A book of narratives

Preface

The editors of this book of narratives have one object in view — to lead the reader to see life closely and imaginatively. It is not especially planned as a guide for young writers who want to sell their first attempts to the omnivorous magazines; and we much doubt if any one will learn from it the temporary tricks for turning out "current fiction."

The aim of all great literature is to interpret life, and the special aim of fiction is to see life imaginatively. Emile Zola once said that all a novel can hope to be is a corner of nature seen through a temperament. To inculcate something of this supreme art of seeing life, by the methods of fiction, is the purpose of the present collection.

As we understand it, the purpose of writing courses in college, especially while drill in correct usage goes on, is to train the logical powers. We believe that there can be no better training in logic than that which exercises the faculties for close observation of life and for constructive imagination. Our commentary and notes are entirely devoted to defining and illustrating this exercise. We hope that the book will also be of help in the general study of fiction.

PART I. WHAT IS A STORY? Introduction: What is a Story ?

I. The Piece of String . . . Guy de Maupassant

II. Rhyolitic Perlite .... Paul Palmerton

III. Malachi's Cove Anthony Trollope .

IV. L'Arrabbiata Paul Heyse . . .

V. The Cask op Amontillado Edgar Allan Poe .

VI. La Grande Breteche . . Honore de Balzac .

3 16

25 31 55 77 85

PART II. HOW TO SEE A STORY IN EVERYDAY LIFE Introduction: How to See a Story in Everyday Life 109

VII. The Fiancee Marguerite Audoux . 118

VIII. A Page from the Doctor's

* IX. The Necklace Guy de Maupassant . 127

X. To Fool the Ignorant . . Ernest L. Me er . . 137

XI. Wellington Charles M. Flandreau 143

XIII. The Chaperon A Ita Brunt S embower. 177

PART III. HOW TO SEE LIFE IMAGINATIVELY Introduction: How to See Life Imaginatively 203

XIV. In the Firelight .... Margaret Thomson . 210 XV. City Smoke Booth Tarkington . . 214

XVI. Scenes in Factories . . . Margaret Richardson. 219

CONTENTS

XVII. The Spirit of a Great City Robert Herrick . XVIII. Thunder and Lightning . Thomas Hardy . XIX. Gerard and the Bear . . Charles Reade . XX. Tad Sheldon, Second Class

Scout John Fleming Wilson 251

XXI. The Glenmore Fire . . . Robert Herrick ... 270

235 240 246

Part IV. How To Describe Character

Introduction: How to Describe Character XXII. The Brooke Sisters . . . George Eliot . .

XXIII. The Baines Sisters . . . Arnold Bennett .

XXIV. Annixter Frank N orris. .

XXV. Bathsheba and Gabriel

Oak Thomas Hardy .

XXVI. Eugenie and Old Grandet Honore de Balzac

XXVII. Francois Villon R. L. Stevenson .

XXVIII. A Lodging for the Night R. L. Stevenson .

279 289 298 312

329 347 363 368

PART V. HOW TO PRESENT A MORAL ISSUE Introduction: How to Present a Moral Issue 393

XXIX. The Greater Love . . . Bartimeus 402

XXX. Vis et Vir Victor Hugo . . . .418

XXXI. A Dead Issue Charles M. Flandreau 430

XXXII. The Captain's Vices . . . Francois Coppee . . 457

XXXIII. A Coward Guy de Maupassant . 469

XXXV. An Unfinished Story . . 0. Henry ..... 490