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 UNIVERSITY Of CALIFORNIA 
 
 SYLLABUS SCRICS 
 
 MO 57 
 
 I HI: SHORT-STORY 
 
 MODI 
 
 SI I I \»US AND BIBLIOGK \l'»n 
 
 VALTft MORttIS MAHT 
 
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UNIVERSITY Of CALIFORNIA 
 
 SYLLABUS SCRICS 
 
 NO 67 
 
 INI SHORT- STORY 
 
 m ! i Mil s \v ;r u»m 
 
 n 
 
 ■ 
 
 

The Short-Story 
 
 PAET I 
 THE PRIMITIVE AND MEDIEVAL SHORT-STORY 
 
 I and II. THE SHOKT-STORY DEFINED 
 
 I. Any narrative may be summed up as follows: At certain times, in 
 
 certain places, surrounded by a certain society, certain persons, 
 moved by certain motives, do certain things, thereby illustrating 
 certain moral laws. The Elements of Narration are, therefore, 
 the Settings of Time, of Place, and of Society, Character, Motive, 
 Plot, and Moral. 
 
 II. The Short-Story is distinguished from other forms of narrative by its 
 
 special treatment of these seven elements. 
 
 (1) Because it is Short it requires brevity of the Time of action, unity 
 
 and circumscription of the Place and of the Social Group, few- 
 ness and simplicity of Characters and of Motives, a Plot con- 
 sisting preferably of a single episode, and an underlying Mural. 
 simple and easily grasped. 
 
 (2) Because it is Story it requires that all information in regard to 
 
 Time, Place, Society, Character, Motive, and Moral Significance, 
 be translated into pure narrative — into the words and actions 
 of the persons, and that the Plot be free from summaries, rich 
 in dialogue and incident, organized in scenes or situations. 
 
 (3) Of these seven elements each may modify and serve all the others, 
 
 and all will be, in some degree, represented. 
 
 (For The Paupers, by A. T. Quiller-Coueh, a typical Short-Story, see 
 his volume of stories called The Delectable Duchy, or Warner's Library 
 of the World's Best Literature, vol. 20.) 
 
2 The Short-Story 
 
 III. PEIlttTIVE TYPES 
 1. The Popular Bai.i.ad 
 
 I. The Ballad as Point of Departure. 
 
 Though relatively modern, the Ballad inherits and represents the 
 manner of Primitive Narrative. It contains the Germ of the Short- 
 Story. 
 
 I I. The Ballad of Situation. 
 
 The Germ of the Short-Story is«the - at situation, as found in 
 
 such a ballad as Edward, set forth with such suspense and cdimax 
 as result from the ballad conventions of refrain, incremental 
 repetition, question and answer, "climax of relatives," and 
 satirical testament. The Ballad of Situation is thus a mere plot- 
 embryo, it does not deal with any of the other elements of narration. 
 
 IN. The Development by Less Primitive Ballads of These Other Elements. 
 
 (1) Settings, Character, and Plot, as in Sir Patrick Spens. 
 
 (2) Treatment of the Supernatural: Cleric Colven contrasted with 
 
 Keats 's Ln Belle Dame Sans Men 
 
 (3) Economy of the Comic Plot as iri Quet '.s Confession. 
 
 (For the ballads discussed see F. J. Child, English and Scottish Popular 
 Ballads, numbers 13b, 58a, 42, and 156.) 
 
 
/>* 
 
:? Tin Short-Story 
 
 IV. PRIMITIVE TYPES 
 2. THE Folktale 
 
 I. The Primitive Nature of the Folktale shown by its Content, as that of 
 
 the Ballad is shown by its Form. The peculiar ideas, customs, and 
 beliefs, which underlie the European Folktale, are to be found 
 among aa well. 
 
 II. The Miiiclien or Serious Folktale (or Fairy Tale). 
 
 Deals with the Supernatural and reckons upon unquestioning belief. 
 It is characterized by vagueness and largeness of Settings and 
 looseness of Plot. (Litth Snow White.) ;»7 -a, : 
 
 III. The Legend or Pious Folktale. 
 
 A pious parody of the Marchen, in which Christ, Our Lady, the Saints, 
 and the Devil, take the place of the Fairies. {Thj Three Litth 
 Men in tin Wood and St. Joseph in the Forest.) ,_ ^ 
 
 IV. The Schwank or Comic Folktale. 
 
 Aims to produce a comic effect; hence all is "calculated," notably, 
 the Plot, which is organized with special care. 
 
 For the Folktales discussed see Grimm, K ind r- und Hausmarchen (or 
 Household Tales, Bohr ed.) numbers 53, 13, 61, and Legend no. 1.) 
 
 . 
 
 <%■' 
 „& 
 
 Ji' 
 
4 Tin Short -Sfury 
 
 Y. MEDIEVAL TYPES 
 
 1. The Lai 
 
 A thirteenth-centurj French elaboration of a Welsh or Breton Lai, 
 i upon Celtic Marches. Mainly by Marie de France. 
 
 I. T volet. 
 
 A typical Lai; retains Marchen characteristics, especially the looseness 
 of slim-tine which lends itself to development as long romance. 
 
 I I. Lanval. 
 
 (1) Supernatural Features (a) Preserved and (b) Faded. (The other 
 
 world in the Lai of Guingamor.) A new method of treating the 
 Supernatural. 
 
 (2) Structure, (a) Becomes in an English version a long romance. 
 
 (b) Employs the ballad method of Suspense. 
 
 (3) The Love Motive, — in Lanval, in Guingamor; the "psychological" 
 
 method: Marie's innovation, a combination of Celtic and Courtly 
 Love. 
 
 (4) .Mystery and Beauty. 
 
 (For Modern French versions see Bocquefcrt's edition of Marie de 
 Prance. English translations: for Tyolet see Weston, Four Lays of Marie 
 de France; for Lanval (or Launfal) see Weston, Four Lays, or Mason, 
 French Mediaeval Romances. For a Modern German version see Hertz, 
 />.<- iSyLLliuannsbuch. For Guingamor, see Weston or Hertz. For Guigemar 
 (or GugeHnSr) see Mason, French Mediaeval Romances.) 
 
5 The Short-Story 
 
 VL MEDIEVAL TYPES 
 1. The Lai (continued). The Lai and Popular Literature 
 
 I. The Ballad of Fair Annie and Lai le Fraisne (or, The Jsh). The gain 
 
 in fulness and continuity of action, in completeness of elaboration, 
 in the conception of romantic love; the loss in unity; the fabliau 
 element. 
 
 II. The Gaelic Marchen of Gold-tree and Silver-tree compared with the 
 
 German Little Snow White and with the lai of Eliduc. Enrichment 
 of the plot by additional adventures, which makes for long romance. 
 (Further accretion: the romance of Ille et Galeron.) Elaboration 
 of Place, Character, and, especially, of the Love Motive. Fading 
 of the Supernatural. Softening and moralizing of the conclusiou. 
 
 III. By its elaboration of the Elements of Narration the Lai contributes 
 
 to the development of the Short-Story, but its main tendency is 
 in the direction of the Long Romance and of the Novel. 
 
 (For the Ballad of Fair Annie see Child, no. 62. For Gold-tree and 
 Silver-tree see Jacobs, Celtic Fairy Tales. For the Lai le Fraisne (or Lai 
 of the Ash, or Ash-tree), and for Eliduc, see Edith Rickert's Seven Lays 
 of Marie de France, or Mason's French Mediaeval Bomances, or Hertz's 
 Spielmannsbuch.) 
 
6 The Short-Story 
 
 YIT. MEDIEVAL TYPES 
 
 2. The Coxte Devot 
 
 A thirteenth-century, French elaboration of the Legend and a Pious 
 Parody of the Lai, based on brief Latin originals, and written to 
 edify and to instruct. 
 
 I. Miracles of Our Lady. — The Medieval conception of the Virgin. 
 
 (1) Stories of Our Lady as Substitute (a) The Jousting of Our Lady 
 
 and (b) The Sacristine. 
 
 (2) The Tumbler of Our Lady. 
 
 Significant for treatment of Moral, Character, and Mental States. 
 
 (3) Our Lady's Bridegrooms: (a) A Knight to Whom Our Lady Ap- 
 
 peared Whilst He Prayed and (b) The Cleric and the Ring. 
 
 IT. The Conte Devot, at its best, significant for all-around elaboration, 
 for a certain verisimilitude and moral depth, for a certain com- 
 plexity and charm of character, and for some relatively careful 
 study of mental states and social settings. 
 
 (For The Knight of the Little Cask see Butler, Tales from the Old 
 French, or Hertz, Spiclmannsbuch, p. 218. For The Angel and the Hermit 
 see Butler. For The Jousting of Our Lady see Butler, or Mason, Aucassin 
 and Nicolette, etc., p. 195. For the story of the Sacristine see Maeter- 
 linck's Sisti r lit at rice, or, in Modern French, Nodier's story in Contes de 
 la Veillcc, p. 75. (Cf. also John Davidson's Ballad of a Nun.) For The 
 Tumbler of Our Lady see Mason, AuGassi ana Nicolette, or Edwin Mark- 
 ham's Juggler of Touraine, Century Magazine, vol. 75, or Anatole France's 
 Etui de Nacre (or Mother of Pearl), or Hertz, Spiclmannsbuch, p. 237.) 
 
7 The Short-Story 
 
 VIII. MEDIEVAL TYPES 
 
 :;. The Fabliau 
 
 A thirteenth-century, French elaboration of Ballad or Schwank and 
 parody of Lai and Conte Devot. Its authors. Its technique con- 
 trolled by comic purpose and oral presentation. 
 
 I. Fabliau and Comic Ballad. 
 
 I'Ik Knight Who Confessed His Wife and Queen Eleanor's Confession. 
 
 The fabliau preserves the ballad supremacy of a main situation. 
 
 II. Fabliau and Schwank. 
 
 The Poor Cleric and The Little Peasant. The former as a typical fabliau. 
 
 III. Fabliau as Parody of Conte Devot. 
 
 St. Peter anil tin Minstrel: its dramatic quality. 
 
 IV. The Fabliau approximates Short-Story and Drama and gives place 
 
 to Farce. 
 
 (The fabliaux discussed are not accessible in Modern English versions, 
 except St. Peter and tht Minstrel: see the translation by E. S. Sheldon in 
 Studies in the History of Religions, presented to C II. Toy. See also Hart, 
 Tin Narrativi Art of the Old French Fabliaux, in the Kittredge Anniversary 
 Papers and in separate reprints.) 
 
8 Tin Short-Story 
 
 IX. MEDIEVAL TYPES 
 4. TlIK EXEMPLTJM 
 
 I. Medieval Symbolism and Allegory. 
 
 II. The Exemplum or Illustrative Story. 
 
 III. The Exemplum in English Literature. 
 
 (1) In Old English: Boethius, Orpheus and Eurydiee. 
 
 (2) In England in the Thirteenth Century. 
 
 (a) Latin: The Gesta Bomanorum. 
 
 (b) English: In the Sermons of the Friars and in Instruction Books. 
 
 1 V. The Significance of the Exemplum as a Factor in the Development 
 
 I of the Short-Story: it showed that any plot might be used to illus- 
 trate moral laws; and it set the fashion of collecting and preserv- 
 ing brief tales, thus developing the story sense, and stamping brief 
 fiction with learned and ecclesiastical approval. 
 
 (For OrpJn us and Eurydict see Boethius, The Consolation of Philosophy, 
 Bohn ed., p. H>7. For typical Exempla see the Middle English version of 
 Gesta Bomanorum, nos. 32, 40, 66, 69; Latin version, Bohn ed., no. 33. 
 For Pers the Usurer see Robert of Brunne, Eandlyng Synne, verses 573 ff.) 
 
9 The Short-Story 
 
 X. MEDIEVAL TYPES 
 The Contamination of Types 
 
 I. Causes of Contamination. 
 
 ( 1 ) Authorship and Transmission. 
 
 (2) The Transition from Amateur to Professional Story-tellers. 
 
 I 3 ) The Absence of Essential Difference between Comic and Serious. 
 
 II. Examples of the Contaminated Form.s. 
 
 (1) Aucassin and Nicolette (Miirchen-Lai-Fabliau). 
 
 (2) Tht Gray Palfrey (Lai-Fabliau). 
 
 (3) The Lai of Aristotle (Fabliau-Lai). 
 
 (4) The Tumbler of Our Lady (Conte Devot-Fabliau). 
 
 (5) The Smith and His Dame (Pabliau-Conte Devot). 
 
 (6) The Divided Blanket (Exemplum-Fabliau). 
 
 III. Masterpieces of Brief Narrative, the Result of Contamination of Types. 
 
 (For Aucassin and Nicolette see Housman's translation, or Mason's, or 
 the German version of Hertz in Das Spielmannsbuch. For The Gray 
 Palfrey see Butler, Tales from the Old French, Mason, Aucassin and 
 Nicolette, p. 213, or Hertz (Der Bunte Zelter). For The Lai of Aristotle 
 see Hertz, ]>. '243. For The Smith and His Dame see Hazlitt, Hi mains of 
 llu Early Popular Poetry of England, III, 200. For The Divided Blanket 
 see Butler, Tales from tin Old French, or Mason, Aucassin and Nicolette, 
 p. 75.) 
 
10 The Short-Story 
 
 XI. CHAUCER 
 1. The Frameavork of the Canterbury Tales 
 
 I. The Development of the Seven Elements of Narration by the Two 
 
 Primitive and Four Medieval Types. 
 
 II. Chaucer. 
 
 (1) The Historical Sense necessary for the Appreciation of Chaucer. 
 
 (2) Chaucer not naif and unsophisticated, but a man of the world. 
 
 (3) His general relation to the earlier literary types. 
 
 III. The Framework of The Canterbury Tales (i.e., the General Prologue, 
 
 the Special Prologues, and the Connecting Links). 
 
 (1) A kind of drama, with beginning, middle, and end, consisting 
 
 mainly of incident and dialogue. 
 
 (2) It reveals Chaucer's own tendencies and interests. 
 
 (3) It shows mainly fabliau influence. 
 
 (For a discussion of the Framework see Hart, The Franklin 's Tale (in 
 Haverford Essays, or in separate reprints), pp. 216 ff. 
 
11 Tin Short-Story 
 
 MI. <IIAUCER 
 2. The Comic Tales 
 
 I. While written to be read. Tlu Canterbury Tales dramatizes the old 
 
 method of oral presentation, and develops a technique derived from 
 oral literature. 
 
 II. Admirable Plot and Character-Contrasts of Chaucer's typical Fabliau. 
 
 Tht Miller's Tale. 
 
 III. Tin Friar's Tale, a Fabliau touched with Satire. 
 
 IV. The Nun's Priest's Tale, a Fabliau with beast actors, modified by 
 
 Sermon and by Exemplum. 
 
 Y. The Pardoner's Talc, a Sermou-Exemplum-Fabliau; its art a close 
 approximation to that of the modern Sbort-Storv. 
 
12 77" Short-Story 
 
 XIII. CHAUCER 
 3. The Serious Tales 
 
 I. The Prioresses Tale. 
 
 A Conte Devot, but with lyrical or personal quality. 
 
 II. The Wife of Bath's Tale. 
 
 A Marchen-Exemplum. It begins the "Marriage Act" in the Drama 
 of the Canterbury Pilgrimage. 
 
 III. The "Marriage Act" from the Wife's Tale to the Franklin's Tale. 
 
 IY. Th< Franklin's Tale. 
 Lai-Fabliau-Exemplum. 
 
 (On the "Marriage Act" see Kittredge in Modem Philology, vol. IX. 
 On The Franklin's Tale see Eaverford Essays, as above.) 
 
I 
 
 L3 The Short-Story 
 
 XIV. CHAUCER 
 
 4. Chaucer and the Short-Story 
 
 I. The contrast, in The Canterbury Tales, between Short-Stories and 
 
 Stories Which Happen to be Short. The Knight 's Tale and The 
 Tale of the Man of Law. 
 
 II. The contrast with the Anecdote: The Maunciple's Tale. 
 
 III. Chaucer's modification of the Six Types: Fabliau, Exemplum, Lai, 
 
 Marchen, Conte Devot, Ballad. 
 
 IV. Chaucer's modification of the Seven Elements: Settings, Character 
 
 and Methods of Characterization, Mental States, Plot, and Moral. 
 
 V. The "Evolution" of the Medieval Short-Story: the "Situation" of 
 
 the Ballad, from which the Six Types develop the Seven Elements. 
 Decay of the Short-Story after Chaucer because no longer under 
 the immediate control of an audience. 
 
14 The Short-Story 
 
 XV. MEDIEVAL TYPES IN MODERN LITERATURE 
 
 The Persistence of Lai, Conte Deyot, and Fabliau in the 
 Short-Stories of Kipling 
 
 I. Types of Early Narrative. 
 
 (1) The Celtic Marchen of Connla and the Fairy Maiden. 
 
 (2) The Lais of Lanval, Guingamor, and Guigemar. 
 
 (3) The Miracle of The Knight to Whom Our Lady Appeared Whilst 
 
 He Prayed. 
 
 (4) Chaucer's Prioresses Tale. 
 
 (5) The Fabliaux. 
 
 II. Kipling. 
 
 (1) Kipling and the Fabliau. 
 
 (2) Kipling and the Lai. 
 
 Without Benefit of Clergy and The Brushwood Bay. 
 
 (3) Kipling and the Mary Legend. 
 
 "They": Lai traits, Legend traits, Fabliau traits. Lyrical 
 quality. Significance of Conventional Form. Excellence of 
 Technique, Suggestive Method, Richness of Concrete Detail. 
 
 (For Connla see Jacobs, Celtic Fairy Tales. Kipling's Fabliaux are to 
 be found in Plain Tales from the Hills and in Under the Deodars. For 
 Without Benefit of Clergy see Life's Handicap; for The Brushwood Boy 
 see The Day's Work; for "They" see Traffics and Discoveries.) 
 

15 The Short-Story 
 
 PART n 
 
 THE TRANSITION FROM THE MEDIEVAL TO THE 
 MODERN SHORT-STORY 
 
 XVI. BOCCACCIO 
 
 I. The General Plan of The Decameron. 
 
 II. The Sources of the Tales. 
 
 III. The Condensed Long Stories. 
 
 Patient Griselda (X, 10) and The Pot of Basil (IV, 5). 
 
 I V. The Anecdotes. 
 
 The Wit of the Cool- Chichibio (VI, 4). 
 
 V. The Short-Stories. 
 
 Buggieri in the Chest (IV, 10). 
 
 VI. The Vogue of The Decameron. 
 
 (Most of the tales discussed in this and in the following lecture are 
 to be found in the Tales from the Decameron in Morley's Universal Library 
 or in Cassell 'a National Library.) i^* _ w 
 
 

16 The Short-Story 
 
 XVII. BOCCACCIO 
 
 I. Boccaccio as the Originator of the Modern Short-Story. 
 
 II. The Influence of the Fabliaux on The Decameron. 
 
 The story of Friar Onion and Gabriel's Wing Feather (VI, 10). 
 
 III. The Influence of the Exemplum on The Decameron. 
 
 The story of Dianora and Ansaldo (X, 5) compared with Chaucer's 
 Franklin's Tale. 
 
 IV. The great influence of The Decameron, though on the whole favorable 
 
 to the development of brief narrative in artistic prose, is not 
 favorable to the development of the Short-Story. 
 
 4 \<JUUa^l 
 
 
 
 
 • 
 
 
17 The Short-Story 
 
 XVIII. THE LITERARY FOLKTALE 
 
 I. The Novella after Boccaccio. 
 
 The Heptameron of Queen Margaret of Navarre (1558). Emphasis 
 upon Ideal Love. 
 
 II. The Literary Folktale. 
 
 (1) Straparola, Tredeci Piacevoli Notte (1550-1554). 
 
 (2) Giovanni Basile, Pentamerone (1672). 
 
 (3) Charles Perrault, Histoires ei Contes du Temp* Passe, or Tales 
 
 of Mot li< r Goose | 1676). 
 
 (4) After Perrault. 
 
 (a) The Fairy Tale. 
 
 (/>) The Oriental Tale: Galland's Translation of the Arabian 
 Nights (1704-1712). 
 
 (5) Musaus, Deutsche Volksmdrchen (1782-1786). 
 
 (a) Melechsala. (b) Dumb Love. 
 
 (6) Ludwig Tieck, Vie Elfen (1811). 
 
 (7) E. T. A. Hoffmann, Das Majorat (The Entail). 
 
 (Perrault'a Tales of Mother Goose: French, in Andrew Lang's edition. 
 See especially f.a Belle au Bois Dormante, or Sleeping Beauty. — English, 
 in Warner's Library of the World's Best Literature, vol. 19, Arabian 
 Nights, any of the tales. Musaus: for Melechsala and Stumme Liebe 
 (Dumb Love) see Volksmdrchen cfer Dejutschen; or, for an English trans- 
 lation, Carl vie 's C< i man EomanccTxal. 1. Tieck: for Die Elfen (The 
 Elves) sec his Marclun. or Carlyle, a> al ove. Hoffmann: for Das Majorat 
 (Tlo Entail), see his Sammtliche Werhe, Bd. Ill, Nachtstiicke, or Scott, 
 Essay on the Supernatural in Fictitious Composition, in Essays on Chivalry, 
 Romance, and tht Drama. Chandos ed., pp. 203 ff.) 
 

 XIX. AD] • 
 
 L Ti.< ; 
 
 I 
 
 n — "a L - resemblance to * 
 Jts de ry elements — ] 
 
 IL Tr 
 
 tion. 
 _ History — Tt< rertnny, E 
 
 * as. 
 
 : .isay. 
 
 •;n illustra- 
 
 tio: 
 
 remplum in the Essay. 
 Addison's Tb< 
 
 ral 
 The Independent Moral Tale — Theodoaius and Constantia. 
 
 '. losophie 
 - 
 
 al Addisonian tales see 
 ;,ectator, nos. 2,512,205 
 
1!) Tht Short-Story 
 
 XX. THE NIGRAL TALE AFTER ADDISOX 
 
 I. The Transition from the Essay to the Novel. 
 
 (1) Addison; Richardson's Pamela and Clarissa Marlowe; Fielding's 
 
 Tom J oik 8. 
 
 (2) Johnson's Rambler, Idler, and Basselas. 
 
 (3) Goldsmith's Bee, Citizen of the World, and Vicar of Wakefield. 
 
 U. Marie Edgeworth's Prussian Vase, Murad the Unlucky, The Lottery, 
 The Limerick Gloves, and Tin Grateful Negro. 
 
 111. Leigh Hunt. 
 
 (1) Character and Work in General. 
 
 (2) Sources and Theory of Fiction. 
 
 (3) I lis Tal< for a Chimney Comer. 
 
 (Dr. Johnson's Basselas; Goldsmith's Vicar of Wakefield; Maria Edge- 
 worth: for The Prussian Vase, Murad the Unlucky, The Lottery, The 
 Limerick Gloves, and Tht Faithful Negro, see the Moral Tales, Works, vols. 
 1 and 2. For Leigh Hunt's Tale for a Chimney Corner see The Indicator 
 for 15 December, 1819.) 
 
20 The Short-Story 
 
 XXI. VOLTAIRE AND THE PHILOSOPHIC TALE 
 
 •I. Voltaire. 
 
 Greatness; Influence; Life. His Tales: their relations with Oriental 
 Material, with the Periodical Essay, and with Medieval Literature. 
 
 II. Zadig (1748). 
 
 III. Candide (1759). 
 
 IV. Jeannot and Colin (1764). 
 
 V. L'Ingenu (The Huron) (1767). 
 
 VI. The Significance of the Moral Tale. 
 
 (For Zadig, Jeannot and Colin, and L'Ingenu (The Huron), see Oeuvres, 
 1819, vol. XXXIX, or 1784, vol. 44; for English translations, Works, vols. 
 2 and 3.) 
 
21 Tht Short-Story 
 
 PART III 
 
 THE .MODERN SHORT-STORY 
 
 xxir. raviNG 
 
 1. Literary Relations 
 
 I. Biographical Xote. 
 
 II. Irving and English Literature. 
 
 (1) The Augustan Age. 
 
 (The nature of imitation.) 
 
 (2) The Romantic Movement. 
 
 Romanticism as Spiritualism. 
 
 (a) Places Emotion above Thought. 
 
 (b) Emphasizes the Individual. 
 
 (c) Develops Sense of AVonder and Mystery. 
 
 (d) Finds these Qualities in the Middle Ages. 
 
 III. Imitations of the Eighteenth Century Tale. 
 The Wife and The Broken Heart. 
 
 IV. Irving and the Folktale. 
 
 The Spectre Bridegroom and the manner of Musaus; Burger's Lent 
 
 (For the tales discussed see Irving 's Sketch Book.) 
 
22 The Short-Story 
 
 XXIII. IRVING 
 
 II. The Composition of Rip van Winkle 
 
 I. The Circumstances of Composition. 
 
 II. The Real Source of the Story. 
 
 The Kyffhauser Legend of Peter Klaus, the Goatherd of Sittendorf, in 
 Otmar's Yoll'ssagen aus dem Earze (1800). 
 
 III. Irving 's Treatment of this Story. 
 
 IV. Irving 's Additions to this Story. 
 Character and Settings. 
 
 V. The Plot of Eip van Winkle essentially a Short-Story Plot. 
 
 VI. Moral Significance. 
 
 VII. Conclusion. 
 
 (For Eip van Winkle see The Sketch Book. For the English translation 
 of The Goatherd of Sittendorf see T. Roscoe, German Novelists, vol. II.) 
 
23 The Short-Story 
 
 XXTV. NODIEE 
 
 I. Tin' Significance <>t' Goethe's Dit Leiden des Jung en Werthers (The 
 
 Sorrows of Werther). M774). 
 
 II. La FUI, uh (hi S, 1,1,1, /'/■ | 1S06). 
 
 IN. La Combe a I'll, nun, , Mart {Bead Man's Valley) (1841) 
 
 A typical example of the art of the Short-Story. {Dramatis Personae: 
 Toussaint Oudard, blacksmith; Dame Huberte, his mother; Pan- 
 crace Chouquot, a learned doctor; Colas Papelin, clerk and groom; 
 Odilon the Recluse; Tiphaine, Oudard 's father; A'illage Girls and 
 Workmen.) 
 
 I V. Various Tales. 
 
 (1) Smarra (1821), and the Influence of Shakespeare. 
 
 (2) Trilby (1822), and the Influence of Scott. 
 
 (3) La X< iii-,iiii, ,/, In Chandeleur (1839), and The Brushwood Boy. 
 
 (4) The Legend <>/ Sister Brat rice (1838), a Conte Devot. 
 
 (5) Treasure ,>f Hi, Beans ami Flower of the Peas (1832), a Marchen. 
 
 V. Nodier's Theory of Ideal Love. 
 
 (For La Fill, nl, ,ln Seigneur, La Combe a I'Homme Mart, and Beatrix, 
 see Contes de la Veillee; for La Neuvaine dt la Chandeleur see Oeuvres, 
 vol. 27; for Tresor des Feves see Contes Fantastiques. Nodier is not acres 
 sible in English translations.) 
 
24 The Short-Story 
 
 XXV. MERIMEE 
 
 I. Merimee'e Literary Relations. 
 
 (1) Russian. 
 
 (a) Translations from Pushkin. The Bohemians and Carmen 
 and Arsene Guillot. La Dame de Pique (The Queen of Spades). 
 
 (b) The Essay on Gogol and Merimee's Literary Theory. His 
 Carmen and Colomba. 
 
 (2) English. 
 
 Irving and Borrow; Le Hussard and Irving 's Dragoon. 
 
 (3) Popular Literature. 
 
 rigo and St. Peter and the Minstrel, and Grimm's Gambling 
 Hansel. 
 
 II. Merimee's Technique. 
 
 (1) Settings; Exotism and Local Color. 
 
 Bohemian Paris in Arsene Guillot; Southern France in La Venus 
 d'llle, etc. 
 
 (2) Social Setting. 
 
 (3) Character. 
 
 (4) Plot. 
 
 III. Merimee 's Tales. 
 
 (1) Novelettes: Colomba and Carmen. 
 
 (2) Anecdotes: Djoumane, La Chambre Bleue, II Vicolo de Madame 
 
 Lucre ~ia. 
 
 (3) Short-Stories: Mateo Falcone, The Taking of the Redoubt, La Venus 
 
 d'llle. •'(Compared with William of Malmesbury's version, 
 1147.) 
 
 (For Mateo Falcone and L'Erilevement </< la Iledoute see Mosa'ique ; for 
 La Venus d'llle see Colomba. For English translations of all three see 
 French Novels of the Nineteenth Century, vol. III.) 
 
25 The Short-Story 
 
 XXVI. BALZAC 
 
 I. Balzac as a Novelist. 
 
 II. Balzac as a Writer of Short-Stories. 
 (1) The Conirs Vrolatiques (1830-1834). 
 
 2 .in Episodi under the Terror (1830). 
 (3) A Passion in the Desert (1830). 
 
 ///, Conscript (Le Riquisitionnaire) (1831). 
 
 (5) La Grande BreUche (1832). 
 
 (6) A Seashore Drama (1835). 
 
 III. Balzac's Short-Story Technique. 
 The Seven elements. 
 
 (For La ('-ramie Bretiche sec Oeuvres, vol. IV, pp. ."562 ff ; for l'n Episode 
 sous la Terreur and Unt Passion dans la Desert see Oeuvres, vol. XII; for 
 / Drawn au Bord de la Mer and Le Eeeiuisitionnaire see Oeuvres, vol. 
 XVI. English: for La Grandt fireteehe see Fame and Sorrow; for the 
 other stories see Shorter Stories from Balzac, and Warner. Library of the 
 World's Best Literature, vol. III.) 
 
26 The Short-Stonj 
 
 XXVII. HAWTHOENE 
 
 I. General Literary Relationships. 
 
 The Snow Image and Tieck's The Elves. 
 
 II. Wakefield and Hawthorne's Method of Composition; his interest in 
 
 Character, Motives, and Moral Significance. 
 
 III. The White Old Maid, a "Suggested" Short-Story. 
 
 IV. The Ambitious Guest, a consistent elaboration, or "incarnation of 
 
 the idea." 
 
 V. The Question of Local Color. 
 
 (In Twice Told Tales: The Minister's Black Veil, Wakefield, The Vision 
 of the Fountain, The Ambitious Guest, The White Old Maid. In Mosses 
 from an Old Manse: Feathertop. In The Snow Image, etc.: The Snow Image, 
 The Great Stone Face, The Wives of the Dead.) 
 
27 The Short-Story 
 
 XXVIII. POE 
 
 I. Poe's Account of his Theory and of his Method of Composition — The 
 
 Essay on The Philosophy of Composition. 
 
 II. Theory and Practice in The Fall of the House of Usher. 
 
 (Bomances of Death: The Fall of the House of Usher, Berenice, Ligeia. 
 Old World Romance: The Assignation, The Cash of Amontillado, The Pit 
 and the Pendulum. Tales of Conscience: William Wilson, The Black Cat.) 
 
28 The Short-Story 
 
 XXIX. POE AND THE DETECTIVE STOBY 
 
 T. The Main Stejjs in the Development of the Detective Story. 
 
 (1) The Oriental Tale of The Lost Camel. 
 
 (2) Incidents in Voltaire's Zadig. 
 
 (3) Zadig and Poe 's Dupin (in The Murders in the Sue Morgue). 
 
 (4) Balzac's Splendeurs et Miseres des Court esanes and TJne Tenebreuse 
 
 Affaire. 
 
 II. Poe's Detective Stories or Tales of Ratiocination. 
 
 (1) The Gold-Bug. 
 
 (2) The Murders in the Sue Morgue. 
 
 (3) The Mystery of Marie Eoget. 
 
 (4) The Purloined Letter. 
 
 III. Conan Doyle and Poe: The Speckled Band. 
 
 (Poe's Detective Stories are all to be found in the "Tales of Eatio- 
 cination" (Works, vol. III). For Doyle's The Speckled Band see Dawson, 
 The Great English Short-Story Writers, vol. II). 
 
29 The Short-Story 
 
 XXX. BEET HARTE 
 
 I. His Life. 
 
 II. His Theory of the Short-Story. 
 
 The Else of the American Short-Story, Cornhill Magazine, July, 1899. 
 
 III. His Humor. 
 Chesterton 'a View. 
 
 IV. The Luck of Roaring Camp and Other Stories (1869). 
 
 (1) Brown of Calaveras. 
 
 (2) The Outcasts of Poker Flat. 
 
 (3) Higgles. 
 
 V. Literary Ancestors. 
 
 (1) Dickens. 
 
 (2) Irving. 
 
 (Harte's Style.) 
 
 (3) The American "Good Story." 
 
 VL Descendants. 
 Kipling. 
 
 (The tales discussed are all to be found in The Luck of Soaring Camp, 
 Works, vol. I.) 
 
30 The Short-Story 
 
 XXXI. DAUDET 
 
 I. Daudet's Country, Provence. The General Character of His Work. 
 
 II. His Fabliaux. 
 
 (1) Les Trois Messes Basses (The Three Low Masses). 
 
 (2) L 'Elixir du Prre Gaucher. 
 
 (3) La Mule du Pape. 
 
 (4) Le Cure de Cucugnan. 
 
 III. His Exempla. 
 
 (1) L 'Homme a la Cervelle d'Or (The Man with the Golden Brain). 
 
 (2) La Cherre de M. Seguin (M. Seguin's Goat). 
 
 IV. His Short-Stories. 
 
 (1) Short-Stories of Situation. 
 
 (a) Les Deux Auberges (The Two Inns). 
 
 (b) La Diligence de Beaucaire. 
 
 (2) Short-Stories of Event, 
 
 L'Arlesienne. 
 
 (3) The Idyl. 
 
 Les Etoiles (The Stars). 
 
 (Lettrcs de Mon Moulin: La Diligence de Beaucaire, La Chevre de M. 
 Seguin, Les Etoiles, L'Arlesienne, Le Cure de Cucugnan, Le Sous-Prefet aux 
 Champs, Les Deux Auberges. English: Letters from My Mill: The Beaucaire 
 Diligence, The Goat of M. Seguin, The Stars, The Arlesienne, The Cure 
 of Cucugnan, The Sub-Prefect in the Fields, The Two Inns. Contes du 
 Lundi: La Dernicre Classe, Le Siege de Berlin.) 
 
31 The Short-Story 
 
 .XXXII. STEVENSON 
 
 I. Stevenson. 
 
 II. Literary Apprenticeship. 
 
 J II. Theory of Romance. 
 
 IV. Illustration of this Theory — 
 
 Tin sin de Maletroit's Door (1877). 
 
 Compared with Th. de Banville's Gringoire (1866). 
 
 V. Moral Purpose. 
 Markheim (1885). 
 
 Will » tht Mill (1885). 
 
 (In Tin Merry Men: Will o' the Mill, Markheim. In New Arabian 
 Nights: A Lodging for the Night, The Sire de Mulct roil 's Door. Tin 
 Suicidi Club. Island Nights' Entertainments: The Isle of Voices.) 
 
32 The SKort-8tory 
 
 WWII I. MAUPASSANT 
 
 I. II is • • Animalism. 
 
 r 
 
 (1) Studios of Love Moonliiiltt, lfappine.su. 
 
 (2) Studies of Savage Revenge- La Mere Sam-age, Vendetta. 
 
 (3) Studies of Terror, Eunger, Cruelty — The Beggar (Mao as Under- 
 
 Dog). 
 
 (4) Of Predacity and Ferocity The Wolf (Man as Triumphant Wild 
 
 I '.cast ). 
 
 (5) Of Fear and Vanity — A Coward. 
 
 II. Mis Technique. 
 
 (1) Brevity. 
 
 (2) Concrete Narration (in dialogue and incident) of Settings, Char- 
 
 acter, Emotions, riot and Moral. Illustrated by A Coward. 
 
 TIT. The Causes of Ins " Animalism ' ■" and his Technique. 
 
 (1) The Tradition of the Brief Tale in French Literature. 
 
 (2) Maupassant's Life. 
 
 (3) His Special Training by Flaubert. 
 
 (The tales discussed may be found, in English translations, in The 
 o<hl Number.) 
 
33 The Short-Story 
 
 XXXIV. KIPLING 
 1. Tales of the Indian Period: Settings and Character Types 
 
 I. Biographical Notes. 
 
 II. The Settings. 
 
 Phases of Anglo-Indian Life: At the End of the Passage and The Con- 
 version of Aurelian McGoggin. 
 
 III. Anglo-Indian Character-Types. 
 
 (1) The Subaltern (Thrown Away, Only a Subaltern). 
 
 (2) The Society Woman {Three and — an Extra, The Bescue of Plu1fl.es). 
 
 (3) The Private Soldier (Mulvaney's self-portrait in The Courting of 
 
 Dinah Shadd). 
 
 (4) The Child (Baa Baa Blade Sheep, Wee Willie Winlcie, etc.) 
 
 (For At the End of the Passage and The Courting of Dinah Shadd see 
 Life's Handicap. For The Conversion of Aurelian McGoggin, Thrown 
 Away, Only a Subaltern, Three and — an Extra, and The Bescue of Pluffles 
 see Plain Talis from the Hills. For the Child Stories see Wee Willie 
 Hinlie.) 
 
34 The Short-Story 
 
 XXXV. KIPLING 
 
 II. Tales op the Indian Period: Emotions and Motives 
 
 I. The Native Point of View. 
 
 Lispeth, Dray Wara Yow Dee. 
 
 II. Studies in Fear. 
 
 The Drums of the Fore and Aft. • 
 
 III. Fear of the Supernatural. 
 
 The Phantom 'Rickshaw, The Return of Imray, The Marl; of the Beast 
 (compared with S. Carleton's The Lame Priest.) 
 
 IV. Love Stories. 
 
 (1) Their cynicism: Wressley of the Foreign Office, In Error. 
 
 (2) Englishmen and Native Women: Beyond the Pale. 
 
 V. Studies in Pathological Psychology. 
 
 (1) Nostalgia: The Madness of Private Orthcris. 
 
 (2) Hysteria: In the Matter of a Private. 
 
 (3) Aphasia: The Conversion of Aurelian McGoggin. 
 
 (4) Loss of Memory: Tht Man Wlio Was. 
 
 (5) Hallucination: At the End of the Passage (compared with Mau- 
 
 passant's Le Eorla). 
 
 (For Lispeth, Wressley, In Error, Beyond the Pale, The Madness of 
 Private Orthetis, and The Conversion see Plain Tales. For Dray Wara Yow 
 Dee see In Black and White. For The Drums of the Fore and Aft see 
 Wet Willit Winkie. For The Strange Ride of Marrowbie Jtilces see The 
 Phantom 'Rickshaw. For In the Matter of a Private see Soldiers Three. 
 For The Return of Imray, The Marl; of the Beast, The Man Who Was, and 
 At the End of the Passage see Life's Handicap. For the Lame Priest see 
 The Atlantic Monthly, vol. 88.) 
 
35 The Short-Story 
 
 XXXYI. KIPLING 
 III. Tales of the Indian Period: Structure and Moral Significance 
 
 I. External Structure. 
 
 (1) The Use of the First Person. 
 
 (2) The Frame-Situations of the Soldier Stories. 
 
 (a) Kipling and Chaucer: The Three Musketeers, etc. 
 
 (b) Analysis of The Incarnation of Krishna Mulvaney. 
 
 (3) Dramatic and Impersonal Methods. 
 
 The Story of the Gadsbys, The Hill of Illusion. 
 
 (4) Eecurrent Characters. 
 
 II. Internal Structure. 
 
 (1) Anecdotes: The "Lang Men o' Larut, Little Tobrah. 
 
 (2) Condensed Long Stories: Lispeth. 
 
 (3) Short-Stories: Without Benefit of Clergy. 
 
 (4) Beginnings, Middles, and Ends. 
 
 The " Suggested " Short-Story; Dialogue. 
 
 III. Moral Significance. 
 
 The Respectable vs. the Xon-Respectable. 
 
 (For the Soldier Stories see the collection called Soldiers Three. For 
 The Three Musketeers and Lispeth see Plain Tales. For The Incarnation of 
 Krishna Mulvaney, The Lang Men o' Larut, Little Tobrah, and Without 
 Benefit of Clergy see Life's Handicap. For The Hill of Illusion see Under 
 the Deodars.) 
 
V 
 
 \ 
 
 \ 
 36 Th< Short-Story 
 
 XXXVII. KIPLING 
 IV. The Tales op the Period of Transition* 
 
 I. Tendencies of the Indian Period. 
 
 Increase in Imagination and in Sense of Form; Decrease in Self- 
 Assertion; Escape from the Overpowering Sense of Fact. 
 
 II. The Transition. 
 
 (1) Many Inventions. 
 
 (a) Stories which look backward. 
 
 (b) Stories which look in both directions. 
 
 (c) Stories which look forward. 
 
 In the Euhh, the first of the Jungle Stories. 
 
 (2) The Jungle Boohs. 
 
 (a) The History of Mowgli. 
 
 (b) The King's Arikus. 
 
 (Compared with Chaucer's Pardoner's Tale.) 
 
 (c) The Non-Mowgli Stories. 
 
 III. Tendencies of the Transition Period. 
 
 Continued Increase in Imagination and in Sense of Form; Decrease 
 in Intensity and in Realism. 
 
37 The Short-Story 
 
 XXXVIII. KIPLING 
 
 V. The Tales op the English Period: Settings, Characters, and 
 
 Motives 
 
 I. Settings. 
 
 (1) The Discovery of England. 
 
 Beauty and Emotional Associations; "Historicity." 
 
 (2) Extensions of the Social Group. 
 
 II. Characters. 
 
 In Puck of Pool's Rill and Rewards and Fairies. Marklake Witches 
 (the technique of suggestion). Sentimentalism and the contrast 
 with Irving and Xodier. 
 
 III. Motives. 
 
 Culmination of the Love Stories in The Brushwood Boy. (Comparison 
 with Bapunzel in Grimm and in Morris, with Du Maurier 's Peter 
 Ibbetson and with Xodier 's Neuvaine de la Chandelear. 
 
 (For Weland's Sword and The Joyous Venture see Puck of Poole's Kill. 
 For Marklake Witches and The Conversion of St. Wilfrid see Bernards and 
 Fairies. For The Brushwood Boy and Bread Upon the Waters see The 
 Day's Work, For Bapunzel see Grimm, Household Tales no. 12, and 
 William Morris, The Defence of Guinevere, Works, vol. I.) 
 

 
38 The Short-Story 
 
 XXXIX. KIPLING 
 
 VI. The Tales op the English Period: Structure and Moral 
 Significance 
 
 I. External Structure. 
 
 (1) The Personal Note. 
 
 (a) In "They" (Cf. no. XV, above). 
 
 (b) In the Jxist So Stories. 
 
 The Manner of the Oral Tale. The "Pourquoi." 
 
 (2) Framed Tales. 
 
 Puck of Poole's Hill and Rewards and Fairies. 
 Comparison with The Canterbury Tales. ' 
 
 (3) Types of Didactic Story. 
 
 Fable, Dream, "Alien Critic," Exemplum — Conte Devot. 
 
 II. Internal Structure. 
 
 III. Moral Significance. 
 
 IV. General Conclusions. 
 
 The Tendencies of the Two Earlier Periods Still Active in the Third'. 
 
39 The Short-Story 
 
 XL. SUMMARY AND CONCLUSION 
 
 I. The Modern Short-Story, Boccaccio to Kipling. 
 
 II. Comparison of the Modern with the Medieval Short-Story. 
 
 (1) In the Medieval the Developing Factors are the Literary Types, 
 
 in the Modern, the Individual Authors. 
 
 (2) In the Medieval the Literary Types retain their Individuality; in 
 
 the Modern they lose it. 
 
 III. The Primitive and Medieval Types persist in Modern Literature. 
 
 IV. The Steady Development of the Seven Elements of Narration. 
 
 V. Suggestive Comparisons and Contrasts. 
 
 VI. The Dependence of Authors upon Their Predecessors. 
 
 VII. Increase in Sympathetic Understanding the Justification of the 
 
 Studj' of the Development of a Literary Type. 
 
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