CLASSIFICATION. A “problem” story: the setting forth in the guise of
fiction of this question, “Shall a man useful to society lay down his
life for a social member far inferior to himself?” The problem is
argued through the concrete instance, and by two characters.
SUMMARY OF THE INSTANCE. When the _Argentina_ went down, Ferguson
saved himself, rather than old Bronson or the Neapolitan peasant women
and children. The world was the gainer by Ferguson’s survival. Later,
Ferguson loved and became engaged to a girl. One day as they were out
walking, they saw a bandy-legged, sore-eyed youngster dash upon the
railroad track in front of a train. Ferguson could just have saved
the youngster at the cost of sacrificing himself, and although he
alone knew this, he allowed the girl to understand that he had made a
choice. She “rounded on him,” and “spurned him in the grand manner.”
Ferguson, loving the girl, died. He probably committed suicide, not
because he had changed his own views, but because of assuming the
girl’s view to be correct. “He couldn’t have admitted in words that she
was right, when he felt her so absolutely wrong; but he could make that
magnificent silent act of faith.”
PRESENTATION. Ferguson’s story is given by Havelock to Chantry.
Skill is evinced in so breaking the rehearsed narrative as to allow
discussion at proper stages. The answers to the problem, supposed
above, are in opposition. Herein lies the basis of the discussion, as
of the struggle which Ferguson underwent.
Does the author in the presentation subtly convey her own attitude on
the question? What is it? How does it emerge in her characterization of
the men? In the final sentence of the narrative?
SETTING. Why in the story of Ferguson does the author subdue setting?
Why is the setting of the rehearsal emphasized?
* * * * *
Read in connection with “The Knight’s Move,” and for purposes of
comparison, “Greater Love--” by Justus Miles Forman (_Harper’s_, April,
1908).