Chapter 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.