• 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