TEN REPRESENTATIVE STORIES OF MYSTERY AND FANTASY
“The Horla,” Guy de Maupassant, translated in Modern Ghosts.
“The Lost Duchess,” Anonymous, in The Lock and Key Library.
“The Golden Ingot,” Fitz-James O’Brien, in The Lock and Key Library.
“The Gold Bug,” Edgar Allan Poe, in Tales.
“The Black Spaniel,” Robert Hichens, in volume of same title.
“The Upper Berth,” F. Marion Crawford, in Short-Story Classics, American.
“The Adventure of the Dancing Men,” A. Conan Doyle, in The Return of Sherlock Holmes.
“The Venus of Ille,” Prosper Mérimée, translated in Little French Masterpieces.
“The Pavilion on the Links,” Robert Louis Stevenson, in New Arabian Nights.
“The Damned Thing,” Ambrose Bierce, in Short-Story Classics, American.
FOOTNOTES:
[19] Copyright, 1902, by Dodd, Mead & Co., in the collection of short-stories, The Lady of the Barge. Used by permission.
III
STORIES OF EMOTION
The Last Class.—Alphonse Daudet
Without Benefit of Clergy.—Rudyard Kipling
In painting we may represent any fine figure we please; but we never can give it those enlivening touches which it may receive from words. To represent an angel in a picture, you can only draw a beautiful young man winged: but what painting can furnish out any thing so grand as the addition of one word, “the angel of the Lord?...” Now, as there is a moving tone of voice, an impassioned countenance, an agitated gesture, which affect independently of the things about which they are exerted, so there are words, and certain dispositions of words, which being peculiarly devoted to passionate subjects, and always used by those who are under the influence of any passion, touch and move us more than those which far more clearly and distinctly express the subject-matter. We yield to sympathy what we refuse to description.—Edmund Burke, On the Sublime and Beautiful.