CLASSIFICATION. Onnie is a story of character; the trait exploited
leads to the tragic dénouement.
GERMINAL IDEA. “The genesis of ‘Onnie’ was a desire to record the
dialect of one Patrick Qualey, a gardener, now extinct. Patrick had
preserved to the age of seventy his Celtic fibre quite unimpaired. I
think he rather prided himself on the act, and, perhaps, embroidered
the garment of his speech a trifle. He died very tamely of pneumonia,
and Forest County, Pa., was _not_ his abiding place. As for Onnie, I
confess that I am weary of lovely Irishwomen, and a witty Irishwoman I
have never met....”--_Thomas Beer._
CHARACTERIZATION. Read the story rapidly, and immediately ask yourself,
“What impression have I received of Onnie, physically, mentally, and
spiritually?” Go over the story again, making note of every mention
of Onnie, and observe how forcefully, yet adroitly, the author has
emphasized details. What is the value of having different characters
observe her monstrousness and her homeliness?
Notice that Onnie’s superstition makes her say, “The gifts of children
are the blessin’s of Mary’s self,” but that her “odd scapular” has
a sinister significance throughout. Is this sinister suggestion in
harmony with the final sacrifice? Estimate the number of words in the
story, then the number emphasizing Onnie; finally, the proportion
devoted to the main incident and preparation for it. What is the length
of time over which Onnie’s devotion to San extends? The length of the
“story” part of the narrative? If the proportion were reversed, what
would be the effect on the character work? On the poignancy?
Name in order the other characters of the narrative, and notice the
proportion given to each. Study the ways in which the author makes San
a lovable youngster. Take account of his acts, his speeches, what his
father thinks of him, what the men do for his protection. In the same
way, take stock of the ways whereby Percival is presented as a villain
of the lowest type.
Are there too many characters in “Onnie” for best short-story effect?
PLOT. Notice that the development of the struggle lies in the latter
half of the story. Define this struggle for yourself. With whom
do you immediately take sides? Show how the main line of interest
(Onnie’s love for San) combines with the second line of interest (the
one growing out of the struggle) to make the complication. Is the
entanglement logically effected? Give examples. What is the first
preparation for the main incident? (See page 34.) “He put in your new
bath-tub and Onnie jumped him for going round the house looking at
things.” This statement reveals the _motivation_ for Percival’s dislike
of Onnie (whom every one else loved) and rationalizes his insult on
page 36; it also explains how the villain knew the arrangement of the
rooms.
The first _developed_ incident, leading toward the climax, covers pages
35 and 36, beginning with the approach of Percival and ending with his
punishment by Sanford.
Study the introduction of the knife and all references to it. What
instruments of death in other stories of these collections have plot
value?
The climax of the action is told with fine brevity. Study the
dénouement, beginning page 42. “He sat up, tearing the blankets back.”
The last paragraph is marked by artistic restraint. Compare it with the
end of “The Sacrificial Altar.”
SETTING. How is the Pennsylvania background integrated with character
and action to make the story? Over how many years does the entire
action extend? By what devices of transition and by what proportion has
the author subdued the time element?
ATMOSPHERE. The latter half of the narrative presents contrast to
the first half, in spite of the plot clues. What is the value of
this contrast in moods? Has the rain a contributory value? Find
other instances in these stories of weather conditions emphasizing
the impression. Point out all the instances of dramatic forecast,
particularly those which serve to unify the earlier and later portions
of the narrative (_e.g._, “And anything could happen there,” page 28).