_The Struggle_: This story is one of the best in the collections for
exemplifying the struggle element. There are two main conflicts: that
between Dan and Larry, and the struggle between man’s wit and power
against the fury of the elements.
_Initial Incident_: What is the impulse that sets the story in action?
_Steps toward the Dramatic Climax_: Mark the principal stages toward
the turning point in the action. Is the struggle against the storm or
the one between Dan and Larry the prevailing interest?
_Dramatic Climax_: Observe the proximity of the two turning points.
Page 299, “the first hope came ... there was a ‘feel’ ... that ribs
and beams and rivets were not so near the breaking-point.” And page
300, “Larry had fallen!” Show that each event is the dramatic climax,
for the individual lines, and that the close succession means an
increased dramatic effect for the whole narrative.
_Steps toward the Climax of Action_: Name the important stages,
observing that the author has achieved a master-stroke in his moment
of ease. After the hardship of the struggle, comes the period of
rest. See page 305, “At five o’clock a Port Eads pilot climbed over
the side,” etc.
_Dénouement_: The dénouement reveals a relationship which may be, or
not be, a surprise to the reader. Does it matter whether the surprise
exists? To what conclusion does your answer point in regard to the
value of a “surprise ending”?
Is the dénouement satisfactory?
Did you learn from the clues in the first scene, between Larry and
Mary, more than the author intended?
Wherein do you find the preparation for the accident which does for
Larry? (See pages 289 and 290.)
What is the worth of the minor climax, page 295, where the two
struggles reach corresponding points?
CHARACTERIZATION. Make note of all the devices and methods by which the
author draws sympathy to Larry. Show that the emotional reaction you
experience arises directly from the concept of his character and his
acts.
What are the dominant traits of Dan? What is the purpose of the scene
wherein Dan knocks out the stoker?
Originally, Mr. Greene called his character, Dan, by the name of Mike.
Why did he accept the advised change?
Is the personality of Mary properly subdued? properly elevated? In
connection with your answer, notice the value of having her introduced
early in the action.
Who are the background characters? Do they usurp too much of your
interest?
DETAILS. What is the length of the action?
Is the business on pages 297 and 298 too technical for a layman’s
comprehension? If so, can one, nevertheless, apprehend sufficiently
to derive pleasure from the recountal? To what effect do the various
mechanical appliances and parts contribute?
Study all the details by which Mr. Greene has conveyed the _feeling_
of the big storm. Where is the first preparation for the fact that
the incidents of this story will be connected with the time of the
Galveston Flood?
How did Larry receive the appellation of The Bunker Mouse? Why is the
episode told out of its chronological place? Are any other important
incidents presented out of their time order?
From whose angle is the story told?
Intensifying worth of the sentence?--“So’s a trout; but it’s got a damn
poor show against a shark” (page 289).
Reason for this statement of the author?--“I wanted to say that Dan
purred like a tiger, but it was a jungle figure, and of course I had to
give it up.”
Point out instances of the author’s keeping the reader aware of
locality.
Show how the mood or feeling is harmonized with the plot, which is
itself one of complication wherein the stages of the two main struggles
are kept beautifully parallel.