rad, Joseph, 161, 162.

Conservatism, portrayal of, 26.

Construction, 16, 64.

Conte, 43.

Contrast, 123, 157.

Copperfield, David, 117, 191, 192.

Cousin Pons, 54, 55.

Creative process, order, 37.

Crime and Punishment, 32.

Critical faculty, 23.

Criticism, 34.

Culture, 35.

Current Questions, 25.

Dawn of a Tomorrow, The, 152.

Defoe, Daniel, 98, 208.

Descent into the Maelstrom, A, 84.

Description, 105.
Interest, 107.
Secondary function, 108.
Distribution, 108.
Story of atmosphere, 109.
Effectiveness, 109.
Description of persons, 110.
Example, 111.
Analysis, 112.
Accuracy, 114.
Mechanical limitations, 116.
Use of all senses, 117.
Description of setting, 118.
Two objects, 119.
Use of all senses, 120.
Order of details, 122.
Contrast, 123.

Design, importance of, 13.

Dialect, 127, 128.

Dialogue (see Speech), 105, 136.

Dialogue, in relation to characterization, 140.

Dickens, Charles, 28, 92, 117, 141, 142, 191, 192, 193.

Diction, 102, 130, 131.

Don Quixote, 208.

Dostoievsky, Fyodor, 32, 203, 208.

Douglas, George, 58, 94.

Doyle, Sir A. Conan, 83, 204.

Drama, conventions of, 170.

Dr. Jekyll and Mr. Hyde, 56, 182, 200.

Dumas, Alexandre, 31, 92.

Dunn, Finley Peter (Mr. Dooley), 134.

Ebb-Tide, The, 82, 89, 91, 145, 149, 188, 191, 192.

Elements, blending of, 105, 106.

Eliot, George, 31, 88.

Emotion, 25.

Emphasis, 39, 40, 77, 101, 110.

End of story, 72.

Events, order of, 65.

Events, secondary, 103.

Exposition, 85.

Fall of the House of Usher, The, 44, 161, 162, 167, 207.

Fantasy, influence on style, 92, 93.

Fiction, theory of, 197.

Fielding, Henry, 28, 192.

Figures of speech, 100, 114, 115.

Flaubert, Gustave, 27.

Frankenstein, 189.

Freeman, Mary E. Wilkins, 154.

Galsworthy, John, 88.

Genius, cultivation of, 23.

Greek, 130.

Hardy, Thomas, 88, 161.

Harrison, Henry Sydnor, 133.

Harte, Bret, 53, 59.

Hawthorne, Nathaniel, 29, 32, 58, 92, 93, 182, 203, 204.

Henry, O., 82.

House of the Dead, The, 58, 203.

House with the Green Shutters, The, 58, 94.

Hurst, Fannie, 76