c4/m3 8. "We're here the day and there the morn, Tammas. 9. She was a fine wumman—Mistress Stirton—a weel-livin'm3 wumman: this will be a blend, a'm thinkin'."
c4/m3 10. "She slippit aff sudden in the end; a'm judgin' it's frae the Muirtown grocer; m3but a body canna discreeminate on a day like this."
11. It was George Howe's funeral that broke the custom and closed the "service." F2b 12. When I came into the garden where the neighbors were gathered, the "wricht" was removing his tray and not a glass had been touched. Exp.+m2 13. Then I guessed that Drumtochty had a sense of the fitness of things and was stirred to its depths.
14. "Ye saw the wricht carry in his tray," said Drumsheigh as he went home from the kirkyard.
m3d 15. "Weel, yon's the last sicht o't ye' ill get or a'm no Drumsheigh. 16. I've nae objection masel' to a neighborm3k tastin' at a funeral, a' the more if he's come from the upper end o' the pairish, and ye ken I dinna hold wi' thae teetotal m3d fouk. 17. A'm ower auld in the horn to change noo. m3/F2b 18. But there's times and seasons, as the Gude Buik says, and it wud hae been an awfu' like business tae luik at a gless in Marget's Garden, and puir Domsie standing in ahent the brier bush as if he cud never lift his heid again."
27. Interpretative Application of the Symbols.—A little discussion of the foregoing from a "A Scholar's Funeral" in the "Bonnie Brier Bush" may serve to make some of these things clearer. The fact that the "wricht" is silent here in the first sentence makes us know that this is the usual custom and that these people have an underlying sense of decorum. Sentence two has the same effect in their abstraction, and this is emphasized again in the "two graven images." The third sentence is a mood "effect" of kind, since we recognize the conventionally sobered feeling without the "settled melancholy." This is true again in sentence four, and in five we have a "fact as effect," drawing the inference that they are a long-lived race in Drumtochty. From the yielding to an invitation so framed as to put aside the semblance of yielding to inclination, we get a knowledge of character which seems to us individual, but which is used by the author to indicate a local community characteristic. The author's mood of amused observation is evident here, too, in his unbelieving acquiescence in Tammas's point of view. In sentences eight and nine we come to know Jeems in a more individual way, through the mingling in him of moods of conventional solemnity and everyday discussion. This is repeated in sentence ten. In sentence twelve we draw an emotional inference concerning the degree of their feeling from the fact that "not a glass had been touched." This is told in the explanatory way in thirteen with the addition of a suggestion of the author's sympathetic understanding and appreciation. Knowing Drumsheigh's reserve, from things that have gone before this in the story, we feel that only strong emotion could have called out sentence fifteen; and the apologetic tone of sixteen and seventeen indicates rather mood than such heightened feeling. Sentence eighteen returns to the mood of fifteen and sixteen, and through the fact of Domsie's standing "ahent the brier bush" reveals both Domsie's mood and Drumsheigh's own in our knowledge of its emotional appeal to him.
28. Different Forms of the Story.—It is to be understood that certain types of the short story are not included in this study as not being available for detailed work. Stories in which the interest is almost wholly dependent upon the succession of incidents can profitably be studied only with relation to the plot. Generally in such cases the things that make the story effective will be readily apparent, and they can be brought out by a few questions. To give variety and interest to the work the teacher will occasionally find it desirable to call attention to stories in current periodicals, requiring the class to bring in analyses of them showing structure of the plot, methods of managing the reader's sympathies, fundamental motive of the story, the treatment of character and methods of presenting it, and such other things as seem most of moment in the story in question. When library facilities permit, it will be found worth while to make some comparison of the short story as it is now written in America with the short stories of fifty years ago and of the present day in England and France. No classification of stories is attempted here, since such classification is of no particular moment to the writer of stories.
A Few Cautions
29. The suggestions that follow are phrased to cover the matter of visualization, but they touch upon general principles which are of wider application. It has seemed more convenient at this point to give them this specific treatment.