Short-Stories

Short-Stories

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Title: Short-Stories
Author: Various
Release Date: June 25, 2004 [EBook #12732]
Language: English
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SHORT-STORIES
EDITED BY L.A. PITTENGER, A.M., CRITIC IN ENGLISH,
INDIANA UNIVERSITY
New York: THE MACMILLAN COMPANY, 1914
Set up and electrotyped. Published November, 1913. Reprinted January,
1914.
Norwood Press, J.S. Cushing Co.--Berwick & Smith Co., Norwood,
Mass., U.S.A.

A PREFATORY NOTE
This collection of short-stories does not illustrate the history of
short-story writing, nor does it pretend that these are the ten best stories
ever written, but it does attempt to present selections from a list of the
greatest short-stories that have proved, in actual use, most beneficial to
high school students.
The introduction presents a concise statement of the essentials of the
history, qualities, and composition of the short-story. A brief biography
of each author and a criticism covering the main characteristics of his
writings serve as starting points for the recitation. The references
following both the biography and criticism are given in order that the
study of the short-story may be amplified, and that high school teachers
may build a systematic and serviceable library about their class work in
the teaching of the story. The collateral readings, listed after each story,
will aid in the creation of a suitable atmosphere for the story studied,
and explain many questions developed in the recitation. Only such
definitions as are not easily found in school dictionaries are included in
the notes.

CONTENTS
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