Literature and Life (Complete)
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Table of contents
1. LITERATURE AND LIFE2. BIBLIOGRAPHICAL3. THE MAN OF LETTERS AS A MAN OF BUSINESS4. I.5. II.6. III.7. IV.8. V.9. VI.10. VII.11. VIII12. IX.13. X.14. XI.15. CONFESSIONS OF A SUMMER COLONIST16. I.17. II.18. III.19. IV20. THE EDITOR’S RELATIONS WITH THE YOUNG CONTRIBUTOR21. I.22. II.23. III.24. IV.25. V.26. VI.27. LAST DAYS IN A DUTCH HOTEL28. I.29. II.30. III31. IV32. V.33. VI.34. VII.35. VIII.36. SOME ANOMALIES OF THE SHORT STORY37. I.38. II.39. III.40. IV.41. V.42. VI.43. SPANISH PRISONERS OF WAR44. I.45. II.46. III.47. IV.48. AMERICAN LITERARY CENTRES49. I.50. II.51. III.52. IV.53. V.54. THE STANDARD HOUSEHOLD-EFFECT COMPANY55. I.56. II.57. STACCATO NOTES OF A VANISHED SUMMER58. I.59. II.60. III.61. IV.62. V.63. Introductory material64. WORRIES OF A WINTER WALK65. I.66. II.67. III.68. SUMMER ISLES OF EDEN69. I.70. II.71. III.72. IV.73. WILD FLOWERS OF THE ASPHALT74. I.75. II.76. III.77. IV78. A CIRCUS IN THE SUBURBS79. I.80. II.81. III.82. IV.83. A SHE HAMLET84. I.85. II.86. III.87. THE MIDNIGHT PLATOON88. I.89. II.90. III.91. IV.92. V.93. THE BEACH AT ROCKAWAY94. I.95. II.96. III.97. IV.98. V.99. VI.100. SAWDUST IN THE ARENA101. I.102. II.103. III.104. AT A DIME MUSEUM105. I.106. II.107. AMERICAN LITERATURE IN EXILE108. I.109. II.110. THE HORSE SHOW111. I.112. II.113. III.114. IV.115. THE PROBLEM OF THE SUMMER116. I.117. II.118. III.119. AESTHETIC NEW YORK FIFTY-ODD YEARS AGO120. I.121. II.122. FROM NEW YORK INTO NEW ENGLAND123. I.124. II.125. III.126. IV.127. V.128. THE ART OF THE ADSMITH129. I.130. II.131. III.132. THE PSYCHOLOGY OF PLAGIARISM133. I.134. II.135. PURITANISM IN AMERICAN FICTION136. I.137. II.138. THE WHAT AND THE HOW IN ART139. I.140. II.141. III.142. POLITICS OF AMERICAN AUTHORS143. I.144. II.145. III.146. IV.147. STORAGE148. I.149. II.150. III.151. IV152. “FLOATING DOWN THE RIVER ON THE O-HI-O”153. I.154. II.155. III.156. IV.157. V.158. VI.159. MY LITERARY PASSIONS160. BIBLIOGRAPHICAL161. I. THE BOOKCASE AT HOME162. II. GOLDSMITH163. III. CERVANTES164. IV. IRVING165. V. FIRST FICTION AND DRAMA166. VI. LONGFELLOW’S “SPANISH STUDENT”167. VII. SCOTT168. VIII. LIGHTER FANCIES169. IX. POPE170. X. VARIOUS PREFERENCES171. XI. UNCLE TOM’S CABIN172. XII. OSSIAN173. XIII. SHAKESPEARE174. XIV. IK MARVEL175. XV. DICKENS176. XVI. WORDSWORTH, LOWELL, CHAUCER177. XVII. MACAULAY178. XVIII. CRITICS AND REVIEWS179. XIX. A NON-LITERARY EPISODE180. XX. THACKERAY181. XXI. “LAZARILLO DE TORMES”182. XXII. CURTIS, LONGFELLOW, SCHLEGEL183. XXIII. TENNYSON184. XXIV. HEINE185. XXV. DE QUINCEY, GOETHE, LONGFELLOW186. XXVI. GEORGE ELIOT, HAWTHORNE, GOETHE, HEINE187. XXVII. CHARLES READE188. XXVIII. DANTE189. XXIX. GOLDONI, MANZONI, D’AZEGLIO190. XXX. “PASTOR FIDO,” “AMINTA,” “ROMOLA,” “YEAST,” “PAUL FERROLL”191. XXXI. ERCKMANN-CHATRIAN, BJORSTJERNE BJORNSON192. XXXII. TOURGUENIEF, AUERBACH193. XXXIII. CERTAIN PREFERENCES AND EXPERIENCES194. XXXIV. VALDES, GALDOS, VERGA, ZOLA, TROLLOPE, HARDY195. XXXV. TOLSTOY196. CRITICISM AND FICTION197. I198. II199. III200. IV201. V.202. VI.203. VII.204. VIII.205. IX.206. X.207. XI.208. XII.209. XIII.210. XIV.211. XV.212. XVII.213. XVIII.214. XIX.215. XX.216. XXI.217. XXII.218. XXIII.219. XXIV.220. XXV.221. XXVI.222. XXVII.