In the demand he makes on the "novelle," he has especially characterized the task he has imposed on himself and faithfully fulfilled. He prefers eccentric to typical everyday instances. As a rule, we are quite as sure of finding "the falcon" in his prose narratives, as a certain judge was of finding a woman at the bottom of every crime. In "L' Arrabbiata," the biting of a hand is "the falcon"; in the "Bild der Mutter" (The Mother's Portrait) it is the elopement; in "Vetter [Cousin] Gabriel," it is the letter copied from the "lover's letter-writer." If the reader will himself search for the aforesaid wild bird, he will gain an insight into the poet's method of composition. It is not always so easily captured as in the cases just cited. With a power of investigation, a nimble grace, which is rare in a man who is not of Roman race, Heyse has understood how to tie the knots of events and disentangle them again, to present and solve the psychologic problem which he has _isolated_ in the "novelle." He has the faculty of singling out exceptional, unusual cases from the general state of culture, and the condition of the society of which he is a member, and presenting them purely and sharply in the form of a "novelle," without permitting the action to play into the unreal and fabulous, as is the wont of romantic novelists, and without ever allowing it to run into a merely epigrammatic point. His "novellen" are neither brief romances nor long anecdotes. They have at the same time fulness and strictly-defined form. And circumscribed as this form may be, it has yet proved itself sufficiently flexible to be able to embrace within its limits the most diverse materials. The "novellen" of Heyse play on many strings; most abundantly on the tender and the _spirituelle_, but also on the comic (as in the amusing tale, "Die Wittwe von Pisa"--The Widow of Pisa), the fantastic (as in the Hoffman-like "Cleopatra"); indeed, in a single instance, the awful (in the painful nocturne, "Der Kinder Sünde der Väter Fluch"--The Sins of the Children the Curse of the Fathers). The "novelle" as it is treated by Heyse borders on the provinces of Alfred de Musset, Mérimée, Hoffman and Tieck; but has, however, its own special domain, as well as its very individual profile. VII. Meanwhile, ready as I am to recognize the significance of this sharp profile as the individual characteristic of the Heyse "novelle," and its significance for the novel in general as a work of art, it is equally hard for me to allow this to pass as the decisive norm for the estimation of individual stories.