Read the story before taking up the exercises.
Consult the biographical data in the Yearbooks for 1916, 1917, and 1918.
Observe to what extent the various authors have reflected the country
or region in which they have lived. What conclusions do you draw?
Many of the stories conform to the laws of the “Greek Unities.” Name
them.
The following list is composed of the stories which are best for
_structural_ study.
- “A Simple Act of Piety”
- “The Sacrificial Altar”
- “The Water-Hole”
+ “The Great Auk”
- “Boys Will Be Boys”
- “The Gay Old Dog”
- “The Knight’s Move”
- “In Maulmain Fever-Ward”
+ “A Jury of Her Peers”
+ “The Cat of the Cane-Brake”
- “The Bunker Mouse”
+ “T. B.”
+ “‘Ice Water, Pl----!’”
- “Get Ready the Wreaths”
- “Mr. Eberdeen’s House”
- “The Willow Walk”
+ “‘A Certain Rich Man--’”
- “The Path of Glory”
+ “The Waiting Years”
- “Solitaire”
+ “The Yellow Cat”
- “Down on Their Knees”
- “Ching, Ching, Chinaman”
+ “The Bounty Jumper”
+ “None So Blind”
+ “Half-Past Ten.”
The plus signs are prefixed to the titles of stories which present the
action in a closely circumscribed time and place. Study the stories to
which the minus sign is prefixed to see how the authors have managed
an extended period of time and place, or of either. On what phase of
the action has emphasis been placed? How has each author achieved unity
of effect? Notice the definite plot stages in these narratives marked
by excellence of structure. Although the technique of every writer may
differ from that of every other, yet in his story he will see to it,
consciously or unconsciously, that high points, “lights,” or climaxes
occur. It is a far call from the Roman _biga_ to the modern automobile;
but wheels, body and motor attachment characterize each as a vehicle.
From Poe to the present, the short-story vehicle has had, and will
continue to have, certain type features.
The titles should be studied for their attractiveness, originality,
suggestiveness and bearing on the story.
The title may be:
a. The name of the chief character--“Onnie,” “Chautonville.”
b. An epithet applied to the chief character--“The Great Auk,” “The
Bunker Mouse.”
c. A place--“Mr. Eberdeen’s House,” “The Water-Hole.”
d. A suggestion of--1. An objective theme or idea--“The Excursion,”
“The Wake.” 2. A subjective theme or idea--“The Sacrificial Altar,”
“Boys will be Boys.”
e. An allusion expressed fully, in part, or conveyed by
implication--“Vengeance is Mine,” “The Path of Glory.”
One of the most difficult titles to create is that which has a veiled
suggestion, some bearing on the story that is clear or significant only
after the story has been read; e.g., “Get Ready the Wreaths,” “The
Interval.”
Group the stories according to dominant motives, observing with what
frequence certain universal motive-themes occur. For example, the
sacrifice motive is found in the following: “The Sacrificial Altar,”
“Onnie,” “The Emperor of Elam,” “The Gay Old Dog,” “The Knight’s Move,”
“The Bunker Mouse,” “Making Port,” “The Sun Chaser,” “Heart of Youth,”
“A Certain Rich Man,” “Zelig,” “The Menorah,” “The Bounty Jumper,”
“None So Blind.”
In each of the stories just named, what _feeling_ or power prompts the
sacrifice? What is the sacrifice? What is the effect of the sacrifice
on the one making it? On the one for whom it is made? On the reader? On
the final story-impression?
Study the following as the best examples of realism: “The Excursion,”
“Ma’s Pretties,” “Lonely Places,” “The Silent Infare,” “The Big
Stranger on Dorchester Heights.” What difference, structurally, do
you observe between these narratives and those developed by the more
“romantic” writer?
In every story try to find indications of the author’s theories about
fiction or Art in general. For instance, in “Feet of Gold”: “Naturally,
since all of us are artists, we seek the Truth through Beauty”; etc.
(p. 309).
Characters may be described by the author. This, the so-called
“direct” method, is not in reality so direct or vivid as the so-called
“indirect” method. By the latter a character reveals himself through
act, speech, gesture; he is also portrayed by what others say about
him, and by their reactions toward him.
What difference exists in spirit, mood and tempo between the stories
marked, respectively, by the direct and the indirect methods?
By how many stories are you attracted at the beginning? Does the
drawing power lie in character, suggested action, the picture of a
setting, the mood or atmosphere, in some bit of philosophy, or other
appeal?
Do any of the stories fall below expectation first aroused? Why? How
many fulfill the initial promise?
Which have the best endings? How many of these seemed inevitable from
an early stage of the action? How many might have had diverse endings,
altogether? How many might have used different incidents for the close,
with the same general effect?
Which of the narratives seem to you most artistically representative of
life?
According to the localities represented by these authors, try to arrive
at the “short-story center” of the United States.
In the following studies, try to enter constructively into the
processes indicated. Otherwise the exercises will lose part of their
value.