vailing formula. Herein they were powerfully confirmed by the pressure of editors and a public who wanted each writer to continue in the channel of his happiest success and not to disappoint them by new departures. Not only did this result in confining individuals to a single channel each but it resulted in the convergence of all of them into a few broad and shallow streams.
An excellent example may be found in the flourishing cycle of stories which, while Bret Harte was celebrating California, grew up about the life of Southern plantations before the war. The mood of most of these was of course elegiac and the motive was to show how much splendor had perished in the downfall of the old regime. Over and over they repeated the same themes: how an irascible planter refuses to allow his daughter to marry the youth of her choice and how true love finds a way ; how a beguiling Southern maiden has to choose between lovers and gives her hand and heart to him who is stoutest in his adherence to the Confederacy; how, now and then, love crosses the lines and a Confederate girl magnanimously, though only after a desperate struggle with herself, marries a Union officer who has saved the old plantation from a marauding band of Union soldiers; how a pair of ancient slaves cling to their duty during the appalling years and will not presume upon their freedom even when it comes; how the gentry, though menaced by a riffraff of poor whites, nevertheless hold their heads high and shine brightly through the gloom; how some
