Part 2 — INDEX

[Titles of books and periodicals are in quotation marks; titles of separate stories, in italics]

Addison, a model for Irving, 6

Aldrich, Thomas Bailey, 34

Alice Doane’s Appeal (Hawthorne), 13

Allegory, 10, 14, 23, 230

Ambitious Guest, The (Hawthorne), 14

American literature, brevity of, 1;

wherein American, 1–4, 8, 35;

American life in, 3–6, 11, 12

“American Monthly Magazine, The,” 113

Amis and Amile, 25

Anecdote, 10, 24, 26, 27, 29

Annuals, American, 2, 4, 5, 9–12, 18

Antonius Diogenes, 24

“Appleton’s Journal,” 245

Apuleius, 30

Aristides of Miletus, 24

Aristotle, “Poetics,” 13, 19, 20

Arsène Guillot (Mérimée), 31

Artificiality in short story, 20, 32

“Ass, The,” of Lucian, 24

“Atlantic Monthly, The,” 247

“Atlantic Souvenir, The,” 2, 4, 5, 11

Aucassin and Nicolette, 25, 27, 31

Austin, William, 1, 10, 12, 59–95;

biographical and critical sketch, 59;

Joseph Natterstrom, 1, 10;

Peter Rugg, 10, 12, 60–95

Bacon, Delia, 11

Balzac, Honoré de, 32–33;

El verdugo, Les proscrits, La messe de l’athée, Z. Marcas, 32;

form in, 32–33

Bandello, 29

Beckwith, Hiram W., 97

Bee-Tree, The (Kirkland), 195–210

Beers, Henry A., 2, 177

Ben Hadar (Paulding), 10

Berenice (Poe), 2, 3, 16, 18, 21, 22, 33

Blackwell, Robert, 97

Boccaccio, “The Decameron,” 26–28, 30

“Boston Book, The,” 61

Brunetière, Ferdinand, 26

Buckthorne and His Friends (Irving), 8

Bunner, Henry Cuyler, 289–301;

biographical and critical note, 289;

The Third Figure of the Cotillion, 289;

The Love Letters of Smith, 291–301

Burton’s “Gentleman’s Magazine,” 154

Cable, George W., 5, 34;

Posson Jone, 34

Cairns, William B., 2, 6, 325

Canby, Henry Seidel, 325

Carmen (Mérimée), 31

Catholic, The, 4

“Cena Trimalchionis,” of Petronius, 24

“Cent nouvelles nouvelles, Les,” 28, 30

Character, development of, 13, 26, 27

Chassang, A., 325

Chaucer, 25, 28;

The Man of Law, The Pardoner, Troilus and Criseyde, 25

Chivalric Sailor, The (Sedgwick), 11

Clemens, Samuel L. (Mark Twain), 4, 34;

The Jumping Frog, 34

Climax (see Culmination)

Colomba (Mérimée), 31

Combe à l’homme mort, La (Nodier), 29, 30

Compression of time, in short story, 8, 11, 12, 13, 19, 20, 27, 28, 33 (see Unity)

“Condensed Novels” (Harte), 229

Consistency of form, 9, 23, 26–28, 31, 32, 33 (see Unity)

Conte and nouvelle, 30, 31, 33

“Contes de la Reine de Navarre” (see “Heptameron”)

Cooper, James Fenimore, 1, 5

Cornelius Sisenna, 24

Culmination, in short story, 7, 8, 10, 20–22, 26–28, 31, 32, 33

Damnation of Theron Ware, The (Frederic), 303

Dana, Richard Henry, Paul Felton, 11

Daphne, The (Webster), 245

Daphnis and Chloe, 24–25

“Dashes at Life with a Free Pencil” (Willis), 178

Daudet, Alphonse, 30, 34

David Swan (Hawthorne), 14

“Decameron, The,” 26–28

De Quincey, Thomas, 30

Descriptive sketches, 9, 12, 14, 31, 99, 113, 193

Dialogue and monologue, 19, 27

Diamond Lens, The (O’Brien), 211

Dickens, Charles, influence of, on Bret Harte, 230;

on O’Brien, 211

Dio Chrysostom, 25

Directness of movement, 18, 19, 20, 26, 27

Documentary interest, in fiction, 3, 30

Dominant, use of a single detail as, 16, 21, 22

Drama, influence of, on novel and short story, 26, 34

Dumas, Alexandre, influence of, on Bret Harte, 230

Edgeworth, Maria, 26

Emigrant’s Daughter, The, 5

End of the Passage, The (Kipling), 212

Enlèvement de la redoute, Le (Mérimée), 31

Esmeralda, The (Wallace), 11

Essay tendency in tales, 6, 7, 10, 14, 15, 18, 32

Ethan Brand (Hawthorne), 13

Eve of the Fourth, The (Frederic), 305–324

Exposition in tales (see Essay tendency)

Fall of the House of Usher, The (Poe), 18, 154–176

Fancy’s Show Box (Hawthorne), 14

Filleule du Seigneur, La (Nodier), 30

Flaubert, Gustave, 30

Flint, Timothy, 5

Florus, King, and the Fair Jehane, 25

Fool’s Moustache, A (Webster), 245

“Forest Life” (Kirkland), 193

France, Anatole, 29

Frederic, Harold, 303–324;

biographical and critical note, 303;

“In the Sixties,” 303;

The Eve of the Fourth, 305–324;

The Damnation of Theron Ware, 303

Fromentin, Eugène, 3

Frontier, tales of the, 5, 10, 12, 97–127, 193–210, 229–243

Gautier, Théophile, 30, 33;

Le nid de rossignols, La mort amoureuse, 33;

preferred nouvelle to conte, diffuseness, influence of Sterne, tendency to mere description, likeness to Poe, 33

Genlis, Mme. de, moral tales of, 10

“Gentleman’s Magazine and American Monthly Review,” Burton’s, 154

German Student, The (Irving), 8

Gift-books (see Annuals)

Gilbert, E., 29, 325

Gilman, Mrs., 5

“Golden Era, The,” 229

Goldsmith, influence on Irving, 6

Gradation, 20–23, 32 (see Sequence)

Great Good Place, The (James), 34

Great Stone Face, The (Hawthorne), 14

Hale, Mrs., 5

Hall, James, 5, 9, 11, 12, 97–112;

biographical and critical note, 97;

“The Illinois Intelligencer,” “The Illinois Magazine,” “The Western Monthly Magazine,” “Letters from the West,” “Sketches of the West,” “Notes on the Western States,” “The Wilderness and the War Path,” 97;

“The Western Souvenir,” 5, 97;

The Indian Hater, Pete Featherton, 5;

The Village Musician, 9;

The French Village, 5, 9, 12, 99–112

Harmonisation, 16, 23

“Harper’s Monthly Magazine,” 212, 213

Hart, Walter Morris, 325

Harte, Francis Bret, 4, 229–243;

biographical and critical note, 229;

“Condensed Novels,” 229;

The Luck of Roaring Camp, 229, 230;

Johnson’s Old Woman, Mrs. Skaggs’s Husbands, The Iliad of Sandy Bar, Tennessee’s Partner, 230;

The Outcasts of Poker Flat, 231–243;

influence of Dickens, 230;

of Dumas, 230;

tendency to melodrama, 230;

local truth, 229;

symbolism, 230

Hawthorne, Nathaniel, 2, 5, 9, 10, 12–15, 16, 18, 23, 30, 31, 32, 59, 129–142, 230;

bent not toward short story, 12–15, 31;

allegory, symbolism, 14, 23, 230;

vocabulary, 16;

tendency toward description, 14;

toward essay, 14, 15, 18, 30;

expository introductions, 18;

unity compared with Poe’s, 23;

likeness to Nodier, 30;

“Twice-Told Tales,” 131;

The Gentle Boy, 12;

The Wives of the Dead, 12, 13;

Roger Malvin’s Burial, Alice Doane’s Appeal, Ethan Brand, 13;

The Scarlet Letter, 13, 14;

Sunday at Home, Sights from a Steeple, Main Street, The Village Uncle, The Ambitious Guest, Fancy’s Show Box, David Swan, The Snow Image, The Great Stone Face, 14;

The Marble Faun, 15;

The White Old Maid, 13, 131–142;

The Seven Vagabonds, 230

“Heptameron, The,” of the Queen of Navarre, 29

Hermit of the Prairies, The, 5

“Hermite de la Chaussée d’Antin, Le,” 6

Higginson, Thomas Wentworth, 59

Historical tales, 4, 5, 9, 10, 11

Hoax-story, 10, 34

Horla, Le (Maupassant), 212

Iliad of Sandy Bar, The (Harte), 230

“Illinois Intelligencer, The,” 97

“Illinois Magazine, The,” 97

“In the Sixties” (Frederic), 305

Indian Hater, The (Hall), 5

Inlet of Peach Blossoms, The (Willis), 179–191

Inroad of the Nabajo, The (Pike), 115–127

Intensity, in short story, 12, 22, 32, 34

Introductions to tales, 7, 10, 17, 18, 19, 31, 99, 195

Irving, Washington, 1, 4, 5, 6–9, 18, 29, 37–58, 143, 289;

looseness of form, 7, 8;

characterisation, 7;

unity of tone, 7;

influence of, 8, 9, 143, 289;

introductions, 18;

“The Sketch Book,” 7;

“Tales of a Traveller,” 8, 143;

The Wife, The Widow and Her Son, The Pride of the Village, The Spectre Bridegroom, 7;

Buckthorne and His Friends, The German Student, 8;

Philip of Pokanoket, 9;

Rip Van Winkle, 7, 8, 37–58

Jacobs, Joseph, 25

James, Henry, 34

Jean François-les-bas-bleus (Nodier), 30

Johnson’s Old Woman (Harte), 230

Joseph Natterstrom (Austin), 1, 10

Jouy, M. de, 6

Jumping Frog, The (Mark Twain), 34

Keepsakes (see Annuals)

Kennedy, John Pendleton, 5, 9;

“Swallow Barn,” 9

Kinetic narrative, and static, 22

King Pest (Poe), 18, 22

Kipling, Rudyard, 34, 212;

The End of the Passage, 212

Kirkland, Mrs., 5, 6, 193–210;

biographical and critical note, 193;

“A New Home—Who’ll Follow,” “Forest Life,” “Western Clearings,” 193;

The Bee-Tree, 195–210

Kirkland, William, 193

Landor, Walter Savage, 30

“Letters from Arkansas” (Pike), 113

“Letters from the West” (Hall), 97

Lidivine (Nodier), 30

Ligeia (Poe), 16, 18

“Literati” (Poe), 193

Local color, 3–6, 9, 11, 12, 34, 97, 113, 193, 229, 303

Longfellow, Henry Wadsworth, 143–151;

biographical and critical note, 143;

“Outre-Mer,” 143;

The Notary of Périgueux, 145–151

Longus, 24, 25

Love Letters of Smith, The (Bunner), 291–301

Lucian, 24

Luck of Roaring Camp, The (Harte), 229, 230

Magazines, American, 2–5, 9, 34 (and see separate titles)

Main Street (Hawthorne), 14

Maison Tellier, La (Maupassant), 230

Man of Law, The (Chaucer), 25

Marble Faun, The (Hawthorne), 15

Margaret of Angoulême, Queen of Navarre, the “Heptameron” of, 29

Marjorie Daw (Aldrich), 34

Mary Dyre (Sedgwick), 11

Matron of Ephesus, The (Petronius), 24

Matthews, Brander, 8, 11, 22, 31, 212, 325;

edition of Irving’s “Tales of a Traveller,” 8;

“The Philosophy of the Short-Story,” 11, 22, 31, 212, 325

Maupassant, Guy de, 30, 34, 212, 230;

La maison Tellier, 230;

Le Horla, 212

Mediæval tales, 23–29, 31

Melodrama, tendency toward, in earlier American tales, 4, 5, 11;

in O’Brien, 211;

in Bret Harte, 230

Mérimée, Prosper, 30–34;

narrative conciseness, 31;

preferred nouvelle to conte, 31, 34;

and Poe, 32;

Carmen, Colomba, Arsène Guillot, L’enlèvement de la redoute, Tamango, La vision de Charles XI, Le vase étrusque, 31;

La Vénus d’Ille, 31, 32

Messe de l’athée, La (Balzac), 32

Methodist’s Story, The, 4

Metzengerstein (Poe), 16, 18, 22

Milesian tales, 24

“Mirror, The New York,” 177, 178

Miss Eunice’s Glove (Webster), 247–266

Mitchell, Donald G., 1

Mitford, Mary Russell, 193

Moland and d’Héricault, 325

Monologue, Poe’s, 19

Moral tales, 4, 9, 10, 14, 30;

allegory in, 10, 14;

of Mme. de Genlis, 10;

of Nodier, 10, 30;

oriental setting for, 10

Morella (Poe), 16, 17, 18, 21, 22

Morris, William, 25, 326

Morte Amoureuse, La (Gautier), 33

Mrs. Skaggs’s Husbands (Harte), 230

Musset, Alfred de, 33

My Wife’s Tempter (O’Brien), 211

Narantsauk, 4

Nationality in literature, 3–6, 11, 12

“New England Galaxy, The,” 61

“New England Magazine, The,” 2, 131

“New Home, A,—Who’ll Follow” (Kirkland), 193

“New York Mirror, The,” 177, 178

Nid de rossignols, Le (Gautier), 33

Nodier, Charles, 10, 29, 30, 31;

preferred nouvelle to conte, 30, 31;

similarity to Hawthorne, 30;

Les quatre talismans, 10;

La combe à l’homme mort, 29, 30;

Smarra, Jean François-les-bas-bleus, Lidivine, La filleule du Seigneur, 30

“Notes on the Western States” (Hall), 97

Nouvelle, and conte, 30, 31, 33;

and roman, 31

Novel and short story, 8, 12, 13, 15, 21, 25, 26

Novelette, 31

Novella, 27, 30

O’Brien, Fitz-James, 211–228;

biographical and critical note, 211;

The Diamond Lens, The Wondersmith, Tommatoo, My Wife’s Tempter, 211;

What Was It?, 213–228

Operation in Money, An (Webster), 245

Oriental tales, 10, 25

Outcasts of Poker Flat, The (Harte), 231–243

“Outre-Mer” (Longfellow), 143

“Overland Monthly, The,” 229, 231

Owner of “Lara,” The (Webster), 245

Pardoner, The (Chaucer), 25

Pastoral romance, 25

Paul Felton (Dana), 11

Paulding, James K., Ben Hadar, 10

Peck, Harry Thurston, 326

“Pencillings by the Way” (Willis), 177

Periodicals (see Annuals, Magazines)

Perry, Bliss, 326

Pete Featherton (Hall), 5

Peter Rugg, the Missing Man (Austin), 10, 12, 60–95

Petronius, “Cena Trimalchionis,” “Satyricon,” 24

Philip of Pokanoket (Irving), 9

Picaresque story, 24

Pike, Albert, 12, 113–127;

biographical and critical note, 113;

“Prose Sketches and Poems,” 12, 115;

“Letters from Arkansas,” 113;

“Hymns to the Gods,” 113;

The Inroad of the Nabajo, 115–127

Plot (see Compression, Culmination Novel, Short story, Time-lapse, Unity)

Plots, simple or complex, 12, 13

Poe, Edgar Allan, 3, 4, 9, 12, 15–23, 32, 33, 153–176, 193, 211;

genius for form, 9, 16;

preoccupation with structure, 16;

review of Hawthorne, 14, 22;

characters, 16;

detective stories, 16, 20;

harmonisation, 16, 23;

refrain, 16, 17, 21;

vocabulary, 16, 17;

cadence, 16;

suppression of introductions, 18, 19;

simplification for directness, 19;

setting, 19;

habit of monologue, 19;

gradation, 20–23;

artificiality, 20, 32;

grotesque, 22;

kinetic narrative, and static, 22;

conception of unity, 22, 23;

application of Schlegel, 22;

review of Mrs. Sigourney, 22;

symbolism, 23;

and Hawthorne, 18, 20, 23;

and Mérimée, 32;

and Gautier, 33;

and O’Brien, 211;

“Literati,” 193;

Berenice, 2, 3, 16, 18, 21, 22, 33;

Metzengerstein, 16, 18, 22;

Morella, 16, 17, 18, 21, 22;

Ligeia, 16, 18;

King Pest, 18, 22;

The Tell-Tale Heart, 18;

The Fall of the House of Usher, 18, 154–176

“Poetics,” of Aristotle, 13, 19, 20

“Portfolio, The,” 97

Posson Jone (Cable), 34

Poushkin, 34

Premonition, 21, 31

Pride of the Village, The (Irving), 7

Proscrits, Les (Balzac), 32

“Prose Sketches and Poems” (Pike), 12, 114

“Puck,” 289

Quatre talismans, Les (Nodier), 10

Reminiscence of Federalism, A (Sedgwick), 11

Richepin, 34

Rip Van Winkle (Irving), 7, 8, 37–58

Roger Malvin’s Burial (Hawthorne), 13

Romances, short, 4, 10, 11, 25, 27;

American, 4, 11;

summary or scenario, 10, 25;

pastoral, 25;

mediæval, 25–28, 29

Romanticism, 4, 7, 8, 11

“Satyricon” (Petronius), 24

Scarlet Letter, The (Hawthorne), 13, 14

Scenario, or summary romance, 10, 13, 24, 26, 27

Schlegel, Poe’s application of, 22

Scott, Sir Walter, influence of, 11, 37

Sedgwick, Charlotte M., A Reminiscence of Federalism, Mary Dyre, The Chivalric Sailor, 11

Sequence of incidents, 7, 8, 9, 10, 16, 20–23 (see Gradation)

Setting, 16 (see Local color)

Seven Vagabonds, The (Hawthorne), 230

“Short Sixes” (Bunner), 291

Short story, in antiquity, 24, 25;

in middle age, 25–29;

in France, 29–35;

in America, 1–23, 34, 35;

in England, 33, 34;

in other countries, 34;

popularity of, 3, 34;

distinct from tale and novel, 2, 6, 7, 8, 11, 12, 13, 21, 23–27, 29–31;

unity of, 7, 8, 11–13, 15–23;

intensity of, 12, 13, 32 (see Unity)

“Short-Story, The Philosophy of the” (Matthews), 11, 12, 31, 212, 325

Sights from a Steeple (Hawthorne), 14

Simple plots and complex, 13–15, 25, 26

Simplification of narrative mechanism, 7, 8, 11, 12, 13, 17–20, 23 (see Unity)

Singleness, 13, 15, 19, 31 (see Unity)

Situation, a single, in short story, 12, 26, 27, 28, 31

“Sketch Book, The” (Irving), 7, 8, 37

“Sketches of the West” (Hall), 97

Smarra (Nodier), 30

Snow Image, The (Hawthorne), 14

“Southern Literary Messenger, The,” 2, 33

“Spectator, The,” 6, 7, 9;

influence on Irving, 6, 7;

on the British novel, 6;

in France, 6;

on J. P. Kennedy, 9;

in Virginia, 9

Spectre Bridegroom, The (Irving), 7

Static narrative, and kinetic, 22

Sterne, Lawrence, influence on Gautier, 33

Stevenson, Robert Louis, 34

Stockton, Frank R., The Wreck of the Thomas Hyke, 34

Sunday at Home (Hawthorne), 14

Suspense, 10, 16, 20

“Swallow Barn” (Kennedy), 9

Symbolism, 10, 14, 23, 230

Tale, a constant literary form, 25, 26;

distinct from short story (which see);

anecdote, 10, 24, 26, 29;

summary or fragmentary, 13, 15, 23, 24, 27;

moral, 4, 9, 10, 14, 30;

historical, 4, 5, 9, 10, 11;

yarn, 10, 34;

oriental, 10, 25

Tales, ancient, 23–25;

Milesian, 24;

mediæval, 25–29, 31;

modern French, 30;

American, before 1835, 1–12

“Tales of a Traveller” (Irving), 8, 143

Tamango (Mérimée), 31

Taylor, Bayard, 267–287;

biographical and critical note, 267;

Who Was She?, 269–287

Tell-Tale Heart, The (Poe), 18

Tennessee’s Partner (Harte), 230

Theocritus, the fifteenth idyl of, 25

Thoreau, Henry David, 1

Time-lapse, management of, 8, 11, 12, 13, 19–21, 27–29, 31, 32

“Token, The,” 2, 5

Tommatoo (O’Brien), 211

Totality of interest, Poe’s principle of, 22

Troilus and Criseyde (Chaucer), 25

Unities, the classical, 19, 20, 34, 289

Unity, in short story, of purpose, 8, 16–23;

of tone, 7, 16–19, 22, 23;

of form, 7, 8, 10, 12, 13, 16–19, 22, 23, 25–29, 31–33, 59, 113, 143, 177, 193, 211, 230, 289;

of time, 8, 11, 12, 13, 19–21, 27–29, 31, 32;

of place, 12, 13, 19, 27, 29, 32;

by suppression, 19, 32;

and artificiality, 20, 32

Vase étrusque, Le (Mérimée), 31

Vénus d’Ille, La (Mérimée), 31

Verdugo, El (Balzac), 32

Village Uncle, The (Hawthorne), 14

Vision de Charles XI, La (Mérimée), 31

Voltaire, 10

Wallace, Godfrey, The Esmeralda, 11

Webster, Albert Falvey, 245–266;

biographical and critical note, 245;

An Operation in Money, The Daphne, A Fool’s Moustache, The Owner of Lara, 245;

Miss Eunice’s Glove, 247–266

“Weekly Californian, The,” (Harte), 229

“Western Clearings” (Kirkland), 193, 195

“Western Monthly Magazine, The” (Hall), 97

“Western Monthly Review, The,” 5

“Western Souvenir, The” (Hall), 5, 97, 99

What Was It? (O’Brien), 213–228

White Old Maid, The (Hawthorne), 13, 131–142

Whitman, Walt, 3

Who Was She? (Taylor), 269–287

Widow and Her Son, The (Irving), 7

Wife, The (Irving), 7

“Wilderness and the War Path, The” (Hall), 97

Wilkins, Mary E., 11

Willis, Nathaniel Parker, 177–191, 193;

biographical and critical note, 177;

“Pencillings by the Way,” “Dashes at Life with a Free Pencil,” 177;

The Inlet of Peach Blossoms, 179–191

Wives of the Dead, The (Hawthorne), 12, 13

Wondersmith, The (O’Brien), 211

Wreck of the Thomas Hyke, The (Stockton), 34

Yarn, 10, 34

Z. Marcas (Balzac), 32

PRINTED IN THE UNITED STATES OF AMERICA