THE TENOR

1. Point out the humorous touches in this story.

2. Is the story probable? To answer this, consider two points: would Louise have undertaken such a thing as answering the advertisement? and would she have had the spirit to act as she did at the close? Note the touches of description and characterization of Louise, and show how they prepare for the events that follow.

3. One of the most effective devices in art is the use of contrast; that is, bringing together two things or persons or ideas that are very different, perhaps the exact opposite of each other. Show that the main effect of this story depends on the use of contrast.

4. Read the paragraph on page 43 beginning, "It happened to be a French tenor." Give in your own words the thought of this paragraph. Is it true? Can you give examples of it?

5. Compare the length of this story with that of others in the book. Which authors get their effects in a small compass? Could any parts of this story be omitted?

6. Other stories by H. C. Bunner that you will enjoy are "The Love Letters of Smith" and "A Sisterly Scheme" in Short Sixes.

THE PASSING OF PRISCILLA WINTHROP

1. Does the title fit the story well? Why?

2. Notice the familiar, almost conversational style. Is it suited to the story? Why?

3. Show how the opening paragraph introduces the main idea of the story.

4. To make a story there must be a conflict of some sort. What is the conflict here?

5. How does the account of Julia Neal's career as a teacher (page 64) prepare for the ending of the story?

6. Do you have a clear picture in your mind of Mrs. Winthrop? Of Mrs. Worthington? Why did not the author tell about their personal appearance?

7. Point out humorous touches in the next to the last paragraph.

8. Is this story true to life? Who is the Priscilla Winthrop of your town?

9. What impression do you get of the man behind this story? Do you think he knew the people of his town well? Did he like them even while he laughed at them? What else can you say about him?

10. Other books of short stories dealing with life in a small town are: Pratt Portraits, by Anna Fuller; Old Chester Tales, by Margaret Deland; Stories of a Western Town, by Octave Thanet; In a Little Town, by Rupert Hughes; Folks Back Home, by Eugene Wood; Friendship Village, by Zona Gale; Bodbank, by Richard W. Child. Read one of these books, or a story from one, and compare it with this story.

11. In what ways does life in a small town differ from life in a large city?

THE GIFT OF THE MAGI

This story, taken from the volume called The Four Million, is a good example of O. Henry's method as a short-story writer. It is notable for its brevity. The average length of the modern short story is about five thousand words; O. Henry uses a little over one thousand words. This conciseness is gained in several ways. In his descriptions, he has the art of selecting significant detail. When Della looks out of the window, instead of describing fully the view that met her eyes, he says: "She looked out dully at a grey cat walking a grey fence in a grey backyard." A paragraph could do no more. Again, the beginning of the story is quick, abrupt. There is no introduction. The style is often elliptical; in the first paragraph half the sentences are not sentences at all. But the main reason for the shortness of the story lies in the fact that the author has included only such incidents and details as are necessary to the unfolding of the plot. There is no superfluous matter.

Another characteristic of O. Henry is found in the unexpected turns of his plots. There is almost always a surprise in his stories, usually at the end. And yet this has been so artfully prepared for that we accept it as probable. Our pleasure in reading his stories is further heightened by the constant flashes of humor that light up his pages. And beyond this, he has the power to touch deeper emotions. When Della heard Jim's step on the stairs, "she turned white just for a moment. She had a habit of saying little silent prayers about the simplest things, and now she whispered, 'Please God, make him think I am still pretty.'" One reads that with a little catch in the throat.

In his plots, O. Henry is romantic; in his settings he is a realist. Della and Jim are romantic lovers, they are not prudent nor calculating, but act upon impulse. In his descriptions, however, he is a realist. The eight-dollar-a-week flat, the frying pan on the back of the stove, the description of Della "flopping down on the couch for a cry," and afterwards "attending to her cheeks with the powder-rag,"—all these are in the manner of realism.

And finally, the tone of his stories is brave and cheerful. He finds the world a most interesting place, and its people, even its commonplace people, its rogues, its adventurers, are drawn with a broad sympathy that makes us more tolerant of the people we meet outside the books.

1. Compare the beginning of this story with the beginning of "Bitter-Sweet." What difference do you note?

2. Select a description of a person that shows the author's power of concise portraiture.

3. What is the turn of surprise in this story? What other stories in this book have a similar twist at the end?

4. What is the central thought of this story?

5. Other stories of O. Henry's that ought not to be missed are "An Unfinished Story" and "The Furnished Room" in The Four Million; "A Blackjack Bargainer" in Whirligigs; "Best Seller" and "The Rose of Dixie" in Options; "A Municipal Report" in Strictly Business; "A Retrieved Reformation" in Roads of Destiny; and "Hearts and Crosses" in Hearts of the West.