(_b_) The _Detective Story_ requires the most complex plot of any type of short story, for its interest depends solely upon the solution of the mystery presented in that plot. It arouses in the human mind much the same interest as an algebraic problem, which it greatly resembles. Poe wrote the first, and probably the best, one in "The Murders in the Rue Morgue;" his "The Mystery of Marie Roget" and "The Gold Bug" are other excellent examples. Doyle, in his "Sherlock Holmes" stories, is a worthy successor of Poe.

VIII. THE HUMOROUS STORY almost belongs in the category of _Stories of Ingenuity_, so largely does it depend upon the element of the unusual; but for that fact it should have been listed earlier, because it has little care for plot. Indeed, these stories are the freest of all in their disregard for conventions; with them it is "anything to raise a laugh," and the end is supposed to justify the means. In general they are of transient interest and crude workmanship, little fitted to be called cla.s.sics; but Mark Twain, at least, has shown us that humor and art are not incompatible.

(_a_) The simplest form is the _Nonsense Story_, as it may be justly called. Usually it has the merest thread of plot, but contains odd or grotesque characters whose witty conversation furnishes all the amus.e.m.e.nt necessary. If the characters do act they have an unfortunate tendency to indulge in horse play. The work of John Kendrick Bangs well ill.u.s.trates this type of story. His books, "The House Boat on the Styx"

and "The Pursuit of the House Boat," are really only collections of short stories, for each chapter can be considered as a whole.

(_b_) _The Burlesque_ has a plot, but usually one which is absurdly impossible, or which is treated in a burlesque style. The amus.e.m.e.nt is derived chiefly from the contrast between the matter and the method of its presentation. Most of Stockton's stories are of this type: notably his "The Lady, or the Tiger?" Mark Twain, too, usually writes in this vein, as in "The Jumping Frog" and "The Stolen White Elephant."

IX. THE DRAMATIC STORY is the highest type of the short story. It requires a definite but simple plot, which enables the characters to act out their parts. In its perfect form it is the "bit of real life" which it is the aim of the short story to present. It is the story shorn of all needless verbiage, and told as nearly as possible in the words and actions of the characters themselves; and it possesses a strong climax.

Therefore it demands the most careful and skillful workmanship, from its conception to its final polishing. It is the most modern type of the short story.

(_a_) The short story has _Dramatic Form_ when the author's necessary comments correspond to the stage directions of the drama. Such a story is, in fact, a miniature drama, and is often capable of being acted just as it stands. It has a definite plot, but it is developed by dialogue as frequently as by action. It is the extreme of the modern tendency toward dramatic narrative, and is just a little too "stagey" and artificial to be a perfect short story. It is, however, in good literary standing and in good favor with the public, and it is most excellent practice for the tyro, for in it he has to sink himself completely in his characters.

Examples: Hope's "The Dolly Dialogues;" Kipling's "The Story of the Gadsbys;" and Howells' one act parlor plays, like "The Parlor Car," "The Register," "The Letter," and "Unexpected Guests."

(_b_) A short story has _Dramatic Effect_ when it deals with a single crisis, conveys a single impression, is presented chiefly by the actors themselves, and culminates in a single, perfect climax. It may, or may not, be capable of easy dramatization. It is less artificial than the story of pure _Dramatic Form_, but is just as free from padding and irrelevant matter, and just as vivid in effect. It allows of greater art and finish, for the writer has wider freedom in his method of presentation. Examples: Poe's "'Thou Art the Man!'" and "Berenice;"

James' "The Lesson of the Master" and "A Pa.s.sionate Pilgrim;" Wilkins'

"A New England Nun" and "Amanda and Love;" Stevenson's "The Isle of the Voices;" and Irving's "The Widow and Her Son" and "Rip Van Winkle." But, indeed, every good short story belongs in this cla.s.s, which is not so much a certain type of the short story, as the "honor cla.s.s" to which each story seeks admittance.

Every story cited in this book, unless otherwise located, can be found in one of the appended published collections of short stories:

George Ade: "Fables in Slang."

John Kendrick Bangs: "The Bicyclers;" "Ghosts I Have Met;" "The Houseboat on the Styx;" "Mantel-Piece Minstrels, and Other Stories;" "Paste Jewels;" "The Pursuit of the Houseboat;" "The Water-Ghost and Others."

J. M. Barrie: "An Auld Licht Manse;" "Auld Licht Idyls."

George Washington Cable: "Old Creole Days;" "Strange True Stories of Louisiana."

Samuel L. Clemens (Mark Twain): "Merry Tales;" "The Stolen White Elephant."

Richard Harding Davis: "Cinderella and Others;" "The Exiles and Other Stories;" "Gallegher, and Other Stories;" "The Lion and the Unicorn;" "Van Bibber and Others."

Charles d.i.c.kens: "Christmas Books;" "Christmas Stories;"

"Sketches by Boz."

A. Conan Doyle: "The Adventures of Sherlock Holmes;" "The Captain of the Pole Star;" "The Exploits of Brigadier Gerard;"

"Memoirs of Sherlock Holmes;" "My Friend the Murderer;" "Round the Red Lamp."

Maria Edgeworth: "Popular Tales."

Alice French (Octave Thanet): "A Book of True Lovers;" "The Missionary Sheriff;" "Stories of a Western Town."

H. Rider Haggard: "Allan's Wife."

Joel Chandler Harris: "Daddy Jake, the Runaway;" "Nights with Uncle Remus;" "Tales of Home Folks in Peace and War."

Bret Harte: "Colonel Starbottle's Client;" "In the Hollow of the Hills;" "The Luck of Roaring Camp;" "Mrs. Skagg's Husbands;"

"Tales of the Argonauts;" "Thankful Blossom;" "The Story of a Mine."

Nathaniel Hawthorne: "Mosses from an Old Manse;" "Twice Told Tales."

Anthony Hope: "The Dolly Dialogues."

William Dean Howells: "A Fearful Responsibility and Other Stories;" "The Mouse-Trap and Other Farces;" "The Sleeping Car and Other Farces."

Washington Irving: "The Sketch Book;" "Tales of a Traveler."

Henry James: "The Aspern Papers;" "The Author of Beltraffio;"

"The Lesson of the Master;" "A London Life;" "A Pa.s.sionate Pilgrim;" "The Real Thing."

Rudyard Kipling: "The Day's Work;" "In Black and White;" "Indian Tales;" "The Jungle Book;" "Life's Handicap;" "Many Inventions;"

"The Phantom 'Rickshaw;" "Plain Tales from the Hills;" "The Second Jungle Book;" "Soldiers Three and Military Tales;"

"Soldier Stories;" "Under the Deodars."

Brander Matthews: "Outlines in Local Color;" "Tales of Fantasy and Fact;" "Vignettes of Manhattan."

Guy de Maupa.s.sant: "The Odd Number."

Thomas Nelson Page: "The Burial of the Guns;" "In Ole Virginia."

Scribner's series: "Short Stories by American Authors."

Robert Louis Stevenson: "The Island Nights' Entertainments;"

"The Merry Men;" "New Arabian Nights."

Frank R. Stockton: "Amos Kilbright;" "The Lady, or the Tiger?"

"Rudder Grange;" "A Story Teller's Pack."

John Watson (Ian Maclaren): "Auld Lang Syne;" "Beside the Bonnie Brier Bush."

Mary E. Wilkins: "A Humble Romance;" "The Love of Parson Lord;"

"A New England Nun;" "The Pot of Gold;" "Silence;" "Young Lucretia."

III

THE PLOT

The plot is the nucleus of the story, the bare thought or incident upon which the narrative is to be builded. When a child says, "Grandma, tell me the story of how the whale swallowed Jonah," he gives the plot of the story that he desires; and the grandmother proceeds to elaborate that primal idea to suit the taste of her auditor. In like manner, before you put pen to paper, you must have in mind some interesting idea which you wish to express in narrative form; the absence of such an idea means that you have no plot, no story to tell, and therefore have no business to be writing. If you undertake to tell a short story, go about it in a workmanlike manner: don't begin scribbling pretty phrases, and trust to Providence to introduce the proper story, but yourself provide the basic facts. If you do not begin correctly, it is useless for you to begin at all.

A plot implies action--that is, something must happen; at the conclusion of the story the characters must be differently situated, and usually differently related one to another, from what they were at the beginning. The event need not be tragic, or even serious; but it must be of sufficient importance, novelty and interest to justify its relation in narrative form. In general the plot of a short story involves an incident or a minor crisis in a human life, rather than the supreme crisis which makes or mars a man for good. The chief reason for this is that the supreme crisis requires more elaborate preparation and treatment than is possible in the short story. There may be a strong tragic element which makes it seem that the denouement must be tragic, but that is usually to obtain the effect of contrast. Yet the short story may be a supreme crisis and a tragedy, as are Stevenson's "Markheim," Hawthorne's "The Ambitious Guest"[11] and "The Birthmark,"

and many of Poe's tales; but these are stories of an exceptional type, in which the whole life of the chief actor comes to a focus in the crisis which makes the story.

The short story plot must be simple and complete. The popular idea of a plot, derived from the requirements of the novel and the drama, is that it should be a tangled skein of facts and fancies, which the author shall further complicate in order to exhibit his deftness in the final disentanglement. Such a plot is impossible for the short story, which admits of no side issues and no second or under plot. It must not be the synopsis of a novel, or the attempt to compress into the tiny compa.s.s of the short story a complicated plot sufficient for a novel, as are so many of the "Short Stories of the Day" now published by newspapers. As nearly as possible it must deal with a single person, in a single action, at a single place, in a single time. More than any other modern form of literature, the short story requires the observance of the old Greek unities of time, place and action: its brevity and compactness do not admit of the proper treatment of the changes wrought by the pa.s.sage of time, the influences of different scenes, or the complications resulting from the interrelation of many characters of varied importance. If the plot chosen requires the pa.s.sage of ten years' time, if it involves a shift of scene from New York to Timbuctoo, or if it introduces two or three sets of characters, it may by some miracle of ingenuity make a readable story, but it will never be a model one. In "The Ambitious Guest" the time is less than three hours, the place is a single room, and the action is the development of the guest's ambition.