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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