FOOTNOTES
[1] Donald G. Mitchell, American Lands and Letters.
[2] Literary Papers of William Austin, Boston, 1890, page 43.
[3] See Prof. William B. Cairns, On the Development of American Literature from 1815 to 1833, with especial reference to periodicals; Bulletin of the University of Wisconsin, Philology and Literature Series, volume i, No. 1.
[4] For a pungent characterisation of the annuals, see Prof. Henry A. Beers’s life of N. P. Willis (American Men of Letters), pages 77 and following.
[5] Fromentin (Un Été dans le Sahara, page 59; Une Année dans le Sahel, pages 215 and following) lays this down for painting.
[6] Bret Harte, The Rise of the Short Story, Cornhill Magazine, July, 1899.
[7] See Cairns, as above, page 64. The influence of the Spectator form in France appears strikingly in L’Hermite de la Chaussée d’Antin, ou observations sur les mœurs et les usages français au commencement du xixme siècle, par M. de Jouy, Paris (collective volumes), 1813.
[8] Cross, Development of the English Novel, pages 24, 25.
[9] For Irving’s own view of his tales, see a quotation from his letters at page xix of Professor Brander Matthews’s edition of the Tales of a Traveller.
[10] “A rivulet of story meandering through a broad meadow of episode—a book of episodes with occasional digressions into the plot.” Kennedy’s preface to Swallow Barn.
[11] This is the character of the tales of Mme. de Genlis, of which a volume was published in New York, 1825: New Moral Tales, selected and translated from the French of Mme. de Genlis, by an American.
[12] Nodier adopts the same setting for the same purpose (cf. Les Quatre Talismans, 1838); but the habit is at least as old as Voltaire.
[13] So Godfrey Wallace’s Esmeralda, Atlantic Souvenir for 1829.
[14] Miss Sedgwick’s Chivalric Sailor (1835) is essentially like our current historical romances. A typical instance is Dana’s Paul Felton (1822).
[15] This tendency was confirmed, of course, by the predominance of Scott.
[16] Brander Matthews, The Philosophy of the Short-Story, page 15.
[17] Poetics, chapter x.
[18] Poe’s review of Hawthorne’s tales (1842) begins by remarking that they are not all tales (Stedman and Woodberry edition of Poe, vol. vii, page 28).
[19] Poe’s tales were translated into French, German, Italian, and Spanish. He was reviewed in the Revue des Deux Mondes, Oct. 15, 1846 (new series, vol. xvi, page 341).
[20] See Aristotle’s Poetics, chapters vii and viii. The “classical” French drama deduced from Aristotle’s general principle of unity of action a strict system of practice. Of Poe’s adherence to this system a good instance is The Cask of Amontillado.
[21] In a review of Mrs. Sigourney, Southern Literary Messenger, volume ii, page 113 (January, 1836); quoted in Woodberry’s Life of Poe, page 94.
[22] In a review of Hawthorne, Graham’s Magazine, May, 1842; Stedman and Woodberry’s edition of Poe, volume vii, page 30; quoted in the appendix to Brander Matthews’s Philosophy of the Short-Story.
[23] A collection ascribed to Antonius Diogenes, compiled by Aristides of Miletus, was translated into Latin by Cornelius Sisenna (119–67 B.C.). The translation is lost.
[24] The Cena of Petronius has more consistency, is in form more like the longer tales of antiquity.
[25] The object of Lucian is always satire. This, not any purely narrative end, determines his method. But it is worth observing that The Ass is picaresque. For the rest, no single adventure of the string is more than anecdote.
[26] The Greek title is ποιμενικά.
[27] E. g., the fifteenth idyl of Theocritus, and the opening of the seventh oration of Dio Chrysostom. The latter, though brought in as anecdote, has extraordinary ingenuity and finish of form.
[28] See the introduction by Joseph Jacobs to Old French Romances done into English by William Morris.
[29] This, perhaps, is typically the novella; but Boccaccio will not fix the term: “intendo di raccontare cento novelle, o favole o parabole o istorie, che dire le vogliamo ... nelle quali novelle....”—Preface to Decameron.
[30] For reference in more detailed study of mediæval forms, this tentative classification of the Decameron may be tabulated as follows:—
| anecdote | 55 |
| (a) simple anecdote | 34 |
| I, all but nov. 4; III, nov. 4; V, nov. 4; VI, entire; VIII, all but nov. 7 & 8; IX, nov. 1 & 7–10. | |
| (b) anecdote more artistically elaborated | 21 |
| III, nov. 1, 2, 3, 5, 6; V, nov. 10; VII, entire; VIII, nov. 7; IX, nov. 2–5. | |
| scenario or summary romance | 40 |
| II, nov. 3–10; III, nov. 7–10; IV, entire; V, all but nov. 4 & 10; X, entire. | |
| approaching short story | 3 |
| I, nov. 4; II, nov. 1; VIII, nov. 8. | |
| short story | 2 |
| II, nov. 2; IX, nov. 6. | |
| 100 |
[31] E. Gilbert, Le roman en France pendant le xixe siècle, page 65; A. France, La vie littéraire, Ire série, page 47.
[32] Brander Matthews, The Philosophy of the Short-Story, page 65.
[33] Colomba has one hundred and fifty pages.
[34] See an essay on The Literary Influence of Sterne in France, Publications of the Modern Language Association of America, volume xvii, pages 221–236.
[35] It would be interesting, for instance, to determine whether Mérimée learned anything in form from Poushkin.
[36] Vide the excellent discourse of G. C. Verplanck, Esq., before the New York Historical Society.
[37] Not in the first edition.
[38] In New Hampshire.
[39] In the original publication the name is Patience.
[40] [“In place of this clause the first edition has: “Her figure, her air, her features,—all, in their very minutest development were those—were identically (I can use no other sufficient term) were identically those of the Roderick Usher who sat beside me. A feeling of stupor,” etc.]
[41] Watson, Dr. Percival, Spallanzani, and especially the Bishop of Llandaff. See Chemical Essays, vol. v.
[42] The season of peach-blossoms was the only season of marriage in ancient China.
[43] The most common decorations of rooms, halls, and temples, in China, are ornamental scrolls or labels of colored paper or wood, painted and gilded, and hung over doors or windows, and inscribed with a line or couplet conveying some allusion to the circumstances of the inhabitant, or some pious or philosophical axiom. For instance, a poetical one recorded by Dr. Morrison:—
“From the pine forest the azure dragon ascends to the milky way,”—
typical of the prosperous man arising to wealth and honors.