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[247] chiefly sketched in caricature or by strangers. Page, Hopkinson Smith, Grace King, and a score of other artists began to draw affectionate pictures of the vanished Southern mansion of plantation days, when all the women were beautiful and all the men were brave, when the very horses were more spirited and the dogs lazier and the honeysuckles sweeter and the moonlight more entrancing than today. Miss Murfree ( “C. E. Craddock” ) charmed city-dwellers and country-folk alike by her novels of the Tennessee mountains. James Lane Allen painted lovingly the hemp-fields and pastures of Kentucky. American magazines of the decade from 1880 to 1890 show the complete triumph of dialect and local color, and this movement, so full of interest to students of the immense divergence of American types, owed much of its vitality to the talent of Southern writers.

But the impulse spread far beyond the South. Early in the seventies Edward Eggleston wrote The Hoosier schoolmaster and The Circuit rider, faithful and moving presentations of genuine pioneer types which were destined to pass with the frontier settlements. Soon James Whitcomb Riley was to sing of the next generation of Hoosiers, who frequented The Old Swimmina Hole and rejoiced

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