Anderson, Sherwood, 184-194; autobiography, 189, 191; lessons and reading for, 193; materials, 192; plot, 191; propaganda, 190; sentimen- tality, 189, 190; subperson- al element in, 186, 188, 189, 193; vitality, 184; works: Book of the Grotesques, The, 187, 193; Death, 193; Drink, 193; Mother, 193; Out of Nowhere into Nothing, 186, 193; Poor White, 192; Queer, 193; Seeds, 185, 186, 193; Story Teller's Story, A, 187, 191; Triumph of the Egg, The, 185; Un- lighted Lamps, 193; Untold Lie, The, 187; Winesburg Ohio, 192 Archer, Wm., 222 Aristotle, 7, 22, 25, 78, 181 Arlen, Michael, 215-223; clev- erness of, 218, 219; irony, 218; morality of, 220; plot, 219; romantic traits, 216; sophisticated sentimentality of, 216; supernatural in, 219, 220; titles: Ace of Cads, The, 217, 221; An- cient Sin, The, 220, 222; Cavalier of the Streets, The, 222; Gentleman from Amer- ica, The, 220; Ghoul of Golder's Green, The, 220; Green Hat, The, 217; Intro- ducing a Lady of No Im- portance and a Gentleman
of Even Less, 221; Lamoir, To, 216; Loquacious Lady of Lansdowne Passage, The, 219; Prince of the Jews, The, 220; Revolting Doom of a Gentleman Who Would Not Dance with_His Wife, The, 219, 222; Romance in Old Brandy, A, 222; Salute the Cavalier, 217; Three- cornered Moon, The, 215 Arnold, 93, 97, 142 Artistic piquancy, element of, 4, 17, 19, 44-46, 131, 132 Austen, Jane, 102
Ballad writers, 224-238; cli- max, 232; description, 229, 230; dramatic element, 231; exposition, 230, 231; ques- tions and answers, 236; re- frain, 237-238; subjects, 225-230; surprise endings, 232, 235; suspense, 235, 236; titles: Annie of Lochroyan, 227, 238; Cruel Brother, The, 228, 238; Edward, 228, 233-235; Hangman's Tree, The, 229, 238; Lord Randal, 228; Sir Patrick Spens, 231, 238; Two Sisters, 226, 233, 238 Balzac, 159, 161 Barbusse, 32 Barrie, 205
Beast with Five Fingers, The, 31
Bennett, Arnold, 103, 160
Cabell, 220, 221 Champion, 70 Chaucer, 102 Chekhov, Anton, 73, 74, 75, 76, 77, 87, 90, 91, 94, 95, 96, 97- 102, 103; description, 99; in- terpretation, 90, 91; pur- pose, 72, 75, 77; selection, 75, 76; structure, 94, 96; titles: Anna on the Neck, 95, 99, 103; Anonymous Story, An, 97; Father, The, 103; Head of the Family, 73, 75, 94, 103; Husband, The, 76, 103; Lady with the Dog, The, 76, 103; Runaway, The, 94, 103; Teacher of Literature, The, 96, 99, 103; Terror, 95; Trial, The, 74, 76, 95, 103; Trifle from Life, A, 95; Upheaval, 96, 103; Verotchka, 78, 96; Volodya, 90; Woe, 77, 91, 103 Chelcash, 103 City Block, 192 Classicism,
Clemm, Mrs., 24 Comédie Humaine, 161 Conrad, 104-139, 179; descrip- tion, 132-137; inconsecutive- ness, 129-131; lessons and reading, 138-139; method, 121-138; philosophy of, 104- 121; piquancy, element of artistic in, 131, 132; spokes- men, 124-129; titles: Al- mayer, 107, 112; Brute, The, 122, 127, 132; Chance, 122, 124; Duel, The, 116; End of the Tether, The, 122, 130, 131, 138; Gaspar Ruiz, 131; Heart of Dark- ness, The, 104, 108, 116, 122,
138; Lagoon, The, 134, 138; Lord Jim, 106, 109, 113, 122, 139; Nigger of the Narcis- sus, The, 116; Nostromo, 112, 118, 121, 122, 123, 139; Outpost of Progress, An, 107, 108, 109, 138; Return, The, 117, 138; Tales of Un- rest, 138; Typhoon, 112, 121, 123, 135, 138; Youth, 105, 112, 115, 122, 138 Coleridge, 29, 238 Cooke, P. P., 17
Davis, Richard Harding, 126 Defoe, 102
De Quincey, 24, 25 Design, Poe master of, 3-32 Dostoevsky, 78-83, 103, 190;
purpose, 78-82; suffering in, 81; understanding, 79, 80; titles: Brothers Karama- zov, 80; Crime and Punish- ment, 78, 79, 80, 103; Idiot, The, 78; Insulted and In- jured, 78
Hamsun, Knut, 226 Harte, Bret, 139 Hawthorne, 3, 24, 28 Hebbel, 85
Hecht, Ben, 185, 187 Henry-see "O. Henry" Herrick, Robert, 103 High Chin Bob, 238 Hochenheimer of Cincinnati, 67
Howard, Sidney, 205 Howells, W. D., 101, 102 How to Write Short Stories, 70
Humoresque, 67
Humpty Dumpty, 185 Hurst, Fanny, 44, 67, 231
Independent work, 238 Indirection, master of-James, 140-179
Inmost Light, The, 31 Irving, Washington, 25
Jacobs, W. W., 30 James, Henry, 8, 94, 139, 140-
179, 192; art of, 152-178; description, 166-173; dia- logue, 173-177; germinal idea, 163; message, 140-152; objectivity, 165, 173; pro- jectors, 175-177; saturation, 157, 163; titles: Ambassa- dors, The, 165, 179; Art of Fiction, The, 159; Author of Baltraffio, The, 163; Bel- donald Holbein, The, 178; Bench of Desolation, The, 149, 156, 169, 178; Coxon Fund, The, 143, 147, 178; Crapy Cornelia, 166, 178; Flickerbridge, 148; Golden Bowl, The, 167-169, 171, 172, 179; Grenville Fane, 149; Lesson of the Master, The, 174; Madonna of the Fu- ture, The, 147; New Novel,
The, 160, 173; Small Boy and Others, The, 156; Tone of Time, The, 148, 178; Two Faces, 149; What Masie Knew, 164; Wings of the Dove, The, 149, 179 Jonson, Ben, 102
Kipling, 55, 56, 62, 102, 138,
Lardner, Ring, 70, 187 Lear of the Steppes, 103 Lessons: Anderson, 193, 194; Arlen, 221-223; Ballad writ- ers, 238; Conrad, 138, 139; James, 178, 179; "O. Hen-
ry," 65-67; Independent
work, 238; Mansfield, 214; Poe, 28-32; Realists, 103; Richardson, 204, 205 Lewis, 102 Lomax, 238 Longfellow, 24 Lowell, 24
Machen, Arthur, 31 Macy, J. A., 139 Madame Bovary, 206 Main Street, 103 Mansfield, Katherine, 87, 205- 214; relationships, 213; sen- timentality charge, 205-211; spontaneity, 211; structure, 211; style, 211, 212; subjec- tivity, 213; titles: At the Bay, 211, 213, 214; Bad Idea, A, 213; Bliss, 209; Doll's House, The, 214; Fly, The, 214; Garden Party, The, 210, 213; Honesty, 213; Married Man's Story, A, 212, 213, 214; Poison, 209; Prelude, The, 211, 213, 214; Sixpence, 208; Six Years
After, 213; Something Childlike and Very Natural, 214; Woman at the Store, The, 211
Man Who Would Be King, The, 138
Markheim, 22, 29, 32, 43, 91 Masters of: Artless story tell- ing, 224-238; classicism, lat- ter-day, 215-223; design, 3- 32; expressionism, 180-214; indirection, 140-170; inter- action of natural and moral forces, 104-139; reality, il- lusion of, 71-103; spontane- ity, illusion of, 32-70 Masters, Edgar Lee, 192, 194 Meredith, 206
Meynell, Mrs. Alice, 150 Mill on the Floss, 142, 144 Milne, 205
Minerva Press, 216 Misalliance, 149 Monkey's Paw, The, 30 My Roomy, 70 Mystery stories, 16
New Decameron, The, 31 Norris, Frank, 56
"O. Henry," 33-70, 71, 179, 219; animals in, 39; back- ground, 37; characters, 43, 44; element of artistic pi- quancy, 44-46; humor, 34, 53; lessons and reading, 66- 70; morality, 38-43; philoso- phy of, 42; plot structure, 47-53; plot summaries, 67- 70; purpose, 41, 42, 43; slang, 58-60; style, 33, 34, 53, 54, 58-65; surprise end- ings, 46-53; women, 40; ti- tles: According to Their Lights, 69; Babes in the Jungle, 54; Best Seller, The,
69; By Courier, 60; Cab- bages and Kings, 60; Cop and the Anthem, The, 43; Cosmopolite in a Café, 37; Duplicity of Hargrave, The, 66; Elsie in New York, 68; Fifth Wheel, The, 45, 66; Furnished Room, The, 42, 45, 55; Gift of the Magi, The, 45, 49; Guilty Party, The, 42; Harlem Tragedy, A, 40; Little Local Color, A, 59; Lost on Dress Parade, 68; Love Philtre of Ikey Schoenstein, The, 68; Mem- oirs of a Yellow Dog, The, 39; Municipal Report, A, 35-37, 44, 51, 52, 55-58, 66; Poet and the Peasant, The, 55; Proof of the Pudding, 67; Ransom of Red Chief, The, 67; Roads We Take, The, 50, 66; Service of Love, 69; Skylight Room, The, 45, 66; Strictly Busi- ness, 49; Trimmed Lamp, The, 66; Two Thanksgiv- ing Day Gentlemen, 69; Ulysses and the Dogman, 39; Unfinished Story, The, 43, 44; Vanity and Some Sables, 69; Whirligigs of Life, 45; World and the Door, The, 67
Pease, Frank, 139 Plato, 145
Poe, Edgar Allan, 3-32, 33, 44, 61, 65, 131, 179; climax, 5, 8, 10, 11; conscious art of, 7; element of artistic piquancy, 4, 17-19; length 7, 8; locale, 6; point of view, 10; preparation, 12, 15, 16, 17; prevision, 16, 27; province, 4; purpose, 10, 25,
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