INDEX

Adams, Henry, 11, 69.

Advertising in America, 146, 147.

Æsthete, the modern American, 274–277.

“Age of Innocence, The,” 57.

“Ambassadors, The,” 53.

America, restlessness in, viii;

pessimism in, viii, ix, 8, 135;

considered an unromantic, 130 n.;

sacrifice of the minority in, 146;

advertising in, 146–148;

the land of the superlative, 147;

crude conditions in parts of, 155, 156;

the land of the strenuous life, 186, 186 n.;

conditions in, since the Great War, 259–261;

the modern novel as representative of conditions in, 282, 283;

standardization in, 282.

American æsthete, the modern, 274–277.

American background, the emptiness of, 48–50.

American culture, an arraignment of, 17, 18.

American language, 150.

American literary ideals, revolution in, 3–6;

the new, 7.

American literature, recent, pessimism in, viii, ix, 257, 260;

spirit of pioneers in, 5–7.

American Mercury, the, 10.

“American Tragedy, An,” 79, 110 n., 115–122.

American writers, later generation of, characteristics of, 23, 24.

Americans, optimism and contentment of, 13;

provided with comfort and material ease, 131, 132;

outside their homes, 132, 133;

their religion, 133;

the material organization of their life, 134;

in politics, 134, 135.

Anderson, Sherwood, 22, 53, 57;

and Freudism, 31;

influence of Walt Whitman on, 154, 155;

his primitivism, 154, 155, 155 n., 156;

his writing a groping toward the Unknown, 155;

his career, 155, 158, 159, 166–168;

the Freudian novelist par excellence, 156;

his “Windy McPherson’s Son,” 156, 157, 168–171;

little filial respect in his tales, 157;

a dreamer, 159–161, 175;

his feeling for the small craftsmen, 161, 162;

his world of fancy, 162–164;

his itch for writing, 164, 166;

his sensitiveness to words, 165;

excludes manufacturers of paper from his curses, 165, 166;

his apprenticeship at writing, 167;

his indifference to comfort while writing, 167;

his “Marching Men,” 171–180;

as an artist, 176, 199;

his “Poor White,” 181, 182;

his “Winesburg, Ohio,” 182–187;

suppressed sensibilities in his stories, 187;

his description of the tortures of inhibition, 188–191;

engaged on problems of sexual inhibition, 191;

his “Many Marriages,” 191–196;

his “Dark Laughter,” 196–199;

Negro songs in his novels, 197;

on New Orleans, 198, 199;

his definition of art, 199.

Andreiev, 23.

“Arrowsmith,” a satire of medical fakes, 148, 149;

summarized, 149;

written haphazardly, 150;

the language of, 150.

Art, shows a way out of chaos, 126;

and muck-raking, 153;

Anderson’s definition of, 199;

“flamboyant,” 278;

for art’s sake, 279 n.;

the harmony in, 280, 281.

Atherton, in “A Modern Instance,” 64–66.

Atherton, Gertrude, 247 n.

Austin, Mary, 248.

“Babbitt,” 144–148.

Balzac, Honoré de, 23, 153, 281.

Beach, Joseph Warren, his “The Outlook for American Prose,” 202 n.

Beasley, Gertrude, 270, 271.

Beaut McGregor, in “Marching Men,” 171–173, 174, 177–180.

Behaviorism, 29, 30.

Ben Halleck, in “A Modern Instance,” 64–66.

Bernanos, Georges, 246.

Bio-chemistry, human psychology in terms of, 78, 83, 84, 95, 106, 109–118, 123.

Biological fatalism, 124.

“Birth,” 248, 249.

“Blithedale Romance, The,” the women in, 34.

“Book About Myself, A,” 98.

Bourget, Paul, a novel of, 4;

his process, 55;

crime determinism arraigned by, 116.

Bourne, Randolph, a literary radical, 4.

Bovarysme. See Emma Bovary.

Boyd, Ernest, his “Portraits Real and Imaginary,” 274 n.

Bruce Dudley (John Stockton), in “Dark Laughter,” 196–199.

Business-man, the American, 21.

Cabell, James Branch, 22;

the double aspect of his work, 200, 201;

his style, 202, 203;

his land of Poictesme, 203, 204;

the inhabitants of his Poictesme, 204, 205;

his philosophy, 205;

his defense of fiction, 205–208;

his “Jurgen,” 208, 209, 215–220, 223, 224;

his “Figures of Earth,” 209–212;

his “Domnei,” 212–215;

aimed to sketch an epic of human desire, 221;

his “The High Place,” 224–231;

his “The Cream of the Jest,” 231–237;

his early works, 237.

Cabinet of Doctor Caligari, moving picture, 184.

“Call of the Wild,” 32, 94.

Canfield, Dorothy, 248.

“Captive, The,” 21 n.

Carnevali, Emmanuel, 270.

Carol Kennicott, in “Main Street,” 136–144.

Cather, Willa, 22;

exhibits sympathy for her characters, 238;

her “A Lost Lady,” 239, 240;

her “My Antonia,” 241–245;

her art, 245, 246;

her “One of Ours,” 246–248;

her “My Mortal Enemy,” 248 n.

Censorship, 20, 21 n.

“Chalk Face,” 255.

Charlatans, 148.

Chautauqua poets, 258.

Chicago, artistic and literary center, 168, 174.

Chillingworth, Doctor, in “The Scarlet Letter,” 39–42.

Churches, in America, 133;

attacked in “Elmer Gantry,” 150, 152.

“City Block,” 256.

Civilization, modern, 173–175.

Clemenceau, Georges, 95 n.

Clerical profession, fakes of, satirized in “Elmer Gantry,” 152, 153.

Clyde Griffith, in “An American Tragedy,” 115–122.

Communion of Saints, 98 n.

Comte, Auguste, 124.

Conrad, Joseph, 282.

Conscience, a theory of, 110, 110 n., 116.

“Contact,” printing firm, 262, 270.

Cooper, James F., wrote the novel of adventure, 4.

“Cords of Vanity, The,” 237.

Cowperwood, in “The Financier,” 86–88, 105–111.

“Cream of the Jest, The,” 231–237.

Crime, in Hawthorne, 34;

in “Elsie Venner,” 110 n.;

in Dreiser, 115–119.

Criminal responsibility, 110 n., 116, 118, 119.

Criticism, in America, 3–5.

“Crystal cup,” 247.

Curel, François de, 156 n.

“Custom of the Country, The,” 56.

Cynicism, in recent novels, 257.

“Cytherea,” 254, 255.

“Daisy Miller,” 50.

“Dance before the Mirror,” 156 n.

“Dark Laughter,” 196–199.

Darwinism, and Theodore Dreiser, 84, 85, 88, 93, 95 n.

Day-dreaming, 156.

Decadence, 186 n.

Degeneracy, 186 n.

Deliverance, the problem of, 185.

Dell, Floyd, 22, 254.

Dickens, Charles, 147.

Dickinson, Emily, a Puritan type of mind, 12.

Dimmesdale, in “The Scarlet Letter,” 37–45.

Dom Manuel, in “Figures of Earth,” 209–212.

“Domnei,” 212–215.

Donatello, in “The Marble Faun,” 38.

Dostoievski, F. M., 23.

Double personality, 156.

Dreiser (or Dresser), Paul, 72.

Dreiser, Theodore, his arraignment of American culture, 17, 18;

absorbed by the problems of Puritan inhibitions, 22;

and Freudism, 31;

the historian of a disillusioned America, 71;

views social studies from an individual angle, 72;

his career, 72, 73;

his books, 73, 74;

his realism, 74, 75;

his enthusiasm for facts, 75–77;

the contents of his novels borrowed from the news column, 77–80;

his use of term bio-chemistry, 78;

does not comment in his novels, 80;

his essays, 81;

his philosophy, 81–83;

translates psychology in terms of bio-chemistry, 83, 84, 95, 106, 109–118, 123;

his evolutionism, 84, 85;

his supermen, 85, 93–95, 105, 111;

his blow to American idealism, 85, 86;

his illustration of the battle of life, 86–88;

his love for America, 88–93;

his “A Hoosier Holiday,” 88–93, 95–97;

his hero worship, 94;

his treatment of sexual problems, 95;

his Darwinian Philosophy, 95 n.;

his hymn to the Vital Force, 95–97;

his belief in compensation (equation), 97, 98;

his pessimism and optimism, 98, 99;

suggests two solutions of the ethical problem, 99;

on spiritual progress, 100;

his liking for the Dutch painters, 101;

his definition of art, 101;

his “Sister Carrie,” 102–104;

his “Jennie Gerhardt,” 104, 105;

his “The Financier,” 105–108;

his “The Titan,” 108–111;

his “The Genius,” 111–115, 195;

his “An American Tragedy,” 115–122;

his theory of criminal responsibility, 116–119;

leaves little hope of reformation for the fallen, 123;

his biological fatalism, 124;

his decalogue, 124;

his ethics, 125, 126;

goes too far in starving the human emotions, 126, 127;

Walt Whitman’s influence on, 154;

on the primordial importance of the sexual question, 191.

Drunkenness, in recent American fiction, 187 n.

Dual personalities, 182, 184, 254, 271.

Duhamel, George, 255.

Dutch painters, the, 101.

“Eagle’s Shadow, The,” 237.

Education, American, hostile to “wish-fulfillment,” 14.

Edwards, Jonathan, his sermons, 12.

Eggleston, Edward, and the Dutch painters, 101 n.

Elite and masses, in America, the feud between, 9, 10.

“Elmer Gantry,” 150–153.

Elsie Leander, in “The Triumph of the Egg,” 167, 187–191.

Emerson, Charles, 223.

Emerson, Ralph Waldo, 17;

a Puritan type of mind, 12;

his ethics, 98;

tried in “Representative Men” to delineate the ideal man, 222;

a transcendental realist, 222;

made much of dreams in his philosophy, 222.

Emma Bovary, in “Madame Bovary,” vii, 138, 142–144, 206.

English novelists, 23, 282.

“Erik Dorn,” 271–273.

Eroticism, the great issue of suppressed sensibilities, 187;

and mysticism, 191.

See Sex problems, Sexual inhibition.

Estaunié, Edouard, 239, 246.

“Ethan Frome,” 60, 61.

Ethics, the Puritan, compared with those of Dreiser, 125;

conflict between social and individual, 130.

Eugene Witla, in “The Genius,” 111–114.

Evasions, 207, 208, 231, 254.

“False Dawn,” 56 n.

Family life, in American plays and novels, 249.

Fiction, confusion between, and realism, in Howells’ work, 200, 201;

Cabell’s defense of, 205–207;

the craving for, 208.

See Novel.

“Figures of Earth,” 209–212.

“Financier, The,” 71–73, 77, 79, 86–88, 105–108.

Firkins, Mr., 63.

“Flamboyant,” 278, 279, 279 n.

Flaubert, Gustave, 23;

his “Madame Bovary,” vi, vii, 137, 138, 142–144, 206;

his “Bouvard and Pecuchet,” 129;

never lost sight of art, 153;

his influence on the American Novel, 281.

“Floating anxiety,” 19, 31, 146, 184.

Florian de Puysange, in “The High Place,” 224–231.

Frank, Waldo, 22;

Puritanism according to, 13–16;

dual personality in novels of, 254;

master of the minor dialogue, 255;

his novels, 255, 256.

“Free Air,” 128.

Free will, 116.

French novel, influence of the, on American novel, 23, 281.

Freud, Doctor, vi.

Freudism, and Puritanism, 31;

disquieting elements of, 32;

in the novels of Anderson, 156, 182, 188;

a literary rendering to, 184 n.

Frost, Robert, a Puritan type of mind, 12.

“Fruit of the Tree, The,” 56.

Fuller, Margaret, an experience of, 142 n.;

an example of suppression, 223.

Gale, Zona, 22;

the chronicler of American life in the small towns, 248;

her “Birth,” 248, 249;

her “Miss Lulu Bett,” 250–254.

Garland, Hamlin, on the case of realism versus sentimentalism, 200 n.

Gaultier, Jules de, his “Le Bovarysme,” vi.

“Gay Science,” 205, 220, 280.

“Genius, The,” 73, 77, 111–115, 195.

Glasgow, Ellen, 248.

“Golden Bowl, The,” 53.

Goncourts, the, influence of, on the American novel, 281.

Gopher Prairie, 135–144.

“Great American Novel, The,” 277.

Great War, the, 259, 266, 267, 275.

“Hand of the Potter, the,” 115.

“Happy ending,” the, 14.

Hawthorne, Nathaniel, wrote the novel of manners, 4;

influence of Puritanism on, 12;

resemblances to Freudism in, 31, 32, 36–42;

attracted by problems of the inmost life, 32;

his life, 33;

his complex explained by his genealogy, 33;

the paganism of his imagination, 33, 34;

his women, 34, 38;

his conscience, 34;

haunted by the idea of crime and punishment, 34;

moral paradoxes of, 35;

as a psychologist, 36;

analysis of his “The Scarlet Letter,” 36–45;

his symbolism, 45, 46.

Hecht, Ben, 271–274.

Helvetius, 125.

Hemingway, George, 270.

Hergesheimer, Joseph, 22, 254.

Herrman, John, 270, 270 n.

Hester Prynne, in “The Scarlet Letter,” 37–45.

“Hey Rub-a-Dub-Dub,” 74, 97;

quotations from, 82–86.

“High Place, The,” 224–231.

Hilda, in “The Marble Faun,” 34, 38.

“Holiday, A,” 255.

Holmes, Oliver Wendell, his “Elsie Venner,” 110 n.

“Hoosier Holiday, A,” 74, 88–93, 95–97.

“House of Mirth, The,” 58, 59.

“House of the Seven Gables, The,” the character of Phœbe in, 34;

sin in, 34, 35;

the character of Clifford Pyncheon in, 38;

symbolism in, 45, 46.

Howells, William Dean, 22, 54;

his realism, 61, 62, 69;

his limitations, 62, 64;

divides society into two opposite classes, 63;

his moral system, 64–67;

his “A Modern Instance,” 64–66;

his “The Landlord at Lion’s Head,” 66, 67;

his ideals those of the sentimental middle class, 67–70;

and Dreiser, 126, 127;

the descent from, to Sherwood Anderson, 169 n.;

confusion between realism and fiction in, 201.

Hugh McVey, in “Poor White,” 181, 182.

Humor, American, 48;

and irony, 224, 225.

“Humpty-Dumpty,” 271.

Hurstwood, in “Sister Carrie,” 103.

Huysmans, influence of, on the American novel, 281.

Idealism, American, buried in the grave of the Transcendentalists, 16;

is largely manufactured by women, 21;

dead in the American novel of to-day, 257;

and utilitarianism, 258, 259;

transcendental, 258, 259.

Imagination, the rights of, claimed and defended by Cabell, 200, 201, 206;

the expression of, 279.

Imperialism, pragmatic, 259;

mystic, 259.

Individual and social ethics, 124–127, 130, 136.

“Inevitable Equation, The,” 81, 97.

Inhibited, city of the, 184.

Inhibition, the danger in, vii, 280;

the tortures of, described, 191;

the problem of sexual, 191;

effects caused by, prevalent among Puritan writers of New England, 223;

in novels of Willa Cather, 238–248;

in novels of Zona Gale, 249, 250;

in novels of Floyd Dell, 254.

Inness, George, 18.

Instinct, as opposed to the social code, 124–127, 130, 136.

Intelligence test, the, 25.

Irene Olenska, in “The Age of Innocence,” 57.

Irony and humor, 224, 225.

Jaloux, Edmond, 246.

James, Henry, 22;

master of the psychological novel, 4, 47;

needed the European background, 47, 48;

his indictment of America, 48–50;

his first novels, 50;

his women, 50–52;

his novels a contribution to the study of inhibitions, 52;

in æsthetics, 53;

uses appreciation, 53;

invented the monologue intérieur, 53;

composed from the center outward, 53;

as an artist, 54.

James, William, 4, 17, 149;

his psychological theories, 26, 27, 186;

his attempt to reconcile idealism with utilitarianism, 258.

“Java Head,” 254, 255.

Jazz, 197 n.

Jeff Durgin, in “The Landlord at Lion’s Head,” 66, 67.

Jennicot, in “The High Place,” 228–230.

“Jennie Gerhardt,” 73, 104, 105.

John Webster, in “Many Marriages,” 192–196.

Joyce, James, 22, 23, 27, 53, 282.

“Jurgen,” 208, 209, 215–220, 223, 224.

Kennaston, in “The Cream of the Jest,” 231–237.

Kennicott, in “Main Street,” 136–144.

“Kora in Hell,” 277 n.

“Landlord at Lion’s Head, The,” 66, 67.

Lawrence, D. H., 23, 36, 282.

Lewis, Sinclair, 22;

his career, 128;

his “Free Air,” 128;

his “Mantrap,” 128;

his “Our Mr. Wren,” 129, 130;

his works inspired by feeling of conflict between social and individual ethics, 130;

his “Main Street,” 135–144;

his “Babbitt,” 144–148;

his “Arrowsmith,” 148–150;

as an artist, 149, 150;

his language, 150;

his “Elmer Gantry,” 150–153.

Lily Bart, in “The House of Mirth,” 58, 59.

“Linda Condon,” 254, 255.

Lodge, Henry Cabot, 186 n.

London, Jack, and “the movies,” 4;

his “Martin Eden,” 167;

(mentioned, 110).

“Lost Lady, A,” 239.

Love, as bio-chemistry, 111, 113, 117.

McAlmon, Robert, his career, 262;

his “Village,” 262–269;

his “The Portrait of a Generation,” 269.

“Madonna of the Future, The,” 150.

“Main Street,” 135–144.

Mallarmé, Stephane, 166 n.

“Mantrap,” 128.

“Many Marriages,” 191–196.

“Marble Faun, The,” paganism in, 34;

the character of Hilda in, 34, 38;

amorality in, 35;

the character of Donatello in, 38;

symbolism, 45, 46.

“Marching Men,” 158, 159, 171–180.

Marks, Percy, his “The Plastic Age,” 270 n.

Martin, Doctor, psychologist, 28.

Masses and élite, in America, the feud between, 9, 10.

Masters, Edgar Lee, 18.

Mather, Cotton, his Magnalia, 10, 12.

Maupassant, Guy de, his influence on the American novel, 281.

Medical profession, the fakes of, satirized in “Arrowsmith,” 148.

Mencken, Henry, a literary radical, 4;

his magazine, 10;

his arraignment of Puritanism, 16;

his “The American Language,” 150.

“Mid-American Chants,” 155.

Middle West, 136.

Mid-Victorians, the, 74, 75, 126.

Milton, John, Puritanism the inspiration of his epic, 12.

Milton Daggett, in “Free Air,” 128.

“Miss Lulu Bett,” 250–254.

Mississippi River, the, 197.

“Modern Instance, A,” 64–66.

Molière, J. B., his M. Jourdain, 144.

Monologue intérieur, the, 53.

Moody, Mary, Emerson’s aunt, a clairvoyante, 223.

Moody, William Vaughn, a Puritan type of mind, 12.

“Mother complex,” 20, 21, 21 n., 69, 136.

“Movies,” 4, 14, 16 n., 20, 37;

psychoanalysis in, 184 n., 278.

Murger, H., his “Vie de Bohême,” 167.

“My Antonia,” 241–245.

“My First Thirty Years,” 270, 271.

“My Mortal Enemy,” 248 n.

Myers, W. L., his “The Later Realism,” 258 n.

Mysticism and eroticism, 191.

Nance McGregor, in “Marching Men,” 175–177.

Negro music, 197.

“New Englander, The,” 187–191.

New Orleans, 198, 199.

“New poetry,” 3.

“New Year’s Day,” 61 n.

Nonconformists, American, 10.

Nordau, Max, his “Degeneracy,” 186 n.

Novel, American, of the nineteenth century, 4, 7;

the recent change in, 7;

influence of the French novel on, 23, 281;

influence of the Russian novel on, 23, 281;

and the English novelists, 23, 282;

in 1900, 74;

drunkenness in, 187 n.;

cynicism and crudity in, 257;

of adolescence, 262;

as a true representative of American conditions, 282, 283.

O’Higgins (Harvey) and Reede, their book on “The American Mind in Action,” 18.

Ohio River, the, 197.

“Old Maid, The,” 61 n.

“One of Ours,” 246–248.

O’Neill, Eugene, his “Desire Under the Elms,” 21 n.;

drunkenness in his plays, 187 n.;

stages a continuous monologue, 192 n.

“Our America,” 256.

“Our Mr. Wren,” 129, 130.

Painting, the art of, 112, 113.

Palladino, Eusebia, 50 n.

Pearl, in “The Scarlet Letter,” 34.

Personality, dissociation of, 27.

“Personality picture,” 28, 142, 156, 170, 221, 223.

Pessimism, in the United States, viii, ix, 8, 135;

in recent American literature, viii, ix, 257, 260.

Pirandello, 27.

Poe, Edgar Allan, the standard of the short story set by, 4;

the influence of Puritanism on, 12;

had an artistic conscience, 47;

haunted by the dead, 223.

Poictesme, the land of, 203–205, 209, 215, 221, 225.

Policeman, in the “movies,” 16 n.

“Poor White,” 167, 181, 182.

“Portrait of a Generation, The,” 269.

“Post-Adolescence,” 269.

Pragmatism, 27, 149.

“Professor’s House, The,” 239, 240.

Proust, Marcel, 23, 27, 53, 276, 281.

Provincialism, 200 n.

Psittacism, 184.

Psychoanalysis, vi, 30–32, 156, 169, 170, 182–187.

Psychology, experimental, study of, in America, 25.

Psychology, studies of morbid, 182–187.

Publicity in America, 146–148.

Puritan ethics, and Dreiser’s, 125.

Puritanism, the good points of, 11–13;

the bad points of, 13;

the revolt against, 13;

according to Waldo Frank, 13–16;

the decadence of, 15;

Mencken’s arraignment of, 16;

intellectual energies thwarted by, 18;

inhibitions of, 18–20, 22;

and psychoanalysis, 31;

and James Branch Cabell, 201.

See Inhibition.

Radicalism, intellectual and literary, birth of, 260.

Radicals, American, 10, 11.

Rascoe, Burton, 273 n.

Realism, of Howells, 61, 62, 201;

and fiction, confusion between, 200, 201;

versus sentimentalism, 200 n.;

fictitious, 201;

in psychology, 201;

revolt against, 201;

banned by Cabell, 206, 207;

of Willa Cather, 246;

static, 246;

optimistic, 248;

later, 258, 258 n., 270, 271.

“Reef, The,” 56.

Representative men, revaluation of, 19 n.

Responsibility for Crime, 110 n., 116, 118, 119.

“Revisionists,” 259.

“Revolt against the village,” 200 n.

Rimbaud, Arthur, 266.

“Rivet in Grandfather’s Neck, The,” 237.

Robinson, a Puritan type of mind, 12.

“Roderick Hudson,” 50.

Romantic evasion, 207.

Romanticism, a psychological disease, vii;

M. Seillères, study of, 130 n.;

and Puritanism, 200;

of Cabell, 205, 206.

Rousseau, J. J., 125.

“Runaway, The,” 254.

Russian novelists, their vogue in America, 23, 281.

Saint Pierre, 239, 240.

Sargent, John Singer, 18.

“Scarlet Letter, The,” paganism in, 34;

the character of Pearl in, 34;

amorality in, 35;

the purpose of, 36;

analysis of, 37–45.

Seillères, Eugene, his study of romanticism, 130 n.

Self, the, 27–29;

dissociation and reunification of, 170.

Selves, three, 127, 186.

Sensibility, analysis of pathological forms of, 182–187.

Sentimentalism, and the realistic novel, 200;

versus realism, 200 n.

Sex problems, 59, 60, 95, 102–105, 111–115.

Sexual inhibition, the problem of, 191.

Shaw, G. B., his “Man and Superman,” 111.

Silas Lapham, 69, 70.

Sin, in Hawthorne, 34, 35.

“Sister Carrie,” 73, 102–104.

Social code, and instinct, 124–127, 130, 136.

Socialism, 135.

“Song of the Lark,” 240, 241.

“Soul-fear,” 19, 31, 146, 184.

“Spark, The,” 56 n.

Standardization, vii, 282.

Standards, American, 9.

Stein, Gertrude, 165 n.

Stendhal, his “Le rouge et noir,” 116.

“Story Teller’s Story, A,” quoted, 160, 161.

Strenuous life, America the land of, 186, 186 n.

Style, of American fiction writers, 202, 203.

Subconscious, the, 26, 181.

Suggestive language, the, 165 n.

“Summer,” 60, 61.

Superman, the, of Dreiser, 85, 93–95, 105, 111;

imagined by Emerson, 222.

Suppression. See Inhibition.

“Tar,” 155, 155 n., 157 n., 162 n.

Tartuffe, 151

Tchekhov, A. P., 23.

Thea Kronburg, in “Song of the Lark,” 240, 241.

Thoreau, Henry David, a Puritan type of mind, 12;

disguises himself, 223.

“Titan, The,” 71–73, 108–111.

Transcendental idealism, 258, 259.

Transcendentalists, the, 16, 222.

“Traveller at Forty, A,” 98, 101.

“Triumph of the Egg, The,” 167, 187–191, 193.

Twain, Mark, 68, 261;

voted for American philistinism, 49;

and the Mississippi and the Ohio, 197;

his “The Mysterious Stranger,” 224.

“Twelve Men,” 72, 74, 98.

Undine Spragg, in “The Custom of the Country,” 56.

Utilitarianism, and idealism, 258, 259.

Vechten, Carl van, 279 n.

Vildrac, Charles, his “Paquebot Tenacity,” 21 n.

“Village,” 262–269.

Wendell, Barrett, 187 n.

Wharton, Edith, 22;

specialized in the society novel, 54;

her process, 55;

not introspective, 55;

indifferent to social and political problems, 56;

her satire of American life and society, 56;

her “The Custom of the Country,” 56;

her “The Age of Innocence,” 57;

the spiritual and moral indigence of her characters, 57–59;

her psychological insight, 59;

on the relation of the sexes, 59, 60;

her psychoanalysis, 60, 61;

her “Summer” and “Ethan Frome,” 60, 61;

her article on “The Great American Novel,” 200 n.

“What Maisie Knew,” 52.

Whistler, J. A. M., 18.

Whitman, Walt, a standard set by, 4;

the United States a cornucopia to, 49;

his influence on Dreiser, 154;

his influence on Anderson, 154, 155;

his “I Walt Whitman, a Cosmos,” 195;

his changes, 223.

Will, function of the, 118.

Williams, William Carlos, one of founders of “Contact,” 262;

his “The Great American Novel,” 277, 278;

his idea of American art of the future, 278;

on imagination, 279.

Wilson, Edmund, on Henry James’ typical American virgin, 52 n.

“Windy McPherson’s Son,” 156–158, 168–171.

“Winesburg, Ohio,” 158, 182–187.

“Wings of the Dove, The,” 52, 53.

“Wish-fulfillment,” 14.

Words, physical characteristics of, 165, 166, 166 n.

Young America, in quest of a new ideal, 280, 281.

Zola, Émile, 23;

essay by James on, 54 n.;

his influence on the American novel, 281.