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actors actual art of fiction artistic Brander Matthews Bull Durham chapter concrete convey critic culmination delineation depict distinction drama dramatist economy of means Edgar Allan Poe element of action emotional emphasis employed entire epic essay exhibit experience feel fiction-writer George Eliot Guy de Maupassant happen Hawthorne Henry James hero imagined facts incidents individual intellect interest intimate Jane Austen Kipling Kipling's Ligeia logical look Markheim Master of Ballantrae materials matter Maupassant merely methods of fiction mind mood narrated narrative effect nature novel novelette novelist omniscience outset passage person phases philosophic plot point of view present prose purpose reader realist represent Robert Louis Stevenson romantic sake Scarlet Letter scene sense sentence series of events short-story single sort stand Stevenson story structure style suggest tale technical tell Thackeray thing thought tion tive told truths of human unity Victor Hugo words writer of fiction written
Page 205 - And that very moving sentence about the elder son, "And he was angry, and would not go in: therefore came his father out and entreated him," becomes in the French Bible, "Mais il se mit en colère, et ne voulut point entrer; et son père étant sorti, le
Page 196 - And the will therein lieth, which dieth not. Who knoweth the mysteries of the will, with its vigor? For God is but a great will, pervading all things by nature of its intentness. Man doth not yield himself to the angels, nor unto death utterly, save only through the weakness of his feeble will." Poe recognized, with the English moralist, that
Page 213 - But the iniquity of oblivion blindly scattereth her poppy, and deals with the memory of men without distinction to merit of perpetuity." Thus it is, again, with this sentence from Ruskin's "Seven Lamps of
Page 46 - chance-medley — a scene of defeat. Life, as he thus reviewed it, tempted him no longer; but on the further side he perceived a quiet haven for his bark. He paused in the passage, and looked into the shop, where the candle still burned by the dead body. It was strangely silent. Thoughts of the dealer swarmed into his
Page 190 - SHORT-STORY SINCE 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, it follows that, given any single narrative effect, — any theme, in other words, for a short-story — there can be only one best way to construct the story based upon
Page 52 - and realize it. I'll give you an example — "The Merry Men." There I began with the feeling of one of those islands on the west coast of Scotland, and I gradually developed the story to express the sentiment with which the coast affected me.'
Page 179 - the basis of these theories, the present writer essayed a few years ago to formulate within a single sentence a definition of the short-story. Thus: The aim of a shortstory is to produce a single narrative effect with the greatest economy of means that is consistent with the utmost emphasis. 1
Page xviii - reader to a dogma, which he must afterward discover to be inexact; they do not teach a lesson, which he must afterward unlearn. They repeat, they rearrange, they clarify the lessons of life; they disengage us from ourselves, they constrain us to the
Page 178 - has been presented unblemished, because undisturbed; and this is an end unattainable by the novel. Undue brevity is just as exceptionable here as in the poem; but undue length is yet more to be avoided.
Page 54 - with a ship beating to windward, and a scowling fellow of Herculean proportions striding along the beach; he, to be sure, was a pirate. This was further afield than my home-keeping fancy loved to -travel, and designed altogether for a larger canvas than the tales that I affected. Give me a highwayman and I was full to the