American short stories - Unknown

[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.

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]

PRINTED IN THE UNITED STATES OF AMERICA

Transcriber’s Notes

Punctuation, hyphenation, and spelling were made consistent when a predominant preference was found in the original book; otherwise they were not changed.