Part 5

THE STRUGGLE. The music-force opposed to the men’s disinclination to charge. Is there any doubt that in singing the men “home” Chautonville turned them toward the enemy?

THE SETTING. What are the place and the time of the action? Point out details that keep war dominant.

PRESENTATION. Who is the narrator?

CHARACTERS. Who, specifically, is Chautonville? Why is the description of his voice put before his physical personality? Value of the contrast?

DETAILS. What determination of the narrator is used to create suspense? How is the determination overcome?

* * * * *

Try to recall other examples, in literature, of the power of music. Study its whimsical use in Kipling’s “The Village That Voted the Earth Was Flat”; its use to recall the past in O. Henry’s “The Church with an Overshot Wheel.” See how it is employed in connection with the climax in Mary Synon’s “The Wallaby Track,” and in Kipling’s “The Brushwood Boy.”

What tonal values exist in the suggestion of sounds?

What relation exists between the rhythm and the theme?

Is the story pre-eminently one of theme, character, or setting?

LAUGHTER

According to Mr. Dobie, “Laughter” was a work of the imagination in every detail. It had nowhere a starting point from reality, though--as he says--he now and then draws a character from life, such as that of Josef in “Four Saturdays,” and he occasionally shapes an incident to the needs of the story, as he did in “The Failure.” In “The Failure” and other stories, however, as in “Where the Road Forked,” (_Harper’s_, June, 1917), he states that the incident was really a mere pivot or peg on which he hung a cloak of almost pure imagination.

In regard to his maintaining his angle of narration so perfectly, he says this phase of his craft is rather instinctive. “Even before I became conscious of the force of a single point of view I somehow managed to achieve it without thinking about it at all.”

PLOT. The story being a psychological study of a man who was untrue to himself and paid the penalty, one might expect to find a lack of external incident. Here the author accomplishes the difficult thing in that he has developed an outer action, which thus objectively exploits the mental processes.

_Initial Incident._ (Anticipated by the cumulative effect of the Italian’s playing.) Suvaroff visits his next door neighbor to remonstrate against the accordion. He learns that the Italian fears death at the hands of Flavio Minetti, and he goes without stating the object of his visit. (Notice that the theme is struck in the Italian’s reason for fear: he had _laughed_ at Minetti.)

_Steps toward the Climax_: Suvaroff betrays to Minetti the whereabouts of the Italian. Before he does so, Minetti warns him of the results of his so doing, thus preparing for the next period of the action. Minetti kills the Italian. Suvaroff sleeps. He goes to breakfast; he hears a man has been murdered. During the day he leaves the wine-shop where he plays the violin (a significant outer act reflecting his mental state). His mind wanders; he thinks he dreamed last night. Arriving at his rooms he finds the Italian’s mother. She divulges that her son played to give pleasure to Suvaroff. Minetti enters and bestows money on the old woman. Suvaroff begs the hunchback, “Tell me in what fashion do these people laugh at you?” (This is a minor climax, one stage of the turning of Suvaroff’s fortunes. But since he is not yet _able_ to laugh, his life is in no danger from Minetti. Had he not laughed, he would have lived.) Minetti begs Suvaroff to go away; but he declares that he cannot. Suvaroff finds a squalid wine-shop where he sits watching the shadows. He finds he may learn to laugh at them, but not “at a man’s soul.” He buys a pistol. Minetti says he will never use it. He tells Minetti of the wine-shop pictures. While Suvaroff sits studying the pictures a new one appears.

_Dramatic Climax_: He laughs, then turns and sees Minetti.

_Steps toward the Climax of Action_: Suvaroff goes home, undresses deliberately, and goes to bed--knowing he will sleep.

_Climax of Action_: He hears the steps pattering along the hall, and draws the bed-clothes higher.

_Dénouement_: Constructed by the reader, who has, however, no choice.

SETTING. San Francisco. “Fancy a novel about Chicago or Buffalo, let us say, or Nashville, Tennessee! There are just three big cities in the United States that are ‘story cities’--New York, of course, New Orleans, and, best of the lot, San Francisco.”--Frank Norris is thus quoted by O. Henry at the beginning of “A Municipal Report,” which (frequently proclaimed O. Henry’s best story) has its setting in Nashville. How many of the stories in this collection have their settings in New York? in San Francisco? What other localities are represented? What do you conclude?

How has Mr. Dobie kept setting before the reader? Is it the same _city_ as Mrs. Atherton uses in “The Sacrificial Altar”? Has it the same _atmosphere_?

CHARACTERIZATION. Are Suvaroff and Minetti “living” characters? Is Suvaroff, in the beginning, obsessed? Does the obsession culminate in monomania?

Minetti’s physical self is given to the reader from Suvaroff’s angle, which angle is consistently used throughout. What is Suvaroff’s personal appearance? How do you account for your answer? Whose mental processes are _not_ exploited? Why?

Why is the Italian’s mother introduced as a background character?

DETAILS. The smaller features of the story reveal also the hand of the craftsman: the use of night, the wine-shop, ugliness, the shadows, and the arrangement of the steps to what seems an inevitable ending. “Seems”; for Mr. Dobie has a theory “that there is no such thing as an inevitable ending. Any opening situation may work out fifty ways.” Is it possible, after certain steps in the action, to produce an ending other than inevitable?

How is the cold inflexibility of Minetti made convincing?

GENERAL. “In my days of apprenticeship,” Mr. Dobie says, “I planned my story out in detail and did much re-writing. I think one must do this at the beginning. But if one finally evolves an unconscious technique which does away with a scenario I think it makes for more spontaneous writing.... But it is dangerous to advise methods. My point in dwelling on the virtues of ‘planless stories’ is to encourage those who find their salvation along these lines and who are uncertain as to whether such a method will lead anywhere.... I started ‘Laughter’ in September, 1916, wrote about five pages, got stuck, put it away, dug it up three or four months later and in about three weeks carried it to a conclusion....”

“It is rather hard to give a definition of a short story. I should say briefly that a short story is the reaction of a character or characters to a particular incident, circumstance or crisis. Obviously, as its name implies, there should be economy of line. Perhaps the shortest successful story on record is as follows:

‘Three wise men of Gotham went to sea in a bowl. If the bowl had been stronger, my tale had been longer.’

“This narrative has also the virtue of suggestion: the greater the suggestion, the greater the story. In other words, a story is artistically successful in proportion to the collaboration exacted from the reader.”

THE OPEN WINDOW

To get the proper connection, the reader should first know “Laughter.”

PLOT.

_Initial Incident_: André Fernet meets the hunchback, Flavio Minetti, and learns that he knows something of Suvaroff’s death. He is brought under Minetti’s power of fascination.

_Steps toward Dramatic Climax_: Fernet’s landlord, Pollitto, speaks of his vacant room. Fernet resolves to see Minetti again, and perhaps to learn who killed Suvaroff. They meet at the Hotel de France. Minetti says he was “expecting” Fernet. Fernet goes with Minetti, in spite of warning, to a wine-shop. Minetti’s suggestion that Fernet evidently wished to know who murdered Suvaroff is coupled with a warning that it is a “dreadful thing to share such a secret.” But Fernet insists.

_Dramatic Climax_: Minetti says, “It was I who killed him,” whereupon Fernet laughs. Notice that the dramatic climax, the laughter, falls early in this story, whereas in the former it arrives tardily. Is this logical, from the nature of the circumstances?

_Steps toward the Climax of Action_: Minetti states that he kills every one who laughs at him. He prepares a _café royal_; Fernet is afraid, but makes a show of indifference or incredulity. In the morning, Fernet learns that his landlord has rented the room to Minetti; he thinks of going away but decides to stay and “see what happens.” After some days, Minetti calls on Fernet. He says he has tried every slow way of murder except mental murder. Fernet laughs, thus emphasizing the dramatic climax, but as Minetti says it does not matter, “You can die only once.” His speech intensifies the dramatic forecast, already conveyed. Minetti supplies saccharine for the coffee; Fernet fears “slow poison,” but nevertheless drinks, as if in a spirit of bravado, or unwillingness to seem afraid. Minetti harps on the idea that Fernet has laughed at him. Fernet’s landlord comments on his haggard appearance. Fernet dreams. He stays away from his office, visits the library, and asks for all the works on poison. After dining alone, he meets Minetti, who persuades him to have a cup of coffee. Fernet speaks of his reading. He decides to go away to-morrow. On arriving at his room, he feels sick and is helped to bed by Minetti. He grows worse; Minetti attends him, and sends for the doctor. Upon the doctor’s prescribing delicacies, Minetti prepares several which, in succession, Fernet refuses, and which he sees are thrown out of the window. At length he manages to tell the doctor that he is eating nothing, in spite of Minetti’s assertion to the contrary. The doctor thinks Fernet insane. At the end of the week, even Minetti says he has eaten nothing. Fernet resolves, again, to go away to-morrow. But, still doing without food, he grows weaker.

_Climax of Action_: He dies, but not before he hears Minetti’s laughter and the words: “Without any weapon save the mind!”

The _struggle_ is well elaborated, as the preceding plot outline indicates, even though it is the one-sided bird-and-snake struggle, with a predetermined outcome.

CHARACTERIZATION. Compare Fernet with Suvaroff. Which of the two offers the more difficult problem in psychology? Is it easy to believe that Fernet submitted to the sway of Minetti? Why, for example, did he not go away?

Compare, also, the subordinate characters with those in “Laughter.” What do most of them in this story think or feel about Minetti? How does the author indicate their attitudes?

DETAILS. Is the angle of narration similar to that in “Laughter”? What details appeal to the reader’s gustatory sense? Study the symbolic use of the pepper-tree. Compare it with the cherry-tree in “Cruelties.” What details of setting emphasize the locality?

THE LOST PHOEBE

STARTING POINT. The beginning of this story lay in a bit about an insane man in Missouri, a story which came to Mr. Dreiser quite ten years before he developed it. The story quality testifies to the value of the long dormant period.

SETTING. Study the narrative, observing with respect to place that although you may feel you have your mind on the exact locality, it presently flits to another probable setting. This is because Mr. Dreiser attaches no importance to the locality of his short stories, so long as the incidents are American--and either urban or rural. The gain is, of course, in favor of the essential nationality; the loss is to the individual community. Does the first grasp of setting bring with it the atmosphere of the narrative?

CLASSIFICATION. A story of a search, at last successful. It may be classed, also, as a story of the supernatural, wherein the vision is one of a crazed brain. So beautifully has the author handled the fancy and the vision, however, that the reaction on the reader causes wonder as to whether sanity and insanity are not relative, or even interchangeable.

PRESENTATION. By the omniscient author, who exercises omniscience particularly over the mind of the main character.

CHARACTERS. Henry Reifsneider, Phoebe Ann (his wife), and background characters of the community folk. These last exist to give verisimilitude, for contrast, and as plot pivots. Cite an instance for each use.

PLOT.

_Initial Incident_: Phoebe dies.

_Steps toward the Dramatic Climax_: Henry “sees” Phoebe until his mind gives way from brooding. He is possessed of a fixed idea: Phoebe left because he “reproached her for not leaving his pipe where he was accustomed to find it.” He searches for her (immediate first steps given in detail) nearly seven years.

_Dramatic Climax_: He finds her.

_Steps to the Immediate Climax of Action_: He follows her to the edge of the cliff; he sees her below among the blooming apple trees.

_Climax of Action_: He leaps over the cliff.

_Dénouement_: He is found, a smile upon his lips.

DETAILS. Study the presentation of Henry, which gives so clear an impression of his unbalanced mind. Study the motivation for this insanity, the author’s analysis of Henry’s psychology, Henry’s acts, and his speeches. What contributory effect has the _calling_ for Phoebe?

Would you agree that atmosphere is the dominant element in the story? Is a supernatural story likely to be one of atmosphere? Why?

Study the way in which the author has made vivid the picture of the Reifsneider home. Observe the skill with which he has contrasted the dull, even sordid, realism of the actual setting with the beauty of Henry’s visions. Why should the final one be the most beautiful? What color words do you find? How does color, or lack of it, aid in the unified effect?

Read Mr. Dreiser’s “Free” (see volume bearing this title) and compare it with “The Lost Phoebe.” Which do you regard as the more significant story?

LA DERNIÈRE MOBILISATION

This is a sketch, wherein the mist, the fog, the forest, and the shadowy figures combine with the muffled sounds into a dim monotone. It is a picture galvanized into life. Notice that the narrative tense is not preferred.

The meaning of the sketch emerges in the last sentence. It is the _idea_ which lends significance to the picture.

THE EMPEROR OF ELAM

CLASSIFICATION. A novelette. The length (around 20,000 words), the many and rapid changes of scene, the shifting from character to character, the broken progress,--these are the outstanding characteristics not of the short-story but of a more leisurely type of fiction, one having a wider canvas, a larger significance.

STUDY

I

What part of the quotation prefixed to the beginning does the story emphasize? Has the quotation an interpretative value, even a constructive value, for the story?

What is the locale? Does the author know his setting or has he fancied it? (Read his “Stamboul Nights.”) Study the locale with a map at hand (preferably one showing both Turkey and Persia). With this map before you, note the scene of each phase of the action.

Do you follow easily the identities of the boats and passengers in Division I or is it necessary to study the situation?

What is the significance of the “translucent” look in Magin’s eyes?

In the deck-house description why is attention drawn to the lion?

Why is so much space given to Gaston as early as page 4 of the story (page 150, Yearbook)? Do you, having read the story, think that Gaston is sufficiently played up to serve as the climax figure of the whole action? Are you satisfied that Matthews drop out of the story so inconsequentially, after his earlier prominence?

What is the purpose of the echo--“A bit of a lark!”

What dramatic value has the mention of the year 1914 (page 151)? How is emphasis given to the date?

What is the purpose of the first meeting? The showing of the treasure?

Why is the _dame de compagnie_ mentioned, by way of climax, at the end of Division I?

II

Significance of “propelled their galley back”?

Where is the city of Shuster? Notice its position with respect to the city of Dizful and the Persian Gulf.

Significance in the use of the German tongue (page 156)?

What is the purpose of the scene between Magin and Ganz? Its relation to the scene between Magin and the Englishman?

The “coronation” (page 158) refers to what? See also page 162.

“Are you the Emperor of Elam?” Who, by the suggestion, is?

Who is the Father of Swords?

Who is Magin, as revealed in part by the last paragraph of Division II? Has Mr. Dwight a fine sense of terminal emphasis?

III

The scene shifts to Gaston and Matthews. After the dangers and difficulties of passage, the two reach Dizful.

Note the brief summary of the disposition of Gaston (page 161: So he packed off Gaston, etc.). Is it too casual?

Where has Bala-Bala been mentioned previously?

In the descriptions, pages 162, 163, 164, what is the dominant impression?

On page 166 the Father of Swords speaks of his friend Magin. Do you see the point of the allusions?

What is the meaning of the paper signed by Magin? Whose emissary is he?

What dramatic value has the last speech of Matthews in Division III? Why is it given the place of emphasis?

IV

This division opens with the Father and Magin, at Bala-Bala. On the second page, however, it shifts to Matthews, at Dizful.

Notice that Matthews’ interest in Dizful is crossed by the “Agent” of Magin.

What is the purpose of the scene at the beginning of which Magin presents himself at Matthews’ gate?

Why did Magin glance at the make of Matthews’ cigarettes?

Study the scene for the effective contrasts between the English and the German points of view.

Why does Magin try to bribe Matthews to go away?

Is the dramatic forecast at the end of this Division (IV) justified? Is it good, in itself?

V

Notice the comparatively trivial manner in which Matthews is removed from the scene. The real cause for his going away is “a stupid war on the continent.” This expression indicates that the cosmic significance of the war had not dawned upon Matthews.

Why did Matthews not pause to hear Magin play? Why is so much attention given to this playing?

What is the significance of the “Majesty” in Ganz’s first speech, page 190?

Is the dramatic forecast (page 191) justified?--“What if ... some little midshipman were to fire a shot across your bow?”

VI

What artistry is there in the repetition of the meeting between the motor-boat and the barge?

Why is so much space given to the knife (page 192)?

What note is re-sounded in Gaston’s remark (page 193) “Monsieur, you travel like an emperor!”?

What is the meaning of Gaston’s speech (the last on page 195) regarding the object of virtue?

Why does Magin give his recent barge the slip and order Gaston to turn the motor-boat upstream?

What is the purpose of Gaston’s long speech on page 199?

What idea enters Gaston’s mind at the close of Division VI? Is it justified as dramatic forecast?

VII

This final division is almost, in itself, a short-story, and with very little work on the author’s part might have contributed to a brief narrative of decided power. At the end of so long a one, its value diminishes; for the dénouement is out of proportion, even out of line, with the beginning of the narrative.

What does the incident of Magin’s finding the knife mean?

Study the struggle between the two men.

The superb climactic speech of Gaston compels admiration: “This at least I can do--for that great lady, far away.”

The method of the novelist is again used, by way of epilogue, when the author turns to the peasant on the bluff.

THE CITIZEN

CLASSIFICATION. A thematic story: dreams and ideals are the real power. The ideal citizen is also emphasized. Classed more directly, the work is a paean of patriotism.

THE OUTER SETTING. An audience of two thousand foreigners who have just been admitted to citizenship.

THE CHARACTERS. Ivan, Anna, his wife, and the speaker--the President of the United States.

How is the President characterized? How is Ivan contrasted with him? How related to him?

Has Anna real place in the action?

THE PRESENTATION. The real story is recounted after the climax has been implied. Ivan and Anna are here. One knows the Dream has been made real, and reads to see how it all came about.

THE PLOT. The dream of freedom, liberty, motivates Ivan’s determination to come to America. He and Anna successfully struggle to save money for the voyage. The actual journey to America constitutes something of a struggle, in itself, for the poor ignorant peasants. But they are upheld by the dream, and are victorious.

DETAILS. Compare the episodes of the Russian police and the American police.

What can you say about the style as related to the theme?

THE GAY OLD DOG

CLASSIFICATION. Miss Ferber recognizes the difficulties of boxing into the shorter form the material which would accommodate a larger space. “The tale of how Jo Hertz came to be a loop-hound should not be compressed within the limits of a short story. It should be told as are the photoplays, with frequent throw-backs and many cut-ins. To condense twenty-three years of a man’s life into some five or six thousand words requires a verbal economy amounting to parsimony” (page 209).

She has, however, achieved the short-story effect in creating one dominant character,--in unifying the action, and in conserving one purpose.

PROPORTION. One of the greatest problems in developing the action of a story which covers twenty-three years is that of proportion. To hover over the “purple patches,” to skip the unimportant stretches, and to link them all up in a coherent organization--this requires a sense of relative values. Why has the author developed the little scene at the death of Jo’s mother? Why, that is, did she not merely leave a statement of the promise? Why is the rather full space (pages 210 ff.) given to the sisters? How, even in characterizing them, does the author keep Jo before the reader as the prominent character? “Which brings us to one Sunday in May” (page 213) indicates an episode of importance. How much time has, supposedly, been passed over? Why is this particular Sunday worked out in scene form? Why are the stages of Jo’s and Emily’s love passed over by leaps and bounds? Why is one brief paragraph, only, given to the final disposition of Emily? Why is greater length comparatively taken up in the disposal of Eva and Babe and Carrie? How many years are covered in pages 219 and 220? Why is a fair amount of development placed on the gradual withdrawal of Eva and Babe?

Roughly, fifteen pages are given to the narrative so far (208-222), covering, say, twenty years. The remainder of the story (pages 222-233) covers about three years, or the period from the beginning of the war in 1914 to the time when America’s first troops for France were leaving. What is the logic of this proportion with reference to the climax? to interest? to current events?

What does the scheme of the proportion, in short, emphasize?

PLOT. The struggle is between the individual, Jo Hertz, and the conditions of his life. The latter triumph, even though they leave the conquered one outwardly successful.

_Initial Incident_: Jo Hertz’s promise to his dying mother.