The short-story, as well as the novel and the novelette, has always existed. The parable of “The Prodigal Son,” in the fifteenth chapter of the Gospel according to Luke, is just as surely a short-story in material and method as the books of “Ruth” and “Esther” are novelettes in form. But the critical consciousness of the short-story as a species of fiction distinct in purpose and in method from the novel dates only from the nineteenth century. It was Edgar Allan Poe who first designated and realized the short-story as a distinct form of literary art. In the scholarly and thorough introduction to his collection of “American Short Stories,”[3] Professor Charles Sears Baldwin points out that Poe, more than any of his 175 predecessors in the art of fiction, felt narrative as structure. It was he who first rejected from the tale everything that was, from the standpoint of narrative form, extraneous, and made the narrative progress more direct. The essential features of his structure were (to use Professor Baldwin’s words) harmonization, simplification, and gradation. He stripped his stories of every least incongruity. What he taught by his example was reduction to a straight predetermined course; and he made clear to succeeding writers the necessity of striving for unity of impression through strict unity of form.
The Dictum of Poe.––Poe was a critic as well as a teller of tales; and what he inculcated by example he also stated by precept. In his now famous review of Hawthorne’s “Tales,” published originally in Graham’s Magazine for May, 1842, he thus outlined his theory of the species:––
“The ordinary novel is objectionable, from its length, for reasons already stated in substance. As it cannot be read at one sitting, it deprives itself, of course, of the immense force derivable from totality. Worldly interests intervening during the pauses of perusal, modify, annul, or counteract, in a greater or less degree, the impressions of the book. But simple cessation in reading would, of itself, be sufficient to destroy the true unity. In the brief tale, however, the author is enabled to carry out the fulness of his intention, be it what it may. During the hour of perusal the soul of the reader is at the writer’s control. There are no external or extrinsic influences––resulting from weariness or interruption.
“A skilful literary artist has constructed a tale. If wise, he has not fashioned his thoughts to accommodate his incidents; but having conceived, with deliberate care, a certain unique or single effect to be wrought out, he then invents such incidents––he then combines such 176 events as may best aid him in establishing this preconceived effect. If his very initial sentence tend not to the outbringing of this effect, then he has failed in his first step. In the whole composition there should be no word written, of which the tendency, direct or indirect, is not to the one preëstablished design. And by such means, with such care and skill, a picture is at length painted which leaves in the mind of him who contemplates it with a kindred art, a sense of the fullest satisfaction. The idea of the tale has been presented unblemished, because undisturbed; and this is an end unattainable by the novel. Undue brevity is just as exceptionable here as in the poem; but undue length is yet more to be avoided.”
The Formula of Brander Matthews.––From the very outset, the currency of Poe’s short-stories was international; and his concrete example in striving for totality of impression exerted an immediate influence not only in America but even more in France. But his abstract theory, which (for obvious reasons) did not become so widely known, was not received into the general body of critical thought until much later in the century. It remained for Professor Brander Matthews, in his well-known essay on “The Philosophy of the Short-story,” printed originally in Lippincott’s Magazine for October, 1885,[4] to state explicitly what had lain implicit in the passage of Poe’s criticism already quoted, and to give a general currency to the theory that the short-story differs from the novel essentially,––and not merely in the matter of length. In the second section of his essay, Professor Matthews stated:––
“A true short-story is something other and something more than a mere story which is short. A true 177 short-story differs from the novel chiefly in its essential unity of impression. In a far more exact and precise use of the word, a short-story has unity as a novel cannot have it. Often, it may be noted by the way, the short-story fulfills the three false unities of the French classic drama: it shows one action, in one place, on one day. A short-story deals with a single character, a single event, a single emotion, or the series of emotions called forth by a single situation. Poe’s paradox that a poem cannot greatly exceed a hundred lines in length under penalty of ceasing to be one poem and breaking into a string of poems, may serve to suggest the precise difference between the short-story and the novel. The short-story is the single effect, complete and self-contained, while the novel is of necessity broken into a series of episodes. Thus the short-story has, what the novel cannot have, the effect of ‘totality,’ as Poe called it, the unity of impression.
“Of a truth, the short-story is not only not a chapter out of a novel, or an incident or an episode extracted from a longer tale, but at its best it impresses the reader with the belief that it would be spoiled if it were made larger, or if it were incorporated into a more elaborate work....
“In fact, it may be said that no one has ever succeeded as a writer of short-stories who had not ingenuity, originality, and compression; and that most of those who have succeeded in this line had also the touch of fantasy.”
Definition of the Short-Story.––On the basis of these theories, the present writer essayed a few years ago to formulate within a single sentence a definition of the short-story. Thus: The aim of a short-story is to produce a single narrative effect with the greatest economy of means that is consistent with the utmost emphasis.[5]