ADAPTATION, the secret of elegance,
282; examples of, 283-288.
Ambiguity, 205.
Anticlimax, 102, 133.
Argument, 164.
Artifice, 89, 101, 120, 141.
Association of ideas, 71,
Assumptions, 201.
Average man, 198, 229.
BALANCE, 95.
Barbarisms, 44-47, 50.
Books of reference, 20.
Brevity, 63.
CHAPTERS, 27, 150.
Clearness, 8, 193-233; defined, 194;
offences against, 202 (see Vague-
ness, Ambiguity, and Obscurity); a
relative quality, 194–196.
Coherence, principle of, 29, 34, 35, 96;
conflict with mass, 179, 180; of
sentence, 103-111 (see Order of
Words, Constructions, and Connec-
tives); test of coherence of sentence,
110; historical growth of, 110; of
paragraphs, 134-146 (see Order of
Sentences, Constructions, and Con-
nectives); test of coherence in par-
agraphs, 145; historical develop-
ment of, 145; in whole composi-
tions, 173-179.
Common errors, 1, 2.
Commonplaces, 52, 62, 63, 84, 144,
209.
Compositions, 27-39; kinds of com-
position, 27, 30 (see Sentences, Par-
agraphs, and Whole Compositions);
beginning and end of, 33; sub-
stance of, 29, 30.
Confusion, 147.
Confusion of mind, 135, 153, 165,
209-213, 214.
Connectives, in sentences, 105, 108-
110; in paragraphs, 142-145.
Connotation, 74, 75, 232, 242, 281; in
sentences, 112, 113; in paragraphs,
147-149; in whole compositions,
191; in secret of force, 242, 270,
271.
Construction, in sentences, 105, 107,
108 (see Coherence); in paragraphs,
137-142; in whole compositions,
174, 175.
Conversation, 122.
Co-ordination, 109, 145.
Creative imagination, 7, 40, 212, 277.
DAILY writing, 265, 269.
Definition, 221, 222.
Denotation, 74, 75, 232, 239, 281;
in sentences, 112, 113; in para-
graphs, 147-149; in whole composi-
tions, 191; secret of clearness, 233
Description, 216-220.
Dictionaries, 16, 20, 26, 51, 67.
Diffuseness, 64-66.
EFFECTS, 55, 56, 58, 60, 67, 85, 89,
111, 112, 146-149, 162, 190, 191,
230.
Elegance, 8, 194, 272-307; defined,
272, 275-277, 282; Addisonian, 274,
297; a relative quality, 289–292.
Elements of style, 10-39, 150, 151,
189, 191, 192, 239 (see Words, Sen-
tences, Paragraphs, Whole Compo-
sitions); relation of elements and
qualities, 214; summary of, 191,
Emphasis, 82, 83, 100, 102.
English language, 15, 36, 56, 88.
Etymology, 56.
Euphemism, 296.
Eye and ear, 32, 82, 83, 99, 100.
FASHIONS, 23.
Faults of genius, 197.
Figures of speech, 245-261.
Fine art, 131, 142.
Force, 8, 194, 234-271; defined, 236,
239; a relative quality, 236, 238.
GENERAL principles, 2.
General terms, 214, 216.
Good use, 13-26, 28, 35-39, 42, 69,
77, 82, 83, 99, 114, 135, 141, 150,
151, 152, 189, 190, 212, 222 (see
Reputable, National, and Present
Use); violations of, 43-50 (see Bar-
barisms, Improprieties, and Sole-
cisms); good sense, 78, 120, 131,
142.
Grammar, 77; English, 77-81.
Grammars, 16, 20, 26.
IDEALISM, 305-307.
Idioms, 78-80.
Immaterial realities, 6.
Impressions, 234-236.
Improprieties, 44, 47-50, 81.
Inadequacy of expression, 278-280,
302-305.
Indecision, 147.
Individuality, 264.
Inelegance, 293–297.
Inflections, 36, 88.
LANGUAGE, 13, 76, 114; written and
spoken, 16, 38, 82, 93, 127.
Languages, dead, 18-20.
Letters, 11.
Letter-writing, 25.
MASS, principle of, 29, 32-34, 96;
conflict with coherence, 179, 180;
of sentences, 99-103; test of mass
of sentences, 100; historical devel-
opment of, 100; of paragraphs,
126-134; test of mass of para-
graphs, 128-130; historical devel-
opment of mass of paragraphs, 133;
in whole compositions, 162-173.
Mastery, 298.
Material symbols, 7, 32, 213.
Mechanical devices, 165, 173, 211.
Metaphors, 61; mixed, 260 (see Fig-
ures of Speech).
Method, 201, 210, 212, 230, 231.
Misunderstanding, 68, 69.
Monotony, 120.
NAMES, 41.
Narrative, 163.
National use, 21, 22.
OBSCURITY, 206-209, 223-228.
Order of words, 36, 37, 104, 105; of
sentences, 135-137; of paragraphs,
173, 174.
Simplicity, 198-200.
Solecisms, 78, 81.
Specific terms, 216–220.
Spencer's "Philosophy of Style,"
86.
Style, 3, 7, 39 (see Elements and
Qualities), 39; a conflict between
usage and principle, 39, 99, 102;
historical development of English,
90-95, 98, 100, 110, 126, 133; peri-
odic and loose, 85-87.
Subject, shift of, 108, 141, 143.
Subordination, 109.
Suggestions, 71, 72.
Summaries, 156, 177, 178.
Supreme works of art, 198.
Sympathy, 261-270, 292; with sub-
jects, 262-267; with readers, 267.
168; ends of, 168, 172; proportions
of, 169–172.
Words, 13-26, 39, 41-75; big and lit-
tle, 52, 57, 62; discrepancy between
words and ideas, 67-75, 112, 147,
222; figurative and literal, 52, 60,
62; foreign, 45; general and spe-
cific, 52, 58-60, 62; kinds of, 50-63;
Latin and Saxon, 52, 53-57, 62;
new and slang, 45; number of, 63-
66, 218; obsolete, 45; order of, 36,
37, 104, 105 (see Coherence);
written words, 7, 32, 213.
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