pression, 101.
Expansion and vividness, 101.
Primary and secondary events, 102.
Transition, 104.
Blending of elements, 105.

Naturalness, 143.

Naturalness of dialogue, 126.

Nature, conflict with as plot, 52.

Necklace, The, 105, 168.

New Arabian Nights, The, 91, 93.

New England, 154, 155.

Note on Realism, A, 13, 90, 91.

Notre Dame de Paris, 109.

Novel, 38, 54, 87.
Novel and romance, 182.
Romanticism and realism, 183.
Technique of forms, 185.
Incoherence of novel, 186.
Novel as medium for self-expression, 186.
Interpolation of comment, 187.
Simplicity, 188.
Inclusiveness of novel, 190.
Personality, 190.
Action, 191.
Length, 191.
Initial idea, 192.
Singleness of story, 193.
Social emphasis, 196.

Novelty, 33.

Observation, 24.

Our Mutual Friend, 192, 193.

Outcasts of Poker Flat, The, 53, 59.

Personality, 198.

Persons, description of, 110.

Philosophy of Composition, The, 167.

Philosophy of fiction, 202.

Pickwick Papers, The, 92, 193.

Plausibility, 68, 69, 103.

Plot, 139, 148, 189, 197, 207, 208.
Definition, 48, 50.
Character and plot, 49.
Dramatic value, 50.
Complication, 51.
Interest, 51.
Plot as problem, 52.
Three basic themes, 52.
Conflict between man and nature, 52.
Conflict between man and man, 54.
Conflict within the man, 55.
Arrangement, 56.
Climax, 57.
Major situations, 60.
Climax and plot, 61.
Situation, 61.

Plot for short story, 168, 169.

Poe, Edgar Allan, 44, 51, 84, 93, 161, 162, 167, 168, 169, 170,
180, 207.

Point of view, 86, 116.

Polti, Georges, 62.

Practice, 96.

Prejudice, 26.

Preparation, 73.

Preparation of reader for climax, 156.

Pride and Prejudice, 189.

Problem in fiction, 52.

Problem novel, 187.

Problem, story or plot as, 50.

Proportion, 76, 102.

Provincialism, 26.

Psychological story, 55.

Reade, Charles, 191.

Reading, 26.

Realism, 182, 189, 199.

Reporting and literature, 45.

Return of the Native, The, 161.

Rhetoric, 95, 109, 110.

Richardson, Samuel, 86.

Robinson Crusoe, 98, 208.

Rolla