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Ttu Pmbc01 000008.Pdf ''''^- • • 'J'-' • >- t"t ~ »• *-t- t r.t- •;••;•-.-.--•-».•—.-• •-»- :,•..*:*,*".* •^•' •~*-^#-»--*- f- • • • ' • • •'-^;^^;^'.'-*^->^i^';-;^v^/;^."vy^^^.\^'il^^ VW;^-';!-;^*^;V;»v*;-*; General Editor LINDSAY TODD DAMON, A.B. Professor of English Literature and Rhetoric in Brown University ADDISON—The Sir Roger De Coverley Papers—ABBOTT 30c BROWNING—Selected Poems—REYNOLDS 40c BUNYAN—The Pilgrim*s Progress—LATHAM 30c BURKE—Speech on Conciliation with America—DENNEY 25c CAkLYLE—Essay on Burns—AITON 25c CHAUCER—Selections—GREENLAW 40c COLERIDGE—The Ancient Mariner] . , _ ,, ._ •W ^'^^TW^W W TT^ ' ^ Cy. T ^ T M VOl. MOODY 25C LOWELL—Vision of SirLaunfal ) COOPER—The Last of the Mohicans—LEWIS 40c COOPER—rTie 5p2/—DAMON 40c DE QUINCEY—Joan of Arc and Selections—MOODY 25c DE QUINCEY—r^6 Flight of a Tartar Tribe—YB.^^CB. 25c DEFOE—Robinson Crusoe—HASTINGS 40c DICKENS—A Christmas Carol, etc.—BROADUS 30c DICKENS—A Tale of Two Cities—BALDWIN 40c DICKENS—David Copperfteld—BALDWIN 50c DRYDEN—Palamon and Arcite—COOK 25c EMERSON—Essays and Addresses—HEYDRICK 35c FRANKLIN—Autobiography—GRIFFIN 30c GASKELL (Mrs.)—Cranford—HANCOCK 35c GEORGE ELIOT—S^^as Marner—HANCOCK 30c GOLDSMITH—rTie Vicar of Wakefield—MORTON 30c HAWTHORNE—r/ze House of the Seven Gables—HERRICK 35c HAWTHORNE—Twice-Told Tales—HERRICK AND BRITERE 40c IRVING—Life of Goldsmith—KRAPV 40c IRVING—The Sketch Book—KRAPP 40c IRVING—Tales of a Traveller—and parts of The Sketch Book—KRAPP 40c LAMB—Essays of Elia—BENEDICT 35c LONGFELLOW—Narrative Poems—POWELL 40c LOWELL—Vision of Sir Launfal—See Coleridge. MACAULAY—Essays on Addison and Johnson—NEWCOMER 30c MAC AULA Y—Essays on Clive and Hastings—NEWCOMER. 35c MACAULAY—Goldsmith, Frederic The Great, Madam^D'Arblay—NEW• COMER 30c MACAULAY—Es&ays on Milton ana AdtZtson—NEWCOMER 30c ®1|? Hake Ettglialj OUaBBtra—nmtmujh Vt LFON—L'Allegro, II Penseroso, Comus, and Lycidas—NEILSON. 25c MILTON—Paradise Lost, Books I and II—FARLEY 25c PALGRAVE—Golden Treasury—NEWCOMER 40c PARKMAN—The Oregon Trail—MACDONALD 40c POE—Poem^ and Tales, Selected—NEWCOMER 30c POPE—Homers Iliad, Books I,VI, XXII, XXIV—CRESSY AXD MOODY 25c RUSKIN—Sesame and Lilies—LINN 25c SCOTT—I ranhoe—Si^o^DS 45c SCOTT—Quentin Dunoard—SIMONDS 45c SCOTT—Lady of the Lake—MOODY .- 30c SCOTT—Lay of the Last Minstrel—MOODY AND WILLARD 25c SCOTT—Marmion—MOODY AND WILLARD 30c SHAKSPERE—r;?e Neilson Edition—Bdited by W. A. NEILSON. each.. 25c ^5 You Like It Hamlet Henry V Julius Caesar Macbeth Midsummer-XighVs Dream Romeo and Juliii The Tempest Twelfth Xight SUKKSVEJKE—Mercliatu of Venice—I^OY^TT 25c Shorter English Poems—FrO'n Gray, Goldsmith, Byron, Macaulay, Arnold—ScuDDER 35c STEVENSON—Inland Voyage and Travels with a Donkey—LEONARD. 35c STEYENSON-Kidnapped—'LKOysARB 35c STEVENSON—Treasure Island—BROADUS 25c TEN'NYSO'S—Selected PoeTris—REYNOLDS 35c TENSYSO^—The Princess—CoPEhANH 25c THACKERAY—/fenrj/ Esmond—FimhPS 50c THACKERAY—English Humorists—CUNLIFFE AND AVATT 30c Three American Poems—The Raven, Snow-Bound, Miles Standish— GREEVER 25c TYPES OF THE SHORT STORY—HEYDRICK 35c Washington, Webster, Lincoln—DENNEY 25c SCOTT, FORESMAN AND COMPANY CHICAGO NEW YORK Zbc Xafie Bn^ltsb Classics TYPES OF THE SHORT STORY SELECTED STORIES WITH READING LISTS EDITED BY BENJAMIN A. HEYDRICK HIGH SCHOOL OF COMMERCE NEW YORK CITY SCOTT, FORESMAN & COMPANY CHICAGO NEW YORK COPYRIGHT 1913 BY SCOTT, FOEESMAN AND COMPANY PREFACE The prominence of the short story as a literary form has led to the preparation of several textbooks on the subject. Some of these are treatises on the technique of the short story^ others give specimens selected to show the historical development of the type. But a course in the writing of short stories belongs in college work^ and the study of the evolution of literary forms has its proper place in the university. The present volume is prepared for the high school student. It does not aim to trace the develop­ ment of the short story^ but accepting it as a literary type^ considers the chief forms in which it is found today. To this end thirteen stories, each illustrating a well-defined type, are presented. Each selection is followed by brief comment and a list of other stories of the same type, the purpose being to lead the student to a wider and more intelligent reading in this enjoyable field of literature. B. A. H. NEW YORK, June, 1913. CONTENTS PREFACE , 3 INTRODUCTION I The Tale and the Short Story 9 II Bibliography 11 i History and Criticism 11 ii Collections of Short Stories „ . 13 III Plan for the Study of a Short Story 14 i Type » 14 ii Purpose 15 iii Title 15 iv Beginning 16 v Plot 16 vi Characters 17 vii Setting 18 viii Style 18 THE TALE Rip Van Winkle. « Washington Irving 21 Editor's Note : . 44 Representative Tales for Reading 45 STORY OF DRAMATIC INCIDENT The Ambitious Guest Nathaniel Hawthorne 47 Editor's Note 57 Representative Stories of Dramatic Incident. ... 59 5 6 CONTENTS STORY OF LOCAL COLOR Namgay Doola Rudyard Kipling 60 Editor's Note 73 Representative Stories of Local Color 74 LOVE STORY Two of Them James M. Barrie 78 Editor's Note 88 Representative Love Stories 90 STORY OF ROMANTIC ADVENTURE The Sire De Maletroit's Door. Robert Louis Stevenson 91 Editor's Note 116 Representative Stories of Romantic Adventure* . 117 STORY OF TERROR The Pit and the Pendulum Edgar Allan Poe 119 Editor's Note 138 Representative Stories of Terror 139 STORY OF THE SUPERNATURAL The Haunted and the Haunters; or, the House and the Brain Edward Bulwer-Lytton 140 Editor's Note 174 Representative Stories of the Supernatural 175 HUMOROUS STORY My Double and How He Undid Me Edward Everett Hale 177 CONTENTS 7 Editor's Note 199 Representative Humorous Stories 200 CHARACTER SKETCH Cree Queery and Mysy DroUy James M. Barrie 202 Editor's Note 208 Representative Character Sketches ^209 ANIMAL STORY Moti Guj-Mutineer Rudyard Kipling 211 Editor's Note ^. 219 Representative Animal Stories 220 APOLOGUE Doctor Heidegger's ^x^eximtnt.Nathaniel Hawthorne 221 Editor's Note - 233 Representative Apologues » 234 STORY OF INGENUITY The Gold-Bug Edgar Allan Poe 236 Editor's Note . - 280 Representative Stories of Ingenuity 281 PSYCHOLOGICAL STORY Markheim Robert Louis Stevenson 283 Editor's Note 303 Representative Psychological Stories 304 INTRODUCTION I. THE TALE AND THE SHORT STORY ,In the literary history of the last half of the nineteenth century, one of the most significant facts is the develop­ ment of the short story. This does not mean that there were no short stories before that date; it is possible to trace the short story in prose into the eighteenth century, or still further to Boccaccio and the Arabian Nights, while short stories in verse have been familiar to English readers since the time of Chaucer. But towards the middle of the nineteenth century the prose short story appears as a defi­ nite, recognized type, and in the period following, such authors as Poe, Hawthorne, Harte, and Henry James in America, Stevenson and Kipling in England, De Maupas­ sant and Coppee in France, and Turgenieff in Russia, de­ liberately chose this form and achieved in it some of their greatest successes. To this period also belongs the differentiation of the short story and the tale. The distinction may be illustrated by supposing a writer of today, with material at hand for Irving's "Rip Van Winkle," sitting down to plan his story. He might write a narrative called "Rip and the Goblins/' in which he would tell little or nothing of Rip's home life, but would make more of the meeting with the dwarfs, and of the wonderful sleep. That would be a story of the supernatural. Again, he might omit the goblins entirely, making Rip's long absence due to some natural cause, and center attention upon the quaint people 9 10 THE SHORT STOEY of the mountain village, describing their costumes, repro­ ducing their dialect, picturing the place even more in detail than Irving has done. The result would be a story of local color. Or he might handle it in still another way. The passages between Rip and his scolding wife might be told in full, the amusing side of Rip's predicament on his return emphasized, and so we should have a humorous story. The point is, that Irving instead of doing one of these things did them all, and so produced a tale. The tale is a form of story in which no one element greatly predominates. As compared with the short story, it loses in definiteness, but it gains in breadth. It must not be inferred that the tale is a form of art inferior to the short story, it is merely a different form. The distinction is well stated by Professor Canby: "Intensity, emphasis, excerption of a single situa­ tion is the aim of the more modern story-tellers; breadth within limits, balance of parts, an easy telling of several related incidents, the accomplishment of the first American master of the tale."^ The force of this distinction may be seen if we compare "Rip Van Winkle" with a story like Poe's "The Pit and the Pendulum." Poe has a single, definite purpose: to send a thrill of terror through the reader. To that end every detail of the story tends; there is no humor, no local color, no use of the supernatural; the narrative has a singleness of aim that marks it off sharply from the work of Irving. Tales like Irving's are still written, and still have their charm, but the great majority of story writers today follow Poe in aiming at a single effect.
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