.

Hugo, Victor, 28, 52, 109, 192, 204.

Idiot, The, 208.

Il Penseroso, 94.

Imagination, 29.

Imagination and dialogue, 129.

Imitation, 33.

Information, 24.

Interest, 34, 35, 107, 108, 176, 185, 203.

Introduction, 67, 81, 82.

James, Henry, 56.

Jean Christophe, 28, 192.

Journal of the Plague Year, A, 98.

Kidnapped, 53, 96.

Kipling, Rudyard, 44, 68, 82, 99, 120, 198.

L'Allegro, 94.

La Peau de Chagrin, 98.

Latin, 130.

Legeia, 167.

Length, 86.

Les Miserables, 28, 192, 204.

Literalness, in dialogue, 126, 127.

Lodging for the Night, A, 110, 137, 174, 175.

London, Jack, 71, 75, 198.

Lost World, The, 204.

Macbeth, 157.

Mannerisms in dialogue, 143, 144.

Markheim, 44, 55, 56, 159, 169, 179.

Master of Ballantrae, The, 91.

Material, accessibility of, 22.

Matter, choice of
Selection, 30.
Sincerity, 31.
Adventure, 32.
Common problems, 32.
Originality, 33.
Novelty and worth, 33.
Elements of literature, 34.
Interest, 34.
Elements of interest, 35.

Matter, significance of, 205.

Maupassant, Guy de, 44, 105, 168.

Meredith, George, 92.

Merry Men, The, 153, 155, 161, 162.

Milton, John, 94.

Monsieur Beaucaire, 71.

Narration, 105, 106, 107, 136, 147.

Narration, constructive technique of
Importance, 64.
Plot and situation, 65.
Spiritual values, 66.
Order of events, 67.
Introduction, 67.
Primary and secondary events, 68.
Climax, 70.
Naturalness, 70.
Preparation, 70, 73.
End of story, 72.
Proportion, 76.
General Considerations, 78.

Narration, executive technique of
Mode of narration, 80.
First person narration, 81.
Variation, 81.
Advantages of mode, 81.
Disadvantages, 82.
Plausibility, 84.
Third person narration, 84.
Advantages, 84.
Avoidance of artificiality, 85.
Length, 86.
Viewpoint, 86.
Attitude of author, 88.
Style, 90.
Congruity of manner, 92.
Story of action, 92.
Story of character, 93.
Method of narration, 97.
Story of commonplace, 97.
Story of bizarre, 98.
Vividness, 98.
Suspense, 100.
Emphasis and sup