Action in characterization. See | Bourienne, Memoirs of Napoleon,
Character and characterization. 180.
Aldrich, Marjorie Daw, 48, 54.
221, 236, 249, 270.
Allen, A. V. G., Life of Phillips
Brooks, 178.
Allen, J. L., Flute and Violin, 47,
49, 54, 59-64, 153, 163, 166–72,
201-02, 236, 271, 272; The Choir
Invisible, 154, 257, 269; Two
Gentlemen of Kentucky, 126-27.
Amadis of Gaul, 255.
Anstey, The Black Poodle, 222-24,
Bible, The, Apostles at Bethsaida,
21; Esther, 180, 195, 205-17,
261, 262, 269, 270; Joseph's
coat, 39, 267; Messengers at
the house of Simon, 20; Naaman
and Elisha, 185-87, 191, 200-
01; Prodigal Son, 24-26, 28, 66,
79, 117; Ruth, 261, 262, 266-67.
Biography, 250-54; and History,
250-51. See also Autobiography.
Blackmore, Lorna Doone, 257, 269.
Boswell, Life of Johnson, 159.
Bulwer-Lytton, Harold, 73, 247-
48; The Coming Race, 260; The
Last of the Barons, 229–30.
Burr, The Autobiography, 252-53.
Caricature. See Character and
characterization.
Carlyle, French Revolution, 51.
Catastrophe, 215-17.
Character and characterization -
Clearness, 146-50; type and in-
dividual, 147-49; caricature,
149-50.
Coherence, 172-77; exposition
and evolution, 172-74; con-
densation, 176.
Definition, personage and per-
sonality, 107-13.
Direct, 114-16.
Emphasis, 151.
Fiction, 112-13.
History, 176-77, 240-45.
Indirect, 116-46; by action,
119-23; by speech, 123-43;
by environment, 143–46.
Insufficient details, 132-33.
Point of view, 154-66; first per-
son, 157-59; focal, 160-61;
external, 161-66; objective,
162-63; subjective, 163-66.
Unity, 150-72.
Chester, Forty Seconds, 198.
Chesterton, 54.
Clarendon, 118-19.
Climax, in drama, 211-13; in
novel, 217-18; in short-story,
217; in plot structure, 201-24;
method of chronicle, 203-05;
method of drama, 205-19;
method of story, 219–24.
Coherence, in characterization,
172-77; in definition of narra-
tion, 4-5; in episodic narrative,
58-64; in item, 37-50; in plot
structure, 123, 199-201; in
short-story, 270-72.
Coleridge, 106.
Collins, 59.
Contrast. See Plot structure, and
setting.
57, 66, 177; Middlemarch, 5, 151;
Romola, 57, 83, 146, 216, 268;
Silas Marner, 3, 9, 55, 174, 218,
258, 259; The Mill on the Floss,
151.
Emotional element in history.
See History (characteristics).
Emphasis: in episodic narrative,
53-56; in item, 31-37; in plot,
224-38; in short-story, 272-73.
Crawford, The Novel, What it is, English prose romances, 103-104.
Dickens, 124; Bleak House, 5, 96,
227; Child's Dream of a Star,
229; David Copperfield, 125-26,
174-75, 181, 182, 195; Dombey
and Son, 17-18, 135-36; Martin
Chuzzlewit, 125–26, 149, 150–51,
152, 179; Nicholas Nickleby, 179,
195; Pickwick Papers, 96, 136,
179; Tale of Two Cities, 16-17,
26-27, 87-89, 92-93, 151-52,
161, 216.
Direct characterization. See Char-
acter and characterization.
Doyle, 59.
Dramatic setting. See Setting.
Eliot, 106, 113, 114, 158, 166, 257;
Adam Bede, 52, 84, 109–11, 115-
16, 120-23, 161; Daniel Deronda,
Freeman, History of the Norman
Conquest, 51.
Froude, History of England, 51, 84,
Gibbon, 6, 51, 84, 162, 187, 242,
245, 246.
Glasgow, Romance of a Plain Man,
Godwin, Fleetwood, 105, 106.
Green, A. K., 59, 84; The Filigree
Green, J. H., Short History of the
English People, 32, 34, 51, 117,
120, 144, 145-46, 176-77, 237.
Grote, History of Greece, 51, 242.
Hale, My Double and How He Un-
did Me, 52.
Hamilton, Materials and Methods
of Fiction, 101, 103, 267-68.
Hardy, 187; Far From the Mad-
ding Crowd, 71-72, 123; Tess of
Coherence, 37-50; structure of
sentences, 38-46; order of
details, 46-50.
Emphasis, 31-37.
Unity, 29-31.
the D'Urbervilles, 27, 52, 76-77, | Irving, Rip Van Winkle, 86, 176.
80, 140, 144, 166, 233; The Re- Item, 22-23, 29–50.
turn of the Native, 84, 228; The
Three Strangers, 221-22, 236,
237; The Withered Arm, 232,
264.
Harmony between background
and action. See Setting.
Harris, Uncle Remus and His
Friends, 142-43.
Harte, The Outcasts of Poker Flat,
107-08, 112, 117-18, 162–63,
172-73, 264, 269.
Hawthorne, Note-Book, 265, 267;
The Ambitious Guest, 264; The
Great Stone Face, 52, 55, 80-82,
87, 89, 112, 154, 267, 269, 271-
72; The House of the Seven
Gables, 148-49; The Marble
Faun, 216; The Scarlet Letter, 5,
114.
Heightening, See Rise.
Herodotus, 244.
Hewlett, Richard Yea-and-Nay,
76, 218-19, 230-31, 270; The
Madonna of the Peach Tree, 53.
Higginson, 273.
History, 5-6, 239-50; character-
istics, 165, 181-82, 240–45;
characterization in, 246-48;
plot structure, 248-50; propor-
tion, 57-58; rank of, 239-40;
setting, 245-46; unity, 50-52.
See also Biography, and Charac-
ter and characterization.
Hoax-plot, 273.
Holmes, Sherlock, 5.
Hope [Hawkins], The Dolly Dia-
logues, 118.
Horne, The Technique of the
Novel, 112-13, 255.
Hugo, Les Misérables, 73–74.
Hume, History of England, 51, 52,
162, 166, 187.
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Jewett, The Country of the Pointed
Firs, 84-85.
Kingsley, Westward Ho! 83, 257.
Kipling, The Man Who would be
King, 53.
Lafayette, The Princess of Clèves,
Lincoln, Gettysburg Address, 234–
35.
Literary Digest, 30.
Local color. See Setting.
Lockhart, Life of Scott, 55.
Lodge, 104.
Macaulay, 54, 165, 166, 187, 242,
243, 244-45, 247; Clive, 34-36;
Hallam's Constitutional History
of England, 162, 241-42; Hamp-
den, 228-29; Hastings, 102-03;
History of England, 11-12, 41,
51, 57, 83, 118-19; Milton,
225-26; Pitt, 140-41, 152-53,
155; Temple, 232-33; Walpole,
155-56, 201, 204.
Macmillan's Magazine, 143.
Mansfield, Beau Brummel, 174.
Marie, 128-33, 175–76.
Marivaux, Marianne, 255.
Marryat, Peter Simple, 141-42.
Massing. See Plot, and Plot
Matthews, 14, 261.
Maupassant, Happiness, 52, 65,
74-75, 78, 264, 269; The Neck-
lace, 3, 23, 48, 162-63, 173, 176,
221.
Meredith, 113, 257; Diana of the
Crossways, 227; The Egoist, 66,
112, 177; The Ordeal of Richard
Feverel, 162, 236.
Mérimée, The Taking of the Re-
doubt, 269-70, 271.
Method of Chronicle, drama, and
story. See Plot structure.
Moment of exciting force, 209-10.
Moment of final suspense, 213-15.
Mommsen, History of Rome, 205,
246.
Morrison, On the Stairs, 227-28,
271.
Muir, The Mountains of Califor-
nia, 12-13.
Narration, definition, 1-6; vs. Ar-
gumentation, 12–13; vs. Descrip-
tion, 13-18; vs. Exposition, 6-12.
Newcastle, Duke of, 140-41.
Newman, Apologia pro Vita Sua,
Emphasis, 224-38; definiteness,
237-38; massing, 225–33.
Massing, 225-33; balance, 228-
32; contrast, 232-33; initial
position, 225-28; terminal
position, 225-28. See Em-
phasis.
Proportion, 233-36.
Unity, 183-99; definition, 183-
88; emotional, 187-88; intel-
lectual, 183-87; complica-
tion, 188-93; point of view,
Poe, 75-76, 263; The Cask of
193-99;simplification, 198-99.
Amontillado, 264; The Fall of
the House of Usher, 52, 269;
The Gold Bug, 112, 235; The
Masque of the Red Death, 269.
Point of view. See Character and
characterization and Plot struc-
Prescott, The Conquest of Peru,
Priest, The, 97-98.
Proportion in episodic narrative,
56-58; in historic narrative, 57–
58; in item, 36-37; in plot struc-
ture, 233-36; in short-story,
272-73.
Radcliffe, The Mysteries of Udol-
pho, 105.
Raleigh, The English Novel, 160-61.
Realism in fiction. See Novel.
Reynard the Fox, 267.
Rhetorical Elements in plot. See
Plot and Plot structure.
Rhodes, 235, 245, 246.
Richardson, 160-61, 255, 266.
Rising action, 207, 210–11.
Romance. See Novel.
Roosevelt, 30-31.
Ropes, 242.
Ruskin, Modern Painters, 98–99.
Saintsbury, History of Nineteenth
Century Literature, 184.
Scientific spirit of history. See
History.
Scott, 106, 179, 258; Ivanhoe, 56,
149, 161, 189-90, 247, 258;
Kenilworth, 113, 120, 146, 257, Symbolism in background. See
260; Redgauntlet (Wandering
Willie's Tale), 262; Rob Roy, 66,
194; The Antiquary, 260; The
Highland Widow, 40, 54; The
Talisman, 258; Waverley, 257.
Sentence articulation. See Item.
Series and succession, 199, 204-05.
Setting, atmosphere, 85-87; con-
trast with action, 77-79; defini-
tion, 65-67; development, 101-
06; environment, 79-82; exposi-
tory and dramatic, 67-82; har-
mony with action, 76-77; his-
torical narrative, in, see His-
tory; insincerity, 98-101; local
color, 82-85; short-story, in,
see Short-story; symbolism,87-
90; undue elaboration, 90-101.
Shakspere, Hamlet, 133, 152,
153; Julius Cæsar, 152, 210,
212; Macbeth, 86, 152, 209, 212;
Othello, 152.
Sheldon, The Sweat-Shop, 14.
Short-story, 261-73; characteris-
tics and definition, 262-68;
climax, 217; coherence, 270-72;
emphasis and proportion, 272-
73; plot, 269-70; setting, 269;
unity, 268-70; vs. short-story,
261-62
Simplification in plot. See Plot
and Plot structure.
Single thread plots, 189.
Smollett, 180.
Southey, 106.
Speech, gesture, etc., in character.
See Character and characteriza-
tion.
Sidney, 104.
Spenser, 104.
Stevenson, 54, 106, 261; A Hum-
ble Remonstrance, 183-84; Dr.
Jekyll and Mr. Hyde, 15-16;
Markheim, 78, 268, 271; Memo-
ries and Portraits, 44, 183-84;
The Master of Ballantrae, 66,
160; Treasure Island, 5, 113,
Stockton, The Lady or the Tiger?
Taine, 102.
Tale, the, 262.
Tennyson, The Idylls of the King,
Terminal stress in massing. See
Plot and Plot structure (Em-
phasis).
Testimony, undesigned, 137-39.
Thackeray, 166, 261; Henry Es-
mond, 47, 48, 49, 152, 157-58,
160, 192, 257; Pendennis, 125-
26; The Newcomes, 133, 136,
152, 153, 161, 259, 261; Vanity
Fair, 52, 151, 152, 164–65, 233.
Thousand-and-One-Nights, A, 261,
267.
Thucydides, 242.
Title, as expressive of episodic
unity, 52.
Tragic moment, 212.
Trollope, 261.
Type and individual. See Char-
acter and characterization.
Undue elaboration of background.
See Setting.
Unity, in character, see Charac-
ter and characterization; in epi-
sodic narrative, see Episodic
narrative; in fundamental de-
finition, 4-5; in historic narra-
tive, see History; in item, see
Item; in plot, see Plot and Plot
structure; in short-story, see
Short-story.
Virgil, Eneid, 48.
Von Holst, 249.
Ward, 59, 177.
Wendell, 34.
Wilkins-Freeman, A New England
Nun, 84,, 127, 132, 144-45, 264,
269.
Windle, The Wessex of Thomas
Hardy, 70-71.
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