Page:The New International Encyclopædia 1st ed. v. 14.djvu/781

NOVEL. 663 obvious purpose. Somewhat in line with Trol- lope were the many stories bj' Margaret Uliphant, as the Cltroniclcs of Vaiiingford, ineluding The Vovlor and Salem V lid ltd (1803). Henry James and W. D. Howells, beginning as romancers, worked their wa_v out to a delicate realism; the lirst under the inlhieneu of Turgeniell' and Dau- det ; the latter nmU'r the inlluence of Tolstoy and of Spanish lietion as represented by Valdes and Galdos. James may fairly be said to have created the international novel. His field has been suc- cessfully invaded now and then, as by DuJlaurier in Trilby (1894). In his later work James has studied the English drawing-room. Howells has conlined himself to illustrating American types, as in A Modern Instance (18S.3) and Tlic Jlise of >ilas Lupham (1883). From national types, the novel both in England and in the United States has run into provincial types, and conse- quently into dialect. J. il. Barrie and John Watson spread knowledge of the Scotch parish. Jane Barlow has described w'ith much sympathy the Irish village. The tragic aspects of life in Devon, Somerset, and London have been presented with much force respectivelj' b3' Zack (Gwendo- ■ line Keats), Walter Raymond, and George Gis- sing; some phases of South Africa by Olive Schreiner. and both picturesquely and psycho- » logically by .Joseph Conrad ; and of Australia by Tasma (Madame Couvreur) and Ada Cambridge. Likewise various sections of the United States have been treated by novelists. To New England belong Elizabeth Stuart Phelps, Mary Wilkins, » Sarah Orne Jewett, and many others; to the Mississippi Valley, Mark Twain; to the Far W^est belong Bret Harte, Owen Wister, and Hamlin Garland; to the South, ilary Murfree, G. W. Cable, Hopkinson Smith, and T. N. Page. The society novel holds its own. Two notable suc- cesses in the last decade were E. F. Benson's Uodo ( 1893) and Anthonv Hope Haw'kins's Dolly Dialoyues (1894). Of wider amplitude is the work of Rudyard Ki|)!ing, wlio made known an India that had escaped the observation of other Europeans. Maimers and customs he describes, and he has. sketched a few types of character. But with him the energy goes mainly to telling a good story. That he has thus restored to fiction interesting incident is perhaps his great distinction. These and other realists have greatly modified the outer form of the novel. Very generally the three-volume novel has been cut down to one volume. This has rendered necessary the ex- cisicju of long descriptive passages and moral cnniments. The characters are now developed by wliat they do and say, as much as by wliat somebody else says aliout them. Indeed, it has been found possible to write a novel wholly in dialogue. The short story of a few pages has also found ils readers. To this discovery France and the United States for a period contributed inost, though the short story is far older than Boccaccio. In France the cultivation of the short story is encouraged by the literary character of the press. Of this genre, there is nothing superior to the work of Daudet and Maupassant. The short story had another master in Gottfried Keller (q.v.), and found an expert also in Paul Heyse (q.v.). In the United States the short story, which has existed by right since Poe and ITaw- thorne. is best adapted to the magazine. It has assumed various forms under the hand of many NOVEL. writers. England has held rather to the .serial. But in Kipling she has found an innovator, who has brought into vogue a tale of from twenty-five to fifty pages. In the nineteenth century many short stories, and sometimes even the long novel, were devoted t<] the portrayal of animals other than man. By .Joel Chandler Harris, in his stories of Unelc lienius (1880), aninuil life is treated fantastically, but with a never alisent consciousness that the adventures of Brer Rabbit, Sis Cow, Mr. Wolf, and their fellows are fantastic. Thus we get the humorous animal story based on folklore, as in the lionian de lienard. Kipling's Jungle Books (1894-95) gather Indian folklore about animals into short stories of great power. Herein the animals are again not wholly natural, but they act more naturally than in the stories of Uncle Remus. The tales of the Canadian C. G. D. Roberts range from the slightly fanciful to the wholly real. In Bob, Son of Battle, the Englishman Ollivant wrote an entertaining novel about the rivalry between two sheep-dogs, Bob and Wullie. W. Fraser, who wrote Mooswa of the Boundaries, is esteemed highly by naturalists and lay readers, for his imaginative yet truthful stories of wild life. Ernest Thompson-Seton's earlier work por- trays the life and death of wild animals with some accur.acv. His stories distinctly belong to fiction and not to artistic zoology. Since Scott, romance and adventure have never been absent from English fiction. Wilkie Collins became everywhere known by his Woman in White (1800), which was followed by many similar mystifications, as the Moonstone (1868). For the detective story he is the connecting link between Poe and Conan Doyle. In 1809 appeared Lorna Doonr, the first of R. D. Blackmore's pic- turesque fictions, historical in setting and written in rhythmic ])rose. Then came the numerous romances of W'illiam Black, of which the type is A Princess of Thule (1873) ; the beautiful fan- cies of Richard .Jefferies, as Wood Mnqic (1881) and After London (188.5) ; and the ta'les of Wil- liam Morris in verse and in prose. But the ro- mancer of most pronounced influence on the Eng- lish novel was Robei't Louis Stevenson. In Treasure Island (1883) he gave style and a new form to the tale of adventure. In Dr. Jehyll and Mr. Hyde (1880) he fashioned the old story of wonder to an ethical purpose. In Kidnapped (1886) and The Master of Ballantrae (1889) he revived after his own way the historical nuuance. In Prince Otto he wove a dream into the sem- blance of history. And in Ebb Tide (1894) ad- venture was carried to the South Seas. From Stevenson there are several lines of development. Among those who have ffdlowed him in history are Conan Doyle, S. R. Crockett, Stanley Wey- man, S. Weir Mitchell, and Winston Churchiil. In Great Britain and her colonies, as well as in the United States, historical fiction enjoyeil great popularity and often considerable intelligent es- teem throughout the nineteenth century. In France historical fiction has been waning almost since the time when the elder Dumas annoiuiced that he had raised history to the dignity of fiction. Stevenson's fanciful history was trans- fcumcd into delightful extravagance by Anthony Mope Hawkins in The Prisoner of Zetida ( 1894) and its sequel, liupert of Hentzau (1898). Further removed from Stevenson are the more extravagant fictions of H. G. Wells with his time