The elements of the short story

The method of studying the short story here presented is based on two ideas. The first is that the well-equipped student of the short story should have in mind a number of standard examples that exhibit in concrete form the chief elements and principles of importance. The second is that the best way to see in those examples the elements and principles in question is by some very definite and systematic method of analysis.

The study of the short story has developed of late into diverse lines. There have been excellent studies of the history of the matter, which have exhibited the development of the form from very early times. There have been critical analyses that have taken their illustrations of principles or qualities from whatever examples might be found in the broad field. There have been guides to the writing of the short story which have given such practical and theoretical help as was possible to those who wished to write short stories themselves.

We have followed none of these methods. Any treatment of the short story will include a good deal of general material, and much within our pages will be familiar to all who have followed the development of the study. But our particular course is different from those just mentioned.

The legend of Sleepy Hollow, by W. Irving.--Rip Van Winkle, by W. Irving.--Irving as a story writer.--The great stone face, by N. Hawthorne.--Ethan Brand, by N. Hawthorne.--Hawthorne as a story writer.--The fall of the house of Usher, by E. A. Poe.--The murders in the Rue Morgue, by E. A. Poe.--Poe as a story writer.--The diamond lens, by F.-J. O'Brien.--The man without a country, by E. E. Hale.--The outcasts of Poker Flat, by F. B. Harte.--Some recent stories

Author: Edward Everett Hale, - Fredrick Thomas Dawson,
Publication Date: 1915
New York, H. Holt and company

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