THE EMPEROR OF ELAM
Classification. A novelette. The length (around 20,000 words), the many and rapid changes of scene, the shifting from character to character, the broken progress,—these are the outstanding characteristics not of the short-story but of a more leisurely type of fiction, one having a wider canvas, a larger significance.
Study
I
What part of the quotation prefixed to the beginning does the story emphasize? Has the quotation an interpretative value, even a constructive value, for the story?
What is the locale? Does the author know his setting or has he fancied it? (Read his “Stamboul Nights.”) Study the locale with a map at hand (preferably one showing both Turkey and Persia). With this map before you, note the scene of each phase of the action.
Do you follow easily the identities of the boats and passengers in Division I or is it necessary to study the situation?
What is the significance of the “translucent” look in Magin’s eyes?
In the deck-house description why is attention drawn to the lion?
Why is so much space given to Gaston as early as page 4 of the story (page 150, Yearbook)? Do you, having read the story, think that Gaston is sufficiently played up to serve as the climax figure of the whole action? Are you satisfied that Matthews drop out of the story so inconsequentially, after his earlier prominence?
What is the purpose of the echo—“A bit of a lark!”
What dramatic value has the mention of the year 1914 (page 151)? How is emphasis given to the date?
What is the purpose of the first meeting? The showing of the treasure?
Why is the dame de compagnie mentioned, by way of climax, at the end of Division I?
II
Significance of “propelled their galley back”?
Where is the city of Shuster? Notice its position with respect to the city of Dizful and the Persian Gulf.
Significance in the use of the German tongue (page 156)?
What is the purpose of the scene between Magin and Ganz? Its relation to the scene between Magin and the Englishman?
The “coronation” (page 158) refers to what? See also page 162.
“Are you the Emperor of Elam?” Who, by the suggestion, is?
Who is the Father of Swords?
Who is Magin, as revealed in part by the last paragraph of Division II? Has Mr. Dwight a fine sense of terminal emphasis?
III
The scene shifts to Gaston and Matthews. After the dangers and difficulties of passage, the two reach Dizful.
Note the brief summary of the disposition of Gaston (page 161: So he packed off Gaston, etc.). Is it too casual?
Where has Bala-Bala been mentioned previously?
In the descriptions, pages 162, 163, 164, what is the dominant impression?
On page 166 the Father of Swords speaks of his friend Magin. Do you see the point of the allusions?
What is the meaning of the paper signed by Magin? Whose emissary is he?
What dramatic value has the last speech of Matthews in Division III? Why is it given the place of emphasis?
IV
This division opens with the Father and Magin, at Bala-Bala. On the second page, however, it shifts to Matthews, at Dizful.
Notice that Matthews’ interest in Dizful is crossed by the “Agent” of Magin.
What is the purpose of the scene at the beginning of which Magin presents himself at Matthews’ gate?
Why did Magin glance at the make of Matthews’ cigarettes?
Study the scene for the effective contrasts between the English and the German points of view.
Why does Magin try to bribe Matthews to go away?
Is the dramatic forecast at the end of this Division (IV) justified? Is it good, in itself?
V
Notice the comparatively trivial manner in which Matthews is removed from the scene. The real cause for his going away is “a stupid war on the continent.” This expression indicates that the cosmic significance of the war had not dawned upon Matthews.
Why did Matthews not pause to hear Magin play? Why is so much attention given to this playing?
What is the significance of the “Majesty” in Ganz’s first speech, page 190?
Is the dramatic forecast (page 191) justified?—“What if ... some little midshipman were to fire a shot across your bow?”
VI
What artistry is there in the repetition of the meeting between the motor-boat and the barge?
Why is so much space given to the knife (page 192)?
What note is re-sounded in Gaston’s remark (page 193) “Monsieur, you travel like an emperor!”?
What is the meaning of Gaston’s speech (the last on page 195) regarding the object of virtue?
Why does Magin give his recent barge the slip and order Gaston to turn the motor-boat upstream?
What is the purpose of Gaston’s long speech on page 199?
What idea enters Gaston’s mind at the close of Division VI? Is it justified as dramatic forecast?
VII
This final division is almost, in itself, a short-story, and with very little work on the author’s part might have contributed to a brief narrative of decided power. At the end of so long a one, its value diminishes; for the dénouement is out of proportion, even out of line, with the beginning of the narrative.
What does the incident of Magin’s finding the knife mean?
Study the struggle between the two men.
The superb climactic speech of Gaston compels admiration: “This at least I can do—for that great lady, far away.”
The method of the novelist is again used, by way of epilogue, when the author turns to the peasant on the bluff.