Presentation. The single incident becomes subdued, rather than emphasized, by representing it as told to Vinton who, in turn, repeats it to Ware and Abigail. Credulity is gained in assuming for each narrator an implied or expressed belief,—“I said to her that I was the most believing man since the Dark Ages.” And their faith acts cumulatively to compel the reader’s acceptance. By rehearsing in New England the story of English background and atmosphere, Miss Moseley gains for it sharpness and, at the same time, a certain nuance. The stormy night supposedly affects the hearers’ credulity, and through them, once more, the reader’s.
HEART OF YOUTH
Comment and Query. “For me,” says Mr. Muilenburg, “the best story is the one that gives the reader the greatest after-mood, and this can be done with very little action. To give the feeling of an environment, to show character absolutely in a life-like manner, and to give nature and man an equal place: these I consider necessary to almost every story.”
Using his own criterion, how well has Mr. Muilenburg succeeded in every respect mentioned above? What mood does the story give you? Where is the environment? Does the feeling that arises from it emphasize the general atmosphere?
Pages 172 and 173 introduce the boy, Frank, in his setting. Which is more important—character or place? Again measure your answer by the author’s ideals.
“Both stories have kept close to realism,” says Mr. Muilenburg, “as the greater part of both have been taken from my own experience, and circumstances are reproduced rather than fancied.” Is there anything in the characterization of the boy that tells you he is, in some measure, a reflection of the author himself?
“Isn’t it possible,” asks the author, “that only the stories that have some situation where the characters must be shown in primitive fashion are enduring?” How would you answer this question in general? What is the situation in this story? May it be termed “primitive”?
Details of Composition. Pages 173, 174 recount an incident which shows the elements of conflict in the boy’s soul. How does it prepare for the greater struggle? (See pages 179, 180, 181.) What purpose has the scene between Frank and Bill with respect to later developments and particularly the struggle?
What contribution to the boy’s character is made in his ceasing work only when the shadow of the cottonwood tree pointed north? in his taking the milk-pails from the hooks? (Page 182.)
In the “heart of youth” conflict (page 180) what emotions are arrayed against each other?