about coincident with the imperialistic excitement of the Spanish War, came a brief reaction toward romance—rococo and prolific. During those same years there likewise began the discontent with romance and reticence from which springs the tendency of naturalism now current.
Aiming to be a history rather than a partizan document, the account here offered does not take sides with any of the modes of fiction which have existed, or which exist, in the United States. To this lack of partizanship may be ascribed a disinclination to define the term "novel" too exactly. A different critical disposition might have denied the name to certain allegories, romances, and humorous autobiographies admitted to the record apparently without question. As a matter of fact, they have all been questioned closely, with the resulting conviction that to classify and exclude them would be vain, since the effect of invented narrative is much the same no matter what the technical subdivision into which any specific book may fall. A fuller history of the American imagination would indeed have to take into account poems and plays and short stories as well, with all the national myths and legends and traditions and aspirations. This particular study, however, has had to be limited to long prose narratives in which the element of fact is on the whole less than the element of fiction.
The unpartizan and historical character of the book accounts also for the proportions assigned to exposition and criticism. It had to be borne in mind that, though there are useful critical studies of particular American novelists, no extended study of the American novel, in its various phases, has heretofore been made. Criticism has
