Camp," Bret Harte.

"The Great Stone Face," Nathaniel Hawthorne.

"The Snow Image," Nathaniel Hawthorne.

"The Gold Bug," Edgar Allan Poe.

"The Murders in the Rue Morgue," Edgar Allan Poe.

"The Lady, or the Tiger?" Frank R. Stockton.

"The Legend of Sleepy Hollow," Washington Irving.

"Rip Van Winkle," Washington Irving.

"Marse Chan," Thomas Nelson Page.

"Marjorie Daw," Thomas Bailey Aldrich.

"The Revolt of Mother," Mary E. Wilkins.[10]

FOOTNOTES:

[Footnote 2: "The Short Story," by Frederick Wedmore. _Nineteenth
Century_, Mar., '98.]

[Footnote 3: "How to Write Short Stories." An interview with F.
Hopkinson Smith in the Boston _Herald._ _Current Literature._ June, '96.]

[Footnote 4: Robert Barr in "How to Write a Short Story; A Symposium."
_The Bookman._ Mar., '97.]

[Footnote 5: "The Philosophy of the Short-story," by Brander Matthews.
_Lippincott's._ Oct, '85.]

[Footnote 6: "Magazine Fiction and How Not to Write It," by Frederick M.
Bird. _Lippincott's._ Nov., '94.]

[Footnote 7: "The Art of Fiction," by Gilbert Parker. _The Critic,_
Dec.,'98.]

[Footnote 8: In many respects the art of the short story and the novel
are so closely allied that I have been able to reenforce my observations
with magazine articles which were meant to apply primarily to the
novel.--THE AUTHOR.]

[Footnote 9: "How to Write Fiction." Published anonymously by Bellaires
& Co., London. Part I, Chapter I.]

[Footnote 10: "The Best Twelve American Stories." _The Critic._ Apr. 10,
'97.]

II

SHORT STORIES CLASSIFIED

The treatment demanded by any particular story depends more upon its
class than upon the tale itself; a story which recounts an actual
occurrence is much less exacting than one which attempts to depict
manners; and, in general, the more the writer relies on his art, the
more difficult is his task. It is therefore both possible and profitable
to separate short stories into definite groups and to consider them
collectively rather than as units. This classification is based chiefly
upon the necessity of a plot, the purpose or aim of the narrative, and
the skill and care required for its successful treatment. It is crude
and arbitrary from a literary standpoint, for a good short story is
capable of being listed under several different classes, but it serves
our practical purpose. Each story is placed according to its dominant
class; and the classes are