129.

Ethical Features, 35.
Ridicule, 201.

Comprehensiveness, 31.
Robertson, Frederick, 54.

Finish, 53.
Rousseau, 88.

Style, The Intellectual, 26.
Ruskin, 133.

Basis of Classification, 26.

Characteristics of, 29.
s

Methods of Cultivation, 37.
Sainte-Beuve, 133, 290.

Special Need of, 40.
Saracens, 86.

Examples, 30, 31, 32, 35, 43.
✓ Satire and Style, 174.

Style, The Literary, 46.
History of, 174.

Salient Features, 47.
Forms, 177.

Literary Criticism, 57.
LeadingTypes, Theological, Methods of Cultivation, 58.
180.

Hostile Influences, 63.
Political, 182.

Duty of Scholars, 65.
Literary, 183.

Need of the Literary Ele-
Social, 185.

ment, 65.
Satire and Fiction, 186. Examples, 47, 52, 54, 55, 57,
Need of Satire, 187.

60, 67.

W

II2.

Style, The Impassioned, 70.

U
Characteristics, 72.

Unity in Style, 53.
Presence in Literature, 71, Unction, 89.

86.
Needed among Scholars, 88.

V
Examples, 75, 84, 91. Versatility, 48.
Style, the Popular, 92. Verse, Creative, 152.
Double Sense of the Word, Verse and Prose, 148.
95.

Voltaire, 198, 200.
Radical Features, 95.
Abuse of the Form, 109.
Attitude of Scholars, 111.
Of Institutions of Learning, Webster, Daniel, 36.

Warner, C. D., 108.

Whipple, E. P., 36, 57.
Examples, 96, 104, 106, 114. Whitman, Walt, 125, 287, 295.
Swinburne, 149, 168.

Wit and Humor, 197.

Wordsworth, William, 134,
T

210, 287.
Taine, 19, 123, 211, 261. Writers and Thinkers, 40.
Tennyson, Lord, 51, 150, 293.
Thackeray, 71, 178, 200.

Y
Themes, Emerson's, 248, 258, Young, Edward, 184.

264.
Thoreau, 258.

Z
Timeliness in Style, 99. Zola, Emile, 88, 211.
Tolstoi, 88.
Tradition, Literary, 280.
Troubadours, 1o.
Trouveres, 10.

Representative English Prose and Prose Writers. .

By THEODORE W. HUNT, Professor of Rhetoric and English Language

in the College of New Jersey. 12mo. 540 pages. Net $1.20. Copies for examination sent postpaid on receipt of 90 cents.

The author of this volume, Professor Hunt, of Princeton College, having, recognized, in his experience as a teacher, the need of a scholarly manual of English prose, offers in this treatise a book eminently adapted to meet such a need. Though primarily intended for students and

teachers, the work is so conceived and executed that it conimends itself as well to all intelligent lovers of their vernacular literature. Opening with a careful discussion of the leading historical periods of English prose, it proceeds to the examination of its various literary forms, and, as a third and final division of the subject, presents a critical study of ten or twelve representative English authors as exponents of English prose style. In subject matter as in method the treatise is thoughtful and logical, while the English in which it is expressed is clear, vigorous, and tasteful. With an unusually full table of contents, and a helpful index, it merits the candid attention of all educators and students of literary progress in England and America.

NOTICES OF THE WORK. " A book excellently adapted to convey A workmanlike production, containpractical instruction in the principles and ing the ripened fruit alike of long study history of English prose composition. and of long experience as an educator. The work as a whole is exceedingly well We can heartily commend it to teachers done, and shows thorough study, sound and students of literature as an able, lucid, judgment, and a true sense of literary vir- and serviceable work,”-N. Y, Christian tues and faults under all their outward Intelligencer. changes.

The volume has the “He writes from the standpoint of an great merit of making an instructive study accomplished scholar and an impartial of some of the masters of English serve as critic, and his work will stand the test of an exercise both in style and criticism. It use and practice."--N. Y, Observer. would be particularly available as an ad- “There has seldom appeared a critical vanced text-book in rhetoric,"--N. Y. work so vital, so suggestive, so electric in Nation.

its presentation of thought, and so well “With a broad comprehension and re

calculated to incite intellectual response fined taste, Prof. Hunt presents a useful

from the student or the mature reader." contribution to the study of English prose.

-Boston Evening Traveller. This volume should serve the double

pur

“Believing that literary criticism should pose of not only an aid to special educa- be in a measure philosophic, and not intional purposes, but must act as a stimu- clining to the view which would have the lant for students. Prof. Hunt has read text-book a simple volume of selections, widely, is fully abreast with the critical Prof. Hunt still seeks to develop in his opinions of his time, has catholicity of readers a real acquaintance with the taste, is appreciative, and, above all, en- periods and the writers discussed. The dued with nice discernment. He weighs volume displays a sound method, acute very accurately the merits and demerits judgment, and the certain signs of origiof those who have been the prime spirits nal investigation in new and striking conof English prose, He never indulges in clusions. The usefulness of the work is sharpness, eschews hypercriticism, ex- enhanced by a full table of contents and amines the literary matter of many cen- a careful index."-New Princeton Review. turies in a philosophical light, and, as a Mr. E. C. STEDMAN, says: “I have result, has produced a capital and most

carefully examined your new work and instructive volume."--New York Times.

think it a model of its kind. Your logi. The work, clearly and fluently writ- cal method' is seen here at its very ten, gives the most interesting view of its best, and is the very thing demanded for subject with which we are acquainted, such a treatise. Your treatment of literary and is an excellent example in itself of a forms is original and suggestive, and in graceful, clean cut, and polished English your estimate of the great prose-writers style, not to say a model in the art of close you have, I think, the best critics for the and judicious criticism. Itis a work that most part with you. For one, I shall will enlist the attention and hold the in- profit by your book, and think it will take terest of every reader of literary taste.” its place among class-books and on the -Boston Evening Gazette.

shelves of writers,”
Copies sent by mail on receipt of price.
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