Page:The Cambridge History of American Literature, v2.djvu/397

 Bret Harte's Influence 381 pictures that give the impression that they represent the ordi- nary course of life everywhere in California during a period is in reality a violation of the truth. The stories are unnatural: they have about them the atmosphere of the theatre. They are melodrama: they are compounded of the stage properties of the showman. Great as has been his influence, Harte cannot rank with the supreme masters of the short story. Lacking sincerity and sympathy and moral background, he becomes a picturesque incident rather than a permanent force. After the enormous publicity given to Harte and the universal praise accorded his work both in America and in Europe, one might expect to find that a sudden change came over the spirit of American fiction. A change there was, indeed, but it was not sudden. One may leaf through whole volumes of such periodicals as Harper's Magazine and find no hint of the new vogue. Artists like James and Aldrich went on with their work as if The Luck of Roaring Camp had never been written. The writers who were to be influenced — that group which later was to be known as the "local colour school " — in 1870 were just beginning to find themselves, and they fell under the spell of Harte just as Longfellow and his circle in earlier days had fallen under the spell of Irving. It was not until the eighties and the early nineties that the tide which had begun in The Overland Monthly in 1868 came to its full. Perhaps the most interesting transition during the period is that which may be traced in the work of Constance Fenimore Woolson (1838-94), a grandniece of Cooper, a native of New Hampshire, and a dweller successively by the Great Lakes, in the South, and in Italy, where she died. At the beginning of the seventies Miss Woolson was writing unlocalized poetic stories for Harper's, A Merry Christmas, An October Idyl, and the like, tales that might have come from the early period of Rose Terry Cooke. But soon one notes a change, a new sense of the value of background and of strongly indi- vidualized types for characters. By 1874 she was choosing the West for her materials. Her Solomon is a study of a unique character in an isolated German settlement on One-leg Creek which flows into the Tuscarawas River in Ohio, and her Jeanette and most of the other stories in Castle Nowhere (1875) deal with the primitive French habitants on Mackinac and