Condensed Novels — Background and Themes

(6 User reviews)   894
Harte, Bret, 1836-1902 Project Gutenberg 2000 Not confirmed
Fiction; Parodies Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 36,688
Reading time 160 min
Text sections 6

Condensed Novels — Background and Themes can be approached with a clearer sense of reading commitment from its source measurements: 36,688 words, 2 hr 40 min estimated reading time, and 6 detected text sections.

The text analysis averages about 13.0 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Fiction,” connecting these edition facts with the source record’s subject description.

Bret Harte's 1867 collection of literary parodies condenses popular Victorian novels into absurd, sharp-witted miniatures. Each story mimics a specific author's style—from Dickens to Dumas to Brontë—exaggerating mannerisms, plot devices, and dialogue. Harte's precise diction and structural mimicry reveal the mechanics of sentimental, sensational, and adventure fiction.
Share
Editorial Edition Score 4.6/5

Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.

How this score is calculated
  • Description quality20 pts
  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.

Edition quality

Read the Text

The Dodds were dead. For twenty year they had slept under the green graves of Kittery churchyard. The townfolk still spoke of them kindly. The keeper of the alehouse, where David had smoked his pipe, regretted him regularly, and Mistress Kitty, Mrs. Dodd's maid, whose trim figure always looked well in her mistress's gowns, was inconsolable. The Hardins were in America. Raby was aristocratically gouty; Mrs. Raby, religious. Briefly, then, we have disposed of--

1. Mr. and Mrs. Dodd (dead).

2. Mr. and Mrs. Hardin (translated).

3. Raby, baron et femme. (Yet I don't know about the former; he came of a long-lived family, and the gout is an uncertain disease.)

We have active at the present writing (place aux dames)--

1. Lady Caroline Coventry, niece of Sir Frederick.

2. Faraday Huxley Little, son of Henry and Grace Little, deceased.

Sequitur to the above, A HERO AND HEROINE.

On the death of his parents, Faraday Little was taken to Raby Hall. In accepting his guardianship, Mr. Raby struggled stoutly against two prejudices: Faraday was plain-looking and sceptical.

"Handsome is as handsome does, sweetheart," pleaded Jael, interceding for the orphan with arms that were still beautiful. "Dear knows, it is not his fault if he does not look like--his father," she added with a great gulp. Jael was a woman, and vindicated her womanhood by never entirely forgiving a former rival.

"It's not that alone, madam," screamed Raby, "but, d--m it, the little rascal's a scientist,--an atheist, a radical, a scoffer! Disbelieves in the Bible, ma'am; is full of this Darwinian stuff about natural selection and descent. Descent, forsooth! In my day, madam, gentlemen were content to trace their ancestors back to gentlemen, and not to--monkeys!"

"Dear heart, the boy is clever," urged Jael.

"Clever!" roared Raby; "what does a gentleman want with cleverness?"

Young Little WAS clever. At seven he had constructed a telescope; at nine, a flying-machine. At ten he saved a valuable life.

Norwood Park was the adjacent estate,--a lordly domain dotted with red deer and black trunks, but scrupulously kept with gravelled roads as hard and blue as steel. There Little was strolling one summer morning, meditating on a new top with concealed springs. At a little distance before him he saw the flutter of lace and ribbons. A young lady, a very young lady,--say of seven summers,--tricked out in the crying abominations of the present fashion, stood beside a low bush. Her nursery-maid was not present, possibly owing to the fact that John the footman was also absent.

Suddenly Little came towards her. "Excuse me, but do you know what those berries are?" He was pointing to the low bush filled with dark clusters of shining--suspiciously shining--fruit.

"Certainly; they are blueberries."

"Pardon me; you are mistaken. They belong to quite another family."

Miss Impudence drew herself up to her full height (exactly three feet nine and a half inches), and, curling an eight of an inch of scarlet lip, said, scornfully. "YOUR family, perhaps."

Faraday Little smiled in the superiority of boyhood over girlhood.

"I allude to the classification. That plant is the belladonna, or deadly nightshade. Its alkaloid is a narcotic poison."

Sauciness turned pale. "I--have--just--eaten--some!" And began to whimper. "O dear, what shall I do?" Then did it, i. e. wrung her small fingers and cried.

"Pardon me one moment." Little passed his arm around her neck, and with his thumb opened widely the patrician-veined lids of her sweet blue eyes. "Thank Heaven, there is yet no dilation of the pupil; it is not too late!" He cast a rapid glance around. The nozzle and about three feet of garden hose lay near him.

"Open your mouth, quick!"

It was a pretty, kissable mouth. But young Little meant business. He put the nozzle down her pink throat as far as it would go.

He wrapped his handkerchief around a hoopstick. Then he inserted both in the other end of the stiff hose. It fitted snugly. He shoved it in and then drew it back.

Nature abhors a vacuum. The young patrician was as amenable to this law as the child of the lowest peasant.

She succumbed. It was all over in a minute. Then she burst into a small fury.

"You nasty, bad--UGLY boy."

Young Little winced, but smiled.

"Stimulants," he whispered to the frightened nursery-maid who approached; "good evening." He was gone.

Bret Harte's Condensed Novels (1867) is a collection of literary parodies that target the most popular novelists of the nineteenth century. Rather than simply mocking plots, Harte zeroes in on the verbal tics, narrative conventions, and character types that define each author's voice. In 'Handsome Is as Handsome Does,' he lampoons Charles Reade's melodramatic style through a breathless opening that disposes of characters in a single paragraph: 'The Dodds were dead. For twenty year they had slept under the green graves of Kittery churchyard.' The parody works by exaggerating Reade's tendency to summarize backstory with brisk, almost bureaucratic efficiency.

Diction as a Signature

Harte's parodies succeed because he isolates the verbal habits that make an author recognizable. In 'Miss Mix,' his take on Charlotte Brontë, the heroine's narration is laced with self-conscious dignity and moral certainty: 'I admire your sincerity. A mawkish regard for delicacy might have kept this disclosure to yourself.' The line mimics Jane Eyre's composure under duress, but Harte pushes it into absurdity by having Miss Mix deliver a calm lecture on St. Paul while dodging a candlestick. Similarly, in 'Handsome Is as Handsome Does,' the dialogue between Raby and Jael reproduces the clipped, exclamatory exchanges of sensation fiction: 'Clever! what does a gentleman want with cleverness?' Each parody distills a single author's diction into a concentrated, comic essence.

Structural Parody and Narrative Economy

Harte's condensed form forces him to compress entire novels into a few pages, and he exploits this compression for comic effect. The opening of 'Handsome Is as Handsome Does' uses a numbered list to dispatch minor characters: '1. Mr. and Mrs. Dodd (dead). 2. Mr. and Mrs. Hardin (translated). 3. Raby, baron et femme.' This mimics the way Victorian novelists often summarize offstage events, but Harte's bluntness turns it into a joke about narrative convenience. In 'Muck-a-Muck,' a parody of James Fenimore Cooper, the action is reduced to a series of improbable encounters and stilted declarations, exposing the formulaic structure of adventure tales. The reader sees the scaffolding of the genre laid bare.

Voice and the Unreliable Narrator

Several parodies in Condensed Novels exploit the gap between how narrators describe themselves and how they actually behave. In 'Miss Mix,' the governess claims to be submissive—'I bowed my head silently'—but she immediately contradicts her employer's insults with calm retorts. Her narration is full of such passive-aggressive maneuvers: 'I drew my shawl the more closely around my shoulders and closed my eyes.' Harte captures the tone of Brontë's heroines, who are outwardly meek but inwardly resolute, and amplifies it until the self-regard becomes comic. The same technique appears in 'No Title,' a parody of Wilkie Collins, where multiple narrators offer contradictory accounts, each revealing more about their own biases than about the events they describe.

Setting as Exaggerated Atmosphere

Harte's parodies often exaggerate the atmospheric details that Victorian novelists use to signal mood. In 'Miss Mix,' the storm is a cliché of Gothic romance: 'The wind howled dismally without, and the rain beat furiously against the windows.' But Harte pushes it further when Mr. Rawjester leaps out of the window to stand 'like a statue in the pelting storm' and then returns 'by way of the hall chimney.' The setting becomes a prop for absurd heroics. In 'The Dweller of the Threshold,' the supernatural elements are piled on so thickly that they lose all menace. Harte's method is to take a single atmospheric device—a storm, a haunted corridor, a locked room—and repeat it until it becomes ridiculous, revealing how reliant these novels are on stock scenery.

Reading Condensed Novels requires familiarity with the authors being parodied, but the humor is accessible even without deep knowledge. Harte's ear for dialogue and his eye for narrative tics make each piece a lesson in how style works. The collection rewards attention to small details: a character's repeated gesture, a narrator's self-justifying phrase, a plot point resolved by coincidence. These are the building blocks of nineteenth-century fiction, and Harte shows us how they fit together—and how easily they can be taken apart.

Reading Harte’s parodies, I kept thinking how lovingly he punctures the very novels he mimics—there’s no cruelty in it, just a wink. That same fond exasperation surfaces in A Woman-Hater — A Reader’s Guide. It made me remember laughing at Dickens’s quirks, then realizing how much I missed them once the joke had passed.

David Sanchez
4 weeks ago

Leo Davis
3 weeks ago

Luke Torres
1 month ago

Dylan Nelson
1 month ago

Mila Torres
1 month ago

4
4 out of 5 (6 User reviews )

Add a Review

Your Rating *
There are no comments for this eBook.

Reader reflection

Your personal reading reflection

Build a private reading journal entry for this title.

Your progress 0 / 10
1

Have you finished this book?

2

How much did you enjoy the reading experience?

3

Would you recommend this book to another reader?

4

How demanding did the text feel?

Related eBooks