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]
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