good! We seem to be delightfully nourished as we read, but is it, after
all, a full meal? We become of a perfect intimacy and a devoted
friendship with the men and women in the short stories, but not
apparently of a lasting acquaintance. It is a single meeting we have
with them, and though we instantly love or hate them dearly, recurrence
and repetition seem necessary to that familiar knowledge in which we hold
the personages in a novel.

It is here that the novella, so much more perfect in form, shows its
irremediable inferiority to the novel, and somehow to the play, to the
very farce, which it may quantitatively excel. We can all recall by name
many characters out of comedies and farces; but how many characters out
of short stories can we recall? Most persons of the drama give
themselves away by name for types, mere figments of allegory, and perhaps
oblivion is the penalty that the novella pays for the fineness of its
characterizations; but perhaps, also, the dramatic form has greater
facilities for repetition, and so can stamp its persons more indelibly on
the imagination than the narrative form in the same small space. The
narrative must give to description what the drama trusts to
representation; but this cannot account for the superior permanency of
the dramatic types in so great measure as we might at first imagine, for
they remain as much in mind from reading as from seeing the plays. It is
possible that as the novella becomes more conscious, its persons will
become more memorable; but as it is, though we now vividly and with
lasting delight remember certain short stories, we scarcely remember by
name any of the people in them. I may be risking too much in offering an
instance, but who, in even such signal instances as The Revolt of Mother,
by Miss Wilkins, or The Dulham Ladies, by Miss Jewett, can recall by name
the characters that made them delightful?