the octave; and the second or minor group of six lines is called the sextet. Usage allows certain variations in the adjustments of the rhyme in the sonnet, but the following will illustrate common arrangements.
UPON WESTMINSTER BRIDGE
Earth has not anything to show more fair:
Dull would he be of soul who could pass by
A sight so touching in its majesty:
This city now doth, like a garment, wear
The beauty of the morning; silent, bare,
Ships, towers, domes, theaters, and temples lie
Open unto the fields, and to the sky,
All bright and glittering in the smokeless air.
Never did sun more beautifully steep
In his first splendor, valley, rock, or hill;
Ne'er saw I, ne'er felt a calm so deep!
The river glideth at its own sweet will:
Dear God! the very houses seem asleep;
And all that mighty heart is lying still!
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When I consider how my light is spent
Ere half my days, in this dark world and wide,
And that one talent which is death to hide
Lodged with me useless, though my soul more bent
To serve therewith my Maker, and present
My true account, lest He returning chide,
Doth God exact day-labor, light denied?
I fondly ask: But Patience to prevent
That murmur, soon replies; God doth not need
Either man's work, or his own gifts: who best
Bear His mild yoke, they serve Him best: His state e
Is kingly; thousands at His bidding speed
And post o'er land and ocean without rest:
They also serve who only stand and wait.
A, an, and the, errors in the use of, | Blank verse, 324.
BRAINARD, 235.
Brief for argument, 74.
in BRYANT, 260, 264, 291, 301.
Business letters, salutation, 48;
closing, 48; address, 48; clear-
ness and accuracy in, 49; exer-
cises, 50.
Accuracy in descriptions, 22;
business letters, 49.
Action in narration, 19.
Address of a letter, 48.
Adjective, defined, 120; confused
with adverbs, 138; errors in use
of, 139, 140; exercises, 139, 143.
Advancement for advance, 177.
Adverbs, defined, 120; confused
with adjectives, 138; double nega-
tive, 140; exercises, 145.
ESOP's fables, exercise based up-
on, 57; allusions to, in literature,
272.
Afraid for fear, 177.
Aggravate, exasperate, 177.
Alliteration, 324.
Alright, all right, 177.
Anapest, 322.
And, but, 152; while, 152.
Antecedent, agreement with, 126.
Antithesis, 156.
Antonyms, 170; exercises in, 171.
Any, at all, 177.
Appendix, 311.
Appropriateness in use of words,
BYRON, 231, 241, 250, 265, 267,
271, 308.
Capacious, large, 178.
Capital letters, 34, 317.
CARLYLE, 172, 192, 248.
Case of nouns, errors in, 124; of
pronouns, errors in, 126.
CHANNING, 122.
Character, types of, in literature,
272.
Choice of words, 197.
Claim, affirm, declare, 178.
CLAIRE, 60.
Clause modifiers contracted to single
word, 150.
Clearness in description, 22.
Climax, 155.
Coherence, in paragraph, 97;
sentences, 150; exercises in, 153.
Colon, 315.
Comedy, 321.
Comma, 312.
Comparison, to vary expression,
225; types for, 226; sources of
material for, 252; actual and
imaginary resemblances distin-
guished, 252; material from na-
ture for, 262; material from Bible
for, 265; material from my-
thology for, 268; material from
literature for, 272; material from
history for, 275; exercises in,
226, 255, 259, 263, 266, 269, 273,
276.
Complex sentences, 112.
Composition, oral, 3; written, 34,
established customs in, 34; form
for written, 37.
Compound sentences, 12.
Conjunctions, 120; correct use of, | Farce, 321.
141, 142; correlative, 142; posi-
tion of, 152.
Contractions, 37.
Conversation, oral, 8; written para-
graphs in, 81.
Correlative, 142.
Couple, pair, 178.
Couplet, 325.
Dash, use of, 316.
Deadly, deathly, 178.
DE FOE, 196.
Description, oral, 21; clearness in,
22; accuracy in, 22; writer's
purpose in, 23; of a place, 24;
of a person, 28; a form of dis-
course, 59; point of view in, 60;
examples of, 23, 24, 25, 28, 29,
30, 31, 60, 61, 62, 86, 87, 95, 208,
209, 213, 214, 285, 286; exercises
in, 27, 32, 50, 63, 102, 162, 172,
195, 217, 288.
DICKENS, 20, 40, 80, 111, 234.
Didactic poetry, 321.
Dimeter, 322.
Directly, soon, 179.
Drama, 320.
DRUMMOND, 205, 272.
Figures of speech, 253; simile and
metaphor distinguished, 254; per-
sonification, 257; effective use
of, 199; material from nature for,
262; material from Bible for,
265; material from mythology
for, 268; material from litera-
ture for, 272; material from his-
tory, 275; exercises in, 255, 259,
263, 266, 269, 275, 276.
Fix, repair, mend, 179.
Flee, fled, 132.
Flow, flowed, 132.
Fly, flew, 132.
Gender of pronouns,
with antecedent, 127.
General and specific words, 198;
exercises in, 201.
GOLDSMITH, 62.
Good, well, 139.
Good use, see Usage.
Gorgeous, pleasant, 179.
Got, error in use of, 179.
GRAY, 204, 205, 296, 298.
Guess, think, believe, 180.
Hardly, with negative, 140.
HAWTHORNE, 26, 31, 88, 95, 98,
255, 263, 273.
Heading of a letter, 47.
Healthy, healthful, wholesome, 180.
HEMANS, 222.
HENRY, Patrick, 101, 110.
Heptameter, 322.
Heroic couplet, 325.
HERRICK, 264.
Hexameter, 322.
Historical characters and events,
use in literature, 239, 244; com-
parisons based upon, 275.
Home, at home, to home, 180.
Horrid, unpleasant, 180.
Exclamatory sentence, effective use HOWLETT, 111.
HUGHES, 190.
Hung, hanged, 180.
Iambus, 322.
Imperative sentences, 109.
Impression, see Sense-impressions.
Improprieties, 177; exercise in, 184.
In, into, 180.
Indicative for subjunctive, 135.
Infinitive, defined, 121;
in -ing,
121; split, 137.
Inside, within, 180.
Interrogation point, 316.
Interrogative sentences, 108; ef-
fective use of, 109.
Metrical romance, 320.
MILTON, 204, 259, 260, 304, 326.
Modifiers, position of, 151; change
of form for variety, 158.
Most, almost, 182.
Much, many, 182.
Mutual, common, 182.
Narration, oral, 13; main incident,
13;
time and place, 15; order
of arrangement, 16; action in,
19; form of discourse, 53; plan
of, 54; examples of, 14, 16, 20,
40, 42, 115, 116, 170, 204, 206,
207, 214, 216, 239, 289; exer-
cises in, 20, 47, 58, 77, 91, 92,
102, 111, 119, 176, 195, 202, 210,
217, 218, 246, 293, 296.
National use, words in, see Usage.
Nature, figurative language based
upon, 262; sense impressions
from, 283, 288, 293, 296, 299,
301; influence of, 305.
Neither
nor, 142.
Nerve, assurance, impudence, 182.
Nice, attractive, pleasing, 182.
Notorious, noted, famous, 182.
Nouns, 120; errors in case of, 124.
Nowhere near, not near, 183.
Number, errors in, 127, 130; ex-
ercises in, 137.
Odor, sense-impression of, 293.
Only, position of, 151.
Onto, on, 183.
Or with either, 142; with whether, 142.
Oral composition, see Composition.
Oral, verbal, 184.
Order, natural, 160; inverted, 160.
QUSELEY, 303.
Paragraph, defined, 76; divisions
of, 77; of narration, 78; of de-
scription, 80; of written conver-
sation, 81; single, 82; contents
of, 83; plan of, 84; topic sen-
tence in, 84; principles of ar-
rangement, 88; unity in, 88;
emphasis in, 92; coherence in,
97; connectives in, 99; exer-
cises in, 77, 91, 100, 101, 102.
PARKMAN, 214.
Participle, 121; imperfect, 121;
perfect, 121; errors with, 125,
126.
Parts of speech, 120.
Party, person, 183.
Pastoral, 320.
Pentameter defined, 322.
Period, 316.
Periodic sentence, 117.
Personification, 257.
Person of pronouns, 127.
Persons, description of, 28.
Persuasion, 52.
Phrase modifiers
single word, 150, 159.
Place, description of, 24.
Plot, of a story, 55; in a drama, 321.
Poetry, defined, 318; distinguished
from prose, 318; kinds of, 319.
Point of view, in description, 60;
determined by personal interest,
227; practical and poetical com-
Sense-impressions, through sight,
283; through hearing, 288;
odor, 293; of taste, 296; of
touch, 299; received simulta-
neously, 301; examples of, 280,
283, 284, 286, 288, 289, 291, 294,
297, 300, 302, 304; exercises in,
287, 292, 296.
Sentences, defined, 108; classified
grammatically, 108, 112; use
of different kinds, 109, 112;
effective use of interrogative and
exclamatory, 109; exercises in,
110; compound and complex sen-
tences distinguished, 112; ex-
ercises in, 114; use of long or
short sentences, 114; loose and
periodic sentences, 117; balanced,
118; exercises in, 119; correct-
ness in, 123; subject and predi-
cate of, 123; rhetorical structure
of, 146; unity in, 147; violations
of unity, 148; to secure unity,
148, 149; coherence in, 150;
position of modifiers for cohe-
rence, 151; position of connec-
tive words for, 152; exercises
in coherence, 153; emphasis,
154; climax for emphasis, 155;
antithesis for emphasis, 156;
comparison for emphasis, 156;
exercises in emphasis, 157; vari-
ety in, 158; change of modifiers
for variety, 158; rearrangement
of words for variety, 160; exer-
cises, 151; topic sentence, see
Paragraph.
Subject of a sentence, 108.
Subjunctive distinguished from in-
dicative, 135.
SUMNER, 95, 98.
Synonym, 170; exercises in, 171.
Technical words, 175.
TENNYSON, 245, 248, 297.
Tense, errors in, 131.
THACKERAY, 29, 86.
THOMSON, 125, 231, 280.
THOREAU, 289.
Topic sentence, 84.
Tragedy, 321.
Transpire, happen, 184.
Trochee, 322.
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