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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