'

three a year, number fifty or more. In addition to those
already mentioned, "Roderick Hudson" (1875), "The Por-
trait of a Lady" (1881), and "An International Episode
(1879) may be indicated as showing his work at its best. In
his later novels his style sometimes 'becomes super-refined
and therefore less pleasing and effective.

570. The Short Story. The short story may be regarded as a new form of literature, which has been especially cultivated in France and this country since the middle of the nineteenth century. The short story differs from the tale in being more artistic in form; that is to say, more symmetrical in structure and more finished in style.

Poe and Hawthorne are properly considered as the progenitors of the short story. The former was the first to lay down the principles of this form of writing and to exemplify them in practice. Brander Matthews, himself a writer of polished stories, has summarized the teaching of Poe as follows: "The short story must do one thing only, and it must do this completely and perfectly; it must not loiter or digress; it must have unity of action, unity of temper, unity of tone, unity of color, unity of effect; and it must vigilantly exclude everything that might interfere with its singleness of intention." 1

571. A Miniature Novel. The short story is a miniature novel. It differs from the novel in being shorter, in having fewer characters, and in being restricted to a single effect. But, like the novel, it has its characters, its plot, and its setting. It has the advantage, as Poe pointed out, of being read at a single sitting and consequently of making a deep impression, while the novel is subjected to the disadvantage of interrupted perusal with its inevitable loss of effect.

1 Brander Matthews, The Short Story, p. 26.

1

572. Leading Exponents. The short story has been encouraged by the multiplication of magazines, to which it gives variety and interest. In large measure literature is obedient to the economic law of supply and demand. The short story, which has been gradually enriched in scope and human interest,

has been employed, like the novel, to portray life in all parts of our country. Miss Jewett and Mrs. Freeman have used it to exhibit New England life and character; Bret Harte has employed it to bring before us the scenes of '49 in California; Thomas Nelson Page to describe the society of an older day in Virginia; Charles Egbert Craddock to give us glimpses of mountaineer life in Kentucky and Tennessee;

Hamlin Garland to present etchings of plain folk in Wisconsin; and Jack London to unveil pictures of the frozen North. Other writers deserving mention are O. Henry, Myra Kelley, Bruno Lessing, Gouverneur Morris, Steward Edward White, and many more.

573. Literary Centres. During the first third of the nineteenth century the literary centre of our country was in New York. Cooper, Irving, Bryant, to say nothing of Drake, Halleck, and Paulding, resided there. Subsequently the centre was changed to Boston, where, or in its vicinity, lived Emerson, Longfellow, Whittier, Lowell, Holmes, and others, who have been the chief glory of American letters. These two groups were successively dominant in our literature. At present the literary talent of our country is widely disseminated. The West and the South have entered the field as never before; and in recent years writers like Bret Harte, Joaquin Miller, George W. Cable, Sidney Lanier, Joel Chandler Harris, Thomas Nelson Page, Miss Murfree, and many others, have won a fair proportion of literary laurels.

574. Critical Independence. Our literature has attained its critical independence. In forming our estimate of a work of art, we no longer anxiously wait for the European verdict. The multiplication of literary journals, as well as the wide prevalence of literary culture, has fostered a critical spirit. Stoddard, Stedman, Whipple, Howells, not to mention many others, all deserve to rank high, not only for their achievements in other departments of literature, but also for their work in criticism. In some cases, as perhaps with Poe, Joaquin Miller, and Walt Whitman, it has been necessary to set ourselves against the judgment of foreign critics, who are too apt to accept what is eccentric or melodramatic as something distinctively American.

575. Female Writers. A noteworthy feature of the present period is the large number of female writers. In both prose and poetry they have attained a high degree of excellence. The old theory of the intellectual inferiority of woman has been exploded. Admitted to the same educational advantages as men, whether in separate or co-educational institutions, our young women have proved themselves equally successful in study. They have found an open field in literature, and have occupied it with eminent ability. Among those have achieved eminence are Elizabeth Stuart Phelps Ward, Helen Hunt Jackson, Mary Noailles Murfree, Frances Hodgson Burnett, Mary E. Wilkins, and many others.

576. The Children's Age. This has been called the children's age. Never before was the responsibility of training children more strongly felt. The rigorous discipline of former times has given way to a kindly and sympathetic training. Our schools are made as attractive as possible. The methods of instruction are studiously adjusted to child nature. The text-books are interesting in matter and attractive in form. Children's periodicals are multiplied, and in many cases are edited with eminent taste and ability. There never before was such a wealth of literature for young people. Our ablest writers have not disdained to employ their talents for the entertainment and instruction of youth. Among the long list of those who have contributed to our juvenile literature are J. T. Trowbridge, Mrs. A. D. T. Whitney, Louisa M. Alcott, Thomas Bailey Aldrich, Mrs. Burnett, Frank R. Stockton, and Thomas Nelson Page.

577. American Humor. Americans have a strong sense of humor. Nowhere else is a joke more keenly relished. Nearly every periodical, not excluding the religious weekly,

has its column for wit and humor; and not a few of our papers are devoted exclusively to the risible side of our nature. Among our writers have been a number of humorists. If they have not generally reached a high refinement of wit, they have nevertheless brought the relief of laughter to many a weary moment. Charles Farrar Browne ("Artemus

Ward") and H. W. Shaw ("Josh Billings") may be regarded as professional humorists. Among those who have occupied a higher plane are Charles Dudley Warner, whose humor is delicate in quality, and Samuel L. Clemens ("Mark Twain "), who deservedly ranks as our greatest humorist.

garded merely as a humorist, was in reality much more. Beneath the broad wit and humor that make his books enjoyable, there was a big, active brain that was interested in almost every phase of life.

579. Rugged Honesty. He was a man of rugged, aggressive honesty. This trait made him utterly intolerant of sham; and hence he did not hesitate to attack it, though entrenched in respectability and power, with the tremendous force of his