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 cision of long descriptive passages and moral comments. The characHn.s arc now developed by what they do and say, as numb as by what somebody else says about. thorn, Indeed, it has been found possible tun write a novel wholly In dialogue. The short story of a few pages has also found its readers. To this discovery France and the United States for a period contributed most, though the short story is far older than Boceaceio. In France the cultivation of the short story is enemiraged by the literary character of the press. Of this genre, there is nothing superior to the work of Daudet and Ainpassant. The short story had another master in Gottfried Keller (q.v.), and found an expert also in Paul Ileyse (q.v.). In the United States the short story, which has existed by right since Poe and Haw thorne, is best adapted to the magazine. Ti has assumed various forms under the hand of many 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-live to fifty pages. In the nineteenth century many short stories, :fed sometimes even the long novel, were devoted to the portrayal of animals other than man. By Joel Chandler Ilarris, in his stories of l'ncle lltinus (1880), animal life is treated fantastically, but with n never absent consciousness that the adventures of hirer Rabbit, Sis Cow, Nr. Wolf, and their fellows are fantastic. Thus we get the humorous animal story based on folklore, as in the Roman, de Renard. 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 Ileums. The tales of the Canadian C. G. D. Roberts range from the slightly fanciful to the wholly real. In Bob, Non of Baltic, the Englishman 011ivant wrote an entertaining novel about the rivalry between two sheep-dogs, Bob and Wullie, W. Fraser, who wrote Jloosrra of the Boundaries, is esteemed highly by naturalists and lay readers, fur 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 accuracy. Ilis 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 (1860), which was followed by ninny similar mystifications, as the Moonstone (1868). For the detective story he is the connecting link between Poe and Conan Doyle. In 1869 appeared Lorna Doane, the first of R. D. h;lackotorp's pic turesque fictions, historical in setting and written in rhythmic prose. Then eame the numerous romances of William Black, of which the type is A Princess of Thule (1813) ; the beautiful fan cies of Richard Jelferies, as Wood -Movie (1881) and After London (1885) ; and the tales of Wil liam Norris in verse and in prose. But the ro mancer of most pronounced influence on the Eng lish novel was Robert Louis Stevenson. In Treasure Island (1883) lie gave style and a new form to the tale of adventure. In Dr. Jekyll and Mr. Hyde (1886) he fashioned the old story of wonder to an ethical purpose. In kidnapped (ISSTI) and The Master of Ballantrac (1859) he revived after his own way the historical romance. 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 followed him in history are Conan Doyle, S. R. Crockett, Stanley Wey man, S. Weir :Mitchell, and Winston Churchill. In Great Britain and her Monies, as well as in the United States, historical fiction enjoyed great popularity and often considerable intelligent es teem throughout the nineteenth century. In France historical lietion has been waning almost since the time when the elder Dinnas announced that he had raised history to the dignity of fiction. Stevenson's fanciful history was trans formed into delightful extravagance by Anthony Hope Hawkins in The Prisoner of Zenda (1894) and its sequel. Rupert of Hen/snit (1598). Further removed from Stevenson are the more extravagant fictions of H. U. Wells with his timt machines. Adventure wilder than Stevenson's is now flpre?t•IftVd by Conrad tralasian novelists Louis 'lecke and Guy Booth by.