GENERAL SUGGESTIONS

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:

  1. The name of the chief character—“Onnie,” “Chautonville.”
  2. An epithet applied to the chief character—“The Great Auk,” “The Bunker Mouse.”
  3. A place—“Mr. Eberdeen’s House,” “The Water-Hole.”
  4. 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.”
  5. 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.