Compare this story with film productions, which you have doubtless seen, of the North Country. Wherein lies the popular success of such photoplays as those in which William S. Hart appears?
With Rainbow Pete’s point of vantage outside his cabin, compare that which the narrator enjoys in “Ching, Ching, Chinaman,” when he looks under the window-shade into the room (Page 455, Yearbook, 1917). Has Ommirandy a similar good post? (See “The Silent Infare.”) Find other instances. What contribution does such a physical point of view make toward the vividness of the picture?
LIFE
Comment. A student of the present critic made this comment on “Life.” Do you agree with it?—“The opposing forces are the man’s desire to know the meaning of life, and the darkness of his vision. It is hard to say which force wins. For though he does not discover the meaning of life, he discovers a simile sufficiently revolting to suit his mood.... It is really a single incident, made worthy of expansion by its significance and symbolism.”...
Get the final implication which completes the story. In short, what is the final sentence when rounded out?
Read “The Workman,” by Lord Dunsany (in “Fifty-one Tales”) and compare it with this narrative for atmosphere and philosophy.
THE FATHER’S HAND
Germinal Idea. “What started ‘The Father’s Hand’ was the quotation from the fifth, no, the sixth, book of the Æneid,
Bis conatus erat casus effingere in auro
Bis patriæ cecidere manus.