INTRODUCTION

I

DEFINITION AND DEVELOPMENT

MANKIND has always loved to tell stories and to listen to them. The most primitive and unlettered peoples and tribes have always shown and still show this universal characteristic. As far back as written records go we find stories; even before that time, they were handed down from remote generations by oral tradition. The wandering minstrel followed a very ancient profession. Before him was his prototype the man with the gift of telling stories over the fire at night, perhaps at the mouth of a cave. The Greeks, who ever loved to hear some new thing, were merely typical of the ready listeners.

In the course of time the story passed through many forms and many phases-the myth, e.g. The Labors of Hercules; the legend, e.g. St. George and the Dragon; the fairy tale, e.g. Cinderella; the fable, e.g. The Fox and the Grapes; the allegory, e.g. Addison's The Vision of Mirza; the parable, e.g. The Prodigal Son. Sometimes it was merely to amuse, sometimes to instruct. With this process are intimately connected famous books, such as Gesta Romanorum" (which, by the way, has nothing to do with the Romans) and famous writers like Boccaccio.

"The

Gradually there grew a body of rules and a technique, and men began to write about the way stories should be composed, as is seen in Aristotle's statement that a story should have a beginning, a middle, and an end. Definitions were made and the elements named. In the full

ness of time story-telling became an art.

Similar stories are to be found in many different literatures because human nature is fundamentally the same the world over; that is, people are swayed by the same mo tives, such as love, hate, fear, and the like. Another reason for this similarity is the fact that nations borrowed stories from other nations, changing the names and circumstances. Writers of power took old and crude stories and made of them matchless tales which endure in their new form, e.g. Hawthorne's Rappaccini's Daughter. Finally the present day dawned and with it what we call the short-story.

is

The

The short-story Prof. Brander Matthews has suggested the hyphen to differentiate it from the story which is merely short and to indicate that it is a new species1 a narrative which is short and has unity, compression, originality, and ingenuity, each in a high degree. notion of shortness as used in this definition may be inexactly though easily grasped by considering the length of the average magazine story. Compression means that nothing must be included that can be left out. Clayton Hamilton expresses this idea by the convenient phrase "economy of means." By originality is meant something. new in plot, point, outcome, or character. (See Introduc

1 The Philosophy of the Short-Story in Pen and Ink, page 72. (Longmans, Green & Co., 1888.)

2 Ibid.

3 Materials of Fiction, page 175. (Doubleday, Page & Co., 1912.)

Ingenuity sug

The short-story

tion III for a discussion of these terms.) gests cleverness in handling the theme. also is impressionistic because it leaves to the reader the reconstruction from hints of much of the setting and details.

Mr. Hamilton has also constructed another useful definition. He says: "The aim of a short-story is to produce a single narrative effect with the greatest economy of means that is consistent with the utmost emphasis.""

However, years before, in 1842, in his celebrated review of Hawthorne's Tales' Edgar Allan Poe had laid down the same theory, in which he emphasizes what he elsewhere calls, after Schlegel, the unity or totality of interest, i.e. unity of impression, effect, and economy. Stevenson, too, has written critically of the short-story, laying stress on this essential unity, pointing out how each effect leads to the next, and how the end is part of the beginning.3

America may justly lay claim to this new species of short narrative. Beginning in the early part of the nineteenth century there had begun to appear in this country stories showing variations from the English type of story which "still bore upon it marks of its origin; it was either a hard, formal, didactic treatise, derived from the moral apologue or fable; or it was a sentimental love-tale derived from the artificial love-romance that followed the

romance of chivalry." 4 The first one to stand out prominently is Washington Irving's Rip Van Winkle, which was published in 1820. This story, while more leisurely and less

1 Materials of Fiction, page 173. (Doubleday, Page & Co., 1912.) 2 Graham's Magazine, May, 1842.

8 Vailima Letters, I, page 147.

4 Krapp's Irving's Tales of a Traveller, etc. Introduction. (Scott, Foresman & Co.)