tion>Various
Short-Stories
Published by Good Press, 2019
EAN 4057664106391
Table of Contents
COMPOSITION OF THE SHORT-STORY
THE GRIFFIN AND THE MINOR CANAAN[1]
THE FALL OF THE HOUSE OF USHER [1]
THE SIRE DE MALETROIT'S DOOR[1]
PREFATORY NOTE
INTRODUCTION:
History of the Short-story
Qualities of the Short-story
Composition of the Short-story
Books for Reference
Collections of Short-stories
THE FATHER. 1860. Björnstjerne Björnson.
THE GRIFFIN AND THE MINOR CANON. 1887. Frank R. Stockton.
THE PIECE OF STRING. 1884. Guy de Maupassant.
THE MAN WHO WAS. 1889. Rudyard Kipling.
THE FALL OF THE HOUSE OF USHER. 1839. Edgar Allan Poe.
THE GOLD-BUG. 1843. Edgar Allan Poe.
THE BIRTHMARK. 1843. Nathaniel Hawthorne.
ETHAN BRAND. 1848. Nathaniel Hawthorne.
THE SIRE DE MALÉTROIT'S DOOR. 1878. Robert Louis Stevenson.
MARKHEIM. 1884. Robert Louis Stevenson.
INTRODUCTION
HISTORY OF THE SHORT-STORY
Just when, where, and by whom story-telling was begun no one can say. From the first use of speech, no doubt, our ancestors have told stories of war, love, mysteries, and the miraculous performances of lower animals and inanimate objects. The ultimate source of all stories lies in a thorough democracy, unhampered by the restrictions of a higher civilization. Many tales spring from a loathsome filth that is extremely obnoxious to our present day tastes. The remarkable and gratifying truth is, however, that the short-story, beginning in the crude and brutal stages of man's development, has gradually unfolded to greater and more useful possibilities, until in our own time it is a most flexible and moral literary form.
The first historical evidence in the development of the story shows no conception of a short-story other than that it is not so long as other narratives. This judgment of the short-story obtained until the beginning of the nineteenth century, when a new version of its meaning was given, and an enlarged vision of its possibilities was experienced by a number of writers almost simultaneously. In the early centuries of story-telling there was only one purpose in mind—that of narrating for the joy of the telling and hearing. The story-tellers sacrificed unity and totality of effect as well as originality for an entertaining method of reciting their incidents.
The story of Ruth and the Prodigal Son are excellent short tales, but they do not fulfill the requirements of our modern short-story for the reason that they are not constructed for one single impression, but are in reality parts of possible longer stories. They are, as it were, parts of stories not unlike Dr. Jekyll and Mr. Hyde and A Lear of the Steppes, and lack those complete and concise artistic effects found in the short-stories, Markheim and Mumu, by the same authors. Both Ruth and the Prodigal Son are exceptionally well told, possess a splendid moral tone, and are excellent prophecies of what the nineteenth century has developed for us in the art of short-story writing.
The Greeks did very little writing in prose until the era of their decadence, and showed little instinct to use the concise and unified form of the short-story. The conquering Romans followed closely in the paths of their predecessors and did little work in the shorter narratives. The myths of Greece and Rome were not bound by facts, and opened a wonderland where writers were free to roam. The epics were slow in movement, and presented a list of loosely organized stories arranged about some character like Ulysses or AEneas.
During the mediaeval period story-tellers and stories appeared everywhere. The more ignorant of these story-tellers produced the fable, and the educated monks produced the simple, crude and disjointed tales. The Gesta Romanorum is a wonderful storehouse of these mediaeval stories. In the Decameron Boccaccio deals with traditional and contemporary materials. He is a born story-teller and presents many interesting and well-told narratives, but as Professor Baldwin[1] has said, more than half are merely anecdotes, and the remaining stories are bare plots, ingeniously done in a kind of scenario form. Three approach our modern idea of the short-story, and two, the second story of the second day and the sixth story of the ninth day, actually attain to our standard. Boccaccio was not conscious of a standard in short-story telling, for he had none in the sense that Poe and Maupassant defined and practiced it. Chaucer in England told his stories in verse and added the charm of humor and well defined characters to the development of story-telling.
In the seventeenth century Cervantes gave the world
